Ace Attorney game parallels (no, not that one, or that one, or that one ...)

One of the interesting things about the Great Ace Attorney in the evolution of Shu Takumi's Ace Attorney games is the maturation of "Weird Girl Assistant".

Our original trilogy Weird Girl Assistant is Maya Fey (obviously a perfect being beloved by everyone with taste why can't I preorder that Nendroid yet motherfuckers?), who is all heart and ... not so much knowledge, but a conduit to Mia’s knowledge. She doesn’t personally possess any legal knowledge, but she’s integral for Phoenix in accessing knowledge that would otherwise be denied to him due to Mia’s untimely death. She’s fully Weird in her Assisting.

Apollo Justice has Trucy Wright (obviously a perfect being beloved by everyone with taste), who is a lot of heart but not all heart. She has personal knowledge to impart to Apollo, regarding the perceive ability and his bracelet. It’s integral assisting to how the trials in that game will reach pivotal points, which makes it genuine Assisting, even if outside of that Trucy is plenty Weird. I would argue this is distinctive from the Phoneix-Magatama matter in the original trilogy (it’s easy to forget that Nick doesn’t even have the magatama in the first game) because Trucy is, essentially, teaching Apollo to do something he technically can already do, whereas the magatama is something Phoenix is given by an outside source still connected to the mentor (Pearl). Narratively and thematically they’re different, even if mechanically they function similarly.

Years later, the Great Ace Attorney gave us Susato Mikotoba (obviously a perfect being beloved by everyone with taste). Susato is an /actual trained legal assistant/ to the point she can masquerade as a lawyer in the second game's tutorial. She could BE the lawyer as easily at Ryunosuke, save for her sex in the historical setting of the game. She Assists like no one’s business and her Weird is no weirder than Ryunosuke himself, two young people who grew up in a country with recently opened borders, in a foreign country for the first time. 

A reflection of a maturation in Takumi's depiction of female characters, a general wider consciousness of feminism in popular culture in Japan (something I am in no way qualified to discuss), a third possibility? I don’t think it’s fair or accurate to say that the evolution of the Weird Girl Assistant into an actual competent assistant is a sign of the games ‘maturing’. For all their goofiness there has always been a serious, darker tone in the games compared to the adventure game standbys of North America. It’s built into the series from the choice to have Phoenix’ second case involve the solving of his boss and mentor’s murder.

There may also be something in the connection between the tutorial mentor and the Weird Girl Assistant, holding the balance of knowledge between them like the centre of a seesaw.

The connection with Mia and Maya is obvious: they’re sisters and perfectly mirror each other in their relation to what they bring to Phoenix. Mia on a pedestal of legal knowledge, forever older and wiser than Nick, as her death fixes her on that pedestal. Mia and Nick never get to be colleagues, equals. On the other end, enthusiastic but underage Maya, someone Nick will always be older than and always be wiser than in the legal sense. We don’t know how an older Maya might have fit with the disbarred Phoenix Takumi left the series with; maybe it didn’t matter and outside the confines of the Lawyer Protagonist and Weird Girl Assistant, Maya could stop being a mirror for her sister.

Similarly, Kazuma and Susato are sibling-like. Kazuma, like Mia, is the tutorial mentor, but he’s only a mentor to Ryunosuke because he’s a law student and Ryunosuke isn’t. He doesn’t have that much more knowledge than Ryunosuke and I think it correlates that he doesn’t have that much more knowledge than Susato, the girl who expected to be his legal assistant. There is something like equality here between the Mentor and the Weird Girl Assistant when neither precisely fits their role mold. Kazuma is, I think, as weird as Susato is knowledgeable.

BUT WHAT ABOUT --

Bitch, you know I've always got Apollo Justice opinions to drop.

In Apollo Justice, Kristoph is a fully knowledgeable mentor to Apollo. He is an actual lawyer, he is Apollo’s senior, and he is Apollo’s employer. In these ways, he is on all fours with Mia.

Aside from being the murderer.

There is, frankly, an entire other thing to get into with the tutorial mentors and how their stories intersect with death and a turning point in their respective protagonist’s life and career but this is about Weird Girl Assistants.

So.

What is Kristoph Gavin’s Weird Girl Assistant connection?

THE INCIDENT.

Seven years earlier, in Zak Gramarye’s trial, Trucy is used by Kristoph to deliver fake evidence to Phoenix, leading to Nick’s disbarment.

