#like could they script this? absolutely not

[relicsongmel]

Iris, Miles, and their mutual "secret"

The Ace Attorney fandom is no stranger to discussions of homoerotic subtext in the game's script—pretty much everyone who's spent more than five seconds here will be able to tell you that. Screenshots of lines that imply romantic tension between same-gender characters are all over the place, to the point that many fans are drawn to the series purely by its reputation as "the gay lawyer game." Some scenes are more well-known than others, but one I find brought up fairly regularly is this conversation between Miles and Iris:

This is optional dialogue that can be triggered by presenting incorrect evidence on Iris' Psyche-Lock during the Investigation portion of Bridge to the Turnabout. The argument here is that the "secret" Iris is referring to is the same as her own: that being, a romantic interest in Phoenix Wright. Which is definitely hilarious when you consider that Iris has known Miles for less than a day and she's already reading him for filth (granted, she could have been clued in by the similarly infamous "indispensable friend" line, and she's also exceptionally good at reading people despite Miles thinking otherwise). As a Narumitsu shipper myself I am not immune to enjoying that interpretation; however, I feel like there's a lot of nuance in this scene that isn't often addressed by the fandom at large. Which is unfortunate because watering it down to just Iris calling out Miles for being the gayass he is (to be fair. she's not wrong) does a MASSIVE disservice to both of their characters, and I'll explain why.

My bone to pick with the usual analysis of this scene is mostly centered around the larger conversation to be had regarding the treatment of female characters in fandom spaces. All too often they tend to play second fiddle to the male characters, and a similar principle holds true for ships with their canonical male love interests: mostly ignored in favor of the the more popular M/M ship(s). At best these women are sidelined, at worse they are flattened into wingmen for the boys (as is frequently the case with many AA girls and Narumitsu, Iris included), and at the absolute worst they are demonized for their perceived "competition" with whatever gay ship is most popular and therefore the Only Valid One for the male characters involved (as exemplified by some very "passionate" fans that I generally try to avoid interacting with). Whenever this scene gets brought up, the focus is almost always exclusively on Miles and what the interaction says about his relationship with Phoenix; Iris is only relevant insofar as she's the one initiating Miles' Homosexual Moment™—you could replace her with almost any other character and there'd be a similar level of neglect for their role in the interaction. Only very rarely will you see attention given to what Iris' question about Miles' secret means when she is the one asking it, and what it can tell us about her relationship with Miles/what she thinks of him, and vice versa (absolutely wild how even Miles himself is often flanderized despite being the fandom's golden child). It's all too characteristic of the systemic misogyny that has plagued fandom since its inception, which is deeply frustrating to me as someone who adores Iris as much as I do (if that wasn't obvious by now). So that said, let's dive deeper into what I think the missing link is here: namely, the Iris-Miles dynamic as it pertains to their relation to Phoenix.

Iris and Miles is one of my favorite relationships to explore in the whole series—but as I've described above, unfortunately a lot of people get it wrong in my opinion. Discussion about the two is frequently centered around Narumitsu Love Drama—which is a conversation worth having, don't get me wrong—but the elements at play there aren't always represented the way I envision them, which again, is frustrating. Take the idea of potential jealousy, for instance: it's pretty standard love triangle fare that can be (and often is) quickly turned into demonization when it's used in a shipping context, character assassination be damned (re: Narumitsu fanfic authors that project their personal dislike of Feenris onto Miles via his jealousy of Iris and/or how they tend to portray Iris unfavorably). However, it's not inherently a bad thing to explore: personally, I do believe that there is mutual jealousy between the two of them. Miles might not have the full context of Iris' history when this conversation takes place, but he's emotionally intelligent enough to pick up on what Iris means to Phoenix, and vice versa. And him being a jealous hoe about it isn't out of the question when you consider that he's a bit of a loner by nature and doesn't have many close friends or outlets for socialization outside of his job. The crucial element that's sometimes missed, though, is that Miles not only lacks the self-awareness to realize he's a jealous hoe...he's also a self-sabotaging jealous hoe.

