aceof-stars

Latest Posts by aceof-stars

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.

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.

I think Miles feeling like his father would be disappointed in him is far more interesting if he came to that conclusion by himself instead of being "taught" to believe so by an external factor or being somehow trained to be something Gregory would have "hated" (and let's be real, Gregory would not flip a switch and hate anybody for anything, let alone his son).

Miles feeling like this by himself means there was a moment of self-reflection, even if that reflection did not reach the actually correct conclusion. It offers opportunities to explore how his brain works, themes of survivors guilt and grief that linger long after dl-6. That's interesting! That's intriguing!

What do you get from deciding there was some grand plan to form him into "a person Gregory would hate" (despite the obvious problems with that logic in the first place)? Cartoon villainy I guess? That's not very fun to explore...

please don’t spend your life convincing yourself that love or joy is reserved for the idealized version of you that only exists in the future

Prosecutor’s office AA1 vs AA6

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.

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.

That’s it. THAT’S what SOTR should’ve been.

As someone who has spent way too much time thinking about Haymitch, I always suspected that the first sparks of resistance started around the 50th (mostly based on the symbolism of Maysilee being established as the OG owner of the mockingjay pin, really). The Capitol suddenly reaping double the amount of kids? That’s majorly pushing the boundaries of what even the most oppressed districts would accept. People are angry. People are restless.

Then, out of nowhere, comes this kid from the most underprivileged loser district of them all, and he has no qualms about announcing that he doesn’t give a shit about their games. Instead of dying a quiet and swift death like he was supposed to as a D12 tribute, he then proceeds to use his sheer force of will, an outrageous amount of audacity and his own intelligence and wits to crawl his way to the biggest fluke victory ever, ruining their grand quarter quell.

That’s it. That’s enough to inspire resistance, wouldn’t you think?

The force field thing was bad, but not kill your entire family bad. I think the killings would’ve happened in response to rising unrest post 2QQ in district 12 and perhaps even other places - know where your place is, or you’ll end up like Haymitch.

We did not need a contrived plot to blow up the arena. We just didn’t. And the evidence of what she originally intended is still right there in the text. I think so, anyway.

This!! Especially the point about Miles becoming a prosecutor. In the original trilogy, he only ever cites DL-6 and his disillusionment with the system as the reason and he never grapples with it as something forced onto him by Manfred post AA1.

fanon rant.

i love fanon concepts but i hate how much they antagonize manfred.

phoenix tried to contact miles via letters, but he never responded? that's actually extremely interesting! the reason he didn't respond was because manfred had burnt letters phoenix sent? nowhere close to what happened in canon text.

franziska taught miles all the ropes of being a von karma, had him follow in her footsteps steps, and helped him fit in with the family? YES!!! I LOVE THAT!!! franziska did this because she knew miles wouldn't have survived the "abuse" from manfred otherwise? now you're just reaching.

miles became a prosecutor following his father's death because he felt betrayed by the system? that's actually canon! manfred was the main reason for this change and had groomed miles into believing all defense attorneys are untrustworthy and did this as a final "fuck you" to gregory? he literally has nothing to gain from that.

fanon concepts have great potential, especially when they build on canon, but i hate when they wildly reach at things that don't exist. headcanons are supposed to build on canon, and if not, acting like they are canon is just weird.

NO HATE TO THOSE WHO ENJOY THESE FANON CONCEPTS!!! NO HATE TO ABUSIVE MANFRED ENJOYERS!!! but you HAVE to understand that the headcanons and fanon you enjoy is simply that: a headcanon and fanon.

you are allowed to enjoy whatever you want, i just don't like being driven out of fandom spaces (which actually happened recently) because i don't think manfred von karma is a villain for things he didn't do.

manfred is a villain, there is no ignoring that, but he's a villain for murdering two innocent men, tasing two innocent people, and participating in the toxicity of the justice system, not because of fanon.

i don't want to start controversy, which is something i cannot believe i'm saying when im simply expressing an opinion, but i just felt really annoyed at it this morning. if you want to tell me why i'm "wrong" please do it respectfully, otherwise i'm not going to hear you out. i'm not here to change the minds of anyone who enjoys these concepts, i am just pointing out inconsistencies with these concepts and canon.

perfectionist (pt. 2)

1 | 3

tag as ship for an instant block theyre siblings you freaks

you buried two people that day

I’ve been getting into Ace Attorney! Scene from Farewell My Turnabout (no spoilers tho pls, I haven’t finished the case yet)

Narumitsu enamel pin design!

Will produce it if enough people are interested 🫡

also old but gold, still love that thing

Finally did the WrightWorth sketch session with Zeet Studio! (Just in time for Valentine's Day!) This was so fun, I had a huge grin on my face the entire time

THEY SHOULDVE HUGGED IT OUT 💔💔💔💔💔

His Trust...

I have to save him.

something's gone terribly wrong

(you're all i wanted)

This aligns exactly with what Edgeworth said at the end of Turnabout Goodbyes.

“For the longest time, I thought that I might have killed my own father. I thought I might be a criminal. I became a prosecutor in part to punish myself”

Edgeworth projected himself onto every defendant he prosecuted. It was probably the only way he could live with himself.

replaying 1-2 and it’s finally clicked that edgeworth thinking phoenix could murder mia was less about phoenix and almost entirely about him, who’d been living with the knowledge he killed his father despite loving him, idolizing him, and constructing his world view around him. edgeworth indicting phoenix for his mentor’s murder was one of the biggest signs he’d been carrying a guilty conscience for the past 15 years of his life.

This is literally how I view the wrightworth relationship progression through the trilogy.

Phoenix is 100% more emotionally constipated than Edgeworth is and I will stand by that.

Space to share a headcanon you rotate in your brain like a rotisserie chicken

I have a very specific idea how the mitsunaru ship dynamic goes:

Also that one headcanon about Phoenix suppressing his college self means everything to me...

The idea of him getting back to that mentality for a moment and trying to backpedal out of embarrassment is just

This is further evidence for my point that that Edgeworth has a “move on” attitude towards trauma and the past. After his father’s death, he pushed down his grief and guilt to pursue guilty verdicts. He probably did everything he could to forget his old life. Even now, he doesn’t dwell on the past, the difference is his goal is no longer so unhealthily single-minded.

He buries his emotions not for the sake of hiding them but to accomplish his goals.

“some people don’t deserve redemption” redemption isn’t something that’s deserved, it’s something someone does. it’s making the choice to change the way you live your life, to be better, to do good things instead of bad things and try to make up for the bad things. and everyone can and should do that, at any time, no matter what they’ve done. we can’t change the past, but we can choose what kind of person to be now and in the future. we have the responsibility to do so. it is so completely not about “deserving.”

Comparing some quotes from Farewell My Turnabout to AA1, you start to realize what Miles Edgeworth’s redemption arc is really about…

Turnabout Sisters: "Innocent"...? How can we know that? The guilty will always lie, to avoid being found out. There's no way to tell who is guilty and who is innocent! All that I can hope to do is get every defendant declared "guilty"! So I make that my policy. Versus Farewell, My Turnabout: It doesn't matter how many underhanded tricks a person uses... The truth will always find a way to make itself known. The only thing we can do is to fight with the knowledge we hold and everything we have. Erasing the paradoxes one by one... It's never easy... We claw and scratch for every inch. But we will always eventually reach that one single truth. This I promise you.

Rise From the Ashes: But in order to fight crime on my own, I'd need a "weapon." It's scary, but I've known that to be true for quite some time now.  Versus Farewell, My Turnabout: Working together is the definition of teamwork. It's the power to find the truth.

Edgeworth’s redemption isn’t about him gaining +100 morals. He turns his cynicism that used to blind him from seeking the truth into unflinching realism. He goes from being detrimentally independent to understanding the importance of teamwork. 

Miles Edgeworth is just as ruthless and unrelenting, but decides to use it to try to do good. He’s still overly focused on a singular goal, but instead of guilty verdicts, his goal is the truth. He’s still an insensitive prick. He acts condescending to the people he wants to help. He doesn’t fully comprehend how much his actions hurt the people who love him. But he does everything he can to help Phoenix save Maya. And he sees through Phoenix’s and Franziska’s misbeliefs when it comes to practicing law, and does his best to help them find themselves too.

Miles Edgeworth is not as soft as the fandom likes to portray him <3

His ruthlessness is a constant. Even when he "chose death" it was because he made a decision to not forgive himself.

miles edgeworth, the one who starts off callous and unrelenting, but even while falling into his lowest point, declares that he has always done what he believes is right. the character whose pivotal moment in the plot involves telling the protagonist that it's through their mutual trust that they can find the truth, basically the intellectual cousin of "the power of friendship always wins," and remains an unrelenting person throughout the narrative. this is the one fanon assigned the "tsundere" label to.

franziska von karma, the one who starts off hostile and aggressive against the protagonist, but is later revealed to be doing so out of care and concern for a loved one. the character who constantly yells "baka baka baka!" in the original text, only for that angry front to crumble into a sensitive interior when facing up to her feelings surrounding the brother she cares about. this is the one fanon portrays as put together and upfront.

how did the fandom make such a grave error

I love that phoenix is a bit of an asshole like he’s the most character ever

but i will not stand for goofy dumbass pathetic Phoenix erasure.

Bro canonically says “YEOWCH!” when he gets stabbed or hit.

He grabs the back of his neck and chuckles when he’s feeling sheepish.

He called himself “Sherlock Holmes II baby!” when sherlock holmes never existed. A HERLOVK SHOLMES DID

He gushes when something is cute or romantic. “You’re too cute to call you just pearl!” “*actively crying at the delite’s love story* thats so romantic…”

He copies his friends’s mannerisms bc he loves spending time with them. (also bc he has adhd. No this is canon and i’m correct about it no one fight me)

Feenie copies a lot of Larry’s mannerisms

Phoenix copies a lot of Mia’s mannerisms

Beanix has a lot of Dahlia’s mannerisms which i wont look into bc i value my mental health

In the anime he copies Ron Delite when he was yelling and that was so funny

theres more but i always write these when i’m half asleep

He loves to gossip with Maya, (like when gumshoe got a crush)

He loves to argue about pointless shit as well like ladders, which kinda leads into him trying to purposely be difficult bc he thinks its funny

idk i feel like people forget that this is the same dude who got amnesia twice and still went to work (once as his actual job: attorneying and once as a friggin baker 😭😭)

theres a TON of goofy cartoony shit that phoenix does! Yes he can be sarcastic, but he’s also a giant loser who is REALLY good at improv.

Phoenix is just as weird as everyone around him. He’s also a goofball who happens to be a big hater.

That’s precisely why Farewell My Turnabout is so so important to their relationship. It’s the case where Miles saves Phoenix <3

I cannot overstate how important Phoenix and Edgeworth are to each other’s lives. There is something so beautiful about Edgeworth’s walls crumbling before the man who picked up his father’s legacy where he couldn’t. There is so much care in the fact that Edgeworth returns to guide Phoenix when duty versus personal circumstances shake the latter’s principles to their core.

They spend their lives reciprocating each other’s acts of kindness, and it is in this eternal dance that they find comfort, trust, and love in one another.

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)

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!

Sincerely yours,

Phoenix Wright.