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itsclydebitches · 4 years

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RWBY Recaps: Volume 8 “Dark”

Welcome back, everyone! Can you believe it's been six weeks already? I can't. Something something the uncomfortable passage of time during a pandemic as emphasized by a web-series.

But we're here to talk about RWBY the fictional story, not RWBY the cultural icon. At least, we will in a moment. First, I'd like to acknowledge that shaky line between the two, growing blurrier with every volume. A sort of good news, bad news situation.

The bad news — to get that out of the way — is that we cannot easily separate RWBY from its authors and those authors have, sadly, been drawing a lot of negative attention as of late. This isn't anything new, not at all, but I think the unexpectedly long hiatus gave a lot of fans (myself included) the chance to think about Rooster Teeth's failings without getting distracted by their biggest and brightest production. There's a laundry list of problems here — everything from the behavior of voice actors to the quality of their merch — but as a sort of summary issue, I'd like to highlight the reviews that continue to pop up on websites like Glassdoor, detailing the toxic, sexist, crunch-obsessed environment that RT employees are forced to work in. A lot of these websites requires a login to read more than a page of reviews, but you can check out a Twitter thread about it here.

Now, I want to be clear: I'm not bringing this up as a way to shame anyone enjoying RWBY. This isn't a simplistic claim of, "The authors are Problematic™ and therefore you can't like the stuff they produce." Nor is this meant to be a catch-all excuse for RWBY's problems. If it were, I'd have dropped these recaps years ago. I'm of the belief that audiences maintain the right to both praise and criticize the work they're given, regardless of the context in which that work was produced. At the end of the day, RT has presented RWBY as a finished product and, more than that, presents it as an excellent product, one worth both our emotional investment and our money (whether in the form of paying for a First account, or encouraging us to buy merch, attend cons, etc.) I'll continue to critique RWBY as needed, but I a) wanted fans to be at least peripherally aware of these issues and b) clarify that my use of "RT" in statements like, "I can't believe RT is screwing up this badly" is meant to be a broad, nebulas acknowledgement that someone in the company is screwing up, either creatively (doesn't have the skill to write a good scene) or morally (hasn't created an environment in which other creators are capable of crafting a good scene). The real, inner workings of such companies are mostly a secret to their audiences and thus it's near impossible for someone like me — random fan writing these for fun as a casual side hobby — to accurately point fingers. Hence, broad "RT." I just wanted to clarify that when I use this it's as a necessary placeholder for whoever is actually responsible, not a damnation of the overworked animator breaking down in a bathroom. Heavy stuff, but I thought it was necessary (or at least worthwhile) to acknowledge this issue as we head into the second half of the volume.

Now for the good news: RWBY has reached 100 episodes! For any who may not know, 100 is a pretty significant number in the TV world because, when talking about prime time programming, it guarantees syndicated reruns. Basically, networks don't want audiences to get burned out with a show — changing the channel when it comes on because ugh, I've seen this already, recently too — and 100 episodes allows for a roughly five month run without any repeats, making it very profitable. RWBY is obviously not a television show and doesn't benefit from any of this (hell, modern television doesn't benefit from this as much as it used to, not in the age of streaming), but the 100 episode threshold is still ingrained in American culture. Beyond just being a nice, rounded number, it is historically a measure of huge success and I can't imagine that RT isn't aware of that. Regardless of what we think of RWBY's current quality, this is one hell of a milestone and should be applauded.

All that being said... RWBY's quality is definitely still lacking lol.

Our 100th episode is titled "Dark" — keeping with the one word titles, then — and I'd like to emphasize that, as a 100th episode, it definitely delivers in terms of plot. There's plenty of action, important character beats, and at least one major reveal, everything we'd expect from a milestone and a Part II premiere. The animation also continues to be noteworthy for its beauty, as I found myself admiring many of the screenshots I took for this recap. There are certainly things to praise. The only problem (one we're all familiar with by now) is that these small successes are situated within a narrative that's otherwise falling apart. It's all good stuff... provided you ignore literally everything else surrounding it.

But let's dive into some examples. We open on Qrow starting, awoken by the thunder outside. Robyn has been watching him and makes a peppy comment about how none of them will be sleeping tonight, followed by a more serious, "Sounds bad out there." Yeah, it does sound bad, especially when they all know — thanks to Ruby's message back in Volume 7 — that this is due to Salem's arrival. I think a lot of the fandom has forgotten that little detail because people often discuss Qrow as if he is entirely ignorant of what is going on outside his cell. Even if we were to assume that he's forgotten all about the pesky Salem issue (the horror of Clover's death overriding everything else, perhaps) he still knows that Tyrian is running loose in a heat-less city with a creepy storm going on and, from his perspective, the Very Evil Ironwood is still running the show. So it's bad, which begs the question of why Qrow (and Robyn, for that matter) hasn't displayed an ounce of legitimate worry for everyone he knows out there. Thus far, their interactions have centered entirely around Qrow's misplaced blame and Robyn's terrible attempts to lighten the mood, despite the fact that a war is raging right beyond that wall. It's another example of RWBY's inability to manage tone properly, to say nothing of balancing the multiple concerns any one character should be trying to juggle. Just as it rankles that Ruby and Yang don't seem to care about what has happened to their uncle, Qrow likewise doesn't seem to care about what might be happening to his nieces. When did we reach a point where these relationships are so broken that someone can be arrested/chucked into a deadly battle and the others just... ignore that?

So Robyn's otherwise innocuous comment immediately reminds me of how badly the narrative has treated these conflicts and, sadly, things don't improve much from here. We are thankfully spared more of Robyn's jokes when Qrow realizes that what he's hearing can't be thunder. A second later, Cinder blasts through the wall — called it! — and Qrow instinctively transforms.

The only downside to this moment is that the whole ceiling falls down on Qrow and the others because APPARENTLY these cells don't have tops on them. Seriously. As far as I can recall we don't see the stone breaking through the forcefield somehow and this looks pretty open to me.

If it is... you're telling me these crazy powerful fighters who practice landing strategies and leap tall buildings in a single bound —

— can't just hop over this mildly high electric fence to get out? Qrow can't just fly away?

We're, like, two minutes in, folks.

We transfer to Nora's perspective as she wakes up, seeing Klein giving her the IV. He tells her not to worry, that "you and your friend are going to be just fine." What friend? Penny? Klein went upstairs prior to Weiss hugging Whitley or Penny crash landing outside. I had thought them bursting through the door with another unconscious friend was the first time he learned what the big bang outside was, but apparently not.

Penny is, obviously, a mess. While I now understand the choice to make her blood such an eye-catching color when that's crucial to the Hound's hunt, I still think it looks strange visually. Like someone has taken a copy of RWBY and painted over it. It doesn't look like it fits the art style. More than that, it implies some rather complicated things about Penny's humanity, especially in a volume focused around her being a "real girl." Real enough for Maiden powers, but with obviously inhuman blood that isn't even referred to as "bleeding." Penny "leaks" instead.

Toss in the fact that she's literally an android who is made up of tech — recall the running gags about her being heavy, or it hurts to fist-bump her, to say nothing of keeping things like multiple blades inside her body — yet Klein says that her "basic anatomy" is the same and he can "stitch up that wound."

I'm sorry, what? Whatever Penny looks like on the inside, it's not going to resemble a human woman's anatomy, and Klein might be able to stitch the outer layer of skin she's got, but that won't do anything to fix whatever metal bits have been broken underneath. Penny isn't a human-robot hybrid, she's a robot with an aura. Penny has knives in her back, rockets in her feet, and a super computer behind her eyes. When our clip introduced that Klein would be the one to help Penny, my initial reaction was, "Seriously? He's a butler and a doctor and an engineer?" But RWBY didn't even try to get away with a Super Klein explanation, they just waved away Penny's very obvious, inhuman anatomy. Yeah, I'm sure "stitching up" an android wound is just like giving Nora her IV. I hope the surgical sutures he used are extra strong!

In an effort to not entirely drag this episode, I do appreciate that Whitley is allowed an "ugh" moment about the non-blood covering his shirt without anyone calling him out on it. That felt like the sort of thing the show would usually try to make a character feel guilty about and I'm glad that, for once, he was just allowed to be frustrated without comment.

Then the power goes out and May calls, which raises questions about what state the CCTS is in and when scrolls are available to our protagonists vs. when they're not. But whatever. She's checking in because she just "saw another bombing run light up the Kingdom" and —

Wait. Bombing? Salem is bombing the city? I know we've seen explosions in the sky, but I'd always just attributed that to evil aesthetic. Why does this dialogue sound like it's from a World War II film and not a fantasy sci-fi show about literal monsters launching a ground attack?

May looks pretty against the sky though. I like her hair color against that purple.

I'm admittedly grasping at positives here because we finally return to her "You have to choose" ultimatum and — surprise! — May has pulled back completely. Ruby says that once they've helped Penny, "We'll...we'll do something!" which is once again her avoiding making a decision. Ruby still refuses to choose, instead falling back on generic, optimistic pep talks. They'll figure out how to stop Salem later. They'll think about the impact of telling the world later. They'll choose who to help later. Ruby keeps pushing these problems into the future where, she hopes, a perfect, magical solution will have appeared for her to latch onto. When that continues to not happen, others pressuring her to actually do something and stop waiting for perfection — Ironwood, Yang, May — she panics and continues stalling for time. Wait an episode and the narrative supports her in this.

Because initially May was forcing Ruby to decide. Now, May enables her desire to keep putting things off. "Don't beat yourself up, kid. At this point, I don't know how much is left to be done." That's the exact opposite of what May believed last episode, that there was still so much work and good to do for the people of Mantle. This is precisely what the show did with Yang and Ren's scenes too, having people call Ruby out... but then return to a message of, 'Don't worry, you're actually doing just fine' before Ruby is forced to actually change.

None of which even touches on May calling her "kid" in this moment. That continues to be a convenient way of absolving Ruby of any responsibility. When she wants to steal airships or Amity Tower, she's an adult everyone should listen to, the leader of this war. When the story wants to absolve her of previously mentioned flaws, she becomes a kid who shouldn't "beat herself up." I said years ago that RWBY couldn't continue to let the group be both children and adults simultaneously, yet here we are.

So that was a thoroughly disappointing scene. Ruby gets her moment to look sad and defeated, listing "the grimm, the crater, Nora, Penny" as problems she doesn't know how to solve. Note that 'Immortal witch attacking the city I've helped trap here' isn't included in that list. Ruby is still ignoring Salem herself and no one in the group is picking up where May left off, challenging her to do more than wring her hands over things others are already trying to take care of: Ironwood is fighting the grimm, May has gone off to help the crater, Klein is patching up Nora and Penny. Ruby, as one flawed individual, should not be expected to come up with a solution to everything, but she does need to stop acting like she can come up with a solution to everything when it matters most (office scene) and rejecting others' solutions when they ask for her help (Ironwood, May).

If it feels like I'm dragging the flawed, traumatized teenager too much, it's not in an effort to ignore those aspects of her identity. Rather, it's because she's also the licensed huntress who wrested control from a world leader and violently demanded she be put in charge of this battle. Ruby, by her own actions, is now responsible for dealing with these problems, or admitting she was wrong and letting others take the lead, without purposefully derailing their plans. She doesn't get to suddenly go, "I don't know," cry a little, and get sympathetic pats.

But of course that's precisely what happens, courtesy of Weiss.

During this whole scene I kept wondering why no one was celebrating Nora waking up, especially when Ruby outright mentions her. Have they just not noticed given all the Penny drama? Because Nora absolutely woke up.

Aaaand went back to sleep, I guess. What was the point of that POV shot? No worries though, she'll wake up again in a minute.

Willow arrives and announces that they can fix the power (and Penny) using the generator at the edge of the property. I'm convinced RT doesn't actually know what a generator is because the characters are acting like it's some super special device that only richy-rich could possibly have. Whitley says that it's the SDC executives who have their "own power supply" and that it's "extremely unfair." Now, don't get me wrong, a good generator powering large portions of your house can run you 30k+, but you can also get one that plugs into your extension cord and powers your fridge for a couple hundred. There's absolutely a class issue here, just not the one Whitley and Weiss seem to be commenting on. They make a generator sound like the sort of device that only a politician-CEO could possible have and it's weird.

Likely, it sounds weird because it's a choppy way of getting Whitley to bring up the wealth disparity so he can then go, 'That's right! We're crazy rich with a company housing tons of ships! We can use those to evacuate Mantle.' Awkwardness aside, I do like that the Schnee wealth is being used for good purposes, but... evacuate where? To the city currently under attack by a giant whale? In a RWBY that wasn't determined to demonize Ironwood, this would have been a great plot point during the office scene instead, with Weiss offering her services to Ironwood, even if the group decides that a continued evacuation still isn't possible.

Instead, we get it here from Whitley. Do I need to point out the obvious? That Whitley is the MVP of this episode? He's done more good in an HOUR than the group has managed in a year. Give this kid some training and make him a huntsmen instead.

We're given a (very pretty!) shot of the shattered moon because it wouldn't be RWBY if we weren't continually reminded that gods once wiped out humanity before destroying part of a celestial body... and absolutely no one talks about that lol.

Blake's coat might not make any sense for her color scheme, but it does make her easy to spot as she and Ruby run across the grounds. Oh my god, they're actually doing something together! It only took eight years. They even get a lovely talk where Blake admits how much she looks up to Ruby, despite her being younger, and once again I'm struck at how much more I would have loved this scene if it had appeared elsewhere in the series. It is, indeed, as sweet and emotional as all the RWBY GIF-ers are claiming... provided you overlook that this is the exact opposite of what Ruby needs to hear right now. She doesn't need to hear that she's more mature and reliable than her elders when she's functioning under a "We don't need adults" mentality. She doesn't need to hear that not knowing what to do is totally fine, not when that led to her turning on Ironwood, despite not knowing how to stop Salem. She doesn't need to hear that "doing something" — doing anything — is a strength, because Ruby keeps avoiding the big problems for smaller ones she's comfortable with, like standing by Penny's bedside instead of deciding between Mantle and Atlas. Blake's speech is heartfelt, but it's a speech that suits a Beacon days Ruby who is having some doubts about her leadership skills, not the girl whose impulsive — and now lack of — actions is having world-wide repercussions. Everyone is babying Ruby to a staggering degree. It's like if we had a med show where the doctor is standing by the bedside of a coding patient, fretting between two treatments. 'Don't worry,' their colleague says, patting their shoulder. 'I've always looked up to you. You'll do something when you're ready' and then they continue to watch the patient, you know, die.

Also: who does Ruby look up to? Everyone talks about how much they depend on and trust Ruby, but who does Ruby look to for guidance? A number of her problems stem from the fact that she has rejected the advice of everyone who has tried to help her improve: Qrow, Ozpin, Ironwood, even Yang. Ruby is presented as the pinnacle of what to strive for in a leader, rather than a leader who has only been doing this for two years and still has a great deal to learn.

Anyway, they get the generator on and the Hound shows up.

I am begging RT to just make RWBY a horror story. All their best scenes the last three years have been horror I am bEGGING —

Anyway, while Ruby waits to be eaten we cut to Willow and Klein, the former of which is reaching for her bottle, pulling back, reaching again, all while her hand shakes. This is good. This is what we should have gotten with Qrow. Which isn't to say that their (or anyone's) addiction should be identical, but rather that this is a far more engaging and complex look at addiction than what our birb got. Willow tells us that she doesn't drink in the dark despite bringing the bottle with her; tries to resist drinking when she's scared and ultimately fails. Qrow just decided to stop drinking after decades of addiction, seemingly for no reason, and that was that. Why is a side character we only met this volume written better than one of the main cast?

Blake manages to call Weiss about the Hound and she asks if Whitley can handle the airships without her. I mean, I assume so given that Weiss is looking at the bookshelves while Whitley does all the work lol. He makes a teasing comment about how he can if she can handle that grimm and she comments that they still need to work on his "attitude."

No they don't. Weiss stuck a weapon in her kid brother's face. Whitley made a joke. Even if Weiss' comment is likewise meant to be read as teasing, it's clear that we've bypassed any meaningful conversation between them. That hug was supposed to be a Fix Everything moment even though, as I've laid out elsewhere, it didn't even come close.

