#i never thought i needed it but to see people acknowledge robin as major fighter (killer) alongside zoro give me so much joy :3

[cienie-isengardu]

That’s Pirate Hunter Zoro, his bounty is 1.111 billion. See how calm he is? He knows you’re in range for him to end you in an instant... The same goes for Devil Child Nico Robin back there.

[opbackgrounds]

Alright, friends, you know the drill by now. Here’s Part III of Sarcasticles’ overblown thoughts on sexism in One Piece. If you haven’t already, go read Part I and Part II before proceeding. 

I promise after this I’ll be done. By hook or by crook, we’re getting through the point of the original question. To the Anon who originally sent the ask, sorry it took this long to get here, I hope it’s helpful.

Also, I allude to some very, very minor Wano spoilers, so if you’re sensitive to that sort of thing here’s your warning. 

Characterization? I Don’t Know Her

What makes a good character?

I’ve spent an awful lot of time talking about character designs, when, funnily enough, it’s one of the aspects I pay the least attention to when it comes to deciding if I like how an author portrays their characters. I personally don’t care for fanservice, never have and never will. But unless it’s particularly egregious, I tend to ignore it because there are other factors I think are more important. 

The secret sauce for building characters is hard to define, because a good writer can take a concept that has no right being any good and turn it into something incredible (Oda does this all the time) where bad writers will seemingly slot all the right information in the right holes and still have their characters come out of the developmental oven flat and under cooked. 

One of the biggest buzzwords floating around these days is agency. Is a character active in their own story, or are they jerked around by the needs of the plot? Is their voice heard? Is their voice unique, or do they blend in with the background?

This is particularly important, because the term Strong Female Protagonist has been warped into shorthand for “girl who fights a lot and looks pretty doing it”. You can have a girl strong enough to lift mountains and still have her be a shit character. You can write a girl who’s main motivation is to get married and have babies with phenomenal depth. What matters is execution. 

The Petition to Call A Group of Rescue Arcs a ‘Damsel’

Both Nami and Robin had to be rescued, their main arcs bearing similarities that are impossible to ignore. But these aren’t copies of one another as much as variations on a theme, and with the existence of Marineford and Whole Cake Island I think anyone would be hard-pressed to say that One Piece’s rescue arcs are a girl’s thing. At this point it’s a feature, not a bug. 

Which makes sense given how fundamental the idea freedom is to the series. Hell, the first thing Luffy does after becoming a pirate is free Coby from Alvida’s tyrannical reign. Then he frees Zoro from an unjust authority that would have killed him had Luffy not intervened.

Notice a pattern here? 

One Piece is written like Pachelbel Canon, in that a very simple core of ideas are repeated over and over with layers of complexity and nuance added over time, examining the same themes from every possible angle. 

And when you look at the Four Big Rescue Arcs -- Nami, Robin, Ace, Sanji -- you’ll see that it’s Ace who’s given the least agency throughout his arc. Nami chose to hijack the Going Merry, repeatedly chose to push away the Straw Hats until she reached her breaking point, at which she chose to ask for help, with Luffy only intervening once she does. 

Robin is a little less obvious, but during the post-Water 7 party chapters, Aokiji makes the interesting observation that Robin could have escaped CP9, but chose not to

Remember that before Robin’s backstory was shown, Luffy specifically said he didn’t care if she wanted to die or not, so long as she was with the Straw Hats when she made her decision. No one bullied her into “I wanna live”. It was a choice she made of her own volition after realizing the depths the Straw Hats would go on her behalf.

I know there are people who disagree with me, but Nami and Robin are well-written characters. I’ve expounded enough on my reasoning both here and on my main that I don’t want to spend the time belaboring the point. What I do want is to note that Luffy wouldn’t be able to attain his dreams without them. Nami keeps them on course while also severing as a sort of moral compass for the crew -- remember she was the one who insisted on saving the giant kids at Punk Hazard -- while Robin’s ability to read the poneglyphs is what’s going to get the crew to Raftel.

Robin admittedly doesn’t have the same presence within the Straw Hat Pirates as Nami, but I would hardly call that sexism. Since Water 7/Enies Lobby she’s been pretty content to go with whatever Luffy says, and the fact that she’s literally quieter than anyone else in the crew means she doesn’t get as much focus. I think there could be more scenes with her using her specific skill set, like her investigations in Wano and the forensic anthropology scene in the pre-Jaya chapters, but I’m okay with her being a supporting character. 

The East Blue Crew have consistently gotten the most focus of any of the Straw Hats. They are the core of the crew, something Oda admits in a roundabout way in the Color Walk where they all appear together for the first time in a color spread

With the main cast as large as it is, not everyone is going to have the same amount of focus or development. Robin is given a unique voice within the story because she doesn’t overreact the way literally everyone else does. Through her silence, she stands out. I find there to be very meaningful character development when she feels comfortable enough with the Straw Hats to start calling them by name in Thriller Bark, relaxed enough with her friends to comitt her first facefaults in a series lousy with them in both Dressrosa and Wano.

In an ideal world, Oda would better rotate through his cast, much like how Brook was the unsung MVP on Whole Cake Island (where Nami was also excellent in a supporting role) but I don’t think people realize how hard it is to juggle almost a dozen different people in a story that’s bloated exponentially over time. To his credit, Oda has handled his expanding crew better than most writers. 

I also find it hard to judge this aspect of the series because the manga’s not done yet. I don’t know how Robin and Nami will be used in the future. I mean, Robin never got a chapter title declaring her “The Seventh” which I find suspicious, so Oda could very well have events in store that completely turn our perceptions upside down. It’s impossible to say.

I will acknowledge that the lack of big fights is somewhat disappointing, but neither Robin nor Nami’s dreams revolve around them getting stronger. Robin doesn’t need to use her power to make people explode from the inside out, Nami doesn’t need to fry end-game bosses with her lightning stick. That’s simply not their narrative purpose. With the exception of Tashigi, I’ve found that the female characters advertised as fighters have lived up to their billing. Hancock came out of Marineford unscathed. Carrot’s sulong form was awesome, in the old-fashioned sense of the word. The whole climax of Whole Cake Island revolved around surviving Big Mom’s wrath. Not beating her, not fighting her, it took all the Straw Hats had to just survive. Once again you’re left with a number’s game where where there just aren’t enough female characters to even pretend things are balanced.

All said, I think if you’re going to complain about the lack of Robin fights then I think you also have to complain about the lack of Brook fights, and that’s just not something you hear about, especially after Whole Cake Island. You can’t have it both ways. Either there needs to be more even distribution of major fights throughout the entire crew, or you have to acknowledge that a character’s worth isn’t dependent on their fighting prowess. 

One Piece is a battle manga, and I do think that it’s fair to criticize when a character isn’t allowed to fight when they’re perfectly capable of kicking ass. But it’s also an adventure story, and that opens up entirely new space for a character to occupy, and that’s where I think Nami and Robin (but especially Nami) really shine

That Moment You Realize Humor Isn’t A Universal Language

I’ve spent so much time defending Oda’s designs and characters that it might seem like I’m perfectly okay with everything that’s portrayed in the manga. To be clear, I’m not. If the messages and comments I’ve gotten over the past several days have taught me anything, it’s that many fans share the same sticking points I do, namely in regards to some of the gags. 

I again want to be careful here, because I’m hardly an expert on Japanese culture and it’s really hard to tell if Oda writes his jokes because he thinks they’re funny, or if he thinks his audience will find them funny. I’m again going to default to somewhere in the middle, because if Oda truly found the perviness distasteful he probably wouldn’t have included it, and I’ve read enough SBS to know the guy likes his dick jokes. 

First and foremost, one must address the culture gap. Japan ranks last among G7 nations on gender equality, In 2004 two-thirds of Tokyo women in their 20-30s reported to being groped while on public transport. There are numerous barriers that make it difficult for a woman to succeed either in the workplace or politics. 

From what I can gather, some of these trends are reversing, albeit slowly and with great resistance. Contrary to what many people seem to believe culture is not always value neutral. And I say that as an American, recognizing there are plenty of things about my culture and country that are really fucked up. 

But who gets to decide who’s right and who’s wrong?

When inside that kind of environment, that kind of culture, it’s a lot easier to understand how a character like Sanji can exist. It’s easy to understand why Momo shoving his face into Nami and Robin’s boobs might be played for laughs. It’s not an excuse, but an explanation. And with Sanji failing more often than not, being the butt of his own joke as he slowly turns into a parody of what he once was, one could almost say Oda is pointing those types of people and saying, “Look how pathetic this guy is. Now go laugh as he gets a nosebleed so bad he needs multiple blood transfusions in order to not die.”

I say almost, because Sanji is never condemned for his actions, nor does he learn from them. Instead you have this character who’s supposed to be one of the kindest characters in the series decide to immediately go peep on a woman’s bath house after gaining the power of invisibility. 

Stay classy, Oda.

As distasteful as I find it, I don’t find fanservice to be an inherently evil thing that must be eradicated at all costs, and with Oda doing things like putting his entire cast, male and female, into skintight leathers you can hardly say that he’s excluding the men. 

Everyone will have their line in the sand, and mine goes back to agency. When Nami did her Happiness Punch way back in Alabasta, that was of her own volition. When Nami and Robin dress in clothes that show everything but the nipple, that’s something they chose and feel comfortable in. 

But when Smoker and Tashigi swapped bodies at Punk Hazard, Tashigi specifically asked Smoker not to strip, and he did anyway, opening her coat and removing her bra. This is especially egregious as Tashigi is one of the very few women in the series who is always shown wearing very conservative clothing. Oda specifically showed Tashigi getting upset at Smoker’s actions, and Smoker repeatedly refusing to listen to her.   

That’s where I draw my line. 

Some Final Thoughts I Couldn’t Fit Anywhere Else 

Thought The First--Oda has an interesting habit of turning his most despicable, scummy pieces of flaming human garbage into the butt of the joke. Villains like Crocodile and Doflamingo are certainly evil, but it’s the idealized, cool type of evil that makes you almost admire them. There aren’t very many real-world Crocodiles, but just about everyone knows a Spandam, or an Absalom, or a Vander Decken. These kinds of villains aren’t scary because of their physical prowess, but their unyielding obsessions and the power they’re able to wring from the system, and -- surprise, surprise -- all three are either actively trying to be creepy sex pests or coded as such with the visual language of the comic.   

And Oda turns them into a mockery. 

While there are some who feel like not treating serious issues like sexual assault seriously are doing a disservice to people who have endured similar experiences I think there’s merit to turning them into a laughingstock. As someone much smarter than me said once, if an opinion cannot withstand mockery it’s revealed to be ridiculous, and these scummy-scum villains are certainly ridiculous.

Thought The Second--It’s hard to say how much sexism is a thing in-universe. Kuina is the only one who is explicitly told her dreams were impossible because of her gender, but with the recent reveal confirming that her family came from Wano, which in turn is based on Feudal Japan, it’s hard to say how widespread these beliefs are. Tashigi brought it up again at Loguetown and Bellemere specifically told her girls that they lived in an era where “girls needed to be strong, too”, but otherwise it’s not a topic that’s been explored in any depth

Thought The Third--The in-universe fetishization of mermaids has some implications that I think are unintended but worth discussing. Shirahoshi has a reputation of being one of the most beautiful women in the world despite not leaving her tower for over 10 years (she’s 16). Mermaids whose tails have split are worth less on the slave market than those whose are intact. Even Zoro erased Kokoro from his memory after meeting the more attractive Caime. It’s one of those odd things that when combined with the more obvious racism themes could have some unfortunate implications, and I think could have been avoided had Oda show a little more restraint with some of his jokes. Unintended consequences are still consequences. 

Thought The Forth--There are many other instances throughout the series that people bring up with talking about sexism in One Piece. I feel like a lot of these can be explained away individually -- for example, both Belo Betty and Rebecca’s stripperific outfits were inspired by other media, the painting Liberty of the People and Red Sonja respectively; Lola chasing after an obviously abusive man makes a whole lot more sense when you meet Big Mom; Hancock’s love sickness could be seen as an emotionally stunted woman experiencing her first crush, etc., etc -- it’s when they’re all put together that they begin to read as “Problematic”. 

It would be impossible to go over all these individually, but I tend to fall on the side of leniency. In the end, everyone has to make their own decisions based on their own values. I’m hardly unbiased, and my enjoyment for the series will undoubtedly make me look the other way when another might call the exact same incident The Worst Thing Ever. The thing is, opinions are like assholes, everyone has one and most are convinced that theirs don’t stink. I include myself in that statement. In the end it’s a comic for kids. It’s supposed to be fun. 

Thought The Last--I have spent entirely too much of my time writing this up, but in the end I guess I have to go back to what I said when I talked about my thoughts on Sanji: Everyone has their own personal line of acceptable bullshit, and for me Oda does more good than bad. Sanji specifically gets very little leniency from me because I don’t like a lot of the gross behavior Oda passes over as a joke. But the female characters themselves, generally speaking? They’re fine. There are other mangaka that have more equal male to female ratios or have women play more active roles in the story, but Oda does a lot better than most other shonen titles I’ve read. 

It’s okay to be critical of media you enjoy. It’s okay to complain. But remember that One Piece is a very long series, and there are some fans who have been a round for literally decades. I myself started reading weekly around the time Duval was introduced, way back in 2008. Every time a new batch of fans comes in the same old arguments get stirred to the top of the pot: Sanji is a creep, Oda can’t draw women, why doesn’t Robin ever get to fight?

It can be exhausting to go through the same hoops time and time again. So if you’re someone who is being critical and feel like no one is listening, or that a bunch of fans are going out of their way to defend Oda, that could be one of the reasons why. They’re tired of having a series they enjoy be shit on. 

There are other fans who legitimately don’t think that Oda’s done anything wrong, that jokes are just jokes. If you happen to fall in that category, remember that not everyone feels that way. Art reflects life, which in turn reflects art. One Piece is a few million copies away from outselling Batman. To say it isn’t influential to young readers, both in Japan and abroad, is beyond asinine. 

I thank everyone who’s taken the time to read this so far. I’ve been pleasantly surprised by how civil the discussion and my inbox as stayed. Even if I didn’t respond to your message, I promise that I did read it. 

I wrote as much as I did because I know this is a topic a lot of people care about, and also so I hopefully don’t have to write about it again. A lot of hours has gone into this project, and it’s been exhausting, but in a good way, if that makes any sense. I’m ready to put it to rest. 

I was joking with some friends that I think I’ve hit just about every hot topic issue now, so hopefully I can go back to fun questions like speculating if Wapol can eat a person and poop out a devil fruit. 

Until then, Sarcasticles, out         

[itsclydebitches]

RWBY Recaps: “A New Approach”

A friend of mine has a van that she calls the Fun Bus. Oh that’s cute, I thought. I should chuck that into a recap sometime. “All aboard the RWBY Fun Bus!” Except my fun levels are ehhh right now, so how about we just don’t.

In fact, let’s be totally up front about things and get the major positives out of the way:

The animation this volume is absolutely stunning holy shit

I would once again die for James Ironwood. All hail the Hug King

Excellent introduction for Tyrian and Watts. I love feeling like the villains are actually dangerous again

The rest? I’ve got some things to say.

We open on Ruby looking appropriately downtrodden over their circumstances. Getting carted off in an Atlas police craft and all that. We get a pan across each side of the airship with the group looking angry (Yang) or defeated (everyone else)... with the exception of Nora, who is trying to eat through her bonds. I’m well aware that I’m nit-picking at this point, but for once I’d like the serious moments to remain serious in this show. Given her reaction to Salem, Kuroyuri, etc. we’re all well aware by now that Nora is more than just the comic relief. Undermining the others’ reactions with her making dog noises was an early cue that the writers weren’t going to treat the group’s arrest earnestly. To say nothing of the disservice it does to her character. 

Actually, there were a lot of coincidental dog references in this scene. Nora’s growling. Referring to the Ace-Ops as Ironwood’s “personal attack dogs.” Deducing that he must have a “bone to pick” with them. Obviously this all means precisely nothing. What I want it to mean is that Zwei will arrive in another package courtesy of Tai, wondering how his kids are doing after one ran off and the other went to find her.

(Seriously though, does everyone remember Volume Five’s ending with Raven? Heaven only knows when that will become relevant again.)

While Nora continues to try and eat metal like a rabid animal, Jaune expresses disbelief that the Ace-Ops “took us out like it was nothing.” Honestly, it never ceases to amaze me how often the group is surprised by other people being stronger than them. Like they’re not the youngest and least trained in a world of professional huntsmen. Rather than acknowledging their need for improvement though---callback to Ruby’s “But we already know how to fight” anyone?---Weiss frames it as an exceptionalism intrinsic to her city. “Welcome to Atlas.” You know, the same city she quickly agreed to steal from and then draw the attention of the guards by giving a racist civilian what-for. The speed with which the show flip-flops between ‘We should fear this city’ and ‘But we shouldn’t take any actual precautions’ is pretty impressive.

All of which is made weirder by Weiss’ next line to the other prisoner locked up with them: “They’re not that big of a deal.” So... which is it, Weiss? Are the Ace-Ops Ironwood’s elites who can obviously take out a group of nine in seconds flat? Or are they worth scoffing and rolling your eyes at? Because you had a rather different opinion literally seconds ago. She does the same thing when the prisoner uses the term “tyranny” to describe the situation in Mantle. She claims now that the label is a “bit much” when before the whole group decided not to approach Ironwood precisely because of how tyrannical he appeared. I swear, good chunks of the dialogue just functions as openings for the plot---let the random prisoner explain all the horrors of this city!---rather than something the character in question would actually say.

But I’m harping. We learn a bit more about Hill and her “Happy Huntresses,” clearly a parallel to Robin Hood and his band of Merry Men. I was actually surprised to learn that she’s a full-on freedom fighter, just based on her posters last episode. The number of them and their professional look felt more like Atlas’ brand of propaganda. Big brother sister is watching you and all that. Then again, we also learn that Hill is gunning for a seat on the council, so it sounds like she’s not an ally of Ironwood’s plotting betrayal, and not a radical entirely removed from him either. We’ll have to wait and see precisely where she falls in this divide between Atlas and Mantle.

That fight is treated rather cheaply by the writing though. In this episode at least. Despite providing numerous looks at how horrible things are for the citizens here, this prisoner, currently representing that fight against the elite, is depicted as an absolute buffoon. He’s not engaging in an important, glorious battle for human rights. He just chucked a brick at an airship. He’s over the top, overly passionate, crazed enough that the group is looking away as he desperately tries to convince the guards up front that these things are important. The thing is? He’s right. But the writing doesn’t encourage us to treat his cause with respect, not when he’s bouncing off the walls and yelling like a conspiracy theorist. Actually, that’s the best comparison I can think of here. It’s like if someone laying out 100% real issues with climate change were written like a crack-pot loner who believes in aliens. That’s this guy.

We’re shown again that literally everyone recognizes Weiss Schnee---does no one else in all of Remnant have white hair?---before Jaune and a few others get distracted by how pretty the view is outside. Qrow commented earlier that they were no doubt going to jail.

Spoiler! It’s not jail.

It’s Atlas Academy, animated in a truly stunning design that reminds me of Weiss’ trip to the CTV tower to contact her dad. Looking back, that skyscraper-esque building probably made her anxious for reasons outside of just the call.

“I guess we will be seeing the General,” Ruby says because yeah, why would we have the group experiencing one iota of punishment before being handed the solution to their current predicament? 

Look, anyone who follows these recaps is well aware of my feelings towards the airship debacle. I said last week that I wanted the writing to treat the group’s horrific mistakes and criminal activities seriously, but I wasn’t overly hopeful. I was right not to be. From now until the conversation about Salem, the ‘protagonists can do no wrong’ mindset that drove Volume Six is pulled out again in full force.

First, Winter sees the group in handcuffs and responds with, “You have ten seconds to take those off before I start hurting you.” Which is completely out of character to me. Does Winter adore Weiss? Without a doubt. But Winter is also a stickler for protocol and rules. This is the women who threatened to remove Qrow’s tongue over a few vague, anti-Atlas statements. She is all about devotion to her Kingdom. So how should she react when she sees a group of kids being formally brought in for charges? I don’t know, maybe find out what’s going on before demanding an immediate release? Here, Winter prioritizes the emotional assumption that Weiss and her friends are perfectly innocent as opposed to trusting that they’re in handcuffs for a reason. Which they are. Combine that with the humor of the guards scrambling to obey her with more silly sound effects and it’s once again clear that the group’s arrest was never going to be taken seriously.

Things get so much worse though. Ironwood starts apologizing to them, also working under the assumption that this was all some sort of silly mistake. Of course you shouldn’t be in handcuffs. You’re the good guys! Yang and a few others have the gall to be haughty here (yeah, how dare you arrest us after we committed multiple crimes) and for a moment I think all of this will actually amount to something when Ironwood laughs and says, “We assumed [the ship] was stolen!”

Uh yeah, goes Ruby. It... was?

Which results in a brief moment of shock and about three seconds of anger from Winter... and then that’s it. That’s all we get. Weiss interrupts her with, “I’m sorry I worried you, but we did what we had to do” which, no?? Okay first off, worrying Winter is not the issue here. She’s been worried for literally those three seconds and nothing more. Second, as I’ve established numerous times in the past, they did not “do what they had to do.” Absolutely nothing in Argus forced their hand to the point where stealing military property, fighting Cordovin, drawing that grimm, and then deliberately hiding out from Atlas authorities was justified. Why doesn’t Winter or Ironwood challenge them on this? Why the hell would two military personnel accept at face value that committing all of these crimes was necessary? Imagine your younger sister steals a car (which is in no way comparable to an Atlas airship, but let’s run with it). She and her friends then get caught by the neighbor they stole it from, started a fight instead of giving it back, endangered a bunch of other people on the road, got the police involved, and hid out until they were finally arrested. Then at the police station big sister gets angry at the officers for daring to book you and is pacified with a hug. Don’t worry, dear. I know there’s no possible way you could be in the wrong here. No reason to acknowledge, let alone address, why you thought those were acceptable actions in the first place.

Qrow is briefly called out for letting this happen, but like Maria’s comment last episode about the group being incapable of keeping a low profile, he shrugs it off with a joke. “You try stopping these kids when they have their mind set on something.” You know what these ‘jokes’ remind me of? Privilege. Stuff like “Boys will be boys ¯\_(ツ)_/¯” where people accept that change is impossible, so why would we bother calling anyone out on their mistakes? Boys are just hardwired to hurt girls and call it love. Teens are just hardwired to steal airships and call it necessary. You know what they’re like. Putting your foot down is useless because that’s just how they naturally function... and we’re all going to ignore the fact that no one else could get away with this shit. They’re the special ones exempt from repercussions. There’s a reason why both both Oscar and Ruby smile here. They know they’re not in trouble. 

What all of this boils down to is that the group is above both the law and basic decency. That’s what Cordovin, Ironwood, Winter, and the writing all tell us. It doesn’t matter how many people you endanger. What you steal. What you break in order to accomplish that. Or how long you might try to hide what you’ve done. You’re you, a nebulous acceptance that you’re somehow above everyone and everything. These kids are never going to learn anything because each time they make a mistake---even massive mistakes that put a whole city in danger---they’re rewarded with smiles and a blanket acceptance that they did what they had to do. That is beyond frustrating to me. For the love of god, let them face an actual consequence for once.

It’s not going to happen though. Even the Ace-Ops apologize for doing their job (and treat Ruby like some sort of celebrity in the process). RWBYJNRQO is painted as victims for suffering the indignity of arrest... when they did numerous things they should have been arrested for. I particularly love Weiss’, “You could have asked us some questions first.” Yes, because everyone should be in the habit of taking a criminal’s word at face value and then letting them go when they say, “I’m innocent.” Rather than acknowledging any of this, the writing has the Ace-Ops go out of their way to emphasize how special the group is. You’re kids, but only technically. You’re students, but who cares. You’re as good as us, regardless of training or qualifications. That fact remains that the group did in fact do everything they were accused of and more, something that should generate reflection on whether they’re up for being paired with professionals, rather than an insistence that they’re automatically on par with these adults who complete their missions in a legal, safe manner. If that Argus fight gets them hugs and cool new weaponry, I shudder to think what else the group can not only get away with, but be rewarded for.

Once everyone blindly bypasses one of the biggest conflicts of Volume Six, we hit on the other divisive choice this episode: Ruby lying to Ironwood about Ozpin and the relic.

Okay. I’m going to be as clear as I can here: Ruby is being a massive hypocrite. That’s it. That’s the situation. I shouldn’t have been surprised by the fandom’s reaction, and yet I somehow still was. In just a few hours I’ve seen at least twenty posts detailing how Ruby is not a hypocrite because her situation is totally different from Ozpin’s. HE can’t keep secrets. SHE can. Which is the definition of hypocrisy: the group holding someone to a moral standard that they themselves will not strive for. Are there differences between telling the group about Salem and telling Ironwood about Salem? Yes, but the decision of whether or not to tell them derives from the exact same concerns:

Ozpin: I don’t know if I should tell these kids about Salem. I don’t know if I can fully trust them. I worry that admitting the relic still has questions will result in them using one irresponsibly.

Ruby: I don’t know if I should tell Ironwood about Salem. I don’t know if we can fully trust him. I worry that admitting the relic still has a question left will result in him using it irresponsibly.

And everyone is in on it. During the elevator ride up they all want to know what Ruby will say, meaning that they’re ready and willing to lie the moment she decides that’s best. “We’ll follow your lead,” Blake says. No one pipes up with, “Hey. Why are we considering lying to Ironwood when we decided that there’s no moral justification for keeping secrets like that? Especially from an ally involved in this fight?” Except, the group obviously never decided that. Jaune was happy to keep his secret back at Beacon. Blake too. Yang is still withholding info about the Spring Maiden. They’re all perfectly happy to lie provided they’re the ones doing the lying. Someone else doing that to them though? Omg, how dare you. 

That’s hypocrisy.

(As a side note: good lord this group is so astoundingly bad at fighting a strategic war. They announce that they should be careful about what they say to Ironwood while two of Ironwood’s guards are in the elevator with them. This is a needless conversation! No one has to establish that they’ll follow Ruby’s lead! But yes, let’s talk about our plans to withhold information from the General while two of his men are very obviously listening in. We even get a shot of one guard looking over at that little tid-bit. I wouldn’t be surprised if this came back to bite them in the form of:

Guard, who I am naming Brad: “Sir, I thought you should be aware... the prisoners that just left? I overheard them discussing whether or not they would tell you something.”

Ironwood: “What? But I thought we trusted one another... did they say what this something was?”

Brad: “No, sir. They just agreed to be careful about what they said in front of you. They clearly intended to hide something though.”

Ironwood. “Huh. Now that I think about it, Ruby did interrupt Oscar when he was about to say something. And she was awfully nervous about it.”

Brad: “Sounds suspicious, sir. I’d look into it.”

Ironwood: “Right you are, Brad. Thank you for bringing this to my attention. I’ll be sure you get a hefty bonus at the holiday party.”

Brad: “Thank you, sir! My husband and I appreciate it.”

Gay guards aside, this is why Ozpin was right to be cautious. This group is too hot-headed, too immature, and often too plain dense to keep world-shattering secrets safe. This moment gets put up alongside Yang’s demand that Ozpin spill all his top-secret info while the random old woman they picked up 30 seconds ago watches. They just don’t think.)

In short, they are in the same exact situation as Ozpin. Weighing truth against potential repercussions. The fact that said repercussions vary in severity---a group of teens betraying him and/or caving under the pressure vs. a potential dictator betraying them and/or caving under pressure---doesn’t matter. They’re both really bad potential outcomes and both parties are right to be cautious. So yes, I agree with Ruby’s hesitance. It’s the smart thing to do. What I don’t agree with is the characters’ and the fandom’s insistence that Ozpin is not likewise smart for doing the exact same thing. Now that Ruby has made this choice she’d better damn well acknowledge her own hypocrisy. If the writing doesn’t give us a serious moment in which the group reconsiders their actions against Ozpin in light of their recent choices, then the ‘protagonists can do no wrong’ mindset has irrevocably damaged this show. Because you can’t have Ruby making the exact same choices her mentor made and not change her perspective now that she’s had the chance to walk in his shoes. “Oh wow. Sometimes you do want to play information close to your chest. Maybe we were wrong to respond so viciously to Ozpin’s secrecy when I literally just did the exact same thing to someone else. I get it now.”

All that being said, I’d actually argue that Ironwood is in a more justified position to have that information. He’s a chosen member of Ozpin’s inner circle. Ozpin never got the chance to vet this group. He’s a fully fledged huntsmen in charge of an entire Kingdom. They’re a bunch of half-trained kids. Checking in on/taking the relic to Atlas does not require knowing about Salem’s immortality. Enacting a plan to tell the whole world about her really, really does.

Because what else is Ironwood’s end game here? The only way this plan makes any sense is if he believes that Salem is mortal. Ozpin may have failed to kill her, but if we get an entire world to attack her at once we’re bound to win! This plan straight up falls apart when you realize that defeating Salem is not a matter of more manpower. Salem’s immortality is the Achilles’ heel of this scheme, whereas fighting the good fight is something the group signed up for right from the start. Not that Ironwood’s plan is a great one, even if it were viable. I’m sorry, but plunging a whole world into despair---something that draws literal monsters out of the woodwork---is a pretty terrible idea. Ironwood’s army can’t be everywhere at once and an announcement of that proportion would cause an untold amount of death and destruction. I can sort of get Ironwood’s sacrificial perspective. Deal with the fallout because the end result (finally defeating Salem) will be worth it. “Trying to hide the truth from the world will eventually kill us all,” he says, except hiding the truth hasn’t limited humanity in the way he assumes it has. It has allowed humanity to live in peace while a select few try to figure out how to kill an immortal woman.

...speaking of, how has Ironwood not realized Salem immortality? This remains a basic if/then construction of the story that blows my mind whenever people fail to pass it. “If Ozpin has fought Salem for over a thousand years, then Salem is either immortal or reincarnating like he does.” Because nothing else is possible! I mean, maybe Ironwood does know about her immortality and he intends his plan to work for reasons I can’t fathom right now, but it’s looking really unlikely after this episode. It just astounds me that we haven’t had a single character go, “Of course she’s immortal. Why is that surprising to everyone?”

Anyway, I’ve gotten horrendously off topic plot-wise. We learn that Penny and Winter now know about the relics and Maidens---something that worries me a bit because, as a piece of technology, Penny is potentially hackable. Especially with Watts on the loose. The Ace-Ops know as well. We also learn that they’ve already found the Winter Maiden who, according to Qrow, is “not exactly a spring chicken.” Huh. Another important piece of information that wasn’t blithely announced because people naturally work on a need-to-know basis... Sorry. Not diving back into the salt. That comment does actually intrigue me though. We know the powers can only pass to young women, so it’s a cool setup to present us with someone who has actually survived with that power for most of her life. I’m also eager to know whether Winter is set up to be the next Maiden. “Young” is a subjective marker and one of the criticisms fans have leveled at Ozpin is the fact that he put that pressure on Pyrrha instead of asking an older, fully trained huntress to be the Fall Maiden. Making Winter the next Maiden will lend support to that criticism. Ozpin could have chosen someone older, an actual adult, and actively chose to give it to a teen. As opposed to the assumption I’ve always worked under: those like Glynda and Winter are now too old. We’ll have to see.

Outside of the Salem part of the plan, I think making Amity Arena into a satellite is an excellent idea. Provided grimm like the Nevermore really can’t reach it. It’s actually cool to see how our real life, kind of boring tech makes its way into a sci-fi/fantasy series.

And while all this stuff is getting revealed we see how utterly thrilled Ironwood is to have them all back. To be blunt: I adore this characterization. I want this to be real. Not only because it’s a breath of fresh air to have someone acting so loving and optimistic  towards everyone---He acknowledges Ozpin’s existence! Look at that smile! Kneeling down!---but also because it would be an excellent subversion of the premier’s setup. Dictator-y military figures buckling under paranoia is out. Tired but loving military figures making mistakes they’re willing to fix is in. That hug with Qrow? It added ten years to my life. Tender moments between two stoic guys will carry me through these cold winter months.

But (there’s always a “but”...) I’m not willing to buy into this characterization just yet. Not only because Ruby herself obviously isn’t ready to trust it. Not only because this is a story and we expect conflicts in the form of twists and surprises. Not even because there are moments where our trio feels vaguely threatening, stationed perfectly behind that desk, separated from the rest of the group.

No, I’m  hesitating because this whole encounters feels... staged. Let’s review the series of events from Ironwood’s perspective:

You learn that one of your airships has been stolen

Instead of sending some everyday guards like the situation calls for, you send out your most elite group to take care of this issue

They immediately confiscate the relic, demonstrating a) that they know it’s important (they recognize it as a relic) while likewise b) not showing any surprise that one of the four, magical objects in the world just happened to turn up among these random teens

They bring the relic to you

Someone orders the pilots to bring RWBYJNRQO to Atlas Academy, not jail

You then act surprised when the group suddenly arrives

Which, under the circumstances, makes no sense to me. Even if Ironwood had no idea who stole the airship (I’d have expected Cordovin to have contacted him about the distinctive group heading his way...), he would have figured it out the moment the Ace-Ops walked in with a relic in their possession. Someone obviously gave the order for them to bypass jail and come straight to him. Basically, Ironwood is expecting them. Ironwood set up the arrest and everything attached to it. The surprise at their arrival, the fawning over their treatment, really over the top emphasis on trusting each other... This whole thing feels fishy to me considering that he had to have known it was all happening in the first place. It feels like a man crafting a situation where he can look approachable and kindly, arriving like a savior and endearing the group to him. Remember who got you out of those bonds? Huh? Huh? Even the choice to give Ruby the relic back. Do I need to point out how incredibly stupid that is? Ironwood isn’t stupid. He wouldn’t give an invaluable, magical object back to a 17yo unless he had another, good reason for doing so; unless the need to make Ruby and her followers blindly trust him outweighs the risk the relic is in while she carries it.

I mean... seriously. The entire point of coming to Atlas was to put the relic in a safe place. And then Ironwood decides that carrying it around on the streets is somehow better than locking it up in the vault? When Ruby and everyone else just got beat by the Ace-Ops in about five seconds flat? Someone could take the relic off them in a heartbeat! It doesn’t even need to be a main villain. Some stronger-than-average goons could manage it under the right circumstances and a bit of luck. Look at this bright, shiny thing we can sell for quick lien. No, I have to believe Ironwood has an ulterior motive here. As much as I want him to genuinely be what he presents himself as---the embodiment of our opening, “When we trust in love and open up our eyes”---a lot of this just doesn’t fit.

(Then again... it’s RWBY. And the writers are clearly still working with protagonist vision goggles. Maybe Ironwood really does think Ruby keeping the relic is the best option here. In which case he’s just a fool.)

All of which, notably, still keeps our group from tackling the core, ethical issue: why they want to fight Salem when they think it’s impossible. They’re ignoring that question by keeping the truth from Ironwood. The plot avoided them completing their mission by having them get the relic back. We’re just existing in perpetual limbo here.

Which finally brings me to Penny. The end of this episode has her leading the group on an exhausting tour of Atlas Academy, the exact sort of bubbly, silly, casual interaction we got with her in the early volumes. Last week when I pointed out how inappropriate everyone’s reactions were to finding out a friend is back from the dead, a lot of people commented that we’d get to the emotional stuff later. Or going so far as to claim that the group, Ruby in particular, is suffering from a delayed reaction. Except we didn’t see that. There’s a difference between a setup and a non-evidence based assumption that what we want to watch will eventually end up on screen. There was no setup for a delayed reaction. No Ruby holding back tears. Or a closeup on someone grappling with an emotion. Or someone else trying to say something before they were cut off by the sirens. All of those imply that an emotion exists but, since we don’t have the time or the inclination to deal with it now, we’ll come back to it later. That wasn’t the case last week. Every emotion was clear and complete, no variation in regards to the overall chill acceptance of Penny’s resurrection. Now, we’ve seen that trend continue. Ruby doesn’t stop in shock when Penny appears in the Academy hall. We’re given no indication that anyone is distracted by her while discussing business, in the way one might be when a friend and ally is unexpectedly back in your life. When she’s left alone with them, there’s nothing except the montage of exhausted tourism and Ruby’s demands to know where they’re sleeping. Basically, I think this is it. Sure, maybe later down the line---maybe even next week---Ruby will have a heart-to-heart with Penny, but by that point it’ll be too late to feel emotionally fulfilling. We’ve already seen their first meeting, a surprise encounter, doing business, and hanging out together, none of which acknowledges her status as a miracle. Hell, in this episode at least, no one even cares that she knows about relics and Maidens now. Penny has never been closer to the group, but she’s still being treated primarily as the comic relief.

As @valasania-the-pale​  pointed out to me, we also have the question of when Penny was rebuilt. Doesn’t anyone, at the very least Ruby, care that their friend was brought back and no one thought to tell them about it? Would Ironwood, Pietro, and Penny herself have just let them live with her death indefinitely? It’s a pretty messed up situation when you think about it. A fantastic setup in my opinion, but one that Rooster Teeth isn’t equipped to handle well. Like with so much of RWBY, there’s great potential and very little follow-through.

At least Watts and Tyrian were introduced appropriately. We got confirmation that Watts helped build the Atlas code and now controls it at his whim, causing crashes and powering down security cameras. It’s the perfect threat for a city almost entirely reliant on its technology. Even down to, as said, an ally like Penny who knows all these secrets. Hell, Winter’s comment about the group having access to Atlas’ best weaponry while they’re here is worrisome. What if their upgrades end up hackable as well?

Tyrian, meanwhile, is still Tyrian. That blood pool was a great shot in my opinion. Wonderful creep factor as he sets off into the city. “I suppose we all have our talents” indeed.

Obviously then, there’s a lot going on. A lot to cover and, on my end, continually dwindling hopes that RWBY will cover it well. I can’t be too excited about the group lying when we 100% bypassed their choices last volume. If the show isn’t willing to call them out on those mistakes, I doubt they’ll be willing to call them out on this one either. I’m preparing myself to watch precisely what we’re getting in the fandom right now: an insistence that Ruby is wonderful for keeping her secrets while further demonizing Ozpin for keeping his. Because that’s where we’ve been for the past fifteen episodes: perpetually insisting that everything the group does is, by default, heroic. Logic and hypocrisy aside. 

But we’ll have to see.

Until next week 💜

Minor Things of Note

1. Please pay attention to precisely how many long, wide, and aerial shots we get throughout the episode. This is what happens when your main cast is made up of twelve people all working in the same place. Plus six more including Maria and the Ace-Ops. That’s far, far too many characters.

2. I really love how the Ace-Ops’ tail gives away how excited he is. That was adorable.

3. Despite my enjoyment at Ironwood’s obvious joy over seeing Ozpin... morally this is so fucked up for Oscar. He’s introduced by Qrow as, “the next Ozpin,” essentially undermining his identity as his own person (note how massively uncomfortable his body language is in this moment). Ironwood then immediately starts speaking to him as Ozpin, not at all interested in the kid he’s housed in. If he even understands that Oscar is a separate person. We should all keep in mind that just a few days ago Qrow told Oscar to stop thinking of himself as an individual. Ruby agreed with him via her silence. The whole group was happy-go-lucky when Oscar announced that he’s resigned himself to just disappearing someday. As happy as I am that someone actually acknowledged Ozpin’s existence and (gasp!) was happy to see him, Oscar is still getting the short straw in all this. The group really treats him like he’s some form of transportation and nothing more. Penny, our resident robot, has more agency than he does.

4. Maria is still just hanging out with Pietro, I guess? Does she care that the group got arrested? Is she trying to do anything about it? I’m half expecting a comedic moment where she barges in, prepared to break them out and take on all their captors... only to realize they never needed her help in the first place.

5. I like this shot of the relic, the first thing to be bathed in light when Ironwood’s presentation ends. Not convinced it means anything, but a cool perspective nonetheless.

6. Intrigued by this guy. 

7. Love, love, love, love, love Watts’ purple outfit. I mean, I’m just a sucker for purple in general. So... yeah. There’s that. 

[bigskydreaming]

Do you have any opinions on Jason’s current Dark Trinity Outlaws team? What do you think about people wanting to turn it into an “Antihero League” by adding characters like Godspeed, Rankorr, Ocean Master (Or Koryak) and Thomas Merlyn?

Not really - I don’t keep current with Jason’s comics, more just keep up with issue summaries because I just….I hate how Lobdell writes him so so so so so much. LMAO.

I’m gonna ramble about Jason and his writing now, so apologies if that’s not what you were looking for with this question, lol.

As much as I love him, Jason, more than most characters, is plagued by the problem of being extremely attractive to gritty edgelord writers with zero capacity for any kind of emotional or moral complexity, and I hate it lots and lots, lol. Like, I’ve said before that I agree with a lot of Jason’s stances more than I do say, Bruce’s, but there’s all kinds of layers to them that just NEVER get so much as glanced at, when people like Lobdell are the ones doing all the scripting.

Like, so many of Jason’s writers are so busy emphasizing that he’s RIGHT and his take on killing criminals and villains is GOOD, that nobody has ever stopped to ask….why does it have to be JASON, specifically, a traumatized twenty year old who’s already been through more than anyone should ever have to….that has to do the actual killing, in order to validate that particular position?

What I mean is….these characters are supposed to be more than just their basic premise, the ideologies they espouse or embody. They’re supposed to be CHARACTERS too, with lives, dreams, emotions…and everybody’s so busy pitting Jason against his father in a war of ideological attrition that nobody in the comics ever just stops and says to him….hey, you can be 100% right about all of this, and still not need to be the one who takes on the burden of proving it. You don’t exist just to be a criminal killing machine simply because you happen to have this viewpoint….there are other ways you can still make a difference and help people.

I’ve said before, I actually think Dick’s moral stance on killing isn’t as cut and dried as people make it. I think he freaks out when he’s pushed to that line himself because he’s got massive abandonment issues and is afraid of disappointing Bruce, but given how easily he’s able to make his peace with working with people with enormous body counts, without any real judgment, I think he honestly believes that killing should never be an ideal first choice, but sometimes its a necessary evil. The thing is though….believing that doesn’t mean that HE, personally….needs to be a killer….and he pushes back against that so heavily not because he so diehard believes that killing is never justified, but because being the master of his own destiny is so hugely important to him, and too many people over the years have spent too much time trying to mold him into a killer for him to ever see himself crossing that line as anything other than letting them win. Hell, if you read the actual issue in Last Laugh where he kills the Joker….his major issue and the source of his freakout isn’t so much that he killed the Joker or crossed that line specifically…its that in doing so, he let the Joker win. He gave the Joker what he wanted out of that whole mess. Like, that’s literally his dialogue.

And the thing I see missing from so many Jason stories is…..writers never give him the opportunity to stop and go, okay, I’ve established what I BELIEVE….but now, what do I WANT? None of the Batfamily ever set out as vigilantes with the belief that they would actually ‘fix’ the world in their lifetime. No matter how long they live, after they die, crime will still exist, there will still be bad guys, people will still murder other people. None of them have ever been under the illusion that there’s some finite endpoint to all of this, that if they reach it, the job is done, the world is better…..and so its not like killing even the worst of the worst, so they never have an opportunity to break out and commit more crimes like…that doesn’t actually whittle down the numbers and in doing so get Jason closer to the magic ‘endpoint’ in which like, they can all rest easy, Gotham is all better now.

My point being, there are lots of ways to make a difference, and the way each vigilante chooses as their way of making a difference is still valid, even if its not ‘the most efficient’ method, you know? They don’t exist, as characters, simply to be the most efficient ways of countering crime. Its more, they exist as characters, and as characters, these are the ways they choose to live their lives, what to do with their time, how to make the most of their existence as PEOPLE. Their purpose is helping people, protecting people….and killing the worst of the worst may be one way to do that, may even in some instances be the most efficient way of doing that….but that doesn’t inherently render all other ways of doing that meaningless.

Like, Batman or Nightwing or Red Robin might save someone from a murderer, and put that murderer in jail…and that murderer might then get released and escape and go on to murder someone else…..but that doesn’t mean that the life they saved initially doesn’t matter, just because the way they did it didn’t ultimately put a definitive stop to the murderer’s crimes. And no, it doesn’t mean that the later life or lives he takes don’t matter either, or that they couldn’t have been saved if Batman or the others had killed him at their earlier opportunity….but just because they’ve chosen to dedicate themselves to saving and protecting people, doesn’t by extension mean they OWE it to anyone to become killers in the process, if that’s not something they want for themselves. Its not a zero sum game. A life saved versus a life taken at a later point do not cancel each other out, because no lives are interchangeable, you can’t treat them as math where its a matter of balancing equations and making the numbers all line up. Innocent lives saved are still innocent lives saved….no matter what happens elsewhere or later….and the responsibility for a criminal’s later crimes will still always be more that criminal’s.

Now, like when Jason argues when its someone like the Joker, who they all know will always get free again and will never stop, and its an inevitability, all but a certainty? I agree with him, completely. I think the only way to truly stop the Joker is to kill him, and not doing so at least means an awareness that at some later point, he will end up taking more lives that could have been saved if someone had killed him sooner.

But I don’t personally view Bruce as a hypocrite because he refuses to kill the Joker personally. Like I said, I don’t view killing as a NECESSITY because you choose to be a hero and try and help people. If he’s afraid of what it would do to him, what it would turn him into….he’s allowed to be. No, I view Bruce’s hypocrisy there as being more about him trying to put that personal boundary on EVERYONE….to try and make everyone’s behavior and choices line up in accordance with the choice he was only justified in making for HIMSELF. I don’t think people the Joker killed are more on Bruce because he has refused to ever kill the Joker, personally….but I do think that say, once Bruce proactively stepped forward to resuscitate the Joker after Dick killed him, like….that’s where it definitively in my book gets to be like, yo dude, nobody asked you to do that, not even Dick, you BROUGHT HIM BACK so yeah, later acts of Jokerism are kinda on you too.

Meanwhile I don’t view Dick as a hypocrite for not killing people even if I think he believes some people deserve it….because all the things he does to save or help people aren’t rendered invalid or obsolete just because there’s feasibly a more ‘efficient’ way of helping or saving people that he refuses to do….because he understandably doesn’t want to pay the personal toll or price that’s required.

But you see what I mean? There’s SO much more to Jason’s philosophy than any of his writers really ever let there be….because it shouldn’t JUST be about his philosophy and his ideas, it should be equally about his wants, his desires, who he is as a character and how he wants to spend his life. It shouldn’t just be about making killing people, and all the issues that come along with it and cause strife between him and his family, like….just his default setting because its the most efficient way of fighting crime, according to his personal beliefs, and he only exists to be the most efficient crime fighter he can be.

If Jason has those scenes, if he thinks about all this stuff and we’re shown him deciding yes, even with all of that, this is what he WANTS to do, like….I don’t have a problem with that, because I get it. I agree with those choices. But I WANT THOSE SCENES, is the thing that none of these writers give me. I want his personhood to be just as acknowledged as his vigilante philosophy.

And that’s the kind of complexity and nuance and THOUGHT that his writers seem to have no interest in giving him and his stories, and that’s where I’m like…..ugh. Writers like Lobdell just want to write him because he’s the bad-ass black sheep of the Batfamily and he’s their excuse to be all ‘anything goes’ with their stories, rather than centering them around….who is Jason Todd, why is he that way, does he WANT to be that way, and if not, what’s he going to do about that?

LOL. So on a similar note, and back to your question….I don’t really have any interest in reading his Dark Trinity team expanded to be a full Antihero Justice League because I have no faith in any of these writers to introduce anymore complexity to their ‘antihero’ status just because they’ve introduced more characters into the lineup. Just likely to be more of the same, IMO.

DC, and media in general, tbh, have a big problem with prioritizing spectacle over substance. They go for the flashiest choice, the most visibly ‘iconic,’ such as pairing the ‘rogue Batman’ with the ‘anti Superman’ and the ‘rogue Amazon’ and being like well that’s all we need, that’s a winning recipe right there, like, cool if you can make a good story out of that combination but that’s just a bonus, like that’s not really a requirement. We can sell based just on having that formula. And to me, that’s all a full Antihero Justice League would be. Just another way for them to just use a splashy tagline and ad copy as a shortcut for like…writing actual stories that prioritize actual characterization and examining what brings all these characters together and how do they organically interact with each other and what do they have to say with all of that….rather than just ‘morally grey good guys shoot people, blow things up, much blood and cussing, the real heroes make scowly faces at them, middle fingers and yelling WE DO WHAT WE WANT, everyone goes home til next time.’