And the same can be said for Iris, who is similarly introverted and doesn't often leave her home at Hazakura Temple.

The whole reason Miles is peering into Iris' heart in the first place can be found in this exchange, after he breaks her Psyche-Lock:

Miles uses the Magatama in order to gain the answers he needs to bring the truth to light and get Iris acquitted, and he does so for the express purpose of reuniting her with Phoenix so they can find closure—in fact, he reiterates this to her multiple times. He obviously recognizes how Phoenix is suffering from what happened between them (I'd argue he sympathizes with Iris' plight as well) and has resolved to do what he can to help him heal, but there's no reason for him to be so insistent that she rectify things with Phoenix when it does nothing but harm his own chances with him. Unless, of course...that's the whole point.

To convince Iris to reveal her secret so he doesn't have to face his own, because he thinks himself undeserving.

And Iris, noticing this because she empathizes with that feeling of unworthiness, calls him out on it in an almost uncharacteristically forward manner when she asks him what he's hiding.

Takes one to know one, indeed.

Iris highly respects Miles for taking on her defense despite the risk to his job as a prosecutor. She's willing to trust him after hearing he's a friend of Phoenix, hearing him out and letting him reason with her. She still keeps her cards close to her chest in some regards, but she's more honest with him than she's been with anyone else in her life apart from her sister. She sees his commitment to the truth and how it starkly contrasts with how she's lived her life to this point, and thinks that this is the type of partner Phoenix deserves—not someone like her, who only knows how to survive using lies and deception. She sees so much strength in him but still recognizes the insecurity lurking beneath his tenacity, which is why when he falters in his logic, she takes a leap of faith and gives him one last chance to examine his reasons for pushing the burden of his unspoken affections onto her, as if to say: "Look in the mirror. Is this really for me? Or is it for you? Do you really seek the truth for its own sake, or do you merely hope to find one truth so you might run from another?"

Her question to Miles is a gamble—a coin flip of self-sacrifice. If she loses and he presses on, she has to face the secret within her heart she's been suppressing for five years. But if she wins and he gives in to the truth in his, she has to live the rest of her life watching it unfold and knowing she threw away her chance to finally stop living in fear of her own love.

Either way, there's no escaping heartache for her anymore.

Miles and Iris both want what's best for Phoenix and prioritize their vision of his feelings over their own. However, they are also both deeply emotionally repressed people who find difficulty in being direct with their feelings, and are predisposed to self-sabotage due to childhood trauma. These tendencies may manifest in different ways for both of them, but the fact remains that such people would likely not compete for a person's affection in the traditional sense, which is exactly what we see with how Iris and Miles deflect their feelings for Phoenix. These selfless, lovestruck idiots toss that man around like a game of hot-potato because their mutual self-hatred for the ways they've harmed him has rendered them terrified of the reality of what he means to them, and desperate to find a way out of admitting to it. It's the most compelling explanation I can think of for why the usually unassuming Iris makes such a bold judgment about what Miles might be keeping locked away, and why Miles goes to such lengths to make sure she talks to Phoenix and tells him the truth—his agreement to defend her was conditional on that exact promise. They go through this whole song-and-dance of playing wingman to ignore their own feelings while still trying to bring Phoenix the happiness they think he deserves—and then they wonder why seeing Phoenix give the other one attention burns them up inside.

Because they’re dumb. And I love them.

TL;DR the Iris Psyche-Lock scene in BttT is so much more than just "haha Miles gay" and I wish people talked about it more. Also Iris and Miles are way more similar than they appear at first glance and if I think about it for too long it makes me physically ill thank you for coming to my TED talk

[kashverse]

nanami’s handwriting is, as expected, immaculate. each letter crafted with the precision of a master calligrapher who moonlights as a salaryman. his strokes are even, calculated—like he’s silently judging the lesser beings who dare to write with anything less than perfection. of course, the sheer volume of paperwork he deals with has refined his skill. he’s the type to write his grocery lists in flawless cursive, only for gojo to ruin it by doodling sunglasses on the "eggs" entry.

gojo, on the other hand, has the handwriting of a child who just learned how to grip a pencil. it's an offense to the written word. his letters are uneven, loopy, and aggressively inconsistent, like they’re protesting against being confined to the page. it’s a miracle if he doesn’t turn a signature into a doodle of his own face. not that he ever signs anything—he usually leaves that to nanami, much to the latter’s dismay.

geto’s handwriting is elegant, of course. smooth, refined, the kind of script that belongs in historical documents and love letters no one was ever meant to find. it’s clear he’s practiced—perhaps too much. he probably picked up calligraphy in secret, pretending it was some profound, personal pursuit, but really, he just wanted his notes to look better than gojo’s (not a high bar). and they do. he could write an insult in the most graceful script and you’d thank him for the honor.

toji’s handwriting is less handwriting and more a desperate scrawl. he writes like someone trying to forge an ominous killer’s insignia and failing miserably. his letters look like they were scratched into the paper with a dull knife rather than a pen. half the time, he runs out of ink mid-sentence, but instead of refilling the pen, he just presses harder, as if brute force will solve his problems. it never does.

and then there’s sukuna, a man who has never written a single word in his life. why would he? he had servants, he had uraume—why dirty his hands with something so menial? and it shows. if you ever did manage to get him to write something down, it would look like an ancient curse that needs an entire research team to decipher. his grip on a pen is likely unnatural, like watching a cat try to hold chopsticks. at best, he can carve his name into flesh, but paper? absolutely not. his handwriting is a crime against literacy.

[heavensbeehall]

Letter from Donald Sutherland to director Gary Ross, after reading the script for "The Hunger Games"

Dear Gary Ross:  Power. That's what this is about? Yes? Power and the forces that are manipulated by the powerful men and bureaucracies trying to maintain control and possession of that power?  Power perpetrates war and oppression to maintain itself until it finally topples over with the bureaucratic weight of itself and sinks into the pages of history (except in Texas), leaving lessons that need to be learned unlearned.   Power corrupts, and, in many cases, absolute power makes you really horny. Clinton, Chirac, Mao, Mitterrand.  Not so, I think, with Coriolanus Snow. His obsession, his passion, is his rose garden. There's a rose named Sterling Silver that's lilac in colour with the most extraordinarily powerful fragrance — incredibly beautiful — I loved it in the seventies when it first appeared. They've made a lot of offshoots of it since then.   I didn't want to write to you until I'd read the trilogy and now I have so: roses are of great importance. And Coriolanus's eyes. And his smile. Those three elements are vibrant and vital in Snow. Everything else is, by and large, perfectly still and ruthlessly contained. What delight she [Katniss] gives him. He knows her so perfectly. Nothing, absolutely nothing, surprises him. He sees and understands everything. He was, quite probably, a brilliant man who's succumbed to the siren song of power.  How will you dramatize the interior narrative running in Katniss's head that describes and consistently updates her relationship with the President who is ubiquitous in her mind? With omniscient calm he knows her perfectly. She knows he does and she knows that he will go to any necessary end to maintain his power because she knows that he believes that she's a real threat to his fragile hold on his control of that power. She's more dangerous than Joan of Arc.  Her interior dialogue/monologue defines Snow. It's that old theatrical turnip: you can't 'play' a king, you need everybody else on stage saying to each other, and therefore to the audience, stuff like "There goes the King, isn't he a piece of work, how evil, how lovely, how benevolent, how cruel, how brilliant he is!" The idea of him, the definition of him, the audience's perception of him, is primarily instilled by the observations of others and once that idea is set, the audience's view of the character is pretty much unyielding. And in Snow's case, that definition, of course, comes from Katniss.  Evil looks like our understanding of the history of the men we're looking at. It's not what we see: it's what we've been led to believe. Simple as that. Look at the face of Ted Bundy before you knew what he did and after you knew.   Snow doesn't look evil to the people in Panem's Capitol. Bundy didn't look evil to those girls. My wife and I were driving through Colorado when he escaped from jail there. The car radio's warning was constant. 'Don't pick up any young men. The escapee looks like the nicest young man imaginable'. Snow's evil shows up in the form of the complacently confident threat that's ever-present in his eyes. His resolute stillness. Have you seen a film I did years ago? 'The Eye of the Needle'. That fellow had some of what I'm looking for. The woman who lived up the street from us in Brentwood came over to ask my wife a question when my wife was dropping the kids off at school. This woman and her husband had seen that movie the night before and what she wanted to know was how my wife could live with anyone who could play such an evil man. It made for an amusing dinner or two but part of my wife's still wondering. I'd love to speak with you whenever you have a chance so I can be on the same page with you. They all end up the same way. Welcome to Florida, have a nice day!

Source

Been thinking about this a lot, mostly in regards to his notions on power.

But it's also quiet cool that he basically predicted the plot of TBOSAS before it came out. Snow's obsessive tendencies. The way he thinks love makes him weak. How he sees Katniss as like himself.

[nyx-thedragon]

i'm hardcore procrastinating doing school work even though i know it needs to be done, but through that procrastination, i have noted down all the changes from 92sies to livesies that I could think of that i want to know the reason for (i watched livesies with my brother earlier, that's what spurred this on). so, here is that list (in order of when i thought of them, pretty much)!

92sies to livesies changes I wanna know the reason for:

1- all the lyric changes - carrying the banner, specifically

2- Denton is just gone. why? :(

3- to go along with #1 - Race didn't say the line about Sheepshead??? literally what was the reason??

4- how they lowkey butchered David's character a lil -> why was he so adamantly against the union/strike and wanting to help with it?? in 92sies he was concerned, sure, but he wasn't as against it as livesies David

5- Seize the Day not being a David song -> he doesn't have a solo song in livesies! Kath & Jack get one, why not him??

6- no more Cowboy Jack. why?

7- Jack's main "character color" is blue instead of red, and David's is...white? also blue? -> starts off with no color pop, has blue towards/at the end -> main characters need separate "character colors", thank yew

8- Spot & Brooklyn don't help out as soon in the story as in 92sies (Brooklyn's Here is a bop tho)

9- Les is a lot more...more? in livesies. why?

10- David has a more prominent accent like the other newsies than in 92sies (you can hear David Moscow, David's actor in 92sies, slip into his actual New York accent when he's talking to Spot Conlon, fun fact (that i saw from an article (?) that someone posted a link to ages ago))

11- Jack's backstory - he's literally just Jack Kelly in livesies, no "Francis Sullivan" being his "real" name. why?

12- the addition of Bill & Darcy (i guess without Denton, the newsies don't know anyone who can use the printing press, so they needed to be there...)

13- Kath going from annoyed at Jack & his advances to actually starting to/liking him happened kinda fast imo - could've taken some more time for that in the script -- too many long dance breaks!! shorten one!!!

14- Kid Blink (and Mush, kind of) isn't there or just isn't named :( [Mush is a named character in the script, but his name was never said in the performance - in the Disney proshot at least]

15- absolutely zero mention of Sarah Jacobs. none. like she never existed. she could've been named at least once by David when he mentioned his and Les's parents

16- Jack is extremely flirty with Kath right out of the gate ??

17- Brooklyn newsies have a signature color, red (maybe that's why Jack's character color couldn't be red...)

18- Jack doesn't try to break Crutchie out of the Refuge

19- Mayer Jacobs hurt his leg instead of his arm ?

20- Jack mentions how Mayer didn't have a union to protect him from being fired -> goes along with David being so fucking adamant about not going through with the union/strike (David mentions his dad not having a union to protect him in 92sies, not Jack)

21- no real explanation on why Jack's dad isn't around. is he dead? in jail? (all that's mentioned of him is that the streets of New York "sucked the life right outta" him in Santa Fe (Prologue)) -> also, his mom isn't mentioned at all

22- David has no clue how buying papers works ??

23- Les doesn't know about orphans ? (Jack: "ya got folks, huh?" Les: "doesn't everyone?")

24- why was Medda's last name changed from "Larkson" to "Larkin"

25- Les yelling at the person who throws them out of the World building instead of Jack

26- Santa Fe feeling more like "i'm gonna kill myself if i don't get out of here" instead of yearning for the freedom of the West (there's still yearning, but not as much)

27- Jack starts to have second thoughts about the strike earlier than in 92sies

28- Jack talks to Pulitzer about the deal before the rally instead of after -> and he doesn't get arrested at the rally (this one goes along with #27)

and that's the end of the list! less than i thought there would be, but more than what i mentioned while watching it. anyway, if there's any like, explanations for any of these changes, let me know and link the article or interview or whatever where they're explained, if you can! i am genuinely curious about all of these and have been for a while, actually.

anyway, that's all for this post! have a great day/night, and stay warm! :3

(p.s. i tried something out with coloring the character names, kind of color-coded based on their character colors - Jack is red, David blue, Kath and Medda pink, the other Jacobs family members are purple, Denton is orange (his character color is tan/brown, but i don't have that here, so orange will have to do), and any other characters are green because they don't have character colors. let me know if you like it, or if it's too confusing; i'm totally fine changing it if y'all think it's too much)

[octosan]

Working on one of the videos for my drinking game series and I got mad and wrote a whole rant that I realized was a little too much for a drinking game post.

I just hate this script so much you guys. I hate SO MUCH how much they simplified the dialogue, the worldbuilding, the puzzle solving in this game.

I've seen a lot of complaints about fans being illiterate towards the story and to that I say of course they are! The game doesn't ask them to think! Rather than throwing up your hands saying "maybe they had a good reason to dumb down the dialogue and spoonfeed you this stuff"

consider that critical thinking is a muscle

and players do not exercise it when the game is afraid you will forget the core premises of the game, or individual missions, and so repeat them constantly.

When your companions all get along and share the same basic principles beyond bland culture differences, and their principles are all ones deemed acceptable to "modern" audiences, so you never have to think about what life experiences might have led them to feel that way.

When you have your companions constantly patting you and the other companions on the back and saying "nice job!!" in combat as if we wouldn't understand that they are friends otherwise.

When you constantly have characters make juvenile comments like "this is evil, even for the venatori!" or "they did that just for power?/greed?" or "man this makes me hate the venatori even more!" (even more?? these are fantasy nazis!!! you didn't hate them already??) and then don't give the evil factions any nuance because they're afraid you won't get that these factions are eeeeeevil. (The Venatori were never very nuanced outside Calpernia but at least there was lip service that they were a symptom of broader issues, not the convenient cause.)

When you're constantly explaining to the player how many blight pustules they still need to pop, how many crystals you have left, and oh!! the gate's open now! go through the gate! or look! there are darkspawn there where your camera is already pointed! Even late in the game they were doing this! Even at the end of Bellara's questline she was explaining that laser mechanic to me!

When they present you with lore reveals that have been highly anticipated for decades, as well as multiple memories which are meant to add to our interpretation of a core character, and they literally just tell you what to think about them and how to interpret them, at length, in that godawful regret questline. (And tbh even Solas' memories in the Crossroads did not tell me anything I did not already know)

And then Mythal saying "hey those murals are not 100% reliable memories" in a single missable dialogue option that we don't address any further, rendering even that agonizing bit of handholding pointless. Like okay what does it MATTER that they are not 100% reliable? because the redemption ending relies on your interpretations of it being 100% correct!! what purpose does that line serve except to give the writers deniability?

When you don't even bother to GIVE new worldbuilding details when they could absolutely be relevant at the time, except when it makes the writers' job easier like "turlum" or Bellara's clan's funeral practices being indistinguishable from ancient elven ones even though that's literally not what we were told about Dalish practices in the past, guess the Emerald Graves don't exist anymore-. Like just as one example that has stuck in my head, Elgy and Ghilly use terms like The Blight, Archdemons, Darkspawn, the Crossroads, etc. despite being from time periods that predate those terms and presumably having their own words for those same concepts. You can't tell me that Ghilly honestly thinks of her beloved hell children as "darkspawn", or that she would tolerate other people calling them that. You can't tell me that Elgy would agree to call his instrument of reshaping the world, which he is trying to convince people is a good thing, the Blight.

When the game actively punishes people who are familiar with the prior materials with their worldbuilding, punishes people who are reading the codex entries and looking for minor throwaway lines that acknowledge previous shit like the fact that Crows are literally tortured as part of their training and killed if they fail contracts, by having it not be remotely relevant to the story and make it much harder to have the appropriate reaction to what's happening in it (like Rook has no choice but to be happy Jacobus is taking in more orphan crows??) This is low-hanging fruit but it's so illustrative of what I mean.

What other outcome is this all going to have but players who do not look further than the surface? Who miss and ignore little details they have been trained to think do not matter and largely do not inform the broader story and characters? Players who are easily stumped on puzzles because they were not allowed to figure anything else out by themselves?

Are you going to claim that the Orzammar questline in Origins didn't teach anybody a lesson about paying close attention to the social structures and culture of a society when you pick the person who's going to rule it, as opposed to picking the guy who the narrative frames as wise and kind and the other guy framed as a power hungry third child? Are you going to claim that the Archon choice teaches anything remotely as useful?

Like!!!!

GOD

Inquisition had plenty of this stupid handholding too btw. You can argue all of the games had it by degrees. but it wasn't even remotely this bad.

[sherlockggrian]

the way the winner of each life series always manages to be the main character of the narrative throughout the entire season amazes me. like in every single game, the winner is the absolute perfect person in terms of the story. even when it comes to the entire overarching narrative of the whole series. it is always written from the beginning, and yet all of it is up to chance. it's crazy and speaks to the nature of improv and storytelling

[poorly-drawn-mdzs]

The Charcuterie Board, as designed by your votes! Thank you to everyone who participated; this was a fun challenge!

[thekittyokat]

you ever just have a lot, a LOT of feelings all at once about a character and not even remotely enough words or brainpower to FORM the words to describe everything you're feeling. so it feels like you may explode. yeah

[sysig]

Caughtcha, gotcha, not letting go ♥ (Patreon)

[old-skyguy]

Look.

Ace Attorney fandom.

I know why people don't like Turnabout Bigtop. I am among the people who dislike Turnabout Bigtop.

But I GET why people like the case. I'm not going to be one of those annoying people who just blindly dump on it because I hate those mfs too.

Thing about Bigtop isn't that it sucks. Thing isn't the weird grooming stuff (though that is a huge part of it). It's not that it could've been good.

It's that - in my personal OPINION - it could have been *great*.

I think it had the potential to be one of the best third cases in the trilogy. It had everything; a fun and goofy setting fit for a pretty dang goofy lawyer game - where the environment itself had jokes and quips and one-liners and mishaps and tomfoolery written all over it, it had the previous case introducing a very interesting and important plotline that gave background for one of the more well-loved characters while also introducing an equally fucked up and lovable new one who was a child forced into a shit childhood of naivete in a CIRCUS with another character who was very naive and childish - whose interactions could have been funny and cute and reflective of said shit from the previous case (seriously she becomes such an important character in the 4th case, WHY would they not include her in this one for some character development? How did they fuck up letting a CHILD explore a CIRCUS?? That would have made the interactions flow MUCH better).

They had a pretty good, sympathetic killer imo, a morally dubious victim, an asshole of a client (who was pretty flat admittedly in-game, but I like his weird, topsy-turvy reasoning for it in the anime. Also, I think Max being kinda a dick would have bode well for the themes of Farewell since most of his clients up to this point have been like...nice? Not nice, but sympathetic, but him having to defend someone who's innocent but a prick would have shown him that just because someone is an asshole, doesn't mean they deserve to suffer for it and that they have the potential to grow as people, which is almost a complete foil to what Matt was. Ultimately, I would have loved the contrast of them as clients and I think it would have also served as character development for Phoenix, especially with his low-empathy tendencies).

They just didn't think that far ahead. They just didn't execute it well enough. They just decided to make three of the adult characters fight for the hand in marriage of a teenage girl. (Bat's part of the story was actually kinda good if he was just YOUNGER, I think him doing that for Regina would have been a stupid thing someone in the circus would do to impress their crush. Damn you Ace Attorney and your weird treatment of underage girls!!)

It just flopped and that's ok.

Even though it kinda sucked, it can still mean something to me.

Also I'm a Moe Curls apologist. I liked him, shut up.

[guardsbian]

girl the media is bad. you just enjoy fanfiction tropes

[otter-byte]

You know you're absolutely playing a sim/tycoon/factory game right when it starts to drop below 10fps purely from the amount of entities you have on screen

[goldentigerfestival]

Yuri's dialogue (JP) is so fascinating to study, like... the repetitive use of certain words/phrases that others use sparingly but he uses constantly. the way it feels like his vocabulary is more expansive than what he uses, but he defaults to a "comfort" level of speech. the way it mixes in with his sort of "street talk" words and the sheer level of informality. the way his "street talk" phrasing is contrasted by the tone of his voice (on that note, people I know who also know JP are also very endeared by these aspects of him so I KNOW IT'S NOT JUST ME!!!).

'cause the thing is, he uses phrases that yeah, other people do use, but he uses a handful over and over and over (contrast to other characters' sparing use of repetition). it's actually... really refreshing? it sounds more relatable and less "video game/anime/JRPG/RPG" writing or something, idk. like closer to how a real person would speak.

I do my best in my translations not to make things sound too stiff across the board, but Yuri makes it so easy. it's why I'm so interested in translating all his lines in Vesperia, like... the actual, original tone for him with his original wording because it's smth Eng only players don't get to experience ('cause even if you listen with JP audio, if you don't know the language, ofc you're gonna miss out on context. it's nobody's fault for not knowing, just... they unfortunately miss out). the thing is, there are a lot of times when the lines in and of themselves are not contextually incorrect in the English ver (usually the situation for smaller scenes, because they altered the text outright for more important stuff which was the stuff that originally set me off, but there were also plenty of cases of just vocal tone shifting with the correct context that still gave off the wrong impression), but Yuri's tone is shifted away from the original in Eng even though it's completely and perfectly translatable.

I am by no means about to translate the entire game because let's face it, I really don't care that much for Vesperia on the whole. I'm kinda stuck with it because Yuri's there lo and behold I actually am WAY more engaged in his stories in Rays, Link and Asteria because it's an amazing character put into circumstances where he actually gets to shine and feels more alive, which Vesperia did not provide nearly as well with its very disjointed story. also, Tales gachas have banger stories that are arguably better than the mainline games, and they regularly make Yuri a very central character to the gachas. Crestoria was also about to do it until they pulled the plug on that game and I'm pretty confident something interesting has been lost to the world. also I just generally don't have the energy or motivation to do that, so... I'll only be focusing on Yuri's lines, especially because his stuff is where the bulk of the messing around was. he's just insanely fun to translate for and I love burying myself head first into his speech.

will I actually finish this project? dunno. will I get around to posting it? whatever I get done (so all of it if I complete it), and if I decide to call it quits then I'll post what I have at the time I decide that. will it take a long time? probably, but I can always mention stuff along the way...

[harleybarbarahandler]

i’m ngl that one scene from babylon where the director grabs nellie’s face and forces her to spit her gum out does make me feel Things

[downtowncannibal]

Complain about Black Chirstmas 2019 because of how bad it is, not because Billy's not in it

[oveliagirlhaditright]

According to the "City Of..." novel, Buffy gave Angel a flower once and he keeps it in his apartment in "City Of" even though it's been squashed at this point, and they hadn't preserved it or anything.

Edit: Here's where it is in said novel: