Life's alright in Devil Town – We see Klause sitting at a desk in their bedroom, drawing with crayons in their room. The camera slowly zooms in at they’re colouring.

Yeah, right, no one's gonna catch us now – We see them from over the shoulder, and see what they’re drawing. They draw a picture of them and Uko, generic child drawing kind of thing.

Daddy's bought a new car now – We see a close up of their head, and behind them is the door. Through the door we see the parents fighting. Klause looks unphased.

We're fine, no one's gonna catch us now (okay) – Klause finishes the drawing, and we see they’ve drawn the parents dead next to them and Uko happy.

--MUSIC— We zoom in on the parents behind the door, and see them fighting angrily. Uko is there, trying to avoid the action. He ducks out of the way of fists and lashing arms and tails, trying to get to the bedroom door. We see the father hit their mother, and she's sent flying. Uko comes into the bedroom looking scared, and drags Klause behind their bunk bed. They huddle together as the fighing continues. 

You said something dumb again – We skip to the dinner table that day. Uko looks very upset, hunkering down into their coat.

She's mad, at least that's what they say – The mother slams a plate of food on the table for him angrily, and Uko looks up at her woefully; she leaves without saying anything.

Mum and daddy aren't in love – We see the father sitting in front of the TV, bottle in hand. The mother walks past him

That's fine, I'll settle for two birthdays – He growls, hunkering. The mother walks out of the front door, and he throws a bottle after her. It shatters, freezing and glitching, before reversing and fusing back together.

Devil Town is colder in the summertime – The scene pans around Klause, as everything but them and Uko move backwards in time. We see how they have seemingly been sat quietly at the table for an eternity.

I'll lose my mind at least another thousand times – We see the parents fighting over and over again, Klause and Uko seem numb to their rows.

Hold my hand tight, we'll make it another night – Uko and Klause exchange a look, and Uko smiles comfortingly. Klause smiles back.

I still get a little scared of something new – We cut to their bedroom, Klause drawing with crayons at their small desk, and Uko stood looking out of the window

But I feel a little safer when I'm with you – Uko takes a piece of paper and starts folding it.

Falling doesn't feel so bad when I know you've fallen this way too – He makes a paper airplane, and brings Klause to the window. He throws it out, and they both watch gleefully as it flies down to the ground. We follow it down, the frame ending up near the front door.

We're all dead in Devil Town – This transitions to a shot of the front door. The police are there, arresting the father.

That's fine 'cause nothing's gonna scare us now – He gets pushed into the back of the police car, growling and grimacing.

We're all in our dressing gowns – We see Uko and Klause, holding hands, gazing off at the car. The mother is standing next to them, on Uko’s side.

Mine's white and stripy, yours is green and brown – She slowly puts a hand on Uko’s shoulder, and he quivers. Klause looks up, concerned.

I forgot my name again – We cut to Klause, in bed, staring up above blankly.

I think that's something worth remembering – A single tear runs down their face and they blink.

Spiders in your favourite shoes – We cut to two pairs of shoes next to the doorway; through the blurred background we see weeks go by, and occasionally see the two siblings being berated and abused by their mother. The shoes collect dust and cobwebs.

Just leave them be 'cause they're more scared of you – We see Uko bent down in front of the shoes, gazing at a little spider on a web. He picks it up gently, before squishing it in his palm and stalking off.

Devil Town is colder in the summertime – We cut to Klause entering their shared room, with Uko lying on the top bunk, faced away from them. Klause looks questioningly towards him.

I'll lose my mind at least another thousand times – We cut to see Uko’s face, as he is crying uncontrollably. He sinks into his hood.

Hold my hand tight, we'll make it another night – Klause holds out a hand for their brother, and he pauses before turning at staring Klause down intensely.

I still get a little scared of something new – Klause sits on their bed, staring at the door

But I feel a little safer when I'm with you – They look up at the top bunk; we pan up to see Uko sitting, hugging his legs, looking sad and angry.

Falling doesn't feel so bad when I know you've fallen this way too – Uko swings his legs off the side of the bed, and drops to the floor. Klause looks briefly hopeful, which turns to sadness and fear and they walk towards the door. Uko leaves the room, and we see the shadowed figure of their mother yell something at him, before he slams the door closed.

--MUSIC— Klause looks afraid, and runs to the window. We see Uko walking outside, into the night. They glance back up at the window before leaving. Klause looks hopeless, but goes back to bed. The guitar solo starts as Klause closes their eyes. We then get a surrealist dream sequence, where Klause is running away from their parents, towards the silhouetted figure of Uko. As they reach Uko with a dive, all they find is a paper airplane, which disintegrates into dust and flies away. In the final shot, we see that Klause, knelt down facing away from us, is surrounded by hundreds of dead spiders, and the parents pounce on him in a wolf-like fashion.

Devil Town is colder in the summertime – Klause wakes up with a jolt, crying, their quick breaths slowing.

I'll lose my mind at least another thousand times – The door bursts open as their mother comes in. Klause looks terrified, and we zoom into their eye.

Hold my hand tight, we'll make it another night – We transition to them being dragged outside by their mother by the ear, and are thrown onto the driveway. The door slams closed, and Klause claws at the doorway, tears pouring down their face.

I still get a little scared of something new – We cut to Klause leaned up against the front door, defeated, waiting for Uko to come back. The night is peaceful, but dark.

But I feel a little safer when I'm with you – We pan out, and then suddenly the night is filled with eyes, all staring at Klause. They suddenly look afraid, and stand up to run.

Falling doesn't feel so bad when I know you've fallen this way too – They run out into the forest, before they run into Uko, who embraces them.

It starts out with giving us some information on Klause; by showing them drawing with crayons, it is an obvious display of their youth and innocence. They, at first, seem to be drawing a wholesome picture of them and Uko; however, by showing that the drawing includes their dead parents, it shows not only their distain for their abusers but also how they are simplifying the situation. The music video is all meant to be from Klause's perspective, hence the characters being dehumanised in their design (i.e., being turned into animals). Because of this, I imagine that, while of course this family is not actually made up of sentient animals, this drawing would be something that the imaginative Klause might do if they were real.

We then get a very clear example of the parents fighting, showing their toxic relationship. We can see Uko trying to avoid this physically dangerous situation, and he runs into the room to get him and Klause to safety. This is a clear display of Uko's desire to protect his brother and how the siblings have formed a bond to protect themselves against their abusers; at this point in the music video, they seem to have a very close relationship.

The scene then changes to being in the family's dining room, where the characters are seated at the dinner table. I have taken the lines of this verse very literally to mean that Uko has somehow made his mother angry, and neither sibling knows why. Uko seems distressed by this, and this is supposed to be an allegory for the fact that children with volatile parents are often not made aware of why this parent is angry at them (or perhaps the reason for their anger is unjustified and insignificant, and they are simply taking their general anger out on their children). We see Uko looking upset by their mother's passive-aggressive rage, and it is clearly not a very communicative relationship. We then, in the same verse, see the father on the couch, drinking, implying that there's some form of substance abuse in this household, which is also very common in abusive households. He then throws a bottle after the mother, which implies physical abuse. This verse sets up the household dynamic: the children are generally helpless, with a close bond; the mother is emotionally abusive; and the father is physically abusive and dealing with substance abuse.

The chorus is meant to be more stylized and less narrative-based. The camera pans around Klause as the parents fight in the background and time goes backwards; this is meant to show how Klause feels like they're going insane and that everything is overwhelming and exaggerated. Despite all of this, Klause and Uko support each other and attempt to lighten the mood through their companionship. We see Uko making a paper aeroplane to entertain Klause, which shows how Uko is protecting Klause's innocence and trying to give them light in their lives.

This then transitions into the second verse, where we see the abusive father getting arrested. Klause looks at Uko, and the mother puts her hand on his shoulder. Uko is afraid. This is meant to represent a few things: first, and most importantly, this is meant to represent how, in a lot of abusive households, the physically abusive parent gets arrested or in some way removed from the household, and then the children are left with the emotionally abusive parent. A lot of the time, when two feuding parents are together in a household, the emotionally abusive parent takes the majority of their anger and abuse out on the other parent; if they are taken away, there is no barrier to stop this parent from taking their anger out on their children. The other thing this is meant to show is how Uko is taking the brunt of the abuse. Partially just from being the older sibling and partially from trying to protect Klause, he is being put through the worst of it; this is implied by the lyrics "We're all in our dressing gowns; mine's white and stripy, yours is green and brown". As I discussed in my lyrical analysis, this is meant to be representative of a prisoner and a soldier, which shows that Uko is in some way defending Klause. This heightened abuse of Uko specifically justifies his emotional breakdown and transformation later on in the narrative.

The scene then changes to Klause's bed and shows them crying and staring blankly upwards. This is a significant moment for several reasons. First is the obvious: it shows how Klause's mental state is deteriorating. There is a lot of research to back up the fact that young children are emotionally incapable of understanding when they are being abused and often still love and feel attached to their abusive parents. This could explain this moment, as Klause could very possibly be missing their father or perhaps have noticed the difference in their mother and brother. This could also be a reaction to a break in normalcy, as abused children often depend on familiarity to cope with their traumatic situation. This moment is also a very important moment in the music video as a whole; up until this point, the music video has been very fast-paced and packed with story and important moments. This moment, however, lasts for a very long time and is meant to be the only quiet moment in the entire music video. This is to represent Klause's isolation and the feeling of being broken and alone.

The part of the song where we see "spiders in your favourite shoes" is also quite important. As the shoes slowly collect dust, we will be able to see scenes of distress in the background, showing signs of ongoing abuse. We see Uko bend down and pick up this little spider, seemingly tenderly; however, he squishes it in his hand and then discards it onto the floor. This is an important moment, as it shows Uko's degrading mental state and what that entails. I would like to imply that Uko is developing some kind of antisocial disorder, as symptoms of this in children are both animal abuse and re-enacting abusive situations that they have witnessed in their abusers. One of the main causes of antisocial disorders is abuse in early childhood, and while this is not always how an abused child ends up, it is a common result.

Then the scene changes again, and we see Uko having a breakdown in his bed. Klause attempts to comfort him, but is met with rejection. I would like to make a comment about the song here: the main guitar is cut out during the first few lines of this chorus, making the song sound calmer, and then shreds on the words "another night" in the third line of the chorus, followed by the song's regular intensity. This is meant to show how the abuse is having its toll on Uko and thus on the siblings' relationship with each other. The song's lyrics imply that Klause feels safer when around Uko, and it seems like this is the case even when Uko is unresponsive and mean to his sibling. This ends, however, when Uko gets out of bed and leaves the house, seemingly on his last straw.

This is where the guitar solo hits, as Klause looks desperately after Uko as he leaves. Without any other options, Klause goes to sleep. This part is going to be a little tricky to animate, and I hope to use a 3D animated rigged character as a reference for this section. However, I also hope to have the character do a smooth running animation, potentially with some interesting panning and zoom effects. This is accompanied by, of course, a still of Uko in the distance and the two abusers chasing after Klause. The parents are going to be a lot more animalistic and might just be actual wolves rather than humanoids (this might make it easier to find pre-made rigs). This dream sequence is meant to represent Klause's fear of his parents and how much they depend on Uko for safety and hope. The paper aeroplane, an obvious reference to earlier in the music video when the siblings were closer, disintegrates to represent how that side of Uko is gone. We then see Klause surrounded by dead spiders, which is meant to represent how Klause could follow down the same path as Uko if not careful. Then the parents pounce, and the sequence ends.

The song, after the guitar solo, slows and calms down, and Klause calms down after their dream. Then, on the word "mind" in the second line, the guitar shreds again and the song speeds up as the mother bursts into the room and pounces on Klause, similar to the dream sequence. Klause looks terrified, and it zooms into their eye; this transitions to being outside, where the mother is dragging Klause out the door. She throws them onto the lawn and locks them out. There could be a multitude of reasons for this: she's angry about Uko leaving and is taking it out on Klause, or perhaps for another, unknown reason. It isn't really important; we've already established that the mother is volatile and emotionally abusive, so it's in character for her to do this.

The song then calms again, and we see Klause sitting against the door, defeated, staring up into the night. They seem to find peace for a moment, perhaps thinking about Uko to find comfort, before the guitar shreds again on the word "safer". White eyes show in the darkness, looking at Klause, and they become afraid and run away into the forest. This is meant to represent the fact that Uko is not there to comfort them, and with it, all their hope and fearlessness vanish. The eyes could represent paranoia or just a general childhood fear of darkness. They run into the forest as the beat picks up, frantic to get away from their fears, and eventually run into Uko. They embrace as the song ends. I thought this was appropriate since the song ends on a C major chord, which (being a major chord) sounds very happy and uplifting. I was intending to end the song a bit more sadly, but I prefer it this way. Giving Klause and Uko a hopeful ending might help other people who have been in this situation have hope that things can get better.

Finally, as the song fades out, I am planning on showing a still of Klause's soft animal toy, which they are seen carrying around throughout the music video, as a symbol of how they are growing up.