#sorry for incomprehensive rambling

[mayskalih]

thats so interesting i love same age aus particularly kakasaku because it usually rewrites her character in a way that i like. love some good hurt/comfort with them. are there any aus that you do like in general like fantasy/abo/modern/etc ?

It's honestly so cool that each of us can find what we want in fandom <3

Oh, it's always a tricky question to me, because none come to mind. But if I explore a bit further, then I realise that some aus are pretty cool. Also, some aus I enjoy drawing, some aus I enjoy reading (somehow doesn't work both ways). I like when aus are inspired by other shows (e.g. we just discussed how 'You' is very sasosaku coded). I like modern aus which revolve around punk/rock/fetishist subcultures, but not high school/university at an undergrad level (postgrad is more fun). I like Hades/Persephone au for kakasaku. Soo yeah, au's are not my thing in general, but I like some in a very chaotic way.

[anna-scribbles]

adrien should be at the pink pony club

[azulsejos]

s2 + golbetty centric episode prayer circle 🍎💝

[thepromisedbride]

i genuinely can’t stop thinking about this scene. fxmq still standing near xie lian even though they could have stepped away from him even before everyone was dismissed. and once they were told to leave they didn’t go immediately, they hesitated. and then mu qing leaves first, followed by feng xin, both of them looking disappointed to go but what other choice do they have and all three together again but they can’t fix the past and this is no doubt a harsh reminder of everything that had happened. god.

[void-soup]

sorry busy thinking abt a Liam O'Brien PC being saved from death by his potential love interest that tells him "I/we need you", while fighting the body of someone they love, now in possession of someone else

[franky-y]

finally managed to finish this

[spotlightstudios]

Ayo!!! It's been a while since I've drawn utau (utmv?) stuff in a fully rendered style, so.... when I saw @itsxroxannex had a dtiys I had to shoot my shot!

Actually, I don't think I've ever done a dtyis before 👀 so this was really fun.

(Speedpaint and More Process Rambles beneath the cut ♡)

I... actually don't think I've ever drawn Passive!NM either tbh. This entire drawing was kinda like a personal challenge to myself, since I often lack w/ backgrounds too.

I did kinda a study on the originals background, because I tend to just draw characters w/o a solid background, and when I do add a background characters usually blend into it a lil too well to discern figures, so the color choices and soft loose lines compared to the hard lines + cell shading felt really nice.

I also decided to go back to Procreate for this one too! Normally I draw w/ Medibang these days, but I learned to draw utau stuff on Procreate and so drawing them elsewhere feels wrong.

And, of course, the last note I'll add in the actual post: my sketch process is trash lmao. Literally I just wing the shapes of clothes and junk based on the vibes and resize as needed. I love looking at the og sketch tho cuz it's so... bald. No under-form, no indicator of limbs, nothing.

[tara-the-star]

elodie and jean moreau thoughts

when jean left home, he never got to say goodbye to her, he left thinking elodie would hate him for no longer protecting her from their parents' abuse. she was ten at the time and jean was convinced he was leaving her to face hell alone.

jean tried to fight against riko and tetsuji's abuse, perhaps clinging on to the hope that one day, one day he might just get to see elodie again. but of course, he could hold on to that distant memory for only so long. so he put his head down, he gave up any hope he had and accepted whatever the nest had in store for him. he buried all his memories of marseille, concluding that they should remain in that past, whether good or bad. It wasn't like ravens were allowed to have families anymore.

except

jean left the nest. his memories stayed buried after years of repression, but for how long? eventually when he did start remembering him, he could feel those memories tainted by the mental scars of his mothers abuse, though the physical marks had long since faded under the remnants of his time at the nest.

it had been so long since jean even saw elodie, he doubted that she was the same girl he had unwillingly left under the questionable care of his father's violent business and mother's unpredictable temper. so jean didn't dare think of reaching out to elodie, fearing that she would hate him for abandoning her.

but that didnt mean he stopped caring for her. when stuart mentioned that his family was going to take the hit in the moriyama's stead, jean only wanted to know what would happen to his sister. and then he found out that she faced the same fate as him, and in his words, that moment felt worse than anything riko had ever inflicted upon him.

and then, just like that, the only person he loved, who loved him back uncondtionally was dead.

his baby sister, a mere child, was dead because jean was unable to protect her from their parents' wrath. at the end of the day, his love couldn't shield her from them because they were moreaus. born to serve. it was written in their fate to exist solely for others. and if they lost their lives in the process, there was nothing they could do about it.

and thats why elodie moreau would never cross the age of twelve, ten in jean's memories, to which her existence was limited to. but the mind is a fickle thing. jean would eventually forget the exact hue of her eyes, the exact sound of her voice, the way she smelled curled up next to him, her favourite colour, and finally, inevitably, her.

