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hmm rereading my work until it stares back at me with a tired face and says pill, we can't do this again, we cant keep meeting like this, it's almost midnight. pill. you know you can't fix me. i dont want to be fixed. but im too in it. then? cut to black because it gets freaky
My little lab partners <3
franzy analysis <3
okay so i feel like a lot of people tend to think franziska's main motivation in jfa is to prove herself against miles and be competetive and i just think it's so much deeper than that! i really think it's because she yearns to matter! and to be recognized and remembered by the people she genuinely cares about!
I think one of franziska's most vulnerable lines was said to miles at the end of JFA:
You've always left me alone and walked on ahead without me. Miles Edgeworth... I've always hated you.
i think this line really speaks to what torments her the most: the feeling of being left behind. Obviously this cropped up from a young age; her insistence this was "always" the case paints a picture of her and miles' shared childhood (and is definitely shown in aai, if you've played that!). then this compounds with her recent abandonment: in the last year, she'd lost the two most influential people in her life—her father after he was found guilty in december 2016, and miles when he fled in february 2017. To me she is hurt and vengeful because she'd never gotten to say goodbye to either of them; she was once again 'left alone', as she'd always been as a little girl.
von Karma hates to feel like a child. It undermines her and everything she's worked to establish as a career woman. And I'm sure it makes her feel small.
So she wants to prove that she doesn't deserve to be left behind. And I feel this sort of abandonment is especially tormenting for her because she is such an effortful person. She admits she is "no genius" and that failure was "not an option". She has had to maintain her perfect win effort through sheer determination alone. So the idea that she cannot win the respect and time of her father and brother, even if she worked herself to the bone…yeah.
it hurts her so much that it becomes the basis for her revenge:
And then... Finally, my chance to take my revenge on you arrived. If I could win against that man... If I could make Phoenix Wright bow down in defeat... Then this "girl" you left behind would have risen higher than you! That was supposed to be my "revenge"...
in all probability, she is convinced this is what she wants: to get some revenge on Miles for having left her. I bet it feels good to think that. Underneath, i think, is the desire for Miles to see her as an equal. Someone who could be just as capable as him. Someone whom he would have told he was going to disappear (jesus christ, gumshoe knew he was alive before franziska did). Someone who he would've stood alongside to unpack the weight of the von Karma name. But she was left to do it alone. Like she did most things.
i am not even sure if she is aware of this desire to be seen as an equal. in all probability she convinced herself she is merely pissed at miles and wants to bite his head off. granted she has EVERY right to be pissed. miles fucked off and pretended to be dead literally two months after the image of her father shattered…she should've been angier imo. why takumi didn't let her whip him a million times is beyond me! put that thing to use!
anyway. she blames her own abandonment entirely on phoenix, in Turnabout Big Top:
"Prosecutor Miles Edgeworth chooses death?" Of course he did! You ruined his reputation as a prosecutor! You effectively killed the prosecutor in him.
I think she does this to comfort herself. It's easier for her to think that a man had ripped her brother away from her than the fact Miles chose to leave. Because the choice was clear: he'd written it in black and white. But she can't bear the thought she'd been left behind again. This is pretty much exactly how she rationalizes the loss of her father as well: phoenix's "victory muddied the honorable name Von Karma", she asserts, even though Manfred himself chose to value his career over his children. even though manfred himself was the one who muddied the name and left Franziska with nothing. Just. the idea that the ones she held dear once again did her dirty…better to make a boogeyman out of Wright than truly let that seep in.
so really franzy is still the girl trying to get the attention and respect of her family. still. she makes me ILL
reading the turnabout big top transcript again for Franziska characterization. oh my goddd this shit im doing for yuri
and what if i headcanoned angel starr as a cadaverini?!!
walk with me...
1) i feel she got her crazy interrogation ability from a mob background. She's observed from a young age how to twist someone's hand and get them to talk. 2) yes it is ace attorney but 'starr' as a surname sounds handpicked. like she is hiding a past?!? 3) to me she's just so mafia coded. look at her in her black dress and her fur coat and her little pillbox hat and tell me she doesn't look like an italian who could kill you (/pos).
So yeah. Angela Cadaverini grew up in that claustrophobic family tradition, then pulled a Mia Fey and left it behind.
She was a natural at the family business, but became a detective because she wants to get to the bottom of a death in the family (perhaps her mother. i like the idea of her having one that explains the "angel and devil" dual-personality thing she has going on. like her sweet calm side mirrors her mom...) anyway. The death was written off as a "blood feud", but that never satisfied her; she suspects something more sinister happened.
Leaving the family wasn't easy. Her little cousin Violetta was dear to her; they were more like sisters than anything. The eight-year age difference made Angel feel the need to protect her. She was good at it: She knew exactly how to trip people in their own snares and make them cough up the truth, and she was good at manipulating others into giving her what she needed (peep all her 'boyfriends' in RFTA, lol). Viola didn't possess either talent. She was more comfortable warding others off with an eerie disposition, and letting 'big sister Angela' intervene on her behalf.
Oh!! and concerning this tidbit from RFTA:
Gumshoe: That Ms. Starr is quite the lady. Why, I remember it was winter... I was 16. She was the only one who ever got me to talk about what happened.
In 2002, when Viola was only eight years old, an attempt was made on her life. Sixteen-year-old Angel had done everything in her power to find out which one of her grandfather's enemies had tried using Violetta as a pawn. She discovered an important witness was someone at her highschool, Dick Gumshoe. She not only got him to tell the truth of what he saw, but inspired him to consider detective work.
Angel had a big argument with Viola in 2009 after trying to convince her to follow in her footsteps and leave the family business. Viola was just fifteen, and didn't want to move out of the estate, and was generally scared. And it wrenched Angel's heart to leave her behind. She knew Violetta to be sensitive; the criminal underworld wasn't for her. And she could be so dependent, sometimes, and Angel blamed herself for making her that way.
So! To 2015. Lana Skye thinks that Angel is a bit mysterious when they first work together because she doesn't share her past. Inwardly Angel is wary of being invalidated because of her family's reputation. Meanwhile Lana refuses to bring up her parents because of their passing, so the two just pretend they were homunculi in test tubes and they came out ready to join the legal system. but they open up at some point. Bond over how they feel like they've had to protect their younger relatives from so much. cute.
yeah...you see when the writers don't give you a background that is a blessing in disguise because then you can. give the women stories and perhaps play with them like dolls?!
in this wonderful year of apollo justice i keep thinking how apollo and trucy could canonically be going to see a concert on the 2026 MCR tour and that makes me happy. Like yes the wright anything agency is struggling but damn it if they couldn’t get some good tickets. hell klavier probably knows someone and they’re going for basically free and his face is going to drop realizing apollo justice does like loud music, just not his loud music. but fuck it he made apollo happy, trucy’s happy, at least one of them is crying and screaming, it’s a great time
sometimes i am thinking so much about how to write The Character and then genuinely put the laptop down and go oh yeah. This character has more or less been absolutely FORGOTTEN by the creators and is a supporting role at best! if i presented my work to them they would seriously wonder if i even consumed the source material! or if i understand the narrative function of a side character! right right. I am writing angst about glup shitto. maybe i can relax
oh my gawddd the comments i get on ao3 are motes of magic fairy dust that i keep in a pouch of spider's web...just a delicate fey delight. Each time one hits my inbox it is actually delivered to me by a stoat with an acorn on its head. he is not trained so he bites me. but it's fine because hearing a reader's experience has genuine healing properties. thank you and thank you.
