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Hey… You ever wonder why we’re here?

Well, I don’t because I happen to know that we’re here to talk about Rooster Teeth, the online production company that’s been putting out entertainment media for almost fifteen years now. It started off with some scripted shenanigans in Halo, utilizing a letterboxing effect and a fledgling technique called machinima, and has since expanded into a small media empire so successful that retail chains have been clamoring to carry their merchandise(which a few of them, like hot topic and select FYEs now do). There’s been a lot of outside influence on their storytelling and general writing styles, and as such, they’ve carried a lot of video game and pop culture references in their more popular titles, but what I find vastly more interesting is their penchant for anime references, which largely began with the hiring of the late Monty Oum. Today, we’re going to run through the ones that I’m personally aware of. Cuddle up next to your alien son, slather on some elbow grease, and quit monkeying about as we take a look at the anime references in Rooster Teeth!

While there are a lot of titles under their belt, we’re going to be sticking mostly to RWBY, since Red Vs. Blue is mostly full of video game references, and X-Ray and Vav is too awful for me to watch more than one episode. RWBY, on the other hand, is clearly designed to be as much like an anime as possible, so it makes sense that it would borrow heavily from the medium. It even has it’s own Chibi spin-off, which, to it’s credit, was funny about one tenth of the time.

Starting off with the concept and plot of the series, it really feels like a mix of Naruto and Soul Eater. The series features dozens of unique teenage characters cohabiting at a school that’s going to teach them how to grow up to be warriors, and like Soul Eater, it’s extremely vague on what the students are actually learning. The student/weapon dynamic is heavily emphasized, although in RWBY the weapons can’t turn into people, which is going to make Ruby vs. Maka into one hell of an unfair fight if it ever happens, and the students are basically learning how to use their individual skills to battle and destroy demonic creatures. This is all very similar to Soul Eater, but then the Naruto elements come in… The students are paired up in groups, they’re forced to complete a mission in a dangerous forest early on, and a major plot point revolves around a fighting tournament that gets sabotaged by foreign competitors, causing irreparable damage to the school, including the death of the principal/Hokage, and one character from the main group runs away afterwards, splitting up the team and breaking up a popular same-sex fan pairing(Sasuke/Naruto, Blake/Yang.)

So yeah, it’s Soul Eater meets Naruto, and that even extends to the main character, who’s based on Maka Albarn. She’s a spunky, socially awkward scythe-weilder, although their personalities are way different. Weiss isn’t visually based on any existing characters that I know of, although her personality type is reminiscent of the age old Tsundere archetype, and Blake is a catgirl, because whenever Americans try their hand at creating anime, there has to be a cat girl. Yang’s influence is a little more on the nose, as her ability to absorb damage and grow stronger from it is taken directly from Dragonball, and hell, even her theme song makes mention of her being a Super saiyan. Ruby’s dog Zwei, introduced in volume two, is such an obvious reference to Cowboy Bebop that in addition to being the same breed as the best dog in anime history, he even follows the same naming convention. Ein is German for 1, and Zwei is German for 2, a fact that’s clearly not lost on Rooster Teeth. I’m also reasonably sure Boarbatusks are based on Pokemon’s Donphan, and Yugioh and Samurai Champloo also get a couple of amusing nods.

A few of my favorite examples occur in volume 3. Right off the bat, Ruby visits the grave of her mother, which is situated at the edge of a cliff. While this isn’t an absurdly common occurrence in anime, there are plenty of examples of anime characters being buried at the edge of a cliff, with two quick examples being Battle Athletes Victory and Akame Ga Kill. Towards the end of the volume, there’s a pretty intricate reference to Neon Genesis Evangelion thrown into the mix. After Ruby fails to save her friend Pyrrha’s life, and happens upon the scene at the last possible minute, she goes presumably berserk, losing control of herself and blacking out, only to wake up in bed a few days later wondering what she did. The only way this particular scene could be any clearer about it’s origins is if she woke up saying “An unfamiliar ceiling…” But if you’re looking for an even bigger Evangelion reference, look no further than Red vs. blue, or more specifically, the Project Freelancer storyline, which ripped it off pretty much wholesale.

Now, I know what you’re thinking… It’s a story arc about spartan warriors fighting for a super secret organization that wants to steal artifacts and create artificial intelligence for them to weird. What could that have to do with Evas battling Angels? Well, just take a look at the who’s guy running the operation. Director Leonard Church is an older man with a cold heart who’s motivated by the possibility of being reunited with his deceased lover. He treats his subordinates like commodities, ranking them by ability and putting them through the risk of
emotional and mental torture by pairing them up with artificially created humanoid beings. He creates a soldier from his wife, whether it’s a literal clone or a robot controlled by an AI, and one of his soldiers is his own child, who joined to gain his approval, and is now competing with their own mother, who is just as clueless about what she is as their pseudo-child. Oh, and did I mention that Church is operating against orders from higher up, and has them constantly breathing down his neck about the ethics of his actions, as well as who’s benefit it’s serving?

This plot synopsis is so close to Evangelion that I’m honestly starting to get a bit of a stalker vibe from it, and I’m sorry, this isn’t just a reference anymore. References are meant to be noticed and appreciated. This Evangelion connection, along with the Soul Eater/Naruto plot of RWBY, the cliff thing and the Evangelion ending of volume 3, aren’t references. They’re rip-offs. They’re ideas that were straight up stolen from other works and put to use by Rooster Teeth. But is that a bad thing? It’s hard not to think about once you’ve started noticing it, but still, you could argue that most of these thefts made the product better, so do the ends justify the means?

Oscar Wilde once said that Talent Borrows and Genius Steals, but that doesn’t always feel like the case. There are plenty of anime titles that stole ideas from other anime, and wound up feeling all the worse for it. Take Sword Art Online, for example. I alluded to this in my review of the series, but for a refresher, Kirito is a lone, wandering mercenary who’s earned the name The black Swordsman for being generally superior to everyone he fights, and he fights alone because of a traumatic experience from his past. He loses a fight against a faction leader and winds up joining that faction, has to win the second fight to earn his freedom, and oh yeah, that leader turns out to be a massive villain. At different points, he falls in love with a female rival, obtains a fairy companion, and is pinned down in great pain while he’s forced to watch his love interest get sexually assaulted in front of him. The timeline’s a bit skewed, but he’s basically a scrawny version of Guts from Berserk, which brings about an inevitable and not too kind comparison between the two shows.

A lot of Harem anime not only recycle character archetypes, but sometimes steal entire characters wholesale from other anime. Taking the bafflingly popular Haganai for example, the main character is a nice guy with a mean face that’s garnered him a bad reputation(Toradora), and he unintentionally inspires a socially awkward girl he forgot he knew in the past to start her own club to meet weird people(Haruhi Suzumiya) which is joined by a scientist who’s lost all sexual inhibitions(Tenchi), a popular blonde girl who’s perfection is a hard-earned front for her true personality(Kare Kano), an offensive transgender stereotype(Don’t get me started), a loli little sister who cosplays(can they be more transparent?) and an even younger loli who dresses like a nun(How’s it going, Index?), and the whole thing just reeks of laziness. That’s still better than Maken-Ki, which stole two characters from Lover Hina just to reverse their ages and give them weird powers.

Guilty Crown… Oh boy, have I been waiting to talk about this turkey… Is very much an imagining of what would happen if CC had given a Geass power to Shinji Ikari instead of Lelouche, and yeah, it’s basically a marriage of Code Geass and Evangelion, with just a sprinkling of Eureka Seven on a few of it’s elements/characters, most notably it’s cringey love triangle sub-plot. I won’t go into just how much of it’s premise is ripped directly from Geass… Check out Glass Reflection’s review of the series for the main break down… But I was floored by how many events from the story seemed like they were taken from Evangelion for no reason other than to advance the plot. Spineless main character gets pushed around as a member of a rebellious organization? Check. Comes home one day to find a female member has abruptly moved in with him? Check. Even Gendo and Fuyuki’s backstory gets ripped off at one point, and the phenomenon of people getting turned into orange goo in the End of Eva movie is replaced by rock candy here! It’s like a middle schooler tried to combine these titles, but had no idea how to fit them together!

Now, having said all that, you might think I consider stealing from anime to be a cardinal sin, but on the contrary, there have been some great examples of shows putting their thefts to good use. Just over a year ago, I praised the 2013 iteration of Rozen Maiden for stealing ideas from Chobits, adding a new level of depth and maturity to what was previously a silly fantasy show about dolls fighting each other. Yuki Yuna is a Hero stole a bunch of ideas and plot points from Madoka Magika, and while the series as a whole was dumber than a box of dildos, it still wound up being incredibly likeable and fun to watch, with characters I actually cared about. I talked about how much Panty and Stocking stole from Excel Saga in my review a few years ago, and while it’s not one of my favorite anime, I do have to give it credit for how unique, and hell, even artistic it was. Bleach stole a lot from Yuyu Hakusho, even more than most shonen action series already do, and for the first few seasons, I actually wound up liking it better than Yuyu.

And if you want another example of a series that stole it’s central plot from Evangelion, I’ll point you in the direction of one of the most popular and well known anime to come out since Naruto, Attack on Titan. In this title, giant humanoid creatures are appearing out of nowhere with little explanation, and with the apparent intent of ending humanity, which is already on the brink of extinction. We get pushed right to the edge, and are battling for survival, with our only hope for defense being a series of underaged warriors who’ve been specifically trained to deal with the threat. The main character watched his mother die before the current timeline, his father is connected to the threat in a confusing and mysterious way, and when he goes giant to battle said creatures, he does so while he’s located in the back of his own giant’s neck. Get it? The dummy plug? The neck is a weak spot? How have people not noticed this?! And there’s also Battle Athlete’s victory. In my review of Gunbuster, I talked about how BAV stole the concept of it’s first episode and expanded it into a full story arc, that realized the full potential and unreached depths of the themes that Gunbuster had been taking for granted.

So why are some anime rip-offs bad, but others good? What’s the difference between all of these titles? Well, for one thing, when it comes to the bad examples, the things that are stolen are a lot more blatant. Outside of the things he stole from Guts, Kirito doesn’t have much going for him aside from being a chick magnet. The scenes that Guilty Crown stole aren’t camouflaged at all, they were just copied and pasted with the names and details changed. The harem titles I mentioned, as well as most of the ones I didn’t mention, feel like what was stolen was just lazily taken so that they could fill in holes in the product without putting too much work into it. Actually, that’s what all the examples feel like… They didn’t do anything interesting or thoughtful to the ideas or themes they took, they just threw them in so they could avoid having to write out characters and scenarios for themselves. It’s like getting writers block, and just taking something that they didn’t think of out of desperation… Or just taking archetypes and characters that are popular and successful in order to leech off of the previous incarnations.

In the examples that I gave of positive rip-offs, the exact opposite is true. Panty and Stocking, Yuki Yuna, Bleach, Attack on Titan and Battle Athletes Victory weren’t blatant about what they took… Okay, maybe BAV gave away a few too many clues… But they didn’t do it for lazy purposes. They took the most basic of templates from the previous series, and used them as the foundations that they’d build upon and branch out from, forming their own identities and paths from there. As a matter of fact, the latter two actually kind of improved on the shows they stole from! It’s kind of like Family Guy; Yeah, they ripped off the Simpsons, but they took what they stole in such a different direction that you can hardly call them the same product. BTW, that’s pretty much the only good thing you can say about Family Guy these days. In any case, while Rozen Maiden Zuruckspulen didn’t steal an entire template like the others I mentioned, it did manage to use the ideas it took from Chobits respectfully, and with well defined purpose.

I know my main question was whether Rooster Teeth stole too much, but I don’t really think that’s the issue. It doesn’t matter how much you steal, or even WHAT you steal… What matters is what you do with it. Between the titles I mentioned earlier, what side of the coin does Rooster Teeth fall on? In my opinion, it falls into the second slot. Even in it’s worst season, RWBY’s use of Naruto and Soul Eater in it’s plot was one of it’s greatest aspects, especially since it managed to tie together a flowing narrative out of two very different shows. Ruby is nothing like Maka, Weiss’s tsundere beginning lead to some great development, Blake being a catgirl is a huge part of her personality and arc, and when you really look at Yang’s powers, they don’t really work in the same way Saiyan powers work. Putting a damper on things, however, is the dog, who could have been written out of the series entirely, and feels like he was only added in for the sake of being a reference, and to ‘casually’ remind the viewer that the writers do, in fact, watch and enjoy anime. Seriously, Zwei sucks.

The opening scene of volume 3, with Ruby visiting her mother’s cliff-grave, is quite possibly the best moment in the series. In addition to providing a nice, emotionally satisfying tribute to the recently departed Monty Oum, it gives Ruby a sense of vulnerability and relatability that she’d been sorely missing up until then, which makes her displays of courage and strength in the latter half of the volume feel so, so much more emotionally resonant. She feels more like a main character by the end of the volume, especially after she survives her little Evangelion climax moment, which just makes you want to learn more about her as a character. And yes, the Evangelion plot that Red vs. Blue stole was a HUGE improvement over Evangelion, and not just because Tex and Carolina are way more awesome than Rei and Shinji. It also elevated the series to brand new heights in terms of plot and enriching the lore at the same time.

So in conclusion, Oscar Wilde was right, but… Just not all the time. It’s entirely possible for an unoriginal anime to feel like a cheap imitation, but at the same time, it’s also possible for the anime in question to ultimately surpass the material that it’s ideas came from, or for it to just reimagine, subvert or deconstruct those ideas and breathe new life into them. Harkening back to Red vs. Blue, remember it’s opening joke? “You ever wonder why we’re here?” That was stolen from the Monty Python movie The Meaning of Life, and yet Red vs. Blue ironically gave it a meaning and life of it’s own. That’s because Rooster Teeth, for it’s many failings, has always been really good at this.

Well, for the most part.

Screw that dog.  

Hey guys, Naru here, and like many of you, I just finished watching the newly released trailer for the next DC Uiverse animated movie, The Judas Contract. As you may remember, when I talked about Teen Titans last year, I had a lot to say about The Judas Contract and the way the original series handled the Terra storyline, and while I don’t take any of it back, I do feel that there was a lot that I left unsaid, both in regards to the series, the storyline, and even about Teen Titans Go, weirdly enough. As it happens, I also had a spot for the month of february that was still vacant, and while I was thinking about filling it with something from my stockpile of material, the trailer for Judas gave me a much better idea… Instead, I should take advantage of this opportunity by going into my further thoughts on these subjects. This won’t be a structured review, and I really have no plan in mind for any of it, so let’s get crackin’ and see what happens.

I was fairly young when Teen Titans came out, and I had little to no history of reading comic books, so at the time, I had no idea Terra was anything but an original character made up for the cartoon. I liked her design, and thought she was kind of cute in the “Pretty blonde girl with a troubled family life” kind of way, you know, the kind of character one of the Fanning girls would be typecast as. I thought her powers were kind of cool, and I liked the idea that they were adding a new character to the series, but even then, the teenage Naru cringed over how lame and badly written the episode was. That’s not to say it was unsalvageable, and it certainly held enough iconic status to keep it interesting, but if Betrayal hadn’t made my Top Ten Worst episodes list, this one would have slid into the number 10 slot, if for no other reason than the opening segment alone, where Terra encounters the titans after kiting a giant scorpion, and Slade just randomly appears on the scene to speak to literally nobody.

I didn’t initially hate Terra. Even now, she’s never really inspired that much ire from me. I just really hated, both then and moreso now, how hipster her character was. She was written to be the early 2000’s cool girl, the mysterious chick who blows in out of nowhere, crashes on your coach, enjoys your company but never makes any long term connections, and then just leaves. I remember even then thinking “How the hell does she keep herself fed?” And while you could theorize that she sleeps around for sustenance, that would make more sense in the comic than in the cartoon. She’s with the titans too briefly to really build a relationship that makes their offer to bring her in as a team member believable, as she wasn’t the first hero friend they’d made, and the offer never really came up before. Also, how come they had a training course that seemed specifically designed for her powers? I know it wasn’t, but if they brought Aqualad in, and his first challenge was a water course, I’d like to see him try a few more challenges first.

And we all know what happens from there… Slade knows Terra in some way that’s never really explained, Slade’s defeated, and some silly misunderstanding sends her straight into his arms. I really don’t get that. If you’ve got the choice between fighting for good and fighting for evil, I could see the appeal of either side, but your choice of sides should have more influencing it than just “He talked about me behind my back!” Yeah, I got approached by The Jedi, and they seemed really cool, but one of them made a snide comment, so Execute Order 66 on their asses! Kill them all, except ironically for the one who made the comment, I’ll spare that dude, he seemed on the level! And then she runs away, not noticing that Slade’s got some kind of camera flying right alongside her. I mean, how else does his monitor have her at that angle? Whatever. It’s not the worst episode, but combine all of those issues with the show’s weird pseudo-anime sight gags, and it came pretty close to being one of them.

This would be followed by Titan Rising and Betrayal, which I’ve talked about at length, as they were respectively among my favorite and least favorite episodes. After them, we’d get the finale, where Slade and Terra’s plans went into motion, and aside from a few hiccups here and there, I thought those episodes were okay. They had a lot of ground to make up for after that piece of shit Betrayal episode, but I think they did a fine job of it. I don’t remember being too sad when Terra got frozen, although I could be wrong since it’s been over ten years since I first saw the episode, but considering they couldn’t kill anybody in a kids show, it wasn’t the worst way to take her out. Having said that, my lack of an emotional connection to Terra wasn’t the only reason that the final episode Things Change didn’t really bother me. Actually, if there was ever an episode that I wish I’d talked about at some point in my last two Teen Titans posts, it’s that one. I still don’t really love or hate the episode, but it feels like kind of an important one, or at least too important to be left undiscussed.

People get so passionate on both sides about this episode, with some claiming that it cheapens one of the most emotionally intense moment of the series for no good reason(a complaint that I would argue holds more truth with Red Star), and others claiming that logic aside, it’s the right kind of respectfully nostalgic note to hit for a beloved show that was about to end. I personally hated how Terra’s status was never confirmed or explained, and that bringing her back without making any effort to explain how was just plain lazy. That is, I DID think that, up until I read a fan theory on the episode. It stated that, much like the series itself, Terra was brought back in an incomplete way thanks to the Trigon saga. The theory goes on to state that when Trigon’s power turned the people of the world to stone, and Raven’s power turned everyone back, she may have unknowingly did so to Terra, to. Terra, like the rest of the world, was revived from stone, the difference being that she’d been petrified for so long that she’d lost her memories as a result. Actually kind of makes sense, doesn’t it?

And yet, if I’m being completely honest with you guys… With 100 percent brutal sincerity, no filters, no consideration for anyone else’s feelings… I liked Terra better in Teen Titans Go. Now, that’s not an endorsement of Go… I’d never try to tell you to watch that cesspool of shit… No, you know what? This has to be said. Teen Titans Go was a good idea. Conceptually, there was nothing wrong with it. The original cartoon was great, and it can never be replicated or undone, but if you’re going to reboot it for modern times, it could never have happened in the 2010s. I’m not sure it would have been allowed to exist in today’s market, the way Cartoon Network’s going. On the other hand, a chibi style comedy show with the original voice actors reprising their roles was a great idea. The execution was bad, because the people writing it clearly don’t give a shit and can’t take criticism, and throw out the most insulting excuses to avoid putting forth any effort, but it could have been awesome. It didn’t have to suck.

There have been several Teen Titans Go segments that I liked, although I’m mostly referring to self-contained bite-size Youtube clips, and not to entire episodes. But if there have been any episodes that I was able to enjoy from start to finish, it was the Terra episodes. Well, okay, the double dating one wasn’t very good, but I’d still rather watch that over Betrayal. I’ve said before that while a Judas contract adaptation doesn’t have to be faithful, your best bet is to either write her as 100 percent hero or 100 percent villain. You can TRY to write a deep and complex arc for her character, but look at how the original cartoon fucked THAT up. I loved Titan Rising for just pretending to write her as a straight up hero, and to take things one step farther, Teen Titans Go writes her as a full villain, going all the way in with it. And here’s the best part; Since the Toddler Titans are fucking idiots, she doesn’t even have to be that threatening about it! Her character was consistent, her motives were clear, and she just over-all made sense. The connections to Slade were removed from her, but considering the tone she struck in this rendition, that’s probably for the best. She was just a mercenary who wanted to sell the Titans secrets, then she wanted revenge on them for banishing her to the dimension where they threw away their garbage. It was funny, and it worked.

So where does that leave the upcoming movie? Well, the Justice League vs. Teen Titans movie was awesome, so I have high hopes. That movie did what Batman vs. Superman failed to do… It managed to tie in a Justice League side story with one of the most intimidating and high profile villains of the main characters’ lineup, and it all gelled together with mixed to positive results. But then again, they also did The Killing joke, so it’s fair to say that Filler is not their forte. And with the lineup that the first Teen Titans movie from the DC animated Universe has set us up with, there’s gonna have to be some filler in this puppy. Now of course, that might not be the case… The Judas Contract was quite a bit longer than the Killing Joke comic, and as long as they go into Deathstroke’s backstory, they really shouldn’t be hurting for content. And more good news, it looks like he’s in it! Part of the job’s already done! But it’s the lack of Wondergirl, Kid Flash and the original robin that I find disconcerting.

See, here’s the most important thing about The Judas Contract… Timing. It happened at the perfect time. When Terra was introduced to the team, Kid flash was on his way out, Robin was transitioning to Nightwing, and Wondergirl was engaged to be married. It was a time of great change, and a major turning point for the status quo, which made her intro feel all the more natural. It’s at times like that when you WANT new characters to enter the story and fill in for the old ones. That’s why her betrayal felt like such an intense slap in the face to both readers and the cast alike. That’s not to say their removal from the story would hurt it’s over-all flow, or cut off any serious amount of screen time, but it will probably take some of the impact off of Terra’s turn. then again, since everyone who knows anything about the Titans KNOWS how treacherous she is, I doubt her betrayal is going to be a surprise for any fans anyway. Of course, it’s hard to tell what they’re going to do with her, because she’s barely in the trailer.

From what I can tell, it looks like they aged her up a bit, which could mean that they’re going ahead with making her Deathstroke’s lover girl, and they want to avoid all the ephebophilic ickines, and I’m okay with that. They might cover for the element of change that set up Terra’s character arc by having the otherwise inexplicably older Starfire and Cyborg try to move on from the team. The only Hang-up I’m having is that it feels too early. Say what you will about the new team, but we haven’t had enough time with them for Terra’s threat to really mean something to us. But then again, they pulled off Trigon, so I guess we’ll see how it goes. Either way, it’s going to be different, and different doesn’t necessarily mean bad. It’s a matter of execution, not accuracy. I liked what they did with the last movie, and for the love of God, I even liked what Teen Titans Go did with her character. If you can’t make an adaptation the same, for whatever reason, you shouldn’t force it, and you should find a new way to present the material that will work. And while they’re at it, they should make an adaptation of Hush already! I’ve waited too damn long for it!

Before we begin, here’s a trade secret:  I like to have my work done far in advance, sometimes weeks, sometimes months.  As far as this post goes, this paragraph is the only part that wasn’t written in December.  I’m writing it day of, which is normally when I’d edit my posts.  No, I’m adding this section in to acknowledge that I finally caught up with RWBY yesterday, and spoiler alert, Qrow tells a story that conflicts with what I wrote here.  It’s some story about two Gods, one in control of day and the other in control of night, and the one in control of night gets jealous, and MY LITTLE PONY RIP-OFF.  How does this figure into my theory?  I don’t freaking know, but it’s probably a heavily metaphorical story that isn’t meant to be taken literally, so whatever.  I’m not changing my theory for anything.

Here we go!

Perhaps the most amazing thing about me having a RWBY fan theory is the fact that I’ve become enough of a fan to have a theory. And this isn’t something new, either… Way back in my review of the first season, when I still thought it was steaming garbage, I did mention that something seemed fishy about the intro. They mentioned that humanity was born into a cold, uncaring world, and the race called Grimm wanted us dead for no other reason than the fact that we existed. I said, and this was years ago, mind you, that there had to be more to the situation than we were being told, and it was incredibly likely that we weren’t just an innocent party at the whims of a beast bent on driving us to extinction. We did something to deserve it. We had to have. It was the only explanation that made sense. I mean, otherwise, wouldn’t they want to keep us a live as a long-term food source? The evolutionary drive to eat when hungry is what drives the survival of all Earth’s creatures, way moreso than murderous rage.

Today, a few years later, I’ve come up with a theory that explains not only that, but several other details that have bugged me for a while. Of course, you’ll have to take this theory with a grain of salt, as it’s mostly just me firing from the hip and imagining a scenario that adds logic and reason to a series that’s based around neither, and since RWBY hasn’t really specified a lot about it’s past outside of it’s folk lore, I didn’t have much to work with. Having said all that, let’s start by going through my theorized history of Remnant.

In the not-too-distant future, Mankind realizes that a large meteor covered in strange material is heading for Earth. Hoping to guarantee the survival of the species, we take our brightest minds, including our scientists, our medical researchers, our historians, etc. The meteor hits, and we come back down to the ground a few centuries later, looking to repopulate the landscape. We quickly notice that the strange material on the meteor was a sort of dust containing magical reality-altering properties, such as the fact that the moon, which it collided with on the way to Earth, somehow hasn’t collapsed back in on itself via the force of gravity, and still exists in a field of floating shards. As far as life goes, only limited sea life has survived, so we set out to terraform and colonize what livable land is left.

We attempt to use cloning technology to turn our ancient animal DNA samples into living creatures, but we get nowhere, until a brilliant scientist has an idea; She theorizes that with the magical properties of the meteor’s dust, the process can be pulled off successfully! With the help of her assistant, she attempts to clone these animals while infusing their DNA with dust, but in doing so, she accidentily creates The Grimm. They bear the appearance of classic Earth fauna, with one distinct difference… A deep, seething hatred for their human creators. After it’s been decided that the hundreds of Grimm species are to be terminated, the scientist exposes herself to raw dust in protest, becoming a human/Grimm hybrid herself… She releases them into the wild, where mankind’s attempts to recreate native plantlife has actually flourished, and becomes the queen of her own creations: Salem. Her assistant, Ozpin, would work to uncover a way to filter dust so it can be used with much safer results.

For example, the dust gives Oz immortal life, with the power to move his soul into new bodies upon his death. This power would keep him alive long enough to try and recreate the animal kingdom again, this time using voluntary human subjects in the mix. In doing so, he creates Faunus, a race of animal-human hybrids that are treated with respect and curiosity at first, but before long are ostracized from humanity by sentiments of racism and ownership. They eventually rebel, forming their own coalition and eventually their own societies. Over the next few centuries, the history of pre-meteor Earth continues to be taught, humans and Grimm both expand to colonize the livable land, and the origins of Faunus and Grimm become lost in time, a legend and eventually a myth remembered only by Ozpin and Salem, the only survivors of the humans who came down to Earth so long ago. Over time, Dust use would become more sophisticated. People would learn strange powers from it, that would eventually get absorbed into their very DNA and to their descendants.

Now, that sounded kind of cool, didn’t it? Screw you, I liked it. But yeah, here’s the evidence I have to support my theory.

1: In the first episode of season 2, Ruby makes direct references to Lincoln, Nixon and King Jr, which would only be possible if the people of Remnant were aware of American political history. This points to our universes being directly connected.

2: Throughout the series, I can’t remember seeing any live animals aside from Grimm, and crows that we know people can turn into. However, Grimm are obviously based on Earth animals.

3: There’s a swordfish and chickens on the table in the food fight scenes, but they’re likely fake, as the chickens are tough enough to be used as boxing gloves, and the swordfish is as stiff as a board and hasn’t been cooked, prepared or eaten, meaning that it’s likely a decorative centerpiece.

4: The other exception is Ruby’s dog Zwei, but since he’s able to freely shapeshift and survive a lengthy trip in a tube without food and water, it’s unlikely that he’s a natural pooch. He’s more likely a biological weapon, engineered to look like a dog.

5: The natural evolution of Faunus makes no sense. There’s no Darwinian advantage to people developing normal human bodies, complemented by random animal parts. This is especially true for horns and antlers, which if used at all, would likely break the user’s neck.

6: At the very least, there’s evidence of man controlling the ecosystem and plantlife. This comes in the from of The Forest of Forever Fall, whose name implies that it’s a wooded area that experiences autumn all year long. This could not possibly have happened naturally, as it implies the trees are constantly growing new leaves just to immediately drop them to the forest floor. Likely, this ecosystem is artificially sustained to keep tree sap, and thus maple syrup, in season all year long.

7: You could site the Grimm’s beef with mankind as a result of Salem mind-controlling them, but if that were the case, the mammoth ones wouldn’t be so docile.

When I was a child, Halloween was one of my favorite holidays of the year.  The anticipation I felt as October sluggishly passed me by could only be surpassed by the days leading up to Christmas.  My brother and I would wear fun costumes every year, which my mother and grandmother would spend weeks making for us.  We’d be Ninja Turtles, Power Rangers, Hulk and Macho Man, and once, even cheap-ass ghosts, just because we wanted to.  We would go out onto our street, and several neighboring streets, with our parents right by our side the entire way, going from door to door to ask for whatever goodies those doors had waiting behind them.  Then we’d go home, way past our bed times, throw out any candy that didn’t have air-tight packages, and go to bed with smiles on our faces.

It’s different nowadays.  People take their kids out early in the afternoon, and get home before six.  And that’s if they even Trick-or-Treat at all.  Some people actually invented Trunk-or-Treating, which is by all accounts a shameful bastardization of what’s supposed to be a fun and adventurous tradition.  For those of you who haven’t heard of it, a group of parents who all know and trust each other take their kids to a parking lot in the middle of the day, in costume, and have them Trick-or-Treat out of the trunks of their cars.  They’ve boiled Halloween down to it’s basest elements:  Candy and costumes.  It’s safe, it’s contained, it’s completely sterile, and they do it out of fear.  Fear of the psychotic villain lurking behind every stranger’s door.  The kind that’ll inject poison or drugs into candy just to get his jollies off.  And by fear, of course, I mean paranoia.  Because this kind of person doesn’t exist outside of bad movies.

In the…  I don’t know, maybe ten years that I consciously trick-or-treated, I was never poisoned.  There were no razor blades.  You know why?  Because that kind of threat doesn’t actually exist.  Going back historically, there have only been a handful of instances of tampered Halloween treats.  There were metal shavings in Pokemon Lollipops, and that got traced back to the manufacturer in China.  There was the man who put rat poison in his son’s pixie stick so he could kill him and collect the insurance money, and then poisoned the neighboring kids solely so he could cover up the crime.  Unsuccessfully, of course.  There was the little boy who found his uncle’s stash of heroin, ate some, and died, so the parents sprinkled heroin on his candy to try and cover up his Uncle’s guilt.  There have been a few other cases, but almost none of them were proven to be legitimately random acts of evil.

By the way, the whole razor blade thing is also a myth, in addition to being flat-out impossible.  I guess you could bake one into a brownie, but if you were to try and stick one into an apple or a candy bar, chances are your intended victim would notice that his treat sports a suspicious looking entrance wound.  So there’s no razor blade danger from Trick-or-Treating.  Bake sales, on the other hand…

So people, don’t buy into this baseless millennial paranoia.  Take your kids out Trick-or-Treating next week, and let them have the fun time that you remember having as a kid.  Keep them out past their bed times.  Let them interact and mingle with other costumed kids that they haven’t met yet.  Let them go to strangers’ houses, and of course, stay with them and keep an eye on them the entire time.  An activity like this can easily be safe and structured without being isolated.  And if it makes you feel better, check their candy afterwards.

Don’t let this time-honored tradition be destroyed and bastardized by paranoia.

Your children, like you before them, deserve better than that.

Also, I’m sorry this was such a short post, but it felt like something I needed to say, and I didn’t want to lose anybody’s attention.  I had a review scheduled for this slot, but don’t worry, I’ve moved it to November, so you can enjoy it then.

Happy Halloween!

Hello, and welcome to the Fullmetal Narcissist anime blog! It’s October now… I mean, this is literally the first of October… And it’s time once again to delve into the horror genre, where everything is spooky, festive, and fake. I’d normally open a month like this with a review, but this time around, I felt like I had a much better note to begin on. Specifically, there’s a question that’s been bothering me for about four years now… Are the Hotel Transylvania movies any good?

I originally saw the first one while it was still in theaters. It looked really lame from the trailers, and it didn’t have a very impressive Rotten Tomatoes score, but I had heard from a few trusted sources that despite all that, it was actually a very funny, beautifully animated, even heart-felt movie. I went to check it out, because I was kind of loose about going to the theater back in 2012, and I was pleasantly surprised by how much I enjoyed it. I laughed constantly, I connected with a few of the characters and their dilemmas, and I left the theater in a generally good mood… And yet I didn’t feel that the low critical scores were wrong. I personally believe that every critic should learn how to separate their personal taste from their professional taste, and I was definitely feeling this movie as a sort of guilty pleasure.

Fast forward three years, the sequel hit theaters, and I didn’t go, because the first movie was no longer fresh in my mind, and I just wasn’t really feeling it. Yet, the movie DID come out on DVD, and I rented it from Redbox, surprisingly enjoying it as well, even as my feelings for it became a bit complicated. I knew it was a step up in terms of story and plot, which is a good thing for a sequel to do, but there were so many little problems gnawing away at me that I couldn’t believe it actually had a better rotten tomatoes score than it’s predecessor… I couldn’t help but feel that it deserved more of a 26 percent, and keep in mind, that’s for a movie I LIKED. What’s the deal with these weird feelings? Why should I feel so conflicted over a pair of movies that sport such simple ideas and concepts? To answer that question once and for all, I’ve decided to rewatch both movies, and decide once and for all what I think of them. And hey, since this is the season of spooking, you should watch them too. I mean, I am going into heavy spoilers, so yeah, if you haven’t seen them, stop reading for a few hours and check them out before coming back.

To start, let’s take a look at what I like the most about these movies. But before that, I’m going to have to apologize to a few people… Christopher Lee, Bela Lugosi, Gary Oldman, Jouji Nakata, Crispin Freeman, and Gerard ButHAH! Yeah right. Fuck Gerard Butler. I need to apologize to everyone else because Adam Sandler… Yes, THE Adam Sandler, the one who made Jack and Jill, I Now Pronounce You Chuck and Larry, Pixels, and the Ridiculous 6, is my favorite Dracula actor. Now, to be fair, I’ve always known Adam Sandler to be more talented than people give him credit for. He has great acting skills as well as lyrical talent and a superb singing voice. When he’s given total control of a project, which happens far too often, he takes the easiest way out, making for dumb, rushed films where he only casts his friends so they can get a paid vacation together. When he’s forced to work under other people, and he actually tries, that’s when magic can finally start to happen.

Sandler shared cowriting duties with Robert Smigel, the mind behind a whole line of SNL animated skits and the ever-popular Triumph the Insult Comic Dog, and he’s probably the reason this movie is as funny as it is. The directorial duties were handled by Genndy Tartakovsky, an animation heavyweight who’s so beloved and respected that his work inspired two separate anime… Powerpuff Girls Z and Panty and Stocking. With these two names attached to the project, even Adam Sandler couldn’t fuck it up. I’ve heard some critics complain that Sandler’s Dracula is yet another generic Sandler character… A misunderstood loser with no real flaws who learns his lesson far too quickly. I can’t help but disagree in this case. In this movie, Dracula is portrayed as a retired monster, now living as a family man with a deep fear of the outside world and a delusion of responsibility to keep his only child safe and protected by any means necessary. He does bad things… VERY bad things, really… But it’s hard to hate him for any of it because, according to his own experiences, he has good reasons to act the way he does.

And he does have noticeable flaws. He’s selfish and set in his ways to the point of near delusion. He will ignore an entire room full of unhappy people if things are going his way, and while those moments may have been played for laughs, he is absorbed in the reality he’s constructed for his daughter, and can’t handle the idea of it ending. Even when he gets over his fears and allows his daughter to choose her own life, he’s still threatened by change, and the possibility that she’ll leave the vampire life behind… And him with it. Aside from being a vampire, this is the most human portrayal of Dracula that I’ve ever seen, and relatable as all hell to anyone who’s ever had a kid or made the effort to understand their own parents. His fear about his grandchild turning out to be a human mirrors this perfectly, because every parent and grandparent alike has expectations about how their legacy will play out, and anxiety about it not going the way they want. How many parents out there freak out at the possibility of their kids turning out gay, or the wrong political party? In the world of this movie, human vs. vampire is the perfect metaphor for these fears in the development of an impressionable child.

Not only is he a great character in his own right, but by painting him as an older, retired version of the popular character, these movies were able to paint his fellow monsters and long time friends in the same way, which helped them all to act as adequate support for his character, as well as carrying distinct personalities and jokes of their own. The cast of Grown-Ups CAN be funny with the right writing, apparently, although swapping out Rob Schneider for Steve Buscemi probably helped. Out of Frankenstein, The Wolfman, The Invisible Man, and The Mummy, none of these characters are there for token reasons… None of them are wasted, with the possible exception of The Blob in the sequel. The script takes advantage of every possible joke it can, with these monsters, with random monsters sprinkled throughout the film, and especially with Dracula and the long history of vampire lore. I can’t stress this enough… There’s a fart joke in here that’s funny enough to earn TWO genuine laughs, as it utilizes these characters so perfectly.

Of course, for all the great character writing, there are going to be a few exceptions. Unfortunately, they concern the second and third most important characters in the story, Mavis and Jonathan. I don’t want to say they’re unlikeable… Well, maybe Jonathan about half the time… But there’s just so little character TO them. They’re more plot devices than people. Mavis is a girl who’s been cooped up all her life and wants a taste of the outside world. Jonathan’s a free spirited transient who just happened upon the hotel by accident. Beyond those descriptions, there is nothing you can say about them that doesn’t have something to do with Dracula and what they are to him. The most interesting thing you can say about Jonathan is that he’s the combination of Olaf from Frozen and the three main characters of Quack Pack. He’s Robin Williams, being the perfect guy to shake up the establishment and make everyone’s lives better by being obnoxiously hip and bringing about the most obvious changes. I guess a great relationship between the two could help to save them, but I’m sorry, that whole Zing thing is just the lazy ‘love at first sight’ trope with a bullshit gimmick attached to it, which is supposed to cover up the fact that Mavis would have fallen for ANY laid back human that wandered into the hotel by accident.

Mavis does get more character under her in the sequel, although she also gets painted as WAY more gullible, too. We get to see her out of her element, which sets her up for some outstanding jokes that are completely independent of her father… She’s given her own arc, she’s given her own issue, even if Jonathan’s been reduced to just being along for the ride. Hey, he’s less annoying, so I’ll take it. The problem is that while Mavis’s role may have been beefed up, there’s another character who gets an even worse treatment… Vlad, Dracula’s father. Now, right off the bat(hahah), he creates a problem in terms of continuity… In the first movie, racism against human was perfectly explained. Dracula was afraid of them for killing his wife, and everyone else feared them by listening to his accounts. But in the sequel, we have no idea what caused Vlad’s racism, and he claims to have raised Drac to hate humans. The death of his wife is barely mentioned, when it was a strong plot point of the first movie. In addition, his gargoyle henchman feel like cheaply tacked-on villains, and he overcomes his prejudices way too fast just because his kid and granddaughter stood up to him once each. Bull. Shit.

This brings up two more important points… First of all, on the subject of continuity errors, there are a ton of them in the second movie. Remember when Murray the mummy was introduced in movie 1, riding a wave of sand into the hotel? Well, in this one, he’s suddenly too old to produce much sand without doing a dance that goes on for way too long to be funny and breaking his back and only producing a tiny pile. Remember when Wayne ate an entire flock of sheep? Well now, he thinks the idea of eating one little deer is too much trouble. Remember how vampires didn’t show in mirrors in the first movie, and are then shown to not show up in pictures right in the beginning of the second movie? Not only do they facetime each other throughout the second movie, Mavis is even captured on a convenience store security camera! That’s so lazy that it not only disregards the first movie, but the beginning of it’s OWN movie as well! And let’s not forget Dracula’s glare suddenly working now, after being blocked by contacts in the first movie. I could go on and on about this, but let’s get to the second point…

These movies do not know how to end. That’s probably my biggest problem with both of them. They promise some pretty deep commentary on the trials of parenting, but these themes are executed terribly. The plot is easily the weakest element of the first movie, and while I don’t know how I would have had Dracula overcome his fear of humans, even I can tell that the whole Monster Fest scene was fucking stupid. On top of which, Mavis’s desire to leave the castle and see the world was dropped and replaced with emo boy drama, and the resolution… Which would have better involved her traveling the world and meeting new people… ends with her marrying the first boy she ‘fell in love at first sight’ with. Talk about one step forward, two steps back. But hey, now that she has a boy toy who wants to stay at the cool castle, Dracula doesn’t have to let her go! Oh, and the second movie was even worse. By having the kid turn out to be a vampire, you’re taking a message about accepting your children for who they are and ending it with “Don’t worry, as long as you’re accepting, your dreams for them will come true. Accepting the possibility of a gay kid is the best way to get a straight kid.”

Actually, I’m pretty sure the only reason the kid turned out to be a vampire was so nobody would move away from the hotel, and then the third movie could still be called Hotel Transylvania. It was all in the interest of preserving the status quo. Honestly, I felt really proud of Drac when he realized he was wrong and caught Dennis from falling, but nope, he’s still a vampire. I don’t know about you, but I was hoping for something more bold… If, after Mavis stood up to Vlad, the old fogie had brought up the important element of vampire romances that Hotel Transylvania had spent two movies avoiding… Mortality. Johnathan will grow old and die, while Mavis and Dennis wouldn’t. If there was any tangible reason for Vlad to oppose their union, that would be it. And then Dennis would turn out to be human, so at Mavis’s request, Vlad would use his ancient magic to turn her human. Hell, after she left, Drac could have demanded the same treatment, moved to California with his daughter, and left the hotel in the hands of his friends. Wouldn’t it be awesome to see Dracula and Mavis, as humans, freaking out over the wonders of the human world together? Trying all the Slushy flavors together? But hey, who cares about consequences and hard decision when we have big dance numbers, because Shrek did it?

So, are these good movies? No, not really. Are they ANY good? Yeah, I think there’s some good in them. If nothing else, the only people who won’t enjoy them are the people who have expectations of them… People like me, who see hints of depth and thoughtfulness, are going to be disappointed with the over-all product. People who are just looking for comedy and outstanding animation will find it in spades, especially with the lightning fast, energetic pace of the first movie. The second movie is a lot more heavy on plot, which makes it’s failure all the more catastrophic, but it’s easy to set aside nit picking and laugh your ass off at the first movie, especially around this particular time of year. The humor is effective for both adults and children, and it does so without ever really being inappropriate, which alone makes it worthy of being praised. Opinions on the sequel may vary, although it does contain some harmful messages… Such as “Draculas are never ‘just friends…’ But I can highly and enthusiastically recommend watching the original Hotel Transylvania, either with your kids, your friends or yourself, as a special Halloween treat. Just, you know, go in with reasonable expectations.

I will never escape from this franchise, will I?

I’ve written, at this point, nine different pieces related in some major way to RWBY. That’s insane, but what’s even crazier is that this is going to be the tenth. This is also considering the few post ideas that I’ve dropped, like “The Top Ten Best Things About RWBY,” a post I was planning to make in order to sate some angry fans, but lost interest in back when I still hated the series. Now that I’m a legitimate fan, as well as a proud owner of two RWBY action figures, my posts have generally gotten more positive, unless they were referring to the criminally unfunny Chibis series. And now I’m getting pulled back in again.

Keep in mind, this isn’t something I was planning to do. Not long after I wrote the Inconvenient Questions post for volume 2, I found I had a commenter on my volume 3 review chiding me for my opinions back when I reviewed the first two volumes. I agreed with him, and promised to CONSIDER writing this very post, with the provision that I’d have to get a certain set of other posts wrapped up first.  Well, they’re wrapped, which brings me back to this post.  Now, there’s a reason I’m going ahead with this idea; Because I rarely ever get requests, and I like to honor them when I do. Having said that, I was still a little hesitant with this one, but for the record, this post was requested by Serocco, and it’s going to focus on how my opinion has changed on the first two volumes of RWBY since the third one converted me into a fanboy… And how some of my opinions have stayed the same.

But first, there’s something I’ve never told you guys, and I feel as though it would be the perfect jumping off point for this topic. The first time I saw RWBY, way back when it was still new and all I knew about it was the hype, the creators and what the name stood for, I didn’t make it past the first episode. This is not an exaggeration. The writing was so bad that before the timer even ran out on episode 1, I was already turning it off and shuffling it over to some pile of shows I’d never feel enticed to touch again. Granted I DID come back after it exploded in popularity, but I’d like to share with you for a moment what made me drop it in the first place.

I don’t recall having a problem with the opening narration… Honestly, the first time around, I strangely can’t even remember there being narration… But I found myself having two major problems with the episode right off the bat. First of all, Ruby was listening to a CD near a music shelf, using a pair of sample headphones. What kind of store was this to even have those? Only music and entertainment stores have those, and not all of them, so I found it a little hard to believe a pair would exist inside of a tiny little dust shop.

As for my second problem? Well, let’s break this down. Torchwik said, as clearly as daylight, that they were there for dust, and not for money. All they were going to do was empty the dust dispensers, and their job would be done. However, one of his henchmen abandoned his job and tried to rob Ruby… For what? Did he really think she’d have enough dust on her to justify him leaving his station? He approached her, and she did the cliche of a deceptively powerful character smirking over the fact that they’re abut to be challenged by a lesser being… See Mindy’s final scene from Kick-Ass as a quick example… and she started kicking ass.

Here’s the problem… He had no reason to bother her, and yet by doing so, he alerted her to a crime she likely wouldn’t have known about otherwise. If he hadn’t done that, she wouldn’t have fought Roman, she wouldn’t have met Glinda, and she wouldn’t have skipped grades to attend Vale, meaning the school would have been doomed and Salem’s plans would have run a lot more smoothly. See, the true hero of Vale isn’t Ruby, it’s some random henchman who had ONE FUCKING JOB. Granted, back then, I didn’t know most of that, I just hated the fact that the henchman approaching Ruby made no freaking sense. Then I saw her in the interview, talking like she’d been written by a grown man(which is true, but there should be more of an illusion), and eating cookies that disappeared the second they hit her mouth, and I was done. That’s where I cut off. The animation did nothing for me, and the writing was maddeningly bad.

My first time, I dropped the series before Ruby could even finish her cookies.

In any case, my opinion on the writing hasn’t changed. The dialogue in RWBY volume 1 is still terrible. It’s full of unfunny jokes(“I drink milk”), phrasings that sound like an adult male with no idea how girls actually talk came up with them(“My dearest sister Yang…”), awkward phrases that no human being would naturally use(“You’re discriminatory”), and ad-libs that the director really shouldn’t have allowed past the recording(“She does love Tuna a lot”). It can honestly get cringeworthy at times. Even after being converted into a fan, the only laughs that volume 1 can get out of me are from some of Ruby and Weiss’s interactions, like the ‘girl who exploded’ running gag, Ruby questioning Weiss’s abilities right before getting launched into the Nevermore, and of course, “It’s a combat skirt.”

But one thing my opinion HAS changed on is the characters. I still hold to the idea that Yang was defined primarily as “Ruby’s big sister” during this volume, but there was more depth given to Weiss and Blake… Well, kind of. Weiss was given two arcs, one with Ruby and one with Blake, while Blake had her own at the end of the series, and you do learn a lot about the two of them through the two arcs… Unfortunately, these arcs, along with Jaune’s, that tried to deal with issues like ego, teamwork, bullying, racism and even race relations, were handled with all the depth and nuance of an Arthur episode, and they all ended fairly easily… One of them through an immediate talking-to with teachers, and the other two after fight scenes. Considering the issues being raised, I can’t help asking… Is that it? Ruby and Weiss are going to patch things up this quickly? Carden’s just going to forget the info he has on Jaune? What changed Weiss’s mind about Blake since the last time we saw her?

And yeah, I hate to say it, but compared to the first half, the second half of the volume is kind of boring.

But the characters ARE better developed and presented than I remember, which is the entire point. I appreciate how, in the fight scene against the Nevermore and Death Stalker, the teams formed naturally around their eventual leaders, a detail I missed the first time around. I also take back everything I said about the character templates being randomly and haphazardly chosen. I get the themes, now. Team RWBY are based on fairy tale characters, Team JNPR are based on genderbent tragic heroes, and everyone important to Oz’s inner circle is based on a Wizard of Oz character. It makes more sense than I gave it credit for, and it actually works a lot better, too.

Having said that, a jump from a 2/10 to a 4/10 isn’t a big one, and I still consider volume 1 to be, well, bad. Maybe not AS bad as I first stated, but… Bad.

As for volume 2… Well, I wish I had as much to say about it as I did about volume 1, but I really don’t. A lot of the differences are the same, just at a better ratio. It still has lame jokes and bad dialogue, but not nearly as much. The story is a lot more streamlined and the tone is a lot more consistent, and there’s a bunch of character development that slipped under my radar. I think the biggest problem with my Vol. 2 review is that I only watched the volume once before reviewing it, despite having seen vol. 1 about three times. Also, I’m going to be chastised again for this, but I saw both without watching the trailers, thus I was going into all four characters without the proper introductions. This is primarily the reason that I saw the development between Yang and Blake as abrupt and cloying, when it was actually very well set up. I still hold to everything I said about that stupid dog, and while I appreciated him having a reduced role in volume 3, it took Chibis to make me actually like Zwei. Volume 2 is… Okay. It’s okay. I still don’t enjoy the foodfight on many, many levels, but after a rough first few episodes, it does come into it’s own really well.

Also, I kind of hesitate to say this, but as talented and amazing as they are now, Lindsey Jones and Barbara Dunkleman kind of sucked in volume 1. I’m not just talking about all of Lindsey’s unfortunate ad-libbing, but just as actors, they didn’t really seem to know what they were doing in this volume. But hey, like I said, they get a lot better in volumes 2 and 3. And I guess that’s it. I bit my tongue about Monty Oum, especially since I’ve said all I can say about him in part 1, and since I watched both of these volumes on Netflix(during a rare moment of good internet reception on my PS4), I don’t know anything that may have been said in the commentary tracks. So that’s really all there is to say about volumes 1 and 2, unless you have a specific question to ask me in the comments section.

But you know what? Fuck it. While I’m writing this thing anyway, let’s take a look at how RWBY Chibi’s coming along, 18 episodes in from when I reviewed it’s first two.

Well, in all fairness, this is supposed to be a comedy series, and humor is subjective. different people will find different things funny based on their own personal perspective, tastes, and standards. I can only really compare Rooster Teeth’s efforts to my own comedic sensibilities, which is unfortunate, because after 20 episodes, I’ve only laughed at about five percent of the clips I’ve seen. Am I a harsh critic? Am I hard to please? Maybe, but honestly, I just don’t think RWBY Chibi is very good.

I already reviewed the first two episodes, going as far as to go clip-by-clip with them, and a lot of what I said back then still stands… I don’t think Rooster Teeth has the comedic timing or style to pull off a proper Chibi show. While I’ll admit that the majority of the clips manage to fall somewhere on the middle of the spectrum between good and bad, with only a few very rare clips being pathetic or out of character enough to really be off-putting, most of the clips just feel like misfired ideas.

There are plenty of clips where you can figure out exactly what’s going to happen way too early on, making a long joke out of what could have been a short joke. There are plenty of jokes that don’t have satisfactory punchlines, others that drag on too long, and some that are just downright confusing. There are some more interesting failures, like in episode 5, when characters address the early flaws in the series, with Blake acknowledging the fact that she has four ears or Team RWBY noticing the stock shadow people walking around, that probably would have been funny if they’d been made a year or two ago.

There were a few funny clips sprinkled throughout, but even more impressive are the two episodes that I feel stand out from the others… Episode 6 was consistently funny, as it created a great conclusion to the “Blake being scared of Zwei” running gag, a clip about Ruby’s cape that probably would have been funnier if the three segments were rearranged for the sake of escalation(Ruby getting hanged should have come last), Blake and her books putting on a classic gag with a surprisingly deft use of timing, and finally, the triumphant return of Pyrrha, which would have been awesome enough if Nora hadn’t stolen the show and made something especially memorable out of it.

The other one, episode 12, starts out by introducing the Junior Detectives clips(which, as far as I’m concerned, have ALL turned out to be funny), and poor Jaune does his best butt-monkeying in this one. It concludes with what may be the most sophisticated clip in the entire series, Ruby’s take on Little Red Riding Hood, which features Ruby, Zwei, Blake and Yang firing on all cylinders for what I consider to be Chibi’s crowning achievement. I can watch it over and over and still laugh at Blake’s indignation at Ruby’s exploitation of her, and especially at Yang’s eagerness to steal the show any way she can. Professor Mustache’s cameo was also really unexpected.

Also, I have to give a shout-out to the painting vignette in episode 10. Unfortunately, it was paired with a love triangle-ish clip that was really only amusing the first time through.

So, over-all, RWBY Chibi isn’t the worst thing ever, but it’s hard for me to find value in a comedy series that’s about 95 percent ineffective to me. There’ve been a handful of great clips, and two great episodes, and the animation’s really spot-on… Even though I feel flash would have worked better… And it did get me to admit to the potential value of Zwei. So I can’t write it off entirely.

Well, now, is there anything left to say? Yeah, I guess there is, in regards to volume 4. I don’t want to watch ti episode by episode. I want to watch it all at once when it hits DVD. The problem with that is, I hang out in a lot of anime loving circles, and RWBY is of course insanely popular with the anime community, so watching along with the releases is probably the best way to avoid being spoiled. I don’t know, we’ll see what happens. I’ve made it this far without watching the new season of Red vs. blue, but not well enough to avoid hearing that Caboose and Grif’s sister are both (spoiler) Freelancers.

I don’t know, time will tell.

And speaking of time, guess what time it is? Starting next week, it’s going to be Otakutober, the month of anime horror! I’ve got some special material for you, including an awesome guest post, so get your hopes up good and high for my next five releases!

As you may have noticed from the years of my life that I’ve wasted on this blog, I’m a huge fan of Anime. But what you might not know is that I’m also a huge fan of western animation, and have been ever since my parents raised me on Disney films as a child. Some of the cartoons I grew up on and remember the most fondly are Batman the Animated Series, Tiny Toon Adventures, The Looney Toons, Sonic Sat Am, and the entire Disney Afternoon line-up. Add to that assorted titles from Nickelodeon and Cartoon Network, and you’ve got a long, rich history with the medium. On a more recent note, I’ve gotten into Daria, Star vs. The Forces of Evil, Gravity Falls and Roughneck: Starship Troopers, I was a Brony from 2011 to 2013, and I’m planning to watch Over the Garden Wall sometime very soon.

So yes, I’ve enjoyed healthy amounts of both western and eastern animation, but I’ve always considered my self an Anime fan first, and a cartoon fan second. I may binge watch an old cartoon if I have the time to do so, but my primary love is Anime, and cartoons will always take a back seat to it. Unfortunately, there seems to be a very vocal minority among the Anime fanbase that takes great offense to that separation. See, if you’re a fan of both Anime and western cartoons long enough, you’re bound to run into a very sensitive topic that, at the wrong move, can turn into a lengthy, heated debate. Should western animation be considered Anime, and if so, what criteria should be used in choosing? Now if you’ve spent more than five minutes in this debate, you’ll know just how intricate and complicated it can get, as there are many arguments both for and against this topic. Well, today, I’ve decided to figure out once and for all what the correct answer is, if there even is one to figure out. So sit back, prepare your angry comments, and take a journey with me through a topic that I wouldn’t even bother with if I had a girlfriend!

To start, I should probably explain how I’m going to approach this topic… On the side of calling cartoons Anime, there are two kinds of arguments; First, there are the practical arguments that one might make when defending an individual series, and to be fair, these actually do make a little bit of sense, so I’m going to be fair to these. But after that, we have the impractical arguments, which will pop up either as an ultimate last defense when all other points have been taken down, or for the more passionate debaters out there, they’re usually the first lines thrown out, and preached about as hard as Biblical canon. For this analysis, I’m going to start by going over some of the more practical arguments, and for an example of each one, I’ll be calling upon three specific cartoons that have become notorious for blurring cultural lines. We’ll get to the muckier arguments afterwards, and by that point, I’ll probably have my boxing gloves out.

I’m not sure when the debate over the definition of the word “Anime” first started, but you can make a definite case for Teen Titans being one of the earliest examples. There have been subtle Anime influences on American cartoons throughout time, but Teen Titans was the first to regularly use(and overuse) cliched Anime facial expressions, like upturned eyes, sweatdrops, headache lines, snot bubbles, etc. There was some nuance to this, as it became one of the major criticisms of the series, but it also brought up our first argument… Should a cartoon be called an Anime if it uses anime-like expressions? Anime fans are used to these expressions, and to see them used on a stateside property does give it a familiar feel for us. Well, to answer that question, let me ask another one…

If a white man were to wear a sombrero and drink Tequila, would you consider him Mexican? No, you wouldn’t. Underneath that sombrero and the litres of chalk-tasting Jose Cuervo, he’s still a white man, who’s simply chosen to adorn himself in the barest essentials that are stereotypically associated with Mexican people. The same kind of idea applies to Teen Titans, who took what can arguably be called not Anime cliches, but full on Anime stereotypes, to try and look like something that it barely tries to mimic in any other way. I don’t personally believe in the idea of misappropriation, as I believe that anything one culture creates should be attempted and possibly even improved upon by any other culture that’s willing to put in the effort, but I also believe that you can’t just throw on a few items collected haphazardly off of the tip of the iceberg and call yourself the entire iceberg. So no, this argument doesn’t really hold up. Imitation is the sincerest form of flattery, but attempting to become someone/something you admire just based on a shallow understanding of them is pretty pathetic.

The next cartoon I’d like to bring up is Avatar: The Last Airbender. I haven’t seen very much of the sequel Korra, so we’ll be sticking to the OG Team Breezy today. Avatar was almost instantly set upon as an American made Anime for it’s eastern influences, but what people tend to point out even more is that it doesn’t stick to the common formula of western animation… That being, the episodic format. Avatar features a continuous story with overarching plot and story arcs, an admitted rarity this side of the ocean, rather than the fifteen to thirty minute mini stories that most American cartoons have used for decades. But you know what medium DOES execute their stories the way Avatar does? That’s right, Anime. Shows like Fullmetal Alchemist, Dragonball Z, Bleach, and even the goofy-as-fuck One Piece tell their stories in long chunks rather than in short segments, so is it fair to call Avatar an Anime on those grounds?