[oldworldghost]

Had an angsty thought about P falling in love with reader whose staying in the hotel and using that as a sort of motivation to continue to try and become human because lord above he wants nothing more than to actually feel for them, like really feel for them, and he's fairly sure that [for reasons he doesn't quite understand] that the "love" is mutual. But also reader has such unstable attachment issues that don't really manifest in a noticeable/harmful way until P actually confesses his feeling for them and reader just fucking. breaks his newly formed heart because holy shit they cannot do that. Readers so convinced they can't love him in a way that's good, or at all really, and P is so so confused and upset because reader has been acting like what he thought someone in love would act like. And P still feels such a strong disconnect between himself and humans still because even if he is human now he obviously still doesn't understand anything about them and-

[posletsvet]

On the Making of Gojo's Goals: Thoughts and Assumptions

One disclaimer which I feel I need to make before getting into this: This is my reading of the events of the JJK manga, and my reading only, no more and no less. I am not claiming that my opinions are anywhere near being correct or true to the meaning intended by the author, I'm just sharing my take on the story I'm currently deeply passionate about.

And spoiler alert, of course!

Okay, but it is actually so interesting to me to be able to trace the events all the way back to how Gojo's goals and motivations begin to take shape, gradually solidify and get put into motion. So here's how I see it.

It's discussed a lot how Geto's presence in Gojo's life provided the latter with a moral compass and an empathetic outlook on things he lacked himself, giving him a sense of direction and playing a role of somewhat guiding and grounding force for him -- even if he more often than not nonchalantly rebelled against the prospect. He could always rely on Geto's judgement, so it spared him from the bother of thinking about what's righteous and what is not and instead gave him space to enjoy his youth and be careless, relishing this breath of fresh air which his friendship with Geto became. And for quite a while, I imagine, they were both content with how things were. Their warm spring of youth, you know. But when Geto left, he as well took that ideological guidance away from Satoru. From that point on, I believe, is when Gojo really takes to crafting his own ideals.

Unnecessarily lengthy discussion of how, in my view, Gojo's goals came into being below the cut!

1. The loss of the moral compass

When the events of SPVI put uncrossable distance between Satoru and Suguru, not least because of how they chose to cope with their trauma, Gojo got separated not only from his one and only closest friend, but also from somebody who, essentially, told him 'Of course, there needs to be a reason to kill people'. But at that time Gojo was driven by inertial forces, stuck in perfecting his technique and prioritised realising his potential to the fullest, because he blamed his failure on his own shortcomings as a sorcerer, as the strongest. And for the time being getting stronger, really claiming the name of the pinnacle of jujutsu for himself seemed enough. Because being the strongest would solve all the problems. Why wouldn't it? In the end, that's what his society trained him to think, preaching that might is always right. He made growing in power his goal, because he genuinely believed that is what he needed in order to prevent another failure, another Riko from happening. He seemed honestly excited and proud of his hard work while presenting his newly mastered ability to Shoko and Geto.

Look, now he's strong enough.

He's got it all covered.

Something that terrible will not happen again.

He was certain at least in this, so he moved in that direction.

Geto's defection left him without as much. I guess at least some part of why the news came as such a shock to Gojo was because it ripped that certainty away from him, made it painfully obvious that strength alone was not enough. It's cruelly ironic that, more or less by coincidence, this blow lands on him right after his cheerfully boastful announcement of the finally tamed Limitless. Because the thing is, I cannot imagine an outcome where Gojo doesn't blame himself, at least a little, for what happened to Geto. He was the one who got too far ahead, got too strong. He made a point of making himself untouchable, unreachable. (Although, in my eyes, it's not entirely true -- as Gojo was the one who actually tried to reach out to Geto. Even if he failed in this, we do see him try. On Geto's part, there was never such an effort. He didn't reach back, nor did he reach out himself. But it's a topic for a different discussion, I guess.) And, in the end, perhaps he trusted Geto and his ability to stay true to his ideals a bit too much.

2. Being the strongest alone is not an option

After Geto's spiral at least one thing was made clear: everything's that's broken in the system won't be fixed merely through sheer power. Yes, Gojo reached his destination, became the strongest, but him being strong didn't stop Geto from breaking and leaving, did not do anything to help him. If anything, it only made things worse, creating a gap between the two which deepened Geto's self-isolation (and perhaps enabled it in the first place).

When Geto leaves and Gojo's belief that simply being the strongest is going to fix everything falls short, Gojo is forced to reconsider his ideas and figure out a different solution. And that's what he comes up with: if being the strongest alone is not enough, then everyone should be the strongest. His thinking still relies heavily on the concept that power is everything in jujutsu society, but from what happened with Geto (who, in Gojo's eyes, failed to catch up with him in strength and therefore broke under the weight of his responsibilities and went down the wrong path) he derived that, basically, strength comes in numbers. The system isn't going to provide its sorcerers with necessary support, so they themselves should be able to shoulder the load without faltering. Therefore, they need to be strong like him.

And secondly, there's that:

He can only save those who are already prepared to be saved. As I see it, with this phrase Gojo comes to a conclusion that there's only so much he can do. Even if his cursed technique is called the Limitless, he can't do the impossible. He can't be his society's Atlas holding up the weight of the world (though he tries to), can't blame himself for every loss and tragedy, so he's consciously narrowing the list of things he holds himself responsible for. Now, allow me to put a pin in this thought, I will get back to it shortly.

3. No support in the system

The next stepping stone in Gojo's journey to forming his final goals is taking Megumi (and Tsumiki) under his care. It's after this decision of his, I believe, he becomes determined to become a teacher and educate the youth. And it also somewhat ties to the 'saving only those who are prepared to be saved' bit.

For me to elaborate on this, let's take a few steps back. Throughout both seasons, but the second one especially, the story goes to great lengths to show how alone young sorcerers in fact are in their duties. Students are basically left to their own devices from the very moment they enroll into Jujutsu High, and the stakes are as high as they get, with the obligation to carry out missions more often than not putting them into life-and-death situations. And Geto and Gojo being considered the strongest sorcerers of their generation is still no proper excuse for delegating responsibility for the thing that their whole society relies upon to them. They were still literal teenagers who had not even finished their education as sorcerers at that point. They were sixteen and held responsible for somebody's life and well-being, with it constantly being threatened by members of two exceptionally dangerous organisations -- not to mention the whole price-on-Amanai's-head business. And all the while we get no notion of any teacher, any adult in charge and authority over them, bothering to check in on their progress with the mission whatsoever. And what about their emotional state, what about the severely traumatic -- nearly fatal -- experience they both endured? Did anybody make sure they went into, I don't know, therapy, like they should have? Were they provided with at least some extra emotional support from their mentors? I would gamble the chances of this actually happening are little to none. Almost like the system adopts this 'don't care' attitude merely because there is no point in tending to emotional well-being of somebody who they already view as disposable.

That being the case, it comes as no surprise that Geto did not know how to give voice to everything that was troubling him, did not know how to reach out for help when he found himself drowning in doubts. The system does not give the youth any room to develop healthy coping mechanisms, does not provide its sorcerers with any support in case they find themselves struggling mentally. No one is ever there to give Geto and Gojo or Nanami or even Shoko comfort, advice and guidance they all needed. Thus they just don't know how to apply for help -- because they are simply not used to, not taught how to. To circle back to my previous thoughts, the system does not prepare young sorcerers to be saved. The end result is inevitably trying to reach out to somebody struggling without that person ever reaching back or even recognising there is a need for them to do so in order to get help.

Gojo starts to break this pattern by taking in a child with no support system. And while no, I'm not saying Gojo was anywhere near equipped to play the role of that system to Megumi at that time, this decision on his part still counts as a step forward, even if a baby one (no pun intended).

4. Educating the youth

So, after taking it upon himself to help take care of two children, Gojo eventually drives to the conclusion that making sure that the younger generation in jujutsu society gets necessary support is indeed in order.