We cut back to Ruby getting thrown through a wall into the backyard and the Hound creepily coming after her. She's freaked out by this clearly abnormal grimm and Blake is weirdly... not? "It's just a grimm. Just focus!" Uh, it's obviously not. Have we reached the traumatized, sleep-deprived point where the group is sinking into full-blown denial? I wouldn't be surprised. They've been awake for like... 40+ hours.

Because the Hound knocks Ruby out with a single hit. Just, bam, she's down. "Focusing" is not the solution here.

Weiss calls to warn the others about the grimm, telling them to stick together. Willow (understandably) starts freaking out and flees the room (classic horror trope!). Klein is left alone when Penny wakes up with red eyes. Oh no!

Don't worry. You know nothing meaningful happens.

She shoves Klein before (somehow?) resisting the hack, her Maiden powers going wild in the process. Just when it looks as if Penny might cause some serious damage, Nora wakes up, takes her hand, and says, I kid you not:

"Hey... no one is going to make you do anything you don't want to do... It's just a part of you. Don't forget about the rest."

Okay. I want to re-emphasize that I love hopeful, uplifting, victory-won-through-the-power-of-love stories. Istg I'm not dead inside, it's just that RWBY does this so badly. I mean, what is this? It has similarities to the character shouting, 'No! Resist!' to their mind-controlled ally, but this is not presented as a desperate, last-ditch effort by Nora. She just speaks like this is the most obvious truth in the world. If you don't want to have your mind taken over... just don't! It's that simple. The problem definitely isn't that Watts has changed her coding and has implemented a command she can't override, it's that Penny has forgotten about the "rest" of her personhood.

And this works. Granted, not for long, but we leave Nora having successfully calmed Penny down and until her eyes unexpectedly go red again scenes later, we're left assuming that this is a permanent solution. That, imo anyway, is taking the Power of Love too far, overriding the basic reality of Penny being hacked. It’s not a personal failing she must overcome, it’s an external attack. I would have rather had Nora react to the scars she saw on her arm, or have a moment with Klein, or get some love from the group. Not a wakes up, falls asleep, wakes up again to save Penny with a Ruby level 'Just ignore reality' pep-talk, then back to sleep again.

So Penny isn't attacking her allies, or mistakenly hurting her allies with wild Maiden powers. Not that the group doesn't have enough to deal with, but still. Weiss arrives to help with the Hound and attempts a new summon, only to fail when two minor grimm burrow up into her glyphs. I really enjoyed that moment, both for the wing visual and the knowledge that Weiss' glyphs can fail if you break them somehow (which makes sense). Also, I just like that she failed in general? Weiss is, as per usual now, about to demonstrate just how OP she is compared to the rest of the team, so it was nice to see her faltering here.

The Hound tries to make off with Ruby and Blake does an excellent job of keeping it tethered. Ruby finally wakes, only to realize that the grimm is actually after Penny since it's staring at her power up through the window, no longer trying to escape. Moments like this remind me that there's someone on RT's writing team that knows what they're doing, at least some of the time. The assumption that the Hound is after Ruby as a SEW, the surprise that it's actually Penny, realizing it holds up because Ruby is covered in Penny's blood and Blake is not... that's all nice, tight plotting. More of that please!

The Hound drops her and Ruby's aura shatters when she hits the ground. I want everyone to remember this moment as an example of how strong the Hound is. The group may be tired, but unlike YJR they've been sitting around in the Schnee manor for a number of hours, regaining strength. We saw the Hound hit Ruby twice — once through the wall and once to knock her out — and then she falls from a not very high distance for a huntress, yet her aura is toast. That's the level of power and skill the Hound possesses. Decimating YJR, knocking Oscar out, same for Ruby, avoiding Blake and Weiss' hits, soon to treat Penny like a ragdoll. Just remember all this for the episode's end.

Blake tells Weiss she'll take care of Ruby, you go help the others. Yay breaking up the duos more! Bad timing though as the new acid-spitting grimm pops out of the ground and Blake is now left alone to face it.

Weiss re-enters the mansion, knowing the Hound is somewhere nearby, but not where. Suddenly, Willow's voice sounds through her scroll with an, "Above you!" which... doesn't keep Weiss from getting hit lol. But it's the thought that counts! Willow has accessed the cameras she's set up throughout the manor, watching the Hound's movements, and I have to say, that is a WAY better use of her separation from Klein than I thought we were getting. I legit thought they'd have Willow run away in a panic, meet the Hound, die, and then Weiss could be sad about losing her mom.

It does say something about RWBY's writing that this was my knee-jerk theory, as well as my surprise when we got something way better.

The Hound runs off, uninterested in Weiss, and she asks Willow to keep tabs on it. It heads for Whitley next (also covered in Penny's blood) and very creepily stalks him in the office with a, "I know you're here." Whitley is seconds away from being Hound chow before one of Weiss' boars pin it against the wall. He runs, then runs BACK to finish deploying the airships, before finally escaping assumed death. Goddamn this boy is pulling his weight.

I assume all these ships are automated then? I hope someone takes a moment to call May. Otherwise it's going to be super weird for the Mantle citizens if a fleet of SDC ships just show up and hover there...

I don't entirely understand how Weiss saved him though. She's nowhere to be seen when Whitley leaves and he runs a fair distance before he and Willow encounter Weiss again. We know her summons don't have to keep right next to her, but are they capable of rudimentary thought, attacking an enemy — and an enemy only — despite Weiss being a couple corridors down and unable to see the current battlefield? I don't know. In another series I'd theorize that this was a deliberate hint, a way to clue us into the fact that Willow, someone who we currently know almost nothing about, had training in the past and summoned the boar herself. Weiss and Winter certainly didn't get that hereditary skill from Jacques. Hell, we might still get that, Weiss reacting with confusion next episode when Whitley thanks her for the boar, but I doubt it. That scene with Ruby and the Hound aside, the show isn't this good at laying groundwork and then following up on it.

Case in point: Weiss says, "I didn't forget you" to Whitley after he gets away from the Hound, the moment trying to harken back to her promise to Willow. Key word is "trying." Because she absolutely forgot him! Weiss threatened and ignored Whitley until he proved his usefulness. I also shouldn't need to point out that, "Don't forget your brother" does not mean, "Don't let your brother die a horrible death by abnormal grimm." Weiss acts like her saving him is a fulfillment of her promise, rather than just the most basic of human decency. And also, you know, her job.

So that part is frustrating. The entire Schnee dynamic is a mess, from Weiss making a joke of her father's arrest, to Willow (presumably) fixing their relationship by putting a hand on her daughter's shoulder. Okay.

Then Weiss cuts off the Hound by summoning a giant wall of ice. My brain, every time this happens:

YOU COULD HAVE FIXED THE HOLE IN MANTLE'S WALL.

Moving on, Blake's fight against the acid... thing has some great choreography, including Blake using her semblance which we haven't seen in AGES.

I really like the fight itself, just not what Blake is shouting the whole time. "I need you, Ruby! We all need you!" This has really gotten ridiculous. Ruby is presented as everyone's sole savior despite failing time and time again. It's not that I don't think Blake as a character should have faith in her leader, it's that I don't think the writers should be crafting a story where everyone puts their unshakable hopes in an untrained, disloyal, impulsive 17 year old. I mean, Ruby is currently unconscious, yet Blake is acting like if she doesn't wake up — she, as an individual, if Ruby Rose does not re-join this fight — then all is lost. If Ruby doesn't save them, no one can. Which is, of course, absurd on numerous levels. Blake doesn't need the passed out, aura-less Ruby right now, she needs the still very healthy Weiss pulling out multiple summons and an ice wall! Use your scroll and call for backup again.

But of course, Ruby wakes up and kills the new, terrifying grimm with a single hit. It's a preview of what's to come with the Hound and it's just as ridiculous here as it will be there.

Speaking of the Hound, am I the only one who thought this was... cute?

I can't possibly be the only one. That head-tilt is exactly what my dogs do and my brain instinctively went, "Aww, puppy!"

Murderous puppy.

The Hound realizes none of the Schnees are who it's looking for and runs off. Penny, meanwhile, has been fully taken over because, well, that's just what's convenient now. She resists long enough keep Amity up, then succumbs, then resists to apologize to Ruby, then succumbs, then resists because Nora asked her to, then succumbs once it's time to knock her out. If RWBY was willing to commit to consequences, Penny would have been taken over and that was that. The characters would need to deal with whatever outcome happens as a result. Instead, the show very carefully avoids any of those pesky consequences by having Penny successfully resisting at key moments, despite no explanation of how she's managing that.

