#ace lead character

[iwritenarrativesandstuff]

Suddenly remembered something I wanted to say re:Akechi, because I think it's really core to his character (at least the way I interpreted him?) and I feel like it explains a lot of his contradictions. Essentially, he is incapable of seeing himself as just a person - he's either the greatest hero/detective ever, or he's some violent monster, and it's like there's no in-between. It's very in keeping with his obvious superiority-inferiority complex, but it goes deeper than that too; when he's in a role, it seems like his self-perception kind of changes too depending on how he is perceived by others. He really does get a confidence boost from being the Detective Prince. He really does shut down emotionally as the Black Mask.

They're masks that he's made, and it's not that aspects of them aren't based in truth to some extent, but I think it goes to show why he's not actually that fantastic a liar (imo, I found the outright lies pretty obvious), but he is a very good actor. He's either an angel or a demon, and never a person, but there are conditions to that. He is an angel when he is perfect - to society. He is a demon when he is vengeful - again, to society. He is never a person, because he never was seen as one - to society. He was disregarded. To be anything of value or notoriety, whether that's hero or villain, he has to be wildly more or less than who he actually is, and he's been building these masks up for so long that I really think he lost sight of the actual person behind it all. And I don't think he wanted to see that person anyways, because that person "wasn't good enough" and I do think he'd rather be anything other than himself. That trickery, that deflection from the person within, in itself brings him pride and satisfaction. He wants to be loved and needed instead of being cast aside, but I also think that if he can't have that then he'd much rather be hated than never have mattered at all. He weaponizes his own loneliness - if he can't ever be accepted then he'll build his own pedestal apart from everyone else.

It's so fascinating too, because I just wonder how much of this he was consciously aware of pre, during, and post engine room. There's this recurring thing with him where he goes "I can only be myself" etc but I just want to shake him because, well, who is that, Akechi??? Or, who do you think that is? Do you actually have an answer? Is it predicated on your actual feelings or solely on your success at fooling everyone around you? Is there any part of you that you actually like that isn't based on a painstakingly constructed mask? Isn't it all mostly lies to deflect from the truth? Isn't it all founded mostly on truth, nonetheless?

It drives me insane. And I think this is a big reason why he breaks so hard in the engine room, because so much of his mask requires his "audience" to perform in a particular way. And here he is, and the Thieves have beaten him, so there goes the first mask, because he's no longer "perfect". He swings wildly into the ugliest sides of him, but this mask is broken too, amidst him vehemently and desperately denying that he has any other emotions than hatred and rage, or any other needs or desires than vengeance. And after that, it's just him. And they should reject him, right? That's what happens. He's not useful, he's not needed or perfect, his hands are stained with blood. But the Thieves, again, don't play the role he expects them to. They, despite everything, relate to him - because he is in fact very similar in a lot of ways and they acknowledge him as a person - not a hero, or idol, or villain, or tool, or unwanted child - but as a damaged teen like the rest of them. And he does not know what to do with that. His identity is intrinsically dependent on getting the right reactions from other people as a form of ingratiating himself - if he does not get that reciprocal reaction he's looking for, his act falters, and, I really do believe that so does his self-perception. That's why you see different aspects of him seep out when he's spending time with Joker, because Joker does not react the way he expects, and Akechi both does and does not like this, because it leaves him feeling both intrigued and vulnerable.

I do think this particular aspect of his character is something a lot of the Thieves don't fully grasp - certainly, I think Joker "I need the mask" Persona 5 understands to a degree, but the sheer degree of reliance and the level of pride attached to it is something that confuses him a little, I think, especially in Mementos Mission. I think the thief that comes closest is actually Morgana, who has a similar superiority-inferiority complex and a desperate need to be seen as competent and useful lest he be discarded. (This is a big part of why the rather lackluster writing with Morgana's arc frustrates me so much because I really do feel it was meant to be contrasted with Akechi's, but I digress.) Morgana is the one to make that emotional appeal to Akechi, which makes a degree of sense - Morgana struggled all along with finding a place in the world. His form leads others to underestimate him; he visually doesn't fit in. He's acting out the role of a chivalrous and cool phantom thief but is more pragmatic with how he views relationships, at least at first. He wants a place to belong where he is appreciated more than anything but his pride won't let him spit it out. Accepting that he belongs and that he is loved even if he really did have nothing of value to provide is a big part of the resolution of his arc. He tries to offer that learned lesson to Akechi in turn ("Follow your true feelings. Even if you think people hate you, or don't want you around-"), but Akechi just wasn't in the right space to listen. There's also an important distinction between the two - Morgana envies humans and looks up to them. Akechi envies humans and looks down on them. Morgana is perfectly happy once he is assured a place amongst the group, but Akechi see-saws wildly between wanting to belong and wanting to be a step above the rest and separating himself further. So while Morgana actually really did cut to the core of the issue, his appeal would never have worked at this point because a) Akechi's pride is dependent on him maintaining his solo act, and b) he just got outed as not actually hating Joker in front of seven other people including Joker himself lmao.

So, uh, sorry, Morgana. Points for trying.

[darkfire359]

I think that Viktor being asexual should honestly open the doors for way kinkier Jayvik fics. Hear me out now:

- Jayce tells Viktor that he wants to have sex in their relationship. Viktor, believing he understands completely, directs one of his robot minions to fuck Jayce. Now, Jayce has a great time, but he tells Viktor he wanted something *more*. Viktor decides to remedy this by sending *more* of his robots to fuck Jayce at the same time. Jayce says that actually, he wanted *Viktor* there, you know? So Viktor ends up standing there watching next time, putting his hand on Jayce’s chest as he peers over to get a better angle of observation. He leans down close and asks Jayce, who is getting railed within an inch of his life, how he should improve the robots’ programming. Jayce reaches over, holds Viktor’s hand, and says that actually, this is all he wanted.

- Viktor getting in a fight with Jayce, choking him and pinning him down. Initially Viktor has no idea how he’s affecting Jayce—but then he realizes and starts to be *strategic* about it. Now every time they fight, Viktor does things that Jayce finds incredibly hot, knowing that Jayce will get distracted from the fighting… while meanwhile, ace Viktor can stay in perfect control.

- Fic where instead of having sex, Jayce repairs Viktor’s wiring and it ends up being very sexually charged (I’ve read this fic already TBH)

- Fic where Jayce is injured in mid-s2, and Victor of course ends up “healing” him… which gives Viktor the ability to possess Jayce’s body. More intimate than sex IMO.

[jinxedshapeshifter]

Analyzing Klavier's Behavior Because I Am Nothing If Not Predictable*

*But also I made this post at 2am and am determined to see it through

Alright so a few days ago I posted this reblog of a response to a post I made mentioning that Klavier's behavior that is so commonly poked at as "Klavier, there was a murder" could very well be a coping mechanism. As you'll know if you've read the essay I wrote on the parallels between Ryulock and Homumiko, I really like to analyze fictional characters. So I have decided to analyze Klavier Gavin's behavior throughout his appearances because there's implications in there that I think aren't talked about enough.

(Also important to note because I feel like it'll come up; this is all my interpretation of Klavier's behavior based on a combination of personal experience and just how I read his behavior. I am not going to claim my analysis to be objectively correct.)

Part 1: A Brief-ish Summary of Klavier's Canon Appearances

Klavier's only canon appearances are in Apollo Justice: Ace Attorney and Turnabout Academy in Dual Destinies (which is a shame but that's not my point). In the latter, he's not acting as Prosecutor Gavin, he's acting as Rock God Klavier. I still think, for the sake of context, it's important to go over these appearances and how he acts during each one.

Turnabout Corner

Our first introduction to Klavier is in Turnabout Corner, the second episode of Apollo Justice. He's introduced as a cool, suave prosecutor that likes to throw his weight around a little (as indicated by him overriding the police and allowing Trucy and Apollo to investigate People Park), and it's easy to (correctly) assume pretty early on that he doesn't really care about giving information to the defense like every other prosecutor in the series (something that will come up later). In Turnabout Corner, we also learn about Klavier's status as a rockstar, and how he usually acts during court proceedings. Apollo's first impression, which carries over into Turnabout Serenade and is still part of how he sees Klavier into Dual Destinies, is that Klavier tends to not take things very seriously.

Turnabout Serenade

Turnabout Serenade is... interesting. We see a side of Klavier that he seems to want to keep under wraps at first — he's a perfectionist when it comes to his music, and his focus is on Daryan's missed cue, not the fact that a murder happened at his concert; notably, he's focused on Daryan's fuck-up, when he's not the only one who messed up during the concert. He comes off as irritable during investigation segments, seeming to put on a mask of his usual confident and carefree attitude when Apollo and Trucy show up.

This is also the first time Klavier starts to get honestly pretty mean when even the implication that something he didn't want to be true is true is suggested. The second Apollo implies LeTouse was murdered during the second set (which is when he first presents the igniter) Klavier gets mean ("Herr Forehead, don't destroy what little respect I have for you!" which implies he never had much respect for him in the first place, which I'd argue is not the case but I'll get into that later). We get into Daryan's testimony once it's made clear that Daryan's a suspect, and at that point he's less mean to Apollo and tearing into Daryan instead. Turnabout Serenade alone shows that Klavier's views of people can and will change on a dime.

Turnabout Succession (2019 section)

I'm gonna get it out of the way now, Klavier is a brat during the 2019 section of Turnabout Succession. This is relevant; he seems to have grown out of this by Turnabout Corner, but he's still prone to being a dick. Klavier's also much more egotistical during the 2019 section of Turnabout Succession; most notably, he brags about the success of The Gavinners multiple times during the trial (which Phoenix describes as an "utter lack of humility"). As a 24/25-year-old, he's not normally an egocentric asshole; this trait only really shows itself during times where he'd be stressed. Again, we'll get to that.

Turnabout Succession (responses to Kristoph's involvement)

The first reaction to Kristoph's involvement is when Vera mentions the commemorative stamp with Troupe Gramarye on it, and he gets intense about asking Vera about what the first forgery she made was. He actually scares Vera and concerns the judge:

And this is where he first breaks down. Trucy gets concerned, Apollo has to tell him to calm the fuck down because he's badgering the witness (at which point Klavier calls Phoenix Apollo's "soiled, sullied mentor"), and then Vera collapses from atroquinine poisoning and the trial ends. I cannot imagine what the next span of time before the trial continued was like for Klavier.

Once Kristoph actually takes the stand, Klavier's quite quiet for a while, aside from defending Kristoph when you press certain statements (and even then, Kristoph will not hesitate to talk over Klavier). Apollo even mentions that Klavier's acting different, and decides it's because Kristoph's in the courtroom. Klavier gets so upset that he can't even function properly, which Kristoph blames on Apollo ("My, my. You've upset my poor brother to the point of uselessness."). Klavier does eventually snap out of it and accuses Kristoph of bluffing, and the rest of the trial he works with Apollo to convince the jurists that Kristoph is behind Drew and Vera's poisoning, not Vera (although he does tell Apollo he's leaving the case if he can't prove Kristoph is behind forging the evidence in the Zak Gramarye case).

Klavier's behavior in the 2026 sections of Turnabout Succession very much remind me of 17-year-old Klavier, and his breakdown sprite does not help this (which I've also done an analysis on. Parts of that analysis will be relevant later). Again, this will come up later.

Turnabout Academy

I personally think Klavier's behavior in Turnabout Academy is also similar to his behavior when he was 17, although in the complete opposite direction from Turnabout Succession. Looking at Klavier's behavior in Turnabout Succession's 2019 section vs his behavior during Turnabout Academy, I am immediately struck by similarities. Notably, Klavier exhibits some degree of inflated self-confidence (he calls his own voice "godlike" if you present the tape recorder to him, tells Apollo and Athena to find the Gavinners banner, leading Athena to wonder if he just wants his banner back, claims the burnt fragments of the Gavinners banner is a "challenge directed at [Klavier] and Gavinners fans everywhere"), which leads him to put down Apollo specifically (telling Apollo that the role of a fledgling lawyer is one he was "born to play," calling Apollo a wet blanket, "That feigned swagger does not suit you in the least," probably jokingly accusing Apollo of destroying the statues of Klavier and Phoenix).

It's all behavior that feels like it should come from 17-year-old Klavier, not 25-year-old Klavier, at least not under most circumstances.

Part 2: A Slightly More In-Depth Analysis of Klavier's Behavior

Klavier's behavior, notably, changes depending on the circumstances he's in. I think it's important to figure out what the baseline for adult Klavier's behavior is before we go any further however.

I, personally, think the baseline for Klavier's behavior is most clear in Turnabout Corner. He doesn't have any personal involvement in the case beyond Apollo getting Kristoph thrown in prison, and he's pretty chill the entire case. It feels like, at the very least, he's adhering to his rock god persona (and I don't think it's a stretch to assume that's at least partially what he's like when he's not masking anything). Turnabout Corner serving as the baseline for Klavier's behavior also makes sense from a writing standpoint. So, I'm going to use Turnabout Corner as a baseline for Klavier's behavior. Now that we have that out of the way, let's analyze Klavier's behavior.

Part 2.1: Turnabout Serenade

So, first of all, let's look at the transition from Turnabout Corner to Turnabout Serenade. Klavier's having fun, he's at a concert and performing with someone he looks up to and admires. Then, tragedy strikes. A murder happens during the third set. The pianist for the second set is arrested. Daryan missed a cue he shouldn't have missed. This is the first time Klavier is aggressive. It's the first time we see perfectionist Klavier. The second Apollo and Trucy show up, he starts acting like he did during Turnabout Corner. To be completely clear, I do think he was genuinely happy to see them. I don't think his behavioral change when Apollo and Trucy show up is entirely a front. At worst, he's pretending everything's fine by acting like he normally would. Two explanations I can think of for this:

Maybe he just doesn't want Trucy and Apollo to see him like that.

Maybe he doesn't actually care how Trucy and Apollo see him, and he pretends everything's fine by instinct.

Additionally, this is the first time we truly see the extent of how egocentric Klavier can get. He opts to completely ignore the fact that a murder happened at his concert and instead focuses on Daryan's missed cue. That's what we see, at least.

By the end of the case we find out that missed cue was crucial evidence. That missed cue had implications for the entire incident. It's also implied in Turnabout Corner that Klavier is always multiple steps ahead, and in Turnabout Academy he suggests that the missing Gavinners banner is relevant to the case, and it ends up being crucial to the case. Exactly like Daryan's missed cue.

I don't think Klavier was just being an egocentric asshole here. I think he knew that the missed cue was somehow relevant, especially if he noticed Lamiroir and Machi's mistakes during the second set. If he did notice the mistakes Lamiroir and Machi made, then noticed Daryan's missed cue, I don't doubt he'd think they were somehow related. The one thing saving him was that the entire case, both the defense's side and the prosecution's side, hinged on the murder taking place during the third set, so he gets fucking mean when it's implied the murder might've happened during the second set, because there goes any plausible denial. Once Apollo suggests the murder happened during the second set, Daryan's alibi goes out the window, and he becomes their prime suspect. Basically, Klavier's aggression in Turnabout Serenade, and potentially how set on figuring out Daryan's missed cue he was, was very likely him getting defensive.

Part 2.2: Turnabout Succession

Not gonna talk about the 2019 section of Turnabout Succession much here. Klavier's behavior in Turnabout Succession is very much like his behavior in Turnabout Corner. That is, until Kristoph is made a suspect in Drew Misham's murder.

Klavier's pretty much the same as he was in Turnabout Corner for most of the first trial of Turnabout Succession. He's enjoying himself (a fact Apollo and Trucy mention), he's having fun teasing Spark Brushel a bit.

And then Vera brings up the commemorative stamp with Troupe Gramarye on it. As I mentioned above, he gets so intense about finding out what Vera's first forgery was that he scares Vera, concerns the judge, concerns Trucy, and has Apollo telling him to calm the fuck down because he's badgering the witness. Even taking 17-year-old Klavier into account, that's incredibly out of character for him. 17-year-old Klav was a bit mean to witnesses, sure, but he never badgered them. This exact moment is where, upon replaying AJ:AA, I was like "holy shit, you can pinpoint exactly where and when Klavier realizes Kristoph's involved in this."

During the next trial day, he's out of character on the complete opposite end of the spectrum, by which I mean he's too quiet. Klavier's usually talkative and flamboyant. He likes to test Apollo and Apollo's theories. He likes getting under Apollo's skin. But the second Kristoph's on the witness stand we don't get any of that. He's just quiet and he lets Kristoph talk over him. Kristoph's presence is enough to make him uncharacteristically quiet (which makes me wonder what the fuck their history is, especially with Klavier's "Spinning out of whose control? Mine? ...Or yours?" line after Kristoph says he's spinning out of control and the fact that what triggers Kristoph saying that in the first place is Klavier saying "Let's clean out the family closet" and Kristoph claims Klavier's going to say something he'll regret, but that's a different post for a different time). Klavier eventually gets so desperate for proof that Kristoph killed Drew and tried to kill Vera that he literally begs Apollo to prove it. Once Klavier has seen evidence that would indicate that Kristoph is guilty of Drew's murder, he's mostly back to his normal self.

Part 2.3: Turnabout Academy

Turnabout Academy is interesting because Klavier's behavior still feels off but you aren't playing as Apollo; you're playing as Athena, who doesn't know what Klavier is usually like. Klavier's a lot nicer to Athena than he is to Apollo (he is still a bit mean to Athena at points, just to be clear). I personally think it's because Klavier knows Apollo but doesn't know Athena well, but that's just an assumption, I don't think there's really evidence to support it.

Anyway, Klavier's behavior during Turnabout Academy feels pretty similar to when he was 17 in my opinion. He is brutal with Apollo. Klavier:

Tells Apollo that the role of a fledgling defense attorney is one he "was born to play"

Calls Apollo a wet blanket

Calls Apollo a stick in the mud

Accuses Apollo of destroying the statues of Klavier and Phoenix TWICE (probably jokingly but that's still mean, Klavier. This is also, notably, reflective of Klavier accusing Apollo of setting his guitar on fire in Turnabout Serenade)

17-year-old Klavier, while he doesn't target anyone specifically, is a fucking brat. He's irritating and he likes harassing people (like how 17-year-old Klavier was ever allowed in a court of law is beyond me. Granted this is the same court system that let an 18-year-old with a whip prosecute cases but I digress). In some of 17-year-old Klav's dialogue, we also get a taste of just how egocentric he could get at 17. Some of 17-year-old Klavier's lines in the 2019 section of Turnabout Succession that had me like "wow, never has a more irritating 17-year-old existed":

"Herr Detective, this is my stage. Can the antics."

"And I haven't proven anything yet, beyond my good looks, and startling record sales."

"...Would you hold me accountable for a mistake made in my youth?" "That was just this morning!" "...I am still young."

"I would hope the defense refrains from its customarily broad, sweeping accusations."

"...Truly, there's no substitute for experience. Nothing blinds one to the truth so effectively."

I can 100% see some of those lines also coming from Turnabout Academy Klavier. That then begs the question; if Klavier had evolved past acting like this by the age of 24, why is he back to acting like that by the age of 25?

Simple; it's very likely the same reason his behavior was the way it was in Turnabout Serenade. Constance Courte had personal significance to Klavier and quite literally shaped how Klavier prosecutes cases. Klavier says this himself; "She may have taught the judge course, but she had a huge impact on me. She was fond of saying, 'The end is only justified through proper means.' She wouldn't tolerate dishonesty and always revered what was right beyond all else." From the beginning of the case, it's had more personal significance than any of the cases Klavier prosecuted (while other cases did have personal significance to him, it was only ever clear near the end of the trial).

The thing about Turnabout Academy is that, in terms of Klavier's role in the story, it is incredibly similar to Turnabout Serenade. Here's a list of similarities just to show what I mean:

Both cases involve Klavier having Apollo and the individual he's investigating with figure out something that doesn't seem to be significant to the case but is actually crucial evidence (Daryan's missed cue in Turnabout Serenade and the Gavinners banner in Turnabout Academy)

Both have personal significance to Klavier in some way (Daryan was the culprit of Turnabout Serenade and his mentor is the victim of Turnabout Academy)

You would not be blamed for saying "Klavier there was a MURDER" every time he shows up in both cases

Klavier's roles in Turnabout Serenade and Turnabout Academy are similar enough to me that it caught my attention almost immediately (in fact, I tagged the screenshot I posted of Klavier telling Apollo and Athena to look for the Gavinners banner as "turnabout serenade ass behavior"). That also means that his behavior is similar in both cases; the primary difference, in my opinion at least, is that Klavier's more intense and mean in Turnabout Academy (which was obvious to be quite quickly).

Part 2.4: Klavier's Shifting View of Kristoph

(This isn't important I just wanted to bring it up)

It's made pretty clear in Turnabout Succession's 2019 section that Klavier has a positive view of Kristoph. Klavier takes Kristoph at his word that Phoenix is going to present forged evidence and keeps him anonymous when he mentions that he gave him the tip that Phoenix would present forged evidence. He was excited to go against him in court (which just makes the fact that Kristoph forged evidence to beat him a lot more sad), something he even acknowledges when it's made clear that Kristoph forged the diary page that got Phoenix disbarred ("...Kristoph! We were supposed to face each other in that trial! A fair fight, brother to brother! I deserved that much! You let me borrow the victim's belongings... ...You showed me all your research on the case!").

We can literally watch this crumble during Turnabout Succession. He knows Kristoph is a good defense attorney; when Apollo first meets Klavier in court, Klavier says that he's prosecuting the case because he wanted to see the true strength of "the little boy who bested" Kristoph, which at the very least implies he respects Kristoph's skills as a defense attorney. That's completely crumbled by the end of Turnabout Succession, with Klavier literally telling Kristoph "You're not needed anymore." It's honestly really sad to watch too. It makes you wonder what was going through his head during that span of time during Vera's trial where Klavier's just not as talkative as he usually is and Kristoph's on the witness stand.

(To be clear, I think Klavier knew Kristoph was a piece of shit before Turnabout Succession. I don't think Kristoph's emotional abuse of Klavier started during Turnabout Succession, and I very much think Klavier knew that Kristoph was a piece of shit because of it. However, I don't really think he would've expected anything that came out during Turnabout Succession, which is why he reacts how he does. I also think it would be safe to assume that either Kristoph only started emotionally abusing Klavier after Zak's trial or Klavier realized that's what he was doing after Zak's trial, due to Klavier's attitude toward Kristoph holding the implication that if Kristoph was actively being abusive at that point in time, Klavier didn't realize it)

Part 3: What We Can Conclude About Klavier Based On This Information

I've mentioned it before (in fact it's in the Klavier breakdown animation analysis I linked earlier in the post), but Klavier's behavior comes off as him not having been able to properly grow up, whether because he became a celebrity when he was 17 or for some other reason. It's like he regresses back to 17 during traumatic situations, or possibly has some sort of relapse if we assume he got mental health treatment between the 2019 section of Turnabout Succession and the start of Turnabout Corner, and his behavior supports that, which is fucking heartbreaking. It's like he's putting on a mask of maturity because he was forced to. By who? Could be anyone. He could've felt obligated to do it by his status as an international celebrity. He could've been pressured into it by the Gavinners' record label (assuming they weren't indie). Kristoph could've pressured him into it because Klavier had eyes on his every action on a global scale. He could've experienced some kind of psychological trauma that caused it. There are so many potential explanations here and they're all fucking heartbreaking.

Part 4: Conclusion

So. 3.3k words later. This is longer than my Ryulock/Homumiko essay. Anyway, conclusion: I don't think Klavier's ever been flanderized. I think people are misreading his primary trauma response (that being, some form of regression or relapse). He's not even the only person this happens to in the series (*stares at Athena*), it's just not obvious with Klavier if you don't consider ALL his behavior together, including his behavior when he's 17 because that's really what explains his behavior in my opinion. Klavier's behavior isn't easily explainable in a nearly 3.5k word essay without knowing how he was at 17.

And yes, you could argue that this is all coincidence. You could argue that none of this was intentional, especially when you consider how Ace Attorney is written. Someone who goes into Dual Destinies without playing Apollo Justice first won't get the additional context required to recognize the full extent of Klavier's behavior.

I would beg to differ however. Some of Phoenix's bitchiness from Apollo Justice is still present in Dual Destinies and Spirit of Justice, and I very much think that was intentional. Apollo's behavior in 5-4 and 5-5 are very much indicative of him having trust issues as a result of everything that happened with Kristoph and that's a hill I'll die on. Simon still acts the same as he did in prison, likely as a result of either trauma, habit, or both.

If you think Ace Attorney doesn't reference past games in characters' behavior, you're underestimating Ace Attorney's writing. I absolutely think Klavier's behavior in Turnabout Academy and his behavior in Turnabout Serenade are meant to be reflective of each other. I'd be genuinely surprised if that's not an intentional parallel and if it doesn't indicate something about Klavier's response to traumatic events. Even worse, I am quite sure that Kristoph has put him down over this. Hell, you could argue that his comment about Klavier being stressed to the point of uselessness is him putting Klavier down for how he copes with trauma. It explains why he was so quiet while Kristoph was on the witness stand, actually.

I also don't think Klavier's as egocentric and quite as much of a perfectionist as he lets on. I think it's part of what I referred to earlier as Klavier relapsing. I very much think he might've been like that at 17, but much like his other behavior at 17 it feels like he grew out of it, and he has a tendency to fall back into it during traumatic situations, whether it's as a defense mechanism or just how his brain responds to trauma.

Essentially this causes traumatic situations for Klavier to turn into him bottling everything up, which comes across to other people (including anyone who decides to play Apollo Justice and Dual Destinies) as irritability. This happens to me too; I'm prone to emotional overreaction but I've gotten to a point where I tend to bottle it up instead of doing literally anything else.

Capcom, please for the love of the Holy Mother give Klavier therapy.

[tangents-within-tangents]

Local Ace overthinks headcanon and shipping culture

Happy ace week, my friends! Imma be posting some aspec hc's this week so I felt the need to overexplain my personal stance on orientation headcanons and such

To start, as with any and all fandom things: to each their own. People can do whatever they want, and (for the most part) I can choose what I do or don't engage with. I know that hc and shipping and stuff is mostly for fun, or for seeking/creating representation, no hate to anyone who does it and enjoys it.

But also sometimes things can be problematic and I can still be bothered by those things. Even things that are 'just for fun' or 'not for you' can impact and reflect our views and behaviors, so it's still worth speaking about.

Aro/ace-spec identities are really diverse and complex, and we're really underrepresented as is. We have historically and chronically been plagued by problematic misconceptions and tropes, both in canon representation (or lack thereof) and fanon mindsets. Some of the main issues to be aware of with this topic specifically:

The majority of (sometimes unintentional) representation being non-human characters (like aliens and robots) implying that sex/romance = humanity and/or a fulfilling life. (Here's some video essays that touch on this: X X)

Related stereotype issues like racist or ableist de-sexualization and infantilization of certain groups like Asian men, physically disabled people, or people with autism. (It's an intersectionality thing bc yes those people can be aro/ace as well but it's still complicated) (more video essays! X X)

Common erasure of historically aspec characters in favor of allo plotlines bc that's "more interesting/realistic". Or ignoring canonically established aspec characters in favor of allo shipping (often excused by the fact that some aro/ace people do have sex/relationships, which is true but the complexities and nuances are often ignored and there's lots of double standards) (Here's some posts that touch on this: X X X)

Amatonormativity's over emphasis on sex/romance as a fundamental and necessary part of life, which is often reflected in how media and shipping culture are generally allo-centric, and it can just get pretty pervasive at times (note: we aren't a monolith obv, some aro/ace people enjoy it and participate too, but others don't and it is hard to avoid) X X

So while I know there's lots of reasons for shipping and headcanoning, and for the most part there's nothing wrong with it and people aren't trying to do these things, there are still issues that exist. Honestly seeing posts talking about these things has been really validating for me bc it let me know like yeah this is a problem other's have noticed too and I don't have to just accept it.

So with respect and awareness of nuance, ship and headcanon however you want. The rest of this post is about my own personal preferences and such. I'm not necessarily trying to persuade anyone here, I just have some thoughts I want to put into words:

For me personally, when it comes to characters' sexualities/gender identities/etc, I prefer just to stick to whatever is established in canon (or in confirmed intentional coding), and, if nothing is specified, headcanons that are based in canon evidence (more like theories I guess, as opposed to reimaginings or straight-up projection that knowingly ignores parts of canon. Which is fine and fun if that's what you like but to me there is a distinction). This is because:

1: While fandom culture is all about freedom and creativity, I do think it's important in this day and age to recognize actual canon representation and strive towards that because that is what will reach more people and have impact (and personally I think that writers' intentions should actually be given more thought/value)

2: I think that shipping/hc/fandom culture in general tends to perpetuate amatonormativity (specifically in devaluing/erasing friendship and non-romantic love), and sometimes leads to harmful parasocial queer speculation in real life (though again, I know that's not the intention but it's still a thing).

3: Generally, unless it’s explored as a part of a reimagined fic or something, just saying a random character is aspec (or whatever identity) when they did not present that way at all in the actual media doesn't really help me feel seen.

For example, I've seen a lot of people headcanon Mabel Pines as aromantic and that really threw me off bc in the show she is obsessed with romance. Like if other's see themselves in her that is great I won't stop you (the idea is that her crushes are comphet, which is not something I personally struggled with, and maybe I could see it if I rewatched the show with that in mind) but when I watched the show, I specifically did not connect with or relate to Mabel BECAUSE of my ace identity (yeah this post was mainly about her lol) so it just doesn't do much for me to claim her as aspec, in fact it feels counterproductive.

Sometimes it can feel really tacked on too, like 'well it's not confirmed that this character has sex so they could be ace', or 'some ace people do have sex so they can still be ace.' And like sure yes they could be but often it's like a kid show or something so none of the characters' sex lives are relevant or explicitly confirmed. Just bc they aren't not ace doesn't mean that they are, or that saying they are is meaningful if the character/story doesn't actually speak to anything related to the ace identity or experience. (This can happen with canon characters too, like Sponge Bob being asexual means absolutely nothing to me, especially since I get the sense that the creator said that more in a 'sea sponges reproduce asexually' type of way :/ )

So basically, in terms of representation I prefer the theory/interpretation type of headcanons that have supporting evidence of some kind, because that evidence is what makes me see myself in a character and feel represented in some way by them. So that's the type of headcanons I'll be posting, and that's why I'll be discussing evidence and explanations, even though I know plenty of people have fun and find value in just claiming identities without any of that.

Another thing I feel the need to overexplain is kinda the reverse of that. I think it's important to recognize that a character does not have to be a certain identity for you to see yourself in them. Like that sense of relatability and representation is still valid even if they aren't, and I think it's good to leave space for that ambiguity.

This is coming mostly from the fact that I have always valued platonic relationships (between any and all genders) long before I ever knew I was ace. I've always wished that was better normalized and represented in media and real life. I think that is just as important as queer representation, and sometimes they can counteract each other.

Like yes Min and Ryan could be gay and if that's what the writers were going for despite restrictions, or if people see themselves in that, great! But I would also love for this story to give a close friendship this much narrative value for once.

Merida does not HAVE to be aro/ace (or lesbian) to not want to be forced into marriage with a stranger at the age of 16 (in fact she specially says "I'm not ready" and "not yet"). But regardless, aspects of her story are still really relatable to us and applicable to living in amatonormative society.

Mako and/or Raleigh do not NEED to be aspec for this glorious refreshing no-romo moment to happen (nor does one need to be aspec to appreciate it)

And maybe claiming them as aro/ace could even undercut the power of this platonic bond (like saying the only way they could not be interested in each other is if they are not interested in anyone (same if you said they are gay, as if that's the only possible way for a man and woman not to be attracted to each other)). But it's still a moment lots of us aspecs love because platonic relationships AND aro/ace characters do go hand in hand and BOTH are so rarely portrayed in media.

So these ideas also play into my preferences, and I want to acknowledge that my headcanons don't have to be definitive (which like I know that is normal amongst fandom culture anyway) but are more about pointing out aspects we can see ourselves in and relate to, especially in a media landscape that is so lacking in representation and understanding of our identities.

[spacejammie-eimmajecaps]

It's ace week and SGB has a variety of aspec characters, so I figured it's a good time for a new promo post!

This is an AroAce!Matsukawa centric coming of age story that focuses on the following things:

-having a father with high expectations and very narrow minded ideals

-trying and repeatedly failing to live up to those expectations despite a great deal of effort

-eventually realizing it was never possible to live up to those expectations

-the ways people change (or refuse to change) over the course of their lives

-how relationships evolve when feelings and circumstances become more complex

-to whom loyalty is owed and at what cost

-not understanding what the big deal is with romance and sex, but also thinking those things are unavoidable because everyone makes it seem like that

-finding people who are similar, understanding, and supportive

-a long journey of self-discovery and (eventual) self-acceptance

Generally speaking, it has fluff, light-hearted events, occasional silliness, emotional moments (of both the pleasant and unpleasant variety), humor, and angst.

It's also, and I cannot stress this enough, a slow burn. So slow. So very slow. As of right now it's 383k words, and it's around halfway done. That kind of slow.

So yeah, give it a look, let it draw you in.

It'll be fun :)

[your-blorbos-are-queer]

the leading player from the musical pippin is aegosexual (headcanon)

submitted by @loganschwarzy

[e1dritchqueer]

There's something really special about Witch from Mercury to me that's only just clicking now. Like the first season was wonderful but it also felt kinda mired in some "oh the gundam is actually good" and the whole he trope of "oh ahaha it's a high school but also there are mechs but don't worry it's all cool". However those foundations I feel were largely placed to be broken. Like the prologue shows that well enough but the second season even better. The facade of high school is breaking as the true landscape of corporations waging war is revealed. The optimisim that Sulleta carries is being twisted and rexamined, she hasn't lost a mech fight yet. That's kind of terrifying. and then like ALL the stuff with Guel, the high school bully, to someone trying to be a better person through Sulleta, till THAT all falls apart and he finds himself at the other side of the war and opression his father built to perpetuate. like GAH it's so good,

[im-still-watching-anime]

girl WHAT😭😭

[puppetmaster13u]

SCREAMING CRYING THROWING UP OVER YOUR IDEAS FOR THE TRANSFORMERS X DC AU

I ALSO LOVE THE OH 80'S SERIES AND ALL ITS WACKY BULLSHIT

IF YOU MAKE EVEN CRUMBS OF THIS AU I WILL LOVE YOU FOREVER

Well, since you asked so nicely lol

Bruce - So, came to earth Superman-style where he was in a pod that crashed into someone’s yard, this being the Wayne’s backyard, where they just kind of took him in as their strange metal-child Still human-ish sized, if a little tall- so more of how the cassettes were sized in the original animated series & I wanna say he’s originally designed for subterfuge & information gathering Design-wise I am thinking he has antennae of sorts on his head that mimic the cowl’s “ears” and honestly I think he should keep the cape because that’s just sort of iconic & he definitely uses it to hide his form, since while most would assume armor someone might notice eventually he isn’t exactly fleshy His holloform is definitely designed after the two Waynes, seeing as they raised him for several years alongside Alfred (Fuck it they were probably together as a poly trio) No clue for what he transforms into, but I am tempted for either some sort of drone or a well, bat, or some combination of the two, like a cybertronian bat-creature 

Kate - She definitely also came from a pod & is from the same parents as Bruce, though I wanna say she landed/crashed a bit later than him, hence why they claim they’re cousins in human/holloform I want to say she’s more battle-designed than Bruce, while he’s more designed to go unseen and gather whatever info- though who knows with how they’re not exactly on cybertron anymore- hence why she has a hint more color than him Once more, no clue of what she’d transform into, but I do think she’s slightly larger than B in their normal cybertronian bodies & has the same antennae-horns as him (I am open to ideas for her) 

Ace - Now Bathound, the doggo boi, usually a normal dog, but I am just saying that the other transformers did straight up build other cybertronians from the dinobots to the aerialbots to trypticon, though they need the Allspark (which is back on Cybertron) to create full on minds/souls (in most cases) 

Now I'm not sure if Alfred would be a normal human dude, or if I should make him an old-ish cybertronian as well who turns into one of those older jets.

[vellichorom]

hi!

I don’t really know how to tumblr but have you got any tips on making a good narrator design? You’re my biggest inspiration rn and your art makes me happy every time I see it :)

AW ~ ! BLESS YOUR HEART, THANK YOU !!! that means EVERYTHING to me, truly it does.

as for tips, I'm afraid I don't really have any to offer! given the nature of The Narrator's character, the most prominent feature being that he canonically has no physical presence that we can see + he reveals very little about himself - even if you consider anything ever SAID about / from / regarding him, he could really look like or be anything that you want!

howEVER you see him when you hear him speak or consider his personality any, throw that baby on paper!

the ONE thing I feel I could say is, try not to let " attractivity / sexiness " be your only driving force. yes, I'm calling it out. please take notice how the vast majority ( not all ) of narrator designs are usually " conventionally attractive / meant to be obscenely handsome " -- & while that wouldn't INHERENTLY be an issue, do bear in mind that there are PLENTY of other body types, features, shapes, & accessories to consider when you design this formless character.

& hey! if you find The Narrator attractive, that's fine! if you personally see him as a highly attractive man & want to depict him as such, I mean - that's fine too!

but a compelling design for ANY character does not begin & end with how hot they are or are supposed to be, & if you think otherwise, you gotta stop & consider WHY you think that, you know? also for the love of god do not design a character solely for the attention or clout of others, it's really not worth it. take the time to cook something up that YOU yourself will enjoy the very most.

TLDR ;; i suggest not thinking with your dick here but you can do WHATEVER you want forever 👍

[greenreticule]

listen: asexual peter spankoffski

there's a lot of textual support in the play itself. i'm not saying it's canon, but i am saying it's a very easy lens through which to read nerdy prudes must die:

pete:

wants a romantic relationship

appreciates physical contact from people

but there's a pretty consistent line drawn in the sand

he isn't judgemental of other people wanting to have sex; we can see that contrast VERY clearly with the allosexual, sex-negative grace. but any time richie or ruth try to suggest pete himself wants sex, he pushes back against it hard.

this fits pretty well with a sex-positive, sex-averse, and alloromantic flavor of asexuality.

[transpanda-1]

What really sucks about Dual Destinies is it almost had a core emotional theme about listening to people who struggle to communicate or even process events that happened, but because Athena wasn’t allowed to be the main character that was never allowed to be realized.

We’d go so far as to say DD completely gutted itself because the actual main character is treated like an assistant instead of the protag. It’s also probably why Athena reads poorly by “outing people”. She’s barely given the time of day to do anything but that, and all times she actually helps someone process trauma or their own condition she’s quickly shoved back to the sidelines.

Like we’re gonna craft an immediate thought: the whale from the whale case. Obviously people struggle to identify what it’s feeling because, it’s a fucking whale. But Athena’s special sauce is she can sense emotions no matter who they’re coming from. Imagine if that case played out where Athena won the day by trying to listen to it as closely as possible.

[snobgoblin]

Boy you really like green people

SIR YES SIR 🫡 in this house we stand for the flag

[larrythefloridaman]

two very different kinds of siblings

[acaciapines]

on today's episode of 'acaica's background thoughts for the dess raises kris au': okay but lets be serious do dess and chara actually stay together in the end--

[unproduciblesmackdown]

truly lmao 2024 lambda literary award finalist wynnstannery