And I think there's somewhat a relation to be found between the role Gojo plays in Megumi's life and the way he delivers on his responsibilities as a teacher. Although Gojo oversees Megumi and Tsumiki's upbringing, he does so not as a parental figure, but rather as a mentor and a benefactor who ensures their well-being. The same may be applied to how he treats his students. He does not offer them emotional support himself, he isn't even by any measure the one who ties them together as a group, but he does in fact bring them together and does actively try to create the environment where they can bond and become each other's support system. Gojo's flawed personality is something even he himself admits to have, so he isn't necessarily the best man for the job when it comes to handling children's emotions. But he still, for instance, recognises that Yuuji has high emotional needs, so he brings him to Nanami -- an adult who is actually equipped to take care of his mental health. One other example of this is how, when the Goodwill Event fails in its purpose as an 'opportunity for the students to get to know each other in the spirit of competition', Gojo goes out of his way to instead organise a simple baseball game for them to play -- a team sport and an actual, normal as in 'non-lethal' bonding activity for teenagers.

There's an argument that Gojo too, in actuality, is not exactly always there for his students, but it's rather due to Gojo's high demand as a sorcerer than negligence or indifference on his part. In the end, Megumi does make a habit of calling Gojo when something goes downhill on a mission. And I would say it's a significant improvement in comparison with how things were back in Gojo's (and Geto's) day.

Also, that 'being a jujutsu sorcerer is an individual sport' reasoning on Gojo's part during his conversation with Megumi straight after the baseball game kind of speaks against everything I have been talking about for the last couple of paragraphs. Except that, as I personally take it, it's more indicative of the fact that Gojo, due to his inability to go beyond the bounds of power-oriented thinking, still puts too much weight on being strong as a sorcerer. Therefore here the more pressing issue for him was Megumi trudging behind and struggling to catch up with his own potential. That one thing which Geto didn't manage to do: keep up with the strongest. And Gojo does not want another Geto case.

After all, even Geto himself, the one who arguably suffered the most from the lack of concern towards young sorcerers' mental state and their detachment from literally everybody who could and probably should provide emotional support for them, somewhat gives credit to the improvements made since Satoru became a teacher.

(Whether Gojo's secret intention to push Yuuta to unlock his true potential by sending two children into the fight they couldn't win does or does not cross out the fact that he's forcing his students to stand up for each other. *coughs nervously*)

5. Conclusion

Perhaps it's somewhat inappropriate for me to go throwing around assumptions in a concluding part of this post, but I have very little experience with writing analysis and making concrete conclusions, so please bear with me for just a bit longer.

What really succeeded in striking me as odd when going through the story for the first time, is the interpretation which states that what Gojo really seeks to achieve by becoming a teacher is influencing his students and cultivating a particular mindset in them -- the one that would allow him to use them as valuable assets when it comes to overthrowing the current system. But how could that possibly be true if he doesn't even try to discuss politics with any of them, let alone force his own ideals and goals upon them? The only thing which he keeps insisting on in his students' regard and which is linked to his views is that they should be allowed to be kids, to have their youth inviolate.

While there's no doubt that Gojo wants the system to change, my guess is that he also wants to bring about this change through his students, with them truly living out his ideal, not simply parroting it at his prompting. And Gojo actually does want to raise strong and reliable comrades who can think for themselves and recognise the need for the system to change, making them into trustworthy allies -- not only to himself, but to each other, too.

His students really are all his hopes and dreams, huh?

In case everything written above seems to lack logical connections, here's the train of thought which led me through this rambling:

losing moral guidance and falling into power-oriented thinking → recognising that strength is indeed needed, but being strong alone is not enough → coming to take care of two children → decision to become a teacher → fostering the younger generation into strong allies capable of providing help for each other when needed and being each other's support system → how to do that? let kids be kids and forge strong relationships which they can rely upon

Thank you for reading through this mess of my making!! 🧡

[oobi-oobi-rambles]

Sigma: Would you still love me if I was a frat bro?

Diana: Is this some sort of hypothetical?

Sigma: No, I will be turning into a frat bro in the near future whether we pursue a relationship or not... because of the curse. I just thought I should warn you.

[soup-sponge]

i love seeing all the extra flair lockwood throws into everything he does, and i love that it's so much more noticeable when he's in mortal danger. throwing flares, fighting ghosts, fighting people etc.

but i also love that you can still see that part of him when he's at home and safe, with just lucy and george (like him tossing the bottle opener onto the fridge).

i've seen a lot of people talk about how lockwood puts on a "mask" when he's out on jobs/with people he isn't close to, but i feel like its not a mask entirely. it's more like adjusting his settings. he's still being himself, it's just tuning up certain aspects of himself, if that makes sense.

we know about his penchant for accents and disguises, we know that he does those purely for the fun of it, and to me that means that he just. enjoys being a flashy, fancy little guy whenever he gets the chance.

not to get all. philosophical. but a lot of the time people think that difference/change = dishonesty, which is just. not true. people are multifaceted!! people are complex!! maybe he isn't trying to hide his true self, maybe his true self just includes more aspects than it seems !!

obviously this doesn't mean that he's not dialling down certain parts of him when he's out fighting, just means that each version of him is just as authentic as the others, even if they're only highlighted in certain situations.

[presidentbungus]

in a similar vein to my one post it seems generally agreed that the mercs all have individual rooms on any given base--again, for convenience, but I really think if Mann Co was any little bit the cost-cutting quality-of-life-defying motherfuckers they claim they are they'd just install a big barracks in the middle of the base with 5 bunk-beds. sometimes the mercs'll go to some stripped historic factory or whatever with a bunch of rooms and amenities and like, yeah, sure (but you'd better believe it's coming unfurnished besides some bedframes and tables because "we gave you that extra floor space for only a 55% pay cut you figure out what to do with it) but more often than not they're shipped off to dinky, actively decaying little portables constructed by mann co--and mann co frankly doesn't care about any of this 'living conditions' bullshit. everybody’s in the barracks, and everybody gets to fall asleep in the general vicinity of 8 other men who also snore like fucking lawnmowers (seriously, standinf outside’s like listening to an extremely localized earthquake), and soldier gets to narrowly avoid death every single morning as he warms up his body and voice by banging pots and pans together and singing America The Beautiful at the top of his lungs.

obviously this solution doesn’t last for long—frankly, everybody’s going even more fucking insane than they were already going, and when you’re already at a breaking point that’s obviously pretty bad. so mercs test the waters, start moving out; the two couches in the rec room are heavily contested pieces of territory, since they’re sort of like beds and more importantly are not surrounded by other beds, and are the cause of many battles and compromises; Scout figures out the bean-bag he uses to read comics is both portable and comfortable, so he sleeps on that even though every morning he wakes up and his spine feels like it’s twisted into a ball the size of a fist; Sniper has his van, and Engie has his workshop, and Medic has the lab (and also Engie’s workshop but shhh), obviously; and every base without fail gets a secret door installed somewhere overnight by private, extremely expensive contractors, and to be frank all the moving’s kind of wearing a huge hole in Spy’s pockets, though he’d rather go bankrupt than sleep around other men. they figure out their own solutions. by the end all that’s left in the barracks is Demo and Soldier (since Demo crashes hard enough to sleep through a nuke and Soldier’d probably sleep in a hole in the ground if someone pointed to it and said this is military housing)—and Heavy, too, and seven of his guns, because the empty, decomposing bunk beds are at least a little better than the gory condition of the armory. literally everyone’s backs are suffering, but they make it work. more or less. sometimes you walk into the kitchen and turn on the light and hear a crash through the doorway and turn around and sniper’s sitting there in the dark of the hallway, laying on a sleeping bag in a clump of tangled limbs, only visible by his shades faintly gleaming brown-orange in the fluorescents streaming through the doorway, like cat’s eyes. did he sleep with his sunglasses on? he’s staring at you and he almost looks offended. scout’s in the hallway somewhere and he’s talking in his sleep loud enough you can hear it through the wall. you should probably really get back to bed. this should not feel like a horror game

[melit0n]

What does Sleep, as in the deity, look like to you guys? Because as someone who's been around in the Sleep Token fandom for a while, I've seen a lot of different interpretations.

To me, Sleep doesn't really have a set, physical body outside of a person's (perhaps Vessel's) dreamscape. Afterall, why should something that dictates all the odd, horrifying, joyful and (sometimes) meaningful things that happen in your dreams be one thing? Sleep could be the shadow in the corner of your dark room you swear is moving, the tapping of rain as you're about to fall asleep, the creaking of the pipes inside your house/apartment as you slowly dose off at your desk, etc. Outside of a dreamscape; Sleep is only what you need it to be. Hence Its need for Vessel as Its mouthpiece.

However, in the dreamscape, I can see Sleep as a fish. Not a particularly alive looking one, per say, but the scattered remains of one. All bones, empty eye sockets (but are they truly empty?), rotting flesh and scales peeling off bit by bit etc. Specifically, a kind of deep-sea fish; like an angler fish, a sixgill shark or a Greenland shark. But! Along with its bones, Sleep has bioluminescent innards. Viceral that ebbs and flows in multi-colour fashion with each flick of Its tail.

The deep sea fish imagery mainly comes from the fact that the deep sea is almost completely unknown; many of the creatures down there are completely alien to us, like Sleep has supposedly become over the hundreds of thousands of years that It's existed. The deep sea, for the most part, is completely silent. Calm; the perfect place for a nap (if you can breath underwater of course).

It's the perfect habitat for the Unknown, odd and horrifying.

[quatregats]

Desperate need to make Mariette Breton versus knowledge of French revolution's general stance towards minoritized languages* FIGHT

* - this is probably an insufficient term for the language dynamics of the period but I digress

[darklight-owl]

Owl Reviews Stuff She Just Finished: Professor Layton vs. Phoenix Wright

So yk I didn't know what to expect going into this game, I'd seen really funny dialogue of it and mostly got it because I was extremely hyperfixated on Layton. But I did NOT expect such an emotional rollercoaster of a game with themes that tie into both Professor Layton and Ace Attorney and utilizes the strengths of each series so efficiently. I did not expect this game to make me cry. I did not expect this game to become one of my favorite Professor Layton AND Ace Attorney titles. But it did so I have to talk about it.

With two successful IPs on the cover this game could have easily been halfassed but every corner of it is full of passion for both titles. I mentioned before how they build off and complement each other and I think that's a result of the people working on this game having an in-depth knowledge of what makes PL and AA work and what their shortcomings are.

For example (I mentioned this in the liveblogs but may as well repeat myself here) Ace Attorney games are often limited to just the courtroom and investigation, not to mention you're not going to see 90% of the characters ever again after the case is done. This is serviceable for the kind of game AA is but it makes the world itself feel a bit uninteresting. However Professor Layton games have you confined to one town and make you explore it in depth, with recurring background characters who all have different (yet basic) personalities. Because of this, the Layton segments where you walk around town become crucial parts of the game where you can interact with future or past witnesses as they go about their lives, making these witch trials feel like they're taking part within an actual community, which make the emotional beats in the trials hit REALLY hard.

In turn, AA strengthens PL by adding variety. Layton games can be a bit monotonous if you're not engaged since the gameplay mostly consists of talking to people and solving an occassional puzzle, and there's a lack of interesting smaller mysteries to keep the audience engaged while they work on solving the bigger ones. But Ace Attorney games thrive on side stories, they're what make the trials so interesting! So by adding the smaller mysteries in the form of witch trials and mixing in clues about what the Hell is going on in Laberynthia you make a much more dynamic story that never feels like you're getting nowhere.

Enough about story structure and nerd stuff like that though, let's talk characters!

I love the main four and have always loved the main four so I'm not gonna talk abt them. The original characters for this game were freaking amazing. I see a lot of people really dislike Espella (which is understandable since she's probably the weakest of the cast) but she's pretty alright imo. She's going through a lot of things with the entire town despising her and [SPOILERS] so it makes sense why she would act the way she does, even then I feel like most heartfelt moments with her were a bit forced, which kind of lessens the impact of the last scene. I LOVE the relationship between her and [ANOTHER SPOILER] as well as the dynamic she has with Maya though.

I LOVE BARNHAM. He's one of my favorite prosecutors, he may not have any deep angst or trauma like so many of my favs do, but he's just a well meaning dude who thinks he's doing what he needs to to protect his town, even if it means casting wiitches into the flames. He also goes through a little character arc of his own where he also starts to bend the rules, the only laberynthian to do so. It's fun. Barnham is my best friend.

Unfortunately I can't talk about Darklaw or The Storyteller without getting into spoilers but basically: I love Darklaw and think she deserves the world, I'm on the fence about The Storyteller and feel like parts of his character were extremely rushed.

The secondary characters are also great, you have your classic goofy witnesses but also some really heartfelt characters and relationships in the trials, this is nothing new for Ace Attorney but when you include the conscious knowledge that these characters are going to be cast into the fire then these mini stories are enough to move me to tears (Looking at you, Golden Court).

Anyway, overall a fantastic experience that caught me completely off guard. No notes. I give it 10 burning witches out of 10.

Oh. And also: