Arcane is also the name of multiple bands:
1. Arcane. A progressive metal band based in Brisbane, Queensland, Australia. www.arcaneaustralia.com
2. Arcane is also a small doujin circle in japan.
http://manyo-arcane.bandcamp.com/album/cordelia
3. Arcane from Belfast, Ireland and play heavy rock/metal influenced by such bands as Tool, Dream Theater, Iron Maiden and many more.
4. Arcane is a 5 piece metal band from Bournemouth, United Kingdom. www.myspace.com/arcaneofficial
5. Two groups originate in the United States, one plays Thrash Metal, while the other is a Hip-Hop Group.
6. Another is from Ulm in Germany. More Infos @ www.arcane.de.
7. Another comes from Finland, they play melodic/black metal.
8. Another deathrashers Arcane comes from Turkiye. More Info @ official myspace.
9. Arcane is also the nom de clavier of Paul Lawler when producing astounding recreations of 1970s and 1980s Berlin School electronic music, with Tangerine Dream in their Baumann and Schmoelling eras as specific referents.
10. Arcane is also the name of an old metallic hardcore band formed of various members who went on to form The Dillinger Escape Plan. The only song officially released was "Malfactor" on the compilation "The Tie That Binds" in 1996.
11. Goth (Deathrock) band from Seattle, Washington. https://arcaneseattle.bandcamp.com
Secret
Arcane Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I was on my own.
Kept thinking she would be waiting for me
To go hold her hand, and then I would go play with her.
See, I was on my own.
She wouldn't make me cry.
Wouldn't throw me down on the ground.
Wouldn't tell me lies.
A secret,
Since I was nine,
Not our little secret,
So I have kept it mine.
I'll never tell.
I was always alone.
She could've been my only friend,
I was not the one she was waiting for.
This secret,
I've kept it mine,
Her eyes looked for someone else,
But that's OK. I'm fine.
This secret,
I've kept it mine,
Her eyes looked for someone else,
Along a burning line.
I'll never tell.
They'll wanna know,
But I'll never tell.
The lyrics of Arcane's song Secret delve into the perspective of an individual reflecting back on a significant childhood memory. It paints a clear picture of a lonely child holding onto the hope of being reunited with an individual he had an affinity towards. The individual in question is presumed to be a girl, who the singer believes would never hurt him or deceive him, in contrast to their peers. The child holds a personal secret that was formed when he was nine years old, which he has since kept to himself. The lyrics suggest that the singer reached out to the girl, hoping to make a connection, but she was not waiting for him, as she was already seeking a connection elsewhere.
The repetition of the phrase "I'll never tell" implies that the singer has not divulged the details of their childhood encounter to anyone. It's most likely a sign of affection or admiration towards the girl, who he deemed to always be there for him, unlike the other people he encountered. The singer's reluctance to share the story may stem from feelings of shame or vulnerability, which are typical emotions associated with love or attraction. The burning line referred to in the song may be an indication of the girl's burning desire or passion for someone else.
Overall, Arcane's song Secret strings together elements of nostalgia, longing, and emotional vulnerability while exploring the complexities of childhood relationships and unfathomable bonds formed during that period of life.
Line by Line Meaning
Looking back, it was such a vivid image.
The memory of her is still so clear in my mind.
I was on my own.
I was lonely and had no friends.
Kept thinking she would be waiting for me
To go hold her hand, and then I would go play with her.
I used to imagine that she was waiting for me so we could hold hands and play together.
See, I was on my own.
I was truly alone and had no one to be with.
She wouldn't make me cry.
Wouldn't throw me down on the ground.
Wouldn't tell me lies.
Not like them.
She was the only person who wouldn't hurt me or lie to me, unlike others.
A secret,
Since I was nine,
Not our little secret,
So I have kept it mine.
I have kept this secret since I was nine years old because it is not something that we shared as a secret between us.
I'll never tell.
I will always keep this secret to myself and never tell anyone.
I was always alone.
I have always been lonely and isolated.
She could've been my only friend,
I was not the one she was waiting for.
She could have been my only friend, but she was waiting for someone else, not me.
