Monty’s Vision Is A Relic

CRWBY claims to have been sticking to “Monty Oum’s vision” for the entire run of the show, that they had the whole thing planned out in advance. A lot of people have expressed skepticism that the slipshod plotting of RWBY reflects some master plan conceived in 2013 and then followed scrupulously for a full decade despite major plot elements like the four maidens being added in along the way. But now that we know the whole story, yeah, I 100% believe that this was a story written in 2013 and adhered to without any significant changes.

What do you mean “we don’t know the whole story?” The last season never aired, but were Miles and Kerry keeping you on your toes with their stunning plot revelations? RWBY released new worldbuilding and had plans to keep doing that until, at the minimum, near the very end of the show, but its character and plot arcs were very straightforward. To their credit, their dedication to adhering to Monty Oum’s outline means they completely missed the obsession with plot twists and “subverting expectations” that gripped the world for a few years before Game of Thrones killed it in 2019. The show has always been about the same thing, going to the same place, so much so that you can tell its outline was pretty tightly focused.

We meet four teenage girls in shonen anime Hogwarts where they learn to fight Grimm, magical creatures who are attracted by negative emotions like anger and fear. This anger and fear is caused mostly by internal tensions, like racial conflict (the nations of the world are pretty much entirely at peace with one another) between humans and faunus. The White Fang are an organization dedicated to fighting for faunus rights by any means necessary. One of the members of the main team is a racist nepobaby, while another is a former member of the White Fang who can pass. For the first two major arcs at both Vale (autumn town) and Mistral (spring town – no, these don’t go in seasonal order, but the seasonal theming is still strong enough as to probably not be accidental, though not so strong I’m totally certain), the White Fang are the main villains. In arc three in Atlas (winter town), the primary villains are the Schnee Dust Company, the evil corporation most responsible for the exploitation of the faunus, while the final arc in Vacuo (summer town) revolves around the people of Atlas, formerly the most racist, being reduced to refugees and forced to beg the people of Vacuo for help.

See, it’s about people putting aside their racial differences and supporting one another – the climax of the show would’ve been about Vacuoans and Atlasians and the Menagerian faunus (who totally do get their own kingdom but don’t count as one of the four seasonal kingdoms, it doesn’t make sense but it’s also a perfectly believable kind of nonsense so whatever) putting aside their differences to stand against the Grimm together. Since main villain Salem’s evil plan is to summon back the two gods who promised to return upon the completion of a big ritual and either destroy the world if world peace had not been achieved or else repair it if it had, the ending here would’ve been that Team RWBY ultimately fails to stop Salem from completing her ritual, but just as all seems lost, it turns out that all the people of Remnant have put their differences aside and are now fighting the Grimm side by side, so actually the gods are going to do the good ritual. That inspiring (I mean, “inspiring,” but whatever) speech that RWBY gave would have successfully achieved world peace and repairing the communications network knocked out at the end of the first arc would’ve allowed it to reach the entire world.

I would not be surprised if Ever After, the primary location for the entirety of season 9, was not even mentioned in the original outline. It fits in just fine, but it’s not necessary to the rest of the outline and while I totally believe that they never replaced elements of the original outline, it seems likely that there were entire seasons that got less than a paragraph overview in that outline. Like, Seasons 4-6 in particular seems like they were probably described as a single combined arc, and Season 5 is the one that got gutted rather than admit that allocating three seasons per kingdom was a mistake in retrospect (they would eventually give Atlas just the two, so if I’m right, they did at least learn from the mistake).

But as much as the process of fleshing out an outline that was probably 2-3 pages long and heavily weighted towards the beginning and end resulted in enormous amounts of cruft, you can see the bones of the outline pretty transparently in themes that are stated from the very beginning, including in the music, which tends to be pretty on the nose about what the story is going to be about (this is fine, and if anything the problem is that it uses lots of relevant buzzwords but as a whole fails to make the point clear enough). A rising generation of young people, as symbolized by the teenaged Team RWBY, will open minds with the purity of their hearts, that in the end victory will come not by force of arms but from a simple soul. Team RWBY loses the physical final battle against Salem, she completes her ritual, but they successfully unite the world in peace with one another and thus trigger the good ritual instead of the bad one.

The story of RWBY was absolutely faithfully executing an outline written in 2013.

Mandalorian Season Three Was Fine

The internet has always had a tendency to sort things into exactly two categories: Best thing ever and worst thing ever. Having seen the Mandalorian Season Three, it’s a good-not-great season of the show, and I’m confident it got punted into “worst thing ever” because it was clearly not up to the standard of the first two seasons, and if your scale of quality has exactly two points on it, then anything worse than the best thing ever must be the worst thing ever.

I’ll go one further: The Mandalorian Season Three is much better for the Mandalorian than Season Two was. Season Two was really focused on fan service, which is great, but Luke showing up again isn’t going to hit the way his first appearance did. Plus, they didn’t actually time travel to 1983 to get young Mark Hamill, they’re making do with lookalikes touched up with a bit of CGI. Minimizing Luke’s presence is important because the seams are gonna be very noticeable if you ask that character to carry entire episodes or especially an entire season of the show.

Season Three of the Mandalorian has almost no fanservice. The closest thing is that Bo Katan features heavily, but even if you want a Clone Wars/Rebels reunion, Satine Kryze’s absence is very much felt (there’s reasons for that, it’s a whole thing). But what Season Three of the Mandalorian does a good job with is being about Mandalorians. Defining their place in the galaxy in the New Republic era, addressing the contradiction between the Mandalorians we saw in Clone Wars and Rebels and the way they operated in Season One of the Mandalorian.

Season Two laid the groundwork for this by introducing Bo Katan and establishing that Din Djarin’s faction was a rogue sect, but it was a Band-Aid, wiki patching. People on Wookieepedia had some outstanding questions about how the Mandalorians we see in Season One could coexist with the Mandalorians we see in Clone Wars and Rebels, and Season Two provided straightforwardly factual answers while exploring the implications very little. Season Three doesn’t just tell us that Din Djarin grew up in a secluded, more fundamentalist Mandalorian sect, it explains what that was like and how the society he came from and the cousin society of mainstream Mandalorians felt about one another. It’s still kind of ridiculous that Din Djarin didn’t know that most Mandalorians did not adhere strictly to the oldest traditions of the creed, but at least the place that Mandalorians are in now makes sense: The Children of the Watch, the Night Owls, and every other remnant faction of the Mandalorians have been reunited around Bo Katan. They have a defined relationship with one another and with the galaxy at large. The contradictions haven’t just been explained, they’ve been explored, used as the basis for a story.

Also, extreme nitpick, but Mandalore is in the north end of the Outer Rim and Nevarro is on the south, so if Moff Gideon is supposed to be conquering a specific sector of space (even granting that the Shadow Council’s sectors probably don’t match Republic/Imperial sectors at all, in the same way that an evil James Bond sort of organization might slice the world up into “provinces” that don’t match the actual existing provinces of existing nations at all), then is his sector, like, the entire Outer Rim? Or does he have a corridor that cuts straight through the Inner Rim to link two vastly different locations? Would’ve made more sense if the Shadow Council were all mobile fleets and secret bases, so Gideon’s got a few planetary strongholds but the real locus of his power is his cruiser (which is how it seems to work in the show as it is anyway) and he can take it around anywhere he wants outside of New Republic space. Other moffs might be trying to take and hold specific chunks of the Outer Rim, but Moff Gideon is a pillaging nomad.