#ill probably use an emulator and play the 3ds ones. i have a 2ds and x and moon but i agreed to give them to my siblings

[be-good-to-bugs]

i miss the 3ds pokemon games

[oscopelabs]

3D, Part 2: How 3D Peaked At Its Valley by Vadim Rizov

I didn’t expect to spend Thanksgiving Weekend 2018 watching ten 3D movies: marathon viewing is not my favorite experience in general, and I haven’t spent years longing to see, say, Friday the 13th Part III, in 35mm. But a friend was visiting, from Toronto, to take advantage of this opportunity, an impressive level of dedication that seemed like something to emulate, and it’s not like I had anything better to do, so I tagged along. Said friend, Blake Williams, is an experimental filmmaker and 3D expert, a subject to which he’s devoted years of graduate research and the bulk of his movies (see Prototype if it comes to a city near you!); if I was going to choose the arbitrary age of 32 to finally take 3D seriously, I couldn’t have a better Virgil to explain what I was seeing on a technical level. My thanks to him (for getting me out there) and to the Quad Cinema for being my holiday weekend host; it was probably the best possible use of my time.

The 10-movie slate was an abridged encore presentation of this 19-film program, which I now feel like a dink for missing. What’s interesting in both is the curatorial emphasis on films from 3D’s second, theoretically most disreputable wave—‘80s movies with little to zero critical respect or profile. Noel Murray considered a good chunk of these on this site a few years ago, watching the films flat at home, noting that when viewed this way, “the plane-breaking seems all the more superfluous. (It’s also easy to spot when these moments are about to happen, because the overall image gets murkier and blurrier.)” This presumes that if you can perceive the moments where a 3D film expands its depth of field for a comin’-at-ya moment and mentally reconstruct what that would look like, that’s basically the same experience as actually seeing these effects.

Blake’s argument, which I wrestled with all weekend, is that these movies do indeed often look terrible in 2D, but 3D literally makes them better. As it turns out, this is true surprisingly often. Granted, all concerned have to know what they’re doing, otherwise the results will still be indifferent: it turns out that Friday the 13th Part III sucks no matter how you watch it, and 3D’s not a complete cure-all. This was also demonstrated by my first movie, 1995’s barely released Run For Cover, the kind of grade-Z library filler you’d expect to see sometime around 2 am on a syndicated channel. This is, ostensibly, a thriller, in which a TV news cameraman foils a terrorist plot against NYC. It features a lot of talking, scenes of Bondian villains eating Chinese takeout while plotting and/or torturing our ostensible hero, some running (non-Tom Cruise speed levels), and one The Room-caliber sex scene. Anyone who’s spent too much time mindlessly staring at the least promising option on TV has seen many movies like these. The 3D helps a little: an underdressed TV station set takes on heightened diorama qualities, making it interesting to contemplate as an inadvertent installation—the archetypal TV command room, with the bare minimum necessary signifiers in place and zero detail otherwise—rather than simply a bare-bones set. But often the camera is placed nowhere in particular, and the resulting images are negligible; in the absence of dramatic conviction or technical skill, what’s left is never close enough to camp to come back out the other side as inadvertently worthwhile. I’m glad I saw it for the sheer novelty of cameos from Ed Koch, Al Sharpton and Guardian Angels founder Curtis Sliwa—all doing their usual talking points, but in 3D! But it’s the kind of film that’s more fun to tell people about than actually watch.

But infamous punchlines Jaws 3-D and Amityville 3-D have their virtues when viewed in 3D. The former, especially, seems to be the default punching bag whenever someone wants to make the case that 3D has, and always will be, nothing but a limited gimmick upselling worthless movies. It was poorly reviewed when it came out, but the public dug it enough to make it, domestically, the 15th highest-grossing film of 1983 (between Never Say Never Again and Scarface) and justify Jaws: The Revenge. Of course I was skeptical; why wouldn’t I be? But I was sucked in by the opening credits, in which the familiar handheld-underwater-cam-as-shark POV gave way to a severed arm floating before a green “ocean.” Maybe flat it looks simply ludicrous, but the image has a compellingly Lynchian quality, as if the limb were detached from one of Twin Peaks: The Return’s more disgusting corpses, its artifice heightened and literally foregrounded, the equally artificial background setting it into greater relief.

The film’s prominent SeaWorld product placement is, theoretically, ill-advised, especially in the post-Blackfish era; in practice, it’s extremely productive. The opening stretches have a lot of water-skiing; in deep 3D, the water-skiers serve as lines tracing depth towards and away from the camera over a body of water whose horizon line stretches back infinitely, producing a greater awareness of space. It reminded me of the early days of the short-lived super-widescreen format Cinerama, as described by John Belton in his academic history book Widescreen Cinema (recommended). The very first film in the format, This is Cinerama, was a travelogue whose stops included Cypress Gardens, Florida’s first commercial tourist theme park (the site is now a Legoland), which has very similar images of waterskiiers. Cinerama was, per the publicist copy Belton quotes from the period, about an experience, not a story: “Plot is replaced by audience envelopment […] the medium forces you to concentrate on something bigger than people, for it has a range of vision and sound that no other medium offers.” Cinerama promised to immerse viewers, as literalized in this delightful publicity image; Belton argues that “unlike 3-D and CinemaScope, which stressed the dramatic content of their story material and the radical new means of technology employed in production, Cinerama used a saturation advertising campaign in the newspapers and on radio to promote the ‘excitement aspects’ of the new medium.” There’s a connection here with the earliest days of silent cinema, short snippets (“actualities”) of reality, before it was decided that medium’s primary purpose was to tell a story. It didn’t have to be like that; in those opening stretches, Jaws 3-D’s lackadaisical narrative, which might play inertly on TV, recalls the 1890s, when shots of bodies of water were popular subjects. This is something I learned from a recent presentation by silent film scholar Bryony Dixon, and her reasoning makes sense. The way water moves is inherently hypnotic, and for early audiences assimilating their very first moving images, water imagery was a favorite subject. It’s only with a few years under its belt that film started making its drift towards narrative as default; inadvertently or not, Jaws 3-D is very pure in its initial presentation of water as a spectacular, non-narrative event.

If this seems like a lot of cultural and historical weight to bring to bear upon Jaws 3-D, note that it wasn’t even my favorite of the more-scorned offerings I saw that weekend, merely one that makes it easiest for me to articulate what I found compelling about the 3D immersion experience. I haven’t described the plot of Jaws 3-D at all, which is indeed perfunctory (though it was nice to learn where Deep Blue Sea cribbed a bunch of its production design from). I won’t try to rehabilitate Amityville 3-D at similar length: set aside the moronic ending and Tony Roberts’ leading turn as one of cinema’s most annoyingly waspish, unearnedly whiny divorcees, and what’s left is a surprisingly melancholy movie about the frustrations, and constant necessary repairs, of home ownership. There’s very little music and a surprising amount of silence. The most effective moment is simply Roberts going upstairs to the bathroom, where steam is hissing out for no apparent reason and he has to fix the plumbing. The camera’s planted in the hallway, not moving for any kind of emphasis as the back wall moves closer to Roberts; it doesn’t kill him and nothing comes of it, it’s just another problem to deal with (the walls, as it were, are settling), made more effective by awareness of how a space whose rules and boundaries seemed fixed is being altered, pushing air at you.

Watching a bunch of these in sequence, some clear lessons emerge: if you want to generate compelling depth by default, find an alleyway and block off the other half of the frame with a wall to present two different depths, or force protagonists to crawl through ducts or tubes. This is a good chunk of Silent Madness, a reasonably effective slasher film that, within the confines of its cheap sets and functional plotting, keeps the eye moving. It’s an unlikely candidate for a deep-dive New York Times Magazine article from the time period, which is well worth reading in full. It’s mostly about B-movies and the actresses trying to make their way up through them, though it does have this money quote from director Simon Nuchtern about why, for Bs, it’s not worth paying more for a good lead actress: “If I had 10,000 extra dollars, I’d put it into lights. Not one person is going to say, ‘Go see that movie because Lynn Redgrave is in it.’ But if we don’t have enough lights and that 3-D doesn’t pop right out at you, people are going to say, ‘Don’t see that movie because the 3-D stinks.’” Meanwhile, nobody appears to have been thinking that hard while making Friday the 13th: Part III, which contains precisely one striking image: a pan, street morning, as future teen lambs-to-the-slaughter exit their van and walk over to a friend’s house. A lens flare hits frame left, making what’s behind it briefly impossible to see: this portion of the frame is now sealed off under impermeable 2D, in contrast to the rest of the frame’s now far-more-tangible depth. The remainder of the movie makes it easy to imagine watching it on TV and clocking every obvious, poorly framed and blocked 3D effect, from spears being thrown at the camera to the inevitable yo-yo descending at the lens. (This is my least favorite 3D effect because it’s just too obvious and counterproductively makes me think of the Smothers Brothers.)

Friday the 13th was the biggest slog of the 3D weekend, and the one most clearly emulating 1981’s Comin’ at Ya! I am not going to argue for that movie, either, which is generally credited with kicking off the second 3D craze; it’s a sludgy spaghetti western that delivers exactly as its title promises, using a limited number of effects repeatedly before showing them all again in a cut-together montage at the end, lest you missed one in its first iteration. It’s exhausting and oddly joyless, but was successful enough to generate a follow-up from the same creative team. Star Tony Anthony and director Ferdinando Baldi (both veterans of second-tier spaghetti westerns) re-teamed for 1983’s Treasure of the Four Crowns, the movie which (two screenings in) rewired my brain a little and convinced me I should hang around all weekend. This is not a well-respected film, then or now: judging by IMDb user comments, most people who remember seeing it recall it playing endlessly on HBO in the ‘80s, where it did not impress them unless they were very young (and even then, perhaps not). Janet Maslin admitted to walking out on it in her review; then again, she did the same with Dawn of the Dead, and everyone loves that.

An unabashed Indiana Jones copy, Treasure begins strong with a lengthy opening sequence of tomb raider J.T. Striker (Anthony) dropping into a cave, where he’s promptly confronted not only with a bunch of traps but, for a long stretch, a small menagerie’s worth of owls, dogs, and other wildlife. There are a lot of animals, and why not? They’re fun to look at, and having them trotted out, one after another, is another link back to silent cinema; besides water, babies and animals were also popular subjects. The whole sequence ends with Striker running away from the castle above the cave, artifact retrieved, in slow-motion as Ennio Morricone’s score blares. There is, inevitably and nonsensically, a fireball that consumes the set; it unfolds luxuriously in detailed depth, the camera placed on a grassy knoll that gives us a nice angle to contemplate it looking upwards, a nearly abstract testament to the pleasures of gasoline-fueled imagery. Shortly thereafter, Striker is in some European city to sell his wares, and in every shot the camera is placed for maximum depth: in front of a small city park’s mini-waterfall, views of streets boxed in by sidewalks that narrow towards each other, each position calibrated to create a spectacular travelogue out of what’s a fairly mundane location. There’s an expository sequence where Striker and friends drop into a diner to ask about the whereabouts of another member of the crew they need to round up. Here, with the camera on one side of a bar encircling a center counter, there are something like six layers of cleanly articulated space, starting with a plant’s leaves right in front of the lens on the side, proceeding to the counter, center area, back counter, back tables and walls of the establishment. Again, the location is mundane; seeing it filleted in space so neatly is what makes it special.

The climax finally convinced me I was watching forgotten greatness. This is an elaborate heist sequence in which, of course, the floor cannot be touched, necessitating that the team perform all kinds of rappelling foolishness. At this point I thought, “the only way I could respect this movie more is if it spent 10 minutes watching them get from one side of the room to another in real time.” First, the team has to gear up, which basically means untangling a bunch of ropes���clearly not the most exciting activity. The camera is looking up, placed below a team member as they uncoil and then drop a rope towards the lens. This is a better-framed variant of the comin’-at-ya principle, but what made it exciting to me was the leisurely way it was done: no more whizzing spears, but a moment of procedural mundanity as exciting as any ostensible danger. Basic narrative film grammar is being upended here: if a rope being dropped is just as exciting as a big, fake rip-off boulder chasing our hero down the cave, then all the rules about what constitutes narrative are off—narrative and non-narrative elements have the exact same weight, and even the most mundane, A-to-B connective shot is a spectacular event.

This isn’t how narrative cinema is supposed to work, and certainly not what James Cameron’s conception of good 3D proposed. The movie keeps going, building to a bizarrely grim climax involving a lot of face-melting, scored by Morricone’s oddly beatific score, which seems serenely indifferent to the grotesqueness of the images it’s accompanying. (This is a recurring trait in the composer’s ‘80s work; the score for White Dog often seems to bear no relation to the footage it’s accompanying.) That would make the movie oneiric and weirdly compelling even on a flat TV, but everything preceding convinced me: 3D can be great because it’s 3D, not because it serves a story. I’ve spent the last decade getting more angry about the format than anything, but that was a misunderstanding. Treasure of the Four Crowns is, yes, probably very unexceptional seen flat; seen in all three dimensions, it’s a demonstration of how 3D can turn banal connective tissue and routine coverage into an event. The spectacle of 3D might never have been its potential to make elaborate CG landscapes more immersive, something I still haven’t personally been convinced of; as those 19 non-CG shots in Avatar showed (undermining Cameron’s own argument!), 3D’s renderings of the real, material world and objects have yet to be fully explored. 3D’s ability to link film back to its earliest days is refreshing, in the way that any rediscovery of forgotten parts of film language can be, while also encouraging thought about all the things narrative visual language hasn’t yet explored, as if 3D could take us forwards and backwards simultaneously. In any case, I’m now won over—ten years after Avatar, but better late than never.

[tvgold42]

Nintendo Direct Recap

So for those who can't tell from my twitter (@alisdair42), I've become a bit of a fan of Nintendo recently. so I ended up watching yesterday’s Nintendo direct. since I did a big review of the switch trailer, I tried to do something similar. only problem, that took about an hour to make for a few minutes of trailer footage. this is a full half hour long piece of news, that went so fast, I couldn't press pause during the live coverage. aside from some small typo corrections and edits, this is exactly what I typed. heads up, it's a lot of content...

New Pikmin game for the 3DS coming out on July 28, along with an Amiibo more info on that coming later. another 3DS game called ever oasis on June 23. monster hunter stories look like a monster hunter: pokémon rip off edition 3ds, this autumn. YO-KAI watch 2 was just released, and it has an early day exclusive with A June 2nd to be the expiry date for some in game itemsspr@kl3s as a code Culdcept Revolt on 3ds game, some card/board game  September 1stRPG Maker Fes is now a 3DS is a thing there is a free player for that tooJune 23 Miitomo gets a sequel or DLC, I can't really tell, called miitopia release date is sometime this year.

 new fire emblem, NOW WITH DLC, because who doesn't want DLC it also offers seasons pass. because doesn't every gamer want to spend more money on a game that they already own, without knowing the quality, content, or even release date of the thing that they're buying?

It's the 25th anniversary of Kirby, which is weird since it seems like we just had 25 years of Mario. I thought that Kirby was a lot younger, oh well. how are they celebrating this? with a 2d fighter game, out now. Kirby blow out blast looks to be a weird 3d puzzle game, and I just can't wait for the comparisons to Toad treasure tracker, even if it's not deserved, it's coming this summer, e-shop only. there also something that there not telling us about for this winter, so I can't really comment on that at all...

you know how Nintendo love to play on people's nostalgia, WELL THERE'S A BRAND NEW BRAIN TRAINING GAME : DDDDDD

Devilish training: can you stay focused?

I'm not certain if devilish training is the name of some diet chocolate or a porno, and I don't want to find out personally...

Also, new amiibo for the system, but that went so quickly I couldn't get any details written down

For full disclosure, I have a pre-order of Mario Kart 8 from family relatives, but I have not spent money on it. Mario Kart8 has 11 players online, which is weird since its normally 12 players online mode.

If you're playing with friends, then you can customise the rules quite a bit, and tournament mode has now been built into the game, making it seem more like Nintendo want it to become an e-sport. are a thing too

Ultra Street fighter 2 is being re-released for the switch with 19 fighters, but I'm not certain if this is more, less, or the same amount of characters. some weird person also decided that a first person mode that uses motion controls would be a good thing, so that's in the game, along with this, you don't have to remember Combo's at all for the portable mode, with on-screen buttons, (opinion) which is stupid since street fighter is all about executing ridiculous combo's.

 Minecraft wanting more money is now getting a Nintendo switch verson, that allows an 8 player multiplayer mode, which is cute compared to the Java version, but this does also allow local co-op of 4 players, so you have that at least. It's getting a Mario skin pack as DLC, out may 12 e-shop, later for physical.

 sonic forces - a shit 3d one that looks dark and gritty, that has old and new sonic in it, winter this year.

sonic mania -a good fan version that looks awesome, summer this year

project mekuru looks weird, good weird though, has a bomber man feel in its gameplay, releases this summer.

fate Extella for  July 21'st, hate to say it but it kinda looks like a generic JRPG :/

Disgaea 5, has a demo to be released soon, release date may 26th, ill have to give that a look at, since anything that has a demo must be tried, seriousialy, its the one thing that i want devlopers to get back onto.

Puyo Puyo Tetris is amazing, I've played it, you have to try the demo from the JP e-shop if you can, don't go for the UK one, the voice actors just fall flat. it's coming to the EU soon, if you don't have a switch or another console to play it, this is why you need the switch. The demo is out now

monopoly for the switch, because you haven't hated your family over this game enough already Autumn 2017

Rayman legends: definitive edition, it's a 2d platformer, and you could have gotten it previously for free on PC, but this now has more DLC. out sometime this year

THQ Nordic are alive, apparently, i thought they died along with the hope of another good Saints Row. Sine Mora EX, its a 2d bullet hell game so im not touching that (unles it has a demo) to be released sometime this summer. battle chaser night war looks more interesting however, releaseing late summer.

PayDay 2 for switch, because if you've not played it yet, your me and you really should have, releasing sometime this year.

Namco museum: a glorified emulator for the console, probably not worth buying since you could find the rom files online, summer 2017.

change of pace now whilst i focous on somthing that works on a lot more meaty. 

This first big block is Arms, if you don't care, skip the first, long, paragraph.

Apparently, you can customise the arms in Arms, as if we didn't already know this, it does, however, reveal that each arm has an element. fire, electricity, wind, ice, stun, explosion, and more I couldn't read quick enough. It also shows that in the game, you can use currency to unlock the different types of arms. this doesn't appear to be real world money, and I don't think that Nintendo would do that, but I still don't like the idea of unlocks in an arcade game. We have a new character called Mminmin, who is based on noodles, no, seriously. if that wasn't weird enough, she has an ability, where she can kick people in a boxing game... quick question, why? why did that seem like a good idea at all? doesn't that kinda defeat the whole point of it being a boxing game? wait, she has dragon arms that shoot lasers? all is forgiven. Spring Man is a new person (i think) who has permanently charge punches IF he has low health. he also has an electric shield for very quick deflects of almost anything. and coming back to Minmin, she has an area based off of her, it's a massive ramen bowl... no comment. we also have team battles for a 2V2 mode, because everybody can afford 4 pairs of Joy-Con's, clearly. speaking of Joy-Con's there's a bundle that contains the console, the game, and a set of yellow Joy-Con's, that look like a set of slightly off bananas. and if you just couldn't get enough Switch action, there releasing a Joy-Con battery pack, which is odd since I personally have never had to worry about the battery for the Joy-Con's at all, I will say that I have been charging them and the console overnight every night, so that may be why I've not been having any problems. The full release date for the game, the bundle, and the Banana-Con's (yes that's what I'm calling them) is June 16.

 And now for the reason im here: splatoon 2, its not as long but still substatial, if you dont care, thats it for this article for you, good bye ^^ otherwise, onto splatoon 2, the main reason I wanted a switch at all.

 we start with a with a weird trailer, that has the music of a discounted Toys R Us instrument set. Feeles like its from the 80's in a parody way. the main purpos of the trailer is to introduce "Salmon Run", a wave based PVE mode, which had me in full caps in my notes, accompined by a ":DDDDD" or 2. the main purpos is to kill the enimies to get power eggs, which is your form of in game currency that can be spent on the splatoon shop for cosmetics. keep on going however, and bosses will appear, these drop golden eggs that too can be exchanged for items. if you have bad players in your team, and they die, then you can revive them by walking over to get them back. The game adds in 3 new Amiibo, that allow people to save custom data to for clothing, but the old splatoon Amiibo's will also work. the game, the Amiibo will be released on July 21st.

[quonit-aceattorney]

Buying Game 1 - Playing 1 and 2

Put these all together because they were so short... and not even really recorded.

Rules:

Q = Me, Quonit.

BF = Bardic Feline, the friend that made me spend 30 dollars on the game and whom I am messaging

I don’t use those when I send the messages close enough my username doesn’t appear.

Any typos (unless they are funny and part of the conversation) will be fixed.

Index

—

(Backstory: Bardic feline and I have been talking about a fic she told me she was working one (Link here when i get it). Few about a week or so I’ve been motivating her to help her to finish it by the 20th, her deadline.)

3/20/2018

Q: did you get the thing out?

BF: I didn't finish both parts of what I wanted to do, but i did enough to post the fic prologue on AO3

Q: yaaaaay that is something. Good job.

BF: thanks. ^^;;;

LESS THAN I WANTED TO DO IS STILL BETTER THAN NOTHING

Q: yaaay can I have a link?

BF: Aaah hold up.  Also, going to warn you right now, it absolutely spoils the crap out of Farewell My Turnabout, aka 2-4

Q: dammit

I need to get the game how much is it and is it on steam or do i need to get it somewhere else

BF: Like it goes in assuming you already know the big twist

Q: welp I do not know

BF: You can get it on iOS or Android or from the 3DS shop

Q: I still call the people in the game "the objection guys"

BF: Hee hee fair enough

Q: dammit

well I have a 3DS so it can still work why not

BF: But when I say it assumes you know stuff, I mean it like straight up pulls the reveal that happens most of the way through the case

And yay!  That’s the easiest way to get it

Q: dang

I should've played the game yaaaaay :D

BF: You can get the whole original trilogy in one package on the e-shop

Q: Funny thing about the 3DS: I got it from a pawn shop for 60 bucks thinking it was a 2DS because well, it was. It is a 2DS it has that on the back it says everywhere on the thing it is a 2DS. When you open it though, it thinks it's a 3DS. This works out well because a 2DS has more power and the 3DS has more available games

I'll go find it. How long is it will I be able to play to the twist by the end of today?

BF: Unless you just fly through the first game?  It’s the last case of the second game

So...proooobably not

Q: dammit

do I have to pay for all three games??? Can't I just watch somebody else play it on youtube

BF: You can if you like? Or do an emulator?  I’m not gonna tell you how to do it.  Though I will say that that bundle is WAY less than what I paid for all three games used for the DS

They were probably about 15-20 bucks EACH individually

Q: dammit

well it's gonna be a while before I read that fanfic I helped encourage you to do. What out for that review 2-3 years for now.

BF: Hahaha awww

BF: It doesn’t take THAT long to play any of the games. XD

It’s just longer than a single night

Cause it’s like reading a book where you have to solve puzzles to advance

Q: well it better be good if im going to end up spending 60 dollars on it. At least I get to understand yet another one of Zarla's interests so many of her comics are based off of

I don't even wanna read all of those fanfictions why couldn't it just be mostly comic based with like 6 fanfics like with the ladies

BF: It’s not going to be 60 bucks!

happy summer

3 games and they're like 15-20 something about a bundle how much is that

BF: That’s what each was a INDIVIDUALLY

By themselves

On the DS

BF: When you had to but the individual CARTRIDGES

Q: going in the shop to see if I can find it

ohhhh wonder how much they are now im looking in the shop

BF: The BUNDLE is all three games at once for like...16 or 20 bucks TOTAL

For all three games together

Q: :o that's not 60!

BF: That’s what I was trying to say haha

That it’s a BARGAIN

Even when it’s not discounted it’s a bargain

Q: im looking for it bleh i haven't used this thing in a while where is the search bar for a specific game

BF: Search “Ace Attorney”

And aww those eggs sound pretty

Q: where is the problem it just has filters

I remembered the thing about using vinigar instead of water for the color to stick on better and it worked very well

BF: Umm...there should be a search function

Q: there is one but that's just filters for some reason

I'm calling my brother one moment

BF: You may have parental controls on too high or something

Q: nope I got it

it's 30$...

bleh ill get it whatever

BF: Aaaah sorry

Q: it's fine!

BF: I was thinking when it was discounted, forgive meeee

Q: I'll probably like

BF: That’s STILL less than what I paid individually

And it’s a good series!

I really think you’ll like it

Q: yaaaay

BF: It’s so ridiculous and over the top Hahaha

Q: I can't face the shame I'm giving my brother the money so he can buy it

why I'M GETTING THE GAMES THOUGH

YOU INFLUENCED A LIFE DECISION

BF: Hahaha aaaah forgive meeeee

it is fine lol

BF: Ooooh!

Q: dumpster

it was your idea

it's downloading

Q: how many days do I wait before it's approprait to send Jaz another email

Q: I spent 30 dollars because of you

working on comic, very good progress. Got all of the backgrounds done and am doing pretty good on the characters.

Q: ALRIGHT IT FNISHED DOWNLOADING

Just when the game opened I saw what you meant by it being over the top this is great imma play it

Q: 2014???

must be when the bundle was released...?

BF: That sounds about right dang

Was it that long ago when the HD bundle got released

-Case 1-

Q: Back!

Finished chapter 1: I feel smart I very much enjoy this game. Wonderful. Good that I'm apparently better then most people at remembering names :D when will juan die

BF: last case of the second game!

hahah just settle in and enjoy a Juan-less first game

BF: and I really do sincerely enjoy every part of the first game

Q: BACK

I do too it'

Q: It’s hard to believe Juan is even in the game

you made me spend 30 dollars on it and I am thoroughly enjoying it

(Edit: Thoughts i remember having but didn't record.

1st Case:

Hey look the tutorial person! She's a boob joke. of course.

I had no reaction to Winston, mainly it was just "objection guy".)

-Case 2-

Q:

Me: game about laywers. Somehow it was successful. Me later: and magic??? why is there magic why is there a chapter on why does this game exist it's so over-the-top I swear what was it's goal?

Q: the girl is too talkative

I should sleep >:( It's your fualt I can't

Q: why does the girl even call me nick

why does phoenix allow this his name isn't nick

(Edit: I refuse to call him Nick to this day.)

Q: where the hell is the save button i just wanna leeeaaave

Q: I MISS THE TRIALS NOW IT'S JUST TRYING TO FIGURE OUT WHERE YOU'RE SUPPOSED TO GO

>:( well I'm almost to a save point in the game

Q: dooone

Maybe I'm just tiered in the morning I won't despise the girl

BF: Hahaha aaah I love Maya, personally

BF: And yeah, there are times in the investigation periods where it’s all godammit where do I go next.  But half the fun for me is going around and poking at stuff just to see what Phoenix and Maya will say about it

BF: I guess Maya gets Nick from PhoeNICx...I dunno I stopped questioning it ages ago

BF: There is a way to save when you are investing though

BF: I’ll tell you where to find it in the morning haha

Q: I figured out it's the start button.

Maybe I could look up where she got the name. She just asked if she could call me 'nick' and phoenix had no objection so I GUESS IM NICK NOW. I really like seeing what characters say about stuff too, but sometimes you just wanna get to it and 'ohmygod just shut up i wanna be able to figure this out i've already heard this before what am I missing'. Also I was tired, but ya they are enjoyable for the most part. HONESTLY with Juan I see him as a Zarla character, him being in the game is just absolutely stellar... it feels like a huuuuge bonus. I know he originally came from here but I learnt about him from the ladyverse and a quick scroll through her ace attorney folder on devart. He seems like her character. Concept: The people making the anime actually did see one or two of Zarla's comics and liked the color she had for his shirt and kept that Me at first: ehhhhh i don't really like him. he should just... go over there. Me later: oooo cross universe? More interesting, still don't like him much. Me now: I WILL PROTECT WITH BOY WITH MY LIFE WHEN I FIND HIM AND HE'S ALREADY DEAD WHOEVER DID THIS YOU WILL PAY WITH YOUR LIFE

(Edit: HOW COULD I HAVE EVER HAVE NOT LOVED HIM HE IS SUCH AN INTERESTING CHARACTER NO MATTER WHAT UNIVERSE HE’S IN)

BF: Hahahaha

Yeah, I kinda consider him to be more Zarla’s character than the game’s because of how much of a blank slate character he really is

BF: I know I’ve made up traits for him practically from whole cloth, or based on the smallest clues I can glean from the game script

Q: niiice

I'm getting through it, thankfully I'm not getting stuck as often as I did.

Q: "guess I better go there later..." YES, ALRIGHT, HOW DO I MAKE TIME MOVE FORWARD THOUGH?

BF: lol a lot of time when they say that, that means 'head on over to that location if it's on the menu"

(Edit: This goes DIRECTLY into my 1-3 reaction. The very next message.)

(Edit: Thoughts i remember having but didn't record.

2nd Case:

Sense the beginning I knew "IT'S THE WHITE GUY". The cutscene had what looked to me somebody with white hair but later i found a guy named Redd White and knew It was him because "HE'S THE WHITE GUY”

"Aw no looks like the tutorial girl is dead. Oh well."

"So she has a sister, okay."

"weird, i haven't seen this before. this is cool. (investigation mode)"

I absolutely hated April May. She was the worst character to me.

"HEY LOOK IT'S THAT OBJECTION BUDDY (Edgeworth) :D" I didn't have much thought on him besides that. He was the other objection guy. I knew him from the little I've seen of Ace Attorney beforehand (mainly one ace attorney tumblr post).

"There's magic in this game. guess her death meant nothing apparently.")