In Apollo’s tutorial trial, for the murderer of Shadi Smith/Zak Gramarye, Trucy is used by Phoenix to deliver fake evidence to Apollo, leading to Kristoph's arrest (and possibly his disbarment but who knows in the world of Ace Attorney and Japanifornia).

I have nothing but love for Trucy, but she's the shifty, deceitful Weird Girl Assistant to follow a shifty, deceitful Tutorial Mentor in a game about disillusionment and broken trust, following a trilogy about believing in yourself, your instincts, and redemption, and preceding two games riding a balance between hope and despair, with part of that balance being a more equal partnership between the Attorney and his Weird Girl Assistant.

Things I've seen tumblr memeing about James Somerton doing à la "How did no one see how bigoted he was!" as if those things haven't been a significant part of tumblr culture for over a decade :

Presenting untrue and bordering on conspiratorial versions of (queer or otherwise marginalised) history without any sources

Completely disregarding and disrespecting any expertise on socio-cultural topics/humanities and distrusting academics and historians (incl. acting as if no academics or historians could be queer or marginalised)

Downplaying the role misogyny played in the historical oppression of queer women and concluding that queer men must have been more oppressed than queer women

Bi women are, at best, not as queer as "real" queer ppl, and at worst, simply equivalent to straight women

Despite nominal trans inclusivity, transmasculine ppl are functionally women when convenient (combined with the above, bi transmascs are functionally straight women)

Despite nominal trans inclusivity (bis), shamelessly attacking, threatening and actively endangering any trans woman who questions them or smth they find important (often by unfairly presenting her as violent or as a threat)

Having absolutely fucking wild and reductive takes about ace ppl, the oppression they face and their place in the queer community

Stating that marriage equality is an assimilationist fight while completely ignoring its direct roots in the horrifying consequences of the AIDS crisis for partners of ppl who died of AIDS

Praising western media creators from the past for queer coding even under censure and in the same breath condemning current non western media creators for being homophobic bc their representation isn't explicit enough

Blaming China for all existing homophobic censoring in western media

Assuming all queer media would be better told by western creators and by western standards

Only out queer ppl get to tell queer stories

Heavily criticising almost all queer media created by women or ppl they see as such (see above points about trans ppl) or involving/starring a significant amount of women for any perceived or real amount of "problematicness", but fawning over and praising and negating criticism of queer media created by and starring mostly or even functionally exclusively men (even when it could be argued that, you know, not involving/seriously sidelining women is a pretty clear example of misogyny which should probably be considered "problematic")

And I'm probably forgetting stuff or there's stuff I have internalised myself and don't recognise as an issue

Like idk but I feel like the takeaway from Hbomberguy and Toddintheshadow's videos should maybe be "be aware of such patterns in your communities bc they definitely exist" and not "this guy is uniquely awful" and I feel like a lot of the discussion I've seen surrounding this has been severely failing at that. Most ppl who've spent any significant amount of time on tumblr prob either have internalised at least one of those thought patterns, have had to de-internalise them, or have had to be extremely vigilant to not internalise them (which is done by, you know, seeking out other sources, which also seemed like an important takeaway from the videos)

Some Atla fans are deeply unwilling to engage with the fact that their beloved series may bear the marks of being written by two white men in the early 2000s. They can’t conceive that the show might’ve been anything less than perfect and that there are certain problematic elements within it that are consistently overlooked by the fandom at large.

Rather than catastrophizing instances when Dazai isn't mentioned by name or physical presence in references to the Agency, consider:

that he fluidly moves between, shares unique and independent connections with, and influences each of the three pillars of the tripartite framework;

that when he isn't physically there, the others still feel his presence and are guided by his influence on them, strategies that he's relayed to them, and their trust in him; and

that the Agency as it is when they've reunited in Poe's book or in Fukuzawa's memory are together because of Dazai, as in he literally, in-text coordinates with Ango and Ranpo in regards to the former and he also recruited multiple members of the Agency, having brought in Atsushi and coached Kyouka through her entrance exam, in regards to the latter. I didn't even notice he wasn't there at first because I saw his shape in the shadows of the silhouettes of those who were.

That Dazai is there even when he isn't is an ongoing motif: Mori maintains Dazai's seat among the five executives; Chuuya enters Corruption despite Dazai's apparent death in Dead Apple; Chuuya, in part, resists Verlaine's nihilism because it reminded Chuuya of Dazai's, and even though Dazai was late in finding him, Chuuya wasn't in any danger of being lost with Dazai already so palpably there; Akutagawa understanda Kyouka has found her reason for living because it echoes what Dazai gave him through the Port Mafia, with Dazai appearing only as an impression and in implication; Ango explicitly defies Taneda's orders and his hierarchal obligations to the Special Division because he trusts Dazai enough to follow Dazai's heart on the matter (literally and figuratively); Atsushi visualizes Dazai when he's alone and paralyzed by internal conflict and when he does, the others appear around him too; while imprisoned, Kyouka was so alone there wasn't even anyone captaining the drone she was in until Dazai's voice cut through her isolation to relate to her and coach her through her entrance exam; etc., etc.

It's why Fyodor can't outmaneuver Dazai. Dazai tells Fyodor that Fyodor failed because Dazai had allies and Fyodor didn't. The guards physically present in Meursault with them were under Fyodor's control, while Dazai had no one in the prison with him except for a fellow inmate he could not access or speak to directly. Everyone Dazai relied on, he relied on without being able to see or hear or touch them, while physically surrounded by the presence of Fyodor's vampires.

But it didn't matter because Dazai's bonds aren't so weak that he needs to see them to know they're there, nor are they limited by organizational affiliation. The truth of the matter was that Fyodor had no one, and Dazai was surrounded by his people in substance if not in form— meaning only Fyodor tried to play chess in a game of Go.

Dazai does not have to be physically there to be present, anymore than the others have to be with him in Meursault for him to see them and rely on them and know they are supporting him as much as he's supporting them. Dazai's home and place of belonging also isn't limited to the Agency; he's theirs, but they share him with the Port Mafia and the Special Division.

He's like Natsume in that way, and like Natsume, he's uniquely capable of weaving between the tripartite framework's three pillars to remind them of and coordinate their efforts towards their shared goal of protecting Yokohama.

Thus, if you want to know where he is in a scene, sometimes you have to look for him in the connective tissue rather than the organ. Or, in more literary terms, what is essential is invisible to the eye.

Another year, another outfit to die in! Happy birthday again Izuna!!!!!!

Like last year, I played with someone else's lines for these charming patterns, thank you so much Lena @elhnrt ! I had a ton of fun :D

Check the readmore for pattern references and explanations, there are some easter eggs in there :)

(x,x,x,x)

My goal for this piece, in addition to playing with patterns and textures and adding some Naruto references, was to add as many death flags as possible.

The idea of having Izuna in a fireman's coat is obviously not from me. I've always like the idea of Uchihas in fire resistant clothes, and the opportunity for a thick texture alongside a reversible double pattern is very appealing. I used the image of the second reference as a base, with skulls on one side and stylized lightning patterns on the other (visible inside the sleeves and collar). Both were common immagery of firemen coats.

The actual skull pattern is taken from the third reference. I'd seen this one before and before even learning anything abt it it was too beautiful to pass up. Those white and navy gradients are absolutely delightful and I enjoyed using my gel pens for them very much.... This particular type of imagery with skulls and bones in a field is called Nozarashi, inspired by Buddhist representation of death and transience.

The lightning pattern itself is a reference to water and lightning dragons :) Like Tobirama's iconic jutsu, it's one of the hints of what's abt to happen to our little guy. The scabbard is also decorated with dragon motifs for the same reason.

The background pattern is taken from the first reference, another fireman's coat with an illustration of Raijin, the thunder god. He is often representated with drums decorated with tomoes. It works nicely as a standard looking sharingan illustration, with a reference to Tobirama's hiraishingiris with the thunder imagery, like the thunder patterns inside the coat.

If you're interested in this I recommend the book linked in the second reference! It is entirely about skeleton motifs in japanese clothing of the early 20th century.

Is it too soon to talk about the Tommy and Taylor Kelly parallel(s) we got in this episode??

Because @b-dwolf and I were just talking about the fact that the Buck Tommy kiss is literally paralleling the Buck taylor bathroom hook up in season 2 - down to the song choice and the way Madney are sitting - just without the bathroom! we even got a secondary parallel with Taylor dumping Buck to go to work with Tommy dropping out of the party to go to work.

Yeah im late to the bandwagon but i've been itching to redraw them for some days now,, theyre so small

i hope in about a year-ish, we are ready to talk about how bl**dw**v* is literally the any two white guys trope

hmmm something about dominik haunting the narrative in king of scars. everything nikolai does is at least a little bit for him. he learns about the life of average ravkan people by meeting dominik's family. he starts gaining influence in politics just so he can improve dominik's life. and then he promises dominik that he won't let ravka break him.

that promise fucking haunts him. it follows him wherever he goes. it's the driving force behind everything he does, every step he takes to heal the centuries-old wounds in ravka. it's what drives him to do better, be better.

dominik is always there, in the back of his mind: this country gets you in the end. always pushing him to do more, because he couldn't save dominik and so he has to save ravka (for dominik) (because he promised) (because he loved him)

Well. hrm. the way they all connect to each other. like it’s all starting to look like a circle of some sort. jess as rory’s mirror/reflection/narrative foil but also jess as he pertains to luke and jess as he pertains to lorelai. luke breaking the church bells luke who says he was troubled but they gave him a chance and just bc a kid has issues doesnt mean they don’t deserve that. luke who is a figure placed against the rest of the town, just in the sense that he is not like them, he does not hold their values, he doesn’t even sound like them. which is of course a result of scott patterson’s new york accent, but adds to this theme anyway. and they use jess to build this picture, because they walk the same and talk the same and they’re stubborn—independent to a near self-endangering degree—and emotionally repressed in the same way and luke himself admits that he spent more time working at his dad’s shop than he did at school, which jess also does. but jess and luke are also. very very different when you get past these similar values that are maybe ingrained into them through different circumstances and same genetic makeup. and in their differences you get a lot of jess and lorelai’s similarities. when it comes to their family dynamics and how it’s affected them in particular. it’s made them independent yes, but it’s also made them hypervigilant, almost paranoid in the way they are allergic to accepting help and especially accepting help from the people who hurt them. jess only goes to his mother’s wedding because luke asks him to, lorelai only asks her parents for money because rory needs it for school. and they, and this is where they differ from luke, don’t know how to trust people and so they don’t know how to talk to people. where luke’s particular brand of emotional constipation comes from a general cluelessness as to how to do it—which is why the tapes helped him so much—lorelai and jess’ come from emotional responses to the situations they grew up in. while it was different—lorelai growing up rich, jess growing up poor—the effect it had on them still resulted in something similar. lorelai with her overbearing manipulative mother and (emotionally) absent father, and jess with his neglecting manipulative mother and (in all senses of the word) absent father. the ways that, despite their effort to distance themselves, they still end up with similar mannerisms to the parent they have the most conflict with (lorelai and her controlling nature + that scene where they have the same nighttime routine, jess and his love for books + tendency to run away). and of course, their romanticism. their big confessions and period drama-esque speeches and, yeah, i do think in a way jess was asking rory to marry him in 4x21. come with me. let’s get married. luke and rory both being the most important people in their lives. literati+javajunkie where they are all melding into each other, and luke is rory and lorelai is jess but on the surface level dynamic luke is jess and lorelai is rory and they are all each other. on accident. by sheer nature of making jess as a character for the sole purpose of interfering with luke and lorelai’s relationship (which means he is important narratively to them both) and by making him rory’s love interest/foil (because ASP casted him before she even had the idea for the character) you have now made an accidental blending of them all together. he is like a skeleton key of a character. Okay. okay.

Wild Horses

https://x.com/captainh4ndsome/status/1774282734288138451?s=46

I saw this series of quotes and why do you think that hat has three stabs from buggy? Is it truly connected to shuggy? Could shuggy really be that important???

so, here are the tweets in question. (one of which is from @goingbuggy! hi there! this is, what, the third time someone’s asked me to talk about your tweets? i guess at least one of my anons is a fan.)

i have wondered a time or two whether in oda’s early planning it might have been buggy who gave shanks that three-slash scar. (i’ve heard that oda originally had a five year plan for one piece, though i’ll admit i’ve never sought out a direct source for that.) in that case, the slashes through the hat might have been intended as foreshadowing.

but since buggy wasn’t the one to make that scar, instead it leads us to draw comparisons between these characters who both have wielded three blades on one hand. and maybe it’s just because they were both written as foils to luffy, but i find comparing buggy and blackbeard very interesting!

similarities:

former warlord of the sea/current emperor of the sea

devil fruit user

served on a big name’s crew back in the day

intentionally went under the radar/overlooked for years

doesn’t really buy into concepts like “loyalty” or “honor,” happy to turn on a crew mate or backstab an ally if it’s to his advantage

used to wield three blades but these days prefers explosive-adjacent weapons

not happy to see red-haired shanks at marineford

differences:

fell into those positions by chance/years of plotting to get into those positions

a devil fruit with zero combat utility (besides avoiding damage)/possibly the devil fruit with the most combat utility? (though, unusually, he can take damage while wielding it)

their reasons for going under the radar (fear of being hunted down/working towards a secret goal)

the consequences for overlooking them (for shanks: losing buggy/losing to bb, or at least taking a very bad wound from him; for others: misinformation on a global scale/the literal paramount war)

