Aceof-stars - Ace Of Stars

I don't know if this has been talked about before, but I really disliked the way the Careers were characterised in sotr. They felt like more of a caricature than in thg1, even if they were the minor antagonists in both. But they seemed more believable in thg1, although they had less lines. More competent? Like, if they trained for the Games for years, why would they be so airheaded? If it were up to me I'd make sure my volunteers were both strong and bright. And teach them how to prepare for the interviews!

And them always being the bully stereotype misses out on really interesting topics. For sure fame is one of the motivators, they're teens made to believe the Games are the highest honour, but why do they always have to be fame seeking brutes? Why don't we ever see them from the angle of training to protect the younger or sick kids from their district, even if it's just implied? If someone is guaranteed to volunteer each year in the career districts, the non career kids have stress-free teens (unless there's a QQ twist, I guess). They can take all the tesserae they need because it doesn't really matter how many times your name is in the bowl, their parents need not worry, no one's starving...

Idk, I guess all these things can be implicit because we know the system, and it makes sense they're minor antagonists because we seem them from a non career pov. But. I feel like there's a lot of missed opportunities world building wise when it comes to Career districts; not in a way that woobifies them (they're not the most oppressed district if such a thing can be compared, although, they're still district yk) it's just!!! interesting stuff that makes sense and I wish it was more present. I have more to say but this post will be more of a jumbled mess than it already is lol.

I love this so much oh my god, why is Mia Fey so neglected sometimes in this fandom. You've given me a lot to think about, thank you.

I noticed Mia's bitterness when I played through 3-1 for the first time. She is so brutal in insulting Phoenix. And she reacts quite strongly when she finds out Phoenix had been lying on the witness stand.

The fact that both Mia and Phoenix react very poorly to betrayal or to what they think is betrayal... I need to personally analyze all of this under a microscope.

"Of course she told him to fake his smile, or he can't do anything. She's been doing that since she was ten years old." I'm sobbing.

Is it just me or is this piece of advice from Mia, "for a lawyer, the worst of times are when you have to force your biggest smiles", really sad?

Don't get me wrong, there's nothing inherently sad about it. I get that it's about not giving up, pushing through impossible odds and rock bottom for your client. Because for most people, being a lawyer is a just a profession.

But for someone like Phoenix? Someone who hides their pain behind saving others, who never talks about their trauma, who (subconsciously or not) considers being a lawyer not just a job but their entire identity...? All of a sudden, Mia's advice isn't just about the courtroom anymore, because for Phoenix being a lawyer was always about being good enough and able to save people. To Phoenix, Mia's advice is about pretending you're fine, not letting anyone see how you truly feel or else you can't save anyone.

Results time!

It seems like the most popular option is "Fav Miles, prefer top!Phoenix/bottom!Miles" at 22.8%, or 26.1% if I adjust the numbers to remove the "see results" option. And the least popular option is "Fav Miles, prefer top!Miles/bottom!Phoenix" at 5.5%, or 6.3% if adjusted. (Please let my math be correct, it's not my strong suit). It seems like Miles fans have a clearer preference than Phoenix fans.

The reason I made this poll was to test the theory that people tend to prefer their favorite characters as the bottom in a m/m pairing. The data suggests that this could be the case, however we can only conclude correlation and not causation from these results.

Feel free to explain your reasons in the tags! (I'm very curious)

I have to save him.

I do not like Snow's characterization in SOTR. As much as I love when the main antagonist has a personal connection to the protagonist, they still need to seem like a threat. The garden scene did not make Snow an interesting foil to Haymitch, nor did it showcase his pettiness in a believable way. It just made Snow pathetic and out of character.

THG Trilogy Snow would used that oppurtunity to exert his control and he would have never allowed himself to seem so weak in front of a random district kid. SOTR Snow wasn't intimidating. His attempts at scaring Haymitch felt inconsequential, even though I knew how the story would end. Honestly, this quote from SOTR said it the best, “if you can get people to laugh at someone, it makes them look weak".

Instead of vomiting and info-dumping about his ex-situationship, what would have been chilling is if Snow started showed Haymitch photos or recordings of his family and girlfriend in a "I know where they live and I can kill them anytime" way. Then Snow is the one who gives Haymitch the phone that has Lenore Dove on the other line. Haymitch has to share his, presumably, last moment with her under Snow's gaze, knowing that he wouldn't hesitate to punish him through her. And as the reader we might know that Snow has an unhealthy obsession with the Covey, but it's never made so explicit that it makes Snow look laughable.

Something I'm fond of saying is "The villain drives the plot but the hero sets the tone." Something that's very important about this is that the resolution to the conflicts presented need to match the hero's tone. If your story doesn't believe problems can be solved the way the hero wants to solve them... why is this the hero?

If you want your problems to be solved with brutal catharsis, then your hero should be someone who believes in brutal catharsis.

If you want your problems to be solved with forgiveness and reconciliation, then your hero should be someone who believes in forgiveness and reconciliation.

They don't have to begin there. This can be something they come around to over the course of the story, as they grow and change per their character arc. But by the time of their ultimate encounter with the villain, their values should be the values that drive the story forward.

There's this thing in D&D that some DMs do. Where, when you roll enough damage to deplete the monster's hit points, they'll turn to you and say, "That's a kill. Describe for the group how you take the monster down." And you're allowed to come up with some cool maneuver or something that your character did in order to deliver the finishing blow.

The hero's ultimate triumph over the villain is a lot like this. More than any other part of the story, this moment is their apotheosis. It should be a celebration of everything they are and everything they stand for.

You have defeated the villain; Now describe for the group what form that victory takes.

Actually, “Feenie” Makes Perfect Sense as a Backstory for Phoenix (+ 3-1 Initial Thoughts)

I've decided to start a series where I record my thoughts and analysis as I play through the Ace Attorney games for the first time. I'll try to post these as soon as I finish a case so that my thoughts are fresh.

Phoenix Wright/"Feenie"

I've noticed critiques in this fandom that "Feenie" from Turnabout Memories is too different from Phoenix in the trilogy or that the backstory is poorly inserted. But, honestly I disagree. It's easy to treat Phoenix and Feenie as different people because of their different outfits and mannerisms, but I think the characterization is consistent (despite "Feenie" being exaggerated sometimes for comedic effect).

I've seen the fandom portray "Feenie" as a sweet pushover. But if anything, his belief is extremely stubborn and strong-willed. Phoenix believed in true love and fate which was why he accepts that necklace in the first place. He also never relents to Dahlia (or should I say Iris) when she asks for the necklace back.

He’s only able to be used and manipulated by Dahlia because his own goals and beliefs aligned with the facade she presented to him.

Phoenix literally shoves a guy so hard that he fell onto his back because he badmouthed Dahlia. I think one constant of Phoenix's character is that he cares too deeply and is protective over the people he loves.

There's also the part where Phoenix mocks Doug for being British? or wearing the British flag (I didn’t take a screenshot of it). “Feenie” is just as sassy and judgmental as Phoenix is. He might be a lot more naive and immature but he's still Phoenix.

Oh Phoenix... back when you believed in people saving you... before you bottled up your problems and refused to let anyone help you...

To be fair he is the defendant here but still. He doesn't ask for support after Edgeworth disappears, he doesn't ask for help at first when Maya is kidnapped.

I think, unfortunately, this incident with Dahlia is what kickstarted a lot of his trust and abandonment issues. His overwhelmingly strong belief and trust in Dahlia backfired in the worst way possible. It’s not a stretch that this made him too terrified of betrayal to open up to anyone in the trilogy.

So I know this is for comedic effect, but it’s also really good proof that Phoenix heavily idealizes the people he gets super attached to.

(Coughs in Edgeworth and Justice for All)

… I mean he’s not wrong! But he’s also being delusional

This is one of the first things Phoenix says after finding out he was betrayed. He doesn't spend much time acknowledging his feelings of hurt. He just goes into denial.

(COUGHS IN EDGEWORTH AND JUSTICE FOR ALL)

This is just further proof for me that Phoenix’s coping mechanisms are suppression and delusion.

And then Phoenix immediately he moves on to saving Edgeworth! He just shoves all that trauma aside to fixate on saving someone else... to cope by giving himself more control. Phoenix's savior complex stems from abandonment issues.

This trial doesn't give Phoenix the idea to save Edgeworth, it solidifies it.

After being reminded by Mia of his belief that a defense attorney saves people, Phoenix firmly sets himself on this path.

There it is. Phoenix says it himself... he suppressed these memories. That's why he never brought it up in the last two games. I know the real reason is because the creators didn’t plan it, but it also makes sense narratively.

I mean, Phoenix hides the class trial story until Turnabout Goodbyes. This man does not like to talk about his problems or trauma.

Mia Fey

Damn Mia is so brutal. Is this where Phoenix gets his sass from?

Mia is also not how I expected her to be. I mean whenever she gets channeled to help Phoenix out, she's in the role of the wise mentor. But here? She's a nervous wreck, cynical of romance, and full of trust issues.

Speaking of trust issues... I unfortunately did not take a screenshot of this but as soon as Mia finds out Phoenix has lying to her, she reacts very strongly with distrust. She also has to convince herself multiple times to trust in him again. Believing in people or trusting them doesn't seem to come easy to Mia. Which is super interesting because her advice is to always believe in your client. Maybe Mia eventually got used to trusting her clients but... she also never tells Phoenix about her investigation in Redd White. I don't think Mia is as trusting as she presents herself as.

Send Me a Character

And I will tell you my:

First impression

Impression now

Favorite moment

Idea for a story

Unpopular opinion

Favorite relationship

Favorite headcanon

What I mean by a character being "whumped" is them being on the receiving end of hurt/comfort.

Kind of a follow up to my last poll: here. I removed the "no preference" options because I'm forcing you guys to choose >:) Feel free to explain your reasons in the tags/comments!

writing around feelings

imo the absence of a feeling in writing is more powerful than directly describing it. people comment about how i do this a lot in writing so i thought i’d share what i mean and how i do it

so basically i’m trying to articulate a feeling without actually acknowledging it in the writing. when people avoid a thought or a feeling they don’t give it a name. it’s like touching around a bruise, you feel a little around it but avoid fully touching it because it hurts. that’s what i mean

in practice i think i have a couple ways of doing this:

1/ does, doesn’t, would, could: even if a character doesn’t take an action or acknowledge a feeling, the possibility is there in the story and i like drawing attention to that, it addresses the periphery of an emotion in an interesting and internal way, examples:

Erik raises the visor of his helmet. A soft summer breeze hits his face, catching on the sweat and cooling him ever so slightly. He feels Istvan’s eyes on him but doesn’t meet them.

Ryunosuke faces forward, letting his hand drop from the hilt of the sword. He takes a short breath. He tries not to focus on the dust.

2/ flat description of actions: you can describe an action without describing the emotion attached to it. i feel this is more impactful than doing both at the same time, or just choosing to focus on an emotion. there is emotion in the action, the reader can decide which one, examples:

“Kate,” he says, a little too sharply. “Be very careful there. Be very careful.” His hands are shaking again. He crosses his arms and shoves his hands under his armpits.

His computer gives a soft chime. An email. A new lead, but the stories are safe and tame, nothing like the danger he was used to. He shakes his wrists again, warding off carpal tunnel for another day. Another chime sounds. He looks out the window again.

3/ bury emotion in metaphor: this one i do constantly, i’ll just go off on a tangent about something else and the emotion will come through, kind of like how a character will try to distract themselves when faced with an emotion they don’t quite know how to process, example:

Sunlight trickles in through the dense tree cover, like water. A ray touches Hans’s golden hair. Henry watches the light play on the yellow strands. His hair is combed back but a few strands fall onto his forehead, pushed around by some invisible wind. They could be harp strings, or silk threads. Something delicate and fine. Another ray of sunlight falls over Hans’s hair and it seems almost to glow.

He unclenches his hands one finger at a time. The stress of muscles tensing no longer exists, not here, but the ghost of tension still lingers, the memory of it, over his knuckles and in his wrists. He wishes he could just have this. Just the pain in his joints of holding onto something too tightly for too long.