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itsclydebitches · 4 years

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RWBY Recaps: Volume 8 “Midnight”

Happy Saturday, everyone! I’d like to extend a formal congratulations to every Cinder fan in the community. Criticisms of the writing aside, you all struck gold with twelve whole minutes devoted to your fave and I’m absolutely thrilled for you.

We again start with a dark screen and some audio, in this case Cinder’s scrubbing. This technique—along with closeups on eyes—is a real favorite of RWBY’s this volume, to the point where I think they’re a little too enamored with it. But at least this is just a preference, not something that actively harms the storytelling in any way, so it’s welcome to stay. This time, unlike our premiere, we stay on Cinder as her life is summed up with three events intercut with one another: scrubbing floors, getting taunted by boys, and the sound of heels making their way towards her. It’s clear that Cinder leads a poor, miserable life, if her dirty clothes and stronger guys throwing her around is any indication, but all that changes when the rich woman says “I’ll take her” and Cinder is transported to a better life in a wealthy hotel.

At least supposedly.

Here’s my problem with the worldbuilding. This moment has Witcher vibes and Witcher, in turn, built itself off of a trope seen a hundred times before: A young woman is treated terribly by her family, is whisked away by a wealthy/powerful caretaker, and though her life has arguably improved, she quickly learns that the new world she’s entered is just as dangerous and harsh as the one she left. In Witcher’s case, Yennefer is a disabled woman abused by her family, bought by Tissaia, and taken to Aretuza where the other girls hate her and the curriculum is potentially deadly. Cinder is a poor woman arguably abused by her family (scrubbing)/the locals (fights), is taken by an unnamed woman, and whisked away to the swanky hotel where the daughters hate her and the work is potentially deadly due to shock collars. The difference between these two setups is that Tissaia bought Yennefer because of her magical potential. Why does our hotel lady take Cinder?

I mean yeah, obviously she wants a slave, but it’s a little weird isn’t it? Usually when a young woman falls headfirst into a new and questionable life, there’s a solid reason for her entry. This woman—whose lack of a name also says something about the worldbuilding—could have hired anyone she pleased to abuse. As we saw in regards to Atlas and Mantle in the past, every city has its poor and downtrodden. So what made her go out to some random farm and snatch Cinder up? It just, as always, feels a little too convenient. Cinder didn’t enter this life because something about her characterization or origin justified it, the plot simply ensured that she, out of everyone possible, and with very little reason, was the one chosen to follow The Plot™ .

It also messes with the Cinderella parallels. Originally (or “originally,” going off of Disney here which is likely what RWBY is using as a template too) it’s her step-family that abuses her and yes, we recreate that via the hiring (“hiring”—I doubt she was paid), but Cinder was already scrubbing floors back home. Her status as the servant already existed. So why change locations? Why not just keep Cinder as an abused farm girl, or have her a part of the hotel family right from the start? Part of the reason why Cinderella resonates is because of the contrast between the happy life with her father and the new, horrific life she falls into once he dies. Which is then further contrasted by the rest of the outside world. Fairy Godmother, Prince, and party-goers alike are all presented as kind, decent people. They represent the “real” world that Cinderella can escape to. By making Cinder’s original life horrible, her new life worse, and everyone connected with that life cruel and/or indifferent (with the exception of this one, special huntsmen)… you paint a very different picture of the world as a whole. Which is something RWBY has been vocal about trying to accomplish—it’s not a fairy tale—the only problem is with how these moments are undermined the second the story wants Ruby to ~Believe in People~. Cinderella is a story about enduring and eventually overcoming temporary hardship. Cinder’s story is about endless hardship that creates villains. A dark and fascinating story… but how does that fit into last week’s episode where Ruby told the whole world about Salem, expecting them to band together in peace and harmony? This is how Remnant’s world treats people when there’s not a global crisis, and Cinder isn’t even a faunus.

Which, I want to make clear going into the rest of this recap, does not excuse Cinder for her actions. At all. I think there are some complicated acknowledgements to be made in terms of her abuse and the Huntsmen’s responsibility in it continuing, but that does not give Cinder a blanket pass for all the horrific shit she has pulled over the years. Cinder didn’t just defend herself from abusers, she became one. More on that in a minute.

First though… is the Huntsmen’s name Rhodes? Did we hear that in the episode? If we did, I totally missed it because I have a note here about the one important character not getting a name. So yeah, idk. If we got this from more supplemental info, bad RWBY. If I missed it, bad Clyde. Either way, I’ll use that name going forward.

Back to the plot at hand. The hotel is, as said, populated by indifferent and shallow people and there’s no desert nearby, so I presume we’re supposed to be in Atlas? (Why did this woman buy a girl from another Kingdom?) There are customers getting drunk, flirting, and generally just enjoying their wealth, which harkens back to Weiss’ comment in Volume 4 about all their problems being superficial. We’re introduced to the owner’s two daughters who are, as expected, quintessential Mean Girls.

They love ordering Cinder around, not just with hotel chores, but personal ones as well like, “rub my feet”… despite the fact that this place is massive and must have an equally massive staff to stay in business. Why aren’t the girls terrorizing anyone else? Again, it makes sense for Cinder(ella) to be the focus of their abuse when she’s in a single household, but transplanting that to a hotel raises a lot of questions that RWBY hasn’t bothered to examine. You can’t move a story like that and not think about what further changes that would evoke.

See, RWBY could have done something interesting here by considering some of those other changes. Like having one or both step-sisters be the one to help free Cinder from her abuse, playing the villain before becoming the fairy godmother. Up until she turns villain instead of hero, this is just Cinderella’s story copy and pasted into RWBY. It’s moments like this that should make us wary of using fairy tale allusions as evidence for our readings and theories. Whether RWBY is deconstructing or upholding a story varies wildly, and we never know what we’ll get until we actually see it on screen. Even then we can’t count on a choice remaining consistent, as we saw with Ironwood’s deconstruction being tossed out the window in Volume 7.

Cinder is originally just as meek as her fairy tale counterpart too. We don’t hear her speak until the owner is about to leave when she simply goes, “Food?” The sisters laugh at her and a roll is thrown to the floor with the comment that she should get busy because it “looks filthy.” I quite like that moment. Your job is to ensure the floors are clean enough to eat off of—literally.

We see a montage of Cinder doing just that, lots of chores, with a new song listing all the tasks she’s now responsible for. During this, Rhodes is seen in the background and witnesses when Cinder (presumably) first uses her semblance by heating up the brush and chucking it at the sisters, creating a massive cloud of steam.

It’s that moment which “earns” her a shock session with her necklace and I’m staring at the screen, a little open-mouthed. I mean, that’s the second child torture we’ve seen this volume (with Cinder being ten here). Again, I’m not making a specific accusation, just going, “Really?”

Also, note the anti-faunus sign. Nothing like continually showing us racist establishments rather than actually writing a story that deals with the racism needless put into the story world. I’d like to remind everyone of my previous comments this Volume about how the story works hard to paint Mantle as sympathetic, but refuses to show anything that does the same for Atlas citizens, people who are in just as much danger with Salem as an equalizer. A whole city is not actually made up of shallow racists, the show is just showing us only those people to create a simplistic “They’re all bad” reading that encourages us to reject Atlas and, by extension, Ironwood. Weiss is walking proof that Atlas citizens are both complex individuals and capable of bettering themselves. If we can come to adore the Schnee heiress, we should be questioning why nearly every other citizen is painted as an abuser, too wealthy to care, or has conveniently left the story (Rhodes dead, Klein gone, Whitley rejected, etc.).

As Cinder is being tortured, we see that she’s forced to say, “Without you, I am nothing.” Now see, this is excellent... in theory. This is the kind of line we needed to hear with some consistency over the last seven years (if RWBY still insisted on waiting that long for a backstory), setting up that this line is clearly engrained in Cinder and she repeats it on instinct. Instead—to my recollection, anyway—we only get it this Volume, in two episodes. If it appeared before then it wasn’t notable enough to remember. I commented on this before, but it wasn’t a, “Ah, this line must be important” reaction, it was a “Lol why is RWBY using the same line twice? That’s weird.” By only giving it to us twice before the backstory and in such a short timeframe, the impact of this reveal is lost. We’re only now realizing that the line is important, rather than coming to realize why.

Our writers know just enough to recognize what techniques work, but not enough to have figured out what makes them tick. They get that providing a RWBY-vised version of Cinderella is cool, but not how to adapt that 100% successfully. They know that repeated lines have power, but not how to create good setup for the reveal. They know the camera should use closeups, but not what moments are important enough to warrant that. RWBY, eight years on, still feels like a newbie writer copying what the great stories are doing without yet understanding why those aspects work and, thus, how to recreate them.

I mean, Cinder’s backstory appearing now attests to that most obviously. I waved at the Cinder fans before, but the reality is that most viewers don’t care, either because Cinder herself is so bland, and/or because the story waited too long to make her a little more interesting. This entire flashback was handled badly simply by virtue of it arriving over seven years past the character’s introduction.

So after this torture session Cinder steals Rhode’s sword. We hear some dialogue in the background of him getting pissed that it’s missing and the sisters promising to find it, implying that Cinder will have this tool at her disposal for a while. Instead, seconds later he’s found her hideout and confronts her. I don’t know if I’m impressed with Rhode’s skills, or rolling my eyes at how contrived this all is. Chuck in the question of whether Cinder was talented enough to steal the sword out from under him, or if Rhodes was stupid enough to leave it lying around, and I’m edging towards the eye rolling.

He dodges Cinder’s attack, rolls her more weapons to prove he’s not here to hurt her, and acknowledges that she’s not getting “the most fair treatment.” Okay, here’s where things start to get complicated. Rhodes tells Cinder she shouldn’t run away because then she’ll be running her whole life (don’t really agree with that). He likewise (rightly imo) tells her not to straight up murder them because look, no matter how much of a shit stain someone is, I can’t condone slamming a sword through their chest on an individual’s say-so (especially when two of those people are also kids growing up under an abuser, like Whitely). So what’s left? Rhodes says Cinder can train to become a huntress. At ten years old, she has seven years to prepare for the exam.

But she has to stay with her abusive family until then.

My problem is far less with the claim that this “has” to happen and far more with the writing’s failure to tell us why. Cinder could have begged to come with Rhodes and he says she can’t because… idk. Make up a reason. He doesn’t make enough to feed the both of them. It would be too dangerous out on missions without training and he doesn’t have a permanent place to stay (hence using the hotel all the time). He could even go the “They’re your legal guardians” route with more explanation because it’s arguable that Rhodes had no idea about the collar. Doesn’t mean Cinder’s treatment isn’t “that bad” in his eyes, just that he might not have known the extent and thus thought it was preferable for Cinder to put up with “just” being insulted and overworked until she’s 17. That this life that he only has a partial picture of is preferable to the life she’d have at his side. Something to explain the stakes here, the risks, and why he took this stance.

And/or give us a reason why Cinder doesn’t try to run, a suggestion I make very cautiously because it’s not my intention to put the responsibility solely on her. This isn’t meant to be a “Just save yourself! It’s easy!” claim. Rather, it’s an acknowledgement that young, barely trained kids go out into the world all the time in this show—Ruby, Oscar—and it’s an acknowledgement that Cinder tugged off her collar easy-peasy. The point is, practically speaking, Cinder could have left and braved the streets like Emerald did… so give us a reason why she decided to stay. Maybe she’s scared of living on the streets, acknowledging that a little food and a place to sleep is better than nothing. Maybe she’s scared that if she doesn’t have a direct connection to the hotel (convenience), Rhodes won’t train her anymore. Maybe, as an abuse victim, she can’t articulate why she won’t leave, she just can’t. Something to acknowledge these gaps because, right now, we just have the fandom going, “See? This is why the huntsmen are all evil cops. Rhodes took the lawful route and look where it got Cinder! He’s the responsible adult in this situation, so it’s all his fault.” Problem is, this take ignores:

The fact that our heroes are also huntsmen and were pretending to be huntsmen before they had those lawful licenses. So what does that make them? We can’t continually criticize these professional roles without criticizing our heroes’ use of them as well. Ruby just ensured the world would take her message seriously by introducing herself as a huntress. We can’t condemn these laws and privileges while likewise letting Ruby continue to use them however she please. It’s okay if she’s a part of the system, because Ruby is inherently good! That’s not how this works. I’ve just described every American cop show that tumblr is currently turning against: The system is corrupt and needs to be overhauled, but our protagonists are different.

The story fails to tell us why Rhodes won’t do more outside of a single line about Cinder being of legal age. That just acknowledges that age has some bearing on his decision, not whether it outweighs other considerations (can Cinder survive if she leaves?), or whether Rhodes even has a full picture of what’s happening to her (the collar). The takeaway is that we don’t know what his though process was because RWBY didn’t show it to us, not that his thought process is automatically awful.

Rhodes, as a literal stranger entering her life, is not 100% responsible for what happens to Cinder. I know people don’t want to acknowledge that because leaving a child in that situation is absolutely horrific, but if RWBY wants to be ~realistic~ (and it does) then we need to acknowledge that reality too. If you saw a child employee getting yelled at in a hotel and then found her with your sword, would you rip the collar off her neck and be like, “Congratulations, you’re my child now”? Nice as that trope is, probably not! Or hell, maybe a lot of you would upend your life and risk legal action to whisk them away, but a lot of other people wouldn’t... and they're not the devil for doing what they can within the bounds of the law. The idea that because Rhodes unexpectedly had one (1) encounter with Cinder means he’s now responsible for her life and outcome is, well, crazy. “But, Clyde, you can’t just see that kind of horror and not do something about it.” You’re right. You know what you do? Tell the authorities. But does Remnant have the equivalent of social workers? We don’t know! Which means we can’t assume that Rhodes didn’t call them just because he’s a bad person. Or maybe they exist and the fandom considers them too corrupt to be useful, like so many other authorities in this show. So… what else is there for him to do? There doesn’t seem to be anyone above Rhodes that he can turn to, he doesn’t (for whatever reason) want to essentially kidnap Cinder and start a new life with her, so what’s left? Try to give Cinder a healthy relationship and a way to escape in the long run, which is precisely what Rhodes did.

Honestly, I’m kind of salty that this guy went out of his way to help her, he saw what everyone else saw and was the only one who would help her, but because he didn’t do more—because he didn’t entirely upend his life and/or risk arrest to take her away to this hypothetically better situation—the fandom is acting like it’s his fault Cinder killed her abusers. It’s not. Cinder made that choice.

At the end of the day, blaming Rhodes reveals the expectation that it’s his responsibility to solve this massive problem purely because he had the bad luck to be the one Cinder stole from. That’s like telling a teacher who learns about abuse from a paper that following the lawful channels and going out of his way to assist the child in other ways is responsible when the kid murders their family one day. “Why didn’t you just barge into the house and take the kid?!” Because there are a hundred reasons why that would go incredibly badly? Rhodes can’t help Cinder if he’s in jail. Rhodes can’t help Cinder if she ends up dead on a mission while following him. Rhodes can’t help Cinder if their attempt at escape fails and she bears the punishment.

The only thing I think Rhodes did absolutely wrong was giving Cinder the sword while she was still under the owner’s thumb. Stupid, but not cruel. And again, stupid does not equal blanket responsibility. I’m likewise seeing, “Rhodes gave her the sword and thus it’s his fault that Cinder got in trouble. It’s his fault they died. What was Cinder supposed to do, not defend herself?” Are people forgetting that Cinder stole the sword herself in the beginning and then readily accepted it again? She had agency in obtaining weaponry and what she wanted it for. Are people forgetting that, in accepting it, she likewise accepted the risk of keeping it hidden in the hotel? Are people forgetting that the time skip shows this happening years later and that Rhodes clearly thought Cinder was past her murderous streak? Are people forgetting that Cinder killed the owner by snapping her neck and resisting the shock collar, no sword required? She could have killed them any time she pleased based on the crime scene, whether Rhodes had given her a weapon or not. The weapon was just the catalyst that, truthfully, could have been caused by anything else. Cinder snaps when they find the sword and she’s tortured. Cinder snaps when she drops another tray and she’s tortured. She had planned to kill her abusers and never completely let go of that.

Honestly, I’m just annoyed that we have another good hearted, takes action, does his best and makes some mistakes character getting blamed for everything another character chose to do, erasing their agency in the process. Rhodes did not abuse Cinder. Rhodes did not force her to kill her actual abusers. And Rhodes is certainly not responsible for what Cinder later becomes. Could Rhodes have done more? Of course, but every character could always do more.

The tl;dr is that this complex situation needed far better setup in the show and the fandom needs to stop using that lack of setup as “proof” that characters are horrible people when they fail to magically fix said complicated, badly explained problems. Cinder chose to murder three people. Whether that was justified in the face of her abuse is up to you to decide, but it was still her choice. Please stop blaming the adult male characters for the choices the teenage girls in this show make. RWBY is too convoluted and attempting to tackle too many complex issues to reduce that to, “Every man here is the evil, responsible party and ever girl is a #queen. Even when they go on to murder Pyrrha ^_^” As a woman who would very much like to be rooting for the mostly-woman cast more than I now do, this isn’t the feminist take people want it to be.

But I’ve jumped waaaay ahead. Let’s backtrack a bit.

That first interaction between Rhodes and Cinder is super weird because the camera keeps covering Rhodes’ face and I don’t know why.

We segue into that montage of him training her for presumably years (Cinder’s hair changes) until we see him giving her the sword in what’s meant to be a moment of pride and trust. Soon after, Rhodes (randomly) comes back to the hotel when everyone else is asleep and hears noises in the back. Moving to check them out, he discovers that Cinder has murdered the two sisters and is in the process of murdering the owner, throwing back the line, “Without you, I am nothing, but because of you, I am everything.” Again, much more impactful if this had been a line we’ve associated with Cinder for years now, not a couple of episodes.

After she breaks the owner’s neck (damn, strong hand!) she tells Rhodes she doesn’t have to run anymore. Cinder clearly expects him to be happy for her and is shocked when he takes out his weapons.

I’m sorry, this is not a “betrayal.” Could Rhodes have just let Cinder go? Sure. Should he have? Given what she becomes, that’s very debatable! Rhodes clearly thought he’d helped her grow into someone who was not inclined towards murder (giving her the sword) and thus is probably going to be a little rattled when he walks in to find her killing three people. Again, there are obvious differences given the level of abuse Cinder seems to have suffered in comparison, but imagine that Glynda, after teaching Weiss for years, walked in on her killing Jacques and Whitley in revenge. Is she supposed to just ignore that? Shrug her shoulders and wish her well? I know a lot of people consider that the “fair” outcome given the inclusion of abuse, but that’s because we’ve had an omniscient view of Cinder’s history and insight into her emotional state. Rhodes doesn’t have that. All he has is his oath as a huntsmen to prevent things like, you know, murder sprees. I’m not going to delve into the overall ethics of a judicial system, either in RWBY or the real world, and thus I’m not going to make any naive claims about it being fair—it’s fucking not—but I don’t think the answer to these systematic problems is, “Why wouldn’t you just let the teenager murder three bad people and then go on her way? She totally deserved it!” Rhodes is not in a position to decide that, which is the entire point of having a judicial system in the first place.

So Rhodes wants to bring Cinder in. Kind of like how Clover wanted to bring Qrow in once he had an arrest warrant. I can’t emphasize enough that wanting to start a legal process rather than letting clearly guilty/potentially guilty people go because they WANT to is not a “betrayal.” Regardless of what teen dramas may have taught us, you don’t have to potentially throw your own freedom and your morals away because you found out a friend is wanted by the authorities. Or you walk in on them currently snapping someone’s neck. There are options other than, “Believe your friend is right without question and help them hide the bodies” (looking at you, Maria, Pietro). Whitely is not insane for going, “Hey, can you not make me an accomplice to a crime by forcing your way in here with a bunch of fugitives?” I’m constantly surprised by the number of fans who can, in one breath, condemn characters for not throwing a middle finger up at the law and in the next praise Jacques’ arrest. Do we want to benefit from this system or not? If yes, that means you have to weigh which laws can be broken (such as in a protest), which should be obeyed (bring murderers and wanted men in), all while working to change the laws that are prejudice and aren’t working.

Anyway, they fight. It’s short and sweet, backdropped by the large clock striking midnight, hence our title. I’m incredibly suspicious of Cinder breaking Rhode’s aura first, given that she’s still the student in training, but here we can more persuasively say he wasn’t fighting seriously, given that he then stupidly rushes towards her without a weapon. Still, that would be the second time now that RWBY has relied on elite fighters “holding back” to explain how the kids in training beat them, the first instance, of course, being with the Ace Ops.

Rhodes does rush Cinder though when she hits the wall and breaks her own aura, clearly concerned. She uses the moment to stab him with both swords. He uses his last breaths to put a hand on her head, conveying that he doesn’t blame her for how this all turned out.

Then Cinder pulls off her collar with a single snap and looks up at the broken moon, crying her single tear.

I’m dragging the flashback for multiple reasons, but I want to emphasize that I think this episode is leagues better from what we got last week. Absolute night and day. It’s just that, as always, improvements are incredibly comparative in RWBY. It’s not really good for numerous reasons… it’s just better than what we’ve gotten before. It’s “great” provided you go in with standards buried in the ground.

We then return to the present as Cinder wakes up in Salem’s whale. This scene gives us a great shot of her grimm arm, so cosplayers take note!

Emerald arrives soon after and immediately rushes to her side, expressing how worried she was. She grabs Cinder’s grimm hand without hesitation. Honestly, I don’t care much about either character… but this single frame activated some sort of ship button in my brain.

Not fully because I’m personally not drawn to toxic relationships in fiction (which, as I’m about to explain, would absolutely be the case here), but just the tinniest bit. Because I’m a sucker for monstrous people being loved despite their monstrous nature, so having Emerald take that hand over the other is like a ship speed run for me.

I’m predictable, folks.

But we need to talk about less happy things for a moment. I mentioned above Cinder becoming an abuser herself. I hope I don’t need to lay out the laundry list of murders, attempted murders, sabotage, and general taking-over-the-world-ness she’s engaged in since Episode One. Don’t let a sad backstory erase all that. Hell, for all we know the hotel owner had a horrific backstory too! Doesn’t justify how she treated Cinder. The point though is beyond her clear status as a villain, we now know that Cinder treats Emerald just like the owner once treated her.

Cinder was “rescued” from her life on the farm by the owner. Emerald is “rescued” from her life on the streets by Cinder.

Both realize over time that the situation they’re now in is actually worse.

Both reiterate that they “owe” the other “everything,” with Cinder having that shocked into her and Emerald seeming to willingly believe it.

The owner treats Cinder as a slave. Cinder treats Emerald as a slave. “Both of you, get out. I’ll let you know when you’re needed.” The only difference is that Cinder’s orders were things like “Scrub floors” and Emerald’s are “Convince an audience this girl attacked our ally.”

Both use threats to keep the other in line: the owner with her shock collar and Cinder with her Maiden powers. Cinder doesn’t need to resort to violence (yet) because Emerald adores her, but the threat is always there.

There are even visual similarities this episode, such as kneeling and gem necklaces, though I acknowledge fully that those are just interesting details as opposed to anything like persuasive proof.

The point is that Cinder became exactly what she hated, she just turned the dial up to eleven by going after the whole world instead of a single child. “But Cinder never had a chance to be anything else.” Sure she did. Blake and Weiss are proof of that. Even if we believe that Cinder was doomed to be a villain due to the extent of her abuse, what does that say about the hotel’s owner? We don’t know anything about her history, so what if she was abused too? Does that mean she was always “doomed” to treat Cinder that way? Does that excuse everything she did to her because she supposedly never stood a chance of becoming anything else? Of course not.

Though very iffily done, this is a commentary on the cycle of abuse. Each case is horrific, but it doesn’t excuse what comes later. Every abuser was once an innocent child and every innocent child has the capability of becoming the next abuser. Cinder’s life up until now was beyond awful and yes, she lacked a lot of privileges that others had to help them head down a better path, like Weiss’ wealth. On the other hand, she lacks other difficulties that would make that path harder for others, like Blake’s status as a faunus. Everyone has a choice to make: Will you treat others the way you were treated because that’s “fair,” or will you decide to treat others better than what you were dealt? There are lots of aspects that factor into the likelihood of someone choosing the latter—which is why I really like Rhode’s hand on Cinder’s head, acknowledging his understanding that she’s an abused kid taking the only path she thinks is available to her—but individual agency is by no means removed from the equation. Cinder escaped her situation and decided she’d never be powerless again. What does that mean to her, perhaps becoming a community member who works to prevent abuse like the kind she suffered? No, it means grinding the entire world under her heel until she’s the only one with power left.

This GIF continues to be the only one I need.

(No, the fact that it comes from a cop show and I’m using it for such an anti-law, anti-establishment story/fandom isn’t lost on me.)

(Also, if anyone is curious, this is why I love Ozpin. Out of everyone in this cast, HE has suffered the most, tenfold, and yet he still chooses to be kinder to those than they’ve been to him.)

Anyway, I should really stick to the plot lol. Cinder realizes that her waking up means that they’ve lost, which I still think is BS. Cinder needed a win to come across as a formidable villain again and the likes of Neo, Emerald, and a Maiden with years of practice under her belt should have wiped the floor with a scientist, retirement grandma, and a girl who got the powers an hour ago. But I again digress.

Mercury reveals that he will no longer be following Cinder’s orders because Salem has a special job for him. They’ve all been told to meet on the bridge.

Then we cut to Ozpin and Oscar.

My poor boy is a mess and Ozpin is in the process of begging Oscar to take a “break.” “I would like to express again that this is my burden to bear, not yours.” Take note, fandom. In a few moments Hazel will accuse Ozpin of being a “coward” because “All this time, it could have been you, but you let him suffer.” I just know a bunch of people will be going, “Yeah! Ozpin just let a kid get tortured instead of him. WTF??” Okay 1. We should always be suspicious of agreeing with the takes villains have and 2. Oscar just refused to let Ozpin do that. It is—again—his choice because he thinks that Hazel is “holding back” with him. Oscar is being a brave and logical dude trying to make the best of this situation for both of them. Don’t take that away from him just to make Ozpin look bad. What would we even want him to do? Take control back? The fandom has been yelling at Ozpin for that since Volume 5.

So they’re going back and forth when Oscar suddenly announces that they “can’t leave yet. This is our chance.”

Ozpin even says he thinks Oscar must have taken one too many hits because… yeah. What? Long story short, Oscar recognizes that they’ll never be this close to Salem’s subordinates again and that they should try to undermine her from the inside out, just like she’s done with the world since she knows she can’t take on everyone at once. I love Oscar taking charge here, I love them speaking in unison, I even love the hope of achieving something epic while in captivity despite my own belief that Oscar should break and reveal the Lamp’s password. What I don’t love is:

Another messy, unexpected belief that Salem made her choices because she “knows” she can’t win any other way. Except that—like Ruby’s line in the recording—Salem’s current attack blows that idea out of the water. She IS taking on the whole world. Granted, Ozpin and Oscar presumably don’t know that the whole world literally knows of her existence now, or that Salem was smiling about it, but they do know that she’s attacking Atlas head on. What else is that except a declaration of war with all of Remnant?

The idea of undermining Salem from the inside via Hazel. For anyone who reads my other metas, I just said that this idea wouldn’t work because Emerald isn’t the one torturing him, the one character who has consistently demonstrated hesitation (or, now, Neo). Hazel despises Ozpin so much that he would never listen to him. He despises him so much he doesn’t even see Oscar as his own person… at least he didn’t before. That’s been retconned now with Hazel going “easy” Oscar and having an actual conversation with Ozpin. Whereas before, he was slamming Oscar into walls and screaming about how he’s going to kill the “murderer” of his sister. They basically softened his character to make this plan possible.

The fact that this scene came about without Oscar and Ozpin ever getting to reconcile their problems. Last we saw them, Oscar was saying how he hated that Ozpin came back and refusing to acknowledge their merge. Now, they’re working together like they’ve always been solid allies. I get that the danger they’re in helps to put it all into perspective, but why can’t we get a few lines of them hashing this out? Or at least putting things aside until they’re out of Salem’s clutches? If you don’t need to re-write Hazel’s character with “he’s going easy on me” lines, you can use that space to deal with the conflict we’ve already established. Especially given the strange choice to have Oscar refuse to give up control and be the one coming up with this plan... but then Ozpin does take control and (maybe, see below) enacts it? I feel like we’ve missed huge chunks of this story. As it is, I wonder if RWBY will bother coming back to this. The questions of if/how Oscar will accept Ozpin and if/how he’ll reveal this secret to the group feels like they’re being swept under the rug and it will likely go unnoticed by a lot of viewers simply due to how intense the kidnapping plot is.

So things are a little messy, but otherwise enjoyable, and they’re about to get downright confusing. For me, anyway. See, Hazel reveals that he follows Salem because she can’t be beaten (cue my continued worry about Ruby telling the whole WORLD). She “can’t be stopped. She’s a force of nature,” and Ozpin is fighting a “cause with no victory, no end.” He yells back that “Someone has to try!”—bless this man—and then looks down at the ground going, “Salem can be fought. Unless… she brings the Relics together, if that happens…” and mentions summoning the Gods.

So here’s my confusion. The scene makes it feel like Ozpin is planting some sort of seed in Hazel’s head. He and Oscar JUST got done agreeing to try and undermine her from the inside out, then we get this line that feels like him “accidentally” dropping a secret that will turn Hazel against her. Except… Ozpin doesn’t lie here? The line isn’t useful to them as far as I can tell. They are screwed if Salem gets the Relics. …Right? Because if not, why the hell have the heroes been working so hard to keep them out of her hands? So I can’t decide if:

A) This scene is just written badly and none of this is part of the plan to undermine Salem.

B) Ozpin is going, “NO. Don’t collect the RELICS. That would be the WORST THING EVER /s” in an attempt to trick Hazel into doing it anyway and this is somehow supposed to hurt Salem, despite being presented since Volume 5 as the worst outcome for our heroes?

C) Ozpin specifically wants Salem to make the mistake of summoning the Gods because he thinks he’s completed his task? Or something? But what in the world would make him think that—especially without seeing Ruby’s message (not to mention the lack of unity that mess should cause)—or what makes him think the Gods would just destroy Salem regardless of what he’s achieved? If summoning the Gods was ever a defeat Salem option, why hasn’t he done it before?

I’m leaning towards A just because it makes the most sense by far, but that would also mean we had Ozpin and Oscar decide on this plan, have a chance to start this plan… and then didn’t actually do anything. Yelling at Hazel for following Salem isn’t a new strategy, they were doing that before, so what’s new? Or has the new strategy not been revealed yet? Idk, as happy as I am to see them being BAMF together, I’m slightly unsure about how it all hangs together. I’d much rather have an internally consistent and clear outcome that’s predictable (Oscar breaks or just holds out until rescue) rather than what appears like a super cool, badass, unexpected plot on the surface… but crumbles once you poke at the foundation a bit.

So whether Oscar and Ozpin started this plan or not, they’re dragged into the throne room where they’re forced to kneel before Salem. Yikes. She sits on her throne with the Hound, who I’m only now realizing could be read as a messed up Toto

We learn that Tyrian heard from Watts about his incarceration and hacking Penny. What? Okay, I took the time to go back through “Amity” just to find this screenshot.

That’s not a working Scroll! Idk what I thought Watts might do with it at the end of last week, but it wasn’t send a full, uninterrupted message to Salem that updates her on everything that’s gone down in Atlas. This thing is toast! Moments like this make me question how much communication there really is between the writers and the animators, despite last Volume’s disaster with Oscar telegraphing his punch like whoa. Are we still getting that level of miscommunication?

Salem then punishes Cinder for disobeying her by hurting her grimm arm. See, this here (for me, anyway) is the mark of a newbie writer. When the moment first started I went, “Oh nice. Just like the shock collar!” Then the scene made that abundantly clear by cutting to flashbacks of Cinder in her collar. That’s too heavy-handed. We already got the parallel, but then the show went, “Do you get it??” It shows that the writers are too scared that the viewers won’t get it, that their nuance will be lost, so they scramble to make it as obvious as possible, rather than trusting in their own writing.

And if you’re like, “So you want RWBY to be more clear and also… less clear?” the answer is, sadly, yes lol. The things that are already confusing due to retconning and inconsistent themes need to be made explicit, whereas the details that are already strong don’t need an in-your-face, “Okay, but did you really get the parallel here? We’re just making sure.” It’s like launching into explaining why a joke is funny when it’s already landed vs. telling a nonsensical joke and then waiting for the laugh that will never come. RWBY struggles in both areas.

Salem delves into this speech about how this is actually all her fault and she should let Cinder spread her wings or something. AKA, go free Watts and track down Penny. Then you can have your precious Maiden powers.

There’s a massive earthquake across Mantle and we watch a + medical symbol go out. Again, heavy-handed. We don’t need that in order to understand that the whole city shaking while the grimm look happily up to the sky is a bad thing.

We cut to Winter listening to the Ace Ops complain about Penny. She tells them to act like the elite they are, likely because she hates how they refer to Penny as “junk.” Still being set up to betray Ironwood, I bet. During this scene we learn that they have “confirmed visual of her leaving Amity. She appeared to be malfunctioning.” So Penny is alive? Also, they have eyes on Amity Tower and were able to see Penny leaving, but didn’t see any of our trio coming to launch it in the first place? Did Ironwood want it to launch? Did they see Cinder? I just don’t know.

Before they can get there though a message from Jaune comes through. Serious kudos to Team JNY for asking that “anyone” respond/taking the personal risk of calling for help in the first place. They’re finally putting—as Harriet says—they’re own selfishness aside in favor of the greater good. Yang obviously hates that it’s “you guys” they ended up with, but she’s not outright attacking the Ace Ops or anything. I’m like,

Excellent job, Yang.

Jaune is a little harsh in his panic. He said in his message that a “large mass of grimm” is heading towards Mantle and then when Harriet leads with asking about Penny, wants to know what’s wrong with her. Why are you asking about Penny when lives are in danger and “it’s” (the grimm) are “right there”? Except he, uh… points at nothing. There’s the chasm with (I presume) the weird grimm goo down it? Not sure based on the shot, but the Ace Ops expected a “mass of grimm” and then land to see no grimm anywhere nearby. So yeah, they’re more focused on the missing Maiden than the seemingly imaginary enemy Jaune is freaking out about.

They only get on board when the river launches itself at Atlas.

So the goo is, like, sentient before it becomes individual grimm? Or Salem is controlling it from her whale? Either way it’s BAD.

I want to briefly gripe about how the hell everyone is watching this. What, is there a camera conveniently trained on this one random part of Atlas’ underside and everyone’s scrolls tuned into that the second the attack started? It seems far-fetched, to put it mildly. In RWBY’s favor though, I want to acknowledge that we finally have appropriate expressions for the situation! This is good!!

I’m going to level with you all. My notifications have known no peace since I made the mistake of criticizing the adored trio that is Ruby, Weiss, and Blake. I thought supporting Ironwood would get me heat. Nope. Not supporting the main girls is what did it and honestly? I shouldn’t have been surprised. Last week I pointed out that having them smile and, in Ruby’s case, coo during a moment of horror is not good animation and implies some pretty uncomfortable things about their overall sympathy level. The image in question:

It doesn’t set a good tone, especially when we add in what we’ve gotten for Ruby’s group across the rest of this volume. The counters of, “They need and deserve a break. Why won’t you let them be happy?” fall flat when we ignore that this group has been animated as consistently goofing off post-premiere. Sneaking into the guarded military base of a former friend? Tube shenanigans! Need to find your way around? Funny Penny moment! Semblance reveal? Cutesy chibi explanation! Need to do more sneaking? Silly coffee plan! Nora gets electrocuted? Joke about how awesome that was! Even Wiess telling Whitley to go to his room reads as funny to the audience.

Ruby in particular has been a problem, given that she’s our main character and the others’ leader. We take our emotional cues primarily from her. Alongside being a part of all these fun and games, her animation during more serious moments has been less than stellar. This is Penny when Nora goes down.

This is Ruby, Weiss, and Blake. No worry, just focused on the fight.

This is Penny when the fight is over.

This is Ruby, Weiss, and Blake. No worry, just chatting about suspicious activity.

This is Penny in the airship, worrying about Nora and the situation they’re in. This is also Ruby in the airship, apparently not worried at all.

This is Ruby when she learns her uncle is in jail. Is there shock? Fear? Horror that he might be in serious trouble? No, she just maintains the same emotion she had before: fury at Harriet.

So when we reach them watching the recording and they look like this:

No, I’m not convinced that this trio is taking the situation seriously, or that they really care about the people involved. I know they’re supposed to care, they all obviously care from a meta perspective, but the “obviousness” of that only exists in our personal understanding of the characters if we don’t see it on screen. I completely believe that Penny is worried about Nora because she’s animated expressing that worry. I completely believe that JRY are in the middle of a warzone because they’re (mostly) animated as fearful and angry. The rest of Ruby’s team has a scared line from Blake and Weiss holding Nora’s hand, whereas the majority of the emotion across this adventure has been indifference or playfulness. That’s a problem given how horrible the events of this Volume have been, most of which the group is aware of.

All of which is an incredibly long-winded way of saying that this

finally feels appropriate. Well done, RWBY.

Alright, this recap is already over 7k long so I want to return to our plot with the summarized: IRONWOOD WAS RIGHT. He said they couldn’t withstand a head on attack by Salem and he was right. It literally took seconds for her grimm to burrow into Atlas, knock out a tower, and disable the shield. Everyone still claiming that leaving is useless because it’s oh so obvious Salem’s grimm could fly however high it wants (when did we learn that?) are ignoring that leaving was at least a plan with some kind of hope attached to it. And, given her focus on the Staff, may have saved Mantle by drawing Salem’s attention away from the city. The point is we don’t know. All we do know is that Ironwood tried to do something in the face of hopeless odds, Ruby’s team stopped him, and now look, everything is awful. No one could have possibly seen that coming.

Salem: “It’s time.”

I’m very pleased that Salem is finally using the tools at her disposal. Upon reflection, I still don’t buy why she had to wait. “Well, she was waiting for the grimm goo.” She couldn’t have used flying grimm to take out the tower? Take a burrowing grimm and give it wings? She couldn’t have used the goo that was apparently inside her whale the whole time?

It’s all very convenient. In the sense that we’re drawing out the volume by having the villain inexplicably hang back, despite not having a good reason to. In the sense that—unless Ruby’s message comes back to bite her—the villain’s passivity also conveniently let the heroes accomplish the one goal they were desperate to achieve. All of that’s still not good, but at least the Volume seems to be moving out of the “not good” category and into the “slightly better” territory.

Although, as I just acknowledged to a friend, RWBY seems to alternate for me. Every time I have an episode where I think, “Okay, there are still massive problems here, but I can see a glimmer of hope” the next episode is inevitably the pits.

Still, grabbing onto that hope with both hands: Atlas should be decimated, folks! Grimm are swarming, our idiot heroes herded everyone directly under the city, the world should be panicking, and the cold should still be killing people if the story remembers that it exists. At this point my only question is wtf our heroes are supposed to do next, but regardless of what the plot gives us, it’s going to be wild. You all know what’s coming. Next week is our final episode before a two month hiatus, which means we’re going to witness all kinds of awful and then end on a six week cliffhanger. It’s inevitable, so best to emotionally prep for that now lol.

I don’t believe we have any Bingo updates, with the exception of edging towards a few: “Winter betrays Ironwood,” “Army of grimm conveniently doesn’t kill any civilians,” “Atlas somehow survives,” and “Ironwood dies” being the most notable. We’ll have to see what, if anything, gets checked off next Saturday.

As always, thank you so much for reading (I feel like I don’t say that enough :D) and I’ll see you next week! 💜

[Ko-Fi]

#rwby #rwby spoilers #rwby volume 8 #rwby recaps #rwby midnight #mymetas

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real-jaune-isms · 4 years

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RWBY Volume 8 Chapter 6 Review/Remix

The day finally came, and for some it was far far too late coming. Personally, I think this was a damn good time to get the story we got, but to each their own. It’s time to weave a wicked fairy tale, a twisted Cinderella Story without a happily ever after. Join me, won’t you?~

We open on a sight not terribly unfamiliar this Volume, young Cinder washing and scrubbing a wooden floor in raggedy clothing. A single tear seems to fall among the water, but she continues on. For a split second, we see a woman’s lower half as she walks through this barn setting before getting an exterior shot that yes this is a barn on what looks to be a very sparse farm. We get several quick cuts like this, and from what we see in them it becomes quite clear what sort of life Cinder is living. An orphan ostracized and bullied by other kids, already with a violent streak as she’s shown tackling one of her aggressors rather than passively taking the pain. She’s still fairly weak and starved compared to the others, since she gets pulled off her victim and tossed aside easily, and a closeup of her face shows some gaunt features. All that misery seems like it might turn around when the mystery woman we saw briefly decides she’ll take Cinder. Next thing she or the audience know, Cinder is in Atlas, standing outside a big fancy hotel and staring at the opulence with no small amount of wonder. Immediately, my thoughts shift from Cinderella to little orphan Annie and I gain some small measure of hope. But it cannot last, and the Madame (as she is solely credited despite clearly being our Lady Tremaine in this story) sternly ushers her inside the Glass Unicorn (I’d like to thank the person who helped me read that cursive golden light lettering). Once inside, Cinder is rather awestruck at the lavish lobby and all the happy people she sees within. (Meanwhile I took notice of the sign on the front desk openly declaring that they do not serve Faunus. Hooray for blatant systemic racism...) But she doesn’t have much time to look around, because she’s again brought deeper inside to the kitchen where we meet her new stepsisters. And what a pair, green eyes and light brown hair just like their mother, with devilish smirks of condescension. All Cinder can think about as she’s given her list of grueling chores is the platter of bread and cheese behind the twin devils. Priorities in a palace of plenty like this. You might think to yourself, well now that’s a little harsh for a couple of girls we’re literally just meeting. But don’t worry, they immediately prove how spiteful and cruel they are by laughing at Cinder for asking for food, and laughing even harder when the Madame throws a bread roll for her on the floor she just said was filthy. Great first impressions indeed, and I don’t think there’ll be a direct to DVD sequel to redeem either of them through time travel shenanigans... god I’m old.

We get a montage of Cinder in her new working uniform doing various jobs around the hotel for very little reward or praise. The guests don’t care, her stepsibs give her a slap on the wrist for trying to snack on one of the strawberries she was decorating a cake with... only to turn around and have one of them eat that same strawberry herself right in front of her, and any painful accidents she suffers in the line of duty are met with only disapproval and mocking laughter. She eats guests leftovers, and it seems like she’s the only employee here besides her new family, not that they’re doing much of the work. What really ties this sad montage together is an as of yet unnamed song to that has been serving as Cinder’s leitmotif for years but now has lyrics. Those lyrics, as poor luck would have it, are insults and orders that Cinder must have heard everyday in this life of slavery and misery. “Do your chores, rub my feet, no one said that you could think, no one’s ever loved you, etc.” There’s obviously more of an order and rhyme to them, but I wanted to lay out some of the harshest kickers. We see a particular instance of suffering where she’s cleaning the carpets on the second floor and her sisters start stomping mud right in front of her just to mock her with “You missed a spot~” and give her more work to do. Cinder has taken just about enough now, and her Semblance kicks in for what might be the first time as she starts heating up the wet brush in her hand. She throws it at them in anger and it creates a cloud of steam and possibly smoke depending on how much of that wooden brush she burned. This gets the attention of her stepmother of course, but also that of a mysterious huntsman who had been showing off a new sword in the lobby much to Cinder’s earlier distant amazement. The Madame is none too happy with the scene Cinder has just caused or the fact that she lashed out against her actual daughters. So she gives the poor girl a necklace... with a stone of electric Dust in it. It’s a shock collar, and every time Cinder acts out from this point on, or just doesn’t do well enough for her stepmother’s standards, she will be painfully shocked and forced to apologize with a mantra we’re now all too familiar with. “Without you, I am nothing...”

Next thing we see, Cinder is crawling through a vent into a secret room in the back of the hotel. Based on the tons of furniture covered in sheets back here and the mattress with a couple pillows, I’d say this is what passes as her bedroom with how little fucks her adopted family gives. The Huntsman from earlier is heard being rather pissed that one of his swords is missing, and I get a small amount of sick satisfaction hearing one of the stepsisters panic in the face of his complaints and deliver a trademarked customer service line, “I apologize for the inconvenience”. I hear that every damn day in my day job, and I know how it feels to be where she is. After tormenting Cinder, they deserve to squirm. Naturally, Cinder was the one who took it, but is caught admiring it in her little hideaway by the Huntsman it belongs to himself. In the credits and subtitles his name is revealed to be Rhodes, and the public opinion on him becomes... mixed at best as time goes by. At the very least, here he confronts her without fighting her and disarms her with reassuring words. He knows she’s getting an awful deal here, but hurting these people and running away will solve nothing. She’ll be running for the rest of her life if she did that, never having a place to safely call home. He offers her an alternative, one she seems to pick up on quickly. Becoming a Huntress and gaining her freedom through that official title. But here we get a real sudden kick in the teeth. At this point, Cinder is only 10 years old. No 10 year old should be suffering the way she is, and if I were Rhodes I would try and have the Madame exposed and arrested for her abusive crimes. But we unfortunately don’t know if any child protective services exist that he could go to about this problem, and instead he tries a different approach. He’s not going to be staying here forever, but he’ll be back and forth over the next 7 years, and during that time he’ll train her to be ready for the Huntsman exams. This sounds like a good plan on paper, but then you realize what it means for her. Enduring 7 years of this abuse and pain, on the dangling carrot promise that she can leave one day and finally have some chance at decency. It’s the bare minimum effort on his part, and it makes him feel like a hero without having to actually inconvenience himself and fight for her freedom. She deserves better, but she’s sadly not getting it. Still, she does get training.

We see time pass, he comes and goes, she keeps getting shocked and her resentment keeps growing. She gets older, her uneven pigtails become a short ponytail, and one day he gifts her the sword she had once stolen. She’s earned it, and in a couple more years she’ll be free to use it for her dream job. Too bad this was entirely the wrong move on his part. Cinder has something nice, and the stepsisters won’t stand for that, especially since it’s a dangerous weapon. They tattle to the Madame, and Cinder’s punishment is soon to come worse than ever before. Or so they would like to think. They go into the back to confront her at 11:40, and Rhodes walks in the front door at 11:56. There’s no one to greet him, not a sound to be heard until he gets to the front desk and picks up a distant crash. He gets to Cinder’s room, all too late. The stepsisters lie dead on the floor while Cinder is choking her stepmother to death with her bare hand. She tries in vain to subdue her with the remote for her shock collar, but the pain is just a stinging motivator she’s grown to tolerate. She may have been made to feel like she is nothing without the opportunities given to her by this woman, but now she is EVERYTHING because of what hell she has been through. Cinder snaps her neck and tosses her aside to be faced with her mortified mentor. The clock is striking midnight, and Cinderella did not use her gifts wisely at the ball. But it’s okay, right? Now her tormentors are gone and she won’t have to run anymore, right? Right, Rhodes??? No. Now he’s decided she’s too far gone and he has to fight her, to arrest her for the triple homicide that was most assuredly a mixture of self defense and cathartic revenge. Cinder realizes that even this man she trusted is her enemy, and with the last chime of the clock the spell of her temporary happiness is broken. The two fight, and seem evenly matched for a time, Cinder countering his Semblance of turning his skin to metal by using her own to heat the metal and still hurt him. I should like to point out that this power of his makes for a great layered pun, as it is similar to the mutant power of the X-Men character Colossus, and there is a famous Greek statue of the sun god Helios known as the Colossus of Rhodes. Back to the fight, Cinder temporarily blinds him by throwing a sandbag that he slices into, and in that confusion swipes his second sword so they can both dual wield since he primarily uses a set of maces. She gets a few clean slices in and takes out his Aura, but he bashes her away to hit a chest and there goes her Aura in return. He assumes the fight is over and goes to collect her unconscious body, but she was playing possum and stabs him in the gut with both swords. In his final moments, he lays a hand on her head as if saying he’s proud of her for growing so much. You may have had good intentions, Rhodes, but you were not a very good person and didn’t do enough to call yourself a Huntsman. I can’t imagine what kind of hell a Chaotic Good huntsman like Qrow would have done if he had been the one to find Cinder, but it probably would have been better than the surface level hero work this guy did. As things stand, we know Cinder is heading down the bad path and takes one last sad moment to finally tear her necklace off and cry a single tear up at the moon.

We cut back to present as she wakes up in what I assume is her room aboard Monstra. Emerald is happy to see her awake, but Cinder chastises her for bringing them back to Salem emptyhanded. Em tries to assert that she put her concern for her mentor above the mission and its the sole reason they’re free and alive at all, but Mercury comes in to remind her that a repeat failure like Cinder doesn’t deserve that help. Em tries to stand up for her boss, to say that she was right to go attack Amity because the goodie goodies were up to something and they did a lot to stop it, but Mercury lays the heavy truth bomb on her again. Don’t defend Cinder, you’re not gonna win her love and support because she doesn’t give a shit about you. Cinder shuts them both up and dismisses them until she has need of them, much like the dismissive way Salem treated her a few episodes back. But Mercury got promoted, Cinder’s not his supervisor anymore and he doesn’t have to listen to her. Hearing that takes some wind out of Cinder’s sails, and she’s left alone to stew about this turn of events as Merc tells her everyone is needed on the bridge cuz something big is gonna happen.

Shifting to another room, Oscar is lying on the floor with a black eye and some blood on his lip, and probably a bunch of broken bones and internal bleeding. This poor poor kid... He and Oz are having a discussion about who should be the one in the driver’s seat for these beatings. Oscar sure as hell doesn’t deserve it, but since he’s not the one Hazel is mad at he’s not getting roughed up quite as much as if Oz was present. Oz wants to take over, to try and get them a way out of here, but Oscar thinks they have a golden opportunity if they stay. Oz is initially unsure what that means, but Oscar has some solid reasoning. Salem doesn’t do the fighting herself, she turns people to her side and has them fight her battles. Her spies sow seeds of chaos and discourse among her enemies, and now Oscar can do the same. They can try and talk some sense into Hazel or the kids and turn them against Salem. She won’t be beaten, surely, but she’ll be crippled without her eyes ears and devious hands. No time like the present, as Hazel comes back in for round... idk, maybe 10? Oscar gives Oz control again and Hazel is immediately pissed to recognize that tone of voice again. He assumes Oz had been hiding inside Oscar and forcing the kid to endure the pain instead of him, not realizing it was the reverse and Oscar was being selfless. But rather than argue that, Ozcar tries to get Hazel to see the cruel reality of it all. He won’t deny he has done wrong by this man, but how is Salem somehow the better choice? He should be fighting to stop her and her evils. Hazel stops for a moment, reveals his feelings on the matter. She can’t be stopped, he’s seen that himself. She’s an unstoppable force, and Oz is the worse of the two for knowing this and still sending people to try and stop her. Oz argues that someone has to at least try, that yes she actually can be fought and slowed and steered astray. But if she gets what she wants and gathers the relics... well, he doesn’t get a chance to reveal that much because Salem herself enters the room and welcomes her old love back to the grace of her company. It’s time to bring him to his front row seat for the impending show.

It begins with a show of force and loyalty, all her underlings bowing before her on her throne. Em and Neo are off to the side and Hazel is forcing Oscar to bow too, but Mercury Cinder and Tyrian have all taken a knee right in front of their queen. Good news everyone, Watts presumably got Ironwood’s Scroll working and reported his successful takeover of Penny back to Tyrian and thus to Salem. Both men have proven their value, while Cinder’s rogue stunt has put her worth to the cause in serious question. Just like so many years ago, Cinder starts writhing in agonizing pain, this time inflicted by her own Grimm arm. Good to know Salem’s gift of a new limb was also a way to enforce punishment... But unlike the Madame, Salem claims to blame herself for Cinder’s disobedience. She’s been stifling Cinder’s drive for power and freedom, it’s no wonder she did what she did. She should be giving her chances to grow and rise, and so now she is. Cinder’s new mission is to go free Watts from jail and with his help murder Penny for the Winter Maiden powers. But it will be a challenge to prove herself, because Salem is also sending the Hound for the very same job. Both outcomes will result in Cinder getting the powers and Salem getting the Staff from the Vault, but only one will truly be an earned victory for Cinder and she damn well knows it. Ozcar tries to object, to say getting the Relics will doom them all, but hush now little fool~ You’re too late.

Cutting immediately away from that frightening situation, we get Winter and the Ace Ops flying out over the tundra in search of Penny. Elm is complaining about having to retrieve “broken junk” and how they shouldn’t trust Watts or his technology. Good point about trusting Watts, but we’re well past that problem now. Winter barks at Elm to stop whining and act professional. They pick up a comm signal, and it turns out to be from Jaune warning anyone who can hear it about the Grimm river. They head for the source of the signal, and the two groups cross paths under the most tense of tenses. Jaune gets to business and tries to get these professional huntsmen, public servants of their kingdom, to come deal with this unprecedented threat. But Harriet just wants to know where Penny is and refuses to acknowledge any problem except the one she was sent to deal with, so she blames these three kids who haven’t seen Penny in like 12 hours for whatever danger there is. Thankfully, she shuts up when a tremor rocks all of Mantle. The tremors keep building, even the Grimm take some amount of notice. Then it stops again. Then the biggest one yet hits, and suddenly the riverbed is empty. A geyser of primal Grimm goo blasts up into the side of Atlas, and it’s persistent enough that a big splash of it gets through the Hard Light shields. Out of the goo comes a swarm of centinels, who crawl up to the towers projecting the shield over the Kingdom itself and burrow into the ground around one of these towers. An airship blasts a laser down, but it can only get one target at a time and the rest burrow in. Down plummets one tower, and with it goes the entire shield. It’s like a string of Christmas lights with a single bad bulb, and that’s not a design flaw you want in the first line of defense around a major metropolitan area. As people across the Kingdom, including the team hiding out in Schnee Manor and a for once knocked off kilter General Ironwood, watch on in horror, Salem makes her move. Monstra swoops in and crests beautifully over the edge of Atlas, and then comes crashing down in the midst of the farmlands on the edge of the city with a bellyflop. The colossal aquatic mammal of the air opens its dark maw, and out floods a wave of more grimm sludge. From that primordial ooze arises just about every variety of Grimm we have ever seen with the exception of Kevin, Jim&Randall, Levi, and the Hound. The battle for Atlas has begun, and there are a wardrobe’s worth of white Atlesian military pants to be darkened. And this isn’t even the mid-season finale! So there’s even worse things sure to come! Can’t wait~

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hemkinator · 7 years

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1-30 for the identity ask thing!

Somehow I should have expected this...

1. If someone wanted to really understand you, what would they read, watch, and listen to?

Read: Isaac Asimov’s Foundation trilogy (just the trilogy, the other books are awful). Watch: Yourself play Spore and try to make your own story in the galaxy. Listen to: Battle soundtracks from almost any video game.

2. Have you ever found a writer who thinks just like you? if so, who?

I don’t think so? I mean I’ve enjoyed certain writers, but I’m not even sure how I myself think, so....

3. List your fandoms and one character from each that you identify with.

Star Wars: Obi-Wan. Ace Attorney: Apollo Justice. Persona (4): Nobody, but Kanji is awesome. RWBY: I don’t really know. I have other fandoms but I can’t remember them. If somebody mentions them I’ll be like, “Yeah I love that!”

4. Do you like your name? is there another name you think would fit you better?

I do like my name! It actually sounds ok with my last name!

5. Do you think of yourself as a human being or a human doing? do you identify yourself by the things you do?

Human being, and good golly I hope I’m not identified by the stuff I do, ‘cause I’m not doing great.

6. Are you religious/spiritual?

Affirmative!

7. Do you care about your ethnicity?

Not really? I'm much more attached to my familial culture than my ethnic culture.

8. What musical artists have you most felt connected to over your lifetime?

John Williams. (I’m musically ill-read, okay? I can make it but I don’t really listen to it.)

9. Are you an artist?

Used to be a percussionist, if that counts. Visual art? Heck no.

10. Do you have a creed?

Three, technically. Apostles, Nicean, and Athenasian (though I don’t really know that one)

11. Describe your ideal day.

I can’t really say since I haven’t experienced anything close to an ideal day recently, but as an approximation.

Not having anything due or needing to go anywhere, my ideal day would be spent playing games (that I enjoy) with my close friends. And, I don’t know, mac & cheese for lunch or something.

12. Dog person or cat person?

Cat person. The only dog I don’t freak out at is my cousins’ Shih Tzu Roxy because she’s small, adorable, and doesn’t nip at me when she’s excited.

13. Inside or outdoors?

If it weren’t for bugs and dust, outdoors all the way. Because of bugs and dust, indoors all the way.

14. Are you a musician?

I used to play in my high school’s percussion band. Favorite instrument was definitely the timpani.

15. Five most influential books over your lifetime.

The Bible, Economics in One Lesson, Ender’s Game, The Once and Future King, and Bias.

16. If you’d grown up in a different environment, do you think you’d have turned out the same?

It would depend on what that environment changed. I’ve got very little understanding of how I really tick, though two things that stick out are the procrastination and general devaluing of my importance in life. So if the environment changed in a way that modified one of those things it would probably have an impact.

17. Would you say your tumblr is a fair representation of the “real you”?

The real me wants to talk about videogames (and find other people who play video games) much more than I do here, but it’s mostly fair. I do want to discuss analysis and stuff about shows and games way more than I actually do.

18. What’s your patronus?

I haven’t seen or read Harry Potter, but pottermore says I have a Pine Marten for my patronus.

19. Which Harry Potter house would you be in? or are you a muggle?

According to Pottermore I’m half Ravenclaw half Hufflepuff so IDK

20. Would you rather be in Middle Earth, Narnia, Hogwarts, or somewhere else?

Of the 3? Narnia, it’s the least deadly and has lion Jesus

21. Do you love easily?

I wouldn’t necessarily say so. I feel like I’m quite picky, but if I choose to care for someone I really care.

22. List the top five things you spend the most time doing, in order.

Internet stuff like Youtube & Tumblr

Video Games

Homework

Sleeping

Reading

23. How often would you want to see your family every year?

Extended or immediate? Extended would be every few months. Immediate would be very often if I actually get my act together and don’t give them things to criticize, less often if I’m normal, failure me.

24. Have you ever felt like you had a “mind-meld” with someone?

Not really, closest thing is going on long idea chains with friends where we keep escalating the wackyness of our scenario.

25. Could you live as a hermit?

Away from modern conveniences? Nope. Personality wise, I might be able to if I actually knew how to do things without modern stuff, but I don’t.

26. How would you describe your gender/sexuality?

Filthy Cisheteroni

27. Do you feel like your outside appearance is a fair representation of the “real you”?

Well, my outside appearance is a direct result of my actions and my mindset, so yeah, technically. Obviously I’d like to imagine myself better than I am, but until I act on that it won’t happen.

28. On a scale from 1 to 10, how hard is it for someone to get under your skin?

7-8. I’ve never hated anybody, and I don’t hold grudges either. I generally don’t care what you do. There’s strict lines where if you cross them, ok I’m going to be righteously mad, but it’s hard to cross them short of doing something actually criminal or horrible. I;m directing too much anger and disappointment at myself to spare any for other people.

29. Three songs that you connect with right now.

Pass, I don’t know. I’m not listening to any.

30. Pick one of your favorite quotes

Peter said, “Explain the parable to us.”

“Are you still so dull?” Jesus asked them. - Matthew 15: 15-16

Hoooo. That took me all day (and a Pottermore account). Now you all know me, my life is in your hands.

#ask prompt response #mohawk-yeshua

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itsclydebitches · 6 years

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RWBY Recaps: Vol. 5 Known By Its Song

This is a re-posting from Nov. 18th, 2017 in an effort to get all my recaps fully on tumblr. Thanks!

Five years on air and RWBY still has the ability to make me stupidly emotional. This episode was no exception.

Our title, "Known By Its Song" comes from the old saying that "A bird is known by its song, a man by his words," presumably referring to times when a man's "word" was equated with his honor. We begin the episode with Qrow--someone who is notably both man and corvus, a dichotomy that the episode will later comment on--who is out keeping his own word to Ozpin, searching for other huntsmen and huntresses to help them in their battle against Salem.

...and he's a complete drama queen about it.

Yes, in retrospect this is a Very Serious Situation, but getting a montage of Qrow literally bending over backwards in frustration before finally collapsing to his knees? Pretty hilarious. The first bar he visits, looking for someone named Shiro, doesn't go well at all, but for two minutes at least we can chock everything up to Qrow's semblance: the bartender doesn't know where Shiro is, he's not allowed back until he pays what he owes, and that debt is apparently high enough to warrant Qrow getting a knife thrown at him through the wall. Yeesh.

As his mission continues though, it becomes clear that there's far more at play than a bit of bad luck. Qrow is conducting his search in the poverty stricken areas of Haven, which is both a wonderful bit of world building and a perfect bit of characterization. After all, Qrow had a life of raids and disreputable behavior before he hooked up with the Ozilluminati. Any friends that he goes "way back" with are bound to be, if not criminals, then other huntsmen and huntresses with equally dubious pasts. The area where Qrow expects to find his friends is drab and gray, a sharp contrast to the beautiful seating area he'll rest in later, complete with holographic technology and a water garden with lily pads. The houses are boarded up and falling apart. The people wear filthy clothes, spend their time betting on street fights, and have some rather horrific injuries--hello, one-eyed weapons seller. What really completes the picture is a sign outside the bar proclaiming that there are NO FAUNUS allowed. Here in the U.S. racism has long been used as a means of pacifying those at or below the poverty line. Struggling to survive? Facing a government that cares little about whether you eat or your kids go to school? Well at the very least you're still white! It's a horrific truth about this country, but a truth nonetheless, and for once I'm glad that Rooster Teeth is forcing their race analogy back into the narrative. As flimsy as it still is, it does make sense that the most poverty-ridden parts of Haven would also be one of the most overtly discriminatory. This is just a more blunt version of what we saw back in Atlas during Jacques' little charity ball. He makes speeches about faunus who complain about dangerous working conditions. Bartenders in Haven slap up signs on their wall. It's the same thing with a different face.

Not that Qrow has time to worry about that right now. He runs through name after name learning that each person is missing--or worse. His search comes to an end when, frustrated, he reams out a guy right before a little girl toddles up, asking if this strange man knows where her Mommy is. I find it rather poignant that it's in this moment, one of his worst, that Qrow actually resists his flask. Perhaps he wants to keep feeling whatever emotions rose up from that little encounter. I think he hates himself just enough to go that route.

I also find it reassuring that for all his talk about how he can't get close to others because of his semblance, Qrow does know a lot of people. He's popular in his own way, making allies, acquaintances, and friends on both sides of the fence, so to speak. It's a punch to the gut when we see him back among Haven's upper class, staring at a mission board like the one we saw in Beacon. Every name up there--all these people he's come to care about--are missing, gone on search and destroy missions and never returned. Just as the viewer is beginning to realize why Shiro hasn't payed his debt, that it probably has nothing to do with a sleazy nature, Qrow is back at the bar. He pays off the money Shiro owes and tells the bartender firmly that "His name is clear" now.

I'd be more moved by this scene if I wasn't distracted by how the hell lien works in this world. Seriously. It seems straightforward enough at first glance. Different colors represent different amounts, right? But then here's Qrow throwing down a single card that pays off the16,000 debt. That seems like a random number. Who makes a 'bill' worth that exact amount? Unless Qrow payed him more than the minimum, or that was acting more like a credit card.

I don't know. This is the fantasy show that has yet to introduce languages other than English. You can't look too closely at RWBY's world building.

On to things I can actually conceptualize: Yang and Weiss are finally having their talk with Raven. Who was surprised by the setting that includes a decorative tea set and low table? Not me. I've seen a bunch of comics these last two weeks depicting that conversation exactly as it occurred, at least aesthetically. How did we know? Something something Yang's Asian influence. Again, don't look too closely. The point is that Raven is starting a very ironic conversation regarding "truth."

I actively dislike this woman.

Her attempts to manipulate Yang two episodes back were pretty blatant, but kudos for better subtly here: by insisting that Yang needs to question everything--including Raven--Raven actually positions herself as both wise (the one to gift Yang with this advice) and trustworthy; as the only one to admit her own, potential duplicity, she paradoxically comes across as the most honest. Too bad Yang's too smart to fall for her mind games. Or too straight forward. Weiss is the one talking herself in circles about whether magic might actually exist or not. Yang has a laser focus that nothing can penetrate: find Ruby.

I said last time that Raven was going to either drop some crazy plot twist about Ozpin, or just catch the girls up on what we already know. Looks like Rooster Teeth went with option two. Raven (taking her sweet time and being real vague about it) sums up what we've learned this season, if not earlier: Salem is a person that exists and is a Big Threat, she wants to kill off all of humanity (which presumably includes the faunus?), magic is a thing, and Raven just happens to know someone who can "come back from the dead." Wow. Wonder who that could be!

She does actually drop a few tidbits of interesting information. She reveals that she and Qrow entered Beacon to learn how to kill huntsmen and obviously only one of the twins was dissuaded from that goal. Her comment that the entrance exams were "child's play" is particularly fascinating because I'd always assumed there had to be something beyond just sending in transcripts and not screwing up initiation. Which begs the question, how did Jaune get past an exam of that caliber? Did Ruby just skip it with Ozpin's permission? Presumably.

In the end though, no matter how much Raven might want Yang to believe her "truth," her overwhelming bias shines through. The fact that she claims to have info on Ozpin and makes the beginning of the conversation all about Qrow hints at those feelings of betrayal. She ends the conversation on Tai--an insult that finally has Yang losing her patience. And throughout the middle Raven emphasizes that Salem is an entity that can't be stopped. Her beef with Ozpin (according to this conversation at least) isn't that he's inherently evil, but that he's convincing people to fight with him in an impossible war.

The problem here is that Raven is the only one who sees this war as "impossible." I've touched on this before, but Volume 5 is pulling strongly from that mission in Mountain Glenn, back when Oobleck got Team RWBY to think about why they wanted to be huntresses in the first place. Yes, on the surface that episode seems to confirm Raven's belief that most enter the life for money, fame, or power: Blake wants tools to fight for equality, Weiss wants to break away from her father, Yang wants an exciting life--they all have ulterior motives. But Raven didn't watch the full episode, all the way to when the girls acknowledge this around the campfire and make conscious (if silent) decisions not to be overly influenced by these motivations. They're fighting first and foremost because it's the right thing to do. Raven sees them as the "poster children" of Beacon academy, naive kids who are too blinded by their ideals to realize how cruel the world is, easily manipulated and then sacrificed by Ozpin. But she's the one who's blind here. The girls know more than they let on, they've acknowledge their failings and the world's... and they've decided to fight anyway.

For Team RWBY/JNPR fighting Salem isn't impossible. It's just incredibly hard. Ruby, their leader, is the embodiment of this belief, reminding Oscar last episode that they have to keep moving forward. And it’s a sign of growth: Team RWBY is what Ozpin once hoped Team STRQ could be. Raven hates Ozpin because she sees a man sacrificing pawns to an unbeatable foe. Ozpin's allies love him because they see a man doing everything he can to defeat an incredibly powerful foe. But not an invincible one.

Of course, we don't have all the information yet. Raven says that she hates Ozpin for one more reason, for "what he did to my brother and me." The pacing of this scene is important, because Raven's second in command tells Yang and Weiss to go "see for themselves" what this horrible sin is and it's then that we get Raven soaring through the air in her bird form. It's been a big question for a while now: how can Qrow and Raven transform if they have other semblances? The reigning theory was that it had something to do with their tribe connection, but now it seems that this was, somehow, Oz's doing.

Oz is the Wizard theory, anyone?

Why Raven views being able to turn into a kickass bird as a bad thing, I don't know. Some aversion to magic perhaps? Is there a downside here? I’m rather confused as to how this is something bad... And I'd actually always assumed that Ruby and Yang knew about their uncle's ability, but we learn otherwise here. Why keep it from the girls then? Is it just because it's personal, like a semblance? Or does Qrow also view his transformations as something tainted... unnatural even? I hope this aversion is addressed. Perhaps it will tie back to this volume's focus on semblances. In that, if Team RWBY is truly Team STRQ 2.0, then Ozpin might well gift the girls with new abilities too, just as he did for Qrow and Raven. He's already admitted that there are heights to reach beyond merely unlocking and practicing your semblance--heights that he can perhaps unlock.

Which raises another interesting possibility: Could Summer do something extra? ... can Tai?

(And then here's prodigy Ruby with semblance, silver eyes, and potential magic powers on the way. Don't overload the small child lol. There needs to be some struggle.)

In the end, if Raven had hoped that her little talk would get Yang on her side she was very mistaken. She opens the portal and Yang drives them through without hesitation, right when Qrow is agonizing over what's happened to all his contacts. His panicked "Raven?" transforming into a simple, happy "...oh" was a blessing in two words.

Then. Then we're given the scene that watered my crops, cleared my skin, and has done all my other writing for me. Ren, Nora, and Ruby happily cooking up a huge dinner together, expecting a whole slew of fighters to show up with Qrow and intending to feed every one of them. Ruby burning the food despite Ren's warnings. Hearing Qrow calling her and knowing what was about to happen. It’s all great.

I really love that Ruby was so nervous when she caught sight of Yang. Despite her letter last volume where she admits that running off to Haven was reckless, we haven't seen much about her thoughts on that decision. It all comes tumbling out here though. That a part of her regrets it, how sorry she is that she didn't wait for Yang, she should have tried to do more...everything. Not that Yang blames Ruby for any of that. She takes one look at her crying sister and runs to hug her, saying only, "I love you."

And Weiss... oh Weiss. How dare you question your place here. She looks discouraged for only a moment before Ruby (always perceptive) calls her over.

The episode ends with this.

And we're officially halfway through the volume. We've got Team RWY back together, much sooner than I expected, honestly.

Now it's time to find Blake!

Other Details of Note

Of course Weiss can tell the difference between a crow and a raven. I mean yes, that was necessary for the plot, but still.

Weiss' "I know that you're really obnoxious" in response to Raven's attempts at hospitality. Pfff drag her.

Weiss' eye roll when Raven said she wouldn't be as "nice" next time they meet. Please.

Weiss' overt concern for Yang and saying straight out that it's okay if she's not okay and my god she was on fire this episode for someone mostly sticking to the background.

Yang telling Raven not to talk about "my family" that way. Raven is no longer a part of that picture and I want to cheer at how Yang is handling all this so far.

I also appreciate the contrast, visually, between Qrow's transformation and Raven's. Their 'reveals' are done in opposite directions and for opposite purposes: Qrow transforms while flying left to right across the screen and attempting to save his family; Raven transforms right to left while trying to keep Yang from hers. Nicely done there.

I forgot to mention this last time but... can we lay off the Nora + food jokes? It was funny before we learned she starved for most of her childhood. So yeah, comments about how she's going to eat everything in sight aren't so much a joke as a sign of trauma. Let the poor girl eat what she likes.

Yang cradles Weiss in "Lighting the Fire" the exact same way she cradles Ruby here. Yang is confirmed big sister to the entire RWBY/JNPR group.

Oscar's confused look that melts into understanding, courtesy of Ozpin. It's a subtle moment, but just another indication of how they're synching up. Lovely detail there.

#rwby #mymetas #RWBY Recaps

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