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"You're just an animator, you have no idea how story arcs or character works" Damn, what does that say about the people whose actual job description says "Writer" then?
These and braindead "Monty himself said he was never a good writer" takes pisses me the fuck off. A guy acknowledged his forte is in animation and he's not as confident at writing and you clowns take that as OBJECTIVE FACT and blame all the bad writing on him while absolving the bad writing from his collaborators written after his passing just to blame him posthumously, god
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To anyone thinking or saying Dillon Goo is unworthy of acquiring RWBY, not because of anything realistic like finances or the size of his studio, but because he's "just an animator", or just a rando from the internet who cannot write or run RWBY:
Thanks for perpetuating the piece of shit mindset that every soul-sucking corporation and braindead consumer has: that animators have no value or are just there to push buttons and make pixels move for the real creatives.
Animators are artists and creators. They have to work with numerous departments to make things work: They have to know what the writer/director wants, and tell them if it's even possible to put to screen; they have to work with artists and character designers to tell if they can commit that art into moving parts. And for an animated show, they're kind of... I dunno, the entire backbone of its production.
Anyone stupid enough to claim that, by their logic, should claim that Miles and Kerry were "just writers" and don't have the right nor the intelligence to have any opinions on RWBY's animation, character designs or music. That's how I know you have zero fucking idea how any actual media is produced, because in your head, these positions all just exist as separate little boxes in your brain so it's simple enough for you to grasp.
It was "just an animator" who made RWBY in the first place, dumbass. A "rando" making animations on the internet that Rooster Teeth took a chance on, and now he's responsible for their best-selling IP. By comparison, Dillon is starting at a way better starting position than Monty was, with a successful YouTube channel, public support from multiple current and ex-CRWBY like J Grelle (Tyrian's VA), Kim Newman (former animator who animated Sun's gunchucks in V5) and Jessica Nigri (Cinder's VA), and multiple collaborations with big companies like Hoyoverse.
If anything, I'd expect an animator like Dillon to know and care enough about his staff to not give them near-irreparable spinal damage. Gee, I wonder why Newman would think he'd be a better employer to work with? Dillon would know how an animation project is run and budgeted. Him being an animator is a benefit, for god's sake.
Monty had character design sketches but needed help from professional artists to fully design them. He knew bits of the plot but needed help fleshing it out. Do you have enough brain cells to rub together to know that's precisely what Dillon can do, too? Fuckin', I dunno, hire people? For his studio??
I'd rather have an animator run RWBY because RWBY is an animated series and he would know precisely 1) what complements the medium best and 2) the precise limits of what can or cannot work within his budget. By your ass-backwards logic, I would rather get EC Myers to run RWBY's production over Dillon just because he's a writer and has been employed with RT longer.
That's another moronic argument: "He's only been employed by RT for 1 Volume". Man, I don't care if he's been there for zero Volumes, his work clearly shows a greater understanding of RWBY's aesthetic, mainstream appeal and style than its own showrunners have for the past 7 years. Or is seniority in a defunct company responsible for a steadily unprofitable IP suddenly a positive in this business deal?
I need you to be aware that RWBY as an IP is a joke outside of the bubble of its fandom, and I am telling you bluntly as a fan. Nobody takes it seriously and the ones that do only praise it for either its action choreography or its character designs, one of which is guaranteed with Dillon's studio. Diehard fans may love RWBY, warts and all, but all that love and support clearly wasn't enough to keep it alive, because its reputation was already cemented from its own mismanagement.
What you do is you get the right person for the job. And Dillon ticks a lot of boxes for it. If you think he's unable to acquire RWBY because he's not a big corpo or cannot meet Warner's asking price, that's 100% fair. If you think he's unable to create something on the scale of Volume 9, that's also 100% fair, but only if you're attached to the idea that you'd rather have Volume 10 or more of the same RWBY that was operating at a loss than any RWBY at all. Or if you'd rather see a season of 14 episodes 15 minutes long where 60-70% of it is made up of exposition, talking head scenes and increasingly overambitious world expanding, over shorter episodes with amazing RWBY action sequences with a story that never bites off more than it can chew.
But if you think Dillon is unqualified or worse, unworthy or undeserving (what a weirdo thing to say about a person, like owning RWBY is like inheriting the fucking throne of Gondor), all because he's "just an animator" or because he was smart enough to see RT for the meat-grinder hellhole it was and left to find success on his own, you're full of shit.
And if you disapprove of him because of his association with Shane, go find a restroom because your unsightly hateboner is showing. It's been almost ten years since the letter and you all have been holding this unfettered rage clenched between your buttcheeks longer than Shane's ever been with Rooster Teeth.
And for what? Pointing out Rooster Teeth is a fucked place to work at? Whoops, that was true and now it's six feet under for every scandal and worker abuse case they brought on themselves. For stealing and cannibalising their creators' IPs? Whoops, that's fucking true as well.
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A lengthy thought wall about the recent RT shutdown and DillonGoo Studios' interest in acquiring RWBY - I speculate and entertain some hopium about the pros that could come with it and why all in all, impossible it may be, it's probably the best shot we have for RWBY.
Some rwde cause it mentions Shane's letter and nobody likes that.
I've been reading a lot, a lot of the various discussions around RWBY's fate and Dillon Goo Studio's (henceforth shortened to DGS) interest in acquiring it. Here's my overall evaluation everything so far:
This goes without saying but this is obviously an optimistic take on the matter, I wanna talk moreso about the pros rather than the logistics of whether DGS can afford it, whether you think it's just clout-chasing, etc.
Dillon's a former RWBY animator and a fan of Monty's work. No matter what you think of Monty's style of action, in the greater public sphere, RWBY is known and liked precisely for that and largely that alone, period. Only RWBY fans who are already invested in the show will mention story or characters - for the majority of people, i.e. future RWBY fans, the action is the main selling point, and DGS clearly can deliver on this.
Dillon himself is at least amicable with most of CRWBY and likely open to negotiate with them given prior work history. For any other media corporation, consulting the old IP holders of a defunct company is a minor formality at best or even a laughable waste of time. And if you want to bring up a certain almost 10-year-old letter and the person working with Dillon who wrote it, there are plenty in the comments section who would agree with me that it's not as big a dealbreaker as one might think, given the company the letter largely condemned is well dead and buried. I won't go further into that matter.
DGS is very community-oriented - they're very intimately familiar with 3D animation and produces creator-friendly content like the Goo Engine which helps future animators inspired by RWBY to make similar anime-style 3D content. Every single RWBY fan animator whose work we enjoyed benefits from this acquisition - all of whom can grow into future animators for the series, intimately familiar with its trademark action style.
DGS is probably the only genuine fan of RWBY that has a remote chance of acquiring the IP with the express motivation of using the IP creatively. This can be clearly seen in the steady improvement of their animation content over the years and desire to push the medium. All other candidates are corporations whose motivations with RWBY are, more likely than not, going to be entirely financial (not necessarily a bad or unhealthy thing, but it's a factor).
If RWBY stays under WB or given off to Crunchyroll? They have no stake in RWBY beyond pure business. They have no interest in what's best for RWBY or its growth, only how it will be most profitable or recoup the losses from RT. The only companies I can see being more creatively invested in RWBY are ArcSystem Works who implemented RWBY in Blazblue Cross Tag Battle, or Shaft that animated Ice Queendom, but those are both Japanese companies unlikely to go all-in on a foreign IP - especially given that these studios usually adapt other IPs, not buy them outright.
DGS is invested in RWBY. Their entire studio's style is built on RWBY-esque action animation. Acquiring RWBY more or less guarantees it'll become their main flagship series and their main investment, whereas with WB, Crunchyroll or other big platform, RWBY is nowhere near prolific enough to be much more than another shelf-filler in their library. At worst, Warner archives RWBY for eternity and at best, they only bring RWBY out for tie-ins and crossovers to prop up their larger DC properties. Why give RWBY the spotlight when they own the likes of Justice League and Looney Tunes?
DGS may not be the most plausible choice, but it's clear that unless some big company like ArcSystem Works or something throws their hat in the RWBY ring, DGS is far and away the people's favourite, even gaining approval from JJ Grelle (Tyrian's VA), who quite notably refused to reprise their role for Rooster Teeth.
DGS is still very much an indie studio which IMO RWBY has flourished the most under, the time period where it retained a certain unpolished energy that made you invested in watching it improve and grow. I don't want to watch a RWBY that uses its precious time under a new studio to just go by the numbers and coast by on its existing fanbase. I want to watch a RWBY that grows, innovates and takes risks, that impresses and draws new and old fans in the way it does for every single person that has watched the Red Trailer for the first time.
I think a lot of folks have a preconceived notion that RWBY has to continue on the exact same production value as V9 left off, but that never had to be the case. I think a return to a much more subdued production with smaller teams focusing on strong individual episodes over large overarching narratives will be healthy for RWBY and more easily invite new fans, which it sorely needs if it wants to stay afloat this time around.
Whether this means a continuation to V10 or a reboot I don't know, but I know I'd rather take a RWBY that a new studio respects and will produce in a way that fits their strengths and limits, over trying and overreaching themselves to make something work that even Rooster Teeth failed to, or over no RWBY at all.
That's the crux of it: the worse alternative is no RWBY at all. CRWBY and especially us as a fandom are in no position to be picky when that's the alternative. There's no such thing as a perfect deal, but this is about as sweet as they come. If the only hurdle is WB's refusal to sell, then that's on Warner. If the only hurdle is affording the IP, I, many others and no doubt other associates Dillon Goo Studios knows are likely to help them meet that price.
I do wanna stress, despite my optimism, I'm not asking to stake all our hopes on DGS as the saviour of RWBY, god no - the last thing I want is a weirdo Monty 2.0 cult and I doubt Dillon would want that either. I'm not saying the RWBY they'd make will be perfect or be equitable for everyone either - some compromises must be made and professionally speaking, whoever owns RWBY next has no legal obligation to make V10 or bring back anyone from CRWBY. Any such action is solely on the graces of the new IP holder and at the end of the day, I think whatever creates a healthier, longer-lasting future for RWBY should take priority over our sentiment or attachment.
But as things stand right now, if DGS isn't just farming Twitter likes and is honest-to-god serious about acquiring RWBY, and no better candidate presents themselves, this is about the best option we have right now, and I myself will be ready to help and contribute in whatever little way I can. Because I know the very real alternative is either a complete gamble on yet another faceless media subsidiary, or watching RWBY rot behind a vault for the next decade or more.
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I love coming across random Tumblr posts from the same 6 people in Canonseeker's social circle still bringing up "tea" nobody cares about
My Yang redesigns (2018 & 2021):
The actual ass show (2023):
My dude her boobs are as big as her whole ass head. I guess RWBY is being animated by incel shitbags too? Or is that ok since their boots are tastier?
It's ok to admit you know jack shit about anything you're talking about, being terminally online and locked in a parasocial hellhole with an apathetic company has that effect on you
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Yeah why would I want a Volume 10 if this will be the price, and always has been the price people have to pay to make it happen
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GOD I found another article about why ADHD kids say “I don’t know” so much. my entire childhood was getting yelled at for doing some ADHD shit and me not being able to offer an explanation when asked why I did something.
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Female characters who are the sole voice of reason <<<<<<< Female characters who think of themselves as the sole voice of reason but who are actually just as insane as those around them
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She got her masters in Cuntology with a concentration in Motherlogical Studies from the University of Servington
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I love freezerburn because honestly I think if Yang tried to make Weiss promise to NEVER EVER leave her, Weiss would tell her, respectfully, to go to therapy.
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The whole idea that it’s we, the watchers of RWBY, who are wrong for not supplying the show with the things they didn’t show, (”The writers are trusting you to know that obviously the characters are training and growing off-screen,” “Obviously Yang told everyone what actually happened with Raven off-screen, so everyone who’s saying that she lied are really just watching in bad faith,” “RWBY doesn’t have to show you characters connecting or talking to each other, it’s obvious that they’re super close anyway,” “The characters aren’t underdeveloped, you just don’t want to look at what’s there and build on that,” “What people don’t understand is that RWBY is a slow burn,” “What people don’t understand is that RWBY is Hope!Punk,” ect. ect.) is kind of a wonky way of thinking.
Like sure, there’s a suspension of disbelief, but put enough weight on that, and the whole thing falls apart.
The thing that snags me on this like the paper towel from the Last Day of Summer episode of Phineas and Ferb is that it’s an open admission that there are things that you need to know in order for the show to make sense, and it’s not there.
It feels like RWBY was a TV show adaptation of a book franchise that a lot of people didn’t read, and everyone who is telling us that we’re purposely missing things that aren’t ever shown to us, have read all of the hypothetical books that we haven’t and are telling us that if we read the books, everything would make sense, but the books were never written.
This isn’t even the MCU relying on the audience to not only watch all of their films in order to know anything about what’s happening and also to watch the Agents of Shield TV show, because RWBY doesn’t have info-dumps in a spin-off TV show. (There’s an unrelated book series which I won’t pay money to read because I’m broke and I haven’t looked for a free way to read it because I don’t want to read punching bag!Sun)
Listen, the first DC movie I ever watched was the 2017 Justice League movie. It was terrible for first time viewers. Apparently, it was terrible for DC fans too, but this isn’t about that. I struggled to know who some of the characters were, there was like, a fifteen minute montage at the start of the film about how everyone missed and needed Superman, there were weird one-liners from the characters, everyone was underdeveloped and disconnected from their actual mission, there were onscreen deaths of characters that I didn’t know, and weird allusions to things that I’m confident were from past movies, but I didn’t have the necessary knowledge to watch a hyped up box-office mainstream movie, because I didn’t know my homework.
And I genuinely think that that’s better than RWBY because at least it was written down somewhere.
My point is, the writers of RWBY need to do their own work and write their own story instead of relying on their audience to write it themselves while still being the ones to make all the money.
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You actually bring up a very good point that the transition from V3 to V4 presented a really good foundation to explore each girl's deep struggles.
Yang with her being abandoned and not being able to protect her friends, when so much of her revolves around being a stable rock for her family and to an extent her team.
Blake with forcing herself to isolate herself from her found family to distance her past from them now that it's caught up to her in the worst way possible.
Ruby's hero complex going through the roof after losing at least two close friends and her team, and so feeling like she has to do everything she can to "fix" things and rush headlong into danger again without really considering her team.
Weiss too, since she was trying to get away from her family the whole time only to get dragged back home through circumstances out of her control, when autonomy was all she's seeking for.
And to the show's credit, it did feel like they intended to explore these themes by showing the different girls' POVs throughout V4-5, it just could've used a good pass or two to really nail these themes home in the minute execution.
Would you do anything about Yang & Blake's "conflict" after v3, or would you remove it entirely?
I think the issue with the show is that the show did remove it.
The show basically completely forgot that those two characters have their own story arcs AND that there's unresolved issues between them. After the show reunites RWBY team, all that the narrative does is lip-service. Be it with the issues between Blake and Yang OR even just overall Yang's own abandonement issues and trauma (Raven story arc was laughably bad and the narrative feels outright ashamed to actually acknowledge that Yang lost an arm.)
One of the many things that I was in disbelief about when the team reunion happened was how it literally did not address any of the issues the team members would now have with each other. It's like Team RWBY split up to go shopping or something. How could and would the team just be back together without addressing ANY of elephants in the room?
I think its crucial to address the situation at the end of V3 because its basically the only way to properly delve into Yang's bigger abandonement issues, why she is the way she is and so on. Abandonement and self-doubt has been core of Yang since, well, ever.
Its also crucial for Yang and Blake's relationship. The foundation IS there but without actually parsing their emotional grievances and issues and developing them, you can't build any sort of relationship or bond there. Blake running away is something that is CRUCIAL to BOTH characters and should affect both of them. They are bound by a traumatic and horrifying event and neither character should be able to truly move forward in the story, both as people and yeah even as a pairing, without addressing those issues.
Yang was unable to protect someone she wanted to protect, she was unable to protect her sister from getting traumatized, the entire world might be thinking of her as this random unstable weirdo who broke some guy's leg on live tv. And now Blake just left without saying a word. And then Ruby went off on her big journey without a single warning either. She is left there alone, her life in pieces, to deal with both physical and psychological trauma. What does all of that make Yang feel about herself? She is absolutely the kind of person who would go "What did I do wrong? Why am I not good enough?".
Its a PERFECT moment for some good ol' soul-searching and you just can't do that without addressing the issues between characters along the way.
I am of firm belief that the show should have NEVER moved forward with all the Gods and Relics nonsense without doing that first. Then again, the show preferably should have never had the nonsensical gods subplot in the first place.
There's enough going on in the world of Remnant as is.
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At an alarming frequency online I’m seeing a lot of people just going the fuck off about critics of RWBY, so let me apparently say this again:
If you feel personally attacked because people don’t like your “thing,” you have an issue. And it’s your issue to deal with. Yours. You are equating your self worth with the things you enjoy, and you’re taking it personally when people rightfully call out extremely pertinent issues that need attention brought to them. Telling people to stop criticizing what you enjoy is going to do the opposite, and then you’re going to be more upset. Crusading against critics is pointless. Perhaps seeking the answer as to why you take criticism over an animated show so seriously would help you as an individual.
- 🐌
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Blizzard: "Hey, actually Overwatch 2's PvE campaign was already scrapped by the time we announced the game, but how about we say it's there anyway and lead you on a trail of false hope so you continue supporting the franchise we're holding at gunpoint, in the promise of a product you may or may not ever get?"
Rooster Teeth:
Hey crazy thought, but what if V10 simply isn't happening and RT's goal is to keep RWBY in this liminal space between volumes in the eyes of the fandom to keep taking their money? Like so much of the talk surrounding the upcoming movie is "We have to watch it legally and support RT to get V10", but that wouldn't be happening if people knew V10 wasn't happening, and they can do this for a while. Get this streaming service to get V10, buy this merch to get V10, Venmo RT money directly to get V10, they could keep the grift going at least a few years.
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It always feels like the show will do anything to protect Jaune, that's my honest opinion.
Even when he and Team RWBY are trapped on this other universe where they can do nothing but talk or yell at each other - with no Ironwood punching bag around - Jaune cannot be confronted with killing Penny.
You can't tell me, "Ruby has a good heart and wouldn't do that," even though she was ripping into her team before Jaune came in hot with yelling back at her. She would've thrown Penny's death back in his face.
If anything, if there was one person wouldn't be mad at, it would be Weiss. Because at least Weiss told them the truth, meanwhile Jaune is keeping his lips locked and never saying anything until it's screaming in his face to confess.
The universe needs to bend in every which way to make sure Jaune is never faced with what he did and how it hurts others, not just hurting himself.
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If you treat Blake as a bookworm though, then it kinda makes sense, in the sense of someone who's so worn down and sick of real life that they have vastly more respect for fictional worlds and its internal consistency, which is lowkey relatable so I'm kind of here for it lol. But that's really the only context I can see it working.
Honestly the biggest disservice is making Blake into rules and law now. Like the girl was a fucking rebel and a punk. She was a law-breaking criminal and when she wasn't hurting innocent people, she didn't mind it!
She has made jokes about it - to Terra Cotta-Arc even!
Why in the FUCK does she care about breaking the rules of Ever After? WHY? Why is she so "we must follow the rules"? It makes no sense to any other part of her character. Is it just because someone had to be responsible if Ruby is off being depressed?
SHE AND YANG TOLD ROBYN SO MUCH SHIT AGAINST RULES AND ORDERS. WHY DOES SHE CARE NOW?
Also all of them know this is just a fucking fairytale location. So why is Blake so "Oh god if we fuck up we're fucked". The cuts in V9 weren't just to the detriment of the setting and character arcs, they just make all the characters act like idiots.
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