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    Ace Attorney Among us

    September 25, 2020

    Ace Attorney Among us

    Among us

    Posted: 24 Sep 2020 11:57 AM PDT

    loving the game so far! and since it's my cake day, I thought i'd make a meme with it.

    Posted: 24 Sep 2020 08:55 AM PDT

    The Prosecutors, AAI style

    Posted: 24 Sep 2020 01:02 PM PDT

    Art that a friend of mine made on my request!

    Posted: 24 Sep 2020 01:18 PM PDT

    I like to draw Ema

    Posted: 24 Sep 2020 12:30 PM PDT

    'Trials and Tribulations' is an allegorical sequel to 'Waiting for Godot' by Samuel Beckett, how all mainline games written by Takumi contain themes and ideas from Beckett's play to some extent and the existential questions of "purpose" in Ace Attorney series. (AA1-4 Spoilers)

    Posted: 24 Sep 2020 04:01 PM PDT

    When I played T&T for the first time years ago, I was genuinely surprised that there were almost no discussions on the connection between the game and the play. In fact, most of the time I see people not paying much attention to it or saying that the connection is rather "far-fetched". In my opinion, it is quiet a fascinating topic to think about. It might be not the deepest or "meta"-est thing in a fiction but I think it's still worth to go down the rabbit hole. I also want to apologize for any grammatical mistakes and typos beforehand. So let's begin.

    I haven't seen or read 'Waiting for Godot' for ages. I remember the general plot but not the exact details. Because of that I will mostly rely on summaries. If I get something wrong, you can feel free to correct me.

    There're a lot of things to look for in 'Waiting for Godot'. If you try to comprehend every single detail in this play, you can spend hours or even days trying to formulate what they exactly mean. Instead of that, I will try to answer this question to speed up the whole process. What is 'Waiting for Godot' exactly about? Well, it is about two individuals, Vladimir and Estragon, having an appointment with a man named Godot near a leafless tree. Both Vladimir and Estragon are waiting for this man's arrival. While waiting, they discuss different topics: from the biblical story about crucified Jesus and thieves to how they should end their lives. They also try to reflect on more mundane things like what to eat, what both of them did yesterday and what the right time and place to meet Godot. If Godot doesn't show up for the entirety of an appointed day, then Vladimir and Estragon decide to leave and come back the next day for a new appointment. Sometimes Estragon decides to leave and go somewhere far away but Vladimir reminds him about Godot. Most of their conversations end with the same notion about importance of meeting with Godot. They are always forgetting things that they've talked about and done recently. They also forget about details of meetings with bypassers (and sometimes even forget the fact of those meetings ever happening). The only thing that matters for them is Godot and their appointed meeting with him. However, why is this Godot guy so important for Vladimir and Estragon? Well, they don't really know why this is important themselves. They only remember that they had asked something from him and Godot agreed to think about the request later. This request must be something really important and significant if Vladimir and Estragon are willing to come back every time in spite of all postponements messages from a boy, whose master is Godot. You can also deduce that they are waiting for Godot for the really long time because of their constant memory lapses and self-questioning about the right place and time for the anticipated meeting. All their existence is dictated by waiting for Godot at this point. Vladimir and Estragon only question and don't live like normal people. They aimlessly repeat the same actions all over again hoping that the meeting with Godot will somehow solve every problem they have. They got stuck in the neverending loop of waiting for Godot, the man who never comes. Vladimir and Estragon are literally and figuratively "tied" to Godot. Their static existence is also shown through the way of how both acts of the play end: while deciding on leaving for another day, Vladimir and Estragon stand still near the tree and don't go anywhere.

    Unlike these two individuals, another characters from the play, Pozzo and Lucky, recognize the hardships of life and accept them. They don't need any Godot to solve their problems. They always have certain goals and move around. Unlike Vladimir and Estragon, Pozzo and Lucky have some changes over the course of two acts of the play: Pozzo became blind and Lucky became mute. Getting tired of questions from the duo about 'when' and 'how' he got blind and Lucky got mute, Pozzo says:

    Have you not done tormenting me with your accursed time! It's abominable! When! When! One day, is that not enough for you, one day he went dumb, one day I went blind, one day we'll go deaf, one day we were born, one day we shall die, the same day, the same second, is that not enough for you?

    Pozzo is a simple man. He doesn't question anything about life. He just lives it and minds his own business without aimless thoughts about some Godot guy who presumably has all answers to all your questions. He and Lucky are busy men who have a lot of things to do and think about unlike Vladimir and Estragon who only wait for Godot with "nothing to be done".

    For me, 'Waiting for Godot' is a tale about people who give themselves up to something that involves constant questioning of yourself and far-reaching thoughts about your life and future. This infinite desire for knowledge can only lead to sorrow, depression and existential crisis if you don't have anything or anyone else to live for besides Godot. There never will be a definitive answer to the purpose of our existence (especially if you actually try to wait for Godot) but that doesn't mean that we should just give up on it and waste it on unanswerable questions till we die. People like Vladimir and Estragon can only question parts of their existence and don't have any real purpose besides waiting for Godot. They don't realize that they only waste their life by waiting for something that never comes.

    So, how does T&T fit in? I think T&T is quite unique and fascinating game in the series for how it uses another work of fiction. It is not only used just for references but also for the purpose of the plot. To be exact, I am talking about Diego Armando's story arc. In the game Diego gets poisoned and falls into a coma. After some time Diego wakes up and finds out that Mia Fey, the person he deeply cares about (and probably the only person in his life that matters for him), is dead. Dahlia Hawthorne, the woman who is responsible for his coma, was executed and Redd White, the real culprit behind Mia's murder, was put behind the bars. At this point Diego is all alone and helpless. He doesn't have any connections to his past and any goals and objectives in life. You even can say that he has no reason to live. As Diego later puts it himself:

    There wasn't anyone waiting for me when I woke up.

    Having no purpose and connection to his past, Diego uses "Godot" as his new alias and decides to take revenge on Phoenix Wright, the man, in his opinion, who is also responsible for Mia's death and isn't worth to be considered as Mia's successor.

    This entire story setup is not only one of the perfect examples of irony but also a perfect example of postmodern subversion because of how Godot is not perceived as something unachievable like in the play. As an allegorical sequel to 'Waiting for Godot', T&T shows us the events of the play from a new perspective of "Godot" instead of the old perspective of Vladimir and Estragon. While Vladimir and Estragon are waiting for Godot till they die some day, "Godot" returns "from the depths of Hell" and finds himself in a similar situation as Vladimir and Estragon.

    The entire scenario seems to be inverted for "Godot" which is shown through inverted colors of his hair and tie. Having to live in a sorrow and constant self-questioning about reasons to continue his existence, "Godot" decides to set a new goal -- to defeat Phoenix in court (or Dragon if you a fan of Japanese equivalent). Trying to defeat "Phoenix" or "Dragon" is like waiting for Godot -- absolutely pointless and meaningless. Why is that? Well, both "Phoenix" and "Dragon" are mythological creatures beyond human comprehension. In a case of "Phoenix", it is also very well-known fact that it can reborn itself from ashes when it is killed. It only further cements how absurd and aimless "Godot's" existence and purpose at this moment is. Sometimes I see people complaining about "Godot's" motives and actions not making any sense. Little does these people realize that, in fact, they should not make any sense (like actions of Vladimir and Estragon) to make the story work. Like Vladimir and Estragon, "Godot" is lost and doesn't know what to do or why he should continue with his existence. "Godot" thinks that he can solve all his problems by chasing after the idea of defeating "Phoenix". However, he doesn't realize that he will only get his situation worse if he actually manages to defeat and humiliate the last thread of what left from Mia. "Godot's" existence at this point is meaningless and has no purpose besides taking down Phoenix Wright. If he actually succeeds, then there really will be "nothing to be done" for "Godot". While "Godot" might not be the same Godot from the play in a literal sense, Shu Takumi with introduction of Diego Armando and his transformation into "Godot" still answers in his manner to the question of who Godot in the play is. Takumi places Godot in the same position as Vladimir and Estragon. Godot doesn't come because he also got stuck in an existential trap. He can't answer to Vladimir's and Estragon's questions because he is also lost, purposeless and has "nothing to be done". This interpretation makes the overall situation from the play even more depressing and dreadful by placing the trio in the same boat. This interpretation also gives another meaning to these lines of dialogue between the messenger boy and Vladimir at the end of the second act:

    Vladimir: What does he do, Mr. Godot?

    Boy: He does nothing, Sir.

    On the other hand, we have Phoenix Wright. I think Phoenix's role in all of this alludes to Pozzo and Lucky. Like Pozzo and Lucky, Phoenix is a simple man. His intentions and way of thinking are also simple -- to help those who are in need and believe in his clients no matter what. He also experiences personal changes and becomes more professional and independent as the series goes on. Phoenix also experiences the hardships (the classroom trial and 'Turnabout Memories') but doesn't allow them to absorb him and continues with his life. Phoenix's purpose in life is clear-cut. On the surface, Phoenix is rather easy to analyze and digest as a character but it is also what makes him so beautiful. Phoenix is the complete opposite of "Godot" who is the real main antagonist of T&T, not Dahlia. In spite of Dahlia's actions being more impactful to the events of the series, people like "Godot" and their purposelessness are everything that Phoenix opposes through the entire trilogy at the meta-level (I will talk about PW:AA and JFA on this matter a little bit later, don't worry). That is why "Godot" is also the last opponent in the trilogy. At the end of 'Bridge to the Turnabout' Phoenix faces off against "Godot" to show that Mia's ideals and deeds were not in vain. By that Phoenix's actions can be regarded as salvaging ones because Phoenix's actions can free "Godot" from his static existential trap and self-destructive behavior.

    I also don't want to let it go unmentioned: it's an interview with Ace Attorney Art Director Tatsuro Iwamoto on who he based his design of "Godot" on. Iwamoto says that "Godot's" design was inspired by appearance of Roy Batty played by Rutger Hauer in a neo-noir sci-fi movie 'Blade Runner', which is also my personal favorite movie of all time. This reference not only cemented T&T and "Godot" as one of my favorite things about the series but also got me thinking. Even though Iwamoto said that his reasoning for using Roy as a base is that "he looks cool", I still think that 'Waiting for Godot' allegory accidentally (or maybe even on purpose?) can be applied to 'Blade Runner' story. In short, 'Blade Runner' is a story about Rick Deckard, one of LAPD's "Blade Runners" who hunt down fugitive replicants that escape the off-world colonies to Earth. Replicants are genetically engineered humans created by Tyrell Corporation for different kinds of labor (from being an companion to people, who agreed to emigrate from Earth to colonies, to being a combat model for exploring off-world and protecting colonies). Roy Batty (a combat Nexus-6 model) is a main antagonist of the movie. He and other five Nexus-6 replicants escape from one of the off-world colony to find Eldon Tyrell, a founder of Tyrell Corporation. Roy and his group try to get to Tyrell to demand for a longer lifespan, killing more than 23 people in the process. Nexus-6 replicants copy human beings in almost every single way possible except their emotional responses. However, they can develop more natural human emotions and responses with time. Because of that Nexus-6 replicants are built with the limited lifespan in 4 years, so that they cannot blend in with normal human beings. It is a big issue for replicants like Roy who end up revolting and escaping to Earth to find some way to expand their lifespan. When Roy finally gets to Tyrell thinking that it will solve all problems, he finds out that there's actually no way to change their pre-made DNA and expand their lifespan. This is where 'Blade Runner' can be partially tied to 'Waiting for Godot'. Roy's purpose and goal was to prolong his life. This goal ended up being meaningless and unachievable as there's no way to achieve it in the first place. Roy not only risked his last days of life but also put all his comrades' lives (other fellow replicants that Roy deeply cared about in spite of his lack of the human level of empathy) in danger for something that cannot be achieved. In this unused scene taken place after meeting with Tyrell, we can see how Roy is lost and confused with lack of purpose which is shown through how he calls for his "Mom". Realizing how little time he has left, Roy returns to his hideout only to find the last member of his group being gunned down by Deckard. In a rage he chases after Deckard resulting this climatic scene. 'Tears in Rain' scene is unarguably one of the most memorable and iconic part about 'Blade Runner'. Even though I understand that not everyone could possibly enjoy this movie as a whole, I still recommend seeing this scene at least once before continuing reading because of how touching and beautifully staged it is.

