#grudging cameo

[williamshamspeare]

Nothing brings a community together like thrashing on a Cryptobro. NuCope and NuSeethe

[lowpawly]

That hairstyle and your glasses frames? Cuties alert.

I like the use of a plural here because it implies there's multiple people in the photo

[theimpossiblescheme]

#i wonder if an in canon explanation was they were separated on purpose as a final twist of the knife in the gut so to speak#by de guiche because he knew they were friends

Okay, I have been thinking about these tags ever since I first read them, and I need to go feral for a few minutes, bear with me...

When de Guiche first pulls Le Bret aside in the guardhouse and says that he's separating them, Le Bret's first instinct is to tell him to piss off and just walk away. But all the fight goes out of him when de Guiche reveals that he knows about Cyrano's exploits in Arras--did you know he was risking his life every morning just to post a letter? Did you encourage him in this? Or did you just sit there and do nothing while the cadets' finest swordsman put himself in needless danger time and time again? Between this and Cyrano jumping in front of a Spaniard's blade for him, de Guiche makes it clear that he will not have his Captain enabling Cyrano's worst impulses--"there are more men besides that one who need you. And if I have misjudged your leadership capabilities, I expect you to start proving them to me." And through all of this Le Bret starts to think... shit, maybe he was just letting Cyrano walk into harm's way. Maybe he hasn't been doing as good a job at protecting him from himself as he thought. After all, what has he ever done to stop Cyrano outside of bitching and moaning about his foolishness? And besides, what kind of Captain would he be if he ended up neglecting the rest of his men and letting them walk into the same danger? So as much as he hates it--and he hates himself for it--he concedes de Guiche's point.

From that point on, de Guiche has him working at his side more and more often, discussing strategy and coordination of other regiments, even taking reports to the Cardinal whenever appropriate. And while Le Bret's learned how to speak the courtiers' tongue in his twenty years of service, it will never come as naturally as his native Gascon. He still hates these pompous idiots on high who hold his and his brothers-in-arms' lives in their hands, and the more he hears de Guiche suppressing his accent to keep up with his uncle's inner circle, the more he feels a grudging sympathy for the man. Working alongside de Guiche eventually becomes less of a chore, much to his own chagrin, and it's a disturbingly mundane moment for them both when Le Bret actually learns his commander's first name. Meanwhile, he sees precious little of Cyrano anymore. It seems like every time they might have a moment alone together, de Guiche is demanding that moment for another of their discussions. Le Bret wonders how he's doing, how he's coping without Roxanne and Christian. How his new method of distracting himself--namely throwing himself into training the new batch of cadets--is working for him. Seeing these bright-eyed and bushy-tailed young men, so eager to rush out and throw their lives away, is a melancholy experience for Le Bret every year, and there's a part of him that always wants to say, I'm sorry some of you will never make it home. From afar, he's starting to see that same look in Cyrano's eyes, and he wonders if letting that Spaniard stab him would've been less painful.

He finally gets to fucking talk to Cyrano one night at Ragueneau's shop, when de Guiche goes alone to Paris and the cadets get to spend it enjoying themselves. After letting Cyrano carry the conversation for most of it, Le Bret alludes to his own work at their commander's side in vague terms, trying not to divulge the more delicate details. At one point, Cyrano gives him a very wry look--"Have the planets finally aligned to seal Earth's doom, then, that Le Bret is keeping secrets from me?" And with that, Le Bret cracks. He admits that de Guiche has been deliberately keeping them separate, that he believes they've been a bad influence on each other. Almost instantly, he can see that goddamn self-loathing streak of Cyrano's take over, and when his best friend tries to apologize for leading him astray, he's not having a word of it.

"If you insist on such an insulting presumption, Cyrano de Bergerac," he says after shocking them both by yanking him into a fierce and all too brief hug, "I will personally drag you out of this place to demand satisfaction."

"And have us both arrested for public dueling when you've so recently found favor with the Cardinal?" Cyrano's laugh is warmer than Le Bret's ever heard it as he pulls away. "I would never dream of it, my friend." Le Bret remembers a certain comparison to a dog making friends and decides not to question this change in attitude. Absence really does make the heart grow fonder, he's found.

He makes Cyrano promise to take care of himself, and thankfully Cyrano seems to hear how loaded the request is, after so long not being able to make it to his face. But even as Cyrano assures him that Ragueneau won't let him do anything stupid and the night ends on a relative high note, there's still that uncertainty in the air of when they'll be able to talk like this again.

Fourteen years pass like this, with both of them running agonizingly parallel to each other, only to intersect on rare, short occasions. One evening, a now silver-haired de Guiche--now the Duc de Gramont, but Le Bret barely bothers with it--excuses himself to go and visit an old friend. It doesn't escape his notice how his companion, usually so proud and upright as he moves through the world, carries so much weight and tension in his shoulders now and how his head seems to sink beneath his new wig... and all of a sudden Le Bret feels very old indeed. Over forty years he's been doing this, all the while outliving most of his friends and barely keeping up with those who remain. He's tired, and every extremity of his body aches with half a dozen old wounds complaining of the oncoming chill, and he just wants to understand how there are still young men out there who are so quick to follow in his footsteps. They could never be expected to understand...

He misses Cyrano. If anybody out there could understand, it would be him.

That's the evening, when Le Bret finally steps out for some fresh air, that a frantic Ragueneau comes running up to him with the worst news possible. That's the evening he regrets listening to de Guiche more than he's regretted anything in his life.

Never off my bullshit about these characters... please know that I am constantly thinking about Le Bret's absence from the last act of the 1950 Cyrano movie. How Carnovsky's Le Bret was such a secure anchor for Ferrer's Cyrano (how Cyrano always managed to find him in a crowd full of strangers and how Le Bret ran to find him even with an army of cutthroats on his heels), how the last time we saw them together Cyrano had saved Le Bret's life at Arras... and how Le Bret only reappears when Cyrano is about to die, with Ragueneau taking over his role as confidante. I am constantly thinking about what could have kept them from each other's side, when they had been so inseparable before. I am thinking about ways the director and actors must have justified it and wondering about how they could have broken my heart more than the original play already did...

[fallenclan]

who are all of the starclan cats in the most recent update? and if you don’t mind, what’s their relations to the four chosen cats?

i'll put this under the cut since there will be images, here's a quick walkthrough :)

Silverbelly You know her. yes. she's there for Feathersight!! he was very very close with her as an apprentice/young cat, and she would always visit him when he'd come to the Glowcave before Ravenstar.

Salmonskip No significant relation to any of the cats joining! Before I drew this moon I asked the discord if there were any Starclan cats that they wanted cameos of, then I picked a few that I missed drawing and smacked 'em in there. Salmonskip was one of those cats

Spiderclaw he died as a young warrior but I really loved him before, so I was happy to find an excuse to draw him again. No significant relation to any of the four.

Nick he was a cat that joined the clan Very early on (moon 37 i think) and was a fan-favorite on account of being a Bloodthirsty Kittypet which is just. admittedly a little funny. He was a single father of one (Wormshade) and was probably more there to support his grandson (Spiderclaw) than anything else, though he was probably wishing that Snailpetal would be there, as she's his only surviving descendant

Sleepycloud father of Sleepydawn (and others but. Sleepydawn is the one he's mentioning in the update). he was one of my favs when he was younger and I was happy to draw him again, plus I wanted a nice nod towards his feelings about Sleepydawn going down a dark path partially because of Sleepycloud himself (in a roundabout way. trying to escape his father's shadow etc)

Fernslug Also a cat that died young. She passed in the dog attack I believe, and was a fan favorite due to her Autistic Powers (loving slugs). I wanted to draw her again, and it felt fitting to slip her alongside Sleepycloud, her father. i always forget that she's Sleepydawn's sister, since they never got the chance to meet.

Sandsnap you know him. he was just there

Lionsong Another case of dying young, Lionsong was Antbite's mate who died before even reaching 30 moons, from yellowcough. Honeysong grew up seeing his ghost following Antbite around, so she does consider him her dad, though she never really "met" him.

Eris (left) & Cedarberry (right) Darkstone's moms! Eris died in a greencough outbreak, and Cedarberry just a few moons ago during a Shallowclan battle. Darkstone is not the type to linger on his emotions or even process them much, but he missed his moms. a lot.

Poppyfeather Ravenstar's first victim. The former deputy that he killed, partially in revenge for her "failing" to protect Littleleaf, and partially so he could take her place as deputy. Mostly the former, the power-hungryness came later on. Always had a bit of a temper (hence being so short and bitter in the update) but was fantastic at her job and loved her clan fiercely.

Cherrystar Ravenstar's second victim, poisoned by nightshade berries. equally as passionate as Poppyfeather, but not really one to hold grudges. Still, very pissed about the shit that Ravenstar has done to her clan. hates his gay ass

[dreamdragonkadia]

Helllooo me again 😉

another idea i had was maybe comfort for percy after tartarus nightmares. Again mortal reader and her not really understanding but still supports him unconditionally.

Or her writing a love letter for him in full greek since she knows it's easier for him for his birthday and him just loving her for it. And maybe a sally cameo and just her seeing her boy being in love and being loved inreturn

Or annabeth meeting mortal reader and her just being a protective best friend and seeing mortal reader carrying ambrosia for percy and how loving their relationship is and annabeth giving her approval

Again no pressure !!

If you need any ideas I'm definitely your girl

Have a lovely day/night

That first idea is just so cute, so don’t mind if I do!! 💕 If you ever have more ideas or little prompts, don’t hesitate to send them my way—I live for this kind of stuff! My inbox is always open for suggestions, thoughts, or just a chat. Hehe, thank you for reading! p,jackson x mortal!reader

It was strange, something you couldn’t quite wrap your head around. What could press so heavily on Percy’s mind that it haunted his sleep? The way he would jolt awake from a nightmare, his chest heaving like he’d been running for miles. Or how his body twisted and turned in bed, as though he was trying to escape something terrible in his dreams. Then there were the times he cried. Silent, heart-wrenching tears that you’d catch only because you stayed awake longer than you should, reading by the dim light of a bedside lamp.

Those nights, you were always there for him. You didn’t understand what plagued him, not fully, but you didn’t need to. The scars of his past, invisible though they were, weren’t something you needed him to justify. You never pushed him to talk about it if he wasn’t ready.

There were moments you’d try, cautiously, to ask. “Do you want to tell me about it?” you’d murmur, your voice as soft as the moonlight filtering through the curtains. And when he withdrew, retreating into himself like a tide pulling away from shore, you let it go. You held no grudges for his silence. Instead, you’d gather him in your arms, his head tucked beneath your chin, and press kiss after kiss to his hair, each one a quiet assurance that you were there. Your fingers would trace slow circles on his back, a rhythm that said everything you didn’t have the words to express.

It didn’t happen every night, but it happened enough. Enough that you noticed the pattern. Enough that you knew something dark clung to him—a scar so deep it refused to heal. There was one night, though, when he muttered something in his sleep, his voice broken: Tartarus.

You didn’t ask him about it the next day. You wanted to. God, you wanted to. But the fear of prying too deeply, of pulling him into memories he wasn’t ready to face, held you back. Instead, you let it sit, another piece of the puzzle you didn’t need to complete to love him.

And then there were the good nights. Nights when his soft laughter filled the room as the two of you lay tangled on the couch, watching bad movies and eating burnt popcorn because he always left it in the microwave too long. Or when he’d ramble about the ocean, his eyes lighting up like the waves under the sun, and you’d find yourself smiling so wide your cheeks hurt.

You knew the nightmares were part of him, but so were these moments. And maybe you couldn’t chase the monsters from his dreams, but you could be his anchor. You could remind him, in the quiet of the night and the brightness of the day, that he wasn’t alone. That whatever Tartarus was, or whatever battles raged in his mind, he didn’t have to face them by himself.

You’d remind him, with every whispered word, every gentle touch, every second spent by his side: he had you. Always.

[mars-ipan]

oh they all need to see therapists huh

holy shit mafuyu see a therapist

[pastelhills]

When you get caught sneaking around the wrong territory and immediately pick a fight with the deputy, Stagprance already didn't like Burrowclan cats but now forever holds a grudge against a random apprentice (also no Wolverinepaw didn't know that was the deputy)

Also little Asterchime cameo at the end who belongs to @/bugbeanss, they're all from @/princce_q design contest (all on Instagram).

[nyc3]

Hey I have a question. I never saw the movie nor I want to see it +Nine sounds cool as fuck but....bk is in the movie) my question here is......why shig killed Nine?

When that scene was reblogged on Twitter I had the impression it was smth like "nine was using his name and shig wasn't pleased" ...can't be that bc this makes sense. Too much sense.

So did shig just kill the guy bc yes?

Maybe afo or the Dr evil asked shig to do so... which is plausible but damn...what waste. And it cements once again shig as a npc.

I'll try to explain this the best I can, because tbh nothing about this situation makes sense to me even today. And some context of the movie as well.

The movie starts with a scene of the LOV transporting Nine while he was still on a medical capsule inside a truck. There's a reference to this situation in the manga when the doctor request Shigaraki to deliver "something" for him.

But here's a thing: neither the movie or the prequel chapter Horikoshi made explain where Nine was being delivered or what the doctor intended to do with him in case he arrived to destiny. It feel that missing context is important.

In any case, the heroes attack the truck trying to arrest the league. The truck is destroyed in the battle and this allows Nine to escape and go back with his team.

Then we got a couple of scenes were Shigaraki seem to be tracking Nine activities, also using Hawks to do the research job for them (it's worth mentioning the events of the movie are supposed to happen at some point after MVA).

And after all this... nothing really, the movie drops this subplot and Shigaraki only appears again in the end when he comes out of literally nowhere to kill Nine. Allow me to ask how they even know his exact location? The black goo teleportation quirk doesn't even work like that btw.

Just like you my first assumption was Garaki ordered him to do so, maybe because after the spectacle Nine did in the island the doctor decided to eliminate him for security reasons. But we never got any indication of this being the case, in fact there's a scene when Garaki explicitly tells Shigaraki to not touch "it" (Nine).

Things became more confusing because in MVA when Shigaraki gives Garaki one of his edgy speeches about destroying everything he hates, there's a small cameo of Nine among the things crusty boy hates.

On a side note: this is technically Nine's first ever appearance, even before the movie itself was released. A sort of foreshadow for what it coming.

But going back to the point: why Shigaraki hates Nine so much in the first place? We never got a clear reason for any of this, isn't like they ever interacted, the only time before the movie they have some kind of contact was the prequel chapter focused on Nine, and that was only Shigaraki looking at Nine through a window.

Also the final scene when crusty boy kills Nine for some reason makes it sounds the situation is very personal? Like if Shigaraki hold some grudge against Nine for some reason.

And the line "I agree, there only can be one king" doesn't make any sense because isn't like Shigaraki knew about Nine's ideology and his desire of rule the world. The writers makes it seem to be like they both interacted and had a long term rivalry for some reason, but that never happened.

Oh and it's extra hilarious how Shigaraki killing Nine for no reason directly contradicts this other little scene:

If crusty a**hole always intended to be "a hero for villains" (as the story seem to pretend) what about Nine then? Idk but for me killing a defendless man while he was crawling on the ground doesn't seem too heroic.

Let's not forget Nine was a real hero for villains without presume about it. He saved the life of Chimera, Slice and Mummy in a way Shigaraki wish to be able to do with the lov.

Honestly is funny to think all this one directional hate Shigaraki feels for Nine could be just crusty boy being jaleous, which won't be surprise considering Nine is superior to him in everyway possible.

But well, thinking about this on a perspective outside the story itself an explanation of why Nine was killed maybe is because Horikoshi just needed a reason to get rid of him, as his presence might be problematic for the course of the main story. I mean it would be a bit suspicious to have another AFO possible vessel who happens to be better than Shigaraki, and Nine is the only movie main villain to be permanently killed on screen, while all the others like Wolfram and Flect survived.

Anyway, all this festival of bs let a bitter taste in my mouth.

Needless to say, such a good villain like Nine surely deserved way better than he got.

[enixamyram]

Just Saw Deadpool and Wolverine!

It wasn't as bad as I feared it was going to be. In fact, it was really quite good! Not perfect, unfortunately, but still really good.

Spoilers bellow:

Let's just get the bad things out of the way:

Why. Do. They. Keep. Splitting. Up. Couples. In. Between. Movies. Just. To. Get. Them. Back. Together. All. Over. Again?! Genuinely, they have Vanessa and Wade split up off screen before this film, they're still good friends so she still hangs around, he still has feelings for her and at the end of the film it's implied they're getting back together again. And it is so pointless! It would make no difference to the plot if they had stayed together throughout the film. It actually would have made certain moments stand out a bit more. It's just a completely unnecessary random trope that I am so sick of!

Channing Tatum as Gambit sucked... But he was kind of meant to... So I dislike Channing as an actor, I love Gambit as a character, so I was always going to have a bias about this. But genuinely I cringed at every moment of him on screen, but I think I was supposed to? I don't know if it really was intentional or not, but it seemed to me that the film was definitely playing up making fun of him. So while it was awful, it wasn't soul crushingly awful.

The NicePool dying joke went on for too long. I think every Deadpool film has that one joke that I laugh at. But then it keeps going and eventually my laugh gets a little awkward and it's still going so my laugh kind of dies. Not that big a deal, just something that really hit with this one.

OTHERWISE!

It was a really good film! It was funny in all the right moments. Ryan Reynolds continues to be supreme as Deadpool. Hugh Jackman is still the best Logan of all time. And I think the Deadpool films in general just mastered the act of upping the stakes in a way a lot of other trilogies fall down at. What I mean is, Deadpool 1 - the enemy was personal to Wade. Still a threat to others but the focus was on Wade's grudge. Deadpool 2 - the time travel aspect made it a little more intense than last time but it was still fairly personal and contained to Wade. Deadpool 3 - world ending drama that made this time really stand out against the others. It felt properly like the films before this were prepaing Deadpool to be the man he needed to save not just this universe but every universe.

Highlights:

X23!!! I was so damn excited when she came on screen! I love her, I love her comics, I love her movie, I'm just sad we probably won't get to see more of her but the stuff we did see was still amazing!

The Cameos I hated the Spiderman's film cameos because they felt cheap and pandering, but the ones in this film felt like they were done right! So it was a lot of fun seeing familiar faces popping in and reliving old stories or throwing out old lines (legit laughed hard at Blade's ice skating uphill throwback XD).

The Songlist Every song sequence, even the ones purposely out of place somehow worked so perfectly. It was hilarious in the right moments but even more than that, it was beautiful in all the right moments as well (I'm talking about you, Like A Prayer XD)!

Cassandra Nova A fantastic villain who I loved seeing on the big screen for the first time! She was delightfully psychotic and powerful and just perfect for the role as the ultimate big bad.

I think this is a good sendoff the Deadpool and the X-Men as a whole. I don't know if that's the plan, I don't know if Deadpool or any mutants are supposed to come back but I probably wouldn't rush out to see them to be honest. This feels like the right way to say goodbye. (At least until the MCU stops overdoing it and let's others remake superhero films on their own again. Not everything has to connect to the MCU for pete's sake.)

[tarczar]

Another shared voice actor between the two franchises I like is Shigeru Chiba being the voice of Robo-Ky in Guilty Gear Xrd and Aku-Aku in the 5th movie!

Guilty Gear is 2 degrees away from Keroro Gunso

Takeshi Kusao, Joji Nakata, and Takehito Koyasu voice Ky Kiske, Sol Badguy, and Zato-1 in Guilty Gear respectively

Takeshi Kusao, Joji Nakata, and Takehito Koyasu voice Dororo, Giroro, and Kururu in Keroro Gunso respectively

(There are definitely more links than this! these are just the ones I knew off the top of my head, and I didn't see a point in searching out the other links if I already knew these lol)

[sepublic]

I really wish Scarbro’s Earth counterpart was part of the cameo shot. I appreciate the callback to Scarlust, which is a dynamic I love! But it feels incomplete without Scarbro, someone who also deeply loved Lust, or her human self, and was in actual relationship with her. Obviously he was selfish about it to some degree, but also!

Scar’s brother is more important to him than Lust/her human counterpart. And that’s fine, Lust has her own storyline and character outside of Scar, it’s not as if this leaves her lacking! But in the end Scar was much more haunted by how her death impacted his brother, whom he very deeply loved.

Scar’s final hours are motivated by his love for his brother, how he sees that love reflected in the Elrics and so he’ll die to prevent another bond like that from being broken because he has so much empathy and compassion and it’d shatter his own heart. His final monologue is about how he misses his brother and it’s his final word, literally. For all his onscreen transgressions and horror, it’s clear that Scarbro was someone kind and loving to his little brother for most of their time together, it’s why he died at all by sacrificing his arm.

It’s ambiguous as to whether Lust IS that Ishbalan woman or not (and it’s worth noting that Lust has… mixed feelings about Scarbro) but the melanin in the Earth counterpart suggests she’s the Earth version of the Ishbalan woman at least, and she loved Scarbro. So he would be important to her, too!

Idk it feels weird that in this shot implying an ideal, happy world for these individuals who have suffered so much elsewhere… One of the most important connections between them is just absent, and these two are fine without him, especially Scar.

At the very least, we could’ve had Scarbro in the group shot while also showing Scarlust; Implying it didn’t work out between Scarbro and Lust, but it did for Lust and Scar, and everyone was chill and able to work through these feelings in a mature, no grudges way. Because again this is like the Happy Ending for them. So why not make it work? This is a story about brotherhood, this movie is about reuniting brothers so it feels weird to leave out the most blatant parallel to the Elrics.

[see-arcane]

Checking the Hellsing wiki it says

In Volume 8 of the OVA and manga, Harker was not listed within the members of the Vampire Hunters Alucard had listed during his fight with Anderson. This could however, be a mistake made by Hirano.

So even in the manga and OVA they forgot him? Damn.

Funny you mention that! I've been looking up some blink-and-you'll-miss-it cameo references for secret reasons. Here's Abraham van Hel(l)sing:

This is the coat and cravat Alucard is seen wearing throughout most of the manga. Or at least he borrowed that style from Abe, opting for his signature red rather than Mystery Grayscale.

And then we see someone implied to be Mina Harker with...

["""UNKNOWN""" PROTECTIVE MALE CHARACTER EMBRACING MINA HARKER. WHOSE LAST NAME IS HARKER. FOR MARRYING JONATHAN HARKER REASONS.]

Who is also wearing a certain familiar hat. And do you recognize the coat?

It's the first coat Alucard wore in the manga before he swapped to Van Hel(l)sing's!

I don't see the ba(t)stard adopting his vintage Victorian fashion and/or lookalikes from just any rando. He'd only copycat them if he had the same weird grudging respect he has for this version of Hel(l)sing. So for character and Mina-hugging reasons, I'm inclined to think the man in the panel with Mina is Jonathan and Hirano accidentally pulled a Stoker mistake--just like with Renfield's group interview, he just forgot he'd put Jonathan in the scene.

Plus, how would it even be explained away in the context here?

'Oh yeah, we're heading off to hunt Dracula to save Mina Harker. Who is married to Jonathan Harker. Who is vibrating with so much Archenemy Energy he's going to cause earthquakes if he doesn't do some vampire violence. So obviously we'll just have Jonathan sit out the entire climax of the original story centered entirely around rescuing his soulmate! Makes sense!!'

(Yeah this could only be a flub.)

As a side note, look what else I found:

Even though she lost the Eucharist burn, Mina's skeleton shows she still had fangs. Very minor post-mortem Monster Mina rights!

[surgepricing]

RWBY Final Thoughts: Legacy

Very rarely would I ever consider a fandom on its own worth its own section of a Final Thoughts. ... [Basically,] they behave like a cult.

This is a repost of a post I made February 1st, 2024 on another site. At the time, it was the final post of a deep-dive recap of RWBY and the history of the show, its fandom, and its direction under Rooster Teeth.

I felt this out with some of my peers and the feedback I got in relation to posting in on Tumblr was that, well, why not? It was my main haunt to begin with, and I may as well, since Rooster Teeth is closing its doors. I'm posting this mainly as a shot in the dark just to see how it gets received. Only minor edits have been made; I'm sure there's some stuff in here that would make people mad, but that applies to pretty much anything someone could say about RWBY. Click the read more to get a glance at how my time with RWBY ultimately wrapped up.

Nine years ago today, Monty Oum died of an allergic reaction. Today is a day of mourning for fans of his work, including RWBY. There’s no sense in waiting. Let’s finish this and heal.

The Showrunners

Miles and Kerry often received the brunt of the attention when it came to RWBY. As the writers of the show, they bore responsibility for the largest chunk of why it eventually went into the shitter, and fan anger against them was almost certainly not helped by the damn near idolization heaped on them by fervent stans. They are, undoubtedly, the focal point of RWBY fans’ parasocial relationship with the show.

Of course, despite sharing about the same credits space as his partner in crime, Kerry tended to fly under the radar a lot, with it being Miles who received the brunt of the fandom’s fury with each successive volume. It’s not hard to see why; the character Miles voices has been consistently over-exposed and is in many ways an obvious creator’s pet, with denials as to this fact falling on deaf ears as Jaune’s screentime continued to balloon past its merits, whereas the character Kerry voices could just about wrangle an average of ten seconds of screentime every three years. Certainly Miles has been in trouble with fans more often than Kerry for the shit he’s said and done. The Ruby body pillow and the Tifa Lockhart ‘prostitute’ comments come to mind. Oh, and the slurs, that one too.

But perhaps the reason Miles gets so much more flak than Kerry is that Miles just...acts like an asshole a lot of the time. Even aside from above examples, Miles’ flaws come out in his writing: he’s petty, holds grudges, can’t take criticism, and just overall has way more power over the story than someone of his caliber should. He’s very poor at disguising his real feelings and often lets them bleed through, and when he actually decides to voice them on purpose, things get ugly—refer to that Cameo about Ironwood.

But as tempting as it is to treat Miles as an out-of-control cockwaffle on the rampage and Kerry as his sympathetic ineffectual shadow, the reality is that they’re co-writers, have been for ten years, and anything Miles gets away with doing is as much Kerry’s fault as his. If the Gray Haddock situation has taught us anything, it’s that more people tend to harbor blame than the one individual that makes an easy scapegoat.

Since aside from aforementioned n-word business, Miles and Kerry are almost never connected to moral outrage, this makes it easy for the stans to uphold them, since all they really have to defend them from is accusations that they didn’t honor Monty’s “vision” for the series. This is only easy because the stans are fucking insane, but that’s for later on down the page.

“Vision” is in quotes because that’s how fans treat it, we all know they don’t really care. Miles and Kerry’s vision matters, and we know that much because of Calixyn’s interview where she all but begged to be told that RWBY Volume 5 was as bad as it was because the “good bois” had control of the show ripped from them. Nope, turns out all that racism, homophobia, and plain shitty writing is all on them. But at least they’re nice!

(Miles was 26 when he said the n-word. I’m 26 now when writing this. I think it’s pretty fair to call him an asshole.)

But the truth is that it’s objectively stupid to think that the direction of RWBY hasn’t changed since Monty’s passing, it’s impossible for it not to have. There are more writers on board than before, and it’s been a long time since he was alive to contribute his thoughts. The real question is whether they at least tried, and I don’t think they did.

I mean, Shane Newville never names Miles and Kerry in his letter, but he does state several times that the choices made for the show were not only not what Monty wanted, but “straight up just shitting all over what Monty made”. I find it very difficult to believe that that insinuation, and all of the people caught up in the net it casts, wouldn’t include those two. And like it or not, but the person who is able to compile tons of clips and interviews over the years as some sort of seeming immutable proof that “CRWBY” are good-hearted people determined to preserve Monty’s vision, isn’t really looking at any more evidence than the person who’s come to the conclusion, based on what they’ve seen, that that the opposite is true. And they’re certainly looking at less evidence than the people who actually did work there around Monty, Miles, and Kerry. The facts sometimes boil down to ‘if it walks like a duck, talks like a duck, and is implicated in the walls of text like a duck, it’s probably a duck’, guys.

Even in the best case scenario in which the work of Monty Oum turns out to have been treated with dignity and respect (and was just really shittily written from the beginning), the fact remains that Miles and Kerry did not put a quality product into the world. I will be very surprised if either of them manages to get a lead writing position ever again, because once the popularity of RWBY fades, so too will the goodwill they’ve somehow amassed among its fans. RWBY, much like Twilight, is inevitably going to taint the people who were in charge of writing it.

But Miles and Kerry are just two dudes. What exactly is going to happen to those fervent fans who hung on their every word and insisted they were the embodiment of everything pure and innocent? What, exactly, is going to happen to the RWBY fandom that once seemed to be unavoidably populous on the internet?

F, N, D, M

We already went over “constructive criticism” and “worldbuilding”, so let’s add another eternally-misused word to our roster. You know, something I’ve occasionally thought about in terms of online spaces is that no one knows what a “comfort show” is. It’s one of those terms that became too popular almost as soon as it was introduced, to the point that it became meaningless, much like “hyperfixation” and “anxiety”. I see people refer to RWBY as their comfort show and I’m just like...how? A comfort show is supposed to be the show that always puts you in a good headspace, a show you rest easy with because you’ve always connected with it because the love was always there. A comfort show is a show that you watch in your down moments to feel better, not a show you think is just the greatest thing ever, the bees’ knees if you will.

A comfort show is not a show you force yourself to like, it is not a show you defend at all costs, and it is not a show you only still cling to because enjoying it once coincided with a time when you felt popular and among friends. Which, increasingly, seems to have been the case for RWBY fans.

RWBY’s Fandom

Very rarely would I ever consider a fandom on its own worth its own section of a Final Thoughts. But I’m doing it now because the RWBY fandom, though now it’s a shadow of its former self, is still a sizable chunk of people and took a lot longer to die than most other fandoms.

The RWBY fandom itself was an especially big and very online fandom, and the show produced an abnormally large amount of big name fans who continued to use their own influence to push its success and keep its momentum going. As I’ve said before, the RWBY fandom is something that Rooster Teeth were able to extract an excessive amount of praise out of for minimal effort; it simply seems to be in RWBY fans’ nature to speculate and theorize and over-analyze and fill in blanks, and to perceive good writing and animation where there is none. But you know how fandom operates—the bigger its size, the more infamous it becomes.

Long since famed for being especially toxic, those who are in the know consider RWBY fans a different breed, really. They create and move narratives at high speed and act quickly to correct any perceived dissent in the ranks, casting out anyone that feels disillusionment with the product and insisting everything is peachy even as their world crumbles around them. To RWBY fans, the “CRWBY” are always separate from the “problematic” aspects of Rooster Teeth (which is basically the whole company) and it doesn’t matter how many of its flaws get highlighted; RWBY and the people that make it are always great, innocent of any harm done and fantastic, and anyone that dislikes them is a villain—even if those people were at one point part of the “CRWBY” themselves. Loyalty is everything. In other words, they behave like a cult.Those acronyms themselves have always bothered me, and I’ve grown a strong distaste for them. Originally they were just a quirk of the show; a format for team names that spawned the name of the show and eventually stopped being relevant altogether. But RWBY fans are simply unable to not use them. It’s not “the fandom” it’s “the FNDM”. They’re not “the RWBY team” or “the RWBY crew”, they’re “CRWBY”. Even people that the fans are actively trying to shame, shun, and harass don’t get to simply be people—they’re “RWDE” and, when that became an actual community of sorts unto itself, was switched to “HTDM”, short for “hatedom”. They remind me distinctly of code words that get formed and passed around in cult movements, identifying terms that quickly provide boxes to put people in and make it easier to sort loyals from disloyals. “Hatedom” itself is another one of those terms that spread and got so prolific it really doesn’t carry any meaning anymore. Real hatedoms are surprisingly rare, guys. Every fandom that becomes big enough for its respective product to become criticized eventually comes to believe it has a ‘hatedom’ because how could someone dislike something I like so much? But a hatedom on its own arises out of very specific circumstances and environments, and causes the spread of hate for a product based on broad foundations that are often unfair to the product and which creates perceptions that spread faster than the work, so that the work is often talked about in mocking reference rather than true dissatisfaction.

RWBY doesn’t have a hatedom guys, it never did. The Last of Us doesn’t have a hatedom. Fairy Tail didn’t have a hatedom. Blackpink doesn’t have a hatedom. Even Marvel doesn’t have a hatedom.

Paris Hilton had a hatedom. Nickelback had a hatedom. Hell, the website Tumblr itself had a hatedom. These were examples of people or products whose reputations spread too quickly and eventually swallowed rational perception of them, with people who have never experienced them or their work dismissing them and the fans who enjoy it wholesale.

Using the term “hatedom” is understandably common because (and in spite of the fact that) it allows for easy miscategorization. A hatedom is not composed of people that were actually exposed to the work, found it lacking, and expressed that. A hatedom does not occur in the wake of a product that was so bad it pissed off its fans and caused them to walk. People don’t hate Metroid: Other M because they can’t stand the sight of a woman being vulnerable and don’t understand challenging drama, they hate it because it was poorly written, badly designed, and tarnished a long-running and highly cherished gaming heroine’s reputation. People didn’t hate Fifty Shades of Grey because of some bias against women expressing their sexual freedom, they hated it because it was a wildly misogynistic and badly-written piece of dreck. People didn’t hate The Last of Us Part II because of homophobia and transphobia, they hated it because it was a misery fest with a tired moral theme that posited itself far more deep and compelling than it really was. And just because people with the above disingenuous views also hated these things does not discount the fact that the works got the reputations they did because they were getting back the exact amount of love and respect that was put into them.

Similarly, RWBY doesn’t have a hatedom. It does, in fact, have an ex-fandom. Those are also things you don’t see very often, but when you do, they almost always follow the same pattern, don’t they? A work which got wildly popular very quickly, took really deep nosedives afterward, and became disowned by the people that had formerly propped it up.

But that’s a discussion for later. What exactly makes RWBY’s fandom so toxic and cult-like, and why and how did it get that way? I think it’s a combination of several key factors that were baked in and collided badly.

The first was ease of access. RWBY was sold extremely well early on, and shared enough similarities with both anime and video games that it attracted many curious people from those communities. Combine that with vibrant colors, an attractive visual aesthetic, an air of badassery, and good music, and it gained a lot of loyal fans quickly—fans of anime and video games, specifically, being fans that tend to get more attached than to other mediums and are known for spending a lot on merchandise. These, in turn, morphed into nostalgic elements ripe for misremembering—people often have difficulty acknowledging that something they once liked isn’t good anymore even on its own, and I think RWBY fans in particular put way too much energy into the show to be able to admit that all the time they spent defending it (and harassing people who criticized it) was for nothing.

That skyhigh rocket to fame early on, of course, was attached to the reputation of Monty Oum, and once he died, he quickly became a martyr, which galvanized the loyalty of the show’s most toxic fans even further. To this day, talking about Monty at all, even for the right reasons, is seen as disrespectful or distasteful unless you’re trying to use him to prop up Rooster Teeth, a double standard I’ve unfortunately run into even in seeming safe spaces. I think if we’re comparing RWBY fandom to a cult, then Monty Oum and his memory can be compared to a central mythologized figure, the center around which are formed all of the pretty lies the members of the cult will tell you. Monty’s name is irreplaceably tied to RWBY, and as such, in order to defend Monty, its fans have to defend RWBY...and you can see where this leads. Attempting to talk about the mistreatment Monty and his family went through at Rooster Teeth is seen as using his name as a weapon—nevermind the fact that Rooster Teeth and their fans regularly use his name as a shield.

