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. (2013–2018).Original releaseJuly 18, 2013 ( 2013-07-18) –present ( present)External linksRWBY (pronounced 'Ruby') is an American -style web series and created by the late for. The show is set in the fictional world of Remnant, where young people train to become warriors (called 'Huntsmen' and 'Huntresses') to protect their world from monsters called Grimm. The name RWBY is derived from the four main characters' forenames: Ruby, Weiss, Blake, and Yang, as well as their associated theme colors; Red, White, Black, and Yellow, and their combined team name: team RWBY. Following several promotional trailers, the first episode was screened at the Rooster Teeth convention event and then released on their website in July 2013.
Subsequent episodes were released approximately weekly, first to Rooster Teeth's subscribers and then to YouTube a week later. The series became a, and a second season, subtitled Volume 2, was released in July 2014.During production of Volume 3, on February 1, 2015, Oum died after falling into a coma that was caused by an during a medical procedure. This resulted in a delay in Volume 3's production, as well as an overall shift in the show's production and release schedule.
Despite the creator's death, the remaining crew members confirmed their intention to continue the series, and Volume 3 was released in 2015 as planned. Meanwhile, the first two seasons were released to home media and made available on streaming services such as and, the latter of which would include releases of the current season in their.
In October 2016, the fourth season was released. The series has also been dubbed in Japanese and broadcast by, in partnership with.
As of February 2020, the Rooster Teeth website has aired 7 Volumes.Rooster Teeth released a video game called RWBY: Grimm Eclipse, as well as a spin-off series which is called, in 2016. The creator of RWBYRWBY had been a long-standing concept of Oum's for years before it began development. Towards the end of his work on the 10th season of Rooster Teeth's, he developed the color-coding approach to character names and design as a hook for the series.
During production on Red vs. Blue season 10, Oum asked series creator if they could produce RWBY following the conclusion of that season. Burns, worried for the production schedule, told Oum 'If you finish Season 10, then you can do whatever you want.' Production on RWBY began as intended, with the first trailer being finished within two weeks and premiering after the credits of the Red vs.
Blue season 10 finale on November 5, 2012.Oum designed the characters with assistance from artist Ein Lee, utilizing designs inspired by classic fairy tale characters. Each character has an associated color, and it is the first letters of the main character's colors, red, white, black, and yellow, that give the series its name. The characters' names also share the same letter and the meaning as the colour (e.g. 'Weiss Schnee' translates to 'snow white' in German). The series was originally written by Oum, along with fellow Rooster Teeth employees Miles Luna and Kerry Shawcross. Oum was initially concerned about a story focusing on female characters being developed by a primarily male crew, but said they managed to do well developing the female characters. Regarding the design, Oum wanted to 'present a two-dimensional, toon-shaded look, but with all of the depth and complexity of a 3D-animated production'.
Seasons 1 to 3 were animated by Rooster Teeth's internal animation team using 's software, out of assets built on. Starting in Season 4, episodes are now being animated in Maya.
The series' music is composed by Jeff Williams, who previously composed the soundtracks for Seasons 8–10 of Red vs. Blue, and features vocals by Williams' daughter, Casey Lee Williams.Voice cast and characters. Main article:The story takes place in the world of Remnant, composed of four kingdoms that are plagued by malevolent creatures known as the 'Creatures of Grimm'. Prior to the events of the series, the world was overseen by two opposing deities, the Gods of Light and Darkness. Humanity is obliterated by the gods due to the actions of Salem, a vengeful woman cursed with immortality for trying to manipulate them into reviving her beloved Ozma.
Ozma was subsequently reincarnated into a world abandoned by the gods, to guide a new human race towards harmony. Eventually, the discovery of the element Dust triggers a technological and industrial revolution among humans.In the present day, having formed a cabal to guard their world's secrets, Ozma's current incarnation Ozpin establishes academies in the four kingdoms of Remnant to train students to battle malevolent creatures known as the Grimm. The academies secretly conceal four relics that, if united, would summon the gods back to Remnant to.The series focuses on four girls that enrolled in Beacon Academy in the kingdom of Vale: Ruby Rose, Weiss Schnee, Blake Belladonna (of the half-human, half-animal Faunus race), and Ruby's half-sister Yang Xiao Long. Together, they form team RWBY ('ruby').
At the time of Team RWBY's formation, numerous Dust thefts are carried out in Vale by local crime lord Roman Torchwick the White Fang, a pro-Faunus terrorist group. Team RWBY proceeds to investigate their connection to Salem's apprentice Cinder Fall, and her scheme to destroy Beacon and plunge Remnant into chaos.Promotion A series of four promotional trailers, one for each lead character, were released. They were primarily produced by Oum and assistant animator Shane Newville. Each trailer begins by unveiling one of the four primary characters and then showing a detailed action sequence.
The 'Red' trailer was shown after the credits for Red vs. Blue's season 10 finale in November 2012. It was followed by the 'White' trailer in February 2013. The 'Black' trailer was unveiled at a panel at the end of March and was the first to include voice-acted dialogue. Following the premiere of the 'Black' trailer, Oum noted with regret that the first two trailers were shorter and had less character development.
The 'Yellow' trailer was shown at Rooster Teeth's panel on June 1, 2013. Music from the trailers was sold as digital downloads at several online retailers.On July 5, 2013, at the RWBY panel for their event, Rooster Teeth premiered the first episode of RWBY, and would post the episode to their website on July 18.
Release Following the premiere of RWBY in July 2013, Rooster Teeth posted new episodes for the first season, subtitled Volume 1, streaming weekly on their website, with access two hours early for their sponsors. The new episode would be uploaded to YouTube the next week. On August 16, 2013, streaming site announced it would simulcast RWBY. Volume 1 ran for 16 episodes, varying in length. Volume 1 concluded in November 2013, and was then released to DVD and Blu-ray.The second season, subtitled Volume 2, was screened at on July 4, 2014, and premiered on July 24.
It consisted of 12 episodes, with the final episode released on October 30, after which it was released on DVD and Blu-ray.On February 1, 2015, Rooster Teeth announced that both volumes of RWBY so far were available for streaming on.Volume 3 premiered on October 24, 2015 along with an episode of the RWBY backstory series World of Remnant. For Volume 4, Rooster Teeth producer and co-director said that and were writing for the series. The season debuted on October 22, 2016. In January 2017, a fifth season was announced to be in development, and was released on October 14.In 2017, Rooster Teeth announced that Rooster Teeth First members would get episodes one week earlier than the general public.On September 15, 2018, Rooster Teeth CEO announced that RWBY Volume 6 will be released exclusively on the company's website. This decision was made after many of Rooster Teeth's videos on YouTube were demonetized for various reasons.
International releases The Blu-ray and DVD releases in Australia were handled by Hanabee Entertainment. The first volume was released in the UK by on May 4, 2015, on DVD.On August 15, 2014, Rooster Teeth announced that a Japanese dub was being developed by Japan. Has also acquired local merchandising rights as well. Volume 3 was screened in select theaters on December 3, 2016.
Volume 4 was released in select theaters for a limited two-week run from October 7 to 20, 2017. To promote Volume 4, Volumes 1-3 were condensed into 12 episodes for broadcast on and in July 2017 under the title RWBY 1-3: The Beginning. Manga RWBY. Jeff WilliamsThe music for all volumes of RWBY has been composed primarily by Jeff Williams, with additional composition by Steve Goldshein, Mason Lieberman, and Alex Abraham. Williams was a member of the band, who did the music for Rooster Teeth's Red vs.
Blue, and eventually composed by himself the music for the three seasons of Red vs. Blue that preceded RWBY. Most of the vocals are provided by Williams' daughter Casey Lee Williams, with some additional vocals by Lamar Hall and Sandy Casey.RWBY 's soundtrack features a variety of genres, most notably intense, fast-paced rock music. In an interview with Rooster Teeth, Williams mentioned that he uses his lyrics to foreshadow future events on occasion. In developing the songs, Williams uses the show's script and picks out random words and phrases that he thinks are cool. He would also get advanced knowledge as to the character's development, their background stories and lives. He then picks out the emotions related to the scene, adds tempo, drumbeats, rhythm, and eventually composes the song from there.
'Red Like Roses'. 'Mirror Mirror'. 'From Shadows'. 'I Burn'.
'This Will Be the Day'. 'RWBY: Chapter 1'. 'Red Like Roses Part II'. 'Gold'The official soundtrack for RWBY: Volume 1 was released by Jeff Williams on November 12, 2013. It includes the songs used in the trailers, the intro to the series' episodes, and also the score music to each episode. The soundtrack also contains previously unreleased songs such as 'I May Fall' and 'Wings'.
These songs were, however, briefly played at the end of various episodes.Volume 1 reached number one on and beating out the movie soundtrack to. The soundtrack reached number 22 on Billboard 's Top Rock Albums charts.
This Will Be the Day' (feat. Casey Lee Williams)Jeff Williams3:082.' Red Like Roses (Red Trailer)' (feat. Casey Lee Williams)Jeff Williams3:123.' Mirror Mirror (White Trailer)' (feat. Casey Lee Williams)Jeff Williams2:544.'
From Shadows (Black Trailer)' (feat. Casey Lee Williams)Jeff Williams4:485.' I Burn (Yellow Trailer)' (feat. Casey Lee Williams)Jeff Williams5:306.'
Casey Lee Williams)Jeff Williams4:027.' I Burn' (feat.
Casey Lee Williams & Lamar Hall)Jeff Williams3:118.' I May Fall' (feat. Casey Lee Williams)Jeff Williams4:039.' Red Like Roses – Part II' (feat.
Casey Lee Williams & Sandy Casey)Jeff Williams4:0210.' I Burn Remix' (feat. Casey Lee Williams)Jeff Williams3:0711.' From Shadows' (feat.
Casey Lee Williams)Jeff Williams5:2112.' Wings' (feat. Casey Lee Williams)Jeff Williams5:1113.' EP 1 Score – Ruby Rose'Jeff Williams8:3714.' EP 2 Score – The Shining Beacon, Pt.
1'Jeff Williams3:3115.' EP 3 Score – The Shining Beacon, Pt. 2'Jeff Williams4:3916.' EP 4 Score – The First Step, Pt. 1'Jeff Williams2:5917.' EP 5 Score – The First Step, Pt.
2'Jeff Williams & Steve Goldshein2:3618.' EP 6 Score – The Emerald Forest, Pt. 1'Jeff Williams & Steve Goldshein4:2419.' EP 7 Score – The Emerald Forest, Pt. 2'Jeff Williams3:0120.' EP 8 Score – Players and Pieces'Jeff Williams & Alex Abraham7:2521.' EP 9 Score – The Badge and the Burden, Pt.
1'Jeff Williams & Alex Abraham3:0222.' EP 10 Score – The Badge and the Burden, Pt.
2'Jeff Williams & Alex Abraham2:3623.' EP 11 Score – Jaunedice, Pt.
1'Jeff Williams & Steve Goldshein1:2624.' EP 12 Score – Jaunedice, Pt. 2'Jeff Williams & Steve Goldshein6:0525.'
EP 13 Score – Forever Fall, Pt. 1'Jeff Williams & Alex Abraham2:3426.' EP 14 Score – Forever Fall, Pt. 2'Jeff Williams & Steve Goldshein4:5927.' EP 15 Score – The Stray'Jeff Williams & Alex Abraham6:5528.'
EP 16 Score – Black and White'Steve Goldshein, Alex Abraham & Jeff Williams11:07Total length:02:04:24. 'Time to Say Goodbye'Track list No.TitleWriter(s)Length1.' Time to Say Goodbye'Jeff Williams & Casey Lee Williams3:242.'
Die'Jeff Williams & Casey Lee Williams3:183.' Shine'Jeff Williams & Casey Lee Williams4:194.' Dream Come True'Jeff Williams & Casey Lee Williams4:125.' Caffeine' (feat. Lamar Hall)Jeff Williams & Casey Lee Williams3:096.' All Our Days'Jeff Williams & Casey Lee Williams4:367.'
Boop'Jeff Williams & Casey Lee Williams3:258.' Sacrifice'Jeff Williams & Casey Lee Williams4:009.' This Will Be the Day' (acoustic)Jeff Williams & Casey Lee Williams3:1710.' Time to Say Goodbye' (James Landino's Beach Bae remix)Jeff Williams & Casey Lee Williams3:1911.' This Will Be the Day' (James Landino's Magical Girl remix)Jeff Williams & Casey Lee Williams3:0312.'
Best Day Ever'Jeff Williams & Alex Abraham9:2713.' Welcome to Beacon'Alex Abraham, Steve Goldshein & Jeff Williams4:5214.' A Minor Hiccup'Alex Abraham, Steve Goldshein & Jeff Williams3:5915.' Painting the Town.' Jeff Williams & Steve Goldshein7:5916.' Extracurricular'Jeff Williams & Alex Abraham5:3417.'
Burning the Candle'Jeff Williams & Alex Abraham5:1518.' Dance Dance Infiltration'Jeff Williams & Alex Abraham5:0219.' Field Trip'Alex Abraham, Steve Goldshein & Jeff Williams4:2720.' Search and Destroy'Alex Abraham, Steve Goldshein & Jeff Williams10:0421.' Mountain Glenn'Alex Abraham, Steve Goldshein & Jeff Williams5:5922.' No Brakes'Alex Abraham, Steve Goldshein & Jeff Williams9:1923.'
Breach'Jeff Williams & Alex Abraham3:36Total length:01:55:35. Jeff WilliamsReleasedMay 3, 2016,Jeff Williams chronology(2014)RWBY: Vol. 3 (Original Soundtrack & Score)(2016)(2017)Track list No.TitleWriter(s)Length1.' When It Falls' (feat. Casey Lee Williams)Jeff Williams3:252.' I'm the One' (feat. Casey Lee Williams)Jeff Williams3:413.'
It's My Turn' (feat. Casey Lee Williams)Jeff Williams4:274.' Not Fall in Love with You'Jeff Williams3:495.' Casey Lee Williams)Jeff Williams2:546.'
Mirror Mirror, Pt. Casey Lee Williams)Jeff Williams3:597.' Divide' (feat. Casey Lee Williams)Jeff Williams3:408.' Casey Lee Williams)Jeff Williams3:269.'
Time to Say Goodbye (Acoustic)' (feat. Casey Lee Williams)Jeff Williams5:2910.' It's My Turn (James Landino Remix)' (feat. Casey Lee Williams)Jeff Williams3:4711.' Qrow vs Winter'Jeff Williams2:4112.' Jeff Williams4:1113.'
Jeff Williams & Alex Abraham3:3714.' When It Falls (V.S.Q.)'Jeff Williams2:0015.'
World of Remnant 1'Jeff Williams & Alex Abraham2:0016.' World of Remnant 2'Jeff Williams & Alex Abraham2:0217.' World of Remnant 3'Jeff Williams & Alex Abraham2:3518.' World of Remnant 4'Jeff Williams & Alex Abraham6:0019.' Round One'Jeff Williams5:0420.' New Challengers.'
Jeff Williams & Alex Abraham5:0421.' It's Brawl in the Family'Jeff Williams & Alex Abraham4:1922.' Lessons Learned'Alex Abraham, Steve Goldshein & Jeff Williams3:5523.' Never Miss a Beat'Alex Abraham, Steve Goldshein & Jeff Williams1:5124.' Fall'Jeff Williams & Alex Abraham6:3325.'
Beginning of the End'Alex Abraham, Steve Goldshein & Jeff Williams5:3726.' Destiny'Jeff Williams & Alex Abraham7:4727.' PvP'Alex Abraham, Steve Goldshein & Jeff Williams8:5328.' Battle of Beacon'Alex Abraham, Steve Goldshein & Jeff Williams8:2929.' Heroes and Monsters'Alex Abraham, Mason Lieberman & Jeff Williams9:5330.'
End of the Beginning'Jeff Williams & Alex Abraham10:29Total length:02:21:37. Jeff WilliamsReleasedJune 16, 2017,Jeff Williams chronology(2016)RWBY: Vol. 4 (Original Soundtrack & Score)(2017)(2018)Track list No.TitleWriter(s)Length1.' Let's Just Live' (feat.
Casey Lee Williams)Jeff Williams4:582.' Like Morning Follows Night' (feat. Casey Lee Williams & Lamar Hall)Jeff Williams4:543.' Bad Luck Charm'Jeff Williams3:374.' This Life is Mine' (feat. Casey Lee Williams)Jeff Williams5:145.'
Casey Lee Williams)Jeff Williams5:326.' Armed and Ready' (feat. Casey Lee Williams)Jeff Williams5:147.'
Lusus Naturae'Jeff Williams4:248.' Bmblb' (feat. Casey Lee Williams)Jeff Williams3:209.'
Boop (Acoustic Version)' (feat. Casey Lee Williams & Videri String Quartet)Jeff Williams3:2410.' Sacrifice (Harry Lodes Remix)' (feat. Casey Lee Williams)Jeff Williams4:1811.' I May Fall (Harry Lodes Remix)' (feat.
Casey Lee Williams)Jeff Williams4:0512.' Ruby vs the Beringel'Jeff Williams4:3013.' Chapter 1 – The Next Step, Pt. 1'Jeff Williams & Alex Abraham3:3614.' Chapter 1 – The Next Step, Pt. 2'Jeff Williams4:2315.'
Chapter 1 – The Next Step, Pt. 3'Jeff Williams & Alex Abraham3:5816.'
Chapter 2 – Remembrance, Pt. 1'Jeff Williams & Alex Abraham3:0117.' Chapter 2 – Remembrance, Pt. 2'Jeff Williams & Alex Abraham2:4618.'
Chapter 3 – Of Runaways and Stowaways, Pt. 1'Jeff Williams & Alex Abraham4:5419.' Chapter 3 – Of Runaways and Stowaways, Pt. 2'Jeff Williams1:4020.' Chapter 4 – Family, Pt. 1'Jeff Williams1:5321.' Chapter 4 – Family, Pt.
2'Jeff Williams & Alex Abraham3:3622.' Chapter 5 – Menagerie, Pt. 1'Jeff Williams3:4023.' Chapter 5 – Menagerie, Pt. 2'Jeff Williams & Alex Abraham2:1824.' Chapter 6 – Tipping Point, Pt.
1'Jeff Williams & Alex Abraham1:5525.' Chapter 6 – Tipping Point, Pt. 2'Jeff Williams2:5726.' Chapter 6 – Tipping Point, Pt. 3'Jeff Williams3:5127.' Chapter 7 – Punished, Pt. 1'Jeff Williams & Alex Abraham2:5428.'
Chapter 7 – Punished, Pt. 2'Jeff Williams & Alex Abraham2:0129.' Chapter 7 – Punished, Pt. 3'Jeff Williams2:2330.' Chapter 8 – A Much Needed Talk, Pt. 1'Jeff Williams & Alex Abraham4:1831.' Chapter 8 – A Much Needed Talk, Pt.
