RWBY - The Hindenburg on which Rooster Teeth rests its hopes, dreams and future

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'Heart' is literally one of the most generic and meaningless compliments you can give. It's basically you admitting that you can't actually think of anything good to compliment, so you just say the vaguest shit.
 
TheAmbiguousLurker said:
'Heart' is literally one of the most generic and meaningless compliments you can give. It's basically you admitting that you can't actually think of anything good to compliment, so you just say the vaguest shit.
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I'd said V1 and V2 had heart in them and you could tell that the people working on the project were passionate about making something. Sure, it was heavily flawed, but you could ignore it when you saw just how dedicated Monty was to making it.

I cannot say the same thing about Miles, he seems more devoted to just coasting.
 
Dumpster dived waifu said:
I'd said V1 and V2 had heart in them and you could tell that the people working on the project were passionate about making something. Sure, it was heavily flawed, but you could ignore it when you saw just how dedicated Monty was to making it.
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A lot of people say that about the Beacon arc. My thing is that it may not be the glowing praise some think it is.
 
Random Internet Person said:
A lot of people say that about the Beacon arc. My thing is that it may not be the glowing praise some think it is.
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I say that about most of the fights in the series tbh. That's the best I can come with for most of them. I say the same about V1-3 in general. Again, I'll give credit to RWBY where it's due, but there's not much credit to give, compared to how much criticism you can give the show.
 
Xenomorphs Are Cute said:
I say that about most of the fights in the series tbh. That's the best I can come with for most of them. I say the same about V1-3 in general. Again, I'll give credit to RWBY where it's due, but there's not much credit to give, compared to how much criticism you can give the show.
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When you’re a creator or someone who’s really good at what you do, dying an untimely death is a sure fire way to snuff out any and all criticism that might be deserved.
 
Dumpster dived waifu said:
I'd said V1 and V2 had heart in them and you could tell that the people working on the project were passionate about making something. Sure, it was heavily flawed, but you could ignore it when you saw just how dedicated Monty was to making it.

I cannot say the same thing about Miles, he seems more devoted to just coasting.
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I'd say that Volume 4 also had heart. You can tell they are trying to make it through without the big M at the helm and have made decent headway.

Then they decided to go "okay, we're just not gonna do anything" for Volume 5.
 
LordBaron said:
I'd say that Volume 4 also had heart. You can tell they are trying to make it through without the big M at the helm and have made decent headway.

Then they decided to go "okay, we're just not gonna do anything" for Volume 5.
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Maybe, but V5 and V6 also had money and manpower taken from it and funneled into Gen Lock.
 
With the way the story was going with V3, I thought that RWBY was going to go dark. It would keep in line with the fairy tale theme as their original stories were often quite morbid and dark. That Team RWBY would have a wake-up call that the world is a dangerous place and conflict with Ruby's optimistic outlook on life. But then V4 just went generic action story with worldbuilding thinner than an anorexic.

Going along with that, I always had a pet peeve that this Grimm:
1612200063980.png


Was called a Griffon. Maybe it is from other fantasy settings, but to me Griffon has a positive connotation as a noble stead. I thought that Byakhee would be a better term for the creature. It's not like RoosterTeeth is consistent with its naming of grimm after mythological creatures, considering they name one of them Apathy.
 
Imperial Citizen said:
With the way the story was going with V3, I thought that RWBY was going to go dark. It would keep in line with the fairy tale theme as their original stories were often quite morbid and dark. That Team RWBY would have a wake-up call that the world is a dangerous place and conflict with Ruby's optimistic outlook on life. But then V4 just went generic action story with worldbuilding thinner than an anorexic.
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That's the thing, the Beacon arc tried to do the "something awry is happening in the shadows" while also presenting typical anime high school hijinks like it's some run of the mill YA novel series, and it's up to you to decide if they did a good job at that. At the same time, you had people saying that V3, if not the entire Beacon arc failed with things going too dark too quickly, and the way Beacon was destroyed could create an argument asking if the academies accounted for anything and if we needed them to begin with.

V4's only real criticism that could land was that it failed to capatalize on the momentum that V3 created, and also the part where Blake's family lineage kind of shatters the image people created of her despite all she said about her past was "I'm from outside the kingdoms. If you don't fight, you can't survive".

The worldbuilding was small in scope and could fit the Beacon arc, but then balloned, and also you could argue things were always pretty shallow and paper thin for what things would end up becoming. You had Weiss and Blake with goals that can't be solved with a fight, and you had Blake and Yang with character routes tat had some pretty heavy baggage if you wanna make a visual novel that goes for drama. You also had the Faunus aspect that affected the world and all you got from it was bullying from somebody who said he hates everyone. The villain roster was small scale enough in that you had Roman and Neo as a recurring Dr. Eggman/Team Rocket type, there was Adam and Raven as personal antagonists for Blake and Yang to be at the end of the character routes, and at the end, you had Cinder to be a final boss in waiting with Mercury and Emerald as sub bosses. Even te reveal of Salem wasn't too drastic since you could easily paint her as the type of villain you can only unlock after you satisfy certain conditions that leads to you getting "the true ending". Or B. You could easily have it where Salem is Ozai, Cinder is Azula, and Mercury and Emerald are Mai and Ty Lee....and then V4 introduced Cinder as part of a group of henchmen while the show also wants Cinder to be presented as Salem's right hand, which makes me feel that Mercury and Emerald aren't needed because they're lackeys of a lackey at this point.

Ruby's thing was...noting about her really amounted to much. Her love of weapons never got really expanded on besides some line of "weapons are an extension of people" IIRC. Nothing about it is explored to probably create things like cool vs. practical or knowing the right tool to use for the job because some things require finesse instead of brute force. And her hand to hand weakness can easily be described as somewhere between "combat prowess is kind of a foreign conept in this show" and "tons of people overly rely on their weapons in this show for their combat styles. What makes Ruby any special?"

As for optimism, it's been said that Ruby has gone to flat out naive at this point, and she thinks that things could easily be solved with some speech like the Talk no Jutsu from Naruto or some speech Natsu Dragneel would make about friendship. And then you got the people saying Ruby and her friends are riding on a high of protagonist centered morality with no self-awareness, and the show tries to paint the group as pure heroes instead of a bunch of teenagers who are in too deep. My response to this kind of discourse: Ruby Rose isn't a character. She's a mascot.
 
Random Internet Person said:
That's the thing, the Beacon arc tried to do the "something awry is happening in the shadows" while also presenting typical anime high school hijinks like it's some run of the mill YA novel series, and it's up to you to decide if they did a good job at that. At the same time, you had people saying that V3, if not the entire Beacon arc failed with things going too dark too quickly, and the way Beacon was destroyed could create an argument asking if the academies accounted for anything and if we needed them to begin with.

V4's only real criticism that could land was that it failed to capatalize on the momentum that V3 created, and also the part where Blake's family lineage kind of shatters the image people created of her despite all she said about her past was "I'm from outside the kingdoms. If you don't fight, you can't survive".
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My first thought with the abruptness of Beacon's destruction was that it was RWBY's equivalent of Berserk's Eclipse, as in it upends the status quo. I really thought that V4 would follow up on that, show that the real world is one where death stalks every corner.

There are alot of implications that RWBY's universe is incredibly disturbing. For one, you have child soldiers that train their whole lives to eventually die at the hands of a monster. Individuals can develop superpowers at a young age and are often revealed through trauma.

And one that is a real kicker; Grimm are attracted to negative emotions. What do villages and cities do when people suffer from depression or any other mental illness that produces negative emotions? You could say that they are given medicine, but what about those on the outskirts? They essentially have a big, glowing "Free Buffet" sign for all the Grimm to see. So do they snuff out the light?
 
Imperial Citizen said:
My first thought with the abruptness of Beacon's destruction was that it was RWBY's equivalent of Berserk's Eclipse, as in it upends the status quo. I really thought that V4 would follow up on that, show that the real world is one where death stalks every corner.

There are alot of implications that RWBY's universe is incredibly disturbing. For one, you have child soldiers that train their whole lives to eventually die at the hands of a monster. Individuals can develop superpowers at a young age and are often revealed through trauma.

And one that is a real kicker; Grimm are attracted to negative emotions. What do villages and cities do when people suffer from depression or any other mental illness that produces negative emotions? You could say that they are given medicine, but what about those on the outskirts? They essentially have a big, glowing "Free Buffet" sign for all the Grimm to see. So do they snuff out the light?
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I completely forgot about that aspect of Grimm, and that aspect of developing a semblance. But at the same time, thanks for reminding me. But honestly, for how much people like to talk about how Monty's Beacon arc was so much better, it really set the show up on the wrong foot, probably through ways that couldn't be explained or excused with "Monty's death".
 
Imperial Citizen said:
My first thought with the abruptness of Beacon's destruction was that it was RWBY's equivalent of Berserk's Eclipse, as in it upends the status quo. I really thought that V4 would follow up on that, show that the real world is one where death stalks every corner.

There are alot of implications that RWBY's universe is incredibly disturbing. For one, you have child soldiers that train their whole lives to eventually die at the hands of a monster. Individuals can develop superpowers at a young age and are often revealed through trauma.

And one that is a real kicker; Grimm are attracted to negative emotions. What do villages and cities do when people suffer from depression or any other mental illness that produces negative emotions? You could say that they are given medicine, but what about those on the outskirts? They essentially have a big, glowing "Free Buffet" sign for all the Grimm to see. So do they snuff out the light?
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Honestly the child soldier thing doesn't really apply. We see that they only really let adults fight Grimm, and they make the whole thing a college instead of the usual high school setting. RWBY herself gets in early and is still over the military recruitment age.

The implications don't go anywhere. You would think there would be a bunch of different world building that would go along with this. What is the world like when you arn't able to feel negative emotions without the risk of someone dying even if you never act on them? Like all the media would have to be happy since if a popular character got killed off you risk having a Grimm invasion. But they just...never do anything like that. Everyone acts like the Grimm don't exist. There is zero change from a normal society. The only time they do anything with this is that one homestead thing, and their solution is to bring in magic monsters instead of just making cultural changes that should have been made centuries ago.

So those with depression...just get treated like those who have depression in the real world because Roosterteeth can't into world building. The same way people have riots despite knowing with 100% certainty that these riots will attract monsters that will kill them. The same way people get sad, angry, bully others, get scared, and display all other negative emotions just as easily as in the real world because Rosterteeth doesn't think about the implications of their monster's actions.
 
Eugene90 said:
Oh brilliance, more "at least they're trying" cliche bullcrap that absolve them of responsibilities to improve.

Why use it to justify laziness when you can use 'at least we put our hearts into it' to excuse laziness, right?
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You know, when people say they're trying, they should actually show that they're trying, not regressing.
 
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