Of course, what this really reveals is that many such people don’t care about Monty, who he was, or who he went through, but rather his name alone. In fact, I’ve straight up seen RWBY stans say that people shouldn’t “take Monty’s name in vain”, as if Monty were in fact some sacred religious figure. It’s both bizarre and harmful.

A third factor was popularity. For a lot of the same reasons as, say, Supernatural, the perception of RWBY skews much more broadly between fan and ex-fan than that of the typical over-hyped show. The truth of the matter is that when a show gets popular, or really any work gets popular, enjoying it becomes a cliquey sort of thing. People that enjoyed being into something well-respected and widely known and basically the hottest trend are far more prone to become overly attached, put too much of themselves into it, and remain unequipped to deal with the fact of that trend’s eventual passing, especially if it’s a fall into disgrace rather than a quiet entrance into history. You can still find certain especially toxic big names from the RWBY fandom active and posting, pretending not to notice that their audience has become smaller and smaller over the years. Let’s face facts here, a lot of people that enjoy being part of the “in” crowd never manage to figure out how to accept losses and will do anything to try and regain lost popularity, or fool themselves into thinking they’re still on top of the world.

But we can reason and explain all day. Another truth of the matter is that it shouldn’t be other people’s problem that fans can’t accept reality and adjust, and that the RWBY fandom quite honestly deserves its reputation as abysmally toxic. The way terminal fans of the show have treated anyone who dissents, most prominently Shane Newville and other ex-employees, let alone other ex-fans of the show, is quite frankly disgusting. RWBY stans are difficult to look at in all of their bewildering, teeth-gnashing toxicity and forgive...so I’m not going to. People that still insist there’s nothing wrong with this show or the company making it are, as far as I’m concerned, beyond help, and are part of the problem. Many an ex-employee certainly thinks so.

In a lot of ways, you could call the fandom one of the driving forces of the show’s failure, mostly because they had an abnormally large amount of influence over the show. Pleasing the fans has always been a major goal of the RWBY team (unless you like characters Miles Luna doesn’t, I guess), but it’s almost disturbing how the Rooster Teeth strategy has been to lead them along and bat their eyelashes at every turn and how the fandom laps it up.

Of course, Rooster Teeth feeds the parasocial engine by engaging with the fans as equals, and I was given a disturbing reminder of how many of the people who worked on the show—the ones who aren’t pissed and digging themselves out of trauma ditches—behave exactly as the fans do, tweeting twenty times a day about their favorite ships and memes. By creating the perception that RWBY’s team is just like the RWBY fanbase and wants the same things they want, they tap that line of excess energy that’s kept this fandom going so long despite how far it’s fallen. It’s that “hey! my friend said my ship is going to be canon and he works on the show” feeling.

Of course, a probable reason as to why so many employees who worked on RWBY behave the way RWBY fans do is because a lot of them started out that way. As in, student hires. This has long been an open secret of Rooster Teeth’s M.O. for a while now, hiring people who look up to them and engage heavily with their content. Many an ex-animator has lambasted this tactic because it’s insidious, and purposely designed to make the incoming staff feel honored and indebted and excited so they won’t notice how they’re being fucked over. Arryn Troche, who made the ‘gays greenlighting volume 10’ tweet, rings up as a particularly eerie example considering they have the same rather-uncommon and unconventionally-spelled name as the voice actor for a ship they’re obviously very attached to. A quick search reveals them to have been a longtime fan and cosplayer for the show before being signed on as a junior animator.

And it is the fandom who ultimately makes the legacy for any given work or body of work. So what is RWBY ultimately going to be remembered for?

Legacy

I thought about it for a little while and found five things that are most likely to be associated with RWBY in the public’s memory after its death. The first should come as no surprise to anyone.

Bumbleby

The only part of RWBY that will likely be carried on by fans who stuck with it until the end is, of course, the only part of it that mattered, to many of them. You’ll know from my earlier recaps that shipping was always a big deal in fandom, but due to key choices (or if you prefer, mistakes) made during Volumes 2 and 3, one ship grew larger and more promoted in fandom circles than any others.

This is a combination of the unique features of the RWBY fandom and their one-track mind. The fans are well-known, as I said, to fill in the blanks in a pattern that best suits their narratives, and this works out with Rooster Teeth because it means that any sudden changes in direction they make will always be excused and praised rather than critically examined. Unsurprisingly, Bumbleby’s fandom, now that their victory has been cemented, have doubled down on their narrative that this was the intended goal from the beginning, despite it being plainly obvious that early RWBY was angling for Sun Wukong as the love interest and threw the occasional bones to Blake/Yang shippers to try and play nice.

This used to be one part of the fandom, of course, but as the show continually bombed with viewers and made more and more decisions that pushed them away, all competitors were slowly filtered out as their fans left, until Bumbleby shippers were the fandom. It’s no coincidence that Blake and Yang suddenly started acting unusually touchy and sentimental in Volume Six, following on the heels of a volume of RWBY so wildly unpopular that it woke up the company execs and forced them to acknowledge that the biggest part of their fanbase was only going to remain loyal in exchange for one thing: their ship.

The sad thing is that you can tell Rooster Teeth wanted to explore other options. Volume Five features a rather sudden shift into Yang and Weiss interactions in what I remain positive to this day was an attempt to sway shippers into a potential second choice while Black Sun was still in the oven, and this really represented one of the major errors of Rooster Teeth, in that they failed to understand the audience they were trying so hard to please.

Bumbleby became what I call a “Big Red Button” ship, and it is only the second of its kind that I’ve seen. The first? Destiel.

Yes, there’s a reason I kept comparing RWBY to Supernatural whenever Blake and Yang’s relationship came up. I admit I wasn’t a part of the Supernatural craze in its heyday and have never really enjoyed the show, but I’ve watched enough of it to connect the dots from what cultural osmosis I had to the eventual downfall we saw in November of 2020.

Both Bumbleby and Destiel were held up as the gay ship that would change everything, the biggest ship in the fandom and the one that would’ve been a major push for LGBT visibility, at least during their heydays. The problem was that its fans were not really that interested in LGBT visibility and were simply obsessed with the ship itself, applying it value as a win for LGBT audiences purely to bolster its perceived importance. Fans like this were not ever going to accept any alternatives regardless of the sexual orientations or gender conventions involved. Hence, the metaphor that is “the big red button”. You have a big red button that says “canon gay ship but not the ship you want” and ask the fans you’re trying to court whether they’d press it or not. Whatever they might say out loud, you know none of them is pressing that fucking button, ever.

Both of these Big Red Button ships became what they were due to showrunners being forced into courting an audience they really didn’t care for, and how could you blame them when both were infamously very, very over-active and annoying in general. Just like with RWBY’s well-intentioned but misguided Freezerburn phase in Volume 5, Supernatural also tried to gently shut down fans who then managed to obliviously ignore any and all hints that their ship was not meant to be endgame, and I can say that because “he’s like a brother to me” in any fandom but Supernatural would’ve been a tactical nuclear strike that sent the shippers packing. Once it failed, the gay bait came out in full force. It’s well known by now that, contrary to what one would imagine, the CW was not pulling a profit off of Supernatural’s minor mainstream success pushed by a cult following, so it’s no wonder they eventually resorted to desperately baiting the one audience that was going to stick it out no matter what, provided they had the right relationship dangled in front of them. RWBY went through the same thing.

The main problem with these two ships is that for all its diehards insisted that it was all about the gay representation, their respective shows teased and baited for so long that the world outside the little bubble these shippers lived in had moved on by the time they came to fruition. Gay visibility in media these days, at least western media, is easily available, to the extent that sometimes people believe homophobia is totally over when it really, really isn’t. If you’re looking for gay representation, you can find it plenty of places, and the first place you look probably isn’t going to be Supernatural or RWBY. So the huge wave of viewers that these shippers expected upon their victories was never going to occur, which might could’ve been avoided if the writers had simply grown a pair and made moves towards canon much sooner than before the shows were on their last legs and due to be scrapped.

Or, you know, just been honest. Diversions and alternatives were never going to work. The only thing that these shippers were ever going to understand was a hard no, a “sorry, this ship isn’t going to happen”. But the execs in charge of these shows were never willing to take a hit like that, so instead they dug their own grave.

And where does that leave the shippers, those people who devoted their whole lives to these fictional characters, only to find the show that bore them into the universe dead in a ditch? Well, nowhere good. Much like Supernatural, RWBY is heavily associated with its booming period, the heavily online portion of these shippers’ lives in the early and mid-2010s when it was all the rage, and yet in modern day, it’s seen as a bad neighborhood to hang in, an abandoned mansion at the corner of the street where awful things happened. These shippers don’t have many friends except each other.

Just like RWBY, Supernatural also exists primarily as an ex-fandom now. Much of its former fanbase remember the good days fondly but make no secret that they stopped following it once the writing tanked, and this left the shippers without many allies to associate with since so many of them had been pissed off with the way their shows ultimately became the Destiel Show and the Bumbleby Show, respectively. Contrary to an unfortunately popular idea, these shows did have actual LGBT fanbases, only a lot of their LGBT fans were not on kool-aid and avoided being sucked into a trap called “if you don’t ship this, you’re homophobic”.

You will find that the Bumbleby fandom are often looked on with disdain by quite a number of viewers of RWBY who have accused them of speaking over minorities, sexual and otherwise. Many fans have noted that, aside from Blake’s bisexuality being a seemingly late addition (Arryn Zech is noted to have cast her as straight when discussing Ilia Amitola’s ill-fated crush on her as late as 2019), Blake was very swiftly removed from all faunus characters who held romantic connotations in favor of Yang, implicitly saying that Blake was better committing to a white human woman than to an ethnic faunus male. There are obvious reasons why this left a bad taste in peoples’ mouths. Not to mention, other LGBT fans that invested in the show were not exactly welcomed with open arms.

Fair Game, or as I tend to call it, Qrowver? Qrow x Clover? Yeah, that was huge in Volume 7’s airing days. It very much experienced a rapid ballooning in fans and fandom love...but we all know how that ended. Many a fan who felt heartbroken and, importantly, betrayed by Clover’s sudden and rather pointless death turned on RWBY and Rooster Teeth and accused them of gaybaiting, which is of course exactly what happened. They received no sympathy from Bumbleby shippers—because of course they wouldn’t. If Rooster Teeth would gaybait with Qrow, a popular male character, that would mean they could potentially be gaybaiting with Blake and Yang, too. That was unacceptable, and so ironically the part of the fandom that had always crowed about the importance of extending a hand to LGBT viewers turned on LGBT viewers, valiantly defending Rooster Teeth as they always had.

And because Bumbleby fans had no room in their hearts for anything about RWBY except Bumbleby, and were hostile to anyone who didn’t ship it, they ended up being their own best friends and everyone else’s bad memories. When RWBY has faded from the public’s memory and is no longer a source of active income at all (so, basically right now), one of the only relics you’ll find of this show will be the two women making out in all the fanart you’ll find on the occasional Tumblr blog.

The Bigotry

You could call this section “the Racism” since that’s the biggest part of it, but we’d be remiss in neglecting the harm done to other minorities as well. We’ll get to them in a minute, but race is the thing that’s going to pop to mind when we talk about one of the other things RWBY left behind in the common memory.

One of the longest-running subplots that RWBY ever went through with was the racism subplot. Its basis is one of the things that so severely dates RWBY: creating an in-universe stand-in for people of color through the existence of people with animal traits was something you would absolutely not get away with after 2020, and even by 2016 was something liable to be seen as tacky. Nonetheless, RWBY openly used the faunus as stand-ins for black Americans and the struggles they faced in a white world.

Except that the company, based in Texas and headed largely by white staff, did not feel the importance of that. What slowly started out as a main character’s attempt to redeem an organization she felt had been driven too far and was no longer her home was slowly transformed into a means by which some incredibly racist people could spout off about what they felt were the real issues to be talked about, which were the condemnation they felt was deserved by activists that turned to violence, labeled, a little too quickly, as terrorists.

The 2010s saw a shift in social values, and much as with gay audiences and gay characters, black audiences and black characters—as well as other racial minorities—were experiencing something of a renaissance, with efforts to put the voices of these people into the public’s feeds. It wasn’t just George Floyd in 2020—the unexpected and frankly traumatic reign of Donald Trump as president of the United States galvanized the divide in America and social awareness became a bigger thing than ever, and since Trump was a flagrantly racist person with racist beliefs who enacted racist policies and was uplifted by racist Americans, people pushed back as they felt their lives and existences being threatened by a racist establishment...an establishment which Rooster Teeth came down on the side of very firmly.

No quarter is given to the fictional stand-ins. Sienna Khan’s policies are never examined in-depth, and the only close looks we get at the sorts of activism the White Fang does are at Adam, who is obviously condemned by the narrative and made into everything but a mustache-twirler, with delusional and frankly baffling beliefs of faunus superiority spelled out at length. No matter what concessions Rooster Teeth might’ve tried to make with Sienna’s beliefs before they stuck a sword in her, the fact of the matter is that their beliefs came through in the voices of Ghira and Blake, who made it very clear that the individual motives and experiences of people like Ilia, Corsac, Fennec, Yuma, and the rest simply don’t matter in the face of what they’d been driven to do by them. The whole ‘blacks can be racist’ tone of the final scenes involved in this subplot are both miles removed from the more cautious and neutral tone of early RWBY, and also just a very alarming red flag overall.

I went over this in my Volume 5 Final Thoughts: the shoddiness of the volume does not lie solely with the animation department. Miles and Kerry are known to have had generally sole control of the show up until Volume 7—but we also know that they didn’t have to, if they were writing anything company execs felt wasn’t to their tastes. The sudden twisting of Adam into a homicidal incel ex-boyfriend, along with his mutation into a faunus supremacist, when he was the face of the faunus movement as a whole, along with Sun’s blatant ill will towards the White Fang when he’d previously been willing to give them a chance on Blake’s word, all imply that Miles and Kerry endorsed the worst possible interpretations of racial activists and felt free to condemn them and place responsibility onto the faunus—and by extension, the real-life minorities they represented—to take a stand against the bad seeds within their causes, and the fact no one stopped them from airing this implies the higher-ups felt the same way.

People didn’t just leave RWBY after Volume 5 because of some really badly animated fights—they left because they’d felt too much of the authors’ racism coming through in the narrative and couldn’t comfortably continue watching. Every member of the faunus that had “bad” views was either killed (Adam, Sienna, Fennec), arrested (Corsac, Yuma), or “redeemed” by choosing to fight the first two (Ilia). All of these combined factors, with no room for charitable interpretations…not a good look.

And once Adam was defeated in Volume 5, and the White Fang reformed, that was the last anyone saw of that subplot, which had taken five years to wrap up and somehow still ended too early. Miles and Kerry had washed their hands of it, and references to Blake’s place in society were sparing from then on. This subplot’s inescapable presence throughout the show, combined with how it was dropped out of existence, left no room for redemption, either. No one was going back and saying “maybe this looks really, really bad”.

And so, that’s what a lot of people carried with them as their final and most relevant memories of RWBY: it’s astounding levels of racism. This is a bitter subject for many an ex-RWBY fan, many of whom aren’t white and, even among those that are, it’s simply inexcusable. Meet someone on social media who talks about RWBY at all, and isn’t one of the Bumbleby stans we’ve already discussed? You will find some mention or other of RWBY’s racist elements somewhere within their sphere. And so, that becomes a part of RWBY’s legacy, as a feature of the show that was simply too big to ignore and too poorly-handled to forgive. People don’t get over this shit, man.

This is of course not to mention the well deserved shitty reputation RWBY has for its other bigoted elements, as well. Bumbleby, as we’ve discussed, encompassed pretty much every RWBY stan left standing by 2020, but that left quite a few ex-fans that were fed up with the company’s obvious ploys when it came to sexuality and gender. Remember when I talked about Qrowver up above? Its ballooning and immediate fall from grace was a much-condensed version of RWBY as a whole, and pretty much featured as Rooster Teeth blowing their last remaining patience from LGBT fans to smithereens. The fact of the matter is that when you get down to it, every RWBY volume after Volume 4 was not a good time to be a minority. If you were gay, the show seemed to either ignore or despise you—between the background gays that warranted mockery, the mixed reception Ilia generated, and the outrage that finally boiled over when Clover bit it, part of RWBY’s legacy is how utterly unpleasant it has been for LGBT fans who expected and deserved better.

And so despite entering the scene in 2013 as a supposedly progressive show all for being led by four women, the show died known as a low-effort half-baked cringefest whose politics were always on display and always several years behind the trend.

The Good Days

Of course, another major part of RWBY’s legacy is the early days when everyone actually liked it. This is, again, something the show creators brought on themselves and something fans assisted with. I did mention the nostalgia for the Good Ol’ Days as a significant part of the RWBY fandom’s more cult-like elements, after all. The fact of the matter is, on some level, everyone knows that RWBY has spent several years going downhill. The ex-fans lament this fact, and the diehard stans insist that it’s all just as good as it used to be, primarily by doing what they do quite a lot, and linking completely coincidental elements back to things characters said or did in previous volumes as some sort of evidence that this has been the plan all along.

I’ve run polls on this matter before; even though I’ve recapped Volumes 1-3 thoroughly and shone lights on some pretty significant flaws, you ask anyone what they think the best volume of RWBY was and they’re gonna tell you Volume 3. Yes, even with all of the stalking incel Adam and the deaths of Penny and Pyrrha. It’s the last time RWBY felt cohesive and even though some obvious derailing was in effect, and Shane Newville has openly said that the behind-the-scenes matters were pretty ugly, it’s still the golden child. Shane’s only one person, and it’d be a while before RWBY scandals would become consistent and begin to overshadow the show as a whole.

The RWBY team themselves have certainly nurtured that very much on purpose. That tactic started with them, of course. Many elements that were either unpopular or predicted to ruffle feathers were stated to have originated in earlier volumes, even in situations where this wouldn’t have made sense or where it’s an obvious lie—such as Maria Calavera. They know full well their seasons post-Volume 3 were unpopular and receiving blowback, and tried to minimize it by linking them to more well-respected seasons. Suffice to say that this simply didn’t work. But it does make people remember those earlier volumes. Because so many ex-fans lost their energy for RWBY after its most active period, much of the hype from the hype era is all that you’ll see when you encounter one. Nostalgia wins out in the end, and at least RWBY can say that, as a show, it had enough of a headstart to leave an impression that lasted in a positive way. Although that’s only one side of the coin...

The Scandals

Let’s face facts here, the biggest part of RWBY’s legacy, period, is that it fucking died. It didn’t die instantly, but rather took hit after hit, blow after blow, and slowly had its image tarnished alongside that of the company, which failed to contain repeated scandals as ex-employee after ex-employee after ex-employee spoke out about the abysmal ways they’d been treated.

RWBY is Rooster Teeth’s biggest IP by far and, really, their only one worth talking about. Every other show was either eclipsed by it or unofficially canceled after bad reception. So when Rooster Teeth suffered the consequences of their actions, so did RWBY. It really can’t be overstated how the last few years of RWBY’s existence have been absolutely bombarded by a barrage of terrible Glassdoor reviews and bombshell exposure letters. Fans managed to stay strong through the first few rumblings of ill will, but after Volume 5 shook the fandom loose, discontent entered enough of the fandom sphere to be normalized, and once that happened, it was all downhill. Once people were actually allowed to talk about not liking Rooster Teeth’s content, they sure as hell weren’t going to be dissuaded from talking about not liking Rooster Teeth as a company or its practices.

Separating the art from the artist is a very difficult thing to do and only really appropriate in certain situations. Don’t fall for any kool-aid, guys, it doesn’t make you more mature or ‘above all the drama’ to actively ignore the damage done to real people in the process of getting fictional content out into the world.

If you’re still able to enjoy the Harry Potter books and look back on the good times they gave you in fondness, then fine. If you actually purchased and played the Hogwarts Legacy game programmed by antisemites and which puts money in the pocket of the transphobic owner of the franchise, then yeah, people will be right to give you shit for it. There’s a difference between quietly enjoying a product in a manner that doesn’t hurt anybody, and actively ignoring the people hurt to make that product while feigning concern. The gap in the fandom widened as the repeated leaks and scandals continuously ate away at the protective bubble around Rooster Teeth and it became clear that whatever fans might bleat, Rooster Teeth wasn’t going to ‘learn their lesson and do better’. The habitual cycle of using whatever recent scandal had occurred to cast disappointment and anger on a particular figure and uplift the rest of “CRWBY” (see also: the Gray Haddock issue) gave diminishing returns as the bombs kept dropping. This is part of why RWBY has such an ex-fandom, because if they aren’t enjoying the product and people were hurt to make it, why stay?

Crunching employees so hard they struggle to sleep and suffer debilitating health issues? Writing the n-word on a white board knowing a black employee will see it? Goading someone into trying to kill themselves? Calling an LGBT employee a slur and then making up a public-friendly nickname in place of that slur just to get away with continuing to call her that? Laying off people without warning or a means of letting them stay afloat until another job is found? Not paying or crediting employees and cultivating an environment where those in charge do what they want and those in the public eye reap all the benefit while those without a consistent spotlight get treated like dirt?

Just some of the things I thought up off the top of my head. There’s plenty more in the details. And you can’t blame Fullscreen, you can’t blame Warner, you can’t just write it off as something that happens at animation studios, because it isn’t. Yeah, the work environment in general for animation studios in America is lacking because, ya know, late-stage capitalism hellscape, but that’s dismissive of the point. Rooster Teeth are a bad company and hurt their employees and lie when called on it. It’s impossible to separate RWBY from Rooster Teeth (despite stubborn stans’ best attempts, which themselves have been called out by these same ex-employees) and because of that, RWBY’s legacy is one of corporate abuse and utterly vile behavior towards people that just wanted to make something cool.

People have refused to associate with the show over these things and honestly, they’re right to. RWBY’s ultimate legacy, if we’re honest, is the show that became a shadow of its former self, still trying to dazzle with reminders of its former glory and promises of gay relationships, all while trying to squeeze money out of both the employees who made it and the fans who upheld it. It’s the show that cost hundreds of people their physical and mental health and didn’t even have anything to show for it at the end of the day. It will live on in history as the most bitter of pills to swallow, that something you once liked and wanted to succeed can and will be ruthlessly twisted for profit margins and might actively hate you on the side. And speaking of…

Monty Oum

The biggest travesty of RWBY’s legacy is that Monty Oum is ultimately only the smallest part of it. He’s there, but barely—he’s a name in the credits that quite frankly is only there to keep up the facade of loyalty, when the show had stopped being Monty’s show before he even died and by now can be safely said to resemble nothing he would’ve made.

It’s a shame that for all that Monty was held up as a genius of his craft and a genuinely good man who inspired so many people, all he’s going to be remembered for is...this. A show people only attach his name to in an effort to insist it’s actually worth sticking by. Yes, Monty did other things, had other works, but none of them ever achieved even a fraction of the fame and respect that RWBY had from its first baby steps in 2013.

Maybe this could’ve been avoided if the real carriers of Monty’s legacy—Sheena, his wife, and Shane, his pupil—hadn’t been cast off as they had.

Shane seems to have found a new life and is working with Dillon Gu on animation, but I think we’ve all noticed his name hasn’t gone mainstream yet. I’ve tried to get in touch with him; from what I’ve gleaned, I frankly just advise leaving him alone. He wants to move on and I don’t think the RWBY fandom, which was so awful to him for telling the truth, is ever going to be a place he can feel welcome.

Sheena has mostly been quiet and done her own thing, cosplaying and watching anime and hopefully enjoying herself, although I notice posts on her Twitter feed from last year calling for a New Deal in the animation sector and castigating corporate abuses.

She also plays Hades, a much better product than RWBY with more love put into it and much better LGBT representation, which means her taste is excellent. She has a site now that you can go to, and the about section doesn’t mention Monty, her late husband, at all, for obvious reasons: Sheena doesn’t want to be connected to RWBY. Though, there is something there that’s noteworthy, in the last paragraph:

Still desiring a social element to her career, the animator turned professional cosplayer also has a history in the live stream world. Past broadcasts have included creating costume pieces, playing games with community members and subscribers, RPGs and more. No matter the project, peers or problem, Sheena strives to keep moving forward.

That powerful phrase we all associate with Monty.

It’s a shame that this show had to be Monty’s legacy, and that years off from now, his name isn’t going to mean anything to the public because the project he was passionate about and died making outlived him and his passion. It feels like his legacy was stolen, and his own part in the show’s legacy is held up purely as a pedestal on which the show should rightfully shine.

Every time I think about Monty, I think about how much I don’t want that to be me. For all the years I’ve spent here, with my graphics certifications being wasted since I earned them while I slave away in retail, I wonder if I’m the lucky one. If I were to enter the workforce and do what I loved, would it be worth it in the end? Would what happened to Monty and Sheena and Shane happen to me? Not sure I wanna know.

Snipped here.

[chthonicgodling]

AN ELYSIUM DRAMA UPDATE!

via clip show✨ HEY! Did you miss one??! THE PREVIOUS UPDATE, HERE, IS SOOO IMPORTANT!!

starring: Neo & Raz! Maci & ELoki & Tory! And cameos by Celos & Pyralis, and even Skio!!

phew!!!

ha ha AHH I’m still playing really fast catch up on Elysium shenanigan updates before this baby is here!! HIII THE TAKI FUEGO BABY IS TECHNICALLY DUE ANY DAY NOWWWWW!! but I’ve been nerfed by my own brain so hopefully I can get back to the modern day before he’s actually here cause fgkfkfkg I’m dragging along artwise—

WELL! Rewinding back to June again!

After the DRAGON REVEAL🐉🐉🐉 about their SON (AGAIN, THAT UPDATE IS HERE LOL) and now that EeL’s back and situated nicely, it finally came time to tell the baby’s OTHER halfsibling pod about what was going on. Maci assembled a gathering of her and Tory’s kids (sans Chal/Eisa/Myra who were. all busy) for a formal announcement at long last! Amongst their two oldest - Raz is THRILLED! Dragon baby that’s so cool?!?!?! And Neo is—

😶🙃🙃 Ummm Neo issssssss….

Though Neo has no grudge against Loki *specifically,* she WAS there, at the age of 8, when Loki had Eisa and Einmyria with Tory a decade ago and thus bore witness to the explosive drama triggered at the time BECAUUUSE OF LOKI’S INVOLVEMENT. And!! Everyone knows he and Maci usually hate each other so!! What the Fuck is going on?!!! What sort of scheme is this?? WHAT’S HIS ULTERIOR MOTIVE?!!!!! NEO’S ONTO HIM AND NOT GONNA LET HIM GET AWAY WITH THIS—

(Idk how much of this I’ll really get to draw since my time is RUNNING OUT but) Tory at least did clock Neo’s DEATH GLARE OF SUSPICIOUS IRRITATION and has talked her through her worries (though Neo refuses to admit they’re worries. SHE doesn’t worry 😒…she said while actively worrying. It is quite unlike her!) and at this point in time PLUS a mental deep dive interrogated out of Ty and Bel to assuage her concerns Neo… has tentatively moved on…. But she’s Watching Him.

🤨 hmm.

Well!! The next formal Elysium Drama Update is already drawn but I have to see if I can fit something in the middle of it 🫢 MAYBE, mood & time willing! But… in the meantime here’s some choice clips grabbed from this much longer Canon Convo….Raz nd Neo both have such good faces in here ffkfk

Raz and Tory and all their orange dialogue together is aaallll @fenixethekid (Raz moments are sooo rare and this was SO GOOD) - I’ve got all these other wackos and all dialogue in pink and greeen!

[leahnardo-da-veggie]

My OCs Majour Historical Figures

Part 3 of my world building posts! I'm gonna arrange these guys in order of their importance to the Plot™, and how much I dote on them.

So, without further ado,

The Godhuntress, Ina

She's literally my PFP :)

Lived: 2000-4050AC

Height: 3.5m (11'6 for Americans)

Pronouns: She/Her

Race: Angel of Nature (her halo is just flowers)

Was completely loyal to the Gods until her husband got killed for abandoning his post to pluck some flowers for her

Then she went completely apeshit and genocided the gods

Possessed a secret Voidic ritual to drain magic from others, which gave her the power to defeat the Gods

Killed her daughter, Isobel, in a fit of rage after Iz tried to stop her from killing the last goddess, the Goddess of Dreams, who was just a child

Massacred the Fae, elves, and forest spirits

Jumped into the Void out of grief when she realised she had become a monster like the gods (see it here)

Speaks like she came out of the bible

Basically the biggest deity in modern Triworld

Been living rent free in my head since I was 6

2. The Spirit Emperor, Hans-el

Obsessive midgeted psycho

Lived: 3595- AC

Height: 130cm/4'3 (145/4'9 in his high shoes)

Pronouns: He/Him (caps included)

Race: Forest Spirit

Has an everlasting grudge against Ina for killing his best friend, the Goddess of Dreams, in front of him

Knows her power ritual because he saw her do it, and used it to gain enough power to become Emperor for vengeance

After she died, he set all the souls of the gods free for the heck of it

Like Ina, is power-corrupt and evil. Unlike her, he doesn't give a shit about it

Bastard has his little fingers in every bit of the Plot™

No seriously, if the story's set after Ina, it's events are probably his fault

You'll find him cameoing as either Hans or just 'the spirit'

Will murder you if you call him short (he is, even by spirit standards)

Inexplicably in love with Hash

3. Hash Brown

Nobody knows her real name

Lived: 1998- AC

Height: ? (145/4'9 in his favourite form)

Pronouns: she/he (and never it)

Race: Shapeshifter

Possibly the oldest being alive in Modern Triworld, not that she'd let anyone know it

Wears an elf body because that's what she pretended to be during the Runic Wars

Goes by Hash Brown because the Lich-Queen said it would be cool, and he's possibly forgotten his own name by this point

Actually pretty smart but pretends to be a ditz

Pathological trickster who feels bad getting people in trouble

Moved into Hans' castle one day, became his partner in crime (and everything else) and never left

Feels bad for deserting his people during the Ruinic War (cos he couldn't accept genociding humanity) and as such looks after the remaining shapeshifters

Drinking buddies with the Luxatian Exorcists, who all actually believe she's an elf

Fakes an incredibly strong Paliodaen accent

Secretly, deep within his heart, a good person

4. The Lich-Queen, Iraela Foundling

Cracker of bad quips

Lived: 2800-4003

Height: 165cm/5'5

Race: Human turned Lich

Found in the End of the World along with her sister, Ramaeria, and brought into Ceredellian Royal society

She showed no powers so she stayed hidden away while her sister, an Oracle, danced with nobles

Met and fell in love with a minor duke

When she discovered she was a necromancer of epic proportions, she tore Ceredell apart and remade it into the Deadlands

Has a god-awful inferiority complex and deep rooted jealousy

Still somehow trying to live up to her dead sister's image

Cannot stop cracking jokes at the worst possible timing

Thought it was funny to tell a young shifter to name himself Hashbrown

Main proponent of the Ruinic War, because she hates humanity (she doesn't want to be reminded that she was one)

Bonus: Luna Iverius Delacroix, Mind-mage

Absolute tech boomer

Age: 6012-

Height: 150cm

Race: Human

Actually pretty important to the Plot™

Main character syndrome in every meaning of the word

Make-up fiend

Ran away from home at age 11 and made herself a cult of personality

Cannot drive, cook, use a phone or take care of herself

Insanely lazy, but skilled enough at magic to make up for it

Does not know the meaning of playing fair

Neither booksmart nor streetsmart, but a secret third option (not smart)

By the way, all the images were made on picrew.me ! Go check it out, it's super fun to play with!

[bird-inacage]

I was thinking about Sand and Top, and why Sand is hanging on so hard to the past, and what that might say about Sand (and Boeing). One thing I've seen floating around is that the way Sand fixates on Top having "stolen" his ex could indicate some ugly things about Sand re: possessiveness, maybe a controlling nature in relationships, like Boeing is some kind of prize to be won. And that could mean that Boeing leaving him for Top might be less about Top and more about not getting what he wanted from Sand. Alternately, it could be that Sand blames Top because it's easier to do than to acknowledge Boeing's fault in the decision, because it feeds into Sand's fears of inadequacy because of his poverty and the ways his circumstances (time and obligations) restrict what he's able to offer in a relationship. Which might mean Sand hasn't really gotten over Boeing because he's idealised him and blamed everything on Top. Which could be fun if Boeing comes back! Another fun thing I've been thinking about is the Checkov's Gun of whoever Sand's father turns out to be. If it's Top's dad, well, that would play in really nicely to Sand's inadequacy issues with Top - my brother who has the things that I should also have a right to has used those things (status, wealth, freedom) to steal away someone I loved. And on Top's side of things: did he love Boeing? Did he just pursue Boeing because he could and then get bored later? I'd personally love it if Boeing was seduced because Top was pursuing him and it was interesting and fun and exciting but then Boeing left Top because he was bored and unsatisfied in the actual relationship and said some choice words about Sand being better on the way out. Let me have Top with a chip on his shoulder about Sand! That would be delicious! Anyway, I trust Jojo to deliver some tasty spicy drama on this front. What would you like to see out of this plotline?

Hey Anon! :)

I'd almost forgotten about that little clue we'd been dropped a few episodes ago. For the sake of contextualising this for anyone else, I'm assuming you're referring to the little model airplane that Top had in his hotel apartment with the letter 'B' on it (as below)?

I haven't personally read any theories on 'Boenig' (aka whoever gave Top that airplane) being the same person as Sand's ex. In regards to the whole Sand VS Top dynamic, there have been very little concrete clues given to us so far. I try to make predictions based largely on what we've been shown and what I understand of these characters at this current point in the series. So for that reason I'll just discuss my thoughts on Sand's ex.

One thing I will definitely agree on is there's more to this story. Episode 6 confirmed that for me. In order for Sand to be so driven to seek revenge on Top, that he would disregard and risk how Ray may respond, said to me that this grudge runs truly deep.

For Sand to be so disgusted makes me think that either Sand's ex was a very important person in his life (a la Mew for Ray), or the way in which Top seduced or caught his ex's eye was really vile and underhanded.

Due to the fact that Sand's ex is no longer associated with Top meant that it either wasn't serious (maybe they both screwed Sand over), or it didn't work out. However the way Top behaves with Mew suggests that's the first attempted "serious" relationship he's tried to have. So the former may be more likely.

The interesting thing for me though is that Sand and Top clearly look like people who operate in different circles. So Sand's taste in romantic partners I imagine differs quite significantly from Top's. What is it about Sand's ex that would have caught Top's eye in the first place?

I also can't get this out of my mind:

When Sand said this, he looked like he was thinking of a specific memory, very likely the whole debacle with his ex.

Something you did mention, which I thought would be really interesting, is for Sand's ex to return. The cast have been alluding to a special cameo by a familiar face. But especially if they were returning in an attempt to patch things up with Sand and rekindle. Because that would also provide a great source of conflict for Ray/Sand.

As soon as Ray sees Sand possibly being 'taken away' from him, he'll realise how important Sand is. Which would align with the below scene and make sense with Ray's personality. He doesn't want Sand when Sand wants him, but as soon as Sand may be swayed, Ray does want him. Again, classic brat temperament.

In regards to Sand and Top being related - I'm not a huge fan of that theory. I don't see what purpose or additional depth it would add to either of their characters or story arcs in terms of writing.

The 'who is B (aka Boeing)' question is still very much at large for me. I can see why people may think B is Sand's ex, but I'm not convinced Top would keep a memento from someone he "conquered" and "won" from someone else. That doesn't suggest a relationship that has particularly sentimental meaning attached to it.

But thank you for reminding me about the B mystery. There is definitely more to come...

---birdie