2'Jeff Williams & Alex Abraham2:1632.' Chapter 8 – A Much Needed Talk, Pt. 3'Jeff Williams2:2633.' Chapter 9 – Two Steps Forward, Two Steps Back, Pt. 1'Jeff Williams & Alex Abraham2:0734.'
Chapter 9 – Two Steps Forward, Two Steps Back, Pt. 2'Jeff Williams & Alex Abraham2:2235.' Chapter 9 – Two Steps Forward, Two Steps Back, Pt. 3'Jeff Williams2:0236.' Chapter 10 – Kuroyuri, Pt. 1'Jeff Williams & Alex Abraham2:5537.'
Chapter 10 – Kuroyuri, Pt. 2'Jeff Williams & Alex Abraham3:3338.' Chapter 11 – Taking Control, Pt. 1'Jeff Williams & Alex Abraham3:1839.' Chapter 11 – Taking Control, Pt. 2'Jeff Williams & Alex Abraham4:3240.' Chapter 12 – No Safe Haven, Pt.
1'Jeff Williams & Alex Abraham7:1041.' Chapter 12 – No Safe Haven, Pt.
2'Jeff Williams & Alex Abraham8:2442.' World of Remnant – Vale'Jeff Williams & Alex Abraham1:5343.'
World of Remnant – Mistral'Jeff Williams & Alex Abraham1:3144.' World of Remnant – Atlas'Jeff Williams & Alex Abraham2:2245.' World of Remnant – Vacuo'Jeff Williams & Alex Abraham1:3946.' World of Remnant – The Great War'Jeff Williams & Alex Abraham5:50Total length:02:43:55. Jeff WilliamsReleasedJune 8, 2018,Jeff Williams chronology(2017)RWBY: Vol.
5 (Original Soundtrack & Score)(2018)(2019)Track list No.TitleWriter(s)Length1.' The Triumph' (feat. Casey Lee Williams)Jeff Williams4:142.'
Ignite' (feat. Casey Lee Williams & Lamar Hall)Jeff Williams4:043.' Path to Isolation' (feat.
Casey Lee Williams)Jeff Williams3:594.' Smile' (feat.
Casey Lee Williams)Jeff Williams4:015.' All Things Must Die' (feat. Casey Lee Williams)Jeff Williams4:336.' This Time' (feat. Casey Lee Williams)Jeff Williams4:247.' All That Matters' (feat. Casey Lee Williams)Jeff Williams4:458.'
Gold (Acoustic Version)' (feat. Casey Lee Williams)Jeff Williams4:439.' Armed and Ready (Falk Remix)' (feat. Casey Lee Williams)Jeff Williams4:5610.' Let's Just Live (Harry Lodes Remix)' (feat. Casey Lee Williams)Jeff Williams3:4611.' Welcome to Haven'Jeff Williams & Alex Abraham2:2012.'
Dread in the Air'Jeff Williams & Alex Abraham4:0713.' I Found Him!' Jeff Williams & Alex Abraham1:3814.' Hello Leonardo.' Jeff Williams & Alex Abraham2:1015.' Jeff Williams & Alex Abraham4:4616.' Thank You, Sienna'Jeff Williams & Alex Abraham3:0917.'
Progress Takes Patience'Jeff Williams & Alex Abraham3:0018.' First Times All Around'Jeff Williams & Alex Abraham2:1119.' Jackpot'Jeff Williams & Alex Abraham2:2120.' I'm Her Daughter, After All'Jeff Williams2:1621.' Fighting Shape'Jeff Williams & Alex Abraham2:0022.' Subtlety Is Out'Jeff Williams2:4923.'
A Few Signatures'Jeff Williams2:3524.' Who Would Ask For This?' Jeff Williams3:4725.' Qrow's Rough Day'Jeff Williams2:1126.' I've Seen That Bird Before.' Jeff Williams1:4027.'
Dinner & Coffee'Jeff Williams & Alex Abraham4:4628.' When Weiss Was Ten'Jeff Williams3:0229.' A Note from Ilia'Jeff Williams & Alex Abraham3:2530.' Battle at the Belladonna's'Jeff Williams8:2631.' Strength in Forgiveness'Jeff Williams & Alex Abraham2:1832.' A Proposal I Can Get Behind'Jeff Williams & Alex Abraham3:2333.' Things Aren't Looking Good'Jeff Williams & Alex Abraham2:3534.'
Showdown in Haven Academy'Jeff Williams & Alex Abraham4:0835.' 'C' Is for Cinder'Jeff Williams & Alex Abraham3:1536.' Jeff Williams & Alex Abraham4:4837.' The Vault'Jeff Williams & Alex Abraham2:1738.' Look Who's Talking.' Jeff Williams2:5439.' Take This Fight Outside'Jeff Williams & Alex Abraham4:5040.'
Jeff Williams & Alex Abraham3:0441.' The Relic & Aftermath'Jeff Williams & Alex Abraham3:37Total length:02:23:13.
Jeff WilliamsReleasedJune 28, 2019,Jeff Williams chronology(2018)RWBY: Vol. 6 (Original Soundtrack & Score)(2019)Track list No.TitleWriter(s)Length1.' Rising' (feat. Casey Lee Williams)Jeff Williams3:472.'
Miracle' (feat. Casey Lee Williams)Jeff Williams4:103.' One Thing' (feat. Casey Lee Williams)Jeff Williams3:454.' Lionize'Jeff Williams3:405.' Big Metal Shoe' (feat.
Casey Lee Williams & Lamar Hall)Jeff Williams2:466.' Nevermore' (feat. Casey Lee Williams & Adrienne Cowan)Jeff Williams4:517.' Indomitable' (feat. Casey Lee Williams)Jeff Williams4:578.' Forever Fall' (feat.
Casey Lee Williams)Jeff Williams5:239.' Armed and Ready (Acoustic)' (feat. Casey Lee Williams & The Hit Points)Jeff Williams4:2810.' The Triumph (Kairi Remix)' (feat. Casey Lee Williams)Jeff Williams4:4611.'
The Path to Isolation (Heavenview Remix)' (feat. Casey Lee Williams)Jeff Williams5:3112.' Trouble Aboard Argus Limited'Jeff Williams & Alex Abraham6:3713.' Mistral Central Station'Jeff Williams & Alex Abraham4:2914.' The Spider's Web'Jeff Williams & Alex Abraham3:5715.' Say Her Name'Jeff Williams & Alex Abraham3:2316.' A Delicate Balance'Jeff Williams & Alex Abraham8:3017.'
Our Creation'Jeff Williams & Alex Abraham5:3418.' A Crumbling Cabal'Jeff Williams & Alex Abraham4:1519.'
Brunswick Farms'Jeff Williams & Alex Abraham3:2320.' The Apathy'Jeff Williams & Alex Abraham3:4421.' The Grimm Reaper'Jeff Williams & Alex Abraham3:4322.' Welcome to Argus'Jeff Williams & Alex Abraham3:5723.' Cashews'Jeff Williams & Alex Abraham3:0924.' Silver Eyes'Jeff Williams & Alex Abraham3:3725.'
Jaune's Arc'Jeff Williams & Alex Abraham4:0726.' The Heist'Jeff Williams & Alex Abraham4:4027.' Down the Cannon'Jeff Williams & Alex Abraham6:4628.' Protecting Each Other'Jeff Williams & Alex Abraham7:1929.' Ra'viatah, Osa Manetah'Jeff Williams & Alex Abraham4:5730.'
Fight to Atlas'Jeff Williams & Alex Abraham2:57Total length:02:14:41Charts Chart (2020)PeakpositionUS168. Jordan Scott, the creator of RWBY: Grimm EclipseFor Rooster Teeth's anniversary in 2014, fan Jordan Scott created a video game based on RWBY, titled RWBY: Grimm Eclipse, using the. It was in development for a total of five months.Based on the events in the first trailer, the demo was a 'hack 'n slash survival' featuring Ruby facing escalating waves of Grimm attacks. Richard Eisenbeis of Kotaku praised its combo system, which 'excellently mirrored its animated counterpart', and its unlockable skills, saying, 'you'll feel like an unstoppable badass akin to Ruby in the series.' At, Rooster Teeth announced that they had hired Scott, and officially picked up the game. An early demo of the game was available for consumers to play at the event, and the game's title was changed from 'Grim Eclipse' to 'Grimm Eclipse' to match the spelling of the creatures in the show.
Rooster Teeth CEO stated, ' RWBY is a natural choice for us to focus on for our first in-house produced video game. Fans can expect that we will bring the same level of originality in action, comedy and design to the video game that has made the RWBY animated series such a hit.' On December 1, 2015 the game was released as an title on, with the full PC release on July 5, 2016. The game was released for on October 13, 2016, and was later released for and on January 17, 2017. The game allows one to four of the main characters in any combination(s) to battle through waves of Grimm.
They are also on the trail of a mysterious company and its founder. The action takes place in the Emerald Forest, Mountain Glenn, Forever Fall and ultimately to an island named after the antagonist, Doctor Merlot.At the gaming event, it was announced that an upcoming fighting game called by would feature from, and RWBY. Ruby Rose was a featured participant in the game's first teaser trailer, and Weiss was confirmed in the second character introduction trailer.
Arc Systems later announced that Blake and Yang would be available as free. At, it was announced that villain Neo Politan would be added to the game as part of a 2.0 update scheduled for November 21.developed a mobile game based on the show, RWBY: Amity Arena, which was released for Android and iOS devices in October 2018.
Published two mobile games, also available on Steam, in 2019, the RWBY Deckbuilding Game, and the RWBY: Crystal Quest. RWBY Chibi. Main article:RWBY Chibi is a comedic animated spin-off of RWBY compromising 57 three- to six-minute-long episodes in three seasons.
It was first announced as part of Rooster Teeth's 13th-anniversary celebration on April 1, 2016, and Episode 1 premiered on May 7, 2016. Its first season concluded on October 15, 2016. Each episode consists of several scenes where aspects of RWBY's characters are usually exaggerated for comic effect. The episodes follow no strict chronological order, nor do they follow the strict canon of the main show.
In January 2017, Rooster Teeth confirmed that a second season would launch that May. A third season started in January 2018, shortly after the main show's Volume 5 ended. Comics At New York Comic Con 2018, Rooster Teeth announced a partnership with to publish RWBY and comics starting in 2019. The RWBY comic is written by and drawn by Mirka Andolfo and Arif Prianto. RWBY: After The Fall After The Fall is the first companion book in a series written by and published. It follows Team CFVY following the events of Volume Three's finale, as the team travels to a new Academy and deals with the personal and global aftermath of the Fall of Beacon. It will be followed in 2020 by Before The Dawn.
Appearances in other media Yang and Weiss appeared as combatants in the online series, where they fought from and from, respectively. The series creator, Ben Singer, talked with Oum about including a RWBY character on Death Battle before Oum's passing.In the film, the character Abra Stone has RWBY posters and a statue of the character Emerald Sustrai in her room, and also wears Emerald's hair in a dream sequence. The filmmakers decided to bring in the references suggested by Abra's portrayer, who is a fan of RWBY. Reception Critical response Commentators discussing the promotional trailers lauded the show's animation style and its musical soundtrack. The trailers prompted enthusiastic anticipation for the series premiere. When the first episode premiered at RTX, it was popular with attendees to the point that seating was full at all three screenings.
Amanda Rush, writing for Crunchyroll, noted the anime and Western influences of the series, and praised it as 'quick-witted, exciting, lovely to look at' saying fans of anime would enjoy it. The called it 'thrilling' and 'captivating' and praised its 'beautiful' 3D character animation. Described the premiere as making Oum the 'rock star' of Rooster Teeth. The series has reportedly contributed to a 9% increase in views for Rooster Teeth's official YouTube channel. 's Richard Eisenbeis praised the series for its clever use of fairytale elements, fun and enjoyable dialogue, and the fighting choreography, but was critical about the short nature of the episodes, stating that, 'The biggest drawback in doing a micro-series. Is that there is precious little time for good characterization'.
He was also critical of the technical issues of the animation, mentioning that the animation is good when the audience is unable to see the character's feet. He believes that RWBY is 'a good first step into a world of possibilities.'
Associations with anime. 'As huge fans of anime, we are honored that RWBY is the first American anime production to be exported to audiences in Japan.' — CEO(Ruby Rose) said 'We were worried about the reception we’d get, since we’re a western company producing something normally related to Japan.
Funnily enough, we showed our Japanese cohorts RWBY and they started arguing about whether it was anime or not! But seeing the reception from audiences is so surreal, and we never expected it.' A blog listed the RWBY as anime topic among its 'flame wars you don't want to be part of'. Anime News Network writers Paul Jensen and James Beckett wrote: 'We don't have any formal reviews of RWBY here on ANN, but it is kind of cool to see an American production make it to the release encyclopedia.' Michael Mauer of wrote that the issue was still being debated among the anime community, while Sabrina Pyun of ComicsVerse wrote 'The show is known for many things, from its dubious status as an anime to its unique 3D animation style.'
However, mainstream news articles dated after Hullum's statement and previewing later seasons and the franchise have referred to RWBY as an American anime, including,. Awards and nominations YearAssociationCategoryNomineeResult2014Best Animated SeriesRWBYWonBest Animated SeriesRWBYWonBest Original ScoreJeff WilliamsWon2015Best Animated SeriesRWBYNominated2016Best Animated SeriesRWBYNominated2017Best Animated SeriesRWBYWonReferences. Retrieved August 15, 2018. Whitbrook, James.
Retrieved August 15, 2018. Also included in the sampler is a backup story set in the world of Rooster Teeth’s anime-inspired science fantasy series RWBY. Collis, Clark (July 17, 2017). Retrieved August 15, 2018. RWBY follows the monster-battling adventures of Huntsmen and Huntresses in the future-fantasy world of Remnant and is one of Rooster Teeth’ biggest successes.
Whitaker, Richard (May 3, 2016). Retrieved August 15, 2018. Every epic fantasy has its dark turn, and the anime-influenced action series RWBY is no exception. Retrieved August 15, 2018. With the premiere of RWBY Volume 5 dropping on VRV today (it'll be on Crunchyroll next Saturday), I thought it would be a good time to talk about why I’m excited for the return of Rooster Teeth’s delightful action-adventure show.
^ Collis, Clark (January 30, 2017). Retrieved June 6, 2017. Silverman, Joshua (July 18, 2013). Geek News Network.
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Despite the attention focused on mass extinction events in the fossil record, patterns of extinction in the dominant group of marine vertebrates—fishes—remain largely unexplored. Here, I demonstrate ecomorphological selectivity among marine teleost fishes during the end-Cretaceous extinction, based on a genus-level dataset that accounts for lineages predicted on the basis of phylogeny but not yet sampled in the fossil record. Two ecologically relevant anatomical features are considered: body size and jaw-closing lever ratio.
Extinction intensity is higher for taxa with large body sizes and jaws consistent with speed (rather than force) transmission; resampling tests indicate that victims represent a nonrandom subset of taxa present in the final stage of the Cretaceous. Logistic regressions of the raw data reveal that this nonrandom distribution stems primarily from the larger body sizes of victims relative to survivors. Jaw mechanics are also a significant factor for most dataset partitions but are always less important than body size. When data are corrected for phylogenetic nonindependence, jaw mechanics show a significant correlation with extinction risk, but body size does not.
Many modern large-bodied, predatory taxa currently suffering from overexploitation, such billfishes and tunas, first occur in the Paleocene, when they appear to have filled the functional space vacated by some extinction victims. Marine ecosystems at the close of the Cretaceous were marked by radical changes, including the devastation of many groups of organisms planktonic foraminifera and calcareous nannoplankton (–) and complete extirpation of others †ammonites and many marine reptiles ; throughout, the dagger symbol indicates extinct groups. For these reasons, the end-Cretaceous extinction has become a macroevolutionary laboratory for exploring the correlates of extinction risk across a diverse range of clades (, –), but the effects of this event remain obscure for many groups. The lack of a clear picture is particularly conspicuous for fishes, the dominant vertebrates in marine environments.Previous work on fishes has centered on intensity—rather than patterns—of extinction during the end-Cretaceous event (e.g., ref.
), with only a few studies qualitatively addressing selectivity (–). Among bony fishes, it has been suggested that epipelagic, predatory families were disproportionately affected (–).
![Ryby Ryby](http://www.e-akwarium.com/foty/bojownik-syjamski-duze.jpg)
Both epipelagic and demersal taxa appear to have been hard hit according to a more complicated pattern of selectivity reported for sharks and rays. However, the real dynamics of extinction remain unclear for both bony and cartilaginous fishes, because previous analyses rely on qualitative inferences of ecology abstracted from fossils and do not assess the statistical significance of perceived patterns.This study marks the first quantitative analysis of extinction selectivity among marine teleost fishes at the close of the Cretaceous by using a newly assembled genus-level database that considers 2 ecologically relevant features of anatomy preserved in fossils: body size and jaw closing mechanical advantage (MA). Body size is a correlate of many aspects of life history and ecology (–), and extensive biomechanical research on extant teleosts has established the utility of simple models of jaw mechanics as predictors of diet and trophic level (–). This analysis combines a phylogenetic framework with models of trait evolution to account for lineages predicted on the basis of phylogeny but which have not yet been sampled (; see Materials and Methods).
Extinction victims and survivors considered by this analysis. Bold black lines represent genus-level lineages, whereas finer gray lines indicate phylogenetic relationships.
The vertical axis represents time (K/P indicates Cretaceous/Paleogene boundary), whereas the horizontal axis corresponds to variation in a hypothetical trait value. The first 2 lineages represent the only groups typically incorporated by studies of fossil data: taxa that make their last appearance in the interval preceding the horizon of interest (observed victim) and those that appear on both sides of the horizon (observed survivor).
Phylogenies can imply further, unsampled, boundary-crossing lineages, but these are rarely considered. Extinction Selectivity Among Marine Teleosts.Randomization tests reject the null hypothesis that extinction victims represent an ecomorphologically random subset of taxa present in the final stage of the Cretaceous (Maastrichtian; 65.5–70.6 million years ago). This conclusion is robust to variation in the composition of the dataset (variants described in Materials and Methods) and model of morphological change (punctuated or gradual) used to infer traits of boundary-crossing lineages implied by phylogeny, with significance values ranging from P.
Excluded setsnModeP randomAW SAW MAAW S+MAP S,MA (best fit)Odds ratio S,MA (best fit)None92 (33)G. For sample sizes ( n), the figure in parentheses indicates the number of the total representing victims. Mode refers to model of evolutionary change; gradual (G) or punctuated (P). Significance values given in P random indicate the probability that the distribution of victims and survivors is random. Columns marked AW give Akaike weights for the regression models indicated in subscript (abbreviations for models: S, body size; MA, jaw closing MA).
These values indicate relative support for their corresponding models. AW of the best fitting model for a given dataset partition appears in boldface, and is marked with an asterisk when its model is a substantially better fit than the alternatives. Only values for the factors of the best-fitting model are given for P S,MA and the odds ratio.
The first value in these 2 columns applies to S and the second (where present) to MA. Jaws belonging to victims that fall outside the envelope of survivors in all data partitions (see ).
( A) † Belonostomus. ( B) † Protosphyraena. ( C) † Xiphactinus. ( D) † Saurodon. ( E) † Saurocephalus. ( F) † Pachyrhizodus.
( G) † Pentanogmius. ( H) † Apateodus. ( I) † Cimolichthys. ( J) † Enchodus. Jaws marked with an asterisk are from taxa where gut contents from that genus or a closely related form indicate predation on large, nektonic prey (; see also for unprocessed measurements).
Measurements used to calculate jaw closing mechanical advantage (input lever: L I; output lever: L O; MA = L I/L O) are shown in F. Predentary bones of † Saurodon and † Saurocephalus were not used in calculations of MA, and are shown in light gray here. Images are not to the same scale.Studies of living fishes illuminate the functional significance of the trait values common to these victims. Body size covaries positively with prey size in fishes , whereas low MA values are characteristic of fishes that employ rapid strikes to capture evasive prey (–). Large bodies and mechanically “fast” jaws suggest that these fishes were predators on large, active prey. Direct dietary evidence corroborates this inference.
Fishes or pelagic cephalopods are known as gut contents from 4 (–) of the 10 genera that fall outside the envelope of survivors in all data partitions , whereas similar prey is known for close relatives of another 4 victims. Independent contrasts for body size and MA, showing shifts in these traits for extinction victims (either individual genera or higher clades) relative to their nearest surviving relatives. Patterns recovered from analyses of phylogenetically uncorrected data predict that points should be clustered in the shaded quadrant (i.e., victims should have larger body sizes and lower MA values). Shifts are significantly biased toward decreased MA for both datasets (gradual, P = 0.011; punctuated, P = 0.022; one-tailed t test), but neither demonstrates a significant bias in body-size shifts (gradual, P = 0.19; punctuated, P = 0.51; one-tailed t test).Shifts in the correlates of extinction risk inferred under different analytical frameworks seen here raise questions about the interpretation of results derived from phylogenetically uncorrected trait values in other studies. Such datasets are common in paleobiological analyses of extinction because phylogenies are generally unavailable for fossil invertebrates. However, there is strong evidence that many of the factors isolated by these studies as predictors of vulnerability show a nonrandom phylogenetic distribution. It is uncertain how interpretations of extinction risk for these groups might change when shared evolutionary heritage is considered (but see refs.
–); further work is clearly needed. Reliability of Inferred Extinctions at the End Cretaceous.Review of the fossil records of putative victims indicates that the most reliable inferences of extinction apply to: ( i) large-bodied genera and ( ii) genera with low MA values. This is significant, because it is these same taxa that appear to be selected against during the end-Cretaceous extinction regardless of the approach used to infer the correlates of vulnerability.Of the 33 genera making their last appearance in the Maastrichtian, at least 17 are singletons (i.e., they occur only in this stage; this number ranges from 17 to 20 owing to taxonomic uncertainties surrounding specimens from the type Maastrichtian). Remaining extinction victims are known from at least one additional stage before the Maastrichtian. The disparity in body-size and MA distributions of singleton and multistage extinction victims is clear; on average, singletons are smaller than multistage victims, with higher jaw MA. This difference is significant and robust to the exclusion or variable taxonomic treatment of the problematic forms from the type Maastrichtian (Kolmogorov–Smirnov and Mann–Whitney U tests, respectively, for: MA, P = 0.0027–0.015, 0.0048–0.030; body size, P = 4.010 −5−0.0065, 9.210 −6−0.00021).
Most importantly, victims with the largest body sizes and lowest jaw MA are known from several stages, and many of these occur in every stage between their first and last appearance in the fossil record. The apparently high preservation potentials of these genera suggest that their absence from Cenozoic deposits is genuine, instead of an artifact of nonpreservation. This implies that the extinctions of these taxa are the most reliable in this analysis. The fact that few of these genera have close relatives in Cenozoic deposits or the Recent fauna bolsters this conclusion. Such relatives would decrease apparent selectivity by indicating additional boundary-crossing lineages with similar morphologies, but their absence points to the total extinction of the extended clades to which the victims belong.At the same time, these patterns suggest a taphonomic bias against the preservation of small-bodied and, to a lesser degree, high-MA taxa. Spurious patterns of selectivity might arise if victims with such traits are underrepresented in the dataset. However, this filter applies to victims and survivors alike, and although the number of these unsampled Maastrichtian genera is unknown, it is certain that small-bodied survivors implied by phylogeny are underrepresented in this study.
When coupled with the apparent inverse relationship between the ecomorphological traits considered here , this biases the analysis against recovering a relationship between increased body size/lower MA and extinction risk.The relative paucity of small survivors derives from 2 conservative rules used in the assembly of the dataset. First, in cases where clade intrarelationships are unclear, only a single boundary-crossing lineage was reconstructed.
As phylogenetic hypotheses within these radiations mature, the number of boundary-crossers will either remain the same or increase; they can never decrease. Second, and more importantly, this analysis has only considered boundary-crossing lineages within clades that are represented by at least one Mesozoic taxon.
Many teleost groups are therefore excluded here because they are unknown from pre-Cenozoic deposits, even though the presence of these groups before the end Cretaceous is implied by large-scale (i.e., interordinal level) phylogenetic analyses. This is particularly true for the supraordinal group Acanthomorpha; recent molecular phylogenies, combined with the presence of tetraodontiforms (a derived group nested within acanthomorphs) in Upper Cretaceous rocks, draws no fewer than 7 additional lineages into the Mesozoic. These guidelines were applied to clades whose members, nearly without exception, have vastly smaller body sizes than the largest extinction victims.
Better-resolved phylogenies and the discovery of Mesozoic exemplars for groups previously unknown from sediments of that age will likely increase the ecomorphological disparity between victims and survivors. Evolutionary Significance: Synthesizing Patterns of Extinction Selectivity at the End Cretaceous.Biological context for exploring patterns of vulnerability inferred for fossil fishes comes from the large body of research targeting patterns of selectivity during and ecosystem change after the end-Cretaceous extinction. However, any interpretations made here must be coupled with an important caveat: The current analysis lacks the stratigraphic resolution to reject the possibility that extinctions might be spread throughout the Maastrichtian, rather than clustered at the end of the stage (see ref. ).Among macroscopic marine invertebrates, it has been argued that preferential survival of detritivores bivalves , but see ref. And echinoids and strong selection against photosynthetic groups corals stem from a temporary halt in photosynthesis precipitated by bolide impact-induced darkness (, ).
However, patterns of selectivity with respect to these ecological traits might be complicated by “hitchhiking” on population-level features including geographic range, which appears to be the dominant determinant of survivorship for some invertebrate groups (refs. And, but see ref. Despite these ambiguities, multiple lines of evidence—including a sharp decline in the accumulation rate of fish teeth in deep-sea sediment cores—point to drastic postimpact changes in open-ocean ecosystems that persisted millions of years into the Paleocene before higher trophic levels fully recovered.
When combined with empirical and theoretical ecological studies, this emerging picture of ecosystem perturbation implies that fish extinctions might have been driven by bottom-up trophic dynamics triggered by a decline in primary productivity.The clearest pattern delivered by this study is the complete extirpation of large-bodied fishes with biomechanically fast jaws ( and ). Alternative analytical approaches isolate different combinations of these traits as underlying correlates of extinction (independent contrasts: jaw mechanics alone; raw data: body size and often, but not always, jaw mechanics), but it is nevertheless clear that the ecomorphologies of victims differed substantially from those of survivors. Elevated extinction intensity among teleosts appearing to occupy higher trophic levels is consistent with the collapse of oceanic food webs, corroborating earlier hypotheses implicating diet as an important determinant of survivorship among fishes (–).The most prominent teleostean casualties of the end-Cretaceous extinction include the predatory †pachycormids, †pachyrhizodontids, †ichthyodectiforms, †enchodontids, and †cimolichthyids, all of which are equipped with high-aspect-ratio caudal fins and fusiform bodies that imply fast swimming and sustained cruising.
Taken together, these fishes appear to be the ecological analogues of modern, large-bodied predatory teleosts such as scombroids (tunas, mackerels, cutlassfishes, and the wahoo), xiphioids (billfishes), sphyraenids (barracudas), and carangoids (jacks and dolphinfishes). Significantly, all of these extant groups make their first appearance in the early Paleogene , suggesting that they might have radiated to fill the functional roles vacated by extinction victims. Coincident with the origin of these modern predators are polyphyletic proliferations of large-bodied, predatory osteoglossomorphs in marine environments. These short-lived (Paleocene–Eocene) diversifications are particularly striking because extant osteoglossomorphs are freshwater fishes, and all Mesozoic body fossils assigned to this clade derive exclusively from freshwater deposits. The pattern of decimation and subsequent replacement in teleosts is mirrored in chondrichthyans, where there is conspicuous extinction and replacement among large-bodied, predatory sharks centered on the Cretaceous–Paleogene boundary.Ironically, the very same groups that seem to have diversified into emptied ecospace at the dawn of the Cenozoic now face the greatest risks of extinction from overexploitation; commercial fisheries disproportionately target large, predatory taxa.
Paralleling patterns of extinction selectivity at the end of the Cretaceous, studies that correct for differential harvesting intensity find increased vulnerability of large-bodied fishes occupying high trophic levels. Part of this decline in modern groups appears attributable to the strong inverse correlation between body size and both ( i) rates of recruitment and ( ii) adult production per spawning adult, relationships that directly contradict the common notion that the high fecundity of larger fishes buffers them against extinction threats. The mechanisms driving these 2 biodiversity collapses separated by 65 million years clearly differ, but congruent patterns of risk imply that some aspects of fish ecomorphology might consistently correlate with elevated extinction vulnerability regardless of the ultimate factors causing population decline.
Estimates of Trait Values in Inferred Survivors.Anatomical characters for lineages inferred to have survived the end-Cretaceous extinction based on phylogeny were derived from conditions at the nodes immediately bounding that lineage above (“descendant”) and below (“ancestor”) , requiring reconstruction of ancestral states. Weighted squared-change parsimony (WSP), as implemented in Mesquite , was used to estimate conditions at internal nodes.
WSP estimates are equivalent to maximum-likelihood reconstructions using a Brownian motion model. Two modes of morphological change were considered: punctuated and gradual. For punctuated evolution, all branch lengths were set to equal length. For gradual evolution, character values were estimated by using WSP on a tree incorporating branch lengths derived from stratigraphy. In the case of punctuated change, the anatomical attributes of the lineage are those of the node or terminal bounding it above.
For gradual change, trait values of the lineage at the point where it crosses the Cretaceous–Paleogene boundary are estimated as the weighted average of the values of the bounding nodes by the following formula. Resampling-Based Tests of Extinction Selectivity.For each variant of the raw dataset described above, all taxa were combined into a single pool.
Two bootstrap samples (equal in size to the number of victims and survivors, respectively) were drawn with replacement, and the F ratio (MANOVA) computed for this pair. A total of 1,000 pseudoreplicates were generated, giving a distribution of F ratios. The F ratio calculated from the empirical distribution of extinction victims and survivors was compared with this distribution to assess significance. These procedures, as well as logistic regressions (below), were executed in R.
Phylogenetically Independent Contrasts.Two sets of phylogenetically independent contrasts (PIC) were calculated by using the program CAIC. Only Maastrichtian taxa were considered, and the cladogram used is a composite derived from clade-specific analyses plus a “backbone” drawn from large-scale surveys of fish phylogeny. There are uncertainties surrounding branch lengths deep within the teleost tree, so all branches were set equal. Results were examined a posteriori by regressing PIC values against nodal values for the corresponding character; none of these had a slope significantly different from zero, indicating that these branch lengths do not violate assumptions of the model used to estimate PIC.
The first set of PIC was generated by the BRUNCH algorithm, and consisted of trait value shifts associated with the origin of clades that suffer extinction at the end Cretaceous. Selectivity was assessed by testing whether the mean shift was directionally biased (the expected shift for body size is positive, whereas that for MA is negative).
The CRUNCH algorithm, which treated extinction as a continuous variable scored for 2 states, was used to estimate the second set of PIC. Selectivity was assessed by regressing the response variable (body size, MA) contrasts against predictor variable (extinction) contrasts; regressions were forced through the origin.
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