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thinkin-bout-milgram · 5 months

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Deep Cover: Initial Thoughts

Okay, this one is a lot to look at , especially given how relatively little is actually said. Still, I think I'm starting to make sense of it, so here's my analysis that I've figured out so far.

I'll be using @/oehale on Twitter's translation of Kotoko's voice drama Yonah. As usual, I'll be bolding my general topics/thoughts and moving forwards with that. Let's get started!

Kotoko sees herself as the new warden.

The most obvious comparison here is the mimicking of UNDERCOVER. Kotoko, like the original UNDERCOVER, has lyrics that start with "UNDER" and are followed by talking about the other prisoners. She also basically says as much to Es; they're working together now. They should work together to make the "right" Milgram.

It's pretty obvious that our little innocent deal with Kotoko has gone straight to her head. She now sees herself as part of the authority of the prison, and believes it's her role to give out the proper punishment for guilty verdicts. However...

Kotoko believes everyone in the prison (other than her) should be guilty.

This is pretty obvious based on those previously mentioned "UNDER" lines. They're all very critical. Notably, the ones that most clearly indicate this-- towards the end of the song-- only include the innocent prisoners, but she's made it pretty clear that she agrees the earlier guilties should have also been guilty.

“UNDER” Doltish “001 Parasite” “UNDER” Obscene “002 Slut” “UNDER” Incessant “004 Phony Queen” “UNDER” Doomed “005 Dissection Pawn” “UNDER” Concealing “007 Deceiver” “UNDER” Inept “011 Guard”

Even Es, the "inept guard," gets to face Kotoko's judgment! That line is interesting in conversation with the audio drama, which focuses on Kotoko calling Es weak because they've grown to like and have sympathy for the prisoners. Kotoko has come to view Es, someone who is willing to forgive the guilty (in her perception) prisoners, as being guilty as well for not condemning them.

(Also, 011? Are you implying that something will happen after the tenth? Am I right about a Trial 4 in which we'll vote on Es??)

Notably, for Kotoko, wanting everyone to be voted guilty basically means that she wants everyone else to die. In the intro to the second Trial, Kotoko said that she wouldn't go as easy next time, and Mahiru already nearly died this time around.

So ridiculous, isn’t it ridiculous They’re still here, still here, it grates me

This also definitely seems pretty "get everyone else out of here (kill them)" to me, especially given that it's shown after Kotoko smashes all the pieces representing the innocent prisoners as well.

The guilty ones were already broken earlier into the MV:

Futa's and Mahiru's were broken first; they've already been "broken" in the sense that they've been attacked. The other guilty prisoners go next, as they're Kotoko's next targets. Then, finally, the rest of the originally innocent prisoners, who Kotoko hopes will be voted guilty sooner rather than later.

This is also a small note, but I find it interesting that the line "I want a reason for judgment execution, I want it" was initially translated as "I need a good reason to give justice" in the Trial 2 Song Preview. The specific reference to execution was added/wasn't emphasized in the original version. I don't know what the "correct" direct translation is, but I always stand by the fact that if the translators chose to translate something in a certain way, it's intentional.

(Side note, but I wonder if UNDERCOVER's change in official lyrics to include all of the prisoners' Trial 1 song titles happened when they decided to mimic it in Deep Cover, which also includes the Trial 1 song titles. Could be a reason for the change in translation.)

And, uh... that's all I got. That I'm confident about, anyways. I still have other thoughts, though, so rather than me having bolded claims as section titles, I'm just gonna have, like... categories.

The Girl

You.

We've seen her before, in HARROW:

So, she's the one Kotoko rescued from this guy, right? That's what this seems to be telling us. However, there are a couple of important details to consider.

Where's her hat?

What about the girl in the white dress?

What about the girl in the pink shirt?

I'll get back to 1 in a bit.

The girl with the white dress in question only appears shortly in HARROW, and as far as I can tell, not at all in Deep Cover:

It could technically be the same girl, I guess, given that we can't see her face. However, then there's the pink shirt girl:

There's also still this thing from HARROW:

In my original HARROW theory, I theorized that the guy abducted Kotoko (the girl in the pink shirt), but the girl in the white dress distracted him/sacrificed herself long enough for Kotoko to get away. The memorial/potentially a police notification?/whatever the sign with the flowers is belongs to the white dress girl. Kotoko then later tracks down the guy who did it, when he's abducting the girl in orange. Kotoko then kills him.

Honestly, I think that this still tracks. We didn't really get anything else about the memorial, the girl in white or the girl in pink in this MV-- or the guy she killed, for that matter-- so there aren't any conflicts. I'll be moving forward assuming that that's true.

So, then, back to the orange girl. She isn't wearing the hat Kotoko gave her when we see her getting dragged off. What does that mean?

Establishing the Timeline

It seems most likely to me that most of Deep Cover happens after HARROW's murder. That's not just because the opening shot of Deep Cover looks like the end of HARROW. There's a lot more going into that.

First off, there's the girl. I initially thought that she might be Kotoko's sister, given the apparent familiarity Kotoko seems to show to her, rubbing her head in the park scene. However, once I remembered my initial theory, there are only really two possible interpretations I can think of for her involvement with the man Kotoko kills.

Either

She isn't at all related to Kotoko, and they "met" when Kotoko rescued her by killing the man, OR

She IS Kotoko's sister, in which case Kotoko probably used her as bait to lure out the guy in order to follow him back to his warehouse and kill him.

The second one was my initial read, but after looking at it longer, I think the first one makes more sense on the whole. If I'm right that the first thing that happens in the Deep Cover MV is the murder, that means that the park scene happens after it.

This isn't hard evidence or anything, but notably, the hat the girl has says "LUCKY" on it. If she's lucky, it probably means that she's lucky that she survived the situation with the man. It wouldn't be luck if she was planted there by Kotoko; it would only be luck if she happened to be the victim who's abduction lined up with Kotoko's rescue mission.

The park scene is still a little confusing to me if they were strangers, though. After all, Kotoko pretty pointedly ignores the girl at 2:06 to 2:19ish, and as far as I can tell, nothing major happened between the park and then.

There are three main explanations I can think of.

The first one is that the girl tried to stop her. Like, maybe she thought it was really cool when Kotoko rescued her, but when she realized Kotoko went to go threaten/possibly kill someone who, like, stole something from a business or something, she thought that was too much. This is pretty much entirely based upon the fact that the "Tell me why you tell me stop" lyric lines up suspiciously well with the change in the girl's expression from happiness to surprise, and then eventually what looks like fear.

The second one is that Kotoko is distracted at that point. In the park, we see Kotoko still looking at her phone, presumably looking for more wrongdoers. She spends time with the girl while simultaneously working, so it's no bother to her to spend time with the girl. However, when the girl tries to greet her later, she's in work mode. After passing the girl, we see Kotoko marching on forward with smoke (?) around her. It's very dramatic and she looks very threatening. It's even possible that she's doing a werewolf transformation type of thing there. If Kotoko has her sights set on a target, she might be more unwilling to waste time talking to the girl. This would signify that the people she rescues are irrelevant to her; her focus is on punishing wrongdoers, not checking in on saved would-be-victims.

The third one is that the park actually happened after the thing on the street, but given that she's already wearing the hat on the street scene, which she first wears in the park, that doesn't make a lot of sense.

I think the second option makes the most sense, so it's what I'll be going with.

So, the timeline looks like this:

Kotoko, as a child, is abducted by that one guy. She wears a pink shirt in the flashback. The girl in the white dress intercepts and allows Kotoko to escape. Years later, after becoming a vigilante, Kotoko tracks down the same guy and kills him, rescuing the orange outfit girl in the process.

The orange outfit girl finds Kotoko in the park and either receives or shows Kotoko the hat she got. Kotoko, while still looking at information for her next target, entertains her because she isn't actively busy.

The girl tries to approach Kotoko on the street. However, Kotoko is heading after her next target, and there's no time to lose. The expression of intensity and general coldness Kotoko gives off intimidates the girl, and Kotoko proceeds with her plans.