Her eyes looked for someone else,
But that's OK. I'm fine.
She was interested in someone else, but I am okay with it and I can handle it.
This secret,
I've kept it mine,
Her eyes looked for someone else,
Along a burning line.
I have kept this secret to myself, while she had her eyes on someone else, who caught her attention.
They'll wanna know,
But I'll never tell.
Other people may want to know what the secret is, but I will never reveal it and will always keep it to myself.
Contributed by Gabriella S. Suggest a correction in the comments below.
C Vincent
Analysis of Schnee's placement of Mini Jinx:
Presented her in the beginning during a long shot to make viewers familiar with her so she could be used in more shots later on without confusion. This shot was also facing a window, reinforcing the idea that Schnee would be covering lots of topics (the outside world has a lot to view from a window and in general) but at that moment, the video was only beginning and no topics had been explained yet, so viewers were shown Jinx inside a building.
Mini Jinx is shown on a rock, a much larger shot of a bay, city buildings, and a dock behind her. This lead into Schnee's point that business in a story is detrimental, so everything must be balanced. The scene with the plush is an example of business being overwhelming, as there are too many details in the scenery for viewers to focus on a part in the whole.
Jinx is found among stuffed animals with similar builds but different patterns and colors. This supported the point that remembering ten different scenes is as troublesome as recalling all the specific toys on that shelf. However, it's easy on the mind to recall generalities that link them together, such as "there were unicorns and wolves," in a similar way as drawing links between certain scenes.
Here's my favorite: Baby Jinx has been stuffed between boxes of cereal, but the focus is obviously on the overwhelming number of brands and types of cereal. Buying cereal is supporting one brand or another, and a lot of customers will care where their money is going. The points Schnee makes are decision-making based on morality and technology; a buyer has to weigh the same things in their mind. Is it worth it to buy this cereal even if I don't like the parent company's tactics? Is one choice more advanced, tastier, or better presented than the others? These are both questions that consumers ask themselves and each other in the same way Arcane's characters make their decisions (albeit on different scales hahah).
Jinxer in the turkey! The two rows of items displayed are fish sticks and packaged turkeys. Two very distinct products with different appeals and audiences. This shot coincides with Schnee's reference to 'identity' within Arcane. Regardless of moral or technological factors, there's a clear divide between fish sticks and turkey, meaning they have entirely different identities and marketability.
Plush Jinx is wearing a crown: it's the same size and has the same function of a 'normal' crown, just like the story of Arcane as a whole. However, the gems on it represent the arcs, in that they are different colors/storylines and still fulfill their spots on the crown properly and without distraction.
Ring Pops! Jinx on a horse! Lots of items in the background! That's a lot in a short scene! You could almost say that it's 500% as much as any of the other shots in the video.
Pull-ups carry a "weight" without leakage (ideally). Arcane maintains the weights of emotion, technology, family, etc. without any of them falling through. Pull-Ups also represent these ideas because they are a technology, they are employed by families for their kids, and they are products subject to the same scrutiny as mentioned earlier with cereal brands.
Elmo pinatas: they have two functions! Provide happiness through a recognizable character and to be demolished as a party favor. The first makes people care about the product, therefore making them willing to buy it. The second is practical and displays the product's identity.
Each of the leis is colorful and distinct, providing--as Schnee wrote--"more pathways to identity."
Schnee explains the Tidy Cat shot, evidencing that these irl scenes were filmed with intent.
The harvest wreaths are call-backs to Thanksgiving with directly displaying that. It doesn't have to because it is a recognizable facet of a tale woven into our culture.
Bleach is used when blots or stains appear on clothing, and the user wants them gone. It shows us where those stains are and other ones we may have been missing, similar to Schnee's argument about how questions are generated in Arcane.
Baby Jinx is on a train to remind viewers of the infinite nature of a train line--always moving, always utilized--to draw a parallel to Arcane's seemingly endless depth and natural formation of speculation.
Person twirking got Jinx questioning everything. 'Nuff said.
Schnee explains Baby J overlooking the skyline.
What better way to show how a world is built than to show an onlooker's perspective of a city from the shore? Jinx watches the buildings drift farther away as Schnee talks about world-building.
Birthdays! Arcane's, this channel's, and this entire fanbase! Getting a shot of the Statue of Liberty is smart because it was the ultimate birthday present to the U.S. and is a constant reminder of our country's age.
The long, fluid scene of the boat ride allows viewers to focus on what is changing: Schnee's voice and story.
Jinx is next to Lady Liberty plushies to remind us how marketing works in conjunction with Schnee's explanation of how he's going to employ his channel going forward--and shows how his content will be unique and personal!
Jinx walking down a city block functions the same as the long shot of the boat, but with comedic flair due to it being sped up.
Baby Jinx is getting some pizza to wind down after a long modeling shoot.
Schnee, you prompted me to write an essay on your video essay! 😂 Thank you for all your hard work, passion, brain cells, and shared experiences the past year! Keep doing what you enjoy and take care!
Pearl Nh
There's a technique I call "webbiness" of character relationships (not sure if it was used in Arcane or not, but the final version of the show is what a product of the technique could look like), where if you write character names on a whiteboard/paper and start drawing the various relationship lines interconnecting them, you'll end up with a giant tangled web, which is pretty similar to the overlap you were referring to! From my writing education it's a very advanced story construction technique, where one of the really tough parts is balancing a huge cast with enough differentiation between character personalities/arcs.
The way I remember some stories being constructed from this method starting with character relationships is that writers will start with say 1 relationship, but each character, as an in-story world person, would have a life outside the focal relationship/interaction of the story. One of my professors called this technique "remembering that very few people live in a vacuum/complete isolation." The resulting technique is if a creator keeps in mind the relationships that each character has in their life, even if you just make 1 additional relationship per character (e.g. a parent, a sibling, a friend, a teacher), the amount of characters that may be added/mentioned in the story can grow exponentially.
Then, developing each character's relationships gives an avenue into showing different dimensions of the same character's personality, at the same time building complexity with themes attached to each different relationship. Given the amount of relationships will increase exponentially with each character added to the cast, the attached messages/themes/interactions can also increase exponentially with enough variation (where the parallels and foils for arcs/characters/themes come into play).
One key pitfall I think I see most often is getting the cast just the right size (not too large with irrelevant characters/characters of lost storytelling potential, and not too small that some parallels/foils of some messages/themes go unexplored), with an important note that the right-sized cast depends on the themes the creator wants to explore.
The second difficult part of this technique is keeping each character unique enough for easy differentiation by the audience in a large cast. Expanding a cast of characters exponentially through each character's relationship can get out of hand really fast, meaning it's generally better to have no unnecessary characters (k!ll!n your darlings rearing its ugly head here lol). Interconnecting characters so you try to get a self-contained web (where almost all characters in the web have relationships with each other) is the best way to keep your cast from getting too large- e.g. exploring the characters you already have and add complexity from within, instead of making a new character/relationship for every new facet of a theme.
TL;DR The "webbiness"/layering of character relationships in Arcane worked so well by balancing the sizeable cast (each character w/a unique personality/standing/traits & unique relationships w/other character) with the fairly decent number/length of episodes they had to explore said relationships/interactions/themes. This was a very long and convoluted take and I'm not sure I explained it very well lol so additional discussion is very welcome ^^
Cosy Cody
That was a fun vid.
As an artist/designer, a lot of this comes down to being good designers/illustrators.
You want to put in ambient story telling (this is the microlevel)
Each frame is also a composition with optimised elements and relationships (you'll think of the frame angle, then what are in the fore, mid, and background) you'll think of the contrast points, and the big, medium, and small.
This is what you do as a designer. You optimise the relationships and the elements simultaneously. Great artisists and illustrators learn this.
The big concept you are missing here is the idea of HARMONIES and CONTRASTS. Which is to say "repeated elements" with different rhythms (slight orientation changes) are harmonies, and contrasts are the polarisations.
So if you have a fighter, you have a passifist, and that is a contrast. But if you have three fighters that are the same that is a harmony, but then when you change something (a novelty) it turns it into a rhythm.
Its tough stuff to wrap your head around, but you are glimpsing the brilliance of designers and illustrators here. It isn't only in arcane, it is in masterworks of fine art. And this is what artists learn from, they aren't just learning design at a rudimentary level, they learn it to the level they can create masterstudies.
YOU are starting to do a masterstudy, and you are just starting to grasp how RAVENOUSLY complex it is to do, but the "design" of this isn't as complex as you are making it. Design is a skill, and thusly it is organic in how it expresses itself, and when you have 5 or so genius designers, they can speak in design language, shape language, theme design etc, and bounce off each other like a super brain.
This isn't ONE story, its FIVE or more, worked into each other, and they made room via the design, by realising that you have to optimise things into harmonic rhythms and contrasts, and then they realise that all the stories have a certain punch and remove anything that dulls the punch.
Its a series of short stories, bound into one MAIN or dominant story arc. This is using the rule of thirds. Vi and Jinx are 3x story weighted to represent that it is the dominant story line, this is so that all the other stories are ambient or "radial"
A radial composition is basically when you have all the other stories POINT towards or mirror the same as the FOCAL point. Liiiiike... Once you have the dominant theme, you then set up secondary and tertiary themes to support it, and like a big canvas, you can then put story telling in each one fractally because you spend time on each one, and voilla.
Basically, arcane is the most effort put into a story ever. A collaboration done by super five brain designers, that unlocked a potential for story telling we've not really seen before. I'm pretty sure its like a groundbreaking design for stories everywhere. And as a writer I'm floored by it haha, and also as a designer/illustrator, I can see what is happening clear enough.
It requires exceptional strength to concieve of it all at once though, and the artists don't look at it all at once. Its like some super computer perfect story haha. BUT it has limitations, but who cares when its a masterpiece. And its a masterpiece in a popular medium of tv series.
I love arcane, its the best. In fact, its too good haha. But this is related to a question richard schmid asked in Alla Prima "how is it that peoples minds are capable of imagining such things and then to paint them".
My answer to his question is that writing, painting, designing, all are like LEVERS.
Once you learn to use the lever, the result is more interesting and varied than you initially intended, and once you see the result it becomes a feedback loop.
To be an artist means to leverage amazing things into more amazing things, and that is what arcane does. Then you gel it all together with masterful art direction (the fortiche style) and voila. You have bound your limits, and set up a container to hold all the modules and submodules with an optimal coherence.
... How to explain this...
To CONTAIN COHERENCE, you need to create ART DIRECTION. Which is deciding upon the TOOL you are using to describe a certain range of emotion. Arcane doesn't use infinite range. It uses FAMILY and AMBITION as the ranges for emotion. The ART STYLE is set up in a way that it can be soft and affectionate like family, and so it can be hard and edgy like ambitious types. This sets up the emotional range by the art style, and this limits the stylistic range.
When you have art direction for the range of emotion, you then decide art direction for the format. The format is like the kind of modules you are using to construct the story. You could use high contrast and have unique tetris blocks fitting into each other, and this has a chaotic rhythm to it, or you can use overlap where you change one novel element at a time to create what is called a unified rhythm. Unified rhythms tend to work well in radial compositions, with circular structures. So once you have this compositional range set up for your character arcs, you understand that you don't want to have a can of snakes, you want to have instead variations on the same themes, this then helps reinforce what is being seen.
Then you set up the art direction of each local story. What are the "frames" you are using, and how are they creating the sequence, what are the beat frames, what are the flow/action/description frames, what are the dialogue frames, then you select cam angles with your 3d modeller, and concieve of how you might paint the frame, by bringing in references. And a REFERENCE LIBRARY is also art direction.
You realise that some ways to frame shots are like the last supper, and other master paintings you have seen, and with those localised answers for how to set up the composition, you then "plugin" the story telling elements that your team has concepted. And they had tons of concept art and ideas to pull from as riot has employed umpteen thousand artists to do concepts for them. Looking through all the concept art, they then had to draw all of that into a library of references that would suit the story.
Once you have emotional range, framing styles, and references, you can get a good feel of what is there. Then you optimise it, and start to sculpt with these levers until a nice little harmony of rhythms appears, then you are like "aha, lets highlight x part of each arc, and try to have this mirror that" and then it starts to gel between the parallels.
