January 2021

I recently got into TMA because so many mutuals are into it, and I've noticed a major difference in how the writers for that series handle their timeline in comparison to CRWBY. Rusty Quill keep things tight, and even relied on the FAN RUN WIKI to help them keep certain details straight as they were writing so they came up with as few plotholes/inconsistencies as possible. CRWBY actively decided not to have a timeline at all. Deliberately keep time vague. And it really came back to bite them.

As someone who just finished the third season of TMA and is enjoying it immensely: all of this. One of the (many) great joys of this series is looking back on the first season and realizing the staggering amount of setup there was. How many important characters were introduced, the beginnings of driving concepts, details that were merely creepy at the time but we now know hold deeper meaning… “keeps things tight” is right. Previous parts of the story fit neatly into new parts because it was planned from the get-go. Or rather, given stories’ tendencies to take on lives of their own, it’s likely a combination of planning and Sims’ skill (plus the happy benefit of the story already being made up of characters with limited information, at times unreliable statements, and protagonists who are likewise often unreliable narrators). But the point is that Sims has very clearly put in the effort, the results are excellent, and thus any remaining, inevitable mistakes are happily overlooked. 

We can certainly discuss issues like cancel culture, but generally speaking people don’t look for reasons to criticize media. We want to love and celebrate the stories we’re given. Thus, there’s a reason TMA has garnered so much praise and RWBY so much criticism. RWBY has failed in many of the ways TMA has succeeded, which includes giving us a timeline that benefits the story and a story that’s consistent enough for us to easily fall into. When something notable comes up in TMA I am so eager to see what becomes of it. When will this character return? What’s the significance of that statement? When will this question be answered? What detail that has entirely escaped my notice suddenly turn the story on its head? That eagerness  — that enjoyment  — is a result of trust in Sims because he’s proven episode after episode that he knows how to manage these expectations. RWBY? RWBY keeps breaking that trust. There are lots of notable things in RWBY, certainly  — our “rule of cool”  — but at the end of the day it’s rare if they go anywhere. Instead they’re ignored, forgotten, contradicted, or just treated shoddily, to the point where when the next cool thing crops up I’m not excited, just wary of how RWBY will drop the ball this time. That’s become the norm, particularly post-Volume 6. TMA? The norm is quality, making any deviation from that something I’m happy to shrug off as simple human error on Sims’ part, not evidence of a lack of effort or skill. He’s more than earned that. 

I’m catching up on TMA and I’ve finally realized one of the things that makes the stories so unsettling for me. It’s how unanticipated most of the encounters are. In a lot of modern horror stories the horror is attached to some other significant change in your life, or a major(ish) event. It’s your wedding day and you’re realizing how spooky your partner’s family is. A baby is born and they’re clearly not normal. You’ve moved into a house that doesn’t want you there. Your vacation goes awry, there’s been a death in the family, you’ve done someone wrong. More often than not, the beginnings of the horror stem from some other Big Event which, for me at least, is oddly reassuring. There’s no reason to fear because my life is so clearly boring compared to the life of these characters (especially during quarantine!). They’re doing things to tempt the supernatural — staying in creepy hotels on a road trip, having a big party with a ouija board, even babysitting the neighborhood’s creepy kid — and I’m just hanging out in my PJs. Things are too normal to be the setup for something more. 

But TMA thrives on normal. Everything listed above (travel, weddings, get-togethers, moves) are also normal, but not the sort of everyday normal that TMA draws from. Whereas so much horror attaches itself to another significant event, stuff in TMA just… happens. Completely innocuous. You’re at your bookclub, a club you’ve held numerous times before, when out of the blue a man arrives with a knife. You’re giving your monologue on stage, the same one you’ve given for weeks, yet tonight there’s a masked figure in the audience. Things just happen and — outside of characters who deliberately seek out the entities, or are unknowingly connected to them — it appears to be random. So many of the statements emphasize that there was nothing to warn them ahead of time, nothing they could avoid. They just cleaned the wrong house, ended up in the wrong town, happened to walk down the wrong street. Thanks to well known tropes, horror as a genre has rules we now imagine we’d follow: don’t split up, don’t buy the clearly cursed house, etc. But TMA tuts and shakes its head at us, saying it doesn’t matter because the real horror, if you encounter it, is unavoidable. You’ll never see it coming. Who can prepare against being assigned an anatomy class filled with inhuman students, or coming home to find that their mother is not their mother? TMA says that supernatural things don’t just happen during major events, but rather during every normal, boring, overlooked part of our lives. Something could happen while you get ready for bed tonight. Or after reading this post. 

And I find that to be wonderfully chilling.