81 days to go until rough drafts are due for the Perseia Big Bang!
To help everyone get into the writing mood, we’re interviewing some of our authors about their fanfic writing process, with one interview posted each week. This week, we’re very excited to be talking to @punkflame queen of seafam angst and author of the infamous Triton raises Percy as his son in How to Avoid a Prophetic Death, the demigods get Hanahaki disease in Love Blooms from Within, and Keep One Eye Open.
How do you go about plotting and coming up with ideas for your fics?
While I do have quite a few stories that are based on prompts, either through exchanges / events or otherwise, my overall story plotting is highly self indulgent. The physical process is somewhat basic. Typically, I think of a situation I would like to see characters in, or an emotion I would like to evoke. From there I write any random thoughts down, make bullets under and expand on each one until I have some semblance of a real idea. Exchanges etc. and other such things are so fun, too, though. Not only do they help oneself get out of a rut, but it's so rewarding to craft a story specifically for someone and their interests and likes.
How do you go about your characterisations and keeping your characters three-dimensional and consistent, especially for characters that aren’t developed in the OG series like Triton or Amphitrite?
The thing about building a character up that doesn't have much canon appearances -- especially so for those who have a single scene and maybe five lines combined -- is trying to identify and define *motivation.* What drives them? Why? How does this fundamentally shape their experiences, and how they interact with others on a day to day basis? Who does this affect around them and how? Who is important to them? Who do they hate? How does that affect their other relationships?
Once there's an overall 'base' for a character built in your mind, literally basically just the 5 W's, it's a matter of filling in more fine details. Even just some basic ones that are somewhat surface level. Like appearance. Any significance to any aspects of their appearance, anything that ties them to their past, or other people. Even further on that; posture, cadence, and general self presentation. Everyone has things that shape all of those aspects. How they act and react to people, places and things. How they hold themselves, and how that makes them seem to the world around them. They may be perceived one way, but the very basis of why everything about them is the way it is, is because of the very opposite thing. People often assume. From one pov we see one side, and then another we see the actuality to it.
When one is actually building their own characterization, I often find it best to not go on assumptions; even with established media. By that I mean... Well it's kinda that whole 'show me don't tell me' thing. We don't always have all the information, and we won't often get it all at once. Character building, in my opinion, often works best when the reader uncovers the information along with another character. In this way you really feel like you're getting to know them rather than like.... Reading a bio. You want to decide for yourself the above information, but not outright state it.
This does work especially well with non pre-established characters. There is so much more room for fleshing out. One can really make them however one wants when... starting from scratch, so to say.
For those who are established, however, assuming everyone knows everything about them so therefore this doesn't need to be done at all may result in depictions falling flat. Everyone portrays characters a little different, especially as each story the characters will have motivations relevant to the story being told. Assuming we know motivations just because we read the books / engaged with canon can leave these big blank spaces or even feel somewhat repetitive in a way. It's always great to get to know whomever's version of a character upon reading a new story. If that is omitted, it's harder to connect to the story that is being told, why it matters to the characters, and the world that one has built to tell the story.
That being said, one doesn't, