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itsclydebitches · 5 years

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RWBY Recaps: “ACE Operatives”

We’re back, folks! I have to say, I think overall this is one of the strongest episodes we’ve gotten since “The Lost Fable.” Are there still concerns? You know it, but on the whole I’ve got to give credit where credit’s due. So with that unexpectedly optimistic mindset, let’s dive in.

We open right on the group’s first mission and for a moment I was worried that, like with Oscar’s shopping, this time skip would be passed right over. Especially after we hear Pietro apologize for “holding onto your weapons for so long,” telling us that between the Academy tour at the end of last episode and this mission today, at least a few weeks have passed. Long enough for one guy to re-design multiple combat outfits and weaponry, plus an additional boost here and there. Luckily, the first part of the episode cuts among three distinct times: when they got their weapons, when they first heard about the mission, and this present day flight/landing, which as a technique I like quite a bit. It gives us a sense of each time while keeping us moving forward. No one is thinking, “Ugh. Do we really need to hear a mission briefing when most of last episode was learning about this plan in the first place?” because we already know this is taking place in the past. Just sit through the snippet and then the rest of the info will come through voice-overs while the group jumps out of an airship. Good balance of exposition and action.

What we learn in these flashbacks is that Ironwood wants to use an abandoned dust mine for the satellite’s launch. Only problem? It’s inhabited by a very old, extremely dangerous geist. Kudos to the writing team for the Volume Two callback. I’ve always been intrigued by Oobleck’s comment that grimm are capable of learning if they continue to survive and here we finally see an example of that. This geist isn’t just strong, it’s smart enough to hide in the mines themselves.

Shot over all this we see Atlas military personnel taking out the everyday grimm in the surrounding area, proving that their weapons can handle that task in most situations. Why doesn’t Ironwood’s robots have that then? Or as others have pointed out, something even more powerful like Penny’s lasers, or some of the upgrades the team gets? Chock it up to lack of funds... or simple plot setup. If the robots had been able to take out a bunch of grimm easy-peasy then there wouldn’t have been any cool premiere fight for our group. Then again, all of this casts their snarky comments about Ironwood’s defenses in a new light. Clearly they’re a force to be reckoned with when the plot actually allows it.

We likewise see the group receiving their new gear and... okay. Here’s where the griping starts. Though it’s admittedly small compared to most of my criticisms. First off, why is Jaune receiving a random scrap of Pyrrha’s outfit? Logically this makes no sense to me. Pyrrha’s body disintegrated into a bunch of dust. I can buy Jaune incorporating other armor and fabric into his gear because they were living together and Pyrrha must have spares, but where did this come from? Did Pietro go ask a family member for a random memento for the (from his perspective) equally random teen that showed up? It’s entirely possible that I’m missing something---I’m sick as a dog at the moment and am probably one fever degree away from mild hallucinations---but the whole setup seems incredibly weird. We see Jaune open his box. We see his look of shock. He see him fingering a torn piece of Pyrrha’s skirt. But how does all that come together in any logical way?

More importantly... why? Why is this still a thing? I get it, Jaune is grieving, but to be frank this has been his one-note characterization for over three volumes now. More importantly, everyone else is grieving too. This is another case of the writing prioritizing what the audience knows over what characters know. Meaning, we got to see how close Jaune and Pyrrha were. We know they were in love, but outsiders like Ironwood and Pietro see them as a unified team. Why not give a scrap to Jaune, Nora, and Ren? Really, that’s what rankles the most: this continuing focus on Jaune over the rest of his team. Especially when that focus just leads us in circles of the ‘Jaune is sad’ variety. I thought we were supposed to be learning more about Nora this volume, so why not give her something to remember Pyrrha by? I realize we’re only through the third episode, but in a series that averages twelve each volume, that’s a fourth of our material gone. Please. I’m begging you. Enough about Jaune. We’ve watched him cry and rage and lash out for three years now. He’s gotten to move through every type of grief the writing could throw at him. Let someone else take the spotlight for a change.

(It’s also just all around weird because Jaune is smiling sadly, implying he’s moving on, but then we have Clover narrating about how they’re “going to kill this thing...” which reminds us of Pyrrha’s murder in a way not really conducive to the whole ‘moving on’ vibe... it’s just odd.)

Second gripe: why doesn’t Oscar get anything? I’ve written before about how overall the group still treats Oscar as the outsider and boy oh boy, do we see that trend continuing here. I’ll speak about this more in a moment when we get to the Ozpin situation, but for this scene in particular there’s no reason he shouldn’t be included. If Jaune can get a cool addition to his shield after updating his own outfit, Oscar can get a cool addition too. Take five seconds to have Pietro point out that, as a random farm kid buying combat gear for the first time, he didn’t totally hit the mark. Here are a few things to keep you safer. Hell, you could even have Pietro---who we have established goes above and beyond in his inventions---pull Oscar aside with an updated weapon and Oscar could have gotten all quiet, examining his cane, eventually thanking Pietro, but emphasizing that he doesn’t think he should change things just yet. Or without anther’s input. Or, if Atlas doesn’t want to waste funds on the farm boy let him get a haircut like literally everyone else! We could have allotted Oscar a few seconds of screen time instead of getting what we always get: the team banding together and him nowhere to be seen.

He’s a part of this mission. He’s integral to this mission. He is a main character now. It’s about time the writing started acknowledging that.

The final flashback, at least, includes Oscar a little more. I realize my screenshot isn’t the best, but the expressions here really do say it all: Ruby mindlessly geeking out over new tech while Oscar stands sadly in another doorway.

We hear him say, “Hey... Ruby?” before he’s cut off and we return to the present.

We’ll get back to him in just a moment. For now, the airship opens to reveal everyone’s new look, which isn’t actually a reveal because this scene dominated the trailer.

Ah well. I have to say though, from here on out one of the main reasons why this episode feels strong to me is because of the overall dynamic among the characters. First, it was smart to break everyone up into different teams to search for a hidden grimm. If they’d tried to cram twelve characters into the same shot for the rest of the episode it would have been a disaster. Second, these smaller teams allow for the sort of teasing/comfort/playfulness we’ve grown used to among these characters, but have largely lost over the last two volumes. One of my favorite moments is when Yang is caught staring at Blake’s new haircut and we get a look at this massive blush.

Not to ship on main, but please note the parallel between this moment and Nora/Ren, two characters who are more firmly established as a canonical couple. Although... here when Nora compliments Ren’s hair he shuts her down pretty hard. There’s none of the casual indulgence we’re used to from him. Since when does Ren insist that Nora take a mission seriously, outside of making those requests in an equally teasing manner? Nora notices as much too, clearly upset, and Jaune is just... dense. It makes me wonder though if this is the direction they’re heading in for Nora. Give her romance troubles in the form of Ren pulling away now that their relationship has had a chance to sink in.

Not sure I’m a big fan of that. Granted, it depends on how they handle it, but on the whole I’m not really invested in reducing Nora’s rare and much needed development down to a cliche ‘Oh no. A boy doesn’t like me’ plot-line. We’ll have to see though.

I also really liked the moment between Weiss and Blake a little later. This is how you tackle racism in your story. Not by having the group risk their world-saving mission by Weiss impulsively throwing civilians into the trash, but by having an incredibly privileged woman acknowledge her privilege. Weiss mentions how angry this mine’s failure made her father, but she doesn’t use the abuse she suffered as any sort of excuse, like she would have in the earlier volumes. Instead, Weiss acknowledges for herself how hard that time was and then apologizes not only for what he’s done to the faunus, but also for “all my complacency in it.” Weiss was a child. We can’t hold her to the same level of responsibility as Jacques. But as a privileged woman in this world Weiss’ complacency does perpetuate her father’s active sins. So it’s fantastic that she admits as much to Blake. In front of all the others, no less. To me, that’s a far better sign of growth than what we got last week.

It’s also during this time that we see Blake eyeing the SDC boxes with anxiety. It could just be bad memories. It could imply that she had some hand in this particular attack. I hope it implies that she’s thinking about Adam because... is anyone going to bring him up? Seriously? Two teammates killed a guy. The self-defense aspect doesn’t erase the fact that they each rammed a piece of a blade through his stomach and watched him topple over a waterfall. We should be dealing with this! Not reducing it to one hug from Ruby right before a major battle. Hopefully this is setup for some (now long overdue) reflection.

Meanwhile, an interaction that doesn’t work as well is when Ruby comments on how freezing she is and Weiss notes that without proper equipment or aura insulation you can freeze to death in an hour. So... is that what the group is doing then? Wasting precious aura whenever they’re outside because Blake wants her arms unzipped, Weiss wants bare spots around her chest, and Yang needs to artistically keep one leg and one arm totally unclothed? The issue is not, “How does the group stay warm?” because plenty of stories have logistical questions like that and unless you’re a fan overly invested in the minutiae, you shrug it off. When is the group going to the bathroom during these endless missions? Who’s carrying pads for when three of them hit their periods at once? No one cares. Rather, the issue is that the writing draws attention to the question and then fails to answer it. Just like they did when suddenly death via cold was something that had to keep them in the creepy town when death via cold was never a concern up until then. Where was hypothermia when Yang insisted Ozpin hash out all his secrets in the snow? It’s a rather convenient ‘Sometimes it’s an issue, sometimes not,” situation. Obviously aura isn’t doing much to keep them toasty though if Ruby feels the need to comment on how cold she still is. And that attention then invites further questions like, “Why then are they still dressed inappropriately for the weather? Should we expect them to fall more quickly in battle because aura is going towards making sure they don’t freeze to death in under an hour?” Better to just leave it alone.

Talk of the cold leads into Oscar though because Yang comments, “I suddenly don’t feel so bad about leaving Oscar behind.” Which... no. You did leave him behind. Don’t try to make that palatable with stupid upsides like, ‘Well at least he’s warm!’ Worse, the group does nothing to justify that decision. Realistically I can buy why they’d leave Oscar out of this mission. We’ve established that this particular grimm has already taken out a lot of people and, without Ozpin, Oscar is still a newbie fighter. With the exception of the train and one grimm in the premier, I don’t think Oscar has fought many grimm at all. So really, it would take two sentences to establish this. Tell us that this mission is way out of his skill range and throw out that he’s training with Ironwood or something. That’s it. That’s all it takes, but the writing bypasses that and leaves us with, ‘The group left Oscar behind... for reasons?’ Which, in the context of his entire time with them looks really, really bad. Because they left him out of the dinner in Haven. And the hunt for supplies at the farm. And in retrieving the relic. And left him alone at the Argus house. And left him out of the upgrade joy. We’ve now established a trend of the group outright ignoring Oscar, whether it’s during bright celebratory moments or agonizing traumatic ones. Doesn’t matter, he’s left out of the loop, and now we see the same thing happening here. Rather than a simple and logical, ‘Oscar isn’t ready to fight a super old geist,’ what we’re left with paints the situation as, ‘Oscar is left behind because Ruby disagrees with him.’

Because without clarification, that’s the context. We get another (very short) flashback where he (thank you, thank you) points out that what they’re doing to Ironwood is precisely what Ozpin did to them. (Although Oscar tries to soften this by saying it only “feels like” the same thing.) Ruby looks guilty for a second... and then that’s it. We’re back to at least a day later where they’re on this mission, they’ve left Oscar behind, and Ruby is re-explaining why her morals are sound.

I’ll admit I’m pleased that Yang points out that they agreed no more lies and no more half-truths. I honestly didn’t expect her to say even that much against her precious sister. But still, on the whole this dilemma isn’t much of a dilemma at all. It’s reading precisely like the airship debacle: a few characters giving token disagreements but when push comes to shove whatever Ruby wants, Ruby gets. You know how above I pointed out how much I like the split present/past business so that we can have a balance between talking and action? Yeah, that only works if the talking is generic exposition. We don’t need a long-winded discussion about the details of this mission. We do need a substantial discussion about the absolute hypocrisy the group has fallen into. That split between past and present is important. Are you honestly going to tell me that over all these days---if not, arguably, weeks---the group never once had a conversation about this? That we don’t get to see that downtime filled with some actual growth? And we could have easily achieved that with the current setup. Extend Oscar’s flashback into something significant, leaving the geist battle for next week. Let him be angry for once, furious that after all the shit they put Ozpin through, and by extension him, they’re just going to turn around and do the exact same thing without even an apology? An acknowledgment that they were wrong? Or create space to have that discussion now. Harriet comes out of the mine saying a part of it has collapsed and they need time to clear it, giving Team RWBY the chance to really hash some things out and disagree for once. Instead, as expected, secret keeping is framed as the right decision without anyone but Oscar acknowledging the hypocrisy in that. They even go so far as to say, “Why don’t we play along for a while before me make any major decisions.” Newsflash:

Graphic design is my passion, all.

Overall it’s not quite as pro-protagonist as it could have been, but it’s not great either. We’re left with the fact that the group has this time sitting with their own lies and apparently, after all that, what they’ve settled on is denial. Great. Fantastic. I hope Oscar finds new friends at the Academy who encourage him to really call them out on this later.

We also learn that Ruby gave the relic back to Oscar. So the writing is self-aware enough for her to acknowledge that carrying it around on her belt is a horrendously bad idea, but not self-aware enough to keep her getting it back in the first place? Imagine you hired someone to transport a priceless painting to your super safe vault and then when it finally arrives you go, “Actually, you did such a good job getting that here I think it’ll be safer in your hands as you go about your life. Rather than the vault I specifically built for it.” Except the painting is a magic relic, the vault is also nearly impenetrable via magic, and the transporter is now a 14yo who, as established, is the weakest fighter of the group. For the love of Ironwood’s characterization, please let that relic be a fake.

Really, on the whole that moment could have been touching... but again, context. ‘Here’s the relic back that I basically stole and then ripped all Ozpin’s trauma from him by wasting an invaluable question.’ Yeah. All the while everyone is still talking as if Ozpin isn’t even there. Ironwood, in his ignorance, has been the one person to actually address him, despite the fact that the entire group knows he’s listening in. You know that feeling when you’re sitting with a bunch of people you’re not particularly close with and it’s clear they’re deliberately not including you in the conversation? Yeah, it’s like that only a thousand times worse. No wonder Ozpin still hasn’t tried to come out. No one cares about his vessel, they still actively hate him, and they’re all hypocritical to boot. I’d stay hidden too.

Anyway, back to the actual plot. Qrow has been paired off with Clover and at first we get a really excellent conversation about teamwork. We as the audience know precisely why Qrow prefers to work alone, but when he slips and Clover manages to catch him, it functions as a fantastic counter. See? Qrow might have bad luck, but this is precisely why he does need to be around others. They can help him when things get tough.

However, that message is severely undermined when it’s later revealed that Clover’s semblance is good luck.

Not only does that remove the previously stated wonderful message---because now it’s not about Qrow learning to accept help, it’s about how Clover’s semblance just conveniently cancels his out---it’s just an iffy stretch of my suspension of disbelief. Really? Out of all the people they could have met, that Qrow could have been paired with, he happens to find the one guy with the exact opposite semblance to him? Clover is an incredibly handsome and charismatic guy. He’s the leader of the strongest kingdom’s strongest team. He just happens to have the best version of Qrow’s greatest weakness. I know I said I wanted more passive semblances, but I would have preferred something other than this heavy-handed introduction.

Although... are they passive? I had to pause the episode for a moment when Qrow throws out, “sometimes I can’t keep it under control” because excuse me?? There are times you can keep it under control? Since when? How? I know we’re loose on our semblance rules here, but c’mon. Is Qrow’s entire life governed by a trait outside of his control or not?

We see a similar issue cropping up at the end of the episode when Harriet informs Ruby that there’s “something else” going on with her semblance. Look. RWBY isn’t Dragon Ball Z. The characters don’t need to tap into unheard of powers every season to keep things interesting. As Yang herself points out, Ruby already has super special silver eyes.

Her semblance is speed and transformation and transforming other people along with her. Weiss is already a super special Schnee with a super special hereditary semblance that creates glyphs and summoned fighters of whatever she’s killed. Blake is already a super special Belladonna with ties to the world’s biggest resistance group. Yang... okay, Yang is admittedly an ordinary girl with an ordinary background and that’s one of the things I still love about her. She grows stronger through more training, better strategy, and turning any weaknesses into strengths---like her arm. It’s so much more powerful to give characters that kind of arc than to fall back on, “[gasp!] You were secretly special all along.” So who knows what else they’re going to add to Ruby’s semblance. Whatever it is, it’s not needed.

I will say though that semblance issues aside, I’m liking the Ace Ops way more than I thought I would. Given that introducing five more characters was, objectively, a bad move. But they’ve got real personality attached to them. I appreciated that Clover thanked Qrow for the save (they could have made a guy that ‘perfect’ way more arrogant) while the rest spent a good portion of the time teasing RWBYJNR like they’re little siblings. Which I adored. For the first time in volumes we got to see our heroes portrayed exactly as they are: teens in training. Nora says that it “feels like we’re an actual huntsmen team,” acknowledging that they’re not yet. They’re the students following the professionals, helping out without getting in the way. It stood out to me that the geist fight is identical to the one we got in Volume Four, with the exception that it’s way, way better. They come up with Jaune’s strategy to remove the limbs in an instant, rather than taking the entire fight trying and failing to do damage. I don’t think a single member of the Ace Ops took a hit, despite the fact that this geist was a huge threat to the rest of the Atlesian army. Like Team RWBY at times, there was seamless communication, perfect execution, and the one time they made a mistake? Ruby was there to help them out. I really appreciated that the writing had RWBYJNR sit this one out until their particular skills---in this case Ruby’s speed---was actually needed, as opposed to an arrogant, ‘How dare you not let us fight!’ where they endanger themselves and others by insisting that they know best.

This is the RWBYJNR I want to see more of. Ozpin remains a huge, glaring issue, but if the writer’s can keep this sort of attitude in mind we’ll be making good strides away from the horror that was Volume Six. No more, “We don’t need adults,” please. As a bunch of adults just demostrated, they’re way out of your league.

Finally, we end the episode on Tyrian again. Showcasing RWBY’s new love of horror tropes, he appears beneath the flickering lamp light (complimenting the jump scare we got with Blake earlier on). He approaches Forest, the activist from the airship, and we end with Tyrian’s tail coming his way. Did he just poison him? Did he kill him? What’s the end goal here? Just sow chaos by leaving a bunch of bodies lying around? It’s unclear, but whatever is going on, Tyrian sure is busy.

Also, RIP #FRWBY.

Until next week!

Minor Things of Note

I like that Jaune and Blake both looked at their hair before we cut to them with new looks. Still not over Jaune’s style though. He’s french fry head now and no one will convince me otherwise.

It looks like Blake’s blade has been welded back together with a bit of yellow something-or-other...

Bad execution on an otherwise cool introduction to Marrow’s semblance. That was epic how he managed to stop both centipede grimm at once, but then Harriet just... slams them? Awkwardly? They don’t even disintegrate? Idk. Her end of that team attack didn’t live up to Marrow’s.

Team JNR has a very “headfirst approach.” True enough. Although, it’s not like they had an easy way to stop like their Ace Operative teammates. They did the best they could under the circumstances lol.

Jaune also has a landing strategy! I would have rather the writing just acknowledge that than give us that weird moment with Pyrrha’s fabric.

Not sure if I like Qrow’s new outfit or not. To be fair, that man would look stunning in a paper bag, so I’m not sure I’m an objective judge of any change here. Also to be fair, my own fashion ‘skills’ leaves something to be desired. So I think I’ll just bow out of this particular conversation.

#rwby #rwby volume 7 #rwby volume 7 spoilers #mymetas #rwby recaps

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littlemisssquiggles · 4 years

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Pinehead Headcanons: Oscar’s Longest Memory II: Living Like Oz

@miki-13 Hey Miki-chan. Funny story. I was actually writing up this new Pinehead headcanon in response to your last question about Ozpin being Oscar’s Pilot when I saw your new messages last night. So I decided to combine my answers to your questions in this one post since ironically, the ideas for these actually lined up perfectly with this headcanon I have so I hope you enjoy it.

miki-13 asked “What do you think of Ozpin= The Pilot from The Little Prince?”

Let’s start with my views on Oz being the Pilot in Oscar’s Little Prince story. From what I read up on the Pilot Character from the Little Prince, he was also the narrator of the story. He was essentially the character through which the reader learnt of the Prince’s journeys after leaving his home planet. It was through the Pilot that we learnt of the Prince’s story and the wisdom he imparted on the Pilot during their time together in the dessert.

I also remember you telling me that the Pilot was another character that the Prince shared a close relationship with other than his Rose and the Fox.

From what I read up on the Pilot, it seems like the lessons about responsibility that the Prince learnt from the Fox and embracing the things you loved as a child was what the Prince imparted onto the Pilot and was what he mostly remembered about him from their time together.

When I look at it from that perspective, I can see where Oz can play the Pilot in Oscar’s Little Prince story. It makes me think back to my Oscar’s Journey to Oz headcanon where Oscar deep dives into his mind to bring Ozpin back. Somehow I can imagine the reconciliation between the two souls paying homage to the Little Prince’s encounter with the Pilot with the two just meeting in a part of Oscar’s mind that takes the form of a place from either Oscar’s memories or perhaps Oz? And the two just sit there within this memory talking to one another about their lives, their experiences and more importantly of all, where they both go from where they currently stood, y’know what I mean?

It’s moments like this that makes me wish we had gotten just a few more seasons with Oscar and Oz growing closer before we got the inevitable separation in V6. It probably would’ve been twice as more impactful if Oscar and Oz shared a deeper connection than what we know them to have canonically.

From the moment Oscar met Oz, their relationship suffered a rocky start with Oscar’s whole apprehension of leaving home to go to Mistral on behalf of Oz and everything he told him regarding his sudden change in fate.

Even up to the moment where Oscar first meets Qrow, Oscar still harboured a snarky attitude towards Oz’s presence. Sure things started softening up between them during what little we saw of their interactions during V5, but in hindsight, it’s very evident that Oz and Oscar still have way to go before they can live in harmony with one another like the Wizards before them.

I will admit this though. I was pretty nice to hear Oscar acknowledge Oz as a part of him in V7CH7. It makes me wish we had gotten more moments like that with him just sitting around thinking about Ozpin and the potential of them reconnecting. I guess this is one of my gripes for this season in regards to Oscar’s side of things. Here we are yet again with the PLOT not taking the opportunity to further flesh out Oscar’s character and his relationship with Ozpin by presenting Oscar attempting to reconcile with Oz within his mind and bring him back while working together with Ironwood.

We don’t even really know how Oscar even feels about Ozpin coming back since the show focuses so little on him and how he’s been taking in everything and even when it does focus on Oscar, a lot of it seems to only hint at Oz without really addressing him.

Don’t get me wrong, I’m happy to see more examples of Oscar being his own person by having him express how he feels about certain topics rather than it be him trying to mimic Oz in some way. I like that a lot. However, at the same time, I feel like the show is having Oscar almost ignore Ozpin in a way. Despite implying that he’s a part of him, we don’t get to really see how much Ozpin’s absence has affected Oscar in the sense of how this has affected Oscar’s overall relationship with the old soul. We’ve gotten one or two glimpses of it here or there but nothing really grounding as yet, at least in my opinion.

Often at times, I can’t help but feel as if the PLOT avoids the characters talking about Ozpin and just writes around him, if that makes sense. Like it’s evident that his presence and the result of his actions are spearheading the events currently happening in the narrative at the moment. However at the same time, I feel like the characters are addressing Oz without really addressing Oz; y’know what I mean? Like they mention him in passing but they don’t really go in depth with how feel about learning of his past.

The closest thing we’ve received to that thus far is with Ruby confessing to Maria back in V6 that she’s still unsure of how she felt about Oz after the truth was revealed. This was later repeated again when Ruby voiced her concerns to Qrow that she might be mirroring Oz in her actions toward their trust in Ironwood---highlighting that what Oscar’s words to her at the start of CH3 did weigh on her ---only for Qrow to brush it off with an air of indifference. Qrow is another character with whom the PLOT has portrayed adamantly avoiding addressing his true feelings in relation to his affiliation with Oz.

I actually think Qrow’s stubbornness to talk about Oz is what’s irking me the most given their longstanding history together. At the least the show has highlighted how much Ironwood would like for Oz to return as well as Oscar’s willingness to accept Oz coming back should he chose to come back of his own accord.

But Qrow---Qrow I would say is a tough case since, even if V7 ends with Oz making a comeback with all of our young heroes wishing to give Oz a second chance and bury the hatchet, I’m not so sure about Qrow. I think Qrow might take a long time to get over his resentment towards Oz right now.

Seriously Qrow, Oz wasn’t just the man your sister once claimed you blindly followed for several years of your life. He was also your friend. Quit acting like he doesn’t exist to you anymore, for Pete’s sake.

It’s moments like these that made me wish we could’ve gotten at least one or two episodes of V7 where the main drivers of the chapter were Ironwood, Oscar and Qrow. With all the stuff going on with Watts and Tyrian, the politics surrounding Atlas and Mantle, Jacques and his wicked schemes in pursuit of power, the construction of Amity Arena and so forth---there’s just not enough time to focus on these three guys.

And that’s a feels bad moment right there since I honestly feel like this volume should’ve had Ironwood, Oscar and Qrow be the three focal characters of this season. I mean, in some ways they kind of are…but…not really? I mean it’s subtle if you squint your eyes but more definitely needs to be done for these three since they are the people closest to Oz right now.

Ruby’s part in all of this is important too since I believe she’ll be needed to convince the others as our titular spark of hope but, I dunno, I guess bottom line what I’m trying to say is that I could’ve used just a smidge more focus on the General, Oscar and Qrow talking about their true feelings in relation to their respective ties to Ozpin. But who knows? Maybe there’s still hope for me to get my wish a little bit. We do still have 5 more episodes left before this season ends so we’ll see.

In meantime, let’s go back to the Ozpin Pilot connection. So I’ve already shared my views on Oz being Oscar’s Pilot, however I’d like to present to you another consideration m’dear Miki-chan. Have you ever considered the thought of perhaps…Oscar could be the Pilot to Ozpin’s story?

Similar to how the Pilot’s encounter with the Prince changed his perspective on the world, you can say the same was done for Oscar since meeting Oz sparked his journey to becoming a huntsman. However that’s not the angle I’m really going for. As I mentioned earlier, it was the Pilot who relayed both the Prince’s story and his time with the Prince to the reader.

So imagine if we got a similar scenario in RWBY where we finally learned of Ozpin’s story ---the man who he used to be before he joined Ozma’s lineage and became the man we know as Professor Ozpin---through Oscar?

For the sake of my theory, I’m going to refer to original Oz by my fanon idea for his true name---Zoroaster Ozpin or simply ‘Zo’ for short.

What if…somehow, someway, Oscar is the one to reveal Zo’s past to us as the audience, highlighting his journey and struggles from the day he became a Wizard of Light to the moment he became the man we know as Professor Ozpin all concluding with the moment we never got to see---the moment Oz died and was eventually paired with Oscar.

One curious question that I have been pondering about for some time now was why was Oscar the one specifically chosen to be Oz’s successor? Everything I’ve gathered on Oscar right now seems to point to him being different than past Wizards.

Let’s start with the first clear indicator---Oscar’s age. Even after learning of the Lost Fable, Oscar is still clearly the youngest Wizard in Ozma’s lineage. For the most part, each of Ozma’s descendants has been adult men (possibly in their mid to late twenties or so) who all appeared no older than Ozma was when he died in his first life. I’d like to think that even Ambroise---the withering old man we saw depicted in Ozma’s line following Diggs’ death---was probably a young adult when Diggs soul was paired with him and what the Fable mainly portrayed was how the previous wizard lived with their successor up even in old age.

In my RWBY Musing #57 discussing the Ozma Cycle, my theory was that the age that all Wizards were chosen was 28 years old. I also mentioned the possibility that the Wizards were each reincarnated a consecutive amount of years apart. My hunch is that the Wizards were all reborn half a century apart so each time they return, it’s in a completely different time period in Remnant’s history from their predecessor. I strongly believe that Oscar is the first instance where a Wizard was resurrected ‘prematurely’ within the same era as the last one and my rationale behind this thought was due to the villains’ reaction to Oz being back so soon.

Not to mention how Oz stated back in V5 that he left specific instructions with his trusted lieutenants in the event of his death. If the way the Ozma Cycle worked was that the Wizards were reborn immediately then why the need to leave detailed instructions with trusted advisors? I don’t think Oz was supposed to be back. At least, probably not for another couple of decades buying his advisors enough time to live out the tasks Oz had entrusted him with before he returned down the line---probably when all of them were dead.

Although Oz didn’t seem to react at all to being reborn so soon despite his enemies reacting that way, it doesn’t denounce the fact that Oscar is somewhat of an anomaly within the cycle. Not only is he the youngest Wizard shown to record but the shortest rebirth with Oz being paired with him shortly after his death during the Fall of Beacon. Oscar is meant to be different than all the other Wizards. There is an air of intrigue surrounding him and his fate with the Merge and why I bring this up is because I have a hunch that Oscar might be curious as to why he was chosen to be a part of Ozma’s cycle.

It wouldn’t surprise me if Oscar may have questions surrounding his fate, particularly with what will happen to him one day with the Merge. Or rather, I wonder if there is a part of Oscar that wonders how Oz previously handled his inevitable fate before.

How did Oz---or rather Zo- take to learning that one day he was just going to disappear and become someone else that he might not recognize or might not even know that he’s changed into?

I bring this up because the show has subtly dropped some hints to Oz’s past as Zo and his experience with the Merge. It was teased through Ironwood with his apparent affiliation to Ozpin both during his lifetime as headmaster and formerly as Zo.

I can’t help but shake this feeling that the PLOT could potentially be leading us into learning more about the true nature of the Merge with Ozpin’s backstory.

I think there is a golden chance for both the audience and Oscar to learn more about Ozpin and I think a way this can potentially be done is if Oscar lived through Ozpin’s memories, both in his life as Zo and his life as the man we knew he became.

This is the section of this post where I’m going to go into my answer to your recent message from yesterday.

miki-13 asked:

“ So I just had an absolutely awful idea. You mentioned the possibility of Oscar and Ruby arguing and Ruby saying she doesn't trust Oz, and by extension Oscar, and how that's the final straw that pushes Oscar away from her. You also had the headcanon of Ruby having nightmares where Oscar uses the relic to reveal everything they did and what they learned in Volume 6. And Oscar brought the relic with them to the Schnee Manor in episode 8.

What if the argument happens at the manor and Ruby's emotions over everything finally boil over and she says something she regrets immediately? This could be the final straw that makes Oscar decide to tell Ironwood the truth and Ruby, in a fit of fear, grabs him to stop him. While they two struggle against each other, the lights go out and they hear screams. Tyrian has shown up and starts attacking people like at the rally.

In the dark as they try to get their footing and try to get the lights back on, Ruby hears Tyrian whisper in her ear, "An eye for an eye~" and raises his tail to attack her... only for Oscar to push her out of the way and take the blow for her. The lights come back on, Tyrian is gone and Ruby can only stare horrified at the bloody wound Oscar has suffered as he falls unconscious.”

What you call absolutely awful, I call brilliant since I had a similar thought, m’friend. In a nutshell, yes to everything that you wrote.

I like your idea of Oscar confronting Ruby and her accidentally saying something that she’ll regret later. I like it since I shared the same concept in my Oscar’s Longest Memory headcanon. It was even on my Bingo Card for CH8 but we both know how that went...Hurumph!

Basically, my version of this concept was that Ruby and Oscar would get into a fight over revealing the truth to Ironwood and during that fight, Ruby lets it slip that she doesn’t trust Ozpin.

Heck, I even have this imagined scenario where Ruby lets her emotions get the best of her like you said and she goes as far as to say that she HATES Ozpin.

Like it’s a moment where Ruby outright says she hates Ozpin because she blames him for everything---blames him for hiding the truth about Salem from everyone; making them fight a war he knew fully well that they couldn’t win.

Blames him for then leaving them behind in the dark on what to do next while saddling Ruby with that burden considering that since Ozpin left, she’s the one whose been forced to carry the full weight of everything on her shoulders with everyone looking to her for guidance.

It’s a moment of genuine frustration for Ruby that she just unloads on Oscar in the rawest of unapologetic anguish since she’s been doing her best to make up for all of Ozpin’s many, many mistakes so Oscar accusing her of being just like him hurts more than anything since from Ruby’s point of view, how can she be like Oz when she’s the one who’s actively been trying to fix the mess Oz made. It’s all on her now! Or y’know something like that.

I can see this being a really heated argument beween Ruby and Oscar---the most we’ve seen since Yang and Raven. Oscar calls out Ruby for her actions and Ruby in turn takes out her frustration on Oscar ultimately culminating in her saying that she hates Oz---a remark that this time, Oscar takes heavily to heart just as how Oz took Qrow’s remark from V6 and he makes the same perplexed, broken expression of utter shock.

After all, Oz is a part of Oscar and this is how Oscar sees him too. The PLOT even acknowledged that in V7CH7. So if Oscar sees Oz as a part of him then Oscar will take any animosity directed at Oz onto himself.

So if Ruby says she hates Ozpin then naturally Oscar would take that to mean that she hates him too by extension.

Then again, perhaps Ruby yelling that she hates Oz might be too harsh. On a slightly more light-hearted tone, let’s say...Ruby reveals that she doesn’t trust Oz since she blames him for everything. And since trusting in love or love and trust going hand in hand seems to be a theme for this season, let’s say Ruby implying that she doesn’t trust Oz is synonymous with her saying that she hates him in a way. At least, that’s how it’s treated through Oscar’s reaction.

So the thing Ruby ends up regretting later is her yelling in Oscar’s face that she doesn’t trust Oz with him taking it to mean that she doesn’t trust him either. After all, Ruby can’t trust only half of Oscar especially if the idea, by Oscar’s impressions, is that he is supposed to disappear one day while Oz takes his place.

If Ruby doesn’t trust Oz then she basically doesn’t trust Oscar too. And although we get a scene where Ruby might probably attempt to redact her statment, let’s say…Oscar retorts by asking Ruby if she trusted him wholeheartedly meaning all of him, not just the part of him that’s still himself.

It ends up being a question that Ruby is unable to answer since she’s conflicted on her trust in Oscar and her trust in Oz. However in the end, Ruby doesn’t need to answer since her hesitation was all Oscar needed to solidify the truth---if Ruby doesn’t trust Oz then she doesn’t trust him either.

So just like in your idea, the argument between the Rosebuds ends on a sour note. The scenario then worsens with Tyrian showing up after Ruby and Oscar fight and Oscar getting hurt afterwards. I even like your idea of Oscar pushing Ruby out of the way and taking the killing blow for Ruby.

See, it’s like adding salt to the wound. It hurts because it burns and in Ruby’s case, an idea like this could give her another reason to feel guilty afterwards for her actions.

As the lights turn back on, there is Ruby standing over Oscar with her hand hard pressed against bleeding chest where he had been punctured as Oscar struggles to breathe and say something to her.

Let’s say...Tyrian got Oscar straight through the chest---it’s a bad enough wound for it to be seen as life threatening but Oscar still survives through it in the end because let’s say Tyrian missed him Oscar’s heart by an inch. However it doesn’t stop the poison.

Ruby is there, hands shaking and tears falling from her face as she did her best to keep Oscar alive. She even yells for Jaune multiple times to help. Immediately Jaune is at Oscar’s side ready to pump aura into him to save him.

However it took a few minutes for Jaune to actually get Ruby to move away since she was so scared that Oscar could die before her eyes. It wasn’t until, Yang or maybe Weiss gently takes her away from Oscar when Jaune was allowed to do his thing to help Oscar long enough until the medics came. Or something like that.

Continuing off your idea, let’s say this leads to Oscar being hospitalized in a comatose state; warded at the same medical facility we saw Winter take Weiss in CH5.

From here, we can get the story building up the prospect of JNR_RWBY reconciling with Oz by having what happened to Oscar weighing heavily on all of everyone emotionally.

Ruby is especially devastated the most by this incident since the last thing, according our theories, the last thing she told Oscar before he got seriously hurt was that she basically doesn’t trust him.

In Ruby’s mind, Oscar could potentially die and the very last thing Ruby told him is the equivalent of saying I hate you after he risked his own life to save hers. Right after he tried to stop her from making a big mistake.

Let’s say...Ruby blames herself for what happened to Oscar and who knows? Perhaps this type of scenario could even lead into Penny helping Ruby.

Imagine if...it’s a scenario where Oscar is in the hospital but Ruby hasn’t been to visit him since the night he got attacked. She’s been avoiding seeing Oscar; instead choosing to distract herself with huntsmen duties since the loss of the heating in Mantle and the uproar of its citizens has been causing more and more Grimm activity which means all huntsmen on deck.

Let’s say...the others notice Ruby’s reluctance to see Oscar but it’s Penny who goes to speak to her. Ruby has always been very understanding of Penny and her emotions, offering her a listening ear whenever needed.

It’d be nice to see this reflected in Penny with her helping Ruby deal with her feelings and guilt over what happened to Oscar. Y’know have Penny help Ruby understand her emotions for a change, if you get what I mean while sticking another pin in the growth of the Nuts and Dolts friendship.

If something were to happen to Oscar again, I can see it sparking another chain reaction that affects the other members of the hero team leading into everyone potentially rethinking their actions and how they might've been treating each other (or other people they’re affiliated with) in the recent times (or even in the past) since they got to Atlas.

Let’s say…since Oscar’s coma causes Weiss to recall what her mother told her in regards to Whitley’s well-being leading to her rethinking her entire relationship with her baby brother; might even lead into some more Schnee Family discussions between Weiss and Winter, this time about Whitley.

Maybe it also sparks Ren finally coming clean to Nora about how he’s been feeling since his whole spiel this volume is his inability to express how he feels; apparently.

And from there, perhaps it can lead into Nora finally talking about herself and explaining why she’s been so hot and bothered over the affairs of the People of Mantle.

For Yang and Blake, perhaps we might receive another example of them talking about what transpired back in Argus surrounding Adam which could potentially lead into them discussing their relationship as a whole.

Not necessarily in a romantic sense but just in general since, as the PLOT keeps hammering in our faces for this season, these two have been through a lot together and haven’t really had a breather to talk to each other about it, y’know what I mean

I can see a subplot like this leading into some really solid character building for everyone. Particularly Oscar.

Why? Because other than the rest of the group, I can easily see this idea presenting an opportunity to peer into Oscar’s mind and learning more about him through his memories. It can even lead into us learning more about Oz and his life as Zo?

This brings me to the meat of my post.

What if…while in a comatose state, Oscar ends up living through Ozpin’s memories, experiencing them either as if he was an invisible spectator watching them play out in front of him or perhaps it’s a case where Oscar opens his eyes to find himself standing in Ozpin’s body.

In the memory, Oscar is Ozpin playing through his life as if he was Ozpin, making all the decisions that Oz once made in the past while going through all the emotions as Oz once experienced themas if they were his own.

Consciously Oscar is fully aware that he is still himself but since it’s Ozpin’s memories that he’s living through, he neither can help but feel the way Oz felt in those scenarios nor can he actively do stop the outcomes of certain choices Oz was forced to make in those moments even if he wanted to.

It is in this sense where Oscar can become Ozpin’s Pilot---steering us through Ozpin’s backstory as he learns it himself by living it.

Oscar even lives through the same Oz memory that Ironwood told him about in CH7---where he was the one who suggested that Atlas use the Relic of Creation to lift the kingdom into the sky. It was the day Oz first brough the Relic of Creation to Atlas.

Imagine if…through Ozpin’s memories, Oscar meets a different James Ironwood--- a past version of the man we know him to become.

Imagine if…this memory was Ozpin’s first time meeting with James and during this encounter, Oz was accompanied by a different Leonardo Lionheart who was there to assist Oz in recruiting Ironwood in a sense.

Oz did say back in V6 that our heroes didn’t know the man Lionheart used to be before Salem got to him and since we never got to see more of Leonardo, maybe Oz’s memories of him from the time he was still his trusted friend can be the PLOT’s chance to help shed a different perspective on Leo.

Not necessarily trying to redeem him of the cowardly man turned traitorous villain we knew he becomes but more so to highlight how Leo was from how Oz saw him and how Oz felt about him at the time.

We can even meet a younger Qrow Branwen, touching on the memory of when Oz first met Qrow---showing how Qrow used to be as a teenager training to become a huntsmen at Beacon while explaining why Qrow chose to believe in Oz for so long. It’s a chance to show the spark of Qrow and Oz’s relationshop, justifying why Qrow cherished it for so long while simultaneously rationalizing his resentment towards Oz now.

Who knows? Perhaps… we can even learn more details on Summer Rose and her disappearance through Ozpin’s memories of her?

In V7CH4, it was heavily implied by Qrow during his conversation with Ruby that Oz might’ve been keeping something on Summer as well.

“…Her last mission, was that another Oz secret?”

“ There were a lot of those back in our day, but this one was a Summer secret. When she didn’t come back, Ozpin seemed just as in the dark as myself and your father. Still, who knows what he may have hidden from us over the years…”

If there are more secrets to be learnt then the next key to uncovering them would be in Ozpin’s memories. Memory is the key.

Last time we learnt Ozma’s memories and his biggest kept secret via Jinn and the Relic of Knowledge.

Although we didn’t learn everything since we never got to see Ozpin’s side of the story and as Qrow told Ruby in V7CH4, there is more to be uncovered about Oz.

So yeah. Basically what I’m saying here in a nutshell is in the event of Oscar becoming another unfortunate victim of Tyrian at Schnee Manor, I can see it leading into us learning more about Oz by having Oscar live through all of Ozpin’s memories unveiling any more secrets he might’ve hidden over the years, including any info on what became of Summer Rose.

More than that, it’s a chance for Oscar to learn about Oz by literally being in his shoes and living through his life. Who knows? Perhaps we might even learn more about the night Oz died during the Fall of Beacon revealing how and why Oz ended up with Oscar of all people in the first place and why so soon.

And from this experience, not only will Oscar walk away understanding Oz more than he ever did before but maybe the audience will as well.

Maybe this experience could even lead into Oscar finding Oz deep within his mind.

Maybe by the time Oscar meets Oz again, he is so overwhelmed by all that he experienced through learning of his full life and all of his personal hardships that the most the young farm boy could so is just embrace Oz in solidarity. Because now he understood.

Now Oscar understood Oz.

Thus…this leads into the two souls finally being able to mend their relationship properly thus sparking a more collaborative path toward Oscar and Oz finally living together in harmony since now, Oscar knows Oz’s life because he’s lived it. Oz’s life and journey is now a part of Oscar.

And who knows…perhaps from this experience Oscar receives the answers that he’s been looking for in regards to the Merge. From living through Oz’s experience with Merge, he learns that he is going to be okay or at least he gains an understanding of Oz that he no longer feels apprehension of becoming a part of him in the end. Or something along those lines.

This type of story is a chance to really have Oscar and Oz come together in true camaraderie and be a real chance to flesh them both out.

I know most Pineheads are hyped for Oscar’s potential semblance reveal.

However for me, y’know my anticipation has mostly been directed towards learning more about Oscar as a person and/or seeing him and Ozpin reconcile while inside of Oscar’s mind.

I don’t know if we’ll ever get something like this in the canon at all. If I’m being completely honest, I kind of doubt it. However, I’d be lying if I said I didn’t think this was a possibility given some of the breadcrumbs dropped as set up from the last few episodes.

But in the event that Tyrian doesn’t attack Schnee Manor and Oscar walks away fine and dandy, I do have a Plan B alternative to this theory where we can have Oscar unlock more on Oz through the Relic of Knowledge.

However, I’ll save that for it’s own separate post for the New Year since this post is already long as it is.

Overall, I hope you liked this post Miki-chan. If you’re able to shoot me a comment on what you think of this post, let me know. If not, that’s alright.

I hope you liked it either way and I hope it answers your questions at least. I know I wrote a lot XD

That being said, with this officially being my last Pinehead headcanon for 2019, gonna wish you and all my fellow Pineheads a Happy New Year and see you guys in 2020 for more Oscar- worthy theories from the squiggle meister!

More Squiggles’ RWBY Content

~LittleMissSquiggles (2019)

#miki-13 #squiggles answers: rwby #oscar pine #ruby rose #professor ozpin #rwby theories #rwby volume 7 theories #rwby volume 7 spoilers #pinehead headcanons #squiggles pinehead headcanons

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journeysintowebcomics · 5 years

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Worm Liveblog #99

UPDATE 99: Back Home for an Hour

Last time Skitter intimidated the mayor and his family, in the process defeating two professional heroes and almost causing one of them’s death. Quite the awful actions, and even she is surprised she went this far! What didn’t happen was Coil doing anything. What happened to his plan to kill Skitter? Let’s continue.

The chapter starts with Skitter trying to compartmentalize what happened, as well as her actions. She tries to think of a reason to be angry with the mayor, to maybe think they deserved what happened, but she just can’t forget Triumph didn’t deserve any of what happened. She even has to admit Triumph could have died or suffered brain damage due to lack of oxygen. At least she admits it. It doesn’t make it okay, but at least she’s recognizing it was all awful.

She feels so bad she asks her contact with Coil to send medical help to the mayor’s house. I hope Triumph will be okay, honestly.

You know, it has taken a long time for Genesis to make a new body. Has this always been like this? Perhaps she was stalling on purpose so Skitter would be in danger? I wonder...still, now that the fight is – conveniently – over, she’s here to help.

Her first concern is Trickster, of course. They’re teammates! So once Skitter tells her where Trickster is, she asks if Skitter wants her to carry her. Hah! That would be kind of fun but no, the unconscious guy kind of needs to be carried.

“Fine. Damn it. Making a new body’s slow when I’m this far from myself.”

Ah...that actually makes some sense. I guess Genesis not intervening in the fight wasn’t she stalling for time while Triumph and Prism got Skitter out of the way. And then her current form melts away. I hope she’s nearer than she was before, or else it’ll be a while before she can carry Trickster.

The mission is over and there’s some distance to cover, so she returns to something she used to do before, when everything was just as harrowing but less complicated, technically: running. She starts running towards the meeting point, reaching the main street and finding it almost abandoned. This makes me think...can Brockton Bay really be saved? There are places where people still live at, and Skitter and a few select others are trying their best to stop things from getting worse, but Brockton Bay will never be what it used to be before. This city is likely to go downhill, unfortunately.

Not that they’ll get much time to see that happen, what with the end of the world and what not.

I would have left, if I could afford to. If Dinah and my people could afford for me to.

Won’t lie, I’m disappointed Dad Hebert didn’t cross her mind. I’m still pretty bummed he was pushed aside in this story. He could have been so good for this story, seriously.

At the meeting point, Genesis’ new body is almost ready, so I suppose she’s much closer than she used to be before. She has made a bison with a basin in middle, to deposit Trickster in. Neat! Now that Trickster was safe, Skitter can get on her beetle and take off, getting away enough to make a call to Tattletale and discuss their rebellion plans.

Informing Tattletale of the recent developments is easy enough. In any other circumstances I’m sure Skitter being okay and able to speak would be something Tattletale would be glad about, but tonight it’s more like...a source of confusion.

“We’re clear to talk, no bugs, I’m ninety-nine percent sure. So listen, if Coil wanted to assassinate you, that’d be his chance. Once you leave the mayor’s property, that’s it. He doesn’t know where you’re going.”

Huh. That so? Hmmmm...well, Tattletale isn’t infallible. She may have been wrong. But it just made so much sense Coil would be trying to get rid of her, I fully expected it. I don’t want to think Lisa was trying to misdirect Skitter, I don’t believe she’d ever do such a thing, so...yeah, she must have been wrong.

In my opinion, it’s possible Coil used his power. In one timeline he arranged Skitter’s demise, in the other he didn’t. For one reason or another, the timeline where Skitter died ended being disadvantageous for him in a way he couldn’t accept, so he got rid of that one and kept the timeline where he didn’t get her killed. That would explain Tattletale’s interpretations and how she was wrong. Still, her power would let her know Coil used his power, no? So...maybe I’m wrong?

“I don’t like that you’re there without backup. You said he might want to get rid of you too.”

“I’ll know if he does.”

“Like you knew he’d try to kill me?”

That was rather biting! I can understand if Skitter is upset, because Tattletale’s warning brought a lot of stress and worry, but still, I can’t help but read that as a biting remark. After considering for a moment if she should go meet Grue for nebulous reasons, she decides against it and instead returns to Genesis, so they can exchange a few words. First! Is Trickster okay?

He’s in a lot of pain and still unconscious. You know, his role in this chapter was insignificant. I didn’t expect that, honestly. Oh well. At least this gives them a chance to talk about the Travelers and their rather unusual situation. This isn’t the first time Trickster gets cocky and everyone pays for it, apparently. When Genesis comments they weren’t meant to be “a family”, Skitter asks why they don’t quit and go their separate ways. Because of Noelle, right?

“She’s only half of it,” Genesis said. She didn’t volunteer anything more.

So there’s also another reason as well? Perhaps a shared past, or something they want to get that’s unrelated to Noelle? I thought Noelle would be enough to keep them all together, not that there would be something else going on as well.

The plan right now is somewhat vague. All she knows is that she has to stay out of Coil’s sight and soldiers for the time being, so going to the headquarters or to the territory may not be a good idea. Getting some stuff from her headquarters, she ponders what to do with Atlas. He can’t survive on his own, unfortunately. Atlas is like a big beetle puppet for Skitter, so she has to keep him close for her to keep him alive.

While Skitter walks with unclear destination, she looks around and notices just how ruinous the city is. Mr. Wildbow once again shows his descriptive skills, painting a rather good image of the derelict Brockton Bay. It’s not so flooded now, but weeds are growing and litter is everywhere. I guess the services haven’t been fully set yet. May be a while before they are.

Her wandering had a direction, and it takes her to a place she hasn’t been at for quite a while – for social visits, at least. Welcome home, Taylor. Dad Hebert misses you. She knocks on the door, and when he opens, she feels rather saddened about the marks left on him due to Shatterbird’s glass explosions. Overall he seems to be okay, although it’s worrying there’s something about a large bandage that should have healed by now but hasn’t. I hope it didn’t get infected or anything, Brockton Bay doesn’t seem to be in the best condition to help heal someone with a serious infection.

“It’s good to see you,” he said. His forehead was creased in concern. “You’re hurt.”

I looked down at the sling. “It’s not major.”

“Is it why you-” he said, stopping himself as if he didn’t want to jinx things and scare me off with a poor choice of words.

“No,” I said. I found myself searching for an explanation, opening my mouth to respond and then closing it when that explanation didn’t readily come.

You know, it has been several days since the last time they saw each other. I can’t imagine how it’s like to not know where his daughter is, because, well, she’s been rather vague about where she’s at.

“No,” I said, again. “I just saw someone nearly lose her daughter. It made me think of you and mom.” I’d changed the genders on the spur of the moment to be safe.

I don’t think that’s impossible, but her narration didn’t indicate she thought exactly about that. I do can buy the mayor’s reactions reminded her of Dad Hebert, though. Still, she’s not the most reliable of narrators.

Turns out Dad Hebert hasn¿’t been having a good time in his life these days. Not only Taylor is living in parts unknown to him, he also has needed to barter and sell stuff from his house in order to acquire supplies. Well! I’m sure Taylor will try to divert some supplies to Dad Hebert, but how can she do it in a way that nobody notices nor Dad Hebert links it to Skitter or any other villain? Just leaving supplies on the doorstep isn’t going to be of any help, because I doubt Dad Hebert would accept it.

So what’s going on is that Dad Hebert suffered some kidney damage, and in the current state of the city it’s a tad more difficult to have the necessary diet the doctor told him he should have. That’s going to make a tad more difficult for Skitter to provide the supplies, because only she and I suppose a few select others would know what’s going on with him, so it’s not like anyone can give him supplies.

Well, I suppose she could just go to the house and deliver supplies, and then just lie and say she took what’s left of her own supplies. It’d be the simplest way to give him food, I think.

Obviously Dad Hebert is worried about Taylor’s injury, and sounds horrified she had surgery. By now he knows asking further questions is futile, so he lets that go and instead comments something else:

“You’re so different,” he said. “You’re standing straighter, dressing like you aren’t trying to hide in your clothes, moving with more purpose. I think you’ve grown, too. So many people, they seem like they’ve been burdened by what’s going on, they’ve given up a little, lost important things. That just makes the contrast between you and them that much stronger.”

Yeah, she has changed a lot. Not really in a good way, some would say, but she has changed indeed. Oh well. At least the way Dad Hebert is making this sound is favorable. Taylor herself isn’t sure if her changes are good, anyway. It’s a tad of a heavy topic of conversation, so it dies after a moment. Taylor sits to the table and sees a couple piles of papers, with information about the Travelers and the Undersiders’ Simcity shenanigans.

The one about Grue remarks he and Imp don’t attack civilians under provoked. I’m glad that’s written here, anything that can make the Undersiders seem like an okay bunch to be around of will be favorable. Doesn’t mean the civilians should get involved with their stuff in any manner, but hey, don’t look a gift horse in the mouth or whatever the saying goes!

Worth noting his power being used at all is being taken as an indication there may be fighting nearby. A reasonable assumption to make, pretty much. Also, there’s almost no information about Imp. Niiiice, the least everyone knows about her and her skills, the better.

There’s also a notice about Skitter. It’s rather accurate, although the information about her territory is a bit out of date.

Skitter is an unpredictable young woman tending towards acts of apparent kindness to those she deems her subjects and bursts of sudden and extreme violence towards those she sees as her enemies. The city is not funding work in her territory, as Skitter is handling matters there.

It may not be generous of me to assume this, but I suppose if it wasn’t for Skitter, that area of the city would be sorely screwed. Good thing Skitter is taking charge of everything there.

Dad Hebert asks Taylor how she got here from the north, where she’s staying with Lisa’s family, and Taylor says she crossed through Skitter’s territory. She says they stopped her and then they gave her permission to go through. I suppose that means that’s what she’d do with any civilian who tried to cross through her territory. Kind of encouraging.

I looked around. It didn’t feel like my house anymore. I’d only been gone two months, but things were different.

I think I have said it before, but I’ll say it again: with everything that has happened it sure feels like more than two months have passed. This story has been quite eventful!

Of course, Dad Hebert would like Taylor to stay, so she immediately says she doesn’t plan to stay. Then she receives a call from Tattletale. Something happened already? Boy, there’s no rest for the wicked!

Luckily for Taylor, nothing happened. In fact, nothing will happen, because Coil isn’t planning to kill Taylor for the time being. Well then! I thought for sure he would know Taylor is against him and he would take measures, but apparently he doesn’t know, or he doesn’t consider Skitter a threat at all. Tattletale is concerned because everything indicates stuff is going according to Coil’s plans – which is a good reason to be scared, honestly.

“Um,” she said. It wasn’t like her to be lost for words. “I told Coil that Trickster got injured. I wasn’t sure if you’d told him. He didn’t seem concerned. There was zero indication that his plan had been disrupted. Told him you were on your way back, again, no concern. Everything that had been telling me he was harboring plans to assassinate you was telling me he wasn’t and hadn’t ever been, this time around.”

“Your power lied to you?”

“Um. That’s what I thought. I was thinking maybe I was working under a mistaken impression, tried adding and removing the elements to see if I could get a different result, interpret his earlier behavior differently. No go. And I was doing all this while having a perfectly normal conversation with Coil, until he says something like ‘Very dangerous. You want to be careful who you’re picking a fight with.'”

I don’t know, I still think I may be onto something with what I said about Coil having used his power. If that’s so, then having Taylor around will be more advantageous for him in the near future than killing her. Once Dinah is back and active she’s expendable, though, that’s what I think. I bet he would use his power and ask Dinah something about the odds Skitter will be able to defeat him, and depending on the number he’ll take action.

So it’s still urgent for Taylor and others to take action, I’d say. They should give it a try. Either way, he knows something’s afoot and he’s not particularly concerned about it. What a smug villain! He did prove with this that he can manipulate Tattletale’s power to some extent, so they can’t really know what he’s thinking or planning.

“We’ll figure something out,” she said.

There are, what, five days or so left before Dinah is back in action? Better hurry! The conversation ended shortly afterwards. Well I’m taking this as an indication this arc is close to over, unless it turns out Coil really is planning to kill Skitter tonight and a gas pipe explodes underneath her current location or something.

It’s introspection time! What do you have to say about your motivation for your actions so far, Taylor?

Whatever my overall motives might be, some part of what drove me was some desire to patch up the damage, fix that part of myself that had been taking a beating ever since I’d gotten that call about my mom’s death.

Weeeeell...given how much guilt and regret she has been accumulating, if her narration is any indication, she’s failing at this. I mean, unless she all along intended to fill that damage with lots of regret. In that case then she’s excelling at this.

It was unlikely she was going to stay at Dad Hebert’s house for long, but it seems to me the call has made her want to leave now. The only farewell they can have is a hug, but Dad Hebert wants more. And this time he manages to get something a little more concrete than vague reassurances.

“No vague promises. You’re going to promise,” he said.

“Day after tomorrow?”

“Okay. I don’t have work then, with the mayoral elections. We can eat lunch here and then go to the town hall.”

Oh shit. If Coil had something for us to do-

...she’s not going to fulfill this promise, is she. I can see it already; she’s not going to meet Dad Hebert that day. That’s going to tug at my heartstrings. She even tries to think of an excuse but promises it anyway. Yeeeeah this definitely isn’t going to be fulfilled.

I felt the need to reward him, to express some kind of gratitude, but I had only one thing to offer that he really wanted. “I- don’t know when. But maybe I’ll come home?”

Won’t lie, part of me is hoping she actually does this, but yeah, as long as she’s with the Undersiders she won’t return. Although, given how there were two months in these fifteen arcs, it will be like three months more before the story ends. That’s no guarantee she’ll return home, but hey, there’s a chance she will once the story reaches its end. I sure know that, if she doesn’t, I will like to think she does.

...although I have to admit that depends on Dad Hebert staying alive until the end of the story and, knowing the conventions of stories with superpowers, his odds aren’t that good. Welp.

Having exhausted everything she intended for this visit, Taylor pretty much runs away, tearing up. Is this the end of the arc? Possibly. I’m sure an interlude is coming, and then it’ll be time for the next arc, but after how the arc didn’t end last two times I thought it would, maybe it won’t either this time, haha!

Well, we’ll see next time.

Next time: in four updates

#worm #worm liveblog #webserial #webserial liveblog #liveblog

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weightlessribbons · 5 years

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The politics of RWBY and its faunus subplot

I love RWBY but every time I think about its politics it gives me a goddamn migraine

disgustingly long post below

So the main conflict of the story is the mostly apolitical struggle against the Grimm, and the largest subplot is the WF arc and the theme of anti-faunus racism

But the show has nearly nothing to say on the subject. Its message is almost utterly vacant.

We have Blake at the start of the show disillusioned with the only civil rights organization in existence, which is also a genocidal terrorist operation (🤔🤔🤔), and is left directionless and without a real idea of what to do.[1] Oobleck asks her how her being a huntress will solve the racism thing and she can't answer him. Okay, that's something: we could have a character arc about her finding direction and deciding to Do Something to Solve Racism.

But when she gives her speech at the end of the WF arc, in Menagerie like four volumes later, she still doesn't know what to do about racism! She scarcely mentions racism at all; all she says with any conviction is that the faunus population in general fails to denounce Adam’s WF. It reminds me of similar rhetoric with regard to Muslims in the US: if you're not loud enough in your denunciations, it's your own fault if people lump you in with the terrorists. Never mind that such demands are never made in good faith and minorities are lumped in with the terrorists anyway. If you're being discriminated against, it's your fault for not being a good enough citizen, and if you were just of better moral character you wouldn't be marginalized. That's all in the way of a plan Blake offers: just be a good person, and the humans will give you your rights!

So that's the message: racism is bad. Also, murdering innocent civilians is bad. Be a good person.

So what does "being a good person" mean?

Well, we can guess. A theme prominent here is forgiveness: Blake forgives Ilia. Implicit: the faunus should forgive the humans.[2]

That's it: forgiveness. Not, you know, any sort of political organization, or any sort of demands for justice, or any overthrow or even reform of corrupt institutions. Just keep playing the game and things will get better. Also, be willing to risk your life for others, and for the unity of the Society, even if they hate you. It’s not fair, but it’s the only way things get better.[3][4]

But is it, really?

We see a similar theme earlier, in V3. At the end of the volume we have narration by Salem to the effect of "unity" and "trust" being the greatest strengths of humanity. The obvious reading is, then, that unity and trust are Good. The Best, in fact. But what does that mean, exactly?

Cinder's monologue gives us an idea. According to her, the people have placed too much faith in their public institutions. Their "guardians" are authoritarian, secretive, and fallible.

There it is, then. The text is clear: distrust of powerful public institutions only helps the forces of evil.[5] (Also, the only people expressing such distrust are foreign chaos agents bent on destroying our freedoms.)

If "you should trust the authorities” seems to contradict the racism theme mentioned earlier, it actually doesn't. Racism in RWBY is never portrayed as an institutional or systemic issue; it's usually called "hatred". This allows for the text to acknowledge racism as an important issue that is a problem of character, rather than of power[6], and therefore attempts to address it should not destabilize existing power structures.

It’s no surprise, then, that racism, an ostensibly major theme, receives such scant attention. There's Weiss being racist, and Cardin being racist, the two things that receive more than a couple of lines on the topic. There's Blake's WF exposition that actually says very little about racism at all. There's a blink-and-you-miss-it "No Faunus" sign in a Mistral bar. There's Menagerie, some kind of faunus reservation, the nature of which is so vague it’s hard to say anything at all about it[7]. We get little attention to of (say) hiring or housing discrimination, or any other systemic racism; these are issues entirely foreign to the elite paramilitary children with whom the narrative is most concerned[8]. Again, racism presented as a character flaw, rather than a systemic issue of unjust power dynamics.

You can tell what a narrative cares about by what it emphasizes. The racism theme in the Vale arc is chiefly flavor for the hordes of faceless WF goons; the text doesn’t say anything worthwhile about racism itself. In the Mistral/Menagerie arc, the narrative is not about overcoming racism but about the recuperation of marginalized communities into the existing power structure in the name of unity and forgiveness.

What is lacking, I think, is any substantive or satisfying notion of justice. The text doesn’t give us any answer as to what should be done about racism, other than Be a Good Person, and that’s because racial justice simply isn’t that important to the narrative. Before solving a problem you must name it, and the text doesn’t. We have an entire racism/terrorism arc that manages to say nearly nothing on racism at all, because, as Blake says, the answer to the question of justice is complicated, and the text just doesn’t have the time.

[1]One funny thing to look at is Blake’s expository monologue to Sun in V1 about how the WF “turned dark”. The WF performed “organized attacks” by vandalizing discriminatory businesses and expropriating goods from corporations using “faunus labor”(does this mean slavery? or employees? that would be weird). It’s strange that these would be the things that forced her to leave; property crimes aren’t really a big deal compared to the killing of civilians depicted in the black trailer, which she for some reason doesn’t bring up. She says that it was working, and that human fear brought equality, but that such equality was bad since it wasn’t out of respect (and therefore would be fleeting). This is incredible in two ways. First: a government and populace that actually feared the WF would not bring equality, but rapid extermination (of the WF, that is). Fear doesn’t actually help unless you have power, and the WF seem to have no base of material or popular support and no praxis except insurrectionist violence[A]. Second: if it were somehow actually working, then why did Blake leave? What was the purpose of all this action, if not to attain power by making yourself a credible threat? Did you become a liberal out of nowhere? That she talks about property crime and “fear” instead of the killing of civilians is baffling.

[2]Yes, I know that Blake wants them to specifically go to Haven and physically stop the WF. Yes, stopping a terrorist attack is good, even if these civilians aren't at all fit for purpose. But this doesn't itself help to stop racism, which is why I didn't mention it specifically above.

[3]This mirrors the confrontation between Yang and Raven wrt Salem and the relic.

[4]We do learn later that Blake wants a “new” WF. This means, presumably, that the WF will go back to peaceful protest. But that doesn’t come up in her speech, and no mention, of course, of how it would help them in achieving their goals, or even what those goals are, specifically, other than ending “hatred” in general. March to End Racism. What a visionary.

[5]Also, distrust, anger, and other “negative emotions” attract the Grimm. That’s like metaphysical tone policing right there.

[6]There’s backstory of faunus having been enslaved which would count as systemic racism, but it doesn’t come up later or really affect anything on-screen, and the text doesn’t portray it at enough length or depth to characterize it as such.

[7]Menagerie being crappy must be understood within a wider context: why live in Menagerie, if it sucks, instead of where everyone else lives? Not much attention given to why this happens (other than perhaps “individuals are racist”). And does Menagerie being crappy actually have any consequences? Like economically, or socially? We don’t see them.

[8]The times where it seems the text might make a systemic critique are Adam’s backstory and Atlas in general. Adam’s trauma isn’t really remarked upon; he’s not a sympathetic figure. We don’t know much about Atlas since that’s for next season, but limiting your systemic critique to the one racist place seems a bad way to do things. We’ll have to see how it goes.

[A] Also, it’s not clear when the WF moved from “property crime” to “kill all humans”(which is comically over-the-top), and no one remarks on it. It gives one the sense that the narrative sees property crime and genocide as equally objectionable.

[ADDENDUM] Some might object by way of noting that RWBY hasn’t taken us to Atlas yet, where the racism lives, and that the WF arc wasn’t primarily about racism, but terrorism, so one shouldn’t expect the theme of racism to be addressed before Atlas. The problem is, though, that the WF was ostensibly founded as a civil rights organization; you cannot meaningfully conclude an arc on the WF without addressing racism. For example, at the end of V5 says that she wants to build a “new” WF. What does this mean? We never find out, because it’s not that important.

#rwby #if you enjoyed this content consider subscribing to my Patreon #which you can find on my linkedin page

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roseisread · 5 years

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My Year in Movies: Favorite Non-2018 Feature Films (Part 1)

I watched a LOT of movies this year. At last count, I had logged 229 features and 126 shorts; and that doesn’t count rewatches--only movies that were new to me.

I set a few challenges for myself as well this year. The first one was to watch at least one non-English language/US release per week--this exposed me to so much world cinema and some really amazing filmmakers. Anyone who avoids foreign films because “I don’t like subtitles” is really missing out, and I found myself craving these narratives from voices I don’t ordinarily get exposed to in my everyday life.

Other personal challenges: Watching as many horror movies as possible in October (with horror defined pretty loosely so I could include entries from silent era and onward, as well as some comedy cult classics that have horror/thriller elements); participating in Noirvember (in addition to attending Noir City in Chicago); crossing off some major blindspots from my list (such as Bicycle Thieves, The Producers, Lethal Weapon, A Few Good Men, Grease, Home Alone 2, Brazil, and Indiana Jones & the Temple of Doom); and trying to watch movies and short films from every decade that motion pictures have existed.

In 2019, I hope to do similar personal challenges with a focus on movies made by women, LGBTQ+, and people of color, in addition to filling in the gaps of my classical/canonical movie knowledge.

OK, so that’s enough preamble. Let’s get to the list! For this list, I’m excluding movies that were released in 2018--that’s coming but this is for movies released before that.

50. Linda Linda Linda (2005, directed by Nobuhiro Yamashita, country of origin: Japan)

High school girls recruit the Korean exchange student (Doona Bae, of Cloud Atlas and Sympathy for Mr. Vengeance) to join their rock band a few days before the school talent show. This is just a feel good film, recommended if you enjoyed the likes of Sing Street, We Are The Best!, and The Runaways. Unfortunately, it’s out of print in physical form; but last I checked someone had uploaded it to YouTube so you might want to get on that before it’s removed. You can watch the trailer here.

49. The Blue Dahlia (1946, directed by George Marshall, country of origin: US)

This film noir stars Veronica Lake and Alan Ladd, and like any good noir, it deals with dark subjects including murder, blackmail, political corruption, and PTSD. It’s been on my watchlist for a long time, and thanks to Noir City Chicago, I got to see it on the big screen at the Music Box Theatre. For small screen viewing, you can catch up with it via rental on Vudu, Amazon, iTunes... the usual suspects.

48. Siren of the Tropics (1927, directed by Mario Nalpas and Henri Etievant, country of origin: France)

My dearly departed Filmstruck had a spotlight on the films of Josephine Baker, and this was among them. I fell in love instantly with the lively, beautiful Baker, here playing a woman named Papitou who deals with some super scummy dudes but manages to be herself in the face of all that nonsense. Silent films can sometimes be tougher to engage with for modern audiences, but this one flies by and contains some unexpectedly racy sequences for the time. Its racial politics don’t meet today’s cultural standards, but considering Baker’s parents were former slaves and their daughter went on to become the first woman of color to star in a major motion picture, this is still a landmark film worthy of our consideration. She broke down many barriers and contributed a great deal to both the entertainment world and the Civil Rights movement, and this serves as a nice entry point into her career. It’s available on DVD through Kino Lorber, and hopefully one day soon it’ll pop up on another streaming service that carries on the Filmstruck legacy.

47. I Don’t Feel At Home in This World Anymore (2017, directed by Macon Blair, country of origin: US)

Here’s a film that goes to some unexpected places. I had no idea what to expect from Macon Blair, who frequently appears in the movies of Jeremy Saulnier; but in his debut feature for Netflix, he pulled out all the stops. Hilarious, violent, and intense, with memorable performances from stars Melanie Lynskey and Elijah Wood, this is a movie about getting in over your head and just going for it anyway. I don’t want to tell you about the plot because it’s best discovered through watching--just go to your nearest device and add it to your Netflix queue.

46. Song of the Sea (2014, directed by Tomm Moore, country of origin: Ireland)

Absolutely gorgeous animation from the team that previously brought us The Secret of Kells, and a touching story that combines family and mythology. I adored this one. Watch it on Netflix or rent on the usual streaming sources--for a preview, click here.

45. Yankee Doodle Dandy (1942, directed by Michael Curtiz, country of origin: US)

I always watch Independence Day on the Fourth of July; but in 2018, I decided to mix it up and cross this patriotic musical off the watchlist. I’d seen James Cagney’s gangster movies like White Heat and The Public Enemy, but seeing him sing and dance was a whole new joyous discovery. This movie is entertaining, funny, touching, and full of iconic sequences that other films would go on to borrow from. I absolutely loved it. Pretty sure I saw this on Filmstruck originally, but since that’s no longer possible you should be able to find it at your local public library or you can rent it for a couple bucks on Amazon, YouTube, iTunes, and the like.

44. The Man Who Cheated Himself (1950, directed by Felix Feist, country of origin: US)

This tightly wound noir thriller pits brother against brother against the backdrop of 1950s San Francisco. Lee Cobb plays an aging bachelor and an accomplished police detective who falls for the wrong dame. His younger brother, played by John Dall (Gun Crazy, Rope), has just joined the police force and idolizes his older brother. Trouble strikes when the dame murders her no good husband and needs help from Cobb to cover it up. Naturally, Dall gets assigned to the case and as he begins to piece together the clues, he doesn’t like where they’re leading him. The climactic sequence is one of my favorite endings to a noir film, and I’ve seen a lot of them. Watch it for free if you have Amazon Prime; otherwise, there are a few versions uploaded to YouTube of varying quality or you could wait for it to pop up on TCM.

43. Los Angeles Plays Itself (2003, directed by Thom Andersen, country of origin: US)

This documentary edits together clips from movies of every era that were filmed or set in Los Angeles, and explains through voiceover narration the significance of each location and the history of the motion pictures in LA. That’s it--very simple concept but also fascinating. I split this up over a couple nights because it’s pretty long, but if you’re a film fan or a Los Angeles native, this is well worth your time. The voiceover is kind of hilariously flat in its delivery--kind of a Steven Wright sound actually--but that sort of adds to the charm for me. Get a taste by watching the trailer, and then you can rent it on YouTube for $1.99.

42. A Simple Plan (1998, directed by Sam Raimi, country of origin: US)

It’s been almost two years since we lost Bill Paxton; I don’t know about you but I don’t think any other actor can really fill those shoes. This year I caught up with three films that showcased his talent: A Simple Plan, One False Move, and Frailty. He plays very different characters in each one but in many ways they all start off with a similar premise: Ordinary guy dreams of becoming more. What that “more” is for each character is what sets each film and performance apart, but Paxton provided a great canvas to paint these unique characters onto. He inhabited the ordinary man better than just about anyone.

In this film, which I watched during Noirvember, Paxton plays Hank, a college-educated guy working a blue collar job in a small town, trying to make a better life for himself and his family. He’d like to get away from those small town roots, but his socially awkward brother Jacob (Billy Bob Thornton) relies on him. Unfortunately, Jacob is often accompanied by the hard-drinking loose canon Lou (Brent Briscoe). When the unlikely trio discover a crashed plane in the woods containing a suitcase full of cash, they each have ideas for how to handle the situation. Of course things escalate from there, and the way the movie explores human nature and family ties set this story apart. Available for online rental on the usual platforms.

41. The Iron Giant (1999, directed by Brad Bird, country of origin: US)

Given my obsession with Vin Diesel in the early 2000s, it’s pretty shocking I never saw this movie til now--sure, he and his glorious muscles don’t appear on screen, but he does provide the voice of the title character after all. When the Iron Giant made a controversial cameo in this year’s film adaptation of Ready Player One, I decided it was time I saw the source material for myself.

This gorgeously animated fable unfolds during the Cold War era, and features an ET-inspired story arc of a young boy befriending an unlikely being that the government is looking for. If you’ve never seen it, this is definitely a must-watch. Currently available on Netflix, but rentable on other platforms too.

40. The Unsuspected (1947, directed by Michael Curtiz, country of origin: US)

I adore Claude Rains, star of this film and supporting actor in Curtiz’s more famous work, Casablanca. Here, he plays the host and narrator of a popular radio show that revolves around tales of murder--basically the Law and Order: SVU of its day. We learn early on that he sometimes draws inspiration for his broadcasts from real life criminals. When people in his own life start dropping dead, the plot thickens and he finds himself at the center of the action. A very suspenseful and well-plotted film noir, which is available from the Warner Archive collection on DVD. I got to see it at Noir City Chicago, and loved every second of it.

That’s all for this entry--stay tuned for part two of this list, posting soon!

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