She shoves Klein again (Klein is having a Bad Time) and starts walking down the main steps. When Whitley wants to know where the hell she's going, Penny mechanically responds that she must "Open the vault, then self-destruct." I suppose the change Watts made was the self-destruct order? Ironwood obviously wants the vault open, though not necessarily Penny's death. Think what you will of his moral compass, she's a damn powerful ally — a research project, perhaps — and a Maiden to boot. At the very least, her death may give the powers to someone even worse.

God, please don't let them have brought Penny back and made her a Maiden just to kill her again.

The Hound arrives though and, as said, knocks Penny out. We're back to square one with her, then. Note though that this attack is near instantaneous. She grabs its hands one second, is hanging limply the next. Wow, the Hound sure is a terrifying antagonist!

Not for long.

"That's enough," Ruby says and one-shots it with her eyes.

Now, I want to talk for a moment about the implications of that line. "That's enough." Obviously Ruby is #done with this situation and emotionally unwilling to let the Hound kidnap Penny (congratulations, Nuts and Dolts shippers), but there's a meta reading here as well. Not intentional, but glaring to me nonetheless. Basically, the idea that the Hound has, from a plot perspective, done enough. It has served its singular purpose. It kidnapped Oscar and now it dies. Never-mind how insanely powerful we've established the Hound to be, never-mind how Ruby's eyes also work or don't work according to whether anything of actual import is on the line. From a plot perspective "that's enough" and the Hound can be disposed of instantly. It got Oscar and gave us an episode of filler creepiness. Move along now.

The idea behind Ruby's eyes isn't bad, but the execution absolutely is. RT has undermined a huge portion of the stakes by giving their protagonist an instant kill-shot that always works precisely when she needs it to. Starting with the Apathy, we have yet to get a moment where Ruby's eyes fail to save the day when she really needs them to, no matter how incredible the challenge. The Hound was very intentionally written to be a grimm outside of the group's current power level. It thinks, it talks, they literally can't touch it. This creates the expectation that the group will need to grow stronger — or at least become smarter — in order to surmount this new obstacle, yet Ruby's eyes undermine all of that. The group hasn't grown in years, the show just makes enemies weaker as needed (Ace Ops), or has Ruby pull out her eyes as a trump card. It wouldn't be that bad if we'd at least gotten a good battle out of it, one where the group gets close to defeating the Hound on their own, but needs Ruby's eyes to finish it off. Instead, she literally walks up without any aura, announces to the audience that this antagonist's time is up, and blasts it out a window.

Granted, Ruby's eyes don't completely finish it. The Hound pulls itself to its feet and we see this.

Yup, that's a guy and yup, those are silver eyes.

I would like to issue a formal apology to the "It's secretly Summer!" theorists in the fandom. I mean, I still think it would be ridiculous (and at this point highly improbable) that Ruby's dead mother has actually been a grimm mutant this whole time, just hanging out in Salem's realm while she waits for the plot to start before attacking the world, and then sends some no-name faunus dude after the group instead of their leader's mother for extra, emotional torture... but you all were definitely right about the “It's a person” part! I... don't know how I feel about this. Admittedly, it seems to be a logical continuation of the other grimm-human hybrids we've seen — namely Cinder and Salem herself — and it finally explains why Salem wants Ruby alive (even though it actually doesn't because WHY did she want more SEWs for Hound grimm when she wasn't even attacking back then? And already has all these other insanely powerful tools??), but at the same time, it feels like it's complicating a story that doesn't need further complications. The group fights monsters and has an immortal enemy. You don't need to add 'Some of those monsters are secretly human' to the mix.

It doesn't hurt that this twist is giving me Attack on Titan vibes, which, ew. A dark time in my fandom life, folks.

The Hound staggers a few steps before Whitley and Willow dump a suit of armor on it. That's all it takes to kill the most dangerous grimm we've ever seen: a single flash of silver eyes and some heavy metal. This also wreaks havoc with the implication that Salem wants SEWs alive because they create such powerful grimm. Obviously not. I mean yeah, normal huntsmen are going to have serious problems, we’ve seen that this volume, but any other SEWs nearby will take a Hound out instantaneously. For a villain with so many other powerful abilities — immortality, magic, endless normal grimm, her nifty soup — Salem would be much better served just killing SEWs straight out. Clearly, creating Hounds isn't worth the effort.

The Hound leaves some bones behind and Ruby collapses to her knees, overcome with the knowledge that this was once a person. Again, uncomfortable Attack on Titan parallels.

We finish our premiere with Cinder clearing away rubble to reveal Watts. Honestly, I like that we ended on this because her rescue is hilarious. She just slings him over her shoulders like a sack of potatoes and blasts off with her magic fire feet. Fantastic.

Note though that with this scene we've seen almost everything from the clip and the trailer. What's to come in the rest of Volume 8? No idea. Outside of Winter leading the charge with the bomb, we got it all here.

Time to update the bingo board!

I'm crossing off "Introducing new grimm that are quickly abandoned." Between the Hound and acid-dude both falling to a single blast/cut from Ruby, we've more than earned this square.

It doesn't look as if we'll get another Watts-Jacques team-up now that he's left, but you never know.

Maria's got me worried. I feel like her Yoda fight against Neo is the one thing she'll be allowed to do this volume, but given that we didn't see anyone except Ruby's group this episode, we don't yet know whether the story is now ignoring her and Pietro, or if they'll re-appear in another episode like YJR.

Qrow is free. Will he get a drink before trying to murder Ironwood? Perhaps.

Still no bingo :(

All in all, the episode was by no means horrible. I think there were lots of horrible parts, but also some legitimately well executed moments, fun action, and scenes that I can easily imagine as squee worthy if you lean back and squint. Everything is comparative and in the growing collection of bad RWBY episodes, this one isn't securing a top slot. Which doesn't mean I think it's good, just... not as bad as it could have been and primarily only bad due to long-running problems, not things this specific episode has done. That's my bar then, so low it has officially entered the underworld.

Still, RWBY is back and a part of me is eager to see where this volume takes us, for better or for worse.

Until next week! 💜

[Ko-Fi]

#rwby #rwby spoilers #rwby volume 8 #mymetas #rwby recaps #rwby dark

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brandxspandex · 6 years

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Smashing through some pre-modern Spotlight issues on the way towards the meat of the main story in my IDW re-read.

Spotlight: Thundercracker again leaves me wondering how the hell Thundercracker managed to live with being a Decepticon for so long. After all, this Spotlight is set towards the beginning of the Great War and Thundercracker already has misgivings serious enough that he’s moved to commit some pretty severely treasonous acts, and this was back when organic genocide was just a side effect of the Decepticons’ goals, rather than a goal in itself. If he was already upset with how the Cons treated organics at this stage, I can’t imagine how he would have reacted when they made cleansing the galaxy of organics their policy, and I can’t understand how he stuck around after that point. I used to think that the increase in the Decepticons’ outward brutality probably corresponded to the increase in their inward brutality, so as Thundercracker gained more and more reasons to leave the Cons he also got more and more reasons to be afraid of leaving. Yet this issue confirms that the DJD existed even at this point, and Thundercracker was still willing to risk acting on behalf of his morals regardless. I suppose it’s possible that the DJD’s tactics were less extreme at this point, but I still find it hard to wrap my head around the fact that it took Thundercracker millions of years to take the final little step towards a heelfaceturn.

After letting Bumblebee live, Thundercracker seems to imply that if all Autobots were like Bee he would be willing to switch sides, or perhaps that they wouldn’t be at war in the first place. While Bumblebee is an exceptionally friendly guy for sure (in fact this issue takes time to hammer home that in terms of heroic intent Bee is pretty much on Optimus Prime’s level, even if he lacks Optimus’s focused leadership abilities – which is a big theme of Bee’s own character arc), Thundercracker seemed particularly taken with Bee because he went out of his way to save organics, which doesn’t seem that unusual a trait among Autobots. Sure, we’ve seen some Autobots that don’t seem to give a shit about organics, and some that have just been nasty pieces of work in general, but most Bots we’ve seen have been of the heroic, organic-saving inclination, so it seems as though Thundercracker must have had a warped perception of the Autobots if he thought Bee was an exception (unless of course particularly heroic Autobots are overrepresented amongst the main characters, which may very well be the case). So maybe Thundercracker didn’t switch sides and go to the Autobots because he was under the impression that they were no better than the Decepticons (and I wouldn’t be surprised if the Cons were fed propaganda to maintain those sorts of perceptions).

Thundercracker also seemed pretty hung up on the fact that being a Seeker was his identity, which may have made leaving the Decepticons difficult for him. I guess that before the war most Cybertronians had a very solid sense of their identity, which was defined by their alt-mode, before the war began and threw all of this into disarray. While a big reason the war was fought in the first place was precisely because many people didn’t like being boxed into these limited identities, it must have nonetheless been very disorientating to many to have the familiarity of their old identities disrupted. Thus it wouldn’t be surprising if many went on to dig their heels into whatever identities they could find in wartime.

Spotlight: Shockwave sees Shockwave going about his whole Regenesis Ore thing, which makes me wonder how much of the energon throughout the universe was due to Shockwave’s actions and how much of it just existed out there independently. I often wonder what sort of substance energon is exactly, and whether it is in anyway comparable to any real substances or if it is something completely alien and unknowable. The fact that we’ve seen Transformers converting known matter into synthesised energon suggests that it is at very least made of the same fundamental elements as the known universe. Still, I wonder if it’s something that can arise in the universe without any sort of Cybertronian involvement.

It’s interesting that Shockwave puts his (temporary) downfall in this issue down to his failure to factor in the universal constant of chaos, given that now he’s back he seems to be fixated on “the higher order of logic that is chaos”. Was this the beginning of the path that led him to decide that becoming some sort of chaos worshipping furry was the way to go? Speaking of furries, it’s kinda funny that Shockwave ended up becoming the furry Prime when his spotlight is also the issue in which the Dinobots get their dinosaur forms. Turns out that with Shockwave, everything begins and ends with furries.

Shockwave puts his inability to anticipate and understand the Dinobots’ rash, emotional actions down to his strictly logical thought process, to the point where he actually has to shut down his higher processing to allow him to “evolve” a primal subroutine approximating rage in order to deal with them. Shockwave’s apparent evolution in this issue is never really brought up again (at least, not yet), but then again, even before reappearing in this currently ambiguously un-shadowplayed state, Shockwave was suspiciously snarky and melodramatic for a guy without emotions. I gotta say that I find it kinda hard to believe that Shockwave finds irrational and emotional behaviour so mind-bogglingly shocking and hard to process given that this issue is set a few million years into the war and he has been with the Decepticons for all that time, a movement filled to the absolute brim with spectacularly emotional and irrational individuals.

Also I’m going to post this panel because when required to draw the gadget that enables Shockwave to signal his ship it sure as hell looks like the artist just decided to give him some car keys:

I can’t really recall Cliffjumper doing anything that notable in IDW outside of his Spotlight (and spoilers in the Unicron prologue issue he unfortunately got rather unceremoniously killed off off-panel) so I had forgotten that he’s apparently a total badass whose name strikes fear into troops of Cons who he then wipes out single-handedly before using one of their severed hands to hammer in the grave of the little organic girl he wrecks vengeance in the name of. I do really like how the Autobots have their little friendly round cars like Cliffjumper and Bumblebee as their spies, saboteurs and deadly assassins.

We see some very human-looking aliens in this issue, which is honestly something that always bugs me, even though it absolutely saturates sci-fi. It just strikes me as so astonishingly unlikely that evolution would pull the same trick so many times that it really pulls me out of the story; it’s something that stretches my suspension of disbelief that little bit too far. That’s why I love it when sci-fi provides some sort of explanation behind the humanoid pattern recurring throughout their setting, often in the form of some sort of progenitor race seeding genetic blueprints throughout the cosmos. And you know what? In IDW I’m just going to assume Shockwave’s behind it at this point. It seems like exactly the kind of thing he’d do and he’s responsible for pretty much everything else in the continuity so let’s go with that.

This issue implies that Cybertronians have some sort of in-built program that enables them to pick up the transmissions of an alien world they’re on and use them to synthesise a translation of the native languages they can then easily speak, as part of their “robots in disguise” adaptability shtick. This seems to somewhat contradict later instances where we see Transformers attempting to learn languages the more traditional way, but personally I much prefer the idea that they have this more alien and robotic approach. I also like the idea that it is part of the same collection of features that allows them to have alt-modes that mimic the vehicles and technology native to the alien world they’re on, because adapting to alien environments is an intrinsic part of their natures AND HOLY SHIT what if the reason Transformers have such a hard time changing their ways and breaking free of their vicious cycle of war, yet seem to suddenly undergo rapid character development when they encounter other species, such as humans, is because of this adaptability algorithm? When they’re just around other Transformers they automatically adapt to each other so they get stuck in a loop of mimicking the same behaviours, but when they encounter other species with new behaviours they can adapt to them and break out of the loop (same could go for encountering Transformer colony worlds that have been isolated for a while)??? Ok that idea probably wouldn’t hold up to closer inspection in this continuity at least BUT HELL IT’S A THOUGHT.

The idea that Transformers require alien transmissions in order to synthesise translations for their languages fits in well with the fact that Wheelie can’t automatically adapt to the language of the alien he encounters in Spotlight: Wheelie, give that both he and the alien are away from their native worlds. I thought that the alien having a translation device that for some reason requires the speaker to speak in rhyme in order to work was a pretty clever way of explaining Wheelie’s whole speaking in rhyme gimmick.

Wheelie’s Spotlight has the same basic core theme that most of this lot of Spotlight issues seem to have; the main character is faced with a moral dilemma where they can choose between taking the safest option that most benefits themselves, or they can save an innocent (typically an organic) and sacrifice something in the process. Each time the main character realises that if they choose to take the easy option and allow the innocent to befall whatever horrible fate is dangling over them, they will be sacrificing something even worse. The Autobot characters come to the conclusion that this is what defines them as an Autobot and separates them from the Decepticons, but we see Thundercracker making a similar decision in his own Spotlight. But of course, we know where Thundercracker’s storyline eventually takes him.

There’s a major tease at the end of Spotlight: Wheelie involving the presence of the Quintessons that certainly seems like the set up for some kind of significant plotline, but unless the Quintessons turn out to have some kind of important involvement in the Unicron storyline, I guess that’s never gonna go anywhere. It’s a pity, cos I reckon a lot can be done with the Quintessons, and in their sparse appearances in IDW they’ve always been quite intriguing.

Spotlight: Hot Rod introduces everyone’s favourite piece “woah what the hell they’re bringing that back up again now?” in the form of The Magnificence and yo hang on those Omega Guardians in this issue sure look like those things on the cover of an upcoming issue of the Lost Light:

I wonder if Hot Rod’s experience with Dealer plays into his hatred of Getaway. Hot Rod spent so much time angsting over his failures on his mission to collect The Magnificence, including the fact that he had to abandon Dealer in the process, and then he risked his life in order to save Dealer from a Decepticon prison camp. Then it turns out that Dealer was a doublecrosser who had caused the failures on Rodimus’s mission in the first place, and was still planning to stab him in the back. After all that, it wouldn’t be too surprising if Rodimus had developed a bit of a hair-trigger reaction when it comes to people who betray him.

Spotlight: Sixshot addresses the strangely sweet camaraderie between the emotional abyss/utter force of annihilation that is Sixshot and his carnage-loving fanbots the Terrorcons, which is something that, as far as I can recall, is never explored or brought up again. But, nonetheless, it’s nice to know it was a thing. It also features The Reapers, who provide an interesting little taster of some of the other aliens that exist in the IDW universe, from an electric space jellyfish to a berserker virus infected monster bird. The Reapers are all about ending war by pre-emptively destroying any sources of war, which makes me wonder how the hell have they haven’t got around to trying to destroying the Transformers yet. It’s a big universe I suppose.

Reading through these issues provided a nice little reminder of some forgotten characterisation and plot hooks that have been left dangling. It’s sad to think that most of these things won’t have a chance to be picked up now (except for The Magnificence, and I still can’t quite get over the fact that happened), but they are ready fodder for any fanfic writers who may want to pick up where canon is going to leave off.

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hanaby-3 · 6 years

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TransformFriday

Okay, this is an idea that I've been meditating for a long time but I think now is the perfect time to carry it out. Because my favorite comic book (Transformers MTMTE-LL) will soon come to an end, I have decided to carry out this idea: my own Top Ten of favorite transformers... drawing version! The truth is that the end of MTMTE and LL generates me many mixed emotions: on the one hand I am happy because at last I will be able to know the end of the story and I will not observe how my favorite series becomes the next infinitetale (I will not say names ... but we all know who they are ...) but on the other hand I'm so sad about it. This is a story that has marked me and I know that when the comic ends I will no longer be the same person as before. This (at least for me) is a special moment, comparable to when Inuyasha, Death Note and Evangelion ended. I remember fondly when I started reading it: back then I still had the hype of transformers prime and I was looking for more things about it and then a friend in a forum recommended Transformers More Than Meets the Eye and I started reading it (specifically I got it in chapter 18, the house of ambus) and I was speechless with what I found. All the characters were so similar and at the same time so different from everything I already knew. I remember how I was surprised by the lore and all the mythology that had been assembling around the transformable robots and seeing how a world was created so unique and credible with such a cliche premise and yet I fell completely in love with it. I hallucinated with neurosurgery and empurata, I loved how action and psychology were balanced in about 20 pages in such a harmonious way, and the characters ... my god, the characters! I love how James Roberts takes you by the hand and makes you walk the halls of lost light with his characters, I remember being so sad with Tailgate's disease, getting excited about the battle between cyclones and Starsaber, to love and hate the same time to Tarn for his personality, to be moved for the scavengers, the evolution of rodimus and Megatron. For my Transformers it has not been another series of my childhood. James Roberts and Alex Minle have taught me what someone can do with dedication, hard work and a lot of imagination and their comics are not an empty reading. Thanks to this story I have learned so many important lessons from life and myself, I have come to learn how strong and courageous I can be. Thanks to MTMTE I was encouraged to write and draw my first comic, I learned that the hardest It is forgiveness to yourself, I have learned that it is not bad to ask for help and how powerful teamwork is, thanks to TMTMTE I wrote my degree thesis ... My God I can say it, Thanks to Transformers I got graduated! And finally, thanks to MTMTE transformers I still find the strength to continue doing what I like, which is to draw. That's why I decided to celebrate these last months of Transformers drawing my ten favorite characters and of course explaining why every Friday (of course the position 1 and 2 already know them, I'll leave you below the links if you're interested) because the end of this wonderful saga will also mark the end of a stage of my life and is that the truth, without TMTMTE I would be a completely different person and that is why it is and always will be one of my favorite series.

Top Ten

1.-Prowl

If you have read any of the wreckers comics then you know that Prowl is a bastard. He is not a noble, kind, or honest hero, I can not even call him good. Actually Prowl is a villain who "fortunately" plays for the good side. If I had to define Prowl in a word that would be hate. He hates the decepticons, he hates the new cybertron, he hates his leader/friends for not listening him, even I think that sometimes he hates himself, his life and especially his failures and that's why I love it. I love the contradiction and the final message of Prowl: hatred has turned him into what he most detests. Ironically, Prowl is more decepticon than many cons and at the same time that hate is the fuel that drives him to improve every new plan and fight for a future and a peace that may get to destroy him. He is cruel, manipulative and ruthless but also has moments of weakness and even compassion ................. although he is still a bastard and has not been able to overcome his ex-boyfriend. I love Prowl because he is not a character, he is a person, he is very real and very human and the world and his own decisions have made him into what he is today.

2.- Starscream

Leaving megatron aside, my favorite decepticon is Starscream. Either in comics or in the animated series Screamer always amuses me and always manages to make me smile ... basically because I love to see him fail in everything he does. I do not joke, either bad luck or his own ambition always make him fail. If Prowl is hatred, Starscream is ambition. he reminds me a little the homuncle of FMAB Greed, he wants it all, power, wealth, fame, fear, respect and especially the decepticon leadership.

He knows he is the best option to be the leader of the decepticons and he is an incredibly ruthless person who does not hesitate to lie, murder and manipulate everyone to meet their own whims but like Prowl Star is much more than just ambition. I'm not going to say that he's not so bad or he can redeem himself or some stupidity of the style (I really hate that) but Starscream has a reason to be like that. He is an incredibly lonely person who has struggled to survive before, during and after the war. He has learned that he can not count on anyone because sooner or later they will betray him and that is why he only sees the people around him as pawns. He's logic: if you do not approach or attach to anyone they can not betray you. deep down he knows that sooner or later his bad deeds will overtake him and he must prepare himself.

And yet Starscrean has virtues as great as his flaws: he is incredibly determined and hardworking, when he wants something he does not skimp on resources, time or effort in getting it, he is extremely intelligent (probably not as much as Prowl but he is a force to have in account) and he always learns from his mistakes. I would say that's why he has had such a long reign in comics and even has moments of humanity and genuine compassion. Maybe he really wants to redeem himself ... but he knows that he is beyond all salvation and that for him it is too late.

3.-Cyclonus

The truth is that this is a character that I find it hard to talk about, basically because he is someone I love so much and I identify so much that I block myself.

I will start strong: Cyclonus is my perfect waifu, he is a revision to the classic stereotype of the solitary warrior and constantly reminds us that every age, however dark or terrible it may have been, created beauty. Fuck, Cyclonus loves any form of art: music, writing, architecture and also he is a killing machine that can slice just about anyone, what else could you ask for? And in spite of him being so cultured he has a huge darkness inside him, of course Cy is fully aware of that and always tries to channel it ... with mixed results.

But the truth is that the feature with which I most identify with cyclonus is his sense of honor and loyalty, that is something that resonates a lot with me. The moment that I see Cyclonus is willing to do him on the side in order to ensure the happiness of the person he loves the most is something that makes my throat tighten. Besides that his relationship with Tailgate is the best yaoi I've read, let's be honest and he has the best sentence ever written. you want to know? You will have to read the comic because the spoiler is not from God.

4.- Megatron

Of course Megsi was to be in my topten, he is almost a god in my pantheon (sorry optimus). I love all the incarnations of Megatron except for the transformers prime novel (seriously, a revolutionary who hates the primes but he wants to be a prime …. what the hell?) But my favorite so far is the IDW Megatron , he is a very complex character that goes through different stages: fallen, self-discovery, acceptance, temptation, redemption … all a carousel of emotions. He pass from being a ruthless murderer to a pacifist in constant conflict with himself. Although my favorite aspect about megatron is its moral: we all deserve a second chance … but redeption is not as easy as bowing your head and apologizing. Throughout MTMTE and LL Megs works every minute of his life to redeem his mistakes even when he knows they are too big and as he advances towards his death he knows perfectly well that there is a possibility that no one will forgive him but that does not stop him. Megatron words always resonate strongly within me: We are all work in progress.

5.- RungMy second perfect waifu and a cinnamon roll too pure for this world. Rung is the most adorable autobot ever drawn … until he takes off his glasses and becomes the greatest latinlover ever created. But leaving aside my inclination for robots, Rung is an incredible character, I know that many joke about the theory which says that Rung is the self-inception of Roberts, but I think that rather Rung is the connection with the reader. He is a character that has been kept at bay from most problems by having a very convenient good luck, he is skinny, short, lovable, sometimes too much kind and he prefers conversation rather than confrontation but he is not weak On the contrary, Rung has incredible mental and emotional strength. he has not only endured that everyone, absolutely ALL mispronounce his name at least once, Rung listens to the problems and confessions of others around him to make a living; he literally knows the worst of all, he knows the darkness that dwells within each of his companions … and that never stops him from helping or comforting others. If I had to define the role of Rung in some archetype that would be the maternal one. Of course there are parents in fiction who are loving and protective, but the mother figure always ends up being kinder, the comforter and the one that drives you to improve and that is precisely the raxon for which I love Rung.I have met many maternal characters but what makes the difference with Rung (besides being male) is the moment in which (spoiler alert) during the kidnapping of Fortress Maximus, Rewind reproduces a part of the torture in Garrus 9 and Max, realizing that he is doing exactly the same as Overlord and reliving those horrible memories, he throws himself to the ground to mourn and Rung, with a patience of a saint, despite the kidnapping and even though Max had yanked his thumb out… he surrounds him with a kind arm and tells him that everything will be fine and everything ends for today. That’s something my mother could have done.Because deep down Rung is that, he is kindness and he teaches us the strength found in compassion and as the functionalist universe demonstrates, Rung possesses incredible strength of character and determination and he is capable of giving his life to save those who he care … and that’s a large number of people.