So, that's how Kotoko's murder works, right? There's absolutely nothing else related to time that could drive me insane!

...

Becoming a Lunatic (The Moon Phases)

Okay, Kotoko's a werewolf, she attacks on the full moon, we all get it. Except... goddamn it, there's more moon than just the full moon.

As far as I can tell, there are three moon phases that are shown across HARROW and Deep Cover. The first one I'm talking about is the full moon.

The Full Moon

The wolf zone occurrence of the full moon in HARROW lines up with when she kills the guy, which makes sense. In Deep Cover, it's preceding the time where she smashes all of the remaining innocent prisoners. That hasn't happened yet.

Because moon cycles happen repeatedly, I think it's okay to say that the full moon happened in the past, when Kotoko killed the guy, and in the future, where Kotoko hopes to kill the other prisoners. It's even possible there's a full moon we didn't see when Kotoko attacked Mahiru and Futa.

Like, that's probably just a spotlight, but it definitely COULD be moonlight. Either way, we don't see the sky, so it at least isn't conclusively NOT a full moon then.

So, full moon = violence. What else?

The Waning Crescent

Disclaimer I know nothing about moons. I am working off of this chart from timeanddate.com. If it's wrong blame them, I can't find a better chart anywhere on the internet.

Notably, the waning crescent is what the moon is for pretty much all of HARROW, except the quick appearance of the full moon at the end. There are clearly visible shots of it around 1 minute and 2 minutes in.

I don't really know what specifically waning crescent is supposed to mean here. Google says that it's about change and reflection, but spoilers, that's what it also told me about the third moon phase that shows up, so I don't know how much stock to really put into that.

I think the most obvious (?) symbolism of it is that it's right before the new moon, when the light isn't shining at all. If I had to take a stab at what the new moon represented, I'd say it's times in which Kotoko is powerless. She's powerless when she's looking for information before the first murder, she's powerless when looking at her crossed out board (more on that later), and she's powerless now-- when we're going to vote. She can't give out justice without our help. This is the last part before we give our verdict on her, so as she's looking around at the other prisoners, innocent and guilty alike, she's preparing to be able to do nothing. She hopes she'll get back to that full moon and exact justice on the other prisoners, but that's only hypothetical for now.

Let's talk about that board really quickly. This is how it looks in the middle of Deep Cover, when the crescent shows up:

This is how it looks at both the beginning and end of HARROW:

This is another reason to believe that Deep Cover happens after the end of HARROW. After all, it'd be hard to un-black out the papers, and given that they're hanging in basically the same positions, it'd be surprising if they were replaced papers. So, that means that Kotoko blacks out her information sometime after she successfully kills the guy.

The scene with the blacked out board is immediately followed by the final moon phase, and then by the girl in orange in the park.

The Third Quarter Moon

The crescent moon on top of the board directly fades into this third quarter moon. This made sense to me until I saw the arrow on the moon phase chart telling me to read it counterclockwise. Then I was confused.

Because the third quarter moon happens immediately before the waning crescent, I think that this moon shift is meant to serve as a time rewind. The scene with the girl in the park (and therefore also, the girl on the street) happens before the scene with the blacked out board. This supports the idea that Kotoko ignored the girl because she was taking out a target; after that scene, all her targets are gone, so Kotoko can cross out the information about them on her wall.

This also checks out with the stuff with the girl in the park and on the street happening after Kotoko kills the guy, given that the third quarter moon comes a little bit after the full moon.

There's no occurrence of the third quarter moon in HARROW. However, it does actually show up one other time in Deep Cover.

At 2:28, the moon shows up in third quarter again, then transitioning to a pink full moon. I'd assume that this shift backwards in the moon cycle, as it did earlier, signifies turning back in time. However, the pink full moon refers to Kotoko killing all of the remaining Milgram prisoners, an event that's already in the future. What happens after the hypothetical future scenario of Kotoko killing everyone?

The answer is, Kotoko collapsing in the wreckage of the destruction she caused. She's in her warden outfit, so it's consistent. The scratch marks probably indicate that this is immediately after she turns back from being a werewolf, in the hypothetical pink full moon.

This indicates that, somewhere in her mind, Kotoko realizes that she might suffer from killing everyone else, collapsing under the weight. It does seem like Kotoko understands that being the one true savior is difficult.

K: I know it well. It's so hard to hold the responsibility of a guard all alone. I've also felt this way. You are such a kind person. You can't stand the prison changing with the power of your choices. So you need someone to be with. Leave all of the dirty work to me.

Even if she wants to present herself as someone who's crushed her own weakness, she still has to worry. The lyrics of the chorus are begging Es to give her her next target. If she doesn't have people to target, she doesn't have purpose. Her board is all blacked out; the guilty prisoners will be crushed. Once all that's said and done... what else is she going to do?

Conclusion

Anyways, that's my best shot at understanding this MV. It is... confusing. The main things I still don't understand across the two MVs are the many wolves with purple glowing eyes in HARROW and what the hell the pieces that represent the other prisoners in Deep Cover are. If they're not chess, then what are they???

oh wait lmao i forgot

VERDICT: GUILTY

We already knew this one.

I can't tell Kotoko that it's right to kill the rest of the prisoners, and she really needs to be restrained. I don't know exactly what the damage is gonna be to Kotoko's mental state, but for the safety of everyone else, I kinda have to. She makes fair points about us verbally torturing prisoners not being that different from physically harming them, but... we're at the very least not shooting to kill?? Like, if you kill them, there's no hope at redeeming them. That's what we're trying to do, even if the tactics Milgram gives us are less than ideal.

Anyways, tell me your thoughts and if any of this made sense! Happy end of Trial 2!

#milgram #ミルグラム #admin venus #kotoko yuzuriha #milgram theory #long post #5:43 am hell yeah #normal things #this mv did NOT make sense to me the first time that i watched it #like at all #the moon phases almost made me cry /srs #but i think i figured it out by the end!!#kotoko is such an interesting little creature #i want to study her #which i guess is what this post is doing lol #i should go to sleep

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notmoreflippingelves · 4 months

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saemi-the-dreamer asked:

OTP ask 😉 ! Krisnix: 10, 14, 30, 39, 42 ; Estelanor: 2, 5, 18, 30, 51 please?

Splitting these up into two posts again as I rambled on for way too long. And this way, I can post at least part of it sooner <3. This one is the krisnix one.

Krisnix

10. Describe their first date

They have like three "first dates" lol. The first would be the first time Kristoph invites Phoenix to join him for dinner at the Borscht after Phoenix finishes his shift there (or in-between shifts). Kristoph offers to pick up the check (he will do this on all their subsequent dates as well, and Phoenix doesn't resist in the least). Phoenix *technically* gets an employee discount when he dines at the Borscht but he never uses it with Kristoph--both because he enjoys making Kristoph spend more--and because he knows that Kristoph himself is enough of a snob that he'd hate feeling like a "cheap date" who couldn't afford to pay the proper bill.

Neither of them really expects this to turn into a regular thing. They just happen to be there (either Kristoph was working on a case in the area or purposely sought Phoenix out following the Bar Association's ruling) and be hungry at the same time. So they figure that they might as well eat together and talk through the conversation. And again, both of them are pretty surprised at how agreeable they find each other's company.

Phoenix is much more intelligent and well-read than his unpolished "every man" exterior would suggest--largely due to his time as an arts major. And Kristoph is surprised at how much they have to talk about. He may not be as cultured as Kristoph by a long shot, but he's surprisingly interesting and insightful, nevertheless. And the conversations end up being a lot more stimulating (in more ways than one) and engrossing than Kristoph ever expected.

