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    • RTX 2018 What To Expect (Wait times, pricing comparisions, etc)

      in Forums > RTX 2018 What To Expect (Wait times, pricing comparisions, etc) | Follow this topic

      PacMonster

      So RT Events just released the prices for RTX Austin 2018 and figured I'd share some information I've acquired from going to the last 3 RTX's. Once as a regular weekend pass holder and 2 times as a VIP member. This year I intend to make it my fourth RTX as probably a regular member or maybe weekend+ if I'm feeling cheeky. But as with every year I know there will be a lot of people where 2018 will be there first RTX or people who have gone to prior RTX's and want to know if the higher tier of tickets are worth the significant markup in price.


      This post will explain the full prices I've paid in the past to give you an idea of how much things actually cost when you're going to put in your credit card info. The badges themselves, hotel stay, Airbnb rates, etc. I will also go into detail about what wait times are really like, and not just for scheduled panels, but wait times for everything around the convention as well as the whole city will become one giant line for things.


      I also want to make clear if it wasn't already evident from the multiple RTX's I've attended, I'm a fan of Roosterteeth. That being said, I'm not a blindly devoted fan so I will be brutally honest of my experiences and you can judge whether the value proposition is there for yourself. I'll say this off the bat. I've never had a bad time at an RTX. I've had RTX's experiences which weren't as enjoyable as other RTX experiences but I never left one thinking I wasted my money.


      Money

      Speaking about money let's talk prices. So for those that are double gold or first members who make use of the "early bird" discount for tickets and want that Platinum badge (formally VIP), you will be paying $650 base price for a badge per person. Last year the base price for a VIP badge was $575. That's a $75 markup from last year that included a concert performance in the price.


      Also last year, front gate, the third party vendor Roosterteeth is now using for ticket sales for their live events, charged a $71.69 service fee PER badge sold. Last year I bought VIP passes for 4 people. This means, at $575 a badge + $71.69 a badge the total I spent on badges alone was $2586.76.


      If Front Gate keeps the same service fee structure, that means 4 Platinum badges + the $71.69 fee per badge would cost $2886.76.


      Now obviously these values vary depending on how many people you're buying badges for. If it's just yourself then you'll just be paying $650 + $71.69 (if the fee stays the same as last year). This year they plan on mailing the badges which means there most likely will be a subsequent fee added for postage (and my guess is this fee won't be the cost of a stamp either).


      Point is, if you're not comfortable spending at least $721.69 for a single pass (going by early bird prices, it would be just about $800 for regular pricing) then you might want to consider not going with Platinum.


      How about accommodations? Well in 2016 I paid for 4 nights in the Austin Hilton near the convention center. The discounted rate offered that year was $104.50 per person a night. This meant for 2 people over 4 nights the HIlton cost me $836. Rates were similar for the Mariott that year and I believe are comparable to what the rates were in 2017. In 2017 my friends and I stayed in an Airbnb which was a few blocks down congress. My contribution was $395. Prices obviously vary on how many people you split with and what Airbnb you go with. Generally the further away from the convention center and the less fancy the home the cheaper it will be.


      Also have to factor in air travel if you don't live within driving distance of Austin. For me in San Diego I used Southwest Airlines in 2017 and paid $439 direct flight. Price obviously varies by number of tickets you buy, what Airline you go with, distance from Austin, etc.


      So total I spent in 2017 on badges, accommodations, and airfare was $3420.76.


      Those charges do not include anything you might buy at the RT store, which generally are NOT discounted at RTX. So if you're wanting to get new posters, glasses, shirts, etc, this will most likely add anywhere from a few dollars to hundreds depending on how nuts you go in the RT Store. There's also the show floor where outside people will also be selling their nerd wares n such.


      There's also the price of getting around to consider. Last year Uber and Lift came back to Austin so if you plan on going anywhere in Austin outside of just places close to the convention center expect surge pricing to be in effect wherever you go.


      Food is also not cheap in Austin. If you want to go to all the well known places Burnie has talked about on vlogs or you've read on RTX guides, expect to be dropping north of $50 per lunch/dinner depending on the number of people and how much you eat/drink obviously. For the 4 of us, our bills were frequently north of $100 but obviously we split based on what we got. I normally paid anywhere between $20 to $50 depending on where we ate. Fast food places obviously will have cheaper food, I'm talking about actual bars or hot spots.


      RTX Panel Wait Experiences

      Now that I've given you guys an understanding of how much things actually cost, I'll lay out where that value went the last few years.


      In RTX 2015 I was a regular member. Back then we were frequently told to show up to panels 1 hour before the panel was to begin because nobody would be allowed to wait in line before that time. What ended up happening is people would show up frequently 3+ hours ahead of time and form a "soft line". Which really just means a line that wasn't allowed to line up in the guardian designated line area. This was the case for all popular panels. Consider popular panels to be any of RT's mainstay content. RT Podcast. Achievement Hunter. RWBY cast. Red vs Blue cast. On The Spot. Off Topic. Always Open. Funhaus. You get the idea. More specific panels like live action, or panels about specific topics like drawing, writing, scheduling, etc could frequently be attended without having to wait 3 hours. They either could just be walked into with little notice or had a minor wait. I'd still show up to these panels an hour early just to test the water and if they're empty come back to it.


      The important bit of information here for people who want to go to the popular panels. IF YOU SHOW UP 1 HOUR BEFORE A PANEL STARTS, YOU WILL LIKELY NOT BE ABLE TO SEE THAT PANEL. The unfortunate side effect of sooo many people showing up to this convention now means that more people end up waiting in these "soft" lines. So that when the official "1 hour before" time period starts, all that happens is the Guardians allow the soft line people to fill up the regular line. So when RT releases the full RTX schedule with panel times, please take into account the wait times for any given panel. If you think you're going to see it all as a regular member, not even close. Plan to see 1-2 panels tops and that's only if they're very far spaced apart in the day if you only plan on seeing the very popular ones.


      What the Guardians did last year, 2017 is when that 1 hour before the panel started time came they'd let people into the large panel rooms and we'd wait there until the panel started.


      I had a VIP pass the last 2 years and my experiences as far as panels go were very different from each year. In 2016 there were I believe between 300-500 VIPs. I might be off from the real values since RT doesn't make them clear but judging from amount of people I would see going into very popular panels, that seems right. In 2016 I never had a problem attending a panel. Any panel. I showed up frequently about 15 to 20 minutes before the start of a panel, would walk right up the line guardian to show my badge and then be able to take my seat at the front but behind the friends/family of RT staff.


      In 2017, if I had to guess I'd say there was between 1000-1500 VIP badge holders. Again, no clue the actual number and it was much harder to tell this past year from any one panel. The result was that getting into any of the popular panels was no longer a guarantee as a VIP, even if you showed up an hour early. Panels like Funhaus' panel and Werewolf I believe were completely full even ahead of the 1 hour wait time. For all I know it might have been a 3 hour wait for VIPs for those panels. Obviously less popular panels most likely would still not have much issue getting in.


      Supposedly this year RT is limiting the number of Platinum badges being sold to not have a repeat of 2017 but how close it is to 2016's numbers compared to 2017 no idea. I'd put my money on there still being significantly more Platinum sold than VIP badges in 2016. The new tier of Weekend+ probably took up the remaining excess between 2017's VIP and regular pass numbers.


      Regardless whether you are a VIP or regular weekly badge holder I strongly recommend bringing a handheld gaming device of some kind. A DS, a Switch, a Vita (if you're Greg), your phone, a tablet whatever. Things like card games like million dollars but, Superfight, CAH, or board games could work as well but are tricky when the line starts moving. If you're in a 3+ hour line, sure. Otherwise I wouldn't bother bringing stuff you have to pick up. You won't really be able to play any of these kind of games as you wait inside a panel for it to start as the seats make that impossible.


      Also regarding waits, expect any popular food cart, BBQ restaurant, or other Austin hotspot place to eat to have significant wait times. You could be waiting for a hotdog for over an hour so plan accordingly. As I said earlier, all of Austin will become a line during RTX so possibly use open table and make reservations if you can. 


      The exception to this is 6th street. There are dozens upon dozens of bars here. If one seems overly crowded keep walking down the street and you'll find one that's more open eventually. They close down the street for people to walk around at night.


      RTX Lounge

      For people who want to know what the lounge is, it has significantly changed from 2015 - 2016 - 2017. First off, the lounge is a closed off area where VIP (or this year Platinum and weekend+ badge holders) can relax in nice soft sofas or seats, pay for something to drink at the cash bar, eat some snacks, and potentially get stuff signed by an impromptu visit from an RT staff member. What staff member appears is completely up to the RT staff member that wants to visit.


      In 2015 I was just a regular member but from second hand sources I heard that the room was adjacent to the actual RT staff green/staging room. This meant a lot more throughput of RT staff would visit the VIP area because it was right next to where various staff were waiting for their panels or relaxing.


      In 2016 the VIP "lounge" (prison) was a small enclosed area within the main exhibit hall floor. It had a few comfy seats in it and some stand up tables. It had a cash bar and the only RT staff I remember seeing there was Jack Patillo and Caiti. There was most likely other staff but seeing as the lounge was very out of the way from where most RT staff would have been moving through (they stick mostly to the back hallways that link the various rooms to get around easier) it meant much lower throughput.


      In 2017 the VIP lounge was a much larger room that was behind I believe the main panel room. There were sofas and comfortable chairs (could have used more sofas). They had a few arcade cabinets in there, an air hockey table. Free popcorn and pretzels, and a cash bar. They also had a photo booth thing in the room. There was also a screen which would show certain panels happening at that time. I didn't stop in the lounge very often last year but in the brief time I was in there Gavin was in there and I believe Barbara stopped by. Since the location was not on the hall floor and close to a big panel room the throughput was most likely much higher of RT staff and overall it was a far improved space.


      If I had to guess for 2018, they'll probably use the same space as the VIP lounge but I don't know for sure.


      RTX Exhibit Hall Floor

      From 2015-2017 my floor experience has been pretty consistent. Though with the caveat that last year the metal detectors caused some massive delays to entering the floor. However by the next day RT for the most part solved the worst of the issues and this year I suspect the metal detectors to not be much of an issue at all (be aware for any cosplay props you'll need to check those in to be able to take them on the floor. They're getting much more serious about this).


      The floor will contain various vendors selling shirts, plushies, toys, retro gaming stuff etc. It will also contain developers for various game studios. So far over the last 3 years the gaming presence has been fairly limited to smaller dev studios. Even when bigger guys show up like Microsoft it's usually not in any way comparable to the big publishers exhibits at PAX. Because of this, expect their to be significant wait times for most gaming stations at booths as there will frequently only be a small handful of computers or consoles available to play on.


      There's also center stage where live let's plays will happen. To be honest with you over 3 RTX's I rarely experienced center stage content. There was usually a panel going on and watching a let's play live is a so-so experience (and it's not like Let's Play Live where scripted things are done to keep things lively). This area generally fills up pretty quickly, especially if AH or Funhaus are on stage or if they're doing a special presentation type thing. Last year Andy Serkis was on Center Stage talking about Performance Capture in movies. While the seats often fill up very quickly center stage is often put in an area where there's a lot of room to mill about behind the seats so if you have good vision you can still see the screens pretty clearly standing up.


      Platinum and weekend+ badge holders this year will get priority seating for center stage so if watching live let's plays interests you, then this could be a nice perk.


      The floor will also have the main Achievement Hunter and Funhaus areas where occasionally members of AH and Funhaus will show up to sign stuff. They usually also have stuff around for people to play with, get pictures of, or interact with in some way.


      VIP Party

      For VIP badge holders the last few years, RT held an exclusive party. I experienced the 2016 party and the 2017 party and my experiences were pretty different.


      In 2016 we were in the SpeakEasy bar. It had 3 levels to it, and was open bar (certain drinks) for the party. What was great was that many RT personalities and staff were present all throughout the night and were very approachable for conversations. My friends and I had full length conversations with Barbara, Geoff, Joel, Miles, Kerry, and Griffon Ramsey. Each floor had a DJ and plenty of bar space for people.


      2017's party was held in Stubb's Waller Creek Amphitheater. That was more an open floor space that was entirely outside for VIP badge holders (and remember, this year there were many) that had a big stage area where a popular cover band was performing (Spazmatics if I remember correctly). The open area had food areas that BBQ stuff and beer/liquor could be purchased from (I think there was 1 free meal ticket that came with entrance). Stubbs also has a more regular enclosed restaurant area but that was completely off limits to VIP badge holders. Roosterteeth staff had booked the entire space and while some RT staff did venture out into the crowd at points during the night, the majority of RT staff stayed secluded in the restaurant (not blaming them, it's exhausting being surrounded, just saying what the experience was). The few RT staff that did join the crowd were pretty unapproachable unless you already knew they were there as they would be completely surrounded by people and very hard to get to if you didn't realize they were there. Later in the night my friends and I weaseled our way closer to the no VIP area and managed to be able to talk with some people (including the cast of Day 5) and some of RT's animators.


      Point is, if you want to mingle with RT people, 2016 was the far better experience. From what I've heard so far of 2018's VIP party it sounds like it's going to go back to being at a bar (there's an 18+ age limit which 2017's party did not have, though technically that's still not drinking age so who knows) but to early to tell. I think RT agrees that being completely secluded from the VIP people was not the right decision.


      Other Stuff Outside the Convention Center

      Every year there is usually other stuff happening outside the convention center that being VIP (this year Platinum) usually gives you first dibs to but otherwise is open to the general RTX public. These events in past years were a live Theater Mode production. A screening of the last Planet of the Apes movie (before it premiered elsewhere). Usually a concert of some sort that may or may not include a major headliner. I also believe there was a live Always Open last year. 


      And if you show up early enough there's usually some kind of shoot happening involving a decent amount of RTX people. That could be for an RT short, a longer form RT live action thing (like Day 5 or Lazer Team) or Immersion.


      Autographs

      Much like the panels, you're going to want to show up pretty early for any signings. If you are a VIP badge holder (this year Platinum and Weekend+) then you get 2 signings. Certain people tend to disappear really fast so I would suggest having some backups of who you want to sign stuff. And when the time comes to get your autograph I would leave an hour or so earlier than the signing time if you are a regular weekend badge holder.


      If you are a VIP (platinum, weekend+) badge holder it depends. In 2016 I didn't have much trouble showing up 20 or so minutes before the signing was to start and waiting in the VIP line. 2017 had way more VIP badges so it took significantly longer. So plan accordingly if you want to get something signed AND see a panel. The VIP badge was significantly faster even in the longer line than had I not had it since the VIP people get there stuff signed before any of the normal weekend pass people.


      How much this matters to you depends on how badly you want an RT person to sign your stuff. At this point I've pretty much gotten every RT personality to sign something between RTX and Let's Play Live so the value prop for this is eh for me at this point.


      Other

      Some other stuff that doesn't really fit in the other sections. If you're into cosplay there will most likely be a cosplay competition like there was in 2017. Generally things that are not on the exhibit hall floor or in a main panel room are done on the upper floors of the convention hall. In previous years they had an interactive 11 little roosters experience. An Achievement Hunter/Cowchop themed heist Escape room. And an Immersion experience that involved the 5 nights at Freddy's like experience Michael and Gavin went through.


      Conclusion

      For those that have followed along with that gigantic text wall congrats. This just about covers it for everything I can think of sharing regarding RTX. Prices, VIP vs regular badge holder benefits, events around RTX, etc. Obviously deciding whether it's worth it is a subjective call and personally I don't think 2017's VIP experience was worth it's hefty pricetag (it was $75 more expensive than the previous year just like this year's is that much higher) yet I still enjoyed my time overall at RTX that year.


      Feel free to ask me anything and I'll help to the best of my ability.

      10 replies

    • RWBY Finale and Volume 5 Critique

      in Forums > RWBY Finale and Volume 5 Critique | Follow this topic

      PacMonster

      I made this comment on the rwby video itself but because comment chains are pretty much broken on the site making it impossible to find responses to your comment once your comment is hidden among 50 odd pages, I'm going to reproduce it here for people to read, discuss, and me to respond and add to. I have soooo many more things to say that I couldn't properly articulate in this comment without taking up another 1000+ words. Anyways, here it is and as a disclaimer, I'm going to be fairly negative of this volume so if you can't handle that with grace, please don't bother reading. I enjoy RWBY and all of this is constructive criticism to improve the show.


      Now that Volume 5 is finished, time for a volume critique. I want to warn anybody who starts to read this wall of text that I'm going to brutally honest with my opinions here and if you can't handle criticism of RWBY, please stop reading. I enjoy this series and want it to continue growing and getting better and that just won't happen if CRWBY goes away thinking they 100% nailed it and don't need to do anything different the next time. These criticisms are to make the show better for everybody, CRWBY included.


      I'll start with some quick thoughts of this episode. Haven's Fate unfortunately contains with it all the problems that have built up over the last 2 volumes. First off, this was not a finale. Last episode was your typical finale as one of the main antagonists was dealt with after the climatic battle concluded. That was the climax. By the way, in my analysis of this series I tend to compare it to the standard three-act structure that most modern fiction follows. So in light of that, this episode was more like an epilogue where loose ends are wrapped up but not much else going for it. Going back to what I said about this episode being typical of the kind of problems plaguing this entire volume lets explore what I mean by that. Let's start with writing.


      While Raven and Yang having a heart to heart about their different perspectives is good character building it comes at the expense of understanding the setting and context of the scene they are in. Raven had just lost Vernal, who at the very least seemed to be a good friend to Raven. She had just defeated Cinder and was prepared to take the relic which was her plan to begin with. What circumstances change from Yang's lecture? Having the relic would make Raven more of a target for Salem? Raven knew that before she started. She wanted the relic specifically because she thought it would help her survive against Salem. And if Yang didn't show up and Raven did take the relic Salem would have known she took it because she was aware of Cinder's plan to take it with Raven's assistance. So in essence Yang shows up to tell Raven something she had to have already known just to convince Raven, "no, give me it so you can run away". Essentially this all amounts to a plot development that must happen with no real thought into how it gets there. "Team RWBY obtains the knowledge relic" must have been the directive despite it not making much sense for Raven to just allow Yang to have it given what the audience is shown of the character.


      Next, editing/direction. Frequently this season there have been moments when a fight was about to happen and then it cuts away to a conversation only for it to come back to the fight being over or mid progress. This episode did that again when Blake finally joins with team RWBY again and Ruby directs Weiss and Blake to attack Hazel, Emerald, and Mercury. In the previous episode all 3 were having zero issue fighting and winning and then suddenly the three of them are on the ropes giving up. Ruby yells, "checkmate" then the camera cuts away without us seeing them in action. This would have been the moment to finally give the audience some of that old RWBY team choreography that's been completely missing from this volume and was only in bits and pieces of last volume (fighting the horse person grimm thing). Finally Blake is together with her team and we don't get to see her fight along side it?! That's a massive letdown. The camera cuts back to this eventually and Emerald, Mercury, and Hazel are pretty much beaten and everybody is tired and aura depleted so clearly some amazing shit must have happened that we didn't get to see.


      And of course we end on what is still essentially a cliffhanger. Oscar/Ozpin passing out saying we need to take the lantern to Atlus. That's not needed, just end it at the team hugging it out and Qrow and Ozpin looking at the lantern with a concerned expression or something. The following volume can start with them expositing what they need to do with the relic. Too many episodes this volume ended with cliffhangers which is indicative of another problem the last few volumes had. That problem is this series is written and constructed to fill out an average to above average movie length time frame. Which means roughly 2 hours though the last few have been above 3 hours. Why that's a problem is this series isn't released as a movie, it's released as episodes and for all good television series, even serial ones, every episode needs to stand on its own narrative merits. This volume felt like a complete package that the editors haphazardly chopped up into uneven pieces with no thought into where things should end and begin and what events should be paired up with what other events. And while some might argue that RWBY is always best to watch all at once that isn't the point. This series isn't released like that so I have to judge it by how it's given to us. By episodes once a week. Even serial television shows generally follow appropriate narrative structure which is a beginning, middle, and end. Introduction, rising action, climax, conclusion. RWBY episodes this volume will start at what would have been the middle of a normal episode and end midway through a climax. A cliffhanger can be an effective narrative tool to increase suspense but when it happens every single volume all it does is piss off your audience. Ask the show runners of Walking Dead what too many cliffhangers does. And that was just ending their seasons with them, RWBY does them multiple times within a season. All serials will of course leave some plot threads unfinished to allow subsequent episodes to continue those threads but if nothing is resolved then no forward plot progression is made.


      Finally we get to the actual volume critique. Writing, directing, editing, and fight choreography were the biggest losers here. The show took a hard nose dive half way in where nobody moved from their spots, little new information or forward plot movement was happening, and episodes seemingly just served to have different characters who didn't previously know information the audience already knew know that information. Pacing suffered heavily. When it was announced that this volume of RWBY was going to have more episodes I was initially very excited. I thought last volume's main problem of trying to cram in too much story spread too thinly among the different characters in not enough time was going to be addressed but that extra time was completely wasted this volume. If I were to re-edit this volume removing pointless fluff this volume would have been 3-4 less episodes.


      Early volumes main problem was too much "show, don't tell", where the audience was craving for world building facts about this story universe but weren't getting them, but this volume (and the last volume to a lesser extent) was waaaay over the top with "Tell, don't show". We get in excruciating details how Ozpin's powers work. We get a detailed explanation of how Raven and Qrow gained their bird morphing powers. We get conversations explaining the White Fang's organization hierarchy. We get lectures from Ozpin, Yang, from Weiss, from Blake, from Blake's parents, etc all telling us things that could have easily been communicated through action and visuals. Perfect example of this is when Raven is telling Yang and Weiss why Ozpin is not to be trusted. What we get is a completely boring and nonsensical conversation where Raven tells them pretty much nothing they didn't already know about Ozpin with the only "negative" being that Raven implies Ozpin forced the bird power on her and Qrow. What this should have been is a flashback where we see Ozpin sending team STRQ on a mission, Raven requesting backup from Ozpin, and Ozpin refusing to send it. Hell, maybe even use that flashback as an opportunity to expand on Summer a little more. Show us her fighting, using her silver eyes ability, or maybe this is what leads to Summer dying and Raven blames Ozpin. This would have made Raven far more sympathetic and would make the audience understand her point of view of why she chose to leave team STRQ and rejoin her bandit tribe SOOO much better than the weaksauce conversation she gave Yang and Weiss. Point here is, there needs to be a good balance between exposition which informs the audience about what characters know and facts about this story universe and visuals that show the audience how things work and RWBY has yet to find that balance.


      Next problem with this volume payoff. We're 5 volumes in now and yet I feel like none of the many plot threads have received any decent payoff. This problem isn't unique to this volume (cough, Torchwick being eaten by a grimm, cough) but feels exacerbated by the greater episode count yet horrid pacing. What do I mean by payoff? Well let's look at where are characters are by the fall of beacon. Ruby used her newly discovered "silver eyes" powered to completely freeze a gigantic dragon grimm and to significant damage to Cinder in the process. This ability is never brought up again in 2 volumes after it happens or the status of Beacon and the dragon. She uses the power once more in retaliation for Cinder hurting Weiss but it only appears to slightly inconvenience Cinder this time and again, nobody seems to bring it up or pay any attention to it once it happens. Each time it happens the entire screen whites out which completely takes the audience out of the moment btw. We can't see what happens so it's pretty much a deus ex machina card that can be pulled whenever CRWBY wants to have stuff happen but not show us.


      Another Ruby missed payoff opportunity. Multiple times through the series it's made clear Ruby's main fighting weakness is when she is separated from her weapon, crescent rose. This volume basically spells it out to the audience by having Yang say that in the pre-volume trailer for Yang and again by Ozpin when he was sparring with Ruby (which points back to the show, don't tell, problem this volume has). This leads audience expectation that Ruby will be confronted with a situation where she has to hold her own without crescent rose and perform well to show her growth and competency increase. What did we get? A 5 second clip of Mercury getting Zidaned in the chin by Ruby, which while a nice callback to Oscar/Ozpin doing that to her earlier in the volume still isn't much of a payoff in demonstrating what she's learned.


      How about Yang's payoff. Well after the fall of beacon she's despondent over losing an arm and angry that Blake left without saying a word. She's lost the will to fight and when she does fight demonstrates signs of PTSD with her hand shaking. Before that her main fighting weakness was that Yang was overly aggressive and didn't know how to plan her attacks carefully without potentially damaging herself or putting herself at a disadvantage. So how is this paid off? Last volume she has a few conversations with Tai, a sparring session, and is seemingly just over it by the start of volume 5. I suppose one could make the argument that she's more interested in protecting Ruby and that is what snapped her out of her funk but again, it's never really paid off from what we see from the show, the audience just has to make that connection for our selves. Her hand shaking is never addressed again after we see it when she faces the bandits. As far as her fighting weakness, again when she faces the bandits is the most we get to see of her improvement in calmly accessing how to take on enemies without raging into battle headfirst. But then when she's fighting Mercury and Emerald she seems to revert back to angry overly aggressive fighting again, so I guess no real improvement made? As an aside, where we see Ruby, Blake, and Weiss' semblances pretty frequently when they fight, we've only seen Yang use hers once. When she was fighting the Torchwick controlled mech. Just seems like a missed opportunity for a cool tank like semblance. Also, as far as payoff regarding her apparent lifelong goal of meeting her mother and getting her questions asked, again, nothing there either. A few times RWBY has an opening to give Yang the closure there that her and the audience would have liked to see and instead Yang doesn't want to ask Raven the questions her and us want answered.


      Another missed Yang opportunity by the way in this finale episode or even the previous episode is Adam is outside of the building where Yang is yet there is no scene where the two acknowledge each other. Having Yang demonstrate that she's accepted her prosthetic arm and is over the PTSD by fighting Adam again would have been a big character moment for her, but we didn't get that.


      Weiss after the fall of Beacon is back at Atlas and is essentially a prisoner to her father. After escaping her home she heads to Mistral to meet up with her sister Winter. Her main character weaknesses were that she was overly prideful believing her to be better than other people because of her family and not being able to use her rune semblances to summon things. Not too much into volume 4 she figures out summoning (at first by accident in the party, then later more deliberately in her room) so no big battle introduction of that major ability which would have been more fitting. When she finally meets up with Yang in volume 5 she's clearly happy to be working with her team again and not being a lone wolf she's also able to summon just fine now. There's never a meet up with Winter so her main goal at the end of volume 4 is not reached, and she mastered her fighting weakness with zero fanfare. Her biggest "payoff" I suppose is using her summons to take out the giant Wasp queen grimm and later summoning that same grimm to help fight Hazel but she's also run through by Cinder after losing badly against Vernal so I'm not exactly sure what growth was really shown here. And while I like that her personality has softened to be less stuck up, at the same time it's because of her "heiress" personality that made her so unique from the other members of team RWBY and I'm concerned the individual members are going to lose what made each of them unique and interesting. In DBZ Vegeta never stops being the prideful Saiyan even in the most recent episodes that aspect of his character comes up constantly, as both a positive and negative for him.


      Blake I think goes through the most actual character growth over the last 2 volumes since the fall of Beacon. She runs away to hide and be with her family after Beacon falls. Blake's character flaw is sort of self described as she doesn't seem to demonstrate much of a weakness in actual battle. Her flaw is apparently she always runs when a situation gets too much for her to handle (which is why her semblance is leaving copies of her behind) and also that she believes it's her responsibility alone to fix things and if she lets others help her that it will just leave to others hurting themselves. In other words, she has a case of the protagonist guilt. The payoff for these things is when Sun lectures her that people can make their own decisions and it isn't Blake's fault if they get hurt in the process. The point being she doesn't need to work alone and can communicate and work with others. Which is pretty much a repeat of what happened in volume 2 between Blake and Weiss. Then when given a situation where Blake can show up alone to convince her friend not to help the White Fang she instead brings along Sun to help which demonstrates that character growth (as Blake from the start of Volume 4 or even 5 would not have done that). She also shows leadership by taking a more vocal lead in getting her fellow faunus to help her out in Mistral to stop Adam's White Fang. But again, with lack of payoff we get no real satisfying conclusion between her and Adam. She easily disarms him and then he runs away after police arrest the dozen or so White Fang members he brought with him. There's also zero good payoff of Blake meeting her team again after 2 volumes. We get a "I'm not going anywhere" line which sort of addresses her character flaw of running away and 2 seconds of her fighting with her team which then cuts away.


      JNPR probably got the biggest shafting in payoff this volume. For Nora, we're kind of led to believe her and Ren are possibly going to be in a romantic relationship but that doesn't go anywhere and is even squashed a few times as them being just friends. Nora pretty much just has some comic relief moments but otherwise shows no character progression in volume 5. Same with Ren, he does very little after he had a lot of character progression in volume 4. Jaune after the fall of Beacon was obviously distraught over the death of Pyrra but otherwise was still a fairly lousy fighter and he hadn't unlocked his semblance yet. During volume 4 Jaune has clearly improved as a fighter and as a fight tactician as he's been watching training videos Pyrra made for him before she passed away and he had her weapons forged into his own weapons and armor. But in volume 5 we do not see any continued progression for him. The only payoff we get for Jaune this volume is we possibly finally have his semblance now? Though even that's unsure since Jaune corrects Nora when she expresses happiness at him unlocking it. Anyway, it's him being able to heal Weiss by sharing his aura with Weiss to allow Weiss' aura to heal herself. Reason why it's a shitty payoff is he "unlocks it" after this odd moment of inaction where everybody in the room stops fighting once Cinder breaks off from fighting Jaune (and by fighting, I mean pretty much teasing him) by chucking a spear into Weiss.


      How about payoff for the villains? Well, Tyrian isn't heard from again after his tail gets chopped off and he's given the "I'm disappointed in you" speech from Salem near the end of volume 4. Mercury and Emerald don't make an appearance until they meet Raven at the bandit camp with Cinder and they're just set dressing here as they don't do anything. During the last 2 episodes they fight alongside Hazel and Cinder but again no real big character payoffs. We get no new hints of Emerald showing concern about working with Salam. Nothing from Mercury either. Cinder has been spliced with a grimm apparently because of the damage Ruby did to her and clearly really hates Ruby but then in one of the strangest anti-climatic decisions she doesn't seem all that bothered with Ruby when she's finally face to face with her in Haven academy. She fights Jaune a bit then leaves the room with Raven and Vernal to get the relic leaving her underlings to face Ruby which does not at all seem consistent with the same Cinder who demanded to go after Ruby and even change Salem's plans to do this ambush fight specifically because Ruby would be there. Dr. Watts is more fully introduced in volume 5 but again we never really get to see him in action or doing much of anything apart from talking with Lionheart. Salem pretty much just sits menacingly around looking at her orb grimm thingy, but doesn't seem all that upset that her plans are failing to get the knowledge relic or the fact that she didn't get the Beacon relic after they won that fight. I mean she has the grimm kill Lionheart so he gets his comeuppance but apart from that, not much other response. Adam Taurus finally becomes the leader of the White Fang after killing its former leader but then he immediately will apparently lose their support after losing at Haven academy, so what was the point of that? Adam doesn't get a real repeat confrontation with either Blake or Yang.

      Of all the antagonists Hazel has the most satisfying character arc. He's initially introduced as a light speaking dude who oddly doesn't seem all that evil compared to everybody else he works with. We then learn about why he's with Salam because he really hates Ozpin.


      Finally the fight choreography. Look, we all know losing Monty was a big hit in this particular area of the show. Monty's ability to make breath-taking fight scenes that have an almost dance like rhythm to them are extremely difficult to recreate without him. However, that doesn't mean that it should be impossible to at least get somewhere in the ballpark of Monty's style of fight scenes and volume 4 and 5 (5 far worse than 4) have just been abysmal here. A lot of the time it isn't even the fights themselves its the amount of times a fight clearly WANTS to happen but then the scene transitions away to something else. This is where the brutal honesty comes in, but I'm sorry Miles and Kerry but you guys just aren't good enough writers, yet, to carry a plot with just your writing alone. What made volumes 1-3 so good was the fight scenes really carried the series forward despite some of the lackluster dialogue and story structure. I mean you've fit every anime trope into one series. Magical girls, hunter/huntress academies, magic, dust, semblances, super powerful relics, grimm, etc. We get it, you two love anime. But checking a box and saying you have it isn't always the right way to make an engrossing story. Focus on a few things and make those few things outstanding instead of just shotgun blasting everything a show can have into it. Here are all the fight scenes I can recall in volume 5. Weiss vs the wasp grimm. Yang vs bandits. Blake and Sun vs White Fang. Blake vs Ilya. Blakes family + Sun vs White Fang. Ruby sparring with Oscar. Ruby/Weiss/Yang/Nora/Jaune/Qrow/Oscar vs Emerald/Mercury/Cinder/Hazel/Raven/Vernal/Lionheart. And finally Raven vs Cinder. That second to last one btw was a bunch of 1v1 fights and not an actual team up. The stand outs being Oscar/Ozpin + Qrow vs Hazel, Weiss vs Vernal, and Yang vs Emerald + Mercury. Other than it clearly just being a paltry number of fights in total when compared to previous volumes the pattern here is volume 5 was almost completely 1v1 fights. 1v1 fights that for the most part were very slowly paced, had almost no music that went with them oddly enough, and were usually horribly cut so that scenes would often transition back and forth while fights were happening. 


      I talked about this in a previous comment I made on the previous episode but it bears repeating here. A good fight in a work of fiction should be its own 3 act story. Why are these combatants fighting? Why should the audience care about which one wins? What changes as a result of this fight after its over? These are important questions when constructing a fight in a work of fiction. Obviously in real life fights frequently end in one or few punches and that's it. But that isn't entertainment. People don't pay hundreds of dollars to go to a boxing match just to see it end immediately and people are invested in the drama and spectacle of what each fighter brings. So where did they go wrong in volume 5 of rwby? Well frequently there was never much dramatic stakes involved or satisfying results from many of volume 5's fights. Let's compare and contrast the Weiss vs wasp grimm fight from volume 5 with the Nuckelavee fight at the end of volume 4 using our questions. 

      Why are these combatants fighting? In the Nuckelavee fight RNJR is fighting it because it killed Ren's parents and it is blocking the way out for Qrow to get to safety after being lethally poisoned by Tyrian in a prior episode. The Nuckelavee is fighting because it is an evil grimm that exists for this very purpose, killing people. Why does Weiss fight the wasp grimm in volume 5. Because they are attacking her transport vehicle and are a threat to her and the pilot who's taking her's life. To give this fight a little more dramatic stakes it would have been better to keep the ship the grimm were originally chasing that was sending out distress radio transmissions alive so that Weiss would have also been fighting to save them but that wasn't the case. The wasp grimm are fighting because again, they are grimm and exist to kill people. Why should the audience care about who wins? In the Nuckelavee fight, the audience would get closure for Ren's character on him getting revenge against the creature that killed his family and many other people. It was also a showcase in a whole team working together to take down a tough target. How about the Weiss fight. Well, the audience wants to see her in action after being cooped up for all of volume 4 training in her room. What changes as a result from each fight? In the Nuckelavee fight, the battle serves to signal help that ultimately is the reason Qrow survives. Team RNJR also demonstrates solid fighting skill growth in being able to work together to take out a powerfull grimm beast. Jaune demonstrates his personal growth as a fighter. Ren overcomes his hatred for that particular grimm to focus on working with his team and Nora demonstrates her love for Ren. How about the Weiss fight? Well she survives obviously and she demonstrates her ability to access the tactics of a situation and plan accordingly in battle. She also uses her summon in a fight for the first time. But otherwise her ship crash lands and she ultimately doesn't reach her goal of meeting with Winter.


      And the Weiss vs wasp grimm fight was one of the better ones from volume 5. If I did that with each one of them things would get sadder each time. Again, all fights in a series defined by its fast paced action fights should serve a purpose. We should learn something new about our characters that we didn't know before through some fighting technique or tactic. Or the story should be furthered in some way because of the fight. Also, we need to see the complete fight ON CAMERA. As I said before, too many times this volume a fight was cut off mid action to go to another scene where characters are just talking. A fight builds up a frenetic pace and tone within the audience that gets immediately deflated the moment the director decides to switch over to a scene that isn't moving at a similar pace or intensity. If cuts are utilized during a fight scene it should ONLY ever be to different perspectives of that same fight. Not an entirely different scene. What this creates is confusion with the audience regarding time and space. If a character is leaping in the air mid attack and the scene cuts to some other location with different characters, is the implication that this new scene is happening simultaneously as the previous scene? Or is it happening on a different time frame before or after the previous scene? If it's simultaneously then the audience is missing things from the previous scene as the current one happens. The audience then needs to readjust to where characters are in space and who's in what scene as it cuts back and forth.


      Point here is too many shortcuts were taken this volume to avoid fight scenes. If the animators aren't comfortable with animating fast paced fight scenes then I'm sorry but that isn't a good sign. Again, I realize Monty can never be replaced but I know for a fact there are very talented fight animators out there that could reproduce a lot of what this volume is sorely lacking. Hell within Roosterteeth the Death Battle animators have proved just as capable to create some truly amazing fight scenes. And when it comes right down to it, if this show is going to transition away from fight choreography to more plot driven, exposition heavy narrative, then I'm sorry but that'll be the end of my enjoyment of the show. The writing is just not there for RWBY to carry itself on story alone. Maybe if you guys hire some more professional writers and Miles and Kerry move into more of a "show runner" position of controlling general direction of the series while leaving the technical aspects of writing and directing to more capable people, that would fix things.


      To CRWBY, my suggestion for improving the fight scenes would be to discuss what fights you want to happen in Volume 6, story board and animatic them first, then give the most amount of animation time to them. Maybe even place placeholder animations for the fight scenes so that episodes can be completed while the fight scenes continue to be worked on. Point is it was obvious a lot of effort went into the Raven vs Cinder fight which was the closest to past RWBY fights in quality but none of the other fights even approached that. So the process that lead to that Raven vs Cinder fight is what needs to be improved so you guys aren't killing yourself with hours but are afforded that amount of time and planning to get each fight done to the same degree of quality.


      So there you have it, my thoughts on volume 5. If you stuck around to the end here, congrats, have a cookie. Sorry to those that disagree with me and think all is perfect but again I do this to make this series better for everybody.

      5 replies

    • Anybody else getting fed up with the lower third RT advertisements bar?

      in Forums > Anybody else getting fed up with the lower third RT advertisements bar? | Follow this topic

      PacMonster

      Seriously, they are really starting to get on my nerve. I was fine with the constant plugs for RT merch in every piece of content they release, however the giant white bar that occludes the bottom of whatever video I'm watching is just too aggressive. Sometimes it doesn't even let me remove it and if you missclick the just slightly darker colored X it opens up a new tab/window to the RT store. Seriously, this is the kind of stuff that makes people want to use adblockers, and is what we like to call in the web design business an unethical ad. One that pushes itself on you with little recourse to do anything about them. No opt out.


      As a long time fan of Roosterteeth I am seriously disliking the trend I'm seeing as of late. Changing sponsor to "first" without any kind of community feedback on a new name that we would like to call ourselves.  Changing the most popular series schedule around so that RT site members are now no different then people that don't use this website meaning first members can't talk about any of the content they just watched for fear of spoiling it for their non first friends (or not caring and subsequently pissing off those non-first people in the process making a shittier experience for them in the process). A steadily increasing amount of ad reads in content that previously did not have ad reads in them (we get it, you're a business and are creating ever increasingly more expensive content, but there's a fine line you walk with your audience before it starts to get too blatant). The "double gold" box which in all honesty never seemed worth the price tag. Especially when compared to the plethora of competing subscription "box" options out there that are far cheaper and include more varied stuff. The last RTX VIP situation was just a huge debacle with there being so many VIPs it made the very purpose of paying the extreme premium moot (being turned away from a room because it filled up hours before the thing was supposed to even start). I can live with the disappointment of missing a VIP ticket as long at it means having one is an actual "VIP" experience.


      I don't know, maybe I'm just whining too much and a lot of what I'm talking about is pretty subjective and I still for the most part watch and enjoy a lot of what Roosterteeth produces. I'm happy with all the big productions they've done lately. Day 5. Lazerteams 1 and 2. Let's Play Live. RT Animation's stuff. RT Game's stuff. The entire Let's Play family of channels. And paradoxically I understand these large endeavors cost more money and require more staff which requires more money to pay said staff. My point in this rant is just to say to the likely none of RT staff who ever read these forums anymore, please remember your community. We aren't just walking money bags and we will gladly give you our money to support you as long as stuff isn't shoved in our faces or prices are increased the point of absurdity.


      /endrant

      3 replies

    • The Rise of Microtransactions

      in Forums > The Rise of Microtransactions | Follow this topic

      PacMonster

      I enjoy video games. Everything about video games. I enjoy playing them, reading about them, learning about how they are made, making them (in my spare time), and somewhat recently, writing about them and the industry that makes them. To that end, on my portfolio website I also have a blog where I like to shed some light on common topics all gamers know about but only often from their own perspective. I like to tackle each issue from both the side of a game developer (having both talked to a fair few and I follow game industry interviews and insider information whenever I can get it) and the game industry and the average gaming consumer.


      If anyone has any feedback on what I've written, whether they think it needs more pictures, needs to be less wordy, or if they just want to discuss their opinions toward what I'm talking about (whether they agree or disagree with me) I'd be glad to here it. I really would appreciate it.


      The last article I wrote is all about microtransactions. What they are, why they are popping up in more games lately, and my opinion towards them in certain scenarios. Few people really understand the budget any large game has and for people that are curious I try to break it down as best I can.


      Rise of the Microtransactions


      I also have articles talking about Fair Use for anybody concerned about their Youtube content and copyright infringement. Free to play games, season passes, pre-orders, and AR vs VR (I wrote that article almost a full year ago and stand by my opinion that VR has limited applications won't leave the niche market)


      It's a me Fair Use

      Can you pre-order trust?

      Tis The Season-Pass

      Are We Really Free To Play?

      Is AR and or VR The Next Big Thing?


      1 reply

    • It's A Me...Fair Use

      3 years ago

      PacMonster

      Nintendo, the famous Japanese toy and game company behind Mario, Zelda, Metroid, Star Fox, Donkey Kong, Kirby and many other iconic characters from our childhoods is in the news lately.  No, not about another poor quarterly earnings report or an Nintendo executive lowering their own salary.  Nintendo is in the news because they have finally given details about their official policy in dealing with YouTube content creators (and I’m sure eventually they’ll get to Twitch live streamers as well). I’ll go into the specifics of that policy in a bit but the main issue I want to talk about is fair use.  How the current law defines it, how it applies to gaming and YouTube content creators, when it doesn’t apply, and how to fix it.

      First, Nintendo’s policy.  YouTube content creators can register either their entire channel (or one they set up) or individual videos with Nintendo to enter into a revenue sharing agreement.  If a content creator registers an entire channel then Nintendo receives a 30% cut of whatever ad revenue the videos on the channel get, regardless if there are videos on the channel which do not feature Nintendo content.  This is on top of the cut that Google takes from each monetized video and for content creators that are part of a multi-channel network or MCN there is also the cut that the MCN takes per video.  That’s at least a 3 way split on revenue which is inconsistent to start with.  Registering individual videos gives Nintendo a 40% cut of the revenue but at least content creators have finer control over their videos in this scheme.  The rates are also subject to change whenever Nintendo wants them to with no discussion.

      revenue sharing

      Once the channel or an individual video has been registered, Nintendo has up to three business days to “review and finalize” the video. Which essentially means Nintendo has veto power over the video and if they don’t like what the video shows or says they can deny it.  It also takes up to three days just for a channel or video to be “registered”. That’s potentially six days between when a video is finalized by the content creator and when they can show it to the public to make money from it.  On top of that, Nintendo does not pay out in this revenue sharing scheme until 2 months after the content is published.  That’s an entire month more than the normal AdSense payout plan that content creators get for their videos. That means that google gets their share of the revenue after a month but the content creator has to wait another month before getting a payment from Nintendo.  What Nintendo clearly wants here is an extension of their own marketing department, not an independent community sharing their views, good or bad, on Nintendo’s games.

      This entire policy is bad for both parties. Nintendo technically gets less money than if they had claimed all the content creator revenue from videos featuring their content like they were doing in the past and putting up all of these barriers for content creators to earn a living makes content creators really disincentivized to produce Nintendo content.  Somebody like Pewdiepie with at least several million active subscribers not showing Nintendo content is a huge loss in potential customers and sales.  This is free, highly effective, advertising Nintendo is turning down in favor of what will most likely be a tiny fraction of a revenue stream from people who sign up for their new program.  The astoundingly poor business decision aside, what many people will bring up is can Nintendo even legally do this? Or better phrased, who owns the content that content creators make, the content creator or Nintendo?  In comes the importance of fair use.

      The Copyright Act of 1976 was the first legal codification of what “fair use” was. The idea of it had been around far earlier than that and court proceedings had used their own definitions of what fair use might entail for their decisions before the act.  Section 107 of the Copyright Act is as follows;

      “Notwithstanding the provisions of sections 106 and 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include—

      (1) the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;

      (2) the nature of the copyrighted work;

      (3) the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and

      (4) the effect of the use upon the potential market for or value of the copyrighted work.

      The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors.”

      copyright-symbolSo what does that legal mumbo-jumbo actually mean?  Well, very little.  In fact, even after it was given a legal definition, it has still been left up to the courts to decide what is and is not fair use, but over hundreds of court cases a few precedents have been set and if a content creator could prove their use of copyrighted material fits under these fair use precedents then it is considered ok for them to receive a revenue from their work.  Generally a work can be considered “fair use” if it is a small excerpt from a larger piece used for news, critique, education, or for parody.  If what is used can be proven to not financially damage or impact the copyright holder in any meaningful way. Or that the work is truly transformative instead of derivative.  The key term here as it relates to YouTube videos is “transformative”.

      YouTube offers a very different medium for displaying media than any other form in the past.  YouTube allows literally anybody with a computer and a camera or capture software to upload what they are doing for anybody else with a computer and an internet connection to see.  One of the most popular uses of YouTube is for “Let’s Play” style videos. These are videos showing a person playing a game and usually feature entertaining or inciteful commentary on what they are doing as they do it.  Some content creators use YouTube to post reviews of games in which they need to showcase parts of the game they are talking about to best inform consumers of their potential purchases.  Some content creators make parodies of characters, songs, or other game assets for comedy.  All of these videos offer regular people a chance to reach an audience they otherwise would never had the chance of obtaining due to older form media like television, radio, or publications.  The latter three types of videos I mention people would seldom argue that they don’t fit fair use yet occasionally even they are attacked.  No, the real argument here is whether a Let’s Play video can be considered fair use.

      As I mentioned before, “transformative” is the key distinction in determining whether a piece of work can be protected by fair use and it is that distinction that wins or loses court cases.  It is also the hardest to give a clear cut answer to what is and is not “transformative”.  For a piece of work to be considered transformative it must be considered to have radically changed the use of or appeal of the original work it was based on.  If it doesn’t then the work is considered to be derivative, which means a work that is based off of another work but does not add enough to uniquely distinguish itself from the original work.  Essentially, transformative is what a derivative work strives to achieve.  For instance, the C++ programming language could be considered a derivative of the C programming language.  However, had C been copyrighted, C++ would be considered transformative since it took the original work and made vast improvements and additions to it.  C++ would be considered fair use.  Programming languages are generally not copyrighted as they are considered basic tools of construction but it still illustrates the difference between derivative and transformative.

      A video game is a very different medium than other creative forms of media.  lets playEven in highly linear games where every person must technically go through the same moments of the game, the fact that games are an active experience as opposed to a passive one means every single person experiences a unique version of a game.  Somebody watching a YouTube video of a person playing a game will never be able to perfectly replicate the experience of the person in the video if they played the same game.  Add onto that potential additions a content creator might add to their video. The unique commentary that the content creator shares as they play the game, graphics that the content creator might edit into the video to assist in the narrative, and the unique intro and outro that a content creator might place on every video all add up to what I believe to be a transformative work.  The people that subscribe to popular YouTube content creator’s channels watch the videos not because of the game that is being played but because of the personalities of the people playing the game.  That to me seems as transformative a process as anything could be considered being.  Let’s play videos also usually act as better advertisement for the game that is being played than the publisher or developer’s own advertising which defeats the financially damaging argument.

      This belief comes with a few caveats.  I believe content creators should edit out cutscenes in their videos.  Similar to a movie, a cutscene is a passive experience and I completely understand developers complaints that they don’t want the stories to their games spoiled by these videos (the caveat to this is if the cutscene is being parodied, then it is back to being fair use).  I also think content creators should edit out the audio of the games they are playing. This is more due to the complexity that is music copyrights in games and how sometimes even the developer or publisher does not own the rights to the music in their games. Lastly, I believe Let’s Play videos need some form of commentary over them so it’s not just a silent playthrough of a game.  If these conditions are not meant then copyright holders do have the right to issue a claim against the video. I get that to a developer seeing their game  in a video that they have spent so much time on comes with a certain degree of protectiveness. Going after YouTube content creators however is not the right way to go about removing access to content that the developer wants as many people as possible to be aware of.

      This case by case nature of which videos qualify as “transformative” and which videos do not is why the definition of fair use is very unlikely to be updated but I’d still like to see a few changes.  The Copyright Act is from 1976.  That’s twenty plus years earlier than the proliferation of the World Wide Web as it is used today and over thirty years older than YouTube where these fair use issues are arising.  I would like to see a new copyright act issued which takes into account the information age we live in. Fair use needs to be better quantified so as to leave less ambiguity in how to deal with it.  Exactly how much or how long of a sample can be taken of a copyrighted work to be considered fair in as many use cases as can be ascertained at the time of this new act (how much of a song, how much of an article, how much of a video, etc).  A formal definition of what it means to be “transformative” needs to be added as well because most of the ambiguity comes from interpreting what is and is not transformative.  I think there will be a lot less lawsuits and a lot more enjoyment for everybody if fair use can be better defined for the modern age and YouTube content creators get left alone to their craft.

      If you like this article, please check out my other articles at

      www.andrew-dougherty.com/blog/ 

      and like and comment on them.

    • 2018 years ago

      PacMonster
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