BUUUUUUUUUUUT this isn't the last of it.
Another thing is what illustrators are good at, I call it interpretive resistance. When you look at something you are familiar with you will glance at it and say "thats a cup. done" then look away. But if you erase a few lines, the mind has to be "wait, is that a cup, or is it a ..." once you break up the interpretation, you are signalling to the audience to not finish the thought. This is how you make pieces of art have "flow" through different elements and create relationships.
So all the artists and designers need to do is to break the closure of the object you are percieving (subvert the trope, have multiple moving elements in a scene, and cast the shading of a scene a certain way) and boom you get this flow.
Like I said, design is a HUGE skill that artists are REALLY good at.
And as a writer and designer, I have learned SOOOOOOOOOO much from learning art its crazy.
Trust me, learn to paint, or learn to draw, and get high level master coaching, it will start to make sense.
Because words are a form of ink/paint/art
And you can also paint with them.
And ultimately this is the end point of my thesis
Arcane isn't a plot structure
Its a fine art painting
LOTR is one author doing a tetris composition, optimising things by making them icons.
ARCANE is several DESIGNERS doing a radial composition, optimising things by the rule of thirds.
Furple
I think a big thing that adds to the "Efficiency" of filling the cup and the micro level stories.
It's the WAY the company went about making it.
Every single interview I've seen from them is about how they didn't feel the need to conform to an industry standard/followed their own flow. They went about alot of their plans like it was a big music video, like everything else they'd already done for Riot.
They had a violinist on board to properly mesh the music with the scenes. They spent time with the musical artists and their plans to flesh out the most effective use OF that music.
It works so well because to them every single moment, animation, sound
Mattered.
They had a department go back through and hand animated every frame of 2d effects instead of making a filter in the 3d systems for it to "look" 2d
I'm just hopeful they can maintain this level of care and dedication instead of being pressured into producing more faster for the money grab
Ray_Streams
There’s even a little bit of name symbolism when it comes to Zaun v Piltover characters. You have names like Jayce, Mel, Caitlyn, all common and almost dignified in some way, reflecting the values of topside. Then you have Mylo, Claggor, Vander, Powder/Jinx, Sevika, Silco, Vi, Ekko, all names that are very uncommon and almost feel tough or “unnatural” in a way. It reflects not only Zauns values but what Topside views Zaun as, a tough, strange, unnatural world. Not to mention how in the undercity everyone is so drastically different from each other, unlike piltover where everyone feels somewhat similar in manner and style
There are a odd ones out though, Viktor, Vi and Heimerdinger. First off, Viktor, while being a common name, isn’t spelled in a very common way. It’s so close to being like everyone else but there’s something so slightly off about it that makes it different, just Like Viktor himself. Theres something small about him different from everyone around him no matter what, which could be his disability or where he’s from. Vi is interesting cause her nickname fits with Zaun, but her real name doesn’t. Violet isn’t a name you would really find in Zaun, which presumably is why everyone calls her Vi, but in her inevitable arc she will become more like ‘violet,’ a character more based around Piltover yet still keeping Zaun a small part of her.
Heimerdinger is strange because he doesn’t really fit in either category. His name doesn’t fit into the established and wealthy Piltover, but it certainly has no place in the slums of Zaun. When you think about it, this reflects his character very well. Heimerdinger doesn’t quite fit in as a politician, we see him listening to music, lost in oblivion while everyone else is making business deals. He never actually does much in terms of being a scientist, politician, hell even mentor. What he does is minuscule and usually ignored, leaving him outcasted. It’s the same when he’s sent to Zaun. It’s a world he doesn’t know or understand, he doesn’t belong there since he’s so used to the prestigious life he used to have. His name reflects all that and how he doesn’t really fit anywhere in this conflict.
Jinx is a different version of this, in a way that she is always a zaunite, but the moment she buries her weakness she changes from such a weak character, or substance like Powder, and turns into a force, a Jinx.
This all could jsut be me really hyperanalyzing but I think it’s a fun little detail that comes into world building and characters.
Dim Warlock
Parallel and overlap are techniques that I've been working on recently without even noticing, Arcane might have been a big factor in this, but for me it all changed when I heard the quote "history doesn't repeat, but it rhymes" and combined it with "every story has already been told". When these two concepts combined in my head, my brain exploded...
what if I just tell ONE story?
what if I tell it again with another character?
what if I tell it again in another setting?
what if I tell it with another economical system?
what if I tell it with gods and magic?
But... BUT it's never about the "what if", soon I learned that the "what if" becomes disrespectful to the characters, they have their story and you, as an almighty god change everything just because you're curious of a different ending doesn't make justice to a story (unless the story is exactly about that concept). Changes are about how diverse people is and how different forces shape societies and relationships... not about how cooler would have been if my superhero was a villain or how would it look if my gangster held a magic wand instead of a gun. Changes matter on a deep story.
Naomi D
First of all, I just wanted to thank you so much for your content. I don't typically say this in a seriously direct manor but it's really inspiring and I feel like I've found an art, content, thought process, and the likes that really mean a lot to me. Your advice at the end was so good. It wasn't another revolutionary discussion like the rest of the video, but plain and simple: just do something. And I've struggled a lot with my mental health recently, so even something so simple seams daunting, but put into that perspective of doing it to find joy in life...that's all I needed. <3
~
COLOR THEORY:
okay yah I'm a little late to this video (I blame YouTube for putting Schnee at the bottom of my subscriber uploads list, how dare they.)
I have not done actual analysis in a long time. I usually just think on it, but here goes:
There's a lot to be said about the actual artistic application of color in each given scene, but since I'll get overwhelmed trying to break down colors in specific scenes, lets thing more broadly: color is a powerful tool in eliciting subconscious emotion. When we talk about color scenes, pallets, compliments, contrast, etc., there's a reason they scientifically "work together".
Color illicit emotion:
it's a generally straightforward concept, but the interesting part is all subconscious. No one is actively thinking: "Oh, the eye town crashing down on Silco is purple, I bright, neon symbolism of power toppling. No, the viewer is focused on t*he big sign falling down and Silco beating up some people out of frustration.* That doesn't mean the emotional impact isn't there.
Like everything about Arcane, it's about the *layers*. We have the scene's content, the lighting, THE MUSIC, & and the color typing it all in.
My favorite example of character coloration: Vi is associated with pink. At first it seems strange, since it's usually a funky and youthful color. But it also represents femininity and motherhood (although they are sisters, Vi did, in a way, have the protective role of a mother for Powder. She raised her in the ways that Vander didn't seem to-at least from what we are shown). Pink is also a shade of red, which is seems much more in character for Vi: powerful, passionate, violent, expressive. But Vi is a complicated character so let's think of it this way: pink is red with nuance, because all of Arcane is so beautifully nuanced.
Thanks so much if you read that. <3
C Vincent
Analysis of Schnee's placement of Mini Jinx:
Presented her in the beginning during a long shot to make viewers familiar with her so she could be used in more shots later on without confusion. This shot was also facing a window, reinforcing the idea that Schnee would be covering lots of topics (the outside world has a lot to view from a window and in general) but at that moment, the video was only beginning and no topics had been explained yet, so viewers were shown Jinx inside a building.
Mini Jinx is shown on a rock, a much larger shot of a bay, city buildings, and a dock behind her. This lead into Schnee's point that business in a story is detrimental, so everything must be balanced. The scene with the plush is an example of business being overwhelming, as there are too many details in the scenery for viewers to focus on a part in the whole.
Jinx is found among stuffed animals with similar builds but different patterns and colors. This supported the point that remembering ten different scenes is as troublesome as recalling all the specific toys on that shelf. However, it's easy on the mind to recall generalities that link them together, such as "there were unicorns and wolves," in a similar way as drawing links between certain scenes.
Here's my favorite: Baby Jinx has been stuffed between boxes of cereal, but the focus is obviously on the overwhelming number of brands and types of cereal. Buying cereal is supporting one brand or another, and a lot of customers will care where their money is going. The points Schnee makes are decision-making based on morality and technology; a buyer has to weigh the same things in their mind. Is it worth it to buy this cereal even if I don't like the parent company's tactics? Is one choice more advanced, tastier, or better presented than the others? These are both questions that consumers ask themselves and each other in the same way Arcane's characters make their decisions (albeit on different scales hahah).
Jinxer in the turkey! The two rows of items displayed are fish sticks and packaged turkeys. Two very distinct products with different appeals and audiences. This shot coincides with Schnee's reference to 'identity' within Arcane. Regardless of moral or technological factors, there's a clear divide between fish sticks and turkey, meaning they have entirely different identities and marketability.
Plush Jinx is wearing a crown: it's the same size and has the same function of a 'normal' crown, just like the story of Arcane as a whole. However, the gems on it represent the arcs, in that they are different colors/storylines and still fulfill their spots on the crown properly and without distraction.
Ring Pops! Jinx on a horse! Lots of items in the background! That's a lot in a short scene! You could almost say that it's 500% as much as any of the other shots in the video.
Pull-ups carry a "weight" without leakage (ideally). Arcane maintains the weights of emotion, technology, family, etc. without any of them falling through. Pull-Ups also represent these ideas because they are a technology, they are employed by families for their kids, and they are products subject to the same scrutiny as mentioned earlier with cereal brands.
Elmo pinatas: they have two functions! Provide happiness through a recognizable character and to be demolished as a party favor. The first makes people care about the product, therefore making them willing to buy it. The second is practical and displays the product's identity.
Each of the leis is colorful and distinct, providing--as Schnee wrote--"more pathways to identity."
Schnee explains the Tidy Cat shot, evidencing that these irl scenes were filmed with intent.
The harvest wreaths are call-backs to Thanksgiving with directly displaying that. It doesn't have to because it is a recognizable facet of a tale woven into our culture.
Bleach is used when blots or stains appear on clothing, and the user wants them gone. It shows us where those stains are and other ones we may have been missing, similar to Schnee's argument about how questions are generated in Arcane.
Baby Jinx is on a train to remind viewers of the infinite nature of a train line--always moving, always utilized--to draw a parallel to Arcane's seemingly endless depth and natural formation of speculation.
Person twirking got Jinx questioning everything. 'Nuff said.
Schnee explains Baby J overlooking the skyline.
What better way to show how a world is built than to show an onlooker's perspective of a city from the shore? Jinx watches the buildings drift farther away as Schnee talks about world-building.
Birthdays! Arcane's, this channel's, and this entire fanbase! Getting a shot of the Statue of Liberty is smart because it was the ultimate birthday present to the U.S. and is a constant reminder of our country's age.
The long, fluid scene of the boat ride allows viewers to focus on what is changing: Schnee's voice and story.
Jinx is next to Lady Liberty plushies to remind us how marketing works in conjunction with Schnee's explanation of how he's going to employ his channel going forward--and shows how his content will be unique and personal!
Jinx walking down a city block functions the same as the long shot of the boat, but with comedic flair due to it being sped up.
Baby Jinx is getting some pizza to wind down after a long modeling shoot.
Schnee, you prompted me to write an essay on your video essay! 😂 Thank you for all your hard work, passion, brain cells, and shared experiences the past year! Keep doing what you enjoy and take care!
schnee
This was hilarious, well done lol. I know it's tongue and cheek, but... I def put an unnecessarily large amount of thought into ordering those clips 😂
C Vincent
@schnee Don't worry, your work didn't go unnoticed! There was very clearly a thought process behind those shots, which was what got me thinking in the first place!
liyaqua
This made me cackle so much, I LOVE IT
C Vincent
@liyaqua Thank you, I'm glad you enjoyed it! It was lots of fun to analyze Schnee's video and write about this!
Multi
@schnee Is this other schnee actually you or a scammer?
WaZzA
The double take on Jayce at 13:51 was perfect
Akeera
ikr i actually laughed out loud
A Livingston
"Geniuses with genius problems...Idiots with idiot problems." I busted out laughing at this as well.
DarkErrant
I'm still laughig at that one hahahahahahaha