Well, first of all, cartoons that are executed this way are rare, but they’re not as hard to pick out as you might think. Old cartoons like Pirates of Dark Water and Conan the Adventurer used this kind of format, as did the CG animated Starship Troopers cartoon, Titan Maximum, Bojack Horseman… Daria, if you want to go by Slice of Life standards… So yes, they’re rare, but there are examples. What you’ll find even more examples of, and where this argument really breaks down, is episodic Anime. There are tons of Japanese animations that have just as much progression between episodes as The Rugrats. This includes several of the longest running children’s shows, like Doraemon, and Detective Conan, a show about a man trapped in a child’s body who should have grown to the age of thirty anyway by now. Sound familiar? Like, say, The Simpsons? There are also several adult Anime like this, like Panty and Stocking, and even some heavily respected Anime, like Cowboy Bebop, so no, having a series be of a non-episodic nature is NOT enough to qualify something as an Anime.

For our final practical argument, let’s jump forward to only three years in the past, with the Rooster Teeth web-series RWBY. Fans of this show will defend it’s Anime status tooth and nail, and hell, even I relented enough to offer it honorary status(albeit for different reasons). In particular, they use the argument that it’s made in an Anime style. Considering the fact that it’s very American creators were explicitly intending to make an Anime with this series, and they poured a lot of effort into making it look as much like an Anime as possible, should we grant them their wish? Well, that depends on what you consider an ‘Anime style.’ If you’re referring to the characters having huge expressive eyes that take up half the space on their face, with noses reduced to near non-existence to accommodate them, then I hate to inform you that Disney did it first. In fact, Disney was the main inspiration for that style. But that’s not the REASON this argument fails.

Anime is not an individual style. There are numerous different styles attached to numerous different Anime, from those very big-eyed characters to much more realistic characters with believable proportions in more adult-oriented shows. Clannad does not look like Lupin. Pokemon does not look like Cowboy Bebop. Gankutsuou does not look like Shin-chan. I would actually go out on a limb and say that there are more styles in Anime than there are in western animation, so to look at a few certain facial features and say “This looks like Anime” is an insult to the medium. Besides, RWBY is CG. While 3D animation is a style in Japan, it’s also an incredibly rare one, and I can count the ones that I’ve actually seen on one hand… Examples include Oblivion Island and Knights of Sidonia, both of which were fairly cringe worthy, and neither of which looked like RWBY.

The practical arguments don’t really hold up, so what about the impractical arguments? Fair warning, these can be kind of infuriating, especially the one I’m going to throw out first… A cartoon becomes an Anime when it’s good enough. Let that sink in a little bit. I can recall a specific instance where I was asking Gaia’s AMC forum for some insight into why people wanted to call cartoons Anime, and one of the ballsiest responses I got was “It’s not about calling cartoons Anime, it’s about not calling Anime cartoons.” The direct implication, of course, being that to call a show a cartoon was an insult, and in some cases a grave social injustice. As if Anime, in general, is just so much better than cartoons. If a show reaches a certain level of quality, “That’s an Anime, don’t you DARE call it a cartoon!”

I mean, look, I’ve been around the block with this shit, and I’ve seen Anime so bad that I wouldn’t wish upon my worst enemy. I’m currently hesitating to review an Anime that is, without competition, the worst thing I’ve ever seen while awake and conscious. Anime follows the same spectrum of quality that American animation does, for better and worse alike. Avatar the Last Airbender, for example, is better than eighty percent of the Anime I’ve ever seen, and do I call it an Anime? No. Avatar is a cartoon. It’s a cartoon that craps all over a sizeable portion of the ‘superior’ medium, and that’s something we, as a culture, can be proud of. It’s not an Anime, it’s an American cartoon, and it’s proof of just how good our side of the pond is able to get when we take our shit seriously. You wouldn’t tell a woman that she’s accomplished too much to be considered female, would you? You wouldn’t tell a black guy that he’s done so well for himself that he’s officially white. So why would you say a cartoon is good enough to be considered an Anime? Boku no Pico is an Anime, people!

And besides, if you’re going to say that the word Anime is a measure of quality, then you have to deal with the unfortunate issue of personal taste. Who’s to say Spongebob isn’t good enough to be an Anime? Or Teen Titans Go? It’s all a matter of perspective. Some people hate RWBY, Avatar and Steven Universe, but love Da Boom Crew, so in their eyes, wouldn’t Da Boom Crew be an Anime? If you’re to follow this line of logic, you’d have to go straight to the next argument, which… Well, it’s a doozy. To be fair, most people throwing out the quality argument haven’t thought it through, and only say “My favorite show is good enough to be an Anime,” without paying much thought to the implications they’re making. Most people. But this final argument is the fail-safe, it’s what they always fall back on when they’ve been pushed against the wall, it kills me a little inside every time I hear it…  It’s the definition argument.

In Japan, the word Anime is the word they use for everything that’s animated. That’s the trump card they use, and really, what can you say to that? Well, for one, you can tell them what Zac Bertschy told me when I posed these questions to a Anime News Network podcast last year; In summary, he said that ‘Anime’ was a borrowed word, like ‘a la mode,’ and that it meant something different in English than it does in Japanese. It’s even listed in our dictionaries as “Animation from Japan.” Of course, if you use this argument, you’ll probably get fired back at with “That’s just because Americans have some ignorant need to categorize and segregate everything. Japan is more enlightened.” I’m not even joking about that. But okay, let’s follow that line of logic… Are the Japanese really more enlightened when it comes to this subject?

I recently watched a video of a Japanese woman watching the first RWBY trailer, the one for the semi-titular character Ruby. You can find the link here: https://www.youtube.com/watch?v=wrYQYqO37Ts. At the end of the video, Fujikko expressed confusion over what to call what she’d just seen. She guessed she was supposed to call it ‘animation,’ because it was 3D and made in America, but even more striking is the fact that she used the English word Animation, instead of her own language’s word Anime, which implies that no matter what the definition of the word may be, the Japanese are at least aware that there’s a distinct difference between western and eastern animation, and they know something isn’t Anime when they see it. Admittedly, this is just one person’s reaction that I’ve seen, but it’s still really ironic that they’ve borrowed our word “Animation” to refer to western animation, just like we’ve borrowed their word “Anime” to describe Japanese offerings.

Of course, there is ANOTHER way to counter the definition argument. Agree with it. Say that we’ve been committing a grave injustice by not calling every animated entity ‘Anime.’ I can’t believe how far you can stretch this. Spongebob? Anime. Gollum from Lord of the Rings? Anime. The T Rex in Jurassic Park? Anime. The spinning beach ball that makes me want to break my computer over my knee? Anime. This can get a little out of control, especially for people who only really want to watch animation from Japan, but now that the word ‘Anime’ has been redefined, there’s no shorthand term that’s easy to say and catchy to boot. So come up with this compromise; We’ll call general animation ‘Anime,’ and we’ll call anything from Japan ‘Japanime.’ There, that solves the definition problem while still leaving enough distinction for specific fans.

But even if you bring these issues up, you’ll still have people saying that there’s no point in segregating the two animated mediums, but guess what? You can troll this argument just as hard. Because yes, you can consider all animation to fall under the same unifying word. It’s not impossible. But here’s the catch… If you’re going to use a single word for unification’s sake, why would you use another language’s word? I mean, if Anime is a Japanese word, and you don’t speak Japanese, wouldn’t it make more sense to call all animation ‘cartoons?’ Cowboy Bebop would be a cartoon. Trigun would be a cartoon. Attack on Titan would be a cartoon. Regardless of where they take the conversation from here, this is where it ends, because they’ll just go full circle to the first impractical argument… That Anime is intrinsically better than cartoons, and the label of Anime is a prestigious one, despite all evidence to the contrary. They don’t care about the true definition, that’s just semantic bullshit meant to defend the insecurity of believing that your favorite cartoon is too good to be called a cartoon.

So in conclusion, should western animation be considered Anime? No, it shouldn’t. That’s not to say one is any better or worse than the other, but it’s the only solution that makes sense. Anime is Anime. It’s from Japan, although I guess you could make an argument for certain other countries… Other Asian countries, whose works also appear as listed on Myanimelist.com, and France, who, believe it or not, also use the word ‘Anime’ as their language’s word for animation. Go figure. Aside from these few exceptions, the only real argument for calling cartoons Anime that I can’t find any reason to dispute is the argument of “live and let live.” If other people want to call cartoons Anime, just mind your own business and leave them alone… At least, as much as you can help it.

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