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#topten #topten trasformers #transformers #transformers mtmte #prowl #starscream #cyclonus mtmte #megatron #rung

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nuestkings · 5 years

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Monhyun Interview with Vogue Korea

( Trans: desertfoxhmh | Original Article: Vogue Korea )

The fashion editor was surprised by how you neatly folded and lay down all the clothes for the photoshoot.

Minhyun: I think it’s polite to tidy up at least the clothes I wore. I’m originally the neat type, so I like things being neat (laughs). Since debut, I’ve been accustomed to tidying things up. I think that other people would also like things to be tidier.

Your musical Marie Antoinette is coming up soon.

Minhyun: I debuted 8 years ago and gained an interest in musicals after doing various activities. Since you have to go in person to a theater to hear a musical live, I’ve gone to see shows of seniors I like. I’m especially a fan of Kim Junsu. He’s very cool when he’s immersed in his role while acting on stage. If you’re to say that an idol group shows themselves off in a 3-minute time span, for musicals you have to extend to 2-3 hours with just your voice and acting. I wanted to experience that aspect as well and learn from it.

You’re taking on the role of Axel von Ferson, who looks after Marie Antoinette. What kind of person do you feel he is?

What aspects are you focusing on the most?

Minhyun: Since I’m not the style that has a powerful voice and don’t typically reach high notes effortlessly, I’m practicing while focusing on those areas. In the past, I often sang sweet and gentle songs that I was good at, songs with lots of sweet vocals. I’m practicing combining the strengths of my vocals and the sounds that are necessary for musicals. It felt like I returned to being a trainee starting from the basics of vocalization again (laughs).

Through practicing using different exercises, you must have newly discovered skills.

Minhyun: I thought, ah, I can also sing songs with high notes (laughs). And so while showering, I’m now trying to sing songs I couldn’t even imagine singing in the past because they were too high, as well as songs I took out from practice, songs like senior Park Hyoshin’s “Wild Flower”. I timidly challenge it while thinking, “Is this working?” and I feel really good the times I’m successful. As I participate in this musical, I think it’s a good opportunity to exceed my own limits and be able to grow musically.

Is there something that you’re trying not to do in order to manage your condition?

Minhyun: I’m trying to sleep well. My lifestyle patter naturally changes often, so I’ve developed a habit of sleeping late and waking up late, but I’m trying hard to sleep early and wake up early. I’m trying to stop drinking carbonated drinks because my voice must come out well even if I’m not able to sleep well. I honestly really like cola. For now, I’m reducing my intake, but when the musical draws near, I plan to stop drinking it altogether. I also like eating snacks like jellies in between meals, but I’m trying to eat those less and eat foods good for the body in order to manage my stamina.

I think it must be considerably burdensome because it’s different from the stage that you’ve stood on as a singer. What are you worried about most right now?

Minhyun: Singing is my job and I really enjoy it because I like it, but I don’t have a lot of acting experience, so I feel a lot of pressure there. Especially in musicals, you can’t break your focus for a long time. There’s pressure of becoming trouble to your fellow actors and the audience if you make a mistake on stage. There’s no way to survive without practice.

What’s the area in music that you are most interested in these days?

Minhyun: I’ve consistently participated in NU’EST albums as a lyricist. If there’s something I want to say or content I want to put into lyrics after reading a book, I add a check time to time. Recently we’ve gone overseas frequently, and on the plane I would write down what comes to mind on my smart phone memo pad.

Could you share a bit of the lyrics you’ve written most recently?

Minhyun: I’ve written exactly one thing on my memo pad. It’s “we’re not far from the clouds.” When I was young, I felt that clouds were really far away. After seeing the clouds closely from plane recently, I wrote that down at my thoughts “ah, I’m in a plane that’s not far from the clouds.” From here, I add a little bit more and more then lyrics come out of it.

Is there a topic you want to write about in your lyrics one day?

Minhyun: Words like “color” often appear in NU’EST songs. I want to try writing about what color the color of happiness may be.

There’s the story of you were cast as you were eating chicken skewers. Did you have dreams of becoming a singer before that?

Minhyun: First of all, I think that the biggest factor is that I like to sing. I originally didn’t have much interest in dancing. When I was first cast, my dream was to be in a group like seniors 2AM. I really like their songs. I went in thinking, “I should become a singer and sing heart-warming songs for lots of people!” but then they made me practice dancing starting from the first day, and do things like splits (laughs). At first it was really difficult. I wouldn’t go to the practice room and would hide in front of the company building. But as I kept doing it, I looked better and better as I saw myself in the mirror. I started to anticipate how it would feel when dancing on stage, and gained a desire to try being a real singer.

Idol performances is an art that makes people extremely immersed in the moment and is achieved through a great balance of song, performance, wardrobe, etc. As a kpop musician, tell us about the stage philosophy you are pursuing.

Minhyun: The biggest reason that kpop artists have received love globally is because of their passion on stage. We shine because of the energy we pour out using our whole strength for the 3 minutes on stage and the 3 months of hard work in preparation for that stage. It’s also important to have songs that fans can identify with.

Perfect cooperation is also a main factor in completing an idol group stage. You’ve also personally grown through the NU’EST members.

Minhyun: The members are people who have been running towards the same dream. We’re close like friends, but we are different than friends. Including our trainee days, we’ve been together for about 10 years, and we’ve grown a lot musically through each other. More than anything else, as I lived with the members, should I call it duties as a person? I learned how to be considerate of people. First of all, the members all have strong personalities, and there are many things I can learn [from them] since we were different. Leader Jonghyun is a “true leader”. As I watched him guiding the members well as the leader, I also wanted to be like that. I don’t have the disposition of being a leader. Minki is a mood maker. He’s fun and kind. If I’m not feeling great, my mood gets better when I look at Minki. It would definitely have been a shame if I were alone on stage. Because of the fact that we were together as five, I’m happy and proud when I go home after practicing and sweating until the early morning. During those times, I’m really happy.

As a musician, when was your happiest moment?

Minhyun: Although I feel the heaviness of the term “musician”, as an idol singer when I’m singing music I enjoy in from of many people who like NU’EST, I feel like it was the right choice to become a singer. In my daily life, when I eat delicious foods and when I think about going on trips. I was originally a homebody, but after going on trips, I realized that I can see things I couldn’t normally because I was busy and am able to think about many things. I really want to go on trips, so I search whenever I have time. I take notes from watching vlogs on YouTube, and I go on travel sites and even look up hotels. I get excited even doing just this and I feel that I’m about to go on a trip.

What’s the meaning of your Instagram ID “optimus hwang”?

Minhyun: Optimus Prime is the main character of a movie (Transformers) and I like him. He’s a good character and seeing him always assist other robots looked so cool to me when I was young, and I felt like was like an idol to me. I had thought, “I should become a cool person like that.” As I was making my Instagram ID, I found out that “optimism” [in English] also had the meaning of optimism. I felt that it also matched my values of wanting to live positively.

What do you think is needed to continue doing what you want to do and move forward?

Minhyun: First, I’m an idol singer. I diligently take care of myself, and in terms of music, I must also continuously show a more improved side. Only then can fans also enjoy being fans. More important than anything is to have the same resolution from when you were a trainee to after debuting. I know that love from fans is not guaranteed, so I want to be thankful and work diligently. Truthfully, I’m not the type to set goals concretely, but I think it would be that I want to live happily as I make music I like.

#NU'EST #Minhyun #photoshoots / interviews #Vogue Korea

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ruminativerabbi · 5 years

Text

Robots

One of the few things that Andrew Yang and I have in common is that we both have about the same chance of becoming the next President of the United States. Despite polling far behind the frontrunners, however, Yang strikes me as in many ways the most original of all the would-be candidates vying for the Democratic nomination and also, and by far, the most tech-savvy. And I owe to him my renewed interest specifically in robotics and in the potential impact machines provided with artificial intelligence might one day—and, according to Yang, one day very soon—have on our American landscape.

When most people—or at least most people my age—think about robots they generally think of unreal ones: Rosie the Robot Maid from The Jetsons, C-3PO and R2-D2 from Star Wars, Robo-Cop and Wall-E from the movies named for them, Optimus Prime and Megatron from the I’ve-lost-track-of-how-many Transformer movies, and lots of other random androids and tin-plated automatons dished up by Hollywood to the American public for their cinematic degustation. Mostly, though, these robots are just souped-up metal versions of regular people who, just like their flesh-and-blood prototypes, vary dramatically in terms of the strength of their moral fiber: some are good and some are evil; some are adorable, while others are malevolent and seriously creepy; some can only manage to do what human beings have pre-programmed them to be able to accomplish, while others are able to strike out on their own and become autonomous, or at least autonomous-ish, actors on the world stage. But the key criterion the robots mentioned above all share is their non-existence: all are made-up creations intended specifically to entertain as characters in movies or on television shows and none of them is real.

For most people, then, robotics is merely the branch of theoretical science that provides the ideational underpinning that makes R2-D2 real enough to be depicted in a movie that bills itself as futuristic, but not completely fantastic. And that was what I thought as well.

Enter Andrew Yang, who opened my eyes to details of which I had no idea at all.

Yang talks about the entry of robotics into the economic mainstream, not as a semi-plausible plot for some futuristic science fiction movie, but as a “fourth industrial revolution” already well underway. (The first, stretching out from the end of the eighteenth century through the beginning of the nineteenth, was about mechanization. The second, coming at the end of the nineteenth century, had to do with the introduction of electrical power. The third, during the second half of the twentieth century, had to do with the advent of computer technology. And, at least according to Andrew Yang’s understanding, the advent of robotics will bring in its automated wake change just as total and societally transformational as in their day were the introduction of computers or the invention of the mechanical engine.) Nor can the numbers he cites be easily dismissed: the nation appears in the last decade alone to have lost almost five million jobs to robotic automation. And the advent of self-driving trucks—in effect, car-robots—will, so Yang, cost the nation another 8.5 million jobs if the number of soon-to-be unemployed truck drivers is added to the number of soon-to-be-unemployed workers in the various service industries that cater to truckers while on they are on the road away from home. And Yang predicts that the lost off 13.5 million jobs is only the beginning because, in the end, the advent of robotics will totally, permanently, and irreversibly change the American workplace. We either will or will not be ready. But what we will not be able to do will be to stem it all off with wishful thinking any more than people a quarter-century ago could have possibly halted the adoption of computer technology in American offices no matter how sincere their desire might well have been to protect workers with no computer skills from losing their jobs.

And so, with my interest already more than merely piqued, I found myself drawn powerfully to an extremely interesting responsum about Artificial-Intelligence-related issues adopted by the Committee on Jewish Law and Standards last June. (The CJLS is the highest legal authority within the Conservative Movement and the ultimate arbiter of halakhic legality and illicitness.) Written by Rabbi Daniel Nevins, currently the dean of the Rabbinical School at the Jewish Theological Seminary, the paper has the tantalizing title “Halakhic Responses to Artificial Intelligence and Autonomous Machines” and is an excellent example of just the kind of incisive, well-researched writing that characterizes the CJLS at its best. At almost fifty dense pages, it’s a big read. And a lot of it is couched in technical language that will be of interest mostly only to rabbis and scholars. But the larger picture is one of a thoughtful legist trying to respond to something entirely new in the world by drawing from the wellsprings of history and attempting to find contemporary relevance in lessons developed long ago by people who wouldn’t have been able even to dream of C-3PO or Rosie the Robot, let alone to imagine them actually existing. And yet the halakhah—the general term for Jewish law in all its complexity, inventiveness, and perplexitude—has been mined in the past to find responses to all sorts of new things, including steam engines, hearing aids, computers, and space travel. So why not robotics?

The questions Rabbi Nevins sets out for himself to answer boil down to three basic queries.

One has to do with the question of agency: can an intelligent machine able to make autonomous decisions be considered the author of its own deeds or must the responsibility of whatever R2-D2 does be laid at the feet of his original programmer?

A second has to do with ethics: should autonomous, thinking machines, including those programmed with the finest ethical principles, be permitted to make life-and-death decisions regarding human beings or should the ultimate responsibility for acting morally never be permitted to rest with machines—including those whose ability to weigh data and simultaneously to compare tens of thousands of precedents far outpaces the analogous ability even the brightest and most learned human beings could possibly cultivate?

And the third has to do with religion in general and with Judaism in specific, and asks whether a robot—or any autonomous, intelligent machine—can perform a mitzvah or utter a prayer either on somebody else’s behalf or, even more weirdly to consider, on its own behalf.

So those are Rabbi Nevins’s three core issues. Each in its own way is a refocus of the single basic question that underlies them all, however: can a machine capable of acting autonomously be taken seriously (or ethically or legally) as a person? To push that envelope just slightly further, I could ask if such a machine—or rather, once personhood is in some way deemed to inhere in the warp and woof of its existence, if such a “person”—could be deemed a Jew. Or, for that matter, if such a “person” could be supposed to possess any of the factors that we use to distinguish between different varieties of flesh-and-blood people like gender, nationality, ethnicity, race, sexual orientation, etc. Can a robot be a black person or a gay person? Can a robot be a man or a woman? This suddenly feels a lot more complicated than it seemed on the Jetsons!

Rabbi Nevins deals with all these issues intelligently and adroitly. (To read his responsum in full, click here.) And then, towards the end of his paper, he gets finally to the section that strikes me as being the crux of the matter, the one entitled “Androids as Religious Agents.”.

He begins by citing books by Gershom Scholem, Moshe Idel, Byron Sherwin about the concept of the golem, the man-made creature that entered halakhic discourse in the seventeenth century. And then he turns to the sources themselves.

The Sefer Yetzirah, generally considered the oldest extant book of Jewish mystical speculation, apparently already—and this is a very old book we’re talking about, one that some date as early as the second century CE—imagined the possibility that the scriptural reference to the souls that Abraham “made” in Haran was meant to be taken literally and that Abraham actually knew how to create what we would call an android—a kind of artificial human being lacking only speech and the kind of innate intelligence that can only come as a gift from God. And, indeed, that idea that in the righteous individual could conceivably inhere the ability artificially to create a living creature who would then lack only speech is already present in the Talmud, where we read that Rava, one of the masters of rabbinic Judaism in late antiquity, actually did create a man, albeit one who could not speak. And his remark that, if they were to wish it, “the righteous could create a whole world” of living creatures is also recorded, and in that same talmudic passage.

These passages were eventually taken seriously. The eminent halakhist, Rabbi Tzvi Ashkenazi (called the Ḥakham Tzvi, 1660-1718), for example, actually penned a scholarly responsum dealing with the question of whether the kind of person created artificially could be counted in a minyan, in a prayer quorum. (His answer was no.) His son, the even more famous Rabbi Jacob Emden (1697-1776), also took up the matter and determined that the speechless android is less like a mute human being than like an animal in human form—and so his answer was also no. Scholem and Idel discuss these sources and many others, but it was the late Rabbi Sherwin who apparently first realized that these texts could reasonably form the basis for a halakhic approach to technology in our day. Indeed, his 2004 book, Golems Among Us: How a Jewish Legend Can Help Us Navigate the Biotech Century, is still in print and is widely available. I recommend it to my readers highly.

Nevins spends time with all sorts of authors I haven’t read, people like Giulio Tononi and Michael Graziano who write about the complex interrelationship of consciousness, technology, and humanness—and thus about the nature of personhood itself, about what it means to be a person. He understands clearly that thinking about thinking machines is a way of thinking about what it means to be alive, what it means to be a human being, even what it means to exist at all. To imagine a world populated both by regular human beings and by the kind of androids depicted in the recent HBO hit series Westworld is simple enough. But to follow that thought through and attempt to imagine how civil rights and ethical prerogatives might inhere differently in born-people and made-people is, to say the least, daunting.

Andrew Yang is personally responsible for bringing this issue to the national stage and we should thank him for that. Daniel Nevins has effectively shown that there is more than enough water in ancient wellsprings from which scholars can and should drink as they ponder these abstruse, confusing issues, that he too deserves our thanks. But where exactly this will all take us—that, at least as far as I can see—is still entirely up in the air.

#Andrew Yang #Daniel Nevins #robots #fourth industrial revolution

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