buggy is a strong believer in the captain-crew bond, which bb absolutely does not buy into

type of three-bladed weapon (three throwing daggers, suggests flexibility, hidden motives, a preference for distance fighting; claw weapon, suggests light-footedness, straightforwardness—you know when a claw wielder is about to start fighting, he’s gone and put the claws on)

type of explosive weapon (bombs, suggests pre-planning, a preference for distance fighting, maximum damage for minimum effort; guns, suggests a flexibility on distance vs melee range, a willingness to threaten rather than kill outright)

why they didn’t want to see shanks (ugh, that guy pisses me off/i think that guy might literally kill me lmao)

YOU — “No. There is still a chance.”

DOLORES DEI — “You think so?” Her voice is weary.

EMPATHY — Everything about her is weary. She is the Innocence of weariness, of heroically borne suffering.

CONCEPTUALIZATION — That is the picture you have painted for yourself, at any rate.

YOU — “You looked back. That’s the memory, the moment, that I can’t stop returning to. You looked back. I had a chance, for just that moment…”

DOLORES DEI — She meets your eye, gaze still forever cast back over her shoulder. Time stops. The stars are stilled, the ocean silent. There is *nothing* beyond this memory. Nothing at all. All of infinity is contained in this single moment when anything and everything was possible.

“Oh, Harry…” She sighs, soft as eiderdown. “We never had any chance.”

And just like that, the wave of time collapses under its own weight, obliterating everything. This moment was six years ago. She is gone from here. Gone, gone…

PAIN THRESHOLD — You cannot leave. There was nothing outside of this moment, and now there is nothing at all. It’s all gone. There is no point. I’m sorry. I can’t do this any longer.

VOLITION — Please, don’t say that…

“Okay. Well, fuck me, then.”

“How would *you* know?! You gave up! You didn’t even try!”

“We *must* have had a chance, at some point… Doesn’t everyone get a chance, if nothing more?”

“How could you say that…?”

DOLORES DEI — “Because it’s true,” she says, matter-of-fact. “There is no moment in time that you can turn back to, no branching paths, no infinity. There is only what happened. I looked back… and then away.” She closes her eyes, turning her back to you.

“The moment ended. *We* ended. That is all.”

SHIVERS — A wave crashes against an unseen shore, ocean spray tickling the back of your neck. You shiver, but no one shivers with you. You are alone in this intersection. Why are you here?

“Why can’t *I* end?! Why can’t this all just stop? Please, make it stop…”

“Ended? I’ve barely even started! I got a chance to start completely over as somebody new! I don’t need you anymore! You’re just dead weight to me now.”

“No. That wasn’t the real ending. We’re a part of something so much bigger than this intersection, telling a story that encapsulates all of history! There’s *more* to this, it *means* something.”

“Then… What am I supposed to do now…?”

DOLORES DEI — “No, Harry.” She turns back to you again now, and she looks… sad.

“We were not metaphors. We were people. Our narrative was not intelligently designed. It simply followed the patterns of history, because those are the only patterns we *know.* We tried to create something new, but we failed. There is no narrative reward for our failure, no satisfactory ending. There is only the immutable past and the unknowable future.”

RHETORIC — There is no assurance of what is good or deserved or what may bring relief. There is no assurance of punishment, either. There is no assurance of anything. Not even of a future. I don’t know what to say to make this bearable.

VOLITION — Even so… As long as you live, *something* is promised. Can you live with that?

I can’t, I just can’t do this anymore…

I can. It’s enough.

I don’t know. I just don’t know.

I can at least try for a little longer…

VOLITION — That’s all I ask. That’s enough.

"Taylor swift porn deepfakes dropped and leftists are arguing it’s ok because she’s white and rich !! It doesn’t matter if she’s white and rich, because misogyny affects all of us uwu"

and yet, when brown Muslim Palestinian women struggling in their war torn country got displaced in camps and resorted to cut their tent because they didn't have menstrual products were PLEADING for help/attention, you remained quiet

...but yes, the discourse calling out the selective mobilization of western feminists who constantly cape for rich/White/Western celebrities while not displaying an ounce of this energy to speak up for women struggling & dying en masse in the biggest conflict in the world right now is just silly "leftism"

shut up. like, forever.

X curse this, Y curse that, we all know that the only curse in the death game is the Narrative

2023 reads / storygraph

Something More

YA contemporary about a Palestinian-Canadian girl starting high school, navigating new crushes and accepting her recent autism diagnosis