working on this actually made me really like his character

Free! vs Yuri!!! on Ice (or why Free! is so much better)

I’ve seen a lot of  people comparing Free! with Yuri!!! On ice so I’m just sharing my two cents.

This is entirely my opinion. It will be biased. I don’t need anyone to agree with me. I know most people will get offended.

Also, this will be really long. Like really, really long. So if you’re good with that…

Keep reading

Why I fell in love with Riverdale's cast

Usually when I watch tv shows, I get easily attached to the characters. But when I discover the actors in real life, watch their interviews and stuff, I’m not gonna say I’m disappointed, but I’m kinda sad they aren’t like I imagined them you know? Sometimes I don’t like their personalities, or my otps in the show don’t even get along that well in real life and stuff like that. Usually I fall in love with fictional characters, not the actors behind them. But with Riverdale it’s just so different. The moment I began watching the first episode I just knew I was gonna be obsessed with it. I knew I was gonna love the cast. And then when I watched interviews, they were so much better than my expectations. I loved the actors even more. Every interview shows how genuine they are, how they get along so well and care for each other. They’re all so funny, humble, pure and loving. You can really see the chemistry between them. They actually show that they enjoy working together everyday. I don’t know how to explain it but it felt like I knew them for a very long time. They seem like a family, and they made me feel like I was part of it for some reason. Also the thing that surprised me is that each actor is perfect for his character. I know that it’s supposed to be like that since there’s a casting process and they’re basically looking for the actor who would fit the character well, but it’s insane how they make it feel like they’re actually these characters when they play them and how they don’t seem so different from them in real life (especially since the characters are 75 years old and well-known, so it’s not that easy). There’s a part of Betty in Lili, a part of Veronica in Camila…
I don’t know if you guys feel this way too, maybe it sounds weird and not very clear, but that’s how I feel. And to make a person feel all of this just in a few interviews (because the show just began so we don’t know that much about them after all), is pretty special.
To conclude all of these messy thoughts, I think I’m just gonna say that I’m so grateful for this lovely cast. They’re already gaining so much audience, fans, recognition…and I couldn’t be happier because they truly deserve it.

anonymous asked:

did you like mick? i was actually starting to enjoy him but then.... *cries*

OK SO

i didn’t

BUT I’LL EXPLAIN WHY because after his demise, a lot of people asked if i liked him, and i remained completely unphased by him SO!! here you go

  • he’s with the BMoL. already not a good thing BECAUSE
    • i don’t care for this group……….they are SO CLEAN. and i think of clean as boring, unless proven otherwise. (which, within spn, i often am, which is nice!) i talked about this with a friend in seattle–this storyline strikes no chords with me because there’s 0 personality or gritty americana at all ;o;
  • the way they introduced his character made him seem like he’d be a lot more badass! but he was a pencil pusher so i mean alright
  • he said he’d never killed, but as a kid just to advance his position he killed one of his only friends?? so we don’t actually know anything he’s done ever except for so far kill 2 kids for his job that he doesn’t really like that much
  • i want SOME SORT of mythological creature to be working with them regularly, and mick………….dressed…………lIKE CAS….i mean if i have the choice between the two i’m gonna choose an angel child
  • his character never made too much sense to me?? and again. too clean without getting the hands dirty:

in comparison, look at my favorite character. look at him. he’s the most powerful being in the universe and he’s a damn slob

i think i might’ve just been spoiled too much last season

curse you robbie thompson

bell-zee-boo  asked:

For the thingy (you know. The Thingy™) I was wondering if you could do 707. You don't have to if you don't want to, though. Have a nice day :)

Absolutely!! 

1: sexuality headcanon: bisexual (and i thank cheritz every day for this being canon)
2: otp: yoosung/seven for sure!!
3: brotp: yoosung/seven again (they just work rly well both ways q v q) and seven/mc!
4: notp: seven/v ! 
5: first headcanon that pops into my head: paints his nails and is REALLY good at it. could open a nail salon if he wanted to. usually sticks to black, red and yellow. lots of stripes. also overall very into fashion
6: favorite line from this character: “You’re actually so warm and nice. So I sometimes dream about you some day accepting the real me. Of course it’s a ridiculous dream… but thank you for letting me dream at least.” (aka the first thing in game that made me cry like a baby) but “Can I… be a bit selfish to you? I want to leave on you evidence… that I existed.” is a close second.
7: one way in which I relate to this character: memes and angst
8: thing that gives me second hand embarrassment about this character: actually i cant think of anything that does! 
9: cinnamon roll or problematic fave?: complete cinnamon roll!

Zwei: The Ilvard Insurrection - Localization Blog #2

“Rally-ho, true believers!” I shout, swinging into the grand hall on a chandelier, interrupting the fancy party. Everything stops as eyes are focused solely on me – on my roguish good looks, my brand-name tabard, my elk leather highboots. I somersault to the floor, landing on my feet with a flourish and a bow. “I know you must have thought this high society gathering dreadfully dull without me here to tell you about the intricacies of composing prose for novel electronic amusements, so I’ve come to enlighten and entertain thee. Also, did you know all the food here is free? My pockets are full of cocktail wieners right now.”

Indeed, it’s an honor to see you again, dear readers. I hope you enjoyed my previous blog about the upcoming PC release of Zwei: The Ilvard Insurrection. As a small refresher, it served as something of an introduction to Zwei: II as a game – what it’s all about, its two main characters, the setup of the story, and its battle and leveling system. You can think of it as a sampler platter to give you a taste of why this game’s cool.

Do a barrel roll

Today, in my second Zwei: II blog, I’d like to go into more detail on the process of writing and editing for the game, and some of the things I dealt with and thought about as I localized it. I’ve done an entry like this for each of my prior projects, and I always enjoy it because it gives me a chance to briefly pull back the curtain and share with you some of the minutiae of localization, and the truism that every project is its own beast.

One interesting thing of note about this project is that it’s the first project on which I served as the sole editor. When I started working at XSEED, most of my prior localization experience had been as part of a team working on large single projects, while most of XSEED’s workflow at that time had been to keep a single editor on a project as much as possible. Each method has its own benefits, as you’d expect. When I work with a partner or team, I enjoy being able to bounce ideas off them or ask for hot takes any time I want, like, “Okay, which of these five potential quest names sounds the best to you?” or “Here’s what I have so far for this scene, but I want this girl to sound more disinterested. How would you do it?” We solicit general impressions from the office fairly regularly, but having other editors acquainted with the specifics and setting of the project you’re working on gives you access to an informed, expanded scope beyond your own intuition and experience. That’s important, because every editor is naturally going to have some characters or scenes they click with more readily than others.

On the other hand, flying solo can also be nice because it represents a purer distillation of editorial voice. With single-editor projects, you know that all the text in the game was overseen by the same person, making thoughtful choices with full knowledge of where everything fits in the greater scheme of the story. I think that’s what XSEED values about this methodology, but with the arrival of mammoth-sized scripts like those for the Story of Seasons and Trails of Cold Steel games, it became a matter of practicality to learn to work well as small teams on projects – a challenge I think our editors have risen to meet in admirable fashion. Of course, that’s not to say I didn’t have a lifeline or two working on Zwei: II. Junpei and Tom were an ever-present source of support whenever I had a question about something in the Japanese – and there were many, many of those over the duration of the project. Even when you’re working alone, you’re never truly alone when you’ve got the office familia backin’ you up.

Getting to work on a project by myself has also helped me better understand my own work process. One nice thing is that everything I mentally bring to a project – the stories I’ve consumed and experiences I’ve had that color how I interpret characters and scenes – remains consistent throughout. This is especially pertinent when writing for comedic scenes, as no two editors will have the exact same sense of humor, and Zwei has more than its share of wisecracks and comedy. The scary thing about being the sole face of a game, though, is that anything that’s weird or wrong, any jokes that totally fall flat, emotional connections that don’t get made – that’s all on me. In a way, it’s a test of myself as a writer and editor, with you all as the judges. With the original Story of Seasons, Tom and Ryan lent me a hand, and I had the dashing Young Kris as my partner for the first Trails of Cold Steel, but here, you get pure Nick, for better or worse (hopefully for better).

I mentioned briefly in my previous blog that Zwei: II felt like it was deeply informed by ’90s anime and manga, and I’d like to unpack that a little more for you here, in case your curiosity was piqued at the notion. After all, a lot of the games we work on here at XSEED are pretty anime-flavored, right? What’s one more on the list?

Here’s my take. Over time, the general vibe of anime has undergone change, as all thriving arts tend to. One major difference – the one most relevant to our discussion – is the observation that protagonists in many modern series tend to be passive, disaffected, reticent, or otherwise hesitant to engage the world and situations around them. They’re the reactive sort. Sometimes it’s because they’re exceptionally socially aware. Sometimes it may be because they’re awkward youths. Sometimes it’s because you get the impression that the writer really wants you to think this person is cool or above it all. Anime from the ’90s, on the other hand, is much more associated with protagonists who leap into situations without thinking, do things without considering the ramifications of their actions, and adhere to a personal code or philosophy that the character consciously or unconsciously holds. Both approaches, in the hands of a good storyteller, can and have made for some great entertainment, but from a writing perspective, the “’90s anime” types are definitely easier for me to work with. They’re more expressive, more willing to engage, and their very being tends to create conflicts that help drive the story and the growth of both themselves and other characters.

During the time I was working on Zwei: II, I actually ended up rewatching a season of Ranma ½ (those blu-rays are preeeeetty sweet) and seeing the Tenchi Muyo TV series for the first time (on loan from Tom). Seeing those really made this whole point click with me, like, “…That’s it! That’s the kind of comedic stylings Zwei is trying to channel!” Not in the sense of specific plot points or characters from any particular series, but the sort of atmosphere that was about creating opportunities for amusing things to happen. Ranma, for instance, tends to nettle many of the characters in his series not on purpose, but just by being who he is. And not just that – doing it on purpose also comes very easily to him (just watch how he loves to bait Ryoga or Kuno with his taunting). Ragna is less purposefully ornery, but his decisive personality draws the admiration of some and the exasperation of others. Plus, later on in the game, you run across a genuine hot spring, and we all know what a staple of the era that is. ;)

You’ve probably heard the saying, “Tragedy is easy, comedy is hard,” and there’s truth in it. Most of us love a good comedy, but do any two of us love all the same comedies or laugh at all the same things? Humor is deceptively difficult because it’s so mercurial, influenced by the times, by moods, by delivery, and more. A bit that might leave you stone-faced Monday night could have you busting a gut Thursday night. Understanding why something that makes you laugh does so is the study of a lifetime. There’s really no shortcutting it – you have to get the mileage, experiencing things that make you laugh, thinking about why, and chasing the next thing you think might give you another shot of mirth. I can only hope that I’ve imbibed enough of the spirit of humor to properly convey the charm of what is perhaps Falcom’s most levity-laden title.

Yeah…just hangin’ in there, y'know…

Beyond my approach to the game itself, we have its characters – the heart and soul of the action. Quite often, early on in the process of localizing a game, I’ll get an impression of a character as, “Oh…I guess he’s a lot like X from [other source],” and as I make a couple of those anchoring connections and begin considering the characters in the game from those perspectives, they begin to show their multiple facets. Lest you think this sounds too close to, “Oh no, he’s just taking an existing character and foisting that persona on this carefully crafted, unique game character!”, take a measure of comfort in my assurance that I, too, would be dissatisfied with an approach that oversimplified. Think of it more as a basic framework – scaffolding that lets me clamber around the object d’art to get at the fine detailing.

With Ragna, for instance, his characterization is very front-loaded in the game. Right away, you know he’s a freewheeling pilot, sort of a hotshot, and likes to do things his own way. The image he creates is very “early 20th-century flyboy,” and I sort of conceptualized him as a guy who wouldn’t feel out of place if you stuck him in among the cast of “The Rocketeer.” Speech-wise, his alternating between laid back and fired up reminded me of Gundam Wing’s Duo Maxwell, and like that character, Ragna likes to chime in with some tongue-in-cheek commentary if something patently ludicrous or weird happens in the game. Finding characters who are reasonably like the one you’re writing for helps, as does understanding the milieu in which a character exists – what they were doing just before the story began, and what the world around them that shaped them is like.

There are actually a couple characters who have what I termed “Ragna-variant” speaking styles. Ragna’s main vocal tic is that he sometimes truncates words ending in “-ing” (so “nothing” would become “nothin’,” and “fighting” would be “fightin’,” though I tried to generally keep it to one per text box – it’s a spice, not a marinade), so among the expanded cast, you get some people who speak that way because they have similar lifestyles. Odessa, as a rough-and-tumble Treasure Hunter who specializes in capturing bounties, is very colloquial in her faux old-west style. Gashler, who runs the garage out by the airstrip, is a full-bearded, goggled mechanic that sort of reminded me of Cid from Final Fantasy IV, and his speaking style is pretty thick – one of the most affected in the game, though I tried to make it still pretty easy to comprehend. One also has to consider that people who have special styles of speech have certain occasions where that’s either suppressed somewhat, or is expressed with even greater emphasis than normal. Even old man Gashler might speak (mostly) standard English if you dragged him to a black-tie event, but on the other hand, if someone said his workmanship is rubbish, I have no doubt that he’d be cussin’ up a storm, blastin’ furnace-fire, and lettin’ loose with the sort of strange, idiomatic expressions that only grease-stained mechanics know.

Ragna being an unusually “American-feeling” character made him pretty easy to write for right from the start. Alwen took a little more finesse and more time to find her ground – but not because she was difficult in a conventional sense. The trick with Alwen was that she definitely inhabits a certain archetype, at least partially, but I needed to figure out how much of that I needed to accurately represent her, and when to let her individual characteristics shine.

Alwen, as the daughter of an esteemed Trueblood vampire house, can be very prideful, bordering sometimes on haughty. She learns fairly quickly that the world beyond her castle has more complexities than she gave it credit for, but her distance from the world of humans actually gives her some surprising insights. Now, the most common way you see characters like Alwen played are that they step out into the greater world, eventually realize how much they don’t know, and depend on their friends to teach them what it means to really live along the way. Alwen…has some of that, but it’s the way she interfaces with the world that makes her an interesting and fun character. For example, she doesn’t technically NEED to eat food, but likes eating a ton of it (on Ragna’s dime, of course) just because it’s tasty. She’s not afraid to walk right into town and make small talk with the people. Alwen may be a vampire, but she’s refreshingly (and oddly) free of so many of the preconceived expectations people have about what vampires are like. She even calls Ragna out on this early on in the game when he’s shocked that she walks around just fine in the bright morning sunlight. A great deal of Zwei: II’s story is really her story, especially when it comes to getting the ball rolling, and it helps the story greatly to have a character who both entices with a bit of the familiar but also stands out due to individual quirks.

I also did with Alwen a variant of what I did for Laura in Trails of Cold Steel, where I shifted her from talking with a “proper,” antiquated style of speech to a more natural speaking style that still retains the idea that she’s highborn. Coming at this from a lore perspective, Alwen hasn’t been out of her castle in the last 100 years or so and has learned what she knows of the world from her estate’s extensive library, so it would be very feasible for her speaking style to sound older than that of Ragna or the people of Artte. In practice, though, Ragna having a casual style of speech and Alwen’s speech being fairly rigid made it difficult for the comedy to land, and to really connect with Alwen as a character. Can you imagine what Star Wars would’ve been like if Princess Leia spoke like a medieval fantasy princess while trying to banter with Han Solo? That’s the kind of disparity I’m talking about. It might’ve been funny, but for reasons entirely unintended. So after thinking on it a while, I decided to adjust Alwen’s speaking style, dialing it back. My priority was to keep her sounding articulate and well spoken, but casual up the language so that the banter between her and Ragna has the requisite snap it ought to. In my opinion, the net gain from that was well worth the adjustment, which you’ll be able to see for yourself when you play.  

Sort of tangentially related to that, in the Japanese version, Ragna goes through basically the whole game calling Alwen “Princess” (“hime-san”). The best reasoning I could figure is that maybe, having taken on some power from their blood contract, Ragna feels he should acknowledge her as his liege, but…that explanation totally flies in the face of Ragna’s personality. Ragna is a guy for whom there is ONLY a first-name basis (or a nickname if he finds one for you he likes). The most likely explanation is that it’s just the difference between politeness levels in Japanese personal address versus Western personal address, but the title put a certain amount of “distance” between them that I didn’t want to remain there for the duration of the game. The alteration I made to compensate for this was to have Ragna refer to Alwen as “princess” a bit at the very outset of the game, but quickly fall into using her first name, which feels much more natural for the character. To draw the analogy with Star Wars again, think of it as Han Solo going from calling Leia “princess” or “your worship” in a sort of snarky context when he doesn’t really know her to simply calling her “Leia” once he’s spent time with her and knows her as an individual. Plus, with as big a deal as Ragna makes over wanting to work together with Alwen as “equal partners” at the start of the game, it would be weird for him to then go on to refer to her by her royal title for the rest of the game.

This discussion isn’t meant to be a comprehensive retrospective of Zwei: II’s localization, of course; just a list of some of the noteworthy things I grappled with working on the game. Editorial work does have its pressures and difficulties – when the buck basically stops with you, how do you know you’re making the right call? – but ultimately, these kinds of challenges are what keep the job fresh and interesting. The point of all the character personality profiling, the speech styles, the fine-tuning, is for players to be able to sit down and experience a fun story and memorable characters that “just work,” no speculative  microscope examinations of the translation required. I think my obsessive tweaking and spit-polishing will make for a better game experience…but you don’t have to take MY word for it. Give Zwei: The Ilvard Insurrection a try when it comes out and see for yourself!

kronecker-delta  asked:

You're character analysis of new-Dante has made me really think about what kind of game he could have worked in. Maybe something by Suda51 similar to No More Heroes, where the idea that he's this unlikable prick with deep, unresolved personal issues is actually the point of his character arc. Instead of the confused mess DmC delivered.

Honestly I think he would’ve worked in DmC if they went by what is most likely the original interpretation of him as a deeply traumatized and troubled demon killer.

Like, him blowing off Kat and kinda being like “ok whatever” to Vergil makes sense if he was a guy that got abused by demons as a kid. Even his uncaring hedonism would’ve worked a great deal better. But no they tried to make him a jocular dude.

But yeah, a lot of Suda51 protagonists have the points of

“This protagonist is kinda an idiot and also a dickhead.”

This happened in No More Heroes until they started giving Travis some troubled nobility in NMH2, and it’s also extremely present in Shadows of the Damned and Lollipop Chainsaw.

anonymous asked:

hi! after you're done seeing the movie, would you be ok with writing some spoilers or at least a spoilery-review for us western fans who have to wait months to see it, pretty please? :( im so hyped for it but hate having to wait. hope you enjoy it! <3

Happy to oblige friend

Alright so let me start off by saying that the Campania arc is my absolute favourite arc of the manga and I’ve read it more times than I can even count. Honestly, I could probably tell you exactly what happens panel by panel, so this is a review coming from that context. Bear in mind some of the things I’ll mention might not even be noticeable to people who haven’t poured so much time into it. Having cleared that up let’s begin.

(Obviously spoilers under the cut)

Keep reading

Bleach characters' voice mails


As requested by anon. :)


I’m very excited about this list. When I was in high school, I was really into Terry Pratchett, and I actually made lists about his books (like, on paper. Longhand) which I showed to my dad and my one other friend who read Pratchett. *coughs* Anyway, I once made voice mails for Pratchett characters, so it feels right to be doing so now for Bleach characters!


1. Orihime

“Hi!!! This is Inoue Orihime! Looks like I can’t come to the phone right now - I’m probably working, or at school, or in the land of the dead fighting monsters. Leave me a message! Or, if this is a medical emergency, please go outside and scream my name to the heavens. Hopefully I’ll hear you!”


2. Ichigo

“Hey. This is Kurosaki Ichigo. If you’ve kidnapped one of my friends, press 1. If you need rescuing and/or help, press 2. If you’re calling about the homework or something normal like that, ignore all that and press 3. And if you are Kenpachi or Grimmjow asking me to fight, just give it up already thanks.”


3. Ishida

“Hello! This is Ishida Uryu! If you have a sewing emergency, press 1. If you have a hollow emergency, press 2. If you want to discuss a QUINCY matter, press 3. If you want to discuss a Soul Society or shinigami matter, then why the hell are you calling me? I’m a Quincy. I don’t get involved with shinigami. Ever.”


4. Rukia

“Wait….so how do you record this? What, it’s going already? Give it back, Ichigo! Uh - this is Rukia! Kuchiki Rukia! I can’t come to the phone right now, so please leave me a message at the sound of the tone! Thanks! Wow that was fun! Wait, it’s still going? How do you turn it -”


5. Chad

“This is Sado’s phone. …………………………Leave a message.”


6. Unohana

“This is Unohana. If there is something important, you may leave me a message. If you are bleeding out on the battlefield, please hang up and text me your location. I check these messages every four months.”


7. Yachiru

“It’s Yachiru! I’m probably watching Ken-chan fight, so you shouldn’t bother me! But you can leave a message if you want and I’ll listen to it when Ken-chan is no longer fighting!”


8. Hisagi

“Hello. This is Hisagi Shuhei of Squad 9. If this involves the Seireitei Bulletin, please press 1. If it involves Squad 9 matters, press 2. If you are Matsumoto Rangiku asking for a favor, press 3. For anything else, press 4.”


9. Kyoraku

“Sorry that I missed your call, friend! I may be busy, or I may be asleep. Leave me a message, and we will talk soon! Preferably in person, over drinks.”


10. Nanao

“This is Ise Nanao, lieutenant of Squad 1. If you are calling for me, press 1. If you are calling because you cannot get a hold of my lazy-ass captain, press 2 and I will take care of it.”


11. Aizen

“This is Sosuke Aizen. I know why you have called, and I know what you will say in your message. It is all a part of my plan.”


12. Soi Fon

“This is Soi Fon. If you waste my time by leaving a message that is unimportant, I will hunt you down and I will kill you. That goes for you especially, Omaeda.”


13. Ulquiorra

“Whether you leave a message or not, I will know that you called. You have no options. My caller ID has taken them from you. Leave a message if you wish, but it will not change your fate. Once I saw your name, my decision as to whether or not to call you back had already been reached. Now there will be a beep.”


14. Yoruichi

“Hey there! This is Yoruichi! To be honest, I have no idea where my phone is and also cats can’t use voice mail, but you’re welcome to leave me a message if you want! You can tell me all about it when I next show up!”


15. Grimmjow

“Huh? I don’t WANT to leave a personalized message! What the fuck are you doing? Stop recording me! Stupid phone!”


16. Hitsugaya

“This is Captain Hitsugaya of Squad 10. Your call is important to me. Leave a message that gives your name, phone number, reason for calling, and the best time to reach you, and I will get back to you soon. Thank you. Goodbye.”


17. Matsumoto

“Wow - who uses voice mail anymore? Text me, silly!”


18. Lisa

“Hey. It’s Lisa. I probably heard the phone, but can’t be bothered to pick up right now. Leave a message if you want.”


19. Rose

“It looks like we missed each other - perhaps the time was simply not right for us to talk! Leave me a message, and I will call you back when I can!”


20. Gin

“Hello? [pause] Yes, this is Gin. What’s up? [pause] Really? [pause] Wow, tell me more. [pause] Uh huh. [pause] Uh huh. [pause] I gotcha. Oh, by the way, this is a recording. So sorry - I couldn’t help but tease you a little! You can still leave a message, of course!”

Anita Blake Deconstruction: Guilty Pleasures ch 1-2

In which I have opinions about books and I make you listen to them. :D

But first, a little scene-setting:

I first encountered the Anita Blake series in my freshman year of college about a decade ago. (Oh my god has it been ten years already? TEN. YEARS.) They were my first real urban fantasy novels and it was love at first page and I identified with Anita so hard.

There were already a dozen books out and I used to run upstairs to borrow them from a friend who owned the series. I still remember the first thing she said to me after recommending them: “they get weird later.” I assumed she was being cautious and dramatic because they had (gasp) sex and violence in them and at the time this was very edgy for li’l sheltered me.

She was not.

So the thing about this series is I have NEVER heard anyone bring these books up without adding that qualifier. If you hear someone talking about a series of books that gets weird they are talking about this series. I will lay money.

Anita Blake Vampire Books: They Get Weird.

Let’s discuss.

Ch 1:

Willie McCoy had been a jerk before he died. His being dead didn’t change that.

This is a pretty catchy start. Someone is dead! And in Anita’s office wearing polyester and looking like “a bit player in a gangster movie.” Willie is a vampire but he is not a love interest. We know this because he is short and awkwardly dressed and clearly low on the pecking order. He is also the first vampire Anita knew before he died.

One thing I never noticed before is how this first sentence sets up a key idea of the series. Vampires act like people. They remain essentially the people they were before they died. So are they people?

Don’t worry, Anita will spend thousands of pages angsting about this topic in books to come.

Keep reading

I watched it, and it was surprisingly good.

As I mentioned long before, I kept my expectation as low as possible because I knew from past experiences that being made into anime is not always a good thing. There are Japanese mangas, novels, games that I loved the original work but really didn’t like anime, and it made me really upset that people remember those works as anime versions even though they were much better in original. Those bad cut scenes on Dual Destinies really didn’t help either. I was worried and nervous at the news rather than thrilled.

But the first episode was actually quite pleasant. Even though I wasn’t really fond of anime promo arts (I still really prefer those pachinko animations) the characters looked much better moving around in the video, and the voice acting was good too. There were many scenes for AA fans to notice and smile, like Phoenix’s old pink sweater in his room, Phoenix riding his bike and late to the court, all those familiar sprites and musics. The opening and ending were both full of symbols. Everything was nice and I came to think “Wow. This is not bad at all! Maybe I was way too skeptic until now.”

But I still want to wait and see how it goes, because another lesson I’ve learned from watching many shows is that I can’t really judge anything when I saw only one episode. Yes, I know I’m being too skeptic again, but Ace Attorney is really important to me and I want to be less hurt as possible when anime turns out to be bad.

Ace Attorney would be an unusual work for Japanese anime, because the whole story is based around the emotional relationships between characters yet it still lacks the canon romance. Seriously, ALL of the main characters, like Phoenix, Edgeworth, Mia, Maya, Gumshoe, Franziska, are canonically single throughout the whole series. This is quite rare for anime, where at least one of the characters usually develop romantic feelings and start dating during the show. Even though there are numerous shippers of various pairings thanks to all those subtext hints and messages, but that’s what they are: subtexts. Not canon. Almost canon. But never canon.

This anime has a burden to show those difficult relationships, not making them too bland, but not making them too obvious. Phoenix and Edgeworth must be friends and rivals as they are in canon, but also there must be enough delicious hints to satisfy the needs of hungry shippers. Countless people would be upset if they appear to be either “way too gay” or “not gay enough.” The same thing goes to narumayo and other AA pairings.

Again, I think the opening, the ending and the first episode had done a pretty good job. That famous “golden chain and balanced scale” scene can be interpreted as showing their complicated relationship as both rivals and partners for justice throughout the series, or the fact that Edgeworth can’t escape from Phoenix because they are destined to love each other. I’m really intrigued to wait and see where this goes. And since I really liked the first episode, now I can wait in more peace and less fear :-)