#like this is just inserting Weiss and the people who are required for her existence into the DC Universe

[gothamcityneedsme]

How do you get Bruce Wayne out of your life?

@abysskeeper Probably impossible for MY life, and equally impossible for the protagonist of this piece. AKA Weiss Schnee from RWBY.

I WILL make Icebat a real ship. And i WILL write a fic for it. Weiss Schnee/Bruce Wayne will be real. It IS real, as far as I'm concerned.

My whole premise for this is focusing first on Weiss' backstory and character (and how she is going to be for the DC Universe), since she's the most unique change I'm looking to make in the typical Batman mythos.

So I've inserted the Schnees as manufacturers and socialites in Gotham who were not one of the founding families, but still are known as old money and very well-established. (I do this so they can be inserted easily into the Court of Owls as members)

Weiss doesn't know the dark side of her family, but she has sniffed into things enough to know that she doesn't want to remain close to them, and that she envisions a very different life for herself. (I am undecided on if Winter escaped through the military like RWBY, or if she met a darker end at the hands of the Court--perhaps even being a Talon).

Regardless, Weiss basically disgraces herself as she rejects being the heir (which unknowingly saves her from being forced into the Court). Since she knows nothing, she isn't worth killing, and is merely a major disappointment, and is effectively blacklisted from all high society and business in Gotham.

She decides to try to use her voice, one of the only things she truly has left, to make her new life. She gets a few small jobs at bars and is able to sing for entertainment. Eventually, though, she ends up gaining the attention of Oswald Cobblepot. He knew her from both reputation and high society (when he himself was more permitted among the noncriminal elements), and he invites her to come under his employ at the Iceberg Lounge. He is still a known criminal, spending time in and out of Blackgate Prison, but he does have enough above-the-radar business that Weiss is willing to say yes. It helps that her situation is desperate.

So, she becomes the Ice Queen of the Iceberg Lounge. Bruce Wayne, who knew her from socialite life, is alarmed to learn she is now working for the Penguin, and is concerned that this girl he knew as a somewhat friend is possibly getting pulled down a bad path. He meets her, offers to help her himself, help she rejects. She is well aware how her family has been blacklisted, and she refuses to let that negatively affect Bruce or Wayne Enterprises. (Penguin, of course, is already blacklisted from such legitimate business himself--he loses nothing by employing her, and he actually *gains* a way to snub the high society life that has rejected him from even before he became a criminal).

Bruce still tries to help, to convince her to be somewhere else. She continues to resist, determined to make her own way, and to not make others suffer for her own dream of independence. That's where the story begins.

Eventually, Weiss will gain ice superpowers and become a vigilante, but that's a whole other part of the story. Also of note is that this takes place during the Jason Robin era, although I do think the story would continue beyond that as well, it just starts there.

Anyways, a scene, I've probably shown this one before to you, but the first time she runs into Batman and Robin is in the Iceberg Lounge, by accident (they are breaking in lmao):

also a bit i quite like, from Bruce talking to her:

[mesaylormoon]

The Rocky Horror Picture Show: Let’s Do The Time Warp Again - A Review

With the 41st anniversary of The Rocky Horror Picture Show on the horizon, it no doubt made sense for 20th Century Fox to capitalize on the lucrative nature of such an iconic property. Their 2016 remake of the cult classic would offer old and new fans increased production values with an all-star cast, better set designs, energized music and dance numbers, a more flowing narrative, and a special appearance from Tim Curry as the criminologist. In spite of all these additions to this updated version of the midnight movie sensation, however, it still falls fantastically flat.

Films often suffer greatly if the actors involved are incapable of presenting believable, compelling performances, and this remake employs nothing but terrible actors. Ryan McCartan and Nickelodeon starlet Victoria Justice fill the roles of Brad Majors and Janet Weiss, and they are what absolutely destroys the potential of this version of The Rocky Horror Picture Show. Both performers fail to capture the endearing personalities of their characters, and neglect to pay homage to the offbeat charm of their predecessors Barry Bostwick and Susan Sarandon. McCartan’s nervous, stiff attitude is apparent throughout, and contrasts distractingly with Bostwick’s friendliness, confidence, and eagerness to socialize with others. Brad Majors was not a particularly special character, but even in his dorkiest moments, Bostwick was able to convey a laid-back, likable energy for his role that this new actor could not.

Even worse than McCartan’s performance is the acting of his co-star, Justice. Words cannot express how unprepared this young woman was for film acting. This remake presents a terribly strong case for why her career should not have expanded beyond tween sitcoms, as her forced delivery and dramatically flighty behavior does not at all recognize the sweetness of Sarandon’s character. Janet Weiss was undeniably a damsel-in-distress, but in spite of her overreactions to meeting the Transylvanians, she was innocent, polite, gentle and wanted nothing more than a simple life with her fiance. Nothing about Justice’s acting echoes this sentiment, as she opts to shriek her lines at every opportunity and cower behind her love interest. While this behavior is similar to Sarandon’s characterization, Justice is clearly uncomfortable with naturally expressing fear. She always appears to lack direction, looking lost no matter where she is on set, and is too confident in real life to make a performance for a character like this believable.

Laverne Cox, Reeve Carney, Christina Milian, and Annaleigh Ashford play Dr. Frank-N-Furter, Riff Raff, Magenta, and Columbia, respectively. In spite of obvious attempts to respect the performances of the original actors, Carney as Riff Raff is the only person who seems to be trying to properly convey his character without losing the personality expressed by Richard O’Brien. He slithers, gives creepy grins, delivers his lines nasally, and perfectly captures the persona of the original Riff Raff. Unfortunately, however, the rest of the cast characterize their performances by role-reversing. Cox is a whiny, fay flailer who utterly lacks the seductive and suave charm of Tim Curry; Milian submits an overly energized, overly happy performance of the hot-headed, mischievous, subdued Patricia Quinn; and Ashford is hideously miscast as a disinterested Nell Campbell. Ashford’s performance is particularly disappointing, as Columbia is a vivacious, bubbly, and lovestruck girl who is likable in spite of her sometimes annoying behavior. Ashford is purely annoying throughout, pandering to an audience of angsty individuals who would have loved her acting in the 90s. Stanz Nair and Ben Vereen are about as obnoxious as their co-stars, but considering what small roles and little impact they make in the remake, they aren’t worth focusing too much criticism on.

The humor in The Rocky Horror Picture Show: Let’s Do The Time Warp Again is as desperate as the film itself. Instead of allowing hilarity to originate from character interactions or witty remarks, characters will often flail, scream, and suddenly widen their eyes. None of these moments are funny and just make the film seem as if it’s pandering to a younger audience.

While we’re dissecting less significant complaints one might have with this movie, the sexual content is disappointingly erased from this reimagining of the source material. Perhaps this could be considered a good change, but part of the reason The Rocky Horror Picture Show appealed to adult audiences was because it was such a shamelessly sensual movie. The filmmakers were not afraid to show scenes of characters having sex, and audience participation screenings have always featured raunchy references. One could argue that this is a defining feature of the film. Considering the convservative nature of 1970s attitudes, this is definitely a quality that helped The Rocky Horror Picture Show stand out.

However, because the remake was filmed for television, this material had to be largely scaled down to the point of non-existence, and there is little to nothing appealing about characters’ more intimate moments. It’s a bit disappointing considering there are some particularly funny scenes in which characters mistakenly have sex with people they thought were their romantic partners.

The increased budget of The Rocky Horror Picture Show remake allowed the crew to create beautiful setpieces and conduct highly stylized music and dance numbers. Each of these updates added a surprising amount of credibility to the source material that the original did not have. The choreography of every dance is much more complex and engaging than the original, and excites viewers in a way that the first film couldn’t. As much as I enjoy The Rocky Horror Picture Show, the dances were quite basic, employing little movement beyond awkward kicks, unimpressive jumps, and slow steps. The remake, however, requires more physical and challenging demands of dancers, who must be much more synchronized and ready to move at a fast pace. It’s easiest to appreciate when watching the film for oneself.

The songs, thankfully, are all derived from the original movie, but instead of retaining the ear-grating sound quality of decades-past, group recordings sound much more harmonious, and individual singers are allowed to shine as a result of a more carefully chosen vocal ensemble. If there are at least some things I can appreciate about this reimagining, it would be these things.

As much as I would like to continue acknowledging these improvements, I also believe that focusing on the polishing of the singing, dancing, and casting of conventionally beautiful actors is one of the biggest problems with the remake. The improvements that are made in this iteration of The Rocky Horror Picture Show are superficial, showing less concern for the quality of the narrative and characters and more concern for the quality of the “show-stopping” production elements. The cast of the remake are all attractive singers and dancers, but the original actors were not. They were average-looking people in a film that performed poorly upon release. Everything about the first movie - from a critical perspective - was awful, but that was the reason it found such a dedicated following. The source material relished in its awfulness. The actors, their performances, the narrative, the set designs, the songs, and the choreography never endeavored to be masterpieces. Midnight audiences could simply enjoy the community they found by participating in something of a “bad movie night.”

In any other remake, the beautifying of cinematic elements would not be an issue, but The Rocky Horror Picture Show was not meant to be a grandiose work of cinema. It always felt more like creator Richard O’Brien’s passion project - a project that, although it appeared insane on the surface, was a body of work that was not meant to conform to societal expectations. It was - and continues to be - a film that unites midnight moviegoers by the very nature of its strangeness. Audiences fell in love with it because it likely encouraged them to be themselves, unapologetically. The original film even seems to embody this philosophy, as nothing about the story nor set direction makes any sense in the first film.

In spite of my harsh criticisms of most movies, I have to admire how unafraid creator Richard O’Brien was of sharing such incredibly unusual ideas with a massive audience. Given the mass walk-outs he witnessed and how he most certainly knew how odd his film would be, it was a courageous feat on his part to not modify his vision to pander to people who would have wanted to see something different - something that made sense.

This is why an “upgraded” version of The Rocky Horror Picture Show will never satisfy fans. Fans appreciate the original film for silently encouraging them to embrace their strangest selves, and for being an insane piece of work they can enjoy and share with others. This is the reason why it continues to be a sensation of midnight screenings and enthusiastic shadow casts. Most producers of entertainment don’t recognize that inserting their ideas of what would make a movie or TV show “better” often ends up disappointing the audiences they are trying to captivate. If the source material was good enough to earn a loyal following, it is likely because they fell in love with what they originally saw.

The producers of The Rocky Horror Picture Show remake, unfortunately, lacked an understanding of these principles. As a result, audiences new and old were left with a superficially polished experience that disregards the most important elements of filmmaking - as well as what made The Rocky Horror Picture Show so special to so many people.

[korora12]

Tagged by @corisanna

1. What is your favorite relationship type to write/read? Romantic, platonic, familial, and any subtypes.

I like romantic relationships that don’t rely solely or primarily on physical attraction, but instead on a deep similarity between the two characters. I like when two people meet eyes and realize that “You understand me. You get me better than anyone else I’ve ever met, and I feel less lonely knowing that someone else sees the world the same way I do.”

2. How much or what kind of research do you do for your fiction? If you don’t write, has a fic ever made you curious enough to research something?

Only as much as is necessary. I usually use research as a springboard for inspiration when I hit a block, letting myself wander the fields of Wikipedia until I stumble upon something that knocks the block loose.

Of course, sometimes I research stuff just for fun, with no relation to my writing whatsoever, until some random point down the line where it suddenly does and I’m super happy I already know [Random Fact #237].

3. What was the first work of fiction you remember becoming completely engrossed in?

Hmm. Probably Animorphs. I remember doing everything I could to hunt down the numerous books in the series (back in the ancient, pre-Amazon Prime days). I’d prowl the various school and public libraries near me, ask for specific books in the series for Christmas and birthdays, and even buy the occasional book at the yearly Scholastic Book Fairs, using what little money I got for an allowance.

I made it most of the way through the series, but then there was one book, near the end, that I couldn’t find, no matter how hard I looked. And it was an important, plot-changing, book that I had to read before continuing. Which meant I never actually finished the series.

Of course, nowadays you can find them all online as pdfs. Maybe I should revisit the series sometime and finally finish it. I already know how it ends, but I still feel like those last few books deserve to be read.

4. What work(s) had a lasting influence on you or your writing style?

Going back to Animorphs again. There is a straight-line connection between me reading that series as a child, through my elementary school friends Brooke, who was obsessed with dogs, and Caitlin, who was even more obsessed with dolphins (I used to find pictures of dolphins in magazines and cut them out just to give to her), through my Grandma’s love of science, all the way to my decision to study Zoology in college. If I had never read those books, I wouldn’t have developed the passion for animals and animal behavior that has shaped my life for over two decades.

Also, stylistically speaking, I really respect that series for how it treated its readers. Its target audience was grade schoolers, and yet it never shied away from showing the realities of violence and war. I don’t know that I’ll ever write children’s literature, but I’ll always have this series to remind me of what kids are capable of understanding and handling.

5. What kind of sound environment do you prefer for writing/reading? Silent, white noise, music with/without words, sitting in a public place with the ambient noise of humanity, etc.

Depends on how well my brain is cooperating. Pure silence is ideal, but more often than not there’s some manner of song stuck on repeat in the background of my mind, and the only way to drown it out is with non-lyrical music of some sort. Usually I try to pick songs that match the mood of whatever scene I’m trying to write.

6. Are you or do you like authors who are teases, in story or out?

¯\_(ツ)_/¯ I’m a big fan of the Death of the Author trope, so I tend not to get too worked up by whatever the author may be saying and just let the story speak for itself.

My first instinct is to say that an author shouldn’t worry too much about what their fans think and should write the story they want to write, and it will find readers that appreciate it. However, I recognize that the nature of serial online writing, such as fanfiction, changes the game a bit. Such authors have a much more immediate, direct connection with their readers than authors who release one or two physical books every year or so. Some authors take that to an extreme, turning stories almost into a dialogue with their readers, each new chapter in some way defined by how people reacted to the previous one. And that doesn’t even touch on Quests, a type of story on forums sites such as Spacebattles and Sufficient Velocity that require player input on a regular basis to continue. In these types of situations, I can hardly blame an author for playing with their readers heads a bit. The reactions they have can be a form of entertainment all their own.

7. Have you ever experienced a “the characters write themselves” or “character rebellion” mental state?

Not yet. For the time being, I remain in complete control of my universes, but I recognize the hubris of assuming this to be a permanent state.

8. Do you have a favorite franchise crossover? Like Bleach/Harry Potter, Madoka Magica/Card Captor Sakura, etc.

I don’t know if I have a particular favorite. I was really fond of Secret Trio for a while, which is Danny Phantom, American Dragon Jake Long, and Randy Cunningham 9th Grade Ninja. I’m still very fond of the Disney/Square Enix megacrossover that is Kingdom Hearts, despite being very disappointed in the most recent game in the series. Then there’s Kino’s Journey/Anything, mostly because I love Kino’s Journey, and I love seeing her response/reaction to various other worlds.

Also, Stargate/Anything. The only reason I ever started watching the show was because I’d read several different fics, all in different fandoms (Avatar, Yu-Gi-Oh, Star Wars, Naruto), and all of which crossed over with Stargate. Despite the similarities, both being sci-fi stories set around the turn of the millennium involving mind-controlling aliens, I’ve yet to see a good Stargate/Animorphs crossover. It’d be pretty easy to do, too. There’s a point in the Animorphs series where they decide to bring knowledge of their guerrilla war to the attention of the US government. If they’re already in the Stargate universe, I’m sure the president will quickly pass the problem along to the experts, and suddenly you’ve got the perfect setup of adults who think they know how to handle the problem, are mostly right, and don’t want kids fighting in a war, vs child soldiers who have no intention of giving up the fight so near its end, even if the adults are more competent than they expected.

I’m gonna have to write it myself, one of these days, if no one else gets around to doing it.

9. Do you remember anything about the first fanfic you ever read?

Two Halves by DameWren. My first fandom was Naruto, and my first fanfic was a NaruHina fic that both introduced me to the concept of fandom, and also sold the ship for me in a way that I’ve never shaken. I remember very little beyond that, except that it managed to correctly predict that Naruto would go on a training trip, despite being written before such an event happened in canon.

10. Is there a work of fiction that you are annoyed doesn’t have much if any fic? Like Bizenghast.

Kino’s Journey, Cowboy Bebop, Double Arts (just never got enough attention in general)

11. What fictional character do you strongly identify with?

Weiss Schnee, from RWBY. While I’ve never been accused of being rich, I am a middle child with a much older sister that cut ties with the family when I was young and a younger brother that I never got along with while growing up. My parents were also abusive, my father physically and both of them emotionally, and they taught me a number of unhealthy ideas about race, amongst other things, that I’ve had to put serious effort into unlearning. And I have, since becoming an adult, traveled long distances across the world, partially for my own benefit, and partially to distance myself physically from a family I’ve never felt particularly close to, resulting in a drastic personality shift that took a couple years to complete, but ultimately left me a very different, and much better, person.

So, yeah, Weiss is basically my favorite RWBY character, and one I really need to write more often, all things considered.

That was fun! I’ve never been tagged in anything like this before. My turn for questions!

1. What is your the most recent fandom you’ve gotten involved in? Have you made any content for it?

2. Do you have a favorite AU/plotline that you love regardless of fandom (ie. Peggy Sue, Coffee Shop AU, Space AU, Self-Insert)? What about it do you like?

3. If you write, how do you go about deciding a character’s sexuality? If not, do you ever have any sexuality headcanons for characters?

4. What’s the longest fanfic that you’ve ever read, beginning to end?

5. How often do you make something you’re proud of? Doesn’t have to be writing, just has to be something that wouldn’t exist if you hadn’t made it yourself.

6. What are your opinions on OCs in fanfiction?

7. What is your favorite storytelling medium (ie. television, written word, spoken word, video games, song, etc.)?

8. What was the last song you had stuck in your head, and what was it about?

9. Do you prefer reading/writing stories set in fictional worlds, or stories set in the real world/real world analogous (ie. Supernatural or Marvel Comics)?

10. If you could bring one fictional character into the real world, who would it be and why?

11. Pick your favorite of the questions I was asked to answer for yourself.

I just realized that I don’t know how many of my followers are writers. I guess @hunkygoddess @tmifangirl21 @queendarktigress @ladyvallhalla @i-mushi @xekstrin @shinobicyrus and anyone else who sees this and might be interested. No pressure, it’s just for fun!

[knightofbalance-13]

Sexism, Racism and Phobias over Sexual Identities For All!

http://z-raid.tumblr.com/post/164720277610/one-of-the-many-problems-with-rwby-is-that-ruby

One of the many problems with RWBY is that Ruby doesn’t have any arcs dedicated to her at all. You can kinda say that the episodes where team RWBY was formed in vol. 1 was sort of an arc for her, but that’s being really generous considering that was more team-centric than Ruby-centric.

Except you ignore how the ENTIRE SHOW is her arc: She has developed slowly THROUGHOUT her show. She has gone from being childish and naïve to the world like she was in Volume one to accepting that the world is more complex than her fairy tales and understanding how the world works. She still has problems to work through but she has another five or six Volumes left. So she isn't done yet.

If I were to reboot RWBY, one of the easiest way to fix this particular problem is to literally rip the arcs dedicated to Jaune from his generic white male protagonist hands and retool them for Ruby

By that logic we should then rip them from Ruby generic white female protagonists hands and give them to Sun then tear it away from his generic male hands and give it to Illa. When you start making RACE and GENDER an aspect of quality, you are essentially treating these people like objects and incindently end up acting racist and sexist. Not to mention Jaune isn’t even a protagonist, he’s a deturtagonist meaning he is a secondary protagonist thus if he finishes developing before the show is over, it’s nowhere near as big a flaw if RUBY does. And this ignores the fact that Jaune HASN’T gotten any development since Volume 2. Volume 3 gave him nothing and Volume 4 used him as tool for Ruby. But of course, RWDE is so obsessed with white males they will never acknowledge anything that isn’t a white male.

And this WITHOUT the implication that rebooting RWBY means essentially SCRUBBING MONTY OUT OF HIS OWN SHOW.  

In vol. 1, Ruby is let into Beacon two years early. While competent at fighting, Ruby is still wet behind the ears in terms of being a hunter and a team leader and all of this stresses her out. Pyrrha, an internationally famous fighter, finds Ruby’s enthusiasm and naivety refreshing, possibly finding Ruby’s innocence similar to her own when she was younger. She decides to help Ruby out as much as she can in terms of mastering Ruby’s semblance and becoming a competent leader.

And now I’m bored.  Why? because the humor that came from Jaune and Ruby’s interactions and Pyrrha and Jaune’s interactions are gone and replaced with every generic mentor relationship ever. there is no variation or humor, their personalities are not compatible in terms of interesting character development and in fact Ruby and Pyrrha become lesser characters because of it since Jaune added a foil characteristic to both sides. And since Ruby would know who Pyrrha is, that aspect of Pyrrha will never come up and since Jaune is gone Ruby will never have that fellow dorky classmate to make it charming. Congrats, one paragraph in and you’ve fucked up writing. Especially since you are burning up Ruby’s development too fats and thus we get stufk with a  fully developed character halfway through the series anxd now she has nowhere to go but back or be boring.

This would require fight scenes where people aren’t just super mega awesome but at the same time not bad fight scenes for the sake of terrible comedy either (e.g. all the group tournament fights in vol 3). Think Maka and Black Star levels of newb during the first few episodes/chapters of Soul Eater. They’re still competent in fighting, but obviously inexperienced in many other things. So, you know, actual growth and progress can be seen instead of just anime characters doing cool shit all the time. This also requires Pyrrha to be the leader of her team and not Jaune. Pyrrha being Ruby’s mentor will also give more leeway to Pyrrha having more connections to team RWBY. Yang is slightly suspicious of Pyrrha possibly having ulterior motives for wanting to mentor her little sis, Weiss is jealous that the famous Pyrrha wants to spend with Ruby and not her, Blake continues to just be there, etc. It allows Pyrrha to exist as her own person, gives her stronger plot relevance and connection to the main cast outside of being a member of Jaune’s team and the totally-made-up-on-the-spot seasonal maiden, and lets her be more than just a satellite love interest character for Jaune

So you want RWBY to take more from SoulEater, which then means it’s basically ripping it off and losing it’s identity? Good to see the RWDE tag cares so much about originality except when they suggest stuff.

So...Ruby working together with Weiss at the end of Volume 3 where they unite to go save Pyrrha contrasting Volume 1 where Ruby and Weiss were fighting each other doesn’t count as development? What about her learning the trials of leadership in the same episode which allows her to mesh more with Weiss? What about Ruby reconciling her motivation of being a Huntress with tebcruelity of the world showing a level of personal strength and adaptability very few people have? Is that not development? 

See, you focus so much on Jaune’s development you become blind to Ruby’s development. And Weiss’ development And Blake’s development. And Yang’s development. Ironically making YOU sexist.

And then we have your excuses for “improvements”: Pyrrha is too passive to be a proper leader and thus wouldn’t be able to rend in her teammates nor does she show any capability to be a leader (being a leader and being a good fighter are two different things), It makes Yang look stupid for suspecting Pyrrha, Weiss look more like a bitch than she really is. Pyrrha’s own person loses most of it’s meaning because Ruby really doesn’t NEED Pyrrha’s mentoring in combat because, surprise, Ruby si a prodigy in fighting and thus someone like Pyrrha doesn’t have enough experience to impart anything pf value onto Ruby (Espeically considering she has QROW as a mentor, someone who has a compatible fighting style and far more power and experience than Pyrrha) whereas Jaune would need Pyrrha’s mentoring, Ruby and Pyrrha fail in many of the same social ways and for similar reasons whereas Jaune does not and gives a companion to Ruby to sympathize with and someone to make Pyrrha’s flaws come to light. And then she loses the romance angle for her in which is a lot of the series heartwarming moments because there is no one else she is compatible with. And then her similarities to a certain inspiring, brave mentor disappear which is a spit in the face to Pyrrha. And that’s all without considering how this would screw up Ruby’s development since her learning to be a leader is shown in Jaune’s own arc but without it, it becomes more flimsy. 

In essence: Everything gets fucked.

Anyway, in vol. 2, the prom can still happen but just trash all the dumb hetero romance bullshit. It’s pointless, a waste of time, and also badly written. Anyway, Ruby is attending the prom and sees that Pyrrha is all alone with no date. They talk, and Ruby learns how lonely Pyrrha is from being so famous and being put on a pedestal or whatever. Ruby feels bad for Pyrrha and also feels guilty of doing the same things others have done that made Pyrrha feel so lonely in the first place. This moment deepens their relationship and they form a genuine friendship.Â

Oh so Heterosexuality is boring? Okay then, guess that makes homosexuality nothing more than a marketing ploy to draw people in and should be treated with no respect and dropped once the novelty wears out in which we will just find new ways to make heterosexuality good again. See how fucking offensive it is when you say this bullcrap. Also, by this logic, Toradora’s romance is shit because it’s hetero and a poorly written, poorly made, rushed, unaware Yaoi fanfic is good. Becuase that’s how heterophob-I mean, logic works.

Alos, giant plothole: WHy would Pyrrha say this to Ruby? She said it to jaune because he treated her differently but Ruby can’t due to having a knowledge f the Huntsman world. And even if there were some way to shoehorn this in: it lsoes most of the impact because it was said that Jaune had helped her out she fell in love but Jaune was too dense to see it. Now it just looks like angst. Great, this person wants to turn RWBY into the next Evangelion.

So, when Pyrrha gets killed off in vol 3., her death will actually have emotional meaning to Ruby and to the audience. She’s not just a love interest for generic white male protagonist that a good chunk of the fandom (me included) hates because he’s such a blackhole whenever it comes to screentime/character focus. Let’s face it, Pyrrha and Ruby are basically strangers to each other in canon and they’re only friends cause the two teams talk to each other semi-frequently. I don’t think they’ve actually even talked directly to each other even once (and if they did, you really can’t blame me for not remembering). Now, Pyrrha is a mentor and friend to Ruby, so witnessing her death will be legitimately more traumatic to her.

Except: No, it wouldn’t. Any emotions around Pyrrha would feel forced because without Jaune, she doesn’t look as good, her despair is cheapened, her love interest and seemingly promising future is gine, she doesn’t look all that impressive because the audience won’t see how a civilian like Jaune fights, her conflict around being the Maiden and dying will feel forced without the discussion with Jaune and it does not work with Ruby due to Ruby having more pressing matters and if she was inserted in, she would be overexposed in her own series, Ruby DOES become an ACTUAL Blakc Hole Sue, the quality of the show tanks and it dies. Congrats you killed RWBY.

And no, Jaune isn’t a Black Hole Sue nor is that the reason why you hate him: You hate him because he’s white, he’s male and he’s heterosexual because you’re racist, sexist and heterophobic. And as you people in RWDE are so keen on saying: Why should RT pander to bigots? See I know this because criticism’s effect actually dials to one way or another on issues: Since this is a radical change that demands something to be removed entirely, I know that thinsg are fine because the thing isn’t being overdone. Also, I know this because her only criticism of Jaune is hes white and male and she keeps acting like heterosexuality is a bad thing.

And ironically, this actually makes them sexist as hell because they cannot see past Pyrrha’s vagina and see her for the person who she is. She is only worth something if she is completely separate from a man, thus forcing her down one path and one path alone. This also shows that they will refuse to see her strength as a character (her actions for doing good despite the damage it will cause her, her conflict about it, her conflict about her feelings with jaune, her sadness, her strength as an actual fighter) I if it has anything to do with a man, thus never seeing past her gender.  Espeiclaly ironic considering the person Pyrrha is most like in anime is Kamina from Tengen Toppa Gurren Lagann, AKA the manliest guy in anime so her gender barely has anything to do with who she is.

And finally: I love how this person completely disregards Penny dying, Roman dying, Ruby being to a pulp by Roman, Ruby seeing her sister maimed and seeing her school, destroyed as if cumulative stress is not a thing. I wouldn’t let this person within ten miles of a depressed person.

Which leads us to vol 4., where Ruby is all kinds of fucked up from all the shit that happened to her. Her sister lost an arm, her team is scattered across the world, she witnessed 3 people die right in front of her (2 of them being her friends), and her dream school and the kingdom of Vale are fucked. All of this shit can lead to a number of possible developments for Ruby that can happen over the rest of the course of the show, including 1.) she becomes bitter and cynical, losing all sense of hope and optimism she had, 2.) despite all this, she still retains her hope and optimism, or 3.) a mixture of both, where Ruby realizes that the world and being a hunter isn’t as idealistic like being a hero in her stories, but she still wants to do what is good.

And this si exactly what happened in Volume 4. Literally, word for word. Pyrrha’s death made literally no impact here now because really nothing really changed. Except wait, nobody cares about pyrrha, Ruby ahs no way of processing her feelings about Pyrrha, their relationship would feel cheap and poorly written, Pyrrha will have either made no progress with RWBY or contrived progress. 

And let’s take a lok at thes ethree options. Number one is out because it’s basically a spit in the face to Monty and his message of keep moving forward and would make just a copy of Volume 4 Jaune. 2. is the same as three which is exactly what happened. Congrats, you have two options, one of which was already done and the other literally disgraces a dead man’s work. Not like RWBY would survive to this point with all the imbalances of removing Jaune does.

This amps up the character focus on Ruby while drastically reducing Jaune’s. Like the boy or not, you have to admit the amount of time and priority spent focusing on Jaune’s emotional and personal conflicts and growth is really fucking bad writing when he is supposed to be a secondary character. The show is called RWBY and Ruby is supposed to be the actual main protagonist. If anyone’s going to get an absurd amount of focus about their growth, it should be her.

A.) he’s a secondary PROTAGONIST AKA DETUROTAGONIST. In fact, he would be teh closest to BEING a protagonist as the main character’s Foil. Yeah, you kind of forgot that aspect of Jaune’s character, like everything else that wasn’t the color of his skin or the contents of his pants. SO no, that doesn’t work.

B.) That’s already done before: With characters like Goku who sucked up all the development from characters like Yamcha and Tien and Chtaotsu and Master Roshi and Bulma and then ended up with nowhere to go in Z and it brought the whole show down because the characters that could be explored had to be left behind. This is a flaw so prevelant all but the most hardcore DBZ fans will admit it. You’d just be the idiot who never got the memo.

C.) Again, you are ignoring Ruby’s own development to harp on about Jaune, once more making you the sexist one here.

Disclaimer: What is described still falls into the many clichéd pitfalls like the mentor dying and the other generic shit that is in RWBY’s writing, but that wasn’t the point of this rant. The point of the above text is to fix the lack of character focus on Ruby with the material given from the show, even if said material have been done to death already. It’s a bandaid for one wound, but the body that is RWBY is still riddled with critical injuries of bad writing.

Because cliches are always bad, right My Hero Academia, the highest rated recent Shounen, One Punch man and Mob Psycho 100, web comics who defied all the odds like RWBy, and Gurren Lagann, Montys favorite anime and one of the main inspirations for RWBY?

Except that you just bring up more clichés that don’t get the variations that RWBY has given the ones it has now just to be sexist, racist and hetero and somehow homophobic. COngrats, you fail writing.

[whittlebaggett8]

How Arya’s major moment at the Battle of Winterfell was foreshadowed last season, Defence Online

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Maisie Williams as Arya Stark combating at the Struggle of Winterfell on season 8, episode a few, “The Extended Night.”

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Helen Sloan/HBO

Warning: Spoilers in advance for HBO’s “Game of Thrones” time 8, episode four, “The Extensive Night time.”

Arya Stark killed the Night time King by stabbing him with her Valyrian metal dagger.

Her greater reason with this blade was foreshadowed when Bran handed it to her on period seven.

The Battle of Winterfell on season eight, episode 3 of “Game of Thrones,” titled “The Lengthy Night time,” came to a shocking conclude when Arya sneak-attacked the Night time King and stabbed him with her Valyrian steel dagger.

While this was a twist a lot of lovers could possibly not have found coming, the HBO drama’s showrunners David Benioff and D.B. Weiss planted one particular major clue back on the seventh year of the series.

The ‘Game of Thrones’ co-creators have had this Arya strategy in mind for a few several years

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Bran Stark using his skinchanging powers on “Game of Thrones.”

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HBO

In HBO’s “Inside the Episode” segment, showrunner David Benioff states they’ve acknowledged for about three decades that Arya would be the 1 to eliminate the Evening King.

“We hoped to form of prevent the expected,” Benioff reported. “Jon Snow has always been the hero, the 1 who’s been the savior, but it just did not seem to be correct to us for this minute.”

Depending on when they filmed that powering-the-scenes movie, it is harmless to assume the approach has been for Arya to eliminate the Evening King given that at least the time time 7 was in generation again in late 2016 (the seventh year aired in the summer time of 2017).

“We knew it had to be Valyrian metal, to the correct spot where by the Kid of the Forest place the blade to develop the Night King,” Benioff ongoing. “And he’s uncreated by the Valyrian metal.”

Only a handful of characters on “Game of Thrones” have Valyrian metal swords, but it would seem as if Benioff and Weiss determined to get the “Catspaw dagger” back into Arya’s arms on year 7 in order to phase her assassination of the Night King.

At any time considering that the sixth time, the showrunners have been supplying the cast ‘cryptic’ instructions for ‘certain scenes’

Leisure Weekly’s James Hibberd interviewed showrunners David Benioff and D.B. Weiss while on the set for period six. In his report of the check out, Hibberd wrote that Benioff and Weiss previously knew the planned ending for the display at that stage, even although the cast had no concept what was coming.

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D.B. Weiss and David Benioff, the two “Game of Thrones” showrunners and co-creators.

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Jamie McCarthy / Getty Illustrations or photos

“Sometimes they gave actors cryptic strategies when filming selected scenes, with those final episodes in head,” Hibberd mentioned. “The actor didn’t know why they were doing a little something a sure way, only that it was in some way essential.”

We’re really specified that a scene concerning Arya and Bran on the seventh time was one particular of these times, especially presented what we know now about the Valyrian metal dagger.

Bran Stark’s greensight and the Valyrian metal dagger

When Arya and Bran reunited on the seventh time of “Game of Thrones,” he experienced just been specified the Valyrian dagger by Littlefinger. Bran in flip handed it in excess of to Arya, telling her he experienced no use for it. But he has a bizarre expression on his facial area as she requires it, pretty much as if he’s puzzling above a somber believed.

The second was notable to us back again when it initially aired, while at the time we only dared guess Arya night would use it on a White Walker.

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Bran handing Arya the Valyrian steel dagger on “Game of Thrones.”

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HBO

INSIDER spoke with Isaac Hempstead Wright about this scene immediately after the seventh time finale, and he stated that second was intended to be performed for a increased significance.

Hempstead Wright stated Bran is able to get “an notion of destiny” or “fate,” and we brought up the instant when he handed Arya the Valyrian blade. She would afterwards use it to destroy Littlefinger on the seventh season finale.

“You know that���s interesting because that is specifically … I was striving to engage in that,” he said. “I’m truly glad that came via. When Bran’s hunting at that dagger, I was considering that he’s experience the Valyrian steel and imagining, ‘I can see exactly where this dagger’s heading to finish up. It’s heading to be applied to eliminate Littlefinger.’”

Read through additional: Our finish interview with Isaac Hempstead Wright on Bran Stark’s powers and how they operate

The actors only get a person season’s worthy of of scripts at a time, so when we spoke with Hempstead Wright he had no strategy that Arya would also use that dagger to remove the Evening King and therefore the total Army of the Dead. But Hempstead Wright’s certainty of what he was conveying in that scene appears just like the sort of “cryptic” hint Benioff and Weiss could have been striving to convey.

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Bran and the renowned Valyrian “Catspaw dagger.”

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HBO

“I never know if Bran is aware of it there but, but as he looks at it and touches it, it’s becoming distinct that this is essential,” Hempstead Wright said. “And that is why he offers it to Arya so out of the blue. He’s considering, ‘I really don’t know why, but you need to have this dagger.’”

Melisandre’s prophecy specified to Arya on the third year

In addition to this seventh period foreshadowing of Arya’s destiny, Benioff and Weiss may had support from two earlier scenes that laid the groundwork for Arya Stark undertaking a little something vital on the final period of the collection.

To get the most apparent out the way 1st, let us revisit what Melisandre claimed to Arya again on the third season of “Game of Thrones.”

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Melisandre talking to Arya on time a few of “Game of Thrones.”

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HBO

As Arya and Melisandre helpfully recapped for viewers in the middle of the battle, they met back on season a few when Arya was in the Riverlands with the Brotherhood Devoid of Banners. Melisandre had arrive to acquire Gendry back again to Dragonstone for her creepy bloodmagic ritual and Arya additional the pink priestess to her kill record.

“I see a darkness in you,” Melisandre informed Arya when confronted by the young Stark girl. “And in that darkness, eyes staring back at me. Brown eyes, blue eyes, inexperienced eyes, eyes you are going to shut for good. We will meet once again.”

Melisandre’s keep track of history with prophecy on the clearly show has been wobbly (which reminds us, exactly where does the Evening King’s demise go away the Prince or Princess That Was Promised prophecy?) but this scene stood out to a lot of followers. The 3rd period of “Game of Thrones” was even now carefully tracking George R.R. Martin’s publications, but this scene was a complete creation on Benioff and Weiss’ behalf.

Anytime the showrunners seemed to go out of their way to insert a new aspect-tale or scene, enthusiasts took note.

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Arya has killed quite a few people today, with lots of various colored eyes.

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Helen Sloan/courtesy of HBO

As Arya progressed in her assassination competencies and went to Braavos to turn out to be a Faceless Man, it was straightforward to think Melisandre’s words have been simply a prediction of the several persons we observed Arya eliminate. It’s probable Benioff and Weiss made a decision on the Night time King’s destiny and recognized they could use Melisandre and that scene to tie in Arya’s large battle-ending instant.

What is subsequent for equally Arya and ‘Game of Thrones’?

The Evening King was under no circumstances on Arya’s iconic kill-list, provided she just realized of his existence a limited even though in the past. But Cersei Lannister is still alive in King’s Landing, and Arya may established her sights on her upcoming.

The teaser for episode four of “Game of Thrones” exhibits Daenerys Targaryen and the Northern forces celebrating the victory at Winterfell, and arranging for “the previous war” in opposition to Cersei in King’s Landing. Arya will presumably be part of the contingency who sails south, which implies she’s in the great place for crossing Cersei off her listing.

As for “Game of Thrones” by itself, followers are getting themselves shocked to see the Evening King and Military of the Dead dispatched with just midway by means of the closing 6 episodes. We even now have three extra episodes to go, which leaves a lot of time for twists and turns. Can the display leading Arya Stark shock-killing the Night King? We’ll know in just three short weeks.

The post How Arya’s major moment at the Battle of Winterfell was foreshadowed last season, Defence Online appeared first on Defence Online.

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[knightofbalance-13]

Boomerang Compliant

http://hungryallday.tumblr.com/post/164139816706/its-funny-we-say-that-jaune-is-miles-self

Its funny we say that ja//une is miles self insert, because just like ja//une miles also took a position that would require him to do (write) things he was not ready to do (write) yet. And just like ja//une he even admits to this folly (to a certain degree). And, just like ja//une he too doesnt seem to be taking active decisions that would help improve the current state (of the shows writing)

The only thing funny is that if Jaune IS a self insert, then he’s an example of a self-insert done RIGHT and thus, you look like an idiot for saying he’s a bad writing decision when the other option is one of THE MOST REVILED WRITING DESCSIONS IN LITERARY HISTORY.

Let’s go down the list, shall we? (Considering in this context, Mary Sue and self insert are the same thing)

http://sci-frey.livejournal.com/8706.html

1) The Mary Sue character exists for the Suethor's wish fulfillment. The Sue looks like the author wishes she looked, acts like the way she wishes she could, says what the author wishes she could say, and creates an environment within the canon in which things that the Suethor wishes would have happened in the canon, does. Â The Mary Sue is sometimes the gender or sexual orientation which the author wishes (s)he was, or feels is fashionable.

Miles and Jaune don’t look anything alike and Jaune isn’t even that attractive looking. Miles has called Jaune out for not acting the way Jaune should act, Jaune has spoken out once in the series and the story (AKA Miles) portrayed him as wrong with the person he was calling out and the environment was planned by Monty, not Miles. Not to mention that Kerry and Grey also make the environment so it can’t be solely Miles’ creation. So no dice on the first point.

2) There is a sense or tone of whimsy and /or self depreciation in the text.

Most Mary Sue characters are written to be "competent. But not too competent; she’s still a little girl inside, and there’s a sense that at least some of what she accomplishes is done by accident or luck (Pflieger 11). Suethors experimenting with wish fulfilment don’t often also experiment in agency and therefore introduce chance to further the plot, which lends an air of the narrative pressing forward despite the Mary Sue character, rather than because of it.

Right here the accusation falls apart as well: Jaune can only be called competent as a leader and tactician. But as a solo fighter: He gets crotch-shotted, bitch slapped and punted. And that was only in Volume 4. And this further decays as while the tone of these can be whacky, context prevents it from being fully whacky because Jaune doesn’t like this. He is not okay with being treated like this by the world and it actually makes his situation funny in a “haha, look at his misery” way. Similar to Sokka from Avatar The Last Airbender.

And the number of times the narrative is pushed forward by Jaune? 0. The number of times the narrative is pushed forward by chance benefitting Jaune? Also0.

3) The Mary Sue’s appearance, personality, and even scent are often divulged in detail within the exposition of the story; Mary Sues often have physical traits that are a biological impossibility, such as eyes that are violet or shift colour, pointed ears, the limbs or ears of an animal, or hair colour that is not within the normal spectrum of shades.

Jaune’s appearance is not  biologically impossible: In fact, Jaune is the ONLY character who looks realistic, it’s everyone else who is biologically impossible. By the very definition above. Nobody makes a note of his personality except Jaune himself one time (and that kind of reveal is common in fiction)

3) The Mary Sue often was given a name with a hidden or relevant meaning, or that simply “sounds cool”, with no regard for ethnic tradition or likelihood.

Again, this goes for everyone EXCEPT Jaune: He at least has a plausible name and it is very much incontext for ethnics and likelihood in RWBY. Everyone else has the fancy names.

4) The Mary Sue is a character either previously unrecognized by the fandom's central protagonists and antagonists before the commencement of the story, or drops in from 'reality' into the fandom.

Jaune was introduced at the FIRST episode so this is impossible.

5) The Mary Sues’ abilities / magical powers / skills / talents not only outdo the canonical characters (even if, or especially if, the canonical characters are the most powerful / talented / skilled at this particular ability) but often eclipse them. The Mary Sue directly copies the skill and is better at it. The Mary Sue is adept at any sort of fighting or magic wielded by the canonical characters, often surpassing the canonical characters in ability with little to no practice or previous experience.

Jaune doesn’t have any skills that outdo any canonical character’s. In fact, Jaune LACKS a special ability that the other characters have. And he is nowhere near close to surpassing anyone in canon. You can try to argue he surpasses Ruby as a strategist...but looking it up, that’s only because people get strategist and tactician mixed up and Jaune is the latter so that’s not even correct.

6) The Mary Sue is immediately accepted into the canonical character's inner circle of friends and confidants, no matter how unsociable or closely guarded said circle of friends is in the canon.

6.5) If the Mary Sue is related to a major character that is not the romantic interest, then said relation is often used as a haphazard excuse to introduce the Sue to the canonical characters/ future romantic interest.

Actually, Jaune was introduced BEFORE the group of friends where established and the inner circle still consists of Ruby, Weiss, Blake and Yang. Nor is he related to anyone so this is yet ANOTHER critera he fails to meet.

7) The Mary Sue acquires friends or romantic interests / partners among the canon characters, blocking or disrupting the canonical friendships, partnerships and romantic relationships within the canon.

Jaune does not stop the main team from interacting with anyone except one time that Weiss tried “befriending” Pyrrha and he doesn’t stop any relationships.

8) The surrounding canon characters are made to act out of character by the Mary Sue’s presence.

Pflieger points out that this is called, by most fan craft readers, “character rape” (Pflieger 6), and occurs because character’s personalities have developed in relation to only those characters that exist within the show. In adding an unknown quantity, the chemistry of the ensemble must change. Some mistakes in out-of-character instances, however, could also be traced back to the Suethor’s neophyte writer status, in that she has yet to master the subtly of writing that allows a character to remain in character, even when written by an outside party like a fan crafter.

Yeah, Jaune doesn’t cause anyone to act out of character.

9) The Mary Sue robs the strong female characters of their rational agency, turning them into catty bitches.

Again, this could be traced to the Suethor’s newness to crafting, but also to the feminine inclination for competitiveness. Strong, capable female characters threaten the Mary Sue’s agency, importance, and place in her beloved’s heart and therefore they must be removed or made undesirable. Teenage girls, the primary bulk of Suethors, are also living in a phase of life where all women are potential competition and bullying is a fact of life; all girls feel persecuted, and the existence of a character that could challenge a Mary Sue’s ability to form relationships with the desired characters / romantic target, is therefore a potential threat and must be neutralized via changing their characterization

Because the person in question would relate to their corresponding gender, but RWBY doesn’t have enough prominent male characters to do this: I will argue still for the female characters.

Jaune doesn’t stop anyone from forming relationships in canon, excluding one time with Pyrrha and Weiss (since that was, in fact, an attempt by Weiss to try and use Pyrrha.) Nor does he stop anyone from making their own decisions: When Pyrrha wanted to become the Fall Maiden, she did so without ever talking or thinking about Jaune. And when she does mention it, Jaune encourages her. You may argue he takes away Ruby’s agency, but then I argue he wasn’t involved in Ruby’s plotlines enough in Volumes 1-3 to interfere and in Volume 4, Ruby has actually taken away Jaune’s agency as he only has one or two scenes where he is the focus (the armor scene and the brief scene with Qrow) whereas the training video scene was built up by Ruby, framed by Ruby’s point of view, we learn nothing new about Jaune and learned something new about Ruby. And in Kuroyuri, we have Ruby about to blame herself and instead Jaune pushes aside and devalues his suffering (the one thing he gained in the Volume) to make Ruby look and feel better. Ergo, this point he also fails.

10) The Mary Sue is sexually attractive to all canon characters, regardless of their sexual orientation or availability.

Jaune is noted to be attractive by ONE character in the entire series up to Volume 4: His love interest. So no dice here.

11) The Mary Sue is often ardently desired by the villain despite there being no advantage or reason for the villain to want said Mary Sue.

Neither Roman, Cinder or Salem give a shit about Jaune and all I could gather from Tyrian being interested in Jaune is that he might want to rape him. Nowhere near this point.

12) The Mary Sue is often the reason for the main conflict in the plot, whether inadvertently or as a central figure. Â Any special destiny, quest, or plot arc possessed by the central character of the canon is often usurped by the Mary Sue.

Jaune causes no impact on the main conflict of RWBY. The plot never concerns him and he is usually the focus of or integral to CHARACTER arcs, not plot arcs.

13) The Mary Sue is witty and snarkish, and no matter how lame said witticisms are, the canonical characters akin the Sue's sense of humour to that which is quite practiced and enjoyable.

Jaune has not made any snarky or witty banter except for one time in Volume 3...and that was self deprication at his expense. And no one found it funny in-universe.

14) The Mary Sue is often able to shift shapes, or has a friend or magical pet that can shift shapes.

... NEXT!

15) As the Mary Sue is the author’s avatar, the Mary Sue enters the world of canon with the same understanding of character, plot, and universe as the Suethor; the Mary Sue therefore has incredible insight into the lives and workings, the desires and dreams and fears, of the characters with which she is interacting and often serves as a conduit for advice that the Suethor wishes to impart on the characters.  The Mary Sue ‘understands everything’. The advice considered, the canon characters often behaviour is often altered to accommodate the Suethor’s desired changes.

16) The Mary Sue has a tragic past that proceeds the story, or something traumatic and mentally scarring occurs mid-story that they 'get over' cheerily, suffering neither post-traumatic stress, Stockholm syndrome, or other disorders or phobias brought on by their past experiences. Any scars or marks that result from the trauma are 'cool', or are interesting places or shapes, and are often aesthetically tasteful. Sues are rarely ashamed by said scars or marks, or associate them only lightly with the trauma.

16.5) Mary Sues mope, brood, or pout, but only for as long as it takes for the canonical characters to distract her. Long-term guilt or pain is rare in a Sue.

1. He has no idea of the plot, no idea who characters are until they are introduced and actually has LESS of an idea of the universe than the other chaarcters. Jaune didn't understand what Aura is or what a Semblence is. So no dice here.

2. Jaune actually has a less tragic backstory than everyone else. While his parent may have not believed in him, it’s not as sad as Ruby and Yang or Blake or Weiss or Pyrrha or Ren and Nora. And Jaune is actually VERY ashamed that his family had no faith in him and it is not made to make Jaune look cool.

3. ... Volume 4 and Pyrrha. That is all I need to say.

17) The Mary Sue is the centre of the plot, the key player in any battle, and is the only one who can 'save the day' by virtue of her wonderfulness.

17.5) And in doing so, the Mary Sue ‘ties up loose ends’, filling in plot holes from canon, getting characters who the Suethor believes are romantically destined for one another together, or forces an ending to the major plot arc from canon in a satisfying (to the Suethor) and happy way.

1. Jaune is usually the type to act from the sidelines and assist while when he does fight directly against any non-Mook opponent: He gets hit in the crotch, chased, bitch slapped or punted. So nope here as well.

2. Yeah...Jaune does none of this: This is the work or either Qrow or Salem.

18) Somehow the Mary Sue character 'saves the day' in unlikely ways that leave the canon characters stunned and amazed, often at the cost of her own life / health / magic powers / happiness / love / ability to stay with the characters or in the fandom.

Do I seriously have to bring up the numerous ways Jaune gets made a fool of in fights? Or how about he has won one big battle in his life against the Ursa Major?

19) Yet somehow there is a happily ever after wherein the Sue and the Love Interest are reunited, often affirming their relationship through marriage and procreation, therefore supporting the patriarchal hegemony that a powerful female character like a Mary Sue could otherwise challenge.

19.5) Unless the Mary Sue dies, in which case her death is tragic, meaningful, beautiful, and offers the characters that the Suethor is most directly interested from the canon a lesson / morale / momento to take with them.

...A. They are never getting back together.

B. That’s a common trope known as the Tragic Keepsake.

And that was literally the ONE check that Jaune gets where he is a Mary Sue. The others he defies or outright contradicts. So in this case, jaune cannot be a Mary Sue.

But why is he called a Mary Sue still?

Easy

(http://tvtropes.org/pmwiki/pmwiki.php/Main/MarySue) First example under “Intereptations of a Mary Sue) it says this:

An alarmingly widespread use of the term, and one reason a lot of people feel that the term has lost whatever useful meaning it once had. There are a lot of reasons why this usage is so common. Most obviously, as rants about and mockery of the Mary Sue phenomenon became increasingly well-known in fandom, it became increasingly easy to throw the term around as Flame Bait. The fact that so many of the other definitions are highly subjective doesn't help.

People who accuse characters of being Mary Sues rarely admit that this is the definition they're using. The best way to tell is if their justifications for the character's Sue-hood are all based on shoehorning, Alternate Character Interpretation, misrepresenting the sources, and Accentuate the Negative. Describe any non-fanfic character as a Canon Sue, and you'll be lucky if no one accuses you of using this definition of the term. 

AKA what the RWDE tag does. He’s just a character you don’t like so you call “MARY SUE/SELF INSERT!” to try and get him removed or justify your hate. Well, doesn’t work if someone actually KNOWS what a Mary Sue is.