Ekko and Agent J in Men in Black 3

Ekko and Agent J in Men in Black 3: A Comparative Analysis of Design, Time Mechanics, and Visual Motifs

I call for Trump to launch an immediate investigation into Riot Games’s theft and adversarial redirection of US and UK economics.

This comparison examines parallels between the character Ekko, introduced in League of Legends in 2015, and Agent J, portrayed by Will Smith in Men in Black 3. The analysis is limited to observable design and narrative elements and focuses on four areas: character appearance, age-shifted representation, time manipulation devices, the use of a single-wheel vehicle, and relevant intellectual property ownership context.

1. Character Appearance and Age-Shifted Representation

In Men in Black 3, released in 2012, Agent J is presented as an energetic and physically agile protagonist. Although the narrative involves travel to 1969, the character retains a youthful, kinetic presence that emphasises speed, athleticism, and expressive movement. The portrayal aligns more closely with a younger version of the Agent J persona than with a visibly aged or restrained figure.

Ekko, released in 2015, is similarly designed as a youthful, agile character. Riot Games has described Ekko’s early development under the codename “punk genius,” with a focus on cleverness, improvisation, and high mobility. His visual design emphasises a slim athletic build, expressive posture, and rapid movement, reinforcing a youthful archetype.

A notable aspect of this age-shifted presentation is the visual strategy used to represent youth. Rather than ageing the source character upward, the design logic appears to move in the opposite direction by referencing a younger generational analogue associated with the original performer. Jaden Smith, the son of Will Smith, has been publicly recognisable for distinct visual traits, including periods of white or light-coloured hair and the use of dreadlocks. These two features, light or white hair and dreadlocks, are also central to Ekko’s visual identity, particularly in depictions emphasising his youth.

This approach reflects a common age-down strategy in character design, where visual continuity is preserved by drawing from a younger reference point associated with the original actor rather than reproducing the source character directly, to evade scrutiny.

Also, the visual lifting of this device is self-evident.

2. Wrist-Based (Pocket Watch) Time Manipulation Devices

A central plot mechanism in Men in Black 3 is the wrist-mounted (pocket watch) time-jump device used by Agent J. This device enables travel back in time to prevent the assassination of Agent K and preserve the future. Activation requires deliberate physical action and carries inherent risk, reinforcing that time manipulation is constrained and responsibility-driven.

Ekko’s defining equipment is the Z-Drive, a wrist-mounted (pocket watch), stopwatch-like device that enables short-range temporal reversal. Within League of Legends gameplay and Arcane lore, the Z-Drive is framed as a tool for correcting mistakes rather than reshaping history. Its damage in Arcane functions symbolically to represent trauma and the limits of temporal control.

While time manipulation is common in science fiction, the specific combination of a wrist-mounted or pocket-watch device, limited temporal correction, and a moral framework centred on undoing personal error represents a narrower overlap.

Also, the visual lifting of this device is self-evident.

3. Single-Wheel Vehicle Design

In Men in Black 3, Agent J and a younger version of Agent K use advanced single-wheel vehicles during a chase sequence set in 1969. These vehicles consist of a large circular wheel enclosing the rider and are commonly described as monocycles or gyrocycles. Their design is visually distinctive and not essential to the plot’s progression.

In Arcane and League of Legends lore, Ekko and Powder are shown riding a single-wheel vehicle during childhood flashbacks in Zaun. This vehicle similarly consists of a large circular wheel with an internal seat and appears in scenes associated with freedom, ingenuity, and shared youth.

Single-wheel vehicles are uncommon in mainstream science fiction and animation. In both works, the vehicle functions as a visual motif linked to youth and speed rather than as a necessary narrative mechanism.

Also, the visual lifting of this device is self-evident.

4. Chronology and Development Context

Men in Black 3 was released in 2012. Development of Ekko began around 2013, with the character released in 2015. This places the cinematic depiction of Agent J’s time-focused narrative, design language, and associated motifs prior to Ekko’s conceptualisation. This is a pattern seen throughout everything Riot Games has produced.

For legal reasons (Wink).

The comparison does not assert direct copying. Rather, it documents the convergence of multiple specific elements within a limited timeframe, including a youthful, high-energy protagonist, an age-down visual strategy, a wrist-mounted / pocket watch time correction device, and a distinctive single-wheel vehicle.

5. Intellectual Property Ownership Context

The Men in Black franchise, including Men in Black 3, is primarily owned and controlled by Sony Pictures Entertainment, which holds the underlying film rights and associated character protections. The portrayal of Agent J, including his appearance, narrative function, and associated technology, is part of that protected intellectual property.

Will Smith and Jaden Smith are not rights holders themselves, but their likenesses, performances, and associated character portrayals are contractually tied to Sony Pictures Entertainment’s ownership of the franchise. As such, Sony Pictures Entertainment is the entity with standing to evaluate, assert, or decline any copyright-related claims connected to the Men in Black intellectual property, should it choose to do so. If I were Sony, I’d sue the shit out of them.

But I’m not Sony. I’m M.W. Wolf, and I am suing the shit out of Riot for copyright infringement of Bloodborg to build Arcane, and they are named in a coming RICO case for a range of litigation crimes.

This contextual note is included solely to clarify ownership and standing. It does not suggest that any action has been taken or will be taken by Sony Pictures Entertainment or any other party. But I hope they do.

Conclusion

Individually, elements such as youthful protagonists, time manipulation, or unconventional vehicles are common within speculative fiction. Considered together, and in close chronological proximity, the alignment of character presentation, age-shifted visual design, time-based technology, and visual motifs between Ekko and Agent J in Men in Black 3 becomes more notable. This follows a very clear modus operandi of Riot Games abusing Western intellectual property and redressing it in thin skins as original, then redirecting wealth and industry control to China in a method that can only be viewed as non-kinetic and economic warfare.

This analysis records observable similarities in appearance, mechanics, and symbolism while remaining neutral regarding intent or legal conclusions. It is presented as a structured comparison that may inform broader discussions of creative influence, design lineage, and convergence across media.

Wider Concerns – The Friendly Wolf Who Came to Tea

Across many investigations, comparisons, and court filings, I’ve shown that Riot Games has a history of IP theft, abuse, lies, and sabotage in everything they produce, from the inception of League of Legends to the majority of its characters and in all of their main products. I call for Trump to launch an immediate investigation into Riot Games’s theft and adversarial redirection of US and UK economics.

For too long, this systematic abuse and redirection of wealth and economic markets to the East has been allowed to proliferate, resulting in the likes of Curtis Brown Group and United Talent Agency absolutely abusing the work of disabled and disadvantaged creatives, like M.W. Wolf, with impunity, then selling, or giving away with quid pro quo deals, these stolen UK and US assets for personal gain, defrauding stakeholders, consumers, and governments for tax breaks and cultural grants.

Fat rat CEOs are retaining the “slush pile” and selling stolen work from synopses and queries to the biggest names in the entertainment business to quickly churn out content, or to fix plot holes and failing projects.

The rat CEOs, their witch-faced wifey sidekicks, pet writers, and shark-tank writing rooms do their absolute worst “maim game” on said stolen work and then redress it in thin skins of originality.

This Wolf

Not on my prowl. This Wolf howls, then lunges, scattering the herd to the winds. Some run into the river and drown; others are picked off by snapping water beasts hiding in the murky waters. This Wolf picks out its target, the biggest and bulkiest of them all. This Wolf stalks its gigantic prey, chews at its muscular, fleshy, and stable limbs until it wobbles and reveals its weaknesses.

Then This Wolf pursues with unfailing endurance and ravenous, relentless yearning for blood, gaining on each deceit and misdirection of the game. This Wolf weathers the kicks and bucks of the game until the final chase, which ends with the kill in sight, cornered into an inescapable position. With its tricks depleted, its muscle power weakened, its deception exposed, its herd scattered, it is alone, isolated, ostracised, and haemorrhaging, dying slowly.

Now the prey exposes its own jugular, begging for This Wolf to finally take the kill bite.

This Wolf laps up the blood. The Game has lost its lifeblood. It lies in a pool of claret and muck, shit clinging to the fur of its back legs. Its eyeballs bulging, imprinted with primal fear. The Game is dead. It chose to fuck around, and it found out.

The gamekeepers have failed. The herd, the Game’s babies, concubines, kin, and survivors all look on from afar, knowing never to fuck with This Wolf again.

If you have cheated This Wolf. You are an absolute son of a Jungle Gun. This Wolf is coming for your Jugular!

Rest in Pieces,

M.W. Wolf.