    Having his enemy finally cornered, Roy sees how furious, scared and helpless Deckard is at the same time. Realizing that Deckard is a lot like him, Roy at the last moment commits the unthinkable -- he pulls Deckard up with the last of his strength saving him from the fall. Then Roy sits down and says these words to Deckard before his "expiration time" kicks in:

    I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears in rain. Time to die.

    And Roy with his last breath releases a white dove for freedom.

    In this scene Roy goes against his nature as a war killing machine and commits a salvaging act of forgiveness like a normal human being. Roy saves not only any human's life for the first time but also his enemy's life who killed all his comrades and tried to kill him. After that Roy shares his life experience with his enemy demonstrating that he treats him as an equal. While replicants like Roy have mental and physical differences with regular humans, they also at the same time can have different life experiences, feelings, emotions and free will like normal people. Roy shows Deckard that replicants and humans in their essence have no differences, so replicants must not be treated as emotionless machines. Roy also accepts his insignificance in the universal long term (hence, why "All those moments will be lost in time, like tears in rain.") but also understands that his life itself was worthwhile and worth living experience. In his last moments Roy hopes that his act, at least, somehow made Deckard, a replicant killer, question the replicants' nature. Roy lets the dove fly away which symbolize that Roy is now free from his pain of existence and can finally rest.

    While the finale of T&T might not be absolutely identical to 'Tears in Rain' scene and deliver different messages ('Blade Runner' -- accepting hardships, insignificance, pain of existence but realizing that life itself is still a magnificent worthwhile experience unique to everyone who can have feelings and emotions; T&T -- accepting hardships and pain of existence but realizing that the loved ones who are now gone for the eternity still live through memories and deeds of other people who are living right now), it's still have some similar points besides of both of these scenes being climatic touching moments in their retrospective stories like:

    • - antagonist in a rage chasing after protagonist ("Godot" tries to defeat Phoenix and Roy tries to kill Deckard)
    • - the salvaging act (Roy saves Deckard by pulling him up and Phoenix saves "Godot" from the existential trap by showing Mia's spirit living through him)
    • - antagonist's sudden change of goal (Roy sees Deckard's fear and saves him and "Godot" sees Mia's spirit and gives up his initial goal to defeat Phoenix)
    • - antagonist giving another chance for something (Roy gives another chance for a living to Deckard and "Godot" gives the last chance to reveal the truth to Phoenix)
    • - antagonist's defeat (Roy and "Godot" are defeated resulting not satisfying breakdowns and downfalls of generic villains but rather a bittersweet scenes where it turns out that both of them were doing bad things under the circumstances and by that making us sympathize with them)
    • - antagonist sharing his story with protagonist ("Godot" and Roy both share their past experience with Phoenix and Deckard retrospectively)
    • - antagonist treating protagonist as an equal (Roy tells Deckard about his past life experience to demonstrate that he has life as unique as any other human being and "Godot" tells Phoenix about how lost, purposeless and angry he felt when he had woken up and then proceeds to calling Phoenix by his full name and drinking coffee with him)
    • - symbolism (Roy releases the white dove and "Godot" refers his blood from the bleeding wound as his "tears" which itself refers to another truly iconic and epic quote from the same game: "The only time a lawyer can cry is when it's all over.", which symbolizes "Godot's" escape from his existential trap)

    Seeing Mia's spirit for a split second, "Godot" like Roy comes to a sudden realization that he wasn't alone all this time. "Godot" finally understands that Mia's ideals didn't disappear and were there with people like Phoenix all the time. As a sign of gratitude to Phoenix, "Godot" admits all his wrongdoings and crimes realizing that is something Mia would want him to do. "Godot" is ready to receive his full punishment to not let Mia's ideals fade away. If "Godot" doesn't face his punishment, he will be the one who isn't "worthy" to be Mia's "successor". That way "Godot" preserves memories about Mia to not let them be "lost in time, like tears in rain", at least, in the some term. "Godot" also experiences the first change for the first time during the events of the game: he transforms back into Diego Armando symbolizing that he doesn't wait to defeat "Phoenix" anymore -- he has a real purpose and acts on it from now on.

    So, what about PW:AA, JFA and AJ? To begin with PW:AA, we are facing against off Miles Edgeworth, the infamous "Demon Prosecutor" and the childhood friend of Phoenix Wright. Miles Edgeworth was adopted by Manfred von Karma after his real father's death to be trained to become a prosecutor like Manfred who only cares about "perfection" and winning trials. Manfred doesn't care about lives of innocent people that he convicted and uses all means to win his cases. Manfred mentally can't stand the idea of losing. When he receives the first penalty in his career because of Gregory Edgeworth, Miles's father, Manfred decides to kill and destroy him with the first given opportunity. Manfred hadn't to wait for the long time as Gregory passed out after being stuck in an elevator. Manfred uses this chance to kill Gregory and leave little Miles without a father in order to humiliate the last thread of what has left from Gregory by raising Miles to become like himself. Miles meanwhile starts suffering from the same nightmare about Gregory's death and questioning himself whether he is the one who is responsible for his death. Miles becomes cold and closed to everyone and leaves his childhood friends, Phoenix and Larry Butz, behind. He doesn't question his new ways and his new position as the "Demon Prosecutor". He doesn't think about what Gregory would think of him with his new mindset. Miles also got stuck in a static existential trap of doubts and self-questioning hoping that some day he will solve all his problems by himself. However, the solution never comes as he doesn't realize that he can't solve his problems by overthinking them. Miles really only needed a helping hand from his friends like Phoenix and Larry to cope with a loss of the father to move on with life. Miles, however, only waits with no real purpose. In 'Turnabout Goodbyes' Phoenix and Larry finally help him out in spite of Edgeworth's unwillingness to cooperate. Phoenix reveals all Manfred's crimes and helps Edgeworth to escape his trap that he had got stuck in for the long time. The 'Turnabout Goodbyes' events made Edgeworth free from self-questioning and doubts resulting him to reject his old "Demon Prosecutor" ways in JFA and T&T and finding his new purpose in Investigations spin-off games -- to seek the Truth like his passed father, Gregory Edgeworth.

    In JFA we face against off Franziska von Karma, a prosecutor prodigy and a daughter of Manfred von Karma. Like her father, Franziska is obsessed with winning and being "perfect" at everything. Being a heiress of "von Karma" name, Franziska seeks all ways to prove how she is worthy of her title which includes following her father's "perfect" footsteps and using his dirty tactics to win cases. Even after the news about her father being defeated and convicted of murder and the news about Miles Edgeworth's repeated defeats Franziska doesn't question her ways and blindly continues to perceive all of these as an opportunity to prove her "worth". Living only for the sake of her name and her father's legacy, Franziska without having her own identity desires to defeat Phoenix Wright who defeated Edgeworth in the past. By defeating Phoenix, the enemy who defeated Miles, Franziska wants to prove how superior she is. However, she is the one who is constantly being defeated by Wright resulting her entire initial worldview to crumble which culminates in 'Farewell, My Turnabout'. In this case Franziska sees not only how little Phoenix cares about "winning" and "losing" but also how little Edgeworth cares about the same things from now on. In the end, Franziska experiences a change of heart and understands that there is more to life than just "winning" and following her father's footsteps. At the airport Edgeworth expresses his hopes for her and wishes that she can find her own ways as he had found his. This moment results Franziska's comeback in T&T where she doesn't identity herself with her father anymore. In spite of still keeping her von Karma's "perfect" attitude and her competitive spirit, she returns with a new goal and purpose in her mind -- to help Edgeworth and her other friends to solve the case.

    'Apollo Justice: Ace Attorney' is probably the most interesting game out of all aforementioned before. If the original trilogy tackles more personal problems like friendship, loss of loved ones and following your parents' footsteps, AJ uses a 'Waiting for Godot' allegory to directly cover the problem of the legal system. "Godot" in AJ is the Absolute Unchangeable Law. And people who wait for "Godot" are waiting for the Absolute Unchangeable Law to fix all our social issues. Like Vladimir and Estragon, Kristoph Gavin refuses to accept imperfections of the Law to move on. Instead of that, Kristoph got stuck in a constant questioning. Kristoph just can't comprehend how people like Shadi Enigmar can trust someone like Phoenix Wright who only bluffs his way through trials. However, unlike Kristoph, Phoenix understands imperfections of the Law because he had to deal with many of those imperfections through his lawyer days to catch powerful and high-powered criminals in the past. Phoenix understands that the Law needs changes like the Jurist System to function stably. If the Law doesn't change at all, then there is no other way but to bluff and cheat. Kristoph doesn't bluff even for the sake of truly innocent people and ironically only looks for minor loopholes exclusively within the Law to make a name for himself because he believes that 'the Law is absolute'. In 'Turnabout Succession' Klavier, Kristoph's brother, says these words to his brother: "You aren't changing. You've stopped". These lines of dialogue alludes to Vladimir and Estragon who also have stopped and aren't changing. This moment only further cements the connection between the play and AJ.

    In the end, there's also Apollo Justice's existential questions about what the Law is. Apollo's inner monologue shows us that there are always existential doubts in all of us no matter what. There is no real way to know what the Law is because it is always different for different times and places. The desire to know more about the essence of the Law is like waiting for Godot -- pointless and meaningless. The most important thing about the Law and our lives in general is what is happening right now and what can we do in future without getting stuck in an existential trap. I think the Judge puts it very well:

    The Law is the end product of many years of history... The fruit of human knowledge! Like a gem, polished to a gleam through trials... And errors. It is the fruit we receive, and pass on, and face in our time. And it is always changing, growing. Nurturing it is our task as human beings.

    Or maybe I am just a dumb shitposter who has wasted your time just now and Godot is just a sexist asshole, idk

    submitted by /u/carnegeonr
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    I drew edgeworth but in among us style

    Posted: 24 Sep 2020 02:48 PM PDT

    Ah yes game.

    Posted: 24 Sep 2020 06:17 PM PDT

    Ya'll mind if I flex my background? ����

    Posted: 24 Sep 2020 03:56 PM PDT

    Young Manfred von Karma (I just removed his wrinkles and made his eyes bigger)

    Posted: 24 Sep 2020 12:55 PM PDT

    This person deserves more views

    Posted: 24 Sep 2020 11:01 PM PDT

    I think I know what Manfred von Karma was doing in his vacations

    Posted: 24 Sep 2020 07:04 PM PDT

    What's your phone wallpaper ?

    Posted: 24 Sep 2020 10:41 PM PDT

    I'm just curious what kind of Ace Attorney phone wallpaper you've got

    submitted by /u/tw_fan
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    Just finished DD, so I decided I’d sneak a peek at SoJ. First thing I notice is this. I’m terrified now.

    Posted: 24 Sep 2020 09:58 PM PDT

    I decided I'd take part in these case tier lists as well (VS cases in comments)

    Posted: 24 Sep 2020 11:53 PM PDT

    Among us but it's Ace Attorney style

    Posted: 24 Sep 2020 11:40 PM PDT

    Ahhhhhhhh, this brings back memories

    https://www.youtube.com/watch?v=_lLmodkv8R4

    submitted by /u/ChrisDanh
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    What good things do you have to say about your least favorite case?

    Posted: 24 Sep 2020 09:05 PM PDT

    I tried to make the first part of the movie Fight Club on Objection.lol

    Posted: 24 Sep 2020 09:55 PM PDT

    I just started 4-2 today

    Posted: 24 Sep 2020 10:16 AM PDT

    I heard not many characters from the trilogy appear in this game, so I was pretty happy when Mr. Charley was included! But otherwise...

    Why, out of all the characters that could have shown up... why'd they pick fake Dr. Hotti? Why is his name Dr. Hickfield now?? He's literally the one character I wished to never see again. I was so thankful when Phoenix interrupted him talking with Trucy. Yikes.

    submitted by /u/rii02
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    Motive for murder...

    Posted: 24 Sep 2020 10:07 AM PDT

    Judge: Defendant, why did you kill the victim?

    Defendant: He told me he wanted to be knocked out until Ace Attorney 7 was revealed.

    submitted by /u/Mansion13
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    Ace Attorney Special Court 2012 Subbed

    Posted: 24 Sep 2020 05:53 PM PDT

    Fun fact about the ace attorney anime

    Posted: 24 Sep 2020 01:52 PM PDT

    Fun fact:In all openings of the ace attorney anime the father of Franziska Von Karma is the only lawyer that never shows up

    submitted by /u/Danielexxpro
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