#In this way he relates to Edgeworth

[alynnl]

My Take on Gumshoe's Backstory

I played through the Ace Attorney trilogy as well as the Investigations duology, and noticed a blank spot in a lot of characters' back stories. Since he's important to Edgeworth and I love him plenty on his own, I'll be focusing on Detective Dick Gumshoe and what his past might have been like. Part of this (but probably not all of it) will end up in a fanfic I've been taking notes for here and there.

In the beginning, Gumshoe lived in his family home with his parents and two younger siblings (one brother, one sister.)

His mom and dad owned a convenience store. (In the present day, it's run by his younger sister and her husband.) Overall the family isn't the richest one on the block, but they're happy to share a home together.

Gumshoe was an energetic child who got along easy with others. He became close with an older family friend, Jay Walker - an auto mechanic who seemed like he could fix anything.

Gumshoe's love of gadgets comes from his Uncle Jay, who was always working on something in his garage at any given moment. It was not unusual for the two of them to spend their evenings tinkering with various tools and electronics.

Jay made the offhanded remark that Gumshoe knew his way around a toolbox, and he'd make a great apprentice. This was something the boy took to heart, making him want to sign up for shop classes once he got into middle school.

When he was twelve years old, Gumshoe became involved in a murder case that would later be known as the YB-5 Incident. It began when he was walking home after a night at the arcade with a couple of his classmates. He stepped onto his block just in time to witness a drive-by shooting. He hid as the car sped further down the street.

Gumshoe went to check on the victim, realizing to his horror that it was his Uncle Jay who had just been shot. By the time the paramedics arrived, it was too late. It was later said that Jay died instantly.

The following week, the police and the investigating prosecutor swept Gumshoe's neighborhood from top to bottom, questioning everyone as to what they saw and heard that Friday night.

The lead prosecutor on the case was Manfred von Karma. He informed Gumshoe's family that the boy would have to testify in court as a witness if they are to give their neighbor's murderer the guilty verdict he deserves.

During the investigation, it's revealed that Jay used to be "Detective Walker," and he was trying to live a peaceful life after retirement. But a criminal from one of his previous cases decided to take their revenge on the night of the YB-5 Incident, since the former detective broke up his gang of weapon smugglers.

The investigation wrapped up, and the trial began. Von Karma emphasized how important it is that Gumshoe give the perfect witness statement, and didn't care much about the boy's feelings or grief he might be experiencing for his family friend.

Gumshoe gives his statement. Even after that, the trial dragged on for months and he isn't given any sense of closure. A verdict is reached merely one day before Jay Walker's funeral was planned to take place.

Gumshoe is left with an emptiness inside even after the guilty verdict. He doesn't feel like this was a victory because the verdict doesn't bring back his friend and mentor.

Then patrolman Tyrell Badd gives the boy some encouragement, saying how he was brave to give his statement on the witness stand. "I've seen grown men break down and cry when they were giving their testimony, but you didn't shed a tear. You have courage, kid. I think old Jay would be proud."

Tyrell's words gave Gumshoe a different idea of who he wanted to be when he grew up. He wanted to protect people, and be there for the survivors left behind just like him. From then on, he had his sights set on joining the police academy, but never gave up the hobby of tinkering with machines in his spare time.

[lazycranberrydoodles]

the difference between miles and phoenix is that miles says his snarky thoughts out loud lmao

@neni-has-ascended's very cool notes on AA translation and honorifics

follow for more art <3

[lunarharp]

more phoenix wright situations

[1960z]

I totally get where the “blackquill likes the steel samurai” headcanon comes from and it’s cute but if I’m being truly honest with myself I don’t really agree with it, I kinda think he’d hate it lmao

because how the canon always makes the steel samurai look to me is that it’s this campy show aimed mostly at kids that’s using samurai aesthetics for the cool factor more than anything else and isn’t too fussed with historical accuracy. meanwhile it seems that simon takes the whole “being a samurai” thing very seriously, it’s a huge part of his life. I don’t think a fun, kitschy portrayal of that for kids would interest him very much

[deaththeyamikid]

Whatever you do, don't listen to Windows in Heaven by We Are The In Crowd and think about Miles and Gregory Edgeworth

[smallest-moon]

i choose to believe that gumshoe purposely took his notes there so that he can give actual information to edgeworth (even if it isnt much) and most importantly cheer him up

[anonymous-chicken-was-taken]

I think Franziska would make an awesome pirate. She just gives those vibes. Franziska von Karma the pirate queen. That would be awesome. Edgeworth would make a cool pirate. All the prosecutors would make cool pirates. So would the defense attorneys. Everyone would make a cool pirate.