Meanwhile even though Kristoph Gavin comes across as the coldest, most remote and pretentious person that you've ever met at first (and to be fair, there is a good bit of that in him still), Phoenix is amazed at how full-of-life-and-light Kristoph can be when you catch him on the right topic. He positively gushes about dogs and tells the funniest, warmest stories about Klavier-as-a-small-child. It's rather adorable and super unexpected. He's also surprisingly funny. His wit is much drier than Phoenix's own, and a bit more biting. But still, it's there and it's sometimes irrestitable. Plus, Kristoph is also funny in unintentional ways, given how stiff and formal and seemingly stoic he often is. So much so that Phoenix can't help but look at him and laugh--simultaneously with derision (i.e. "can you fucking believe this guy?") and with genuine affection (i.e.. "it's fucking cute how ridiculous he is without meaning to be.")

Their second "first date" would be the first time that they do something together in a place other than the Borscht Bowl. Neither of them come even close to acknowledging it as a date. This is simply an" outing that we will do together since I enjoy your company and we are sort of 'friends' now." It probably comes about rather organically. Kristoph mentions a different restaurant that he recently tried with Klavier and wonders if Phoenix has ever tried it. (Of course, he hasn't. The entrees cost more than he makes in a given night at the Borscht). Which then naturally extends to Kristoph saying that it's a pity Phoenix hasn't had a chance to go yet, and perhaps, he and Kristoph might go together some evening as friends.

Their third "first date" would be much the same as one of the ones that came before. But with a crucial difference. They are still nowhere near identifying this particular outing as a "date." But since their last "first date," their "friendship" has since extended to include physical intimacy of some kind. Maybe they've had a drunken kiss or two--or maybe they've actually done teh sex. Nevertheless, they are both acutely aware that things are DIFFERENT between them from then on, while also stubbornly refusing to admit to each other that things are different. They know this is a date. They know that they are much more than friends--even ones "with benefits"--but you will never get them to acknowledge this fact. This is just a shared social experience between two men who enjoy each other's company and lips and there is nothing more to it than that. (There is a great deal more to it than that).

Sadly, they never got to the point of a fourth "first date" (i.e. one that they openly acknowledge as a date) in canon, but they still can in my heart.

14. How do their personalities compliment each other? How do they clash?

Both Phoenix and Kristoph are artistically-minded, driven, and very intelligent (albeit in different ways.) As I mentioned in the previous point, Phoenix is somewhat more "cultured" than one would imagine and Kristoph is not *quite* as much of a humorless stick-in-the-mud than he appears. So they actually find that they have a great deal to talk about and can enjoy each other's company. Due to the circumstances that brought them together, there is inevitably a little bit of a facade to their "friendship" but not nearly as much of one as you might think.

In terms of their differences counterbalancing each other, Kristoph's cautious and reserved nature helps reign in some of Phoenix's unhinged impulsiveness. Meanwhile, Phoenix's sense of humor and spontaneity can sometimes force Kristoph to stop taking everything (especially himself) so damn seriously and to open himself up to life outside professional success.

However, it isn't all smooth sailing for them. These same differences can cause friction between them just as often as they smooth it. Moreover, the fact that both men are extremely stubborn also leads to clashes.

As a workaholic and supremely ambitious person in his own right, Kristoph also finds himself frequently frustrated by Phoenix Wright's perceived laziness and lack of ambition. They both know that Phoenix is capable of being more than dubiously sober piano bum and illegal poker player at a mediocre dive bar. So why isn't Phoenix "trying" harder to find something better for himself?

Meanwhile, Kristoph is also trying very hard not to acknowledge that Phoenix's current state is very much Kristoph's own fault. He tries to convince Phoenix to lift himself out of his sorry state, at least in part to ease Kristoph's own conscience.

Kristoph is also very unaware that much of Phoenix's perceived lazy, aimlessness is an act--one carefully tailored to lull Kristoph into a false sense of security so that Phoenix can make his move.

Naturally, the biggest barrier between them is the one that they can never directly acknowledge. Kristoph's role in orchestrating Phoenix's disbarment and Phoenix's complete awareness of this fact. On the rare occasion that the topic comes up indirectly in conversation (ex: any mention of Phoenix's former legal career, Kristoph's Bar Association duties, Trucy's life before Phoenix, media coverage of the so-called "Dark Age of Law,"etc.) things between Kristoph and Phoenix become decidedly more tense than usual. Lots of sarcastic remarks, comments that can be taken in more than one way, and little arguments over matters that would normally not have provoked such a response. Again, they can't ever discuss the real state of things openly so they have their little proxy spats and then quickly try to change the subject.

30. Your OTP gets to pick out each other’s outfits; what is each wearing?

Phoenix loves to make Kristoph dress more casually--both because it's cute but also because he thinks it's mentally/psychologically "good" for Kristoph. He will be more relaxed when he wears clothing that is softer, looser, and/or more comfortable. I think Kristoph probably has a Gavinners-branded hoodie or sweatshirt that is leftover merch from Klavier, and Phoenix is constantly trying to persuade him into wearing it--ideally with jeans instead of Kristoph's normal dress pants. He eventually gives in, partly because Phoenix Wright is unbelievably stubborn but also partially because damn it, the sweatshirt (though far too casual for professional use) is very soft and very warm--and Kristoph has always been the sort of person who gets cold easily. And there is something very relaxing and soothing about letting himself dress for warmth and physical comfort instead of trying to impress people. Also he feels much freer to cuddle with Vongole (which is also psychologically very good for him) when he's less concerned about getting dog hair on his nice work clothes.

Kristoph, conversely, likes to dress Phoenix up. Underneath that dreadful hat and sweatshirt, Phoenix Wright is a rather handsome man with nice broad-shoulders, a pleasingly strong jaw, and bright, twinkling eyes. He really should show off his handsome features and physique. And yet, he hides himself in this loose, plebian garb and two days worth of stubble. (Kristoph is in deep denial about how much he likes Phoenix's stubble. Phoenix is completely aware of the effect he has on the other man).

So Kristoph is always looking for excuses to put Phoenix in a suit or even just a button-down shirt with a tie. And sometimes, Phoenix is willing to indulge him, even if it still feels weird to put on his "trial suit" to go anywhere other than courtroom. But he does like reminding Kristoph (and himself) just how nicely he can clean up when he wants to.

(Kristoph is so lucky that he never got to see three-piece suit dilfnix and his waistcoat of sexyness. He would've died of lust on the spot, and all Phoenix would've done was laugh.)

Another "compromise" is that Kristoph is able to talk Phoenix into a bit more often is a short-sleeve polo shirt. A little more dressy than his normal hoodie but still not properly formal.

(Of course, Kristoph never quite thinks through the ramifications of this. He is Victorian level of repressed-yet-horny. And so the instant, Phoenix's bare forearms enter the chat, kristoph.exe promptly stops working.)

39. Who would rescue an injured animal and nurse it back to health? What would the other think?

Honestly, I think its fairly plausible that either would do this. But honestly, it's much more interesting to think about Kristoph being the one to do it so that's where I'm gonna focus.

This could be a possible backstory for Vongole acquisition. Kristoph's job led him to find the most Beautiful Dog in the World™ left abandoned (and possibly wounded) after her owner died or went to prison. At first, he intends to take Vongole in for a short while until he can find a new home for her. (She's a purebred and a very good girl so Kristoph isn't ready to just dump her in an animal shelter's care and hope for the best). But it's not long until he finds himself just completely enraptured by her and unable to imagine his life without her.

Phoenix, meanwhile, has enjoyed watching this unfold from a bit of a distance. He doesn't meet Vongole officially for awhile, but he notices how quickly Kristoph is completely "puppy-whipped" for her. Kristoph can't stop talking about this "foster" dog he's looking after. He talks about more even than he talks about work--which is saying something. His eyes light up behind his glasses and he can't stop smiling when he's chattering about how SMART and cultured Vongole is, because she sits and listens and wags her tail whenever Kristoph is practicing his violin. And she's so got the most refined palette too. She likes only the best dog food made from the finest ingredients.

It's adorable seeing Kristoph like this, so happy and relaxed and at peace with himself. Even with all the baggage between himself and Kristoph, Phoenix genuinely likes seeing his frenemy in this light and is happy for him.

After a few months worth of Kristoph "fostering" Vongole, he finally announces that he's decided to keep her permanently and Phoenix is all ...

