The show’s animation and storytelling deserve to be remembered
BY JULIE HUANG – arts@theaggie.org
The final episodes of “Arcane: League of Legends” came out a little more than a month ago, but no matter how much time passes, it deserves to remain in public memory as a masterful example of animated storytelling.
Although “Arcane” functions as an adaptation of the backstories of certain characters from Riot Games’ online multiplayer video game “League of Legends,” the show can be watched without any prior knowledge of the game that it is based on, managing to stand as a cohesive piece through the strength of the worldbuilding and characterization present within the confines of its own runtime.
“Arcane” is nearly unanimously regarded as an excellent show for the beauty of its visuals alone, and this beauty is put to good use. The animators expertly wield the qualities of their medium to serve other aspects of the show, harnessing the art and animation to advance the plot, develop the characters and enhance the emotional core of the story when necessary. Background art such as that of pristine city of Piltover’s shining white buildings or underground Zaun’s gloomy, dim streets are rendered in ways that convey the living conditions of both locations, hinting at how residents of both might feel on a daily basis without having to shoehorn that information in through heavy-handed dialogue.
As a viewing experience, “Arcane” is comfortable at baseline but incredibly emotional when it needs to be. The medium of animation shines best when used to portray concepts that might not visually translate as effectively in reality, and “Arcane” takes full advantage of its status as an art form. Fight scenes are infused with vibrant color, fluid animation and unique camera angles for maximum thrill and spectacle, while emotional moments, such as scenes featuring a character in mental turmoil, can be artistically represented through stylized depictions of pain, paranoia, chaos and other emotions.
The sizable cast of characters are each animated in a specific manner, subtly differentiated from each other not just through thoughtful character design but also careful emphasis on different aspects of their body language. By focusing on the expressiveness of Caitlyn’s Kiramman’s eyes, Vi’s consistent usage of her hands as a mode of defense or Jayce’s tendency to initiate physical touch as a sign of affection, the animation in “Arcane” successfully replicates how people carry themselves in distinct ways that demonstrate their unique preferences, associations and habits. This subtle reinforcement of each character as an individual entity then adds to the scale and scope of the show, making a compelling case for why the audience should feel invested without having to say a word.
Apart from the supporting strength of its visuals and animation, “Arcane” presents characters and dynamics that are compelling in their own right. Caitlyn and Vi stand out as a trailblazing example of a sexually explicit onscreen romance between two women, not merely for being positive representation but for being effortless representation. The depiction of their relationship avoids the classic queer arc of struggling against heteronormative societal values, a disapproving family, community or internalized homophobia. Although the pair do struggle and face societal pressures that impede their relationship, the fact that both Caitlyn and Vi are women is never itself the obstacle that must be overcome, allowing “Arcane” to explore a portrayal of a same-sex couple that is rooted in something other than the well-trod trope of needing to persevere through homophobia.
Essentially, by diverging from expectations that the nature of their relationship is something to comment on, the show is able to characterize the two women by more than their participation in a same-sex relationship. “Arcane” instead explores Caitlyn and Vi through other facets of their identities, such as how their dynamic is continually impacted by matters of class difference and complex family loyalties, successfully granting both their characters an organic level of depth and sense of attraction.
Some have criticized the inconsistent pacing between the first and second season, and this could be attributed to the differing scale of the timeline in each. The first season appears to cover around the span of a week to a month, while the second season takes place within a much larger time frame. Furthermore, the character arcs become more ambitious in season two, diverging from each other and covering a larger range of concepts. The show is forced to devote time to each character separately, as opposed to the more tightly knit, entangled dynamics of the first season.
Perhaps some concepts and character arcs in season two could have benefited from the added time that a third season would provide. Yet, ultimately, the difference in pacing between these two seasons proves to be a subtle reminder that art does not exist in a vacuum.
Artists must constantly consider the limits of the resources at their disposal, whether those limits involve finances, time or the sheer amount of effort required to consistently produce art of high quality.
As showrunners confirmed that more shows set in the “League of Legends” world are in development, it only makes sense that “Arcane” had to be wrapped up quickly to make room for new projects. Although the show itself has ended, it will doubtlessly be remembered as a shining example of storytelling through animation for years to come.
Written by: Julie Huang — arts@theaggie.org