I should make an Ace Attorney pirate au. Like can you imagine Edgeworth and Phoenix having a sword fight??? It's the perfect opportunity to have Phoenix show is gremlin side, too. This is a goldmine of content that this fandom has not capitalized on.

[dreameralive]

i think one of the most noteworthy things about Blaise that i haven't really seen anyone discuss is his tendency to liken others to children, his weaponization of it, its relation to him being a child abuser, and its relation to his defeat.

one of his first lines of dialogue, before he even introduces himself, is him humiliating Franziska by calling her 'little von Karma', and then bringing up something retroactively embarrassing she did as a little girl.

he frames this as genuine nostalgia, but to me, it's pretty clear this was a purposeful, and almost sadistic, powerplay.

there's also these lines. these aren't too strange, out of context - "let's all play nice" is a relatively common phrase, and in the second screenshot where he's discussing Kay and Edgeworth's friendship, they are literally youths (well, compared to him). but in context, it's clear that this is part of him attempting to assert his dominance over everyone else.

he wants to let everyone know that he is the adult here, and all they are is children - and thereby, they are completely powerless to his end-all authority, so they shouldn't even bother attempting to resist. this is further emphasized during his logic chess segment.

he calls Edgeworth 'my boy', he reminds him that he is his 'senior in life', he tells him he's being naïve. he threatens to never give back his prosecutors badge if he doesn't stop trying to question his authority. he asks him, mockingly, if he's scared. then, while grinning, he tells him that there is nothing he can do, and he should give up already.

he once again, more blatantly this time, is attempting to force someone else into accepting that they are the weaker party and that he could do anything he pleased to them, and once again, he is weaponizing the societal power imbalance between a child and an adult to do so.

i could go on and on for a while with more examples of this, but then that would make this post really long and rambly. so, instead, i'm going to discuss what his behavior ultimately results in.

this is probably one of the most disturbing interactions in Ace Attorney.

he does this purely so Sebastian will feel humiliated and ashamed in front of his colleagues, people he respects and who in turn are supposed to respect him. he does this to remind Sebastian that he is his father, and Sebastian is his child. to Blaise, that means he has complete control over him. and until this point? he actually does.

he has controlled every aspect of Sebastian's life to be exactly how he wants it. his path in life, his school, his tests - even Sebastian's constant usage of his surname serves as a reminder that Sebastian's only purpose to his father is to be an extension of him, a tool to feed into his ego. an object. something he owns.

note how, in their sprites, Sebastian is typically tilting his head slightly downwards, and in his crying sprites, he's leaning down. meanwhile Blaise stands high, and in his grinning sprites, his head is tilted up, as to literally look down on the person he's talking to.

but in the end, right before Blaise is convicted, right as Blaise tells him he should just remain his idiot son, Sebastian is looking up as he tells him goodbye. a way of saying that he's not beneath him, and he won't let him act like it anymore.

Blaise is immediately infuriated by this, and says all you've ever been able to do is depend on me. he screams Sebastian's name in anger - but it's cut off.

in fact, there is no more dialogue from Blaise after this. because he has no more authority, no more ability to scare Sebastian or anyone else into submission. in the end, Sebastian has finally taken back his autonomy that Blaise has robbed him of. so has Kay. so has Simon. all of them are children he has mistreated, threatened, and jerked around for his own selfish gain, but ultimately, they all still have more power over their own lives than he ever will again.

there's a lot more i could say on this, but these are all my thoughts i could organize. thanks for reading.

[sinnabum45]

Link to help Palestine and other resources! 🇵🇸

[Plain text: Links to help Palestine and other resources! (palestine flag). End plain text.]

[Image description: gray toned digital comic of Ace Attorney characters Franziska von Karma and Miles Edgeworth.

Page one: Franziska has her right arm in a sling due to being shot. She is quickly walking with an angry expression. She has a memory of when Miles and her were kids. She is giving Miles her cat doll and Miles is flustered, embarrassed. Manfred is smiling fondly behind them. Then she remembers studying intensely and being frustrated when she didn’t meet her own standards. Text throughout the page: “Nothing I did ever mattered. Nothing ever mattered…! Nothing… Nothing!!” Miles calls out the Franziska and Franziska’s face contorts with anger. Miles: “Where are you going… Franziska?”

Page two: Franziska turns toward Miles and says, “How did you know I was here…?” Miles looks worried. They start talking to each other, but there are no text. Franziska is thinking, “You…! How dare you show your face to me?!”

Page three: Memories of Franziska being left behind are shown. First, Miles is nine years old and covering his eyes, crying. He’s walking ahead of Franziska while she tries to catch up to him. She reaches her left arm to him. Second, Miles is twenty years old and Manfred is walking next to him with a hand on Miles’ shoulder. Miles is frowning and Manfred is smiling. Franziska is thirteen and she is left behind in disbelief. There is a big split in the middle of the page, separating Franziska from them. Text in the split represents Franziska’s thoughts: “All you’ve ever done was leave me behind… Don’t act like you care now! I’ve always hated you!”

Page four: Franziska is back to being depicted as the present Franziska. Now she is standing in the middle of darkness alone. Franziska: “I can’t change who I am. I can’t throw away everything I’ve been until today.” Miles responds, shocking Franziska, “I believe you can. Today, you chased after me, after I’ve left you behind all these years.” Franziska looks up at him with wide eyes, but still skeptical.

Page five: The page is in color. Miles and Franziska are facing each other. Miles: “And that’s why we’re standing here now, side by side.” Franziska: “…!”

Page six: The page is gray toned. Miles looks at Franziska with a determined look. Miles: “But I have no intention of stopping. If you say you are going to quit your walk down the prosecutor’s path… Then this is where we part ways, Franziska von Karma.” Franziska is listening, dumbfounded.

Page seven: Franziska looks down, clenching her jaw. Franziska is facing away from viewers and Miles is facing her. Franziska: “I… I…”

Page eight: Page is in color. Franziska is facing the viewer and she is crying. Franziska: “I am Franziska Von Karma. Don’t think I’m going to walk in your shadow forever…”

Page nine: Page is in color. Franziska loses her eyes, still crying and facing Miles. Franziska: “Our battle… Begins now… So you had better prepare yourself, Miles Edgeworth!” They are both facing away from the viewers, walking together toward the future. Franziska is wiping her eyes with her left arm.

Page ten: Page is gray toned. A memory of Franziska when she is two years old and Miles is nine. Miles is crying and walking ahead of Franziska. She is reaching out to him, but she is left behind. She starts crying by herself. A hand is extended towards her and she looks at it, surprised. Franziska becomes happy that Miles came back for her and she holds his hands, smiling. Text: “Thank you for being here…” End description.]

The scene that made me cry 🥲 I have so many thoughts about it— 🏃🏻‍♀️🏃🏻‍♀️🏃🏻‍♀️

HC (TW// suicidal ideation): I love that they added this scene to show how Franziska was also going through it, too. She was also hurt by what Manfred did and the pressure of the “von Karma name”. She’s literally a teenager going through all of this bs. I also loved that Miles related her to Adrian because YES. The similarities between Adrian, Franziska, and also Miles throughout the case- they were all dependent on their mentor and tried to act “strong” to cope with their self perceived weaknesses/failures. I personally think Miles was also suicidal and that Franziska was going down that same path. Her throwing away her whip is a hint at that HC. Her whip represents her strength and being a prosecutor- AKA her life, since that’s all her and Miles lived for at this point. Unlike Miles tho, Franziska had someone there to stop her and help her before she went down that path. I also like to think that because they were so caught up in their pain, they felt alone when they had each other the whole time. I don’t blame them cuz Manfred made it so they were only “worthy” if they were “geniuses” like he is. They put being the best prosecutor over EVERYTHING else. That’s going to mess anyone up, especially children who just wanted their dad to love them. AHHH I LOVE THEM 😭😭😭

I took out so much dialogue cuz it was already getting too long. I think the Adrian line could make for it’s own comic 🥺 (I love that they directly relate them so much SKLKJGK😭)

[franzivonkarma]

I desperately need people to understand that Franziska's whipping thing really isn't solely a silly character gimmick. Of course it is to a degree, just like Godot and coffee and Klavier and air guitar in court, but so often I see people dismiss Franziska's whipping trait as an annoying feature that adds nothing to her character and I cannot stand it. This is a bit of a rant and I touch on gender inequality and the way I see a lot of men treat her as a character a decent amount within this because I feel like the fact that she is a woman is actually very important to this element of her character, and her treatment is also a lot of the reason why I feel compelled to talk about this in the first place.

Firstly what you need to understand is that not only is Franziska a woman, she is also laughably young when she becomes a prosecutor. She's a 13 year old girl trying to hold the attention of a courtroom of mostly grown men and be taken seriously. It's no secret that misogyny does exist in the Ace Attorney universe of course (see: Godot), but aside from this, maybe it's just because I've been playing Ace Attorney Investigations recently, but she is just very small all around. It's a running gag in Turnabout Reminiscence that she is short, she's small, she can't see things Edgeworth can - although granted Edgeworth is definitely fairly tall, most estimates I've seen linger around 5'8-5'10 (around 170-180cm). And of course, she is only 13 here, she's not done growing, but it's at this age that she actually did begin to prosecute. Naturally, she'd often be underestimated, and we can see a strong desire to prove herself during Turnabout Reminiscence, even just to her father; I can only imagine that this would extend further into her trials as a young girl. Secondly, she's the daughter of Manfred von Karma, whom she idolises to a godlike status and who teaches her everything she knows about prosecuting, and also a lot about life in general - he's her father. There's a lot I could say about their dynamic, but I feel that much of it doesn't need to be said in this specific post if you're already here dedicated to Franziska enough to bother reading this post.

Manfred's courtroom (and often, regular) behaviour revolves a lot around him taking complete control of the entire courtroom, with him even speaking over the judge, overruling objections he does not like and sustaining his own, and instructing witnesses himself. He also often snaps his fingers to direct attention to himself and his point. Franziska learns this, but how does a literal 13 year old girl follow her father in this regard? Well, by force. Whipping someone is a very clear way to get their attention. Not only the person it hits but the people around - whips cracking are loud, they take up a lot of visual space, and they also obviously cause harm to the person they hit. These are all things you can't really ignore - it forces you to look at her and pay attention to her and gives her control of the room exactly like Manfred. I've also been thinking a lot about the end of Justice For All in relation to this. She's lost to Phoenix multiple times and she couldn't beat him even once just to prove that she was better than Edgeworth as she so desperately wanted to. This brings me to another point about her use of her whip. While I think control is a huge aspect and is my main focus here, I think it falls more under the umbrella of Franziska's own perceived shortcomings. We also know that she doesn't believe she lives up to her father's genius, and that she consistently feels like she's walking in Edgeworth's shadow, she says it herself:

I think at least some part of the reason her whip is so important is because she believes she could very well be less than equal to others in the room in terms of certain traits. She sees her father as a genius, knows she isn't equal to him, and internalises this (whether she is actually less intelligent or not I personally don't know what I believe, I haven't played Justice For All in over a year and a half and I would have to replay it to decide my thoughts).

In having to be perfect, there are many expectations she cannot live up to, and this leads to many ways in which she falls short of what she believes she should be. By using her whip, again, she can account for her perceived shortcomings in other areas - control, her intelligence, her ability as a prosecutor. I think this last scene of JFA actually introduces us to the idea that Franziska is somewhat self-doubting in some ways and compares herself a lot with others, not just Manfred, but also Edgeworth, which we see more of in Ace Attorney Investigations during Turnabout Reminiscence, where we see her at 13 attempting to prove that she can "out-logic" Edgeworth for the entire case, and essentially, that she is "more perfect" than he is.

But to come back to her whip, control, and the end of Justice For All.

She is left with little of who she was before and doesn't know how to move on - everything she was taught to be from the moment she was born, she no longer is. She is 18 here, prosecuting for 5 years already and desperate to be prosecuting for even longer. As far as her life was set out, this was basically it for her - become a perfect prosecutor and prosecute perfectly just like Manfred - the ideal prosecutor in her eyes.

A Von Karma is perfect, but she is not - she lost, just like Edgeworth, whom she shamed for the same thing. She gives up her whip here, and I feel that it's truly symbolic of how she feels like she's completely lost control of herself, her life, her relationship with her father and most obviously her occupation as a prosecutor. How could she continue being a prosecutor when she no longer lives up to the idea of it that she's had her entire life? What use is her whip if she will not need to hold the court's attention any longer?

I'm sure a million other people have thrown their coin in the pot on this exact topic, and I'm sure many have said the same thing as me and many have said something different, but I needed to write my thoughts out about it because I couldn't stop thinking about her. This is one big reason why I feel like I see a lot of men who don't understand Franziska and see her as very annoying, gimmicky, and my least favourite - a "female Edgeworth." She is a woman who steals attention and space forcibly; both from characters in-game, and also from the player with her animations that take up time in trials and a lot of the visual space. Of course this makes her unpopular with a lot of men. I'm not saying that if you dislike her or the whip it comes from a place of misogyny, I am saying that I think her whipping trait is reduced to a stupid, annoying gimmick more than, say, Godot and his coffee, because a lot of people don't really care to see that there is intention behind it that reveals a lot about her character, just like how Godot's coffee problem is relevant to his backstory.

[croquis-el]

Well, um, hiya☆

I've come to life a little here and brought you some interesting features in the characters' spoken language

To begin with, let's look at the male trio of main characters: Naruhodō, Mitsurugi, Odoroki (Wright, Edgeworth, Justice)

Some people know it, some don't, but in Japanese there are many options for how to refer to yourself, i.e. "I" can be said with different pronouns and they are all ranked by gender (there are also gender-neutral ones) and the level of politeness.

The first one we have is Naruhodō.

He always, regardless of the situation, uses the pronoun "boku" (ぼく) in relation to himself.

僕 (ぼく)

僕 (boku) is a first-person pronoun often associated with male speakers. It has earnest, polite, cultured connotations. Overall, 僕 (boku) has a softer, less aggressive than 俺 (ore), another common pronoun with masculine connotations.

Naruhodō uses it both in the first trilogy, when he is 24-26 years old, and after the 7-year gap, when he is 33-35. It doesn't matter if he is in the courtroom or talking to friends - he always uses "boku".

言わずと知れた、ぼくだ。 若手実力派弁護士として、 今年で3年目に入る。

Iwazu to shireta, bokuda. Wakate jitsuryoku-ha bengoshi to shite, kotoshi de 3-nen menihairu.

It goes without saying that it is me. I am a young and talented lawyer, and this is my third year in the industry.

___________________________________________

ぼく････今、弁護士を 目指して、勉強しているんです。

boku ima, bengoshi o mezashite, benkyō shite iru ndesu.

I'm studying to become a lawyer.

___________________________________________

いいや。ぼくは、 大学は芸術学部だったからね。

Ī ya. Boku wa, daigaku wa geijutsu gakubudattakara ne.

No. I entered the arts department at the university.

___________________________________________

When addressing someone, Naruhodo uses pronoun "omae".

お前 (おまえ)

お前 is a second-person pronoun that's masculine and rough — it's often used for cussing! It could also be a way to show affection to close friends, partners, and family in a very casual manner.

It is curious that he only addresses Mitsurugi this way, while he addresses the others (Mayoi, Odoroki, etc.) by name + suffix (Mayoi-chan, Odoroki-kun).

もしかして、おまえ････ やったんじゃないの?

Moshikashite, omae yatta n janai no?

Maybe you... did it?

___________________________________________

そういうおまえだって、捜査の時は 証拠品をつきつけまくってたとか。

Sōiu omae datte, sōsa no toki wa shōko-hin o tsukitsuke makutteta to ka.

Even you, who is like that, apparently presented a lot of evidence during the investigation.

___________________________________________

おはよう。思ったより早かったねえ ････オドロキくん。

Ohayō. Omottayori hayakatta ne e Odoroki-kun.

Good morning. It was earlier than I thought... Odoroki-kun.

___________________________________________

Next up we have Mitsurugi.

Mr. Politeness uses the pronoun "watashi" when referring to himself.

私 (わたし/わたくし)

わたし (watashi) is quite a common first-person pronoun as it's used regardless of gender, and both in casual and formal situations.It also has a certain elegant, sophisticated feel to it.

It also does not change over time, and is used by him both at 24-26 and at 34-35 years old.

私が異議をとなえれば、裁判長は かならず聞き入れるだろう、と。

Watashi ga igi o tonaereba, saiban-chō wa kanarazu kikiirerudarou, to.

If I raised an objection, the judge would certainly listen.

___________________________________________

私が検事の職をまっとうできるのも、 周りの誰かの支えがあってこそ。

Watashi ga kenji no shoku o mattō dekiru no mo, mawari no dareka no sasae ga atte koso.

It is only thanks to the support of those around me that I am able to carry out my duties as a prosecutor.

___________________________________________

礼を言うのは････ 私のほうだ、成歩堂。

rei o iu no wa watashi no hōda, Naruhodō.

I should be the one to thank you, Naruhodo.

___________________________________________

But he has a special attitude towards the informal address "you". And by the way, it depends on the situation Mitsurugi is in, and not on who he is addressing.

Because he uses at least 4 (maybe more, I couldn't catch them all) options of address!

The first is "omae". We have already discussed it, so I will not repeat myself. But the situation in which it is used is when Mitsurugi tries to be cheeky, when he makes fun of others (most often, of course, Naruhodō)

お前のせいだぞ。成歩堂。

Omae no seida zo. Naruhodō.

It's your fault, Naruhodō.

___________________________________________

異国でも証拠品のつきつけとは、

お前も相変わらずだな。

Ikoku demo shōko-hin no tsukitsuke to wa, omae mo aikawarazuda na.

You're still the same, presenting evidence even in a foreign country.

___________________________________________

Next, the address "kimi".

君 (きみ/キミ)

君 (kimi) is a second-person pronoun with various nuances. Some dictionaries define 君 as a pronoun you can use in a friendly way towards someone of equal or lower status. These days, however, the way 君 is perceived varies quite a bit from person to person.

Outside of hierarchical situations like the workplace, 君 is used a lot to sound literary or poetic.

成歩堂。折り入って キミに頼みたいことがある。

Naruhodō. Oriitte kimi ni tanomitai koto ga aru.

Naruhodō. There's something I'd like to ask you.

___________________________________________

キミのいない法曹界は 平和そのものだったよ。

Kimi no inai hōsōkai wa heiwa sonomonodatta yo.

The legal profession would be at peace without you.

___________________________________________

いや。････････だが、結局 キミの力にはなれなかった。

Īya. Daga, kekkyoku kimi no chikara ni hanarenakatta.

No... But in the end, I couldn't be of any help to you.

In the example, Mitsurugi asks Naruhodō for help, so I don't think it's a hierarchy thing. It's more of an equal thing. (Correct me if I'm wrong)

___________________________________________

And then comes the most epic part. Kisama.

貴様 (きさま/キサマ)

貴様 (kisama) is a second-person pronoun that's masculine and rough, it's often in combination with vulgar language!

Although it's associated with masculinity, that doesn't mean it's a pronoun only for men. Even if you don't use 貴様 regularly, it's a great way of expressing your anger.

貴様 can also be a way to show affection in a very casual way towards close friends, partners, and family. In this case, the above example would be playful, rather than showing genuine anger.

Mitsurugi uses it when he gets angry (usually in the courtroom) and sometimes in relation to friends. So, the area of ​​application is justified by its purpose as a pronoun.

キサマの娘が、人を小さなハコに 詰め込むというショーをな!

Kisama no musume ga, hito o chīsana Hako ni tsumekomu to iu shō o na!

Your daughter puts people into tiny boxes in a show!

___________________________________________

き、キサマなどに、美的感覚を 非難されるイワレはない!

kisama nado ni, biteki kankaku o hinan sa reru iware wanai!

You have no right to criticize aesthetic sense!

And the last one - addressing by name + suffix or without suffix (Mayoi-kun, Naruhodō)

___________________________________________

Next - Odoroki Hosuke (Apollo Justice)

He's a real manly man, haha. He always uses the pronoun "ore".

俺 (おれ/オレ)

俺 (ore) is a first-person pronoun with a strong masculine feel. It sounds "manly" and less gentle than 僕. 俺 is also a pretty casual pronoun and can be seen as vulgar, especially when used in formal situations. In order to use 俺 naturally, the speech style also needs to match the manliness of 俺.

オレは、ここの事務所の 所長さんに会いに来たんだよ。

ore wa, koko no jimusho no shochō-san ni ai ni kita nda yo.

I came here to see the director of this office.

___________________________________________

オレも、ちょっとならできるよ。

A odoroki ore mo, chottonara dekiru yo.

I can do it a little bit magic too.

___________________________________________

But he doesn't bother with addressing others, and always addresses them by name + suffix (Naruhodo-san, Minuki-chan, Garyu-kenji, Mitsurugi-kenji)

成歩堂さんが 弁護士をやめたのって････

Naruhodō-san ga bengoshi o yameta notte

Naruhodō-san quit being a lawyer...

___________________________________________

(みぬきちゃん。 片付け始めたぞ････)

(Minuki-chan. Katadzuke hajimeta zo)

(Minuki-chan, you're starting to clean up...)

___________________________________________

P.S.

I hope this will clarify the characters a bit and give you a new perspective on them.

One day, I'll do the same with the main female characters (because it takes a lot of time, but I bless those who post screen recordings and screenshots, thanks to them I can quickly find the right moment).

There may be errors and typos, don't be afraid to point them out to me

[doctorsiren]

Okay okay but I’m right okay?

Also here’s different concepts related to the games and not the movie that I drew up at work yesterday as I was killing time before we watched the movie :))

Random stuff:

Despite Gregory Edgeworth being Henry, he’s the one to die in the Bite of 83 bc DL-6. Apollo is FNAF Gregory bc they both have the same big staring eyes and Apollo already has a bracelet. Phoenix is a wolf but is also based on the Blue Badger. Instead of William’s fursona (haha) being a rabbit, Von Karma’s is a German Shepherd. Diego is a lion, and Godot is Glamrock Diego. Franziska is Circus Baby, but also accidentally kinda looks like Pomni (I still need to watch TADC). The Feys are rabbits mainly because Pearl’s hair reminds me of a little bunny (ironically enough, I didn’t draw her). Miles fits Scooped Michael way too well, but also my brother said he fits Michael because you have to go in an elevator in Sister Location (also he’s terrified of the power going out)

[science-lings]

Yeah I get that Edgeworth and Maya are besties who obsess over the steel samurai but that leaves Phoenix and Franziska time to hang out and you cannot tell me that they wouldn’t be a terrifying duo. They both get hurt in a way that would kill a lesser person and just end up at the courthouse like two days later to save the day running purely on spite and righteous fury. If their goals align they would be unstoppable and I am so serious. They meet up while their spouses are occupied with samurai con to go to the renaissance fair and immediately solve the murder at the renaissance fair.

I need disbarment era Phoenix weirdgirling all over Franziska’s interpol level crime scene. I think he should give her some weed to see if that would make the viewing experience of the steel samurai and other related franchises slightly more enjoyable. I think she needs some guy who can kick down doors to drag around when she doesn’t have Gumshoe access. She bullies him relentlessly and he’s just enjoying the nostalgia of it all.

They’re buddies and no one knows how it happened

[zoloftkat]

Shuake Day 1: Hobbies (yes I know it’s day 6)

I have had this idea rattling around for awhile, because every time I see/think about Edgeworth, he’s so similar to Akechi I just can’t help but love him. So yeah, I think Joker would (in ways) relate to Phoenix, and Akechi certainly would relate to Edgeworth. Man, I bet Joker would have a crush on Edgeworth just from the similarities. (also he’s a pretty boy like Akechi) Also, in a modern au no personas, I feel like Akechi would have become a prosecutor and maybe Joker a defense attorney to stop others from false accusations like he had. I could ramble forever! Anyways happy Shuake week 2024!

[musashi]

How did the "Phoenix sent Miles letters and then MVK burned them" headcanon belief turned an actual thing people believe happened even come about?? I truly have never seen a fandom so hellbent on making people conform to their headcanons that they literally make up things and pretend they happened in the games. It doesn't even make sense with MVK's character but I guess people are too hellbent on portraying him as comically evil.

ace attorney fans are very bad at playing ace attorney. tons of them will readily admit to not watching playthroughs or playing themselves but instead getting all of their knowledge on the canon through fanfiction and fanworks.

they are quite literally playing telephone. and the fandom is actively hostile to new fans, because we come in and say 'this fanon is directly contradicted by canon?' and IMMEDIATELY get dogpiled en masse by the 6 high school bullies in charge of What Fanon Is Allowed. obviously, that scares new fans off--if a fandom doesn't even respect the canon, then anything goes, and whoever wins is whoever shouts loudest.

no one wants their fandom experience to be shouting. so they move onto fandoms that are more welcoming, and only the nastiest people are left. it sucks, and ace attorney is bar none the worst example i've seen.

and like i said, it all just comes back to the fact that miles edgeworth is the fandom darling, very easy to project onto because fandom is often full of traumatized social outcasts who struggle with immeasurable amounts of self-loathing. miles edgeworth is like crack to them. but to acknowledge that he is a complex person who can make mistakes and hurt others means acknowledging that so can they. they are not brave enough or mature enough to do that, so they make all of miles' choices not his own, but the action of some faceless abuser in the shadows who "made him that way" or forced him to hurt others.

that's also why these same people go CRAZY when they encounter people who identify with and project onto a character like mvk. as someone with OCPD, i find manfred very relatable. i love that he's canonically disabled, i love that he's canonically neurodivergent, and i love that he is easy to project my own OCPD onto. when i bring this up in fan spaces, all respectable debate goes out the window and the naysayers just start reciting quips and memes at me instead. they cannot argue against it because they see the logical contradiction--why is it ok to project onto miles, but not onto manfred? they cannot allow me to expose that hypocrisy.

if only its transparency lead to any productive discussion about it. sadly, these people are just beyond help or debate, and so all i can do is block them and ignore them and pray they stop making sockpuppet accounts to harass me and my friends for liking some made-up collection of pixels.

[inbarfink]

Apparently some Ace Attorney fans don’t like this Plot Beat in the PLVSAA game? Like, they feel that it disrespects Phoenix or puts in on a lower rung of importance compared to Layton? But I really disagree, I have some other issues with PLVSAA, but this moment? That’s a perfect Phoenix Wright moment that shows a real understanding of his character and his appeal.

Because Phoenix Wright always shoves his nose right into the center of stories where he was not supposed to be in. That’s what he’s been doing since the beginning. 

Just look at the plot of the very first game! It’s all about Manfred von Karma and his Big Ass Weirdo Grudge against the whole Edgeworth family all two of them. In many ways, even if the AA narrative doesn’t typically use that framing - Manfred is kind of a Storyteller in a way, creating the Story of Miles Edgeworth’s tragedy and patricide. 

And in that ‘Story’, Phoenix was a minor character at best. He was just an ordinary kid who knew Miles for a few months in fourth grade, He’s not tied in with the Family Drama, he doesn't have any obvious special talents or anything. From any outsider's perspective on Miles' whole life, there's no reason to think his 4th Grade Best Friend would by in any way Important for anything but Tragic Flasbacks. But Phoenix put himself into that narrative. For him, Miles’ kindness and friendship for these few months of childhood are just as important as anything in Manfred’s Story.

He got himself into law and shoved himself right into Miles Edgeworth’s story despite how ridiculous it all is. And so, even as Manfred disregarded him as just yet another unimportant interchangeable Defense Attorney to be crashed under his heel - didn’t even remember his name and face- Phoenix was still the one to defeat him. Even as Manfred left the courtroom still cursing Edgeworth’s name - Phoenix has made himself, by choice, into the Hero of that Story. 

Miles and Maya would be Main Characters in anything related to the DL-6 mess whatever they’d like to or not, it’s just tied-up so heavily into their life and their traumas. Phoenix is the one who chose to be a Main Character in that Story. 

And that’s something that kind of repeats with a lot of the narratives Phoenix gets into. Because he’s, like, the one AA character without a Dramatic Backstory outside of the Class Trial, Phoenix is usually either playing backup to the real main characters of the narrative - or once again, making himself the Main Character out of sheer determination and love and desire to help others and choice. 

And doing it again in PLvsPW, establishing that he and Maya butted into both the Storyteller and Darklaw’d Stories just because they were both driven and curious and kind and wanted to help Espella so bad… that’s just perfect, especially for a story all about Stories that’s just perfect.

The thing that I keep thinking about is the few times AA has Stories that are definitively about Phoenix without him butting in or stumbling into someone else’s Story. ‘Justice for All’ is one, but it doesn’t really have a Grand Overarching Narrative. It’s more of a Phoenix Wright Character Study via a series of vignettes. The AA game that really has Phoenix at the center of a Story is ‘Apollo Justice: Ace Attorney’.

To continue the PLvsPW metaphor, AJAA is really the game between a bunch of rival Storytellers - PLvsPW had Arthur Vs. Evelyn, AJAA has Kristoph Vs Phoenix. Kristoph weaved a Story with Phoenix’s downfall at its center - and Phoenix waited until he had the chance to return the favor. I mean, I dunno, maybe my metaphor is a touch stretched but… Hobonick really is the closest thing to the Storyteller in the mainline AA games. The final AJAA case is almost literally him ‘designing’ a trial for his own purposes.

And the interesting thing is how controlling and railroading he is as a Storyteller figure. For someone who’s based his own entire damn life on defying the Stories and plans of others, he really does not let his own ‘Main Characters’ - least of all Apollo - that same sort of metanarrative agency.