#to be fair... she does do A Lot

[pocket-ghostie]

I have been thinking about Ace Attorney So Much lately so here is my ace attorney playlist and which songs are which characters! (I absolutely have thoughts about these songs more in depth... if you wanna hear feel free to send me an ask.... I have been thinking about ace attorney for months now...)

Quick disclamer and warning that I have only played the first three games, and also I have played the first three games so there will be spoilers!

The first three I have because of animatics! (And you should watch them, and if already have, watch them again!!!)

Hero by Faouzia! (Awesome Animatic by Modoo) Phoenix and Edgeworth <3

Look What You Made Me Do by Taylor Swift (Lovely Animatic by delightful mochas) The ace attorney games in general

The Garden by The Crane Wives!!!!!! (Amazing Animatic by Kiwinatorwaffles) Edgeworth <3

Anymore by CircusP/Vocacircus. This is a Godot song for sure!

My Boy by Billie Eilish, Dahlia signing about Feenie

She Doesn't Sleep by Anthony Amorim, is a Dahlia song!!!!! It's So Dahlia <3

One Day by Vocacircus, Mia singing to Godot <3

Can't Stop Me Now by The Score, this is a Edgeworth song but Only the first verse. The rest of the song doesn't fit him, but the first verse sure does.

Breathe by Vocacircus (Cover by nostraightanswer), definitely Godot singing about Dahila no doubt about it! (SUCH a Good Godot song!)

Teeth by 5 seconds of summer, Phoenix singing about his confusion between Iris and Dahlia <3

Someone New by Vocacircus, switches between Phoenix and Edgeworth a lot. Also (I think the bridge?) Dahlia sneeks in there (Phoenix starts singing about Dahlia)

Villain by Stella Jang (english cover by Justine's Mic), absolutely a Dahlia song. Maybe singing to Iris? Could also be singing to Godot, or both.

Monster by Kira... Dahila again <3 for most of the song she is singing to Feenie/phoenix, but the bridge is her signing to Mia.

Golden by The Score is phoenix, probably first game phoenix. It's a very hopeful song, I could see it working for the whole trilogy too.

Ok... that's my phoenix wright playlist <3

Love analyzing music and video games and stories and and and.... <3

[critter-wizard]

ep 43 had me tearing up in a fucking shopping centre ‼️‼️

b+w alt version that I truly couldn't decide if I liked it more . Also I included a lot of thoughts in the tags but they're somewhat incoherent<3

[clowningcrows]

hot take i guess but when i watch the scene with billy and agatha where she finds out for sure he’s billy maximoff and starts tearing up, i perceive it as being bc she’s still a bit (read: significantly) heartbroken that he isn’t nicky. he isn’t hers. sure, she might’ve known from the beginning to some degree that he was wanda’s, but she doesn’t know for sure. we see that every time she panics because he’s hurt. we see that in the way she refused to leave his side when he was asleep. we see that when rio herself has to shake agatha out of it, saying, “agatha… that boy isn’t yours.” like YES logically i think she knew he wasn’t nicky, that he couldn’t be but we CAN see how painfully, hopelessly desperate agatha is to think that maybe he could be. so in my mind, she sees billy maximoff standing in front of her, finally being met with indisputable proof that he could not possibly be her lost son. how could she not tear up at that?

[al-luviec]

compiled whatever this is (and I run out of tag space)

meh HoT gifs (3/?)

[basofy]

i think you can be as critical about the venezuelan opposition and maría corina and edmundo as you want but arent venezuelans allowed to choose for themselves even if the options arent perfect? are you willing to justify electoral fraud and police brutality, class inequality, bad management of resources, lack of maintenance of the country, breach of the law, lack of investment in health services and education etc etc just because the person doing it is someone you like or because you don't like the other option? are people at fault for wanting something different?

[aroaessidhe]

2024 reads / storygraph

Our Lady Of Mysterious Ailments & The Mystery at Dunvegan Castle

books 2 & 3 in the Edinburgh Nights series

paranormal mystery set in a climate-ravaged future Scotland, plagued by ghosts and magic

follows a 15yo Black girl who’s finally gotten an in to learn scientific magic properly - but it turns out to be an unpaid internship, so she has to take more jobs delivering ghost messages and investigating mysteries to take care of her gran and little sister

in book 2 she’s investigating a strange illness centred on a magic school for boys

and in book 3 she’s attending a global magician conference held in a creepy castle - when someone’s murdered, and they’re locked in until she figures out the culprit

Zimbabwean magic, friendship, disabled characters, no romance (so far)

[becasbelt]

watched the first half of arcane season 2 with my little sister and she doesn't like caitlyn and i. simply don't know what i'll do if she doesn't come around to her in the end

[devilsskettle]

i’ve seen + heard people say that they thought norman bates was creepy from the beginning of the movie but that’s not my interpretation at all, i think now that that everyone knows the plot of psycho as pop culture trivia, it’s impossible to watch psycho the way it was meant to be seen (hitchcock basically changed how movies were shown in theaters so that audiences would see the whole movie from beginning to end and wouldn’t see the plot twist first, for the sake of suspense! now there’s not the same kind of suspense because every single person in the audience knows who the killer is). i think there’s clear foreshadowing and the whole vibe of the motel is creepy, but norman himself, while a bit awkward, i think comes across as endearing and kind but extremely lonely. obviously as certain things are revealed, he gets creepier, but imo the truly bad thing that he does consciously is cover up his “mother’s” crimes but ofc he has to try to protect her. none of what happens in the movie is premeditated or malicious or even intentional on his part. he’s not even a good liar. idk i really think you’re supposed to see his narrative alignment with marion and feel sympathy for how completely trapped he is in his life, while also being scared of him, at first as someone potentially predatory, then as an accomplice to murder, then as a murderer himself. but not until AFTER his conversation with marion!!

[moiraimyths]

Before we call anon rude because let’s see it from their perspective, imagine getting an entire feast to eat. That can be pretty hard to start with so much that’s going on, but if they start with one thing they know they’ll like (aka one character they like) that can be the start for them leaping to other characters to finish the story and the bigger story. I struggle the same way to start book series if I don’t have at least one character that drives me to read it, it’s all about what can be the hook to push them through. Sounds like the anon is neurodivergent (just a guess) so they might genuinely not see it as rude and see it as a solution to even play the game to start with.

Btw absolutely adore the game, the complex and rich characters making them all so unique is amazing. The art is so pleasing to the eyes I love it!! I’m waiting for it all to get out at once so I don’t get too impatient. Shae however interests me the most, which routes will have the most lore for them? Will there be routes that give more lore in general based on decisions you make or do they all share the same amount? (I mean general lore not just Shae lore)

Apologies; we are not trying to accuse any asker of being rude! We are simply explaining our perspective as the developers / are trying to broadly encourage folks to dip their toes into other areas of the story outside of the main route(s) they're interested in, especially considering some routes will be made available sooner than others, and these other routes will likely contain additional scenes/lore of everyone's fave(s) regardless! We want to give each main cast member an equal amount of love (and lore) regardless of their overall popularity, so our goal is not to tut-tut anyone for having strong preferences for one character over the others, but rather to explain that you may be surprised by how much *more* you learn about your preferred characters in the other routes. That's all!

For Shae... Well, they were a foot soldier for one of the worst periods of the War. Lore wise, any other story that touches on the War will likely have content relevant to them and their experiences. ^^

[thecryptidzenith]

how much do we wanna bet that Kipperlilly was at the Ashgrove Cemetery mourning a parent when she found the rogue teacher?

[blueskittlesart]

any thoughts on how once again zelda was robbed of her agency because her "father figure" didn't listen to her? even if rauru was kinder to her than her father. and that she had sonia who was patient and loving for a little while before she died (just like her mother). i know rauru apologizes for his hubris but still, i wish we saw zelda be upset about it. and even if zelda was such a big part of the quest she still literally sacrificed her humanity once again because of someone else's mistake- because rauru literally didn't listen to the girl from the future that warned you that shit was going to go down. o know nintendo just loves putting zelda inside crystals and stones but i wish we got something better. even if it was her decision to become a dragon... did she have any other choice? it really just feels like they robbed her of agency again just like botw and the games before

i've been trying to figure out how to answer this one. because there are two ways i could analyze this plot point, either from a writer's perspective or an in-story perspective, but neither of those lead to me fully agreeing with your interpretation? I think there's definitely something to be said about zelda consistently being pushed aside in these games, but. well. ok let's get into it ig

from a writer's perspective, I do honestly have quite a bit of sympathy for the zelda devs as they attempt to navigate the modern political landscape with these games. The cyclical lore, though canonized relatively recently, holds them to a standard of consistency in their games in terms of certain key elements. one of those key elements is that there has to be a princess, and that princess must somehow be the main macguffin of the game. The player must chase her, and the end goal of the game must be to reunite the player and the princess. In 1986 this was an incredibly easy sell. women didn't need to be characters. players were content with saving a 2-dimensional princess whose only purpose was to tell them "good job!" at the end. but as society advances, that princess becomes a much more difficult character to write while adhering to the established overarching canon. (as a side note: i don't necessarily believe that the writers SHOULD be held to the standards of that canon. I think deviating from it in certain areas would be a good change of pace. but i also recognize that deviations from the formula are widely hated by the loz playerbase and that they're trying to make money off these games, so we're working under the established rule that the formula must be at least loosely adhered to.) Modern fans want a princess who is a person, who has agency and makes decisions and struggles in the same way the hero does. but modern fans ALSO want a game that follows the established rules of the canon. so we need a princess who is a real character but who can ALSO serve as a macguffin within the narrative, something that is inherently somewhat objectifying.

the two games that i think do the best job writing a princess with agency are skyward sword and botw (based on your ask, our opinions differ there lol. hear me out) in both games, we have a framing event which seperates zelda and link, but in both games, that separation was ZELDA'S CHOICE. skyward sword zelda runs away from link out of fear of hurting him. botw zelda chooses to return to the castle alone to allow link the time he needs to heal. sksw kinda fumbled later on by having ghirahim kidnap her anyway, but. i said BEST not PERFECT. botw zelda I think is the better example because, with the context of the memories, she's arguably MORE of a character than link is. we see her struggles, her breakdowns, her imperfection, specifically we see her struggle with her lack of agency within the context of the game itself. when she steps in front of link in the final memory, and when she chooses to return to the castle, those are some of the first choices we see her make almost completely free of outside influence; a RECLAMATION of her agency (within the narrative) after years of having it stripped from her. from an objective viewer's standpoint, this writing decision still means she is absent from 90% of the game and that she has little control over her actions for the duration of the player's journey. however I think this is just about the best they could have done to create a princess with agency and a real character arc while still keeping the macguffin formula intact--you're not really SAVING zelda in botw. SHE is the one that is saving YOU; when you wake up on the plateau with no memories, too weak to fight bokoblins, let alone calamity ganon. the reason you are allowed to train and heal in early-game botw is because SHE is in the castle holding ganon back, protecting YOU. When you enter the final fight, you're not rescuing zelda, you're relieving her of her duty. taking over the work she's been doing for the past hundred years. in the final hour, you both work in tandem to defeat ganon. while this isn't a PERFECT example of a female character with agency and narrative weight, i think it's a pretty good one, especially in the context of save-the-princess games like loz.

as for totk, you put a lot of emphasis on rauru not believing zelda and taking action immediately, which, again, from an objective standpoint, i understand. but even when we're writing characters with social implications in mind, those character's actions still need to... make sense. Rauru was a king ruling over what he believed to be a perfectly peaceful kingdom. zelda literally fell out of the sky, landed in front of him, claimed to be his long-lost granddaughter, and then told him that some random ruler of a fringe faction in the desert was going to murder him and he had to get the jump on it by killing him first. the ruler which this girl is trying to convince rauru to wage an unprompted war on has the power to disguise himself as other people. no one in their right mind would immediately take the girl at her word. war is not something any leader should jump into without proper research and consideration, and to rauru's credit, he DIDN'T ever outright dismiss zelda. he believed her when she said she was from the future, he allowed her to work with him and he took her warnings as seriously as he could without any further proof. but he could not wage an unprompted war on ganondorf. that's just genuinely not practical, especially for a king who values peace among his people as much as rauru seems to. as soon as ganondorf DID attack, giving rauru confirmation that zelda's accounts of the future were real, he began making preparations to confront him. remember that zelda didn't KNOW that rauru and sonia were going to be casualties of the war--she didn't make the connection between rauru's arm in the future and rauru the king until AFTER sonia's death, when rauru made the decision to attack ganondorf directly. I think the imprisoning war and the casualties of it were less an issue of zelda being denied agency and more an issue of no one, including zelda, having full context for the events as they were unfolding. if zelda had KNOWN that sonia and rauru were going to die from the beginning and was still unable to prevent it that would be a different issue, but she didn't. none of them did.

I think another thing worth pointing out with rauru and his death irt zelda is that rauru is clearly written specifically as a foil to rhoam. this is evident in how he treats both zelda and link, with a constant kindness and understanding which is clearly opposite to rhoam's dismissiveness and disappointment. consider rhoam's death and the circumstances surrounding it. He died because, in zelda's eyes, she was unable to do her duty; the one thing he constantly berated her for. Rhoam's death solidified zelda's belief that she was a failure, a belief which she KNEW rhoam held as well. his death was doubly traumatic to her because she knew he died believing it was her fault. Now contrast that to the circumstances surrounding rauru's death. Rauru CHOSE to die despite zelda's warnings, because he wanted zelda and his kingdom to live. rauru's death was not agency-stripping for zelda; in fact, it functioned almost as an admission that he believed her capable of continuing to live in his place. With him gone, the fate of the kingdom fell to her and the sages. he KNEW that he would die and still went into that battle confidently, trusting zelda to make the right decisions once he was gone. where rhoam believed zelda incapable of doing ANYTHING without link, rauru trusted zelda COMPLETELY with the fate of his kingdom. several details in totk confirm that when rauru died there was no plan for zelda to draconify, that all happened after rauru was gone. it was HER plan, the plan which rauru trusted her to come up with once he was gone. and I think it's also worth noting that zelda's sacrifice with the draconification parallels rauru's!! Rauru gives up his life trusting the sages and his people to be able to continue his work in his place. Zelda gives up her physical form trusting link and the sages in the future to be able to figure out what to do and find her. these games in general have this recurring theme but totk specifically is all about love and trust and reliance on others. zelda relies on link, link relies on zelda, they both rely on the champions and the sages and rauru and sonia and they all rely each other. reliance on others isn't lack of agency, it's a constant choice they make, and that choice is the thing which allows them to triumph.

The draconification itself is something i view similarly to zelda's sacrifice in botw--a choice she makes which, symbolically & within the confines of the narrative, is a demonstration of her reclaimed agency and places her at the center of the narrative, but which ALSO removes her from much of the player's experience and robs her of any overt presence or decisionmaking within the gameplay. again, I think this is a solution to the macguffin-with-agency dilemma, and it's probably one of the better solutions they could have come up with. Would I have liked to see a game where zelda is more present within the actual gameplay? yes, but I also understand that at this point the writers aren't quite willing to deviate that much from their formula. the alternative within the confines of this story would be to let zelda DIE in the past, removing her from gameplay ENTIRELY, which is an infinitely worse option in my opinion. draconification allowed her to be present, centered the narrative around her, and allowed the writers to reiterate the game's theme of trust and teamwork when she assists the player in the final battle, which i think was a REALLY great choice, narratively speaking.

In any case, I don't think it's right to say that zelda was completely robbed of her agency in botw and totk. Agency doesn't always mean that she's unburdened and constantly present, it means she's given the freedom to make her own choices and that her choices are realistically written with HER in mind, not just the male characters around her, and I think botw/totk do a pretty good job of writing her and her choices realistically and with nuance.

[bibiana112]

"girlie did very much fail at solving a sudoku puzzle to save her life though" NO! SHE ONLY HAD HALF THE NUMBERS YOU CAN'T SOLVE IT LIKE THAT MUCH LESS ON A TIMER

[lesbiansanemi]

Currently trying not to vomit over the fact that I essentially just lost almost a thousand dollars brb

[moeblob]

Anyway they can change between being tiny and human sized. And when they're tinier they can only be seen by the other fae or their selected humans. So if you just passed Noll on the street while Shavuli was perched on his shoulder chatting away you wouldn't see or hear her.

[podcastenthusiast]

One fucked up thing about Red and Antea's dynamic is that multiple times Red expresses his belief that he should've died instead, he even says this to Antea, and she's never like "no don't say that. I wouldn't want that."

And I think it highlights that her ghost lingered because of anger toward him and what happened to her, because she resents Red and the fact that she died to save him. The more time she's dead, increasingly disconnected from the living, she stops caring about them as people especially if you choose to resurrect her. Her cynicism and bitterness is sharpened by what she experiences, and it warps her.

When Antea tells Red the ghost of Charles wasn't truly their friend, that's the kind of thing she meant. Like maybe when she's yelling at him to shut up and stop pretending she isn't dead--which is a valid emotion but she isn't seeing his perspective at the time--part of him is thinking this isn't his Antea, this is a shadow of her, like Helen's man Sebastian? That's what he fears.

She can tell Red to live a long life if she ascended, but as far as I know that's the closest there is to like any sort of affirmation that Red deserved to live. It's so messy I love it.

[wereh0gz]

Guess who's thinking abt Rue being envious of Sonic and how he can appear as mostly normal despite suffering from essentially the same condition as her again