#and also Monty Oum

[daniellefen]

I haven't seen it yet, but like, these tweets were part of the impetus for me deciding to teach myself to do animate.

I'm completely normal about this movie...

Anyway won't it be cool if all media was treated with this much love and care

[bizarrocloudy]

Ok, I just watched ALL* of Red vs Blue. Here is my rating for each season.

Note: This is mostly a vibes-based rating system, because I didn't think to rate them as I watched them-- so having all of this information shoved into my brain over the course of 3 weeks has maybe damaged me a little bit. And I maybe can't remember exactly why I am rating these things the way I am. And I am maybe even forgetting some stuff. I am an elderly person now so legally you have to either a) feel sorry for my cognitive decline, or b) respect my opinions due to my worldliness and wisdom.

Season 1, 2, 3, 4, 5: A

Season 6, 7, 8: B

Season 9, 10: D

Season 11: C

Season 12: A

Season 13: B

Season 14: C (Since it's such a mixed bag because it's an anthology. We're averaging here. There were some really cute ones! And also some boring as hell ones.)

Season 15: B

Season 16: D

Season 17: F+

Season 18: N/A -- Watched like 2 episodes and I hated it so I just skipped this season

Restoration: C

Notes: I watched The Blood Gulch Chronicles countless times, and I loved them. I first saw a season when my friends showed me in 2004, when I was in high school. Donut with the spider on his head has lived rent free in my brain ever since.

I remember catching up in college and watching some of Seasons 6 & 7 maybe? And that is where I stopped. So the majority of this was a first-time watch!

Some of the humor is so good, and some of the humor is just edgy as fuck. Peak gen-x male gamer in early 2000's type shit.

It was interesting to watch the use of misogyny and the R-word as comedic devices taper off throughout the course of the 20-year time period it spans. Honestly watching these was like a cultural research project.

Overall I had a pretty good time. Like I said, a lot of the writing is very well done for what it is, and really funny.

The ending for Church and Tex was pretty sweet. The ending for Grif and Simmons, not so much. Would've been ok if they'd sounded a little bit sadder about leaving each other!!!

Another shameful note: I recently found a grimmons fanfic buried deep within my computer's most secret file folder structures. I think I wrote it about 14 years ago. I read it and it was so embarrassing that I considered throwing my PC into Lake Michigan. I guess I can say I've been a grimmons shipper for about 15 years though!!! 🫡 I'VE SERVED MY TIME

Thank you for reading about this strange compulsion that I had.

[teamjlry]

SNNN + CVFY + NR + BRNZ + FNKI: Pose as a team cause shit just got real

[queer-ragnelle]

hbomberguy’s rwby video has me feeling very good about my own writing after a few weeks of feeling…meh. at least i’m comprehending why i like my inspirations & don’t just copy paste the visuals without knowing what any of it means. at least i know not to have two characters from the same family explaining their shared culture to each other for the benefit of the audience. hello??

[mbat]

wait so why are so many people obsessed with shit-talking rwby, at least that ive seen around

like its not the best show ever but its still a good show? it didnt kick your dog, man

[sternenhimmel-mond]

Forgot to make this post when I saw the episode the other day and I was thinking about it again but.

I still can't believe the buffalord episode isn't the episode they get together. "I can't imagine a world without you in it" like goddamn. I remember when I was first watching it, I was so sure they'd get together at the end, especially when Astrid repeated the sentiment after they burned that ship. And I was so confused when it wasn't the episode it happened it. And again, I still couldn't believe it.

But we do get more of their friendship after this so it's fine. We do need platonic relationships shown in media where the people in them feel that way without it becoming romantic.

[silver-stargarden]

yesterday was the first time since monty's passing I forgot to post something on the anniversary 😥 usually I'll reblog/retweet something talking about him but I haven't seen anything to reblog. I don't follow a lot of rwby or rt blogs anymore and I'm conflicted about it all right now

and I usually look back on my own creative endeavors and assess whether or not I've made any decent progress in the past year, since more than anything else he's been the one to inspire me to "just do it" because the best time to start is yesterday and you'll never know when it'll be to late. and usually the answer is that I haven't done enough or I haven't done anything. and then I'll make a vague post as if I'm talking to him like "not going great, still trying" or "I'll do better next year"

but this year I did a loooot of world building and won nanowrimo and as messy as it all is its more than I've done in a long time and I feel like my approach to it all has changed so much and I finally "get it" when it comes to creativity

so here's what I have to say to him this year:

it's finally looking up

❤🤍🖤💛

[sir-adamus]

i've got the blu ray for volume 1 playing and i'm watching the behind the scenes video and Monty explicitly spells out how important collaboration with other creatives was in building RWBY, saying how he wanted to work with Kerry and Miles on it in creating the world and how he mostly gave them broad strokes. and it's mentioned how they all put the show bible together - i'm gonna put the whole transcript for the video under the cut (which i'm having to do myself because no one has uploaded this video anywhere as far as i can tell and there's no fucking subtitles)

Monty Oum [Creator and Director]: It’s the stories I’ve always wanted to tell versus the idea I came up with about, a little over a year ago. And we were talking about doing another show, and I just kind of half-asleep came up with the idea of a color rule for a bunch of characters. The red, white, black and yellow color scheme was something that was very prominent even in my previous work, so I started matching names up, matching ideas up. Also thinking about like, some of the ideas I’d stored up over the years. At some point or another the word ‘RWBY’ came to me.

Monty: Starting the show out originally, I designed the original character, Ruby, as well as going into the other characters. So once I had the first trailer done, and thinking about the rest of the characters for the show, I started bringing in other artists who I had watched for years. People I’d always said “someday I’ll work with them, someday I’ll have them design for me.” And when I was certain about having certain characters, I first contacted an artist I admired and found over DeviantArt. Her name was Ein Lee, she’s actually from Taiwan, and I found her art probably well over five years ago, and just loved her art style, and therefore wanted to incorporate it into my characters. So, I would do rough designs for team RWBY as well as designs for team JNPR, and she would flesh that out to be even further. To the point where eventually I didn’t need to design characters anymore, she started designing a bunch of the rest of the characters down the line.

Monty: The second person I brought on to RWBY was Kerry, because we had just been having conversations about the kind of show we could make. I’d been working with Miles on Season 10. He was writing scenes while I was making scenes, and so the three of us would have a lot of meetings and collaborate on the show to the point where I just started coming up with the broad strokes eventually and they had pretty much written the bulk of the show. Collaboration’s a big deal here, and I tried to include as many people as I can.

Kerry Shawcross [Co-writer]: Right after RvB ended, we wanted to just go straight into RWBY, but that was like right when we were going into commercial season. So we would work our normal hours here. Like 10 to 7-ish, then we would go back to one of our apartments and just start writing.

Miles Luna [Co-writer]: Monty really was enthusiastic about having these characters that may appear really one-dimensional for like the first few scenes that you see them, but the longer you get to know them, you realise “Oh, Yang isn’t just a dumb blonde party girl. She’s a very caring and nurturing girl, that has had to essentially be there for Ruby when she was young.”

Kathleen Zuelch [Producer]: When Monty and Miles and Kerry came to me, and really took me through the story. I started becoming a huge believer, because I’m a big fan of old school, traditional fairy tales, I love the Brothers Grimm, I love all the Snow White, and I love Little Red Riding Hood. I grew up with all of those stories, and the way that they were very clever in creating this whole world that’s kind of making homage to all of these amazing stories really inspired me to get more on board with what they wanted to do with this whole anime show.

Taylor McNee (née Pelto) [Art Director]: The world of RWBY, it looks very familiar. We wanted a blend of very classic looking architecture and clothing and cars, but we’re also mixing in this really kind of futuristic feel, like these little touches of some really futuristic stuff like holograms and things that you wouldn’t find in a classic [inaudible]. And that’s how we’re making this world unique. Our assets have to go through this pipeline of concept, modelling, texturing, and then finally being able to be put into the 3D program. So we start out with the concept and we usually bring that image into Maya, which is the main 3D software that we use. We have to make a 3D model that looks exactly like the concept that we were given, and it’s quite a process. Basically, we’re pushing polys and extruding stuff until we make the perfect shape, then afterwards we have to UV unwrap it, and then lay everything out on a texture sheet and then paint it, and that will put the image on the model. After that we’re basically done with the model and texture, and then we have to give it to the animators. So then we will set it up in Poser so the animators can grab it and use it for their characters.

Gray Haddock [Lead Editor]: There’s a lot of people working on this show, and there’s a lot of different elements in the pipeline. Editorial kinda serves as a hub between all the different departments, so we help all the communication and coordination between all the different pieces of the show, depending on what part of development that they’re in. Editorial’s getting involved way early in the process, we work alongside the director and the writers and the storyboard artists, and we use the scripts to help develop the storyboards and the camera angles for all those boards. So editorial is responsible for building up the moments of any given scene in terms of the timing and what you wanna look at, at any given moment. So we take the script and we help develop the camera angles and how long you wanna linger in a particular camera angle, look at one character or another or the scene as a whole, and the rhythm of the scene in terms of how long is it gonna take to spend on a particular line or when you want the music to come in, things like that. So we build up a set of animatics with the storyboards, and the first pass of all the audio. This is what then is handed off to the animators, so they can know exactly what is in what shot and how long do they have to animate it in a given shot. And once they’re done animating and their shot’s been approved, then their shot goes to the render farm, we get the rendered shot back and we drop it into the timeline for our episode and finesse the cut a little bit if we have to. But for the most part, we’ve done our job right and everything should pretty much be locked in for the most part by the time we’re getting animation.

Kerry: What’s kinda interesting as we’re creating the characters is, we kinda knew what kind of character they’d be. We knew Ruby would act a certain way, we knew Weiss would act a certain way, but we didn’t really know much about them. So we would get to the point where we’d be figuring out plotlines or figuring out dialogue and we’d be like “What would Weiss say here? What would Nora say here?” And then it turned into “Oh well now we know.”

Miles: Obviously we put a lot of thought into Ruby, Weiss, Blake and Yang before we started writing the dialogue. I remember sitting upstairs and we made a show bible, and we’re starting- we talked about likes, dislikes, personality traits. One of the first things I remember making was “Weiss drinks coffee. Blake drinks tea.”

Kerry: It’s important. It sounds not important at all, but it’s very important. It says so much about them

Miles: But it’s so important. So much about them, also it says nothing about them. It was just like- that’s just what it is.

Monty: I want the show to have resonance with people who are growing up. Cos everyone’s story is the story of kind of becoming who they are. Especially these days when the path of becoming who you are tends to be marginalised with reality. Having done what I’ve done, where I’ve essentially dropped out of high school, started learning this stuff on my own, and therefore land in a position where I get to take the things I was dreaming about when I was growing up and make it real. I tend to get a lot of response from people who are also not sure what they’re meant to become, a lot of them also have the same bright imaginations and with the way the world is, the hardships of what it means to grow up tends to marginalise who you are, and I would hate that to happen to anyone because the future is in creativity and that’s not something you can just manufacture. I actually would like this show to grow up with the people, so unlike most shows where they tend to be ageless or age very slowly, I’d like our fifteen-year-old fans watching fifteen-year-old Ruby, when they’re twenty-five, to be watching twenty-five-year-old Ruby, and to actually have some resonance with the character. Probably one of my favourite types of feedback is to say “I know this person” or “this person is just like me,” and that’s probably one of the best things about coming up with these characters.

[howlingday]

Qrow: (Disguised as a priest) Okay, let's get this over with...

???: Forgive me, Father, for I have sinned.

Qrow: (Sighs)

???: I... I had relations with my mother-in-law and...

Qrow: I'm... I'm sure it'll be alright. Just say... three hail-mary's.

???: No, Father, you don't understand! My wife is with child, and...

Qrow: What?

???: I... I fear my mother-in-law is also with child... and it is mine!

Qrow: Monty Oum, what the hell is wrong with you?! (Punches through confessional)

???: (Falls unconscious)

Qrow: (Steps out, Looks in other side) Sorry, bud, but you kinda deserved it. (Shuts door)

[fadedneonzzz]

Some very very sad news today, Rooster Teeth has officially closed its doors without warning to many including many people working at RT. It’s rough as now the fate of RWBY is currently in limbo with WB looking to sell the IP off along with the other popular IPs. Now it’s very likely RWBY will be picked up by someone at some point as it’s pretty profitable as a franchise, that’s not what I’m worried about. What worries me is RWBY getting the gen:LOCK treatment in which a new group of writers are tasked with continuing the story with no input from the original writers or creators. The last thing I want is another company trying to reinvent the wheel with RWBY to “revolutionize” or make it “more appealing”/“more profitable”. My hope is that the majority of the original cast is kept, most of CRWBY is retained, and that the only change made is the company attached to it. Ideally, I want a company that will allow them to continue their vision for RWBY with as little interference as possible.

Also, if you’re celebrating this because you think RT deserves it or because you think this will be the death blow to RWBY, kindly fuck off. People legitimately lost their jobs without warning, these animators worked tirelessly to deliver a show loved by many more and entertained people for over 10 years to continue the legacy and memory of Monty Oum. It’s really disgusting to see people take joy in this. Yes, RT was definitely a flawed company, in fact it did plenty of shitty things over the past 5-6 years, but even still I don’t think there’s a single person who deserves to lose their job and potentially livelihood because of it.

Now am I a little too optimistic? Maybe, but that’s just how I am. There’s definitely a chance we’ll never see another volume of RWBY again, but I think it’s better to cross that bridge when we get there instead of fixating on the doom and gloom.

[aspoonofsugar]

Weiss's Design

Here comes an appreciation post of our Snowhite's beautiful design! This is also the third installment of my RWBY design series, after Yang and Blake's analyses. As per usual, it uses ideas shared in other Weiss's metas. Enjoy!

A SPECIAL SNOWFLAKE

Monty Oum's early sketch depicts Weiss as a living snowflake:

This is because Weiss's design plays with the idea of "a special snowflake" in two different ways:

"snowflake" is a derogatory term for a person, who is entitled, oversensitive and easily offended; it also holds some political implications linked to white privilege

snowflakes are famous for having unique structures, so each one is different from the others

Weiss is initially a stubborn and pampered heiress, who feels superior because of her name. Still, she is deep down frail and needs to build her own distinctive identity.

These two sides of our Snowhite are conveyed by the Schnees' semblance:

Glyhps are snowflake-shaped and they represent:

the family privilege, as they are inherited by all the Schnees - they are a magical projection of the family crest

the potential of each Schnee to grow into their own person - they gain more complex and individual designs with time

In short, Weiss is a special snowflake, for better or worse. She can give in to her father's mentality and be defined by her name. Or she can step into the world and discover who she is outside her family:

Winter: It sounds to me like you have two choices in front of you. You can either call Father, beg for his money back, and explain once more why you would want to study at Beacon over Atlas, or you could continue to explore Remnant, discovering more about the world and honestly, more about yourself.

Let's see what Weiss's design says about her choice.

SNOW PRINCESS

Let's consider Weiss's concept art:

And let's compare it to Winter's:

The two sisters appear similar:

their color schemes are the same

they look like royalty

they share glyphs as their semblance

they fight with swords

They are designed this way to show that Weiss looks up to Winter and tries to emulate her. This is clear if one considers Weiss and Winter's allusions: Weiss alludes to Snowhite, while Winter alludes to the Snow Queen. And yet, when one looks at Weiss's concept art, it is easier to see the Snow Queen's inspiration, rather than Snowhite's:

She looks like a snowflake

She is the color of ice and snow

She wears a crown, like a queen

Glyphs resemble the Snow Queen's power to turn snowflakes into animals

It is as if Weiss's true self (Snowhite) is hidden behind a mask (the Snow Queen). This conveys Weiss's insecurity, as she is caught between the weight of the family crest (a snowflake) and her idolisation of Winter (the Snow Queen). She is a Snow Princess, who needs to decide which kind of Queen she'll be. Either an Evil Queen like Jacques or an Ice Queen like Winter.

Still, Weiss is her own person and this comes to the surface in her final design:

The main differences with the first version are:

Her bangs and pony-tail do not part in two sides

She has a scar on her left eye instead than a beauty mark

Her necklace is an apple instead of a tear-drop

She has no tear-drops dangling from her sleeves

The golden circles on her bolero become silver and she gains silver decorations on her boots

Weiss loses her tear-drop motif and her color-scheme gets simplified. This gives her more Snowhite-like details:

The apple on the necklace alludes to the poisoned apple

The scar on the eye alludes to the magical mirror cracking

The final design only has black, white (silver) and red, which are Snowhite's defining colors

Moreover, Weiss's appearence grows more asymmetric. Her hair is not perfectly parted, but worn in a side pony-tail. This symbolizes Weiss's struggle against Jacques's expectations. Similarly, the elegant beauty mark is changed with a scar. This gives Weiss more personality and shows that behind the princess there is a fighter.

In short, Weiss's Vale design shows glimpses of our girl's true self. However, they are hidden by the cold ice covering Weiss's soul. Luckily, the Spring Arc comes and the ice melts.

MELTING ICE

In Mistral, Weiss leaves her white dress behind and wears a blue outfit:

This happens because our snowflake is slowly melting into water (white > blue), so that she can become herself. In order to do so, though, she has to first lose all the superficial things that define her identity:

Jacques: You are no longer the heiress to the Schnee Dust Company.

Weiss sees herself as the SDC heiress, so the story takes away her title.

Vernal: Your sister isn't in Mistral anymore. No one is coming to rescue you.

Weiss sees herself as Winter's little sister, so the story has her separated from Winter.

Thanks to this, Weiss faces herself and discovers who "just Weiss" is:

Vernal: Let's see what the Schnee name really means. Weiss: I'm more than a name.

This transformation is mirrored by Weiss's design. She loses all the superficial references to Snowhite:

she wears no apple anymore

she has no black-white-red color pattern

Still, her fairy tale emerges strongly in her glyphs, as she learns to summon:

Weiss's avatars are Snowhite's characters:

The Boarbatusk is the Hunter, who is famous for killing a boar

The Knight is the Prince, who saves Snowhite from the glass coffin

The Queen Lancer is both the Evil Queen and the New Queen Snowhite becomes at the end

Weiss loses all she has to be reborn anew. Similarly, her design is stripped of all the Snowhite's allusions, only for them to be expressed more clealry and in a deeper way by the evolution of her semblance. Weiss's magical snowflakes aquire unique patterns that refer to her personal story.

This process of refinement climaxes in volume 5. Here, Weiss dies, is resurrected and crowns herself queen by summoning the Queen Lancer. This Grimm represents who Weiss truly is. She is neither the Evil Queen, nor the Snow Queen, but a Royal (a queen), who is also a Knight (a lancer). She is a Queen Knight.

After this metaphorical coronation, Weiss starts showing her interiority outside. This is why she gains back her two missing colors in her journey to Atlas:

she wears a red scarf

she wears black thights

She is back to look like Snowhite (black + white + red)!

Interestingly, both the scarf and the thights are items worn to stay warm. In short, the closer Weiss gets to her Icy Kingdom (Atlas), the more she shows her true warm self (Snowhite).

QUEEN SNOWHITE

Weiss's Atlas design has three layers to it:

it is queen-like

it is Snowhite-like

it has all the colors of the previous outfits

1- Weiss gains a silver tiara with red gems. It is bigger and more refined than the old one because Weiss has grown. She isn't a princess anymore. She is a queen.

2- Weiss wears Snowhite's three colors: a white dress, black gloves and red jewels. interestingly, black and red are not covered by white. The ice is melted and Weiss's different shades are now out in the open. What is more, Weiss's outfit is similar to her Disney's counterpart:

Disney-Snowhite wears a dress with blue puffed sleeves, which are present in Weiss's Atlas design. There is no risk to confuse our girl with the Snow Queen anymore:

Weiss is not Winter's imitation, but her own person. She is 100% Snowhite.

3 - Weiss's clothes are white, black, red and light blue. These are all the colors worn by her throughout the story. In addition, there is a warmer shade of blue, which shows the cold is gone once and for all. These palette symbolizes Weiss's different parts coming together into a more beautiful and stronger person.

This fits Weiss's new summon:

The Nevermore combines all the other glyphs. It is the final form of Weiss's inner snowflake and the culmination of her growth. Aesthetically, it gives Weiss an angelic look, which brings to mind the final inspiration of her design.

MAGICAL SNOW ANGEL

Oh look! Weiss looks like Sailor Moon! This isn't by chance, as Weiss is inspired by the magical girl genre. Magical girls are heroines, who:

transform into ideal versons of themselves

fight metaphors of human emotions in the form of monsters

purify people's hearts

Weiss is the same, but the first heart she needs to cleanse is her own:

Mirror, tell me something, Tell me who's the loneliest of all? Fear of what's inside of me; Tell me can a heart be turned to stone?

Yes, it can:

Pure Heart Crystal (Sailor Moon)

Soul Gem (Puella Magi Madoka Magica)

A gem standing for one's heart is a pretty common trope in magical girls' stories. Not only that, but the corruption and healing of these stones come up often. Well, Weiss's heart is a snow-crystal, which needs to be melted and rebuilt into a unique structure.

Weiss purifies it by fighting her inner demons in the form of Grimms. As a matter of fact these monsters symbolize humanity's darkness, so they are the perfect enemy for a magical girl. Weiss defeats them and makes them white like snow. She integrates them and the struggles they represent into herself. Through this process, she slowly changes into her ideal self. She doesn't need a spectacular transformation sequence because her evolution happens inside. It is slow, but deep and here to last. After all, the heart is irreplaceable:

Everyone is entitled to their own sorrow, for the heart has no metrics or forms of measure. And all of it… irreplaceable.

Hearts are like snowflakes because there are no two, which are the same. Weiss learns this lesson and starts teaching it to others. This is how she heals hearts. Empathy is her superpower. Thanks to it, she is ready to save her family legacy:

Weiss: I will not be defined by my name because I will be the one to define it.

Weiss's first step is to define herself outside the Schnee name. Her second step is to give the Schnee name a new meaning. She first refines her heart. Then she cleanses her surname. From her inner snowflake to the family crest. That is the kind of magical girl she is.

In a sense, she is stepping into Nicholas's footsteps. He purifies minerals into Dust. She purifies stones into souls. From Saint Nicholas to Snow Angel.

MAGICAL QUEEN SNOWHITE

In conclusion, Weiss's design describes her evolution in three ways:

She goes from being a snowflake (derogatory) to being a snowflake (unique)

She grows from a princess into a queen

She leaves the Snow Queen behind and becomes Snowhite

This refinement process is nothing, but her magical girl transformation.

[iamafanofcartoons]

Redesigns, and how they ignore and miss the point of the shows they are based on. Featuring RWBY

When Monty Oum, Miles Luna, and Kerry Shawcross made RWBY all the way back in 2014, even if we acknowledge that Poser was not the best animation engine, we have to give credit to Monty for 3 things with his character designs.

All characters, female and otherwise, were required to have pouches, pockets, bags, something to carry items. And all had weapons.

NO EXAGGERATED PROPORTIONS. Monty did not want his characters fetishized, despite people claiming the writers did, or demanding that it should have been.

Finally? Conservative clothing, relatively speaking. No panty shots, no jiggles, no sexual poses, and a lot of skin is covered. Also, no bikinis, no yoga pants, etc.

And yet, when people try to "redesign" RWBY?

They ignore all 3 of those things.

For them? Redesigning and "ruined potential" is about sexualizing teenagers as much as humanly possible.

Here, see for yourself. When they say they "hate" the new designs? Its about them not being able to sexualize or fetishize the characters. Which Monty Oum wanted them NOT to do. And these people like to think they're doing the show a service by fetishizing teenage girls. That nudity and fanservice somehow makes them decent. It doesn't...it only makes them worse. But by sexualizing the characters as hard as possible, and claiming to be "fixing" the show? People are only promoting toxicity against the show, and accusing anyone criticizing their designs of "toxic positivity".

[bluecheeseinmyoffwhites]

RWBY SIMIN'S ALLUSION

To celebrate the exciting news of RWBY finding a new home, I want to celebrate the fans who kept moving forward & never gave up on our beloved franchise. And what better way than to review the most popular RWBY OC Team? SLVR is a fanmade project by Mark Zhang. These fanmade trailers blew the internet away with just how CLOSE he replicated Monty’s style with the RWBY trailers. Music, settings, weapons, moon shot, everything. One thing he does the best, however, is his incorporation of fairy tales & mythology. Today I want to honor his characters beginning with the one who started it all, Simin Megistus (video linked below if you haven’t watched his Silver Trailer).

Simin Megistus is based on Hermes Trismegistus from Greek mythology. Hermes’s Roman counterpart is Mercury, who has a reference character in RWBY proper with Mercury Black. This explains the similarities between the two characters. Luckily, Simin fights for justice. His name means “silver” which is why it is spelled that way. This can be a nod to mercury also being known as “quicksilver”. His last name, Megistus, means “greatest”, and is derived from Hermes’ last name, Trismegistus.

Hermes was a famous author who wrote several pieces of historic text. His most famous work was Kore Kosmou, detailing several ideals & cosmetology (moon, stars, etc,). The book continuously references the 4 elements (Fire, Water, Air, Earth). Simin’s weapon is named Kore Kosmou & can conjure weapons made from the 4 elements. Hermes is often depicted with a traveler’s cloak said to have magic abilities. This is why Simin’s weapon is a jacket.

Hermes practiced alchemy, which is basically the foundation of chemistry. It is the study of changing the characteristics of matter. This is done by extracting, merging, or manipulating elements like metal, fire, gold, etc. Simin’s weapon allows for him to manipulate dust & form different elemental weapons, allowing for various fighting styles.

All of Team SLVR has a moon/lunar theme, but it is the most present with Simin’s character. He represents the element of the moon, silver. He has a moonshot in the trailer (standard). His symbol is a moon & it's different craters. His weapon has 4 different “moon phases” where each of the craters hold a different types of dust. The song used in his trailer is “Paper Moon” from Soul Eater. Also, Hermes & his counterparts are said to be deities of the moon.

Hermes is the protector of thieves, merchants, & orators. This translates to Simin fighting the White Fang in his trailer, thieves who are trying to smuggle dust (merchants) & spread the word for social justice as Faunus activists (orators).

Hermes was also known as the “Argus-slayer” for defeating Argus, the 100 eyed giant, with his mighty sword. This is referenced with the final boss in Simin’s Trailer, Banesaw 2.0. His White Fang mask is significantly more detailed than the others, having emphasis on circles & dots in its design, resembling several eyes.

The white fang is smuggling dust, as they do in Volumes 1-2 of RWBY. Simin in a way represents the dust “fighting back”. Simin can also represent the full moon itself, causing the beasts of the night (White Fang) to ravage. Notice the trailer takes place at night & stars are surrounding him.

Simin has become more than a simple fan character over the years. He is the symbol of the RWBY Fandom, & his creation shows how inspiring & beloved the show is to its audience. Mark Zhang has said that he was deeply motivated by Monty Oum's work, & this led to the creation of the Silver Trailer. Everyday I hope Monty could somehow see the impact he had on others. Rest In Piece❤️

Here is the Silver Trailer for those who haven't see it or just want to look back on it :) love you Mark & keep moving forward.

[deusvervewrites]

I wouldn't really trust HBomberguy as a source for RWBY, given that, as someone who's actually WATCHED the show, HBomberguy makes a lot of shit up.

Not least of which being his claim to being a huge fan of Monty Oum when, back when Monty was alive, HBomberguy regularly tore into everything the man made, no matter what. He only stopped when Monty died because he knew mocking a dead man would ruin his reputation.

Take the self insert accusations, for example:

The only reason that Miles Luna was chosen to voice Jaune because Monty liked his "nerd voice".

Neptune is NOT that big a character in Volume 2. Weiss' crush on him is little more than a gag that comes up every now and then, and even his own voice actor calls him a loser who's nowhere near as cool as Weiss thinks he is. Weiss' short-lived crush on Pyrrha has gotten more focus over the years than her crush on Neptune ever has.

Seriously, it REALLY bugs me that people parrot Hbomberguy's word as gospel when he decided he was going to hate the show before he even watched a single episode.

Oh none of that was what I was talking about. I'm talking about things like the plot shifting direction completely mid-season, weird pacing decisions, problems with the animation, inconsistent and sometimes contradictory exposition, exposition appearing way later than it should have, character details getting lost or forgotten, etc.

I should also note that I have watched the first three volumes of RWBY. In fact I've watched the first six volumes of RWBY. I've also watched the Anime Slushie episode breakdowns of seasons 7 and 8.

If I wanted to make an argument about self-inserts, I wouldn't start with Adrien or Jaune, I'd start with Showrunner Thomas Astruc actually straight up being in the show himself did you think I forgot about that TA? Did you think I missed the entire episode dedicated to you calling people who criticize you losers who hate things without watching them?

Ahem.

[currantlee]

A few comments on a recent post about RWBY I made got me thinking about something. Basically, I think that Rooster Teeth – and possibly by extension its parent companies – have artificially inflated RWBY as a media project and franchise rather than letting it grow organically. Therefore, it became a bubble that was bound to burst at some point. RWBY might never have been a profitable IP, which might be very relevant for its future.

This is not a problem that arose after Monty Oum‘s passing, I feel like this was already coming before that. Shane Newville‘s open letter (which absolutely comes from an emotional, mentally unwell state of mind, but has had many of its contents confirmed over the years, even beyond being one of the first descriptions of the toxic work environment at Rooster Teeth) makes a few points that support this impression. Whether you agree with the letter or not, you cannot deny that the first two volumes of RWBY, while they also had merch accompanying them and stuff, were not produced following industry standards – starting with the 3D software used, Poser Pro (Monty Oum‘s preferred tool for animation). This led to some really creative animation work that, while not always high-quality by industry-standards, was certainly pushing boundaries. It was creative and it worked for what RWBY was: a passion project created by someone who saw animation as his strongest suit – as his preferred medium to tell a story. I‘ve seen a lot of people claim that Monty Oum wasn‘t a writer, and while that‘s true, I feel like the implication of that statement is always that he couldn‘t tell stories on his own. I don‘t think that‘s true. I think Monty Oum was a great storyteller when it came to expressing certain things through animated action scenes. It‘s just that he wanted to tell a story that included more than just that and a few lines of dialogue – which is where Miles Luna and Kerry Shawcross come in, two at the time very inexperienced writers (who possibly had a fallout with Monty Oum over creative differences later), as well as some talented folks – people like Shane Newville. They were chosen to work on this because Monty Oum acknowledged their potential and liked to work with them, and I feel like that created an environment where they were really allowed to flourish. Volumes 1 and 2 are certainly not flawless, but I feel like I can tell the people making it had fun.

To Rooster Teeth however? I think RWBY (and by extension, Monty Oum as a creator) might have been little more than assets to them. RWBY was first created around a time when RT first tried to be more like, well, an actual company. At least from 2014 onward, but possibly even earlier than that, this included an effort to conform to industry standards more, mostly in order to be able to hire more people – very visibly so in RWBY in the form of the switch to Maya (my opinion about that is, the way they did it didn’t do RWBY any favors at all). I think they saw RWBY and Monty Oum as an opportunity to appear… More important, bigger, than they ever really were.

So what did they do? Again, I kind of have the feeling that they “upscaled” RWBY to a size where it appears like this big thing, but it became far too much to handle. Essentially, they created a mock giant, or a metaphorical quasi-star: something that can appear big from afar, but is actually very small / unstable (and if we go with the quasi-star metaphor, disturbs all of its surroundings). This is what I mean when I say that RWBY was a bubble bound to burst, because no star lives forever – and quasi-stars can only exist under very specific, very unstable conditions (I linked a Kurzgesagt-video in case you’re interested what exactly a quasi-star / black hole star is / was, cosmology is so fascinating IMO). Once these conditions exist no longer, they both fall apart and collapse into the black hole that is their core at the same time.

My main argument for this is that RWBY was essentially a huge money sink for RT (Source: Barbara Dunkelman’s unprofessionalism). They pumped so much money into this… Perhaps even more than they ever made from it. While this isn’t 100% confirmed, it is very much possible (and IMO not exactly unlikely) that RWBY was never profitable — which it might have been if RT hadn’t been so hellbent on creating the illusion of a multi-million-dollar franchise.

This is purely speculative, but this might also be why Volume 10 was never greenlit. We know that Volume 9 was to a significant part funded by Crunchyroll and in fact would not have been possible without them (probably because RT was already out of money at this point). They might have bought into this mock giant, then realized they had pretty much been scammed once Volume 9 aired. This might have led to Crunchyroll’s unwillingness to fund another season for something they knew now was effectively a money sink. Since RT at this point lacked the funds to produce Volume 10 alone and therefore was dependent on investors like Crunchyroll and Warner Brothers… Volume 10 was never greenlit, no matter how hard they attempted to get their fans’ hopes up and start a hashtag campaign on social media (as far as I remember, that was started by Rooster Teeth, not the fans. I don’t have my Twitter account anymore though, so I can’t check). Again though, this is speculation.

The worst part? This refusal of RT to just… Downscale RWBY again, this determination that it had to be this huge franchise… Was all put on the backs of the creatives working on it. We know at this point, from multiple sources, that RWBY and other RT productions have had an incredible amount of crunchtime, working overtime, employee abuse, … going on behind the scenes, which seems to only have gotten worse after Monty Oum’s passing. At the end of the day, all RT does and has ever done is blame others for their incompetence. Like, no shit, I’ve seen fans claim that it’s the FNDM’s job to “keep the show alive” (particularly in the light of #GreenlightVolume10), which… No, that’s not the fans’ job. It’s the job of the company who has been entrusted with this beloved IP, and said company has proven to be utterly incompetent on multiple occasions, which is unfortunate, but a sad reality for all those who love RWBY. And while Rooster Teeth has never directly said such a thing, they have certainly implied it and taken advantage of the existing sentiment within their fanbase, as well as their parasocial relationship with it (again, see #GreenlightVolume10 for reference).

To clarify, I’m not saying none of this would have happened if RT didn’t insist on making RWBY this big franchise (and biting off far more than they could chew in the process) – again, RT was far too notoriously incompetent at everything a company should manage – but I do think it might have played a role. It also isn’t an excuse for all the employee abuse. Again, what they should have done is downsizing the project, not inflating it further and further.

If I’m not somehow completely in the wrong (because IMO this just makes way too much sense to not be at least partially true – but let’s face it, a lot of this is just me connecting dots, and there is always a chance I’m connecting them wrong, even though I don‘t think so), then it kinda blows my mind that there are still people who believe in this scam. Though I will say, emotional attachment can do that to anyone. If anything, I’m honestly sorry that those folks lose something that means so much to them, and that false promises were made to them.

At the end of the day, the story of RWBY (the “franchise”) is twofold. It’s a story about an incredibly talented creator who passed away far too early, who was given the incredible opportunity to make his dream come true. It’s a story of people he trusted taking up his torch, and maybe getting lost in the dark along the way. It’s an inspiring story regardless, and I hope to see it continued at a downsized scale so it can grow organically, preferably in the hands of an indie animation studio like Dillon Goo (🤞)

But it is also a cautionary tale to both creatives and companies who employ them, a tale about false promises, abuse of both employees and fans, as well as how to not run a project. Don’t blow your thing out of proportion too early, don’t create a mock giant / metaphorical quasi-star. Let your ideas and projects grow and flourish organically and sincerely.

[homoeroticfisticuffs]

found these lil guys for $4 each the other day at mckay's !!!! same place i got my star lord cardboard cutout. i am really starting to love this place teehee

i also got this jaune !!! he's part of a jnpr set that apparently sells for like $750 ???!!!?? idk. but i'm just happy my partner found him :] it was funny too because when we walked into the store i was literally just like "i'm kind of just looking for rwby stuff and that's it" and my partner didn't think they would have any, but then they spotted him like 2 seconds after saying that 😭 i was also wearing a rwby shirt and my monty oum tattoo was visible LOL but sadly when i unboxed him that evening i broke his sword, so now i've gotta glue it 😑 but it's ok i'm just glad i have him <3