(Phoenix saw this coming about a week after Vongole came into Kristoph's life).

I am also struck by another possible "Kristoph-rescues-a-wounded-animal scenario" as well and would like to discuss it. In this case, I think Kristoph should find and take care of a wounded bird (preferably a baby). I think the most narratively satisfying (i.e. metaphorically resonant) would involve Kristoph having accidentally caused the bird's injury in the first place. Maybe he accidentally hit a passing bird with his car or caused the bird to fall out of its nest and injure itself, while Kristoph was tending to his garden. Kristoph would therefore have to take accountability for having hurt something so beautiful and delicate and would see his nursing the bird back to health as an atonement for his past missteps.

Phoenix, meanwhile, would have very mixed reactions to seeing Kristoph's diligent care for this particular bird. He can't help but feel a little envious seeing Kristoph take responsibility for his harmful actions in this respect, while Kristoph has utterly failed to do the same where Phoenix is concerned. The significance of this being a bird--and Phoenix's own name being a (mythical) bird is not at all lost on him either. But on the other hand, he sees Kristoph being so patient and caring and gentle with this little wounded bird, and Phoenix can't help but love him for it. Can't help but wonder if--if only circumstances were just a little different and if he and/or Kristoph were able to swallow their pride for long enough--maybe Kristoph would have been able to do the same thing with Phoenix after all. But of course, they are doomed by themselves, their anger, and the narrative so this would never happen.

If the bird is unable to be safely released back into the wild after all--or Kristoph is simply unwilling to let the bird go-- it's also possible that the caged blue bird in Kristoph's cell is in fact this very same bird. Which adds some additional metaphorical resonance to the obvious Phoenix-bird parallels. Either Kristoph has already damaged the bird (and Phoenix) so severely and irrevocably that even his most ardent attempts at atonement/undoing the harm are not nearly enough. Or Kristoph has become so mentally and emotionally attached to the bird (and Phoenix) that he refuses to let it fly away from him--especially while Kristoph himself is wasting away in prison.

42. What’s their favorite type of weather to enjoy together? (getting snowed in together, watching thunderstorms, etc.)

Phoenix most enjoys bright, warm sunny days (especially in the summertime). This is more in general than relating to Kristoph specifically. There is so much more to do when the weather is nice--including a few particular things that he enjoys doing with Trucy and often with Kristoph as well. They've gone berry-picking a few times (on Kristoph's dime), something that neither Kristoph nor Trucy had ever done before and something that they are both pleasantly surprised by. They will go for picnics at the park and talk Kristoph into taking Vongole with them. (Trucy enjoys playing several rounds of fetch with her afterwards). Sometimes, when they have a day at the pool, Kristoph will wear a big, floppy hat to keep the sun off his face, and Phoenix can't help but find it rather endearing.

Kristoph, meanwhile, enjoys the rain. Or more specifically, a steady, lightning-less medium downpour that is heavy enough to keep everyone indoors (and prevent Phoenix from leaving too soon) and water the grass, while still being nowhere near heavy enough for there to be any danger of flooding.

He enjoys taking Vongole for walks after the rain and breathing in the fresh, clean scent of the air. He particularly enjoys it when he is able to rope Phoenix (and sometimes Trucy and/or Klavier) into joining him. Especially on the very memorable occasion that they saw a full rainbow just as the sun was starting to set.

#krisnix #kristoph gavin #phoenix wright #ace attorney #the kristoph + bird arc is directly inspired by the “Rabbit takes in and takes care of a wounded baby bird arc from Winnie the Pooh”#if you haven't watched that episode yet saemi; you should #it's everything #but you will absolutely cry #kristoph has a similar personality to Rabbit imo #very uptight and perfectionistic and not always particularly warm #but just as capable of gentleness and nuance as he is of harshness and one-dimensionalness #was i perhaps a little too self-indulgent in my replies?#yes #but did i have fun? do I think others will enjoy anyway?#also yes and yes again #kriswright #narukiri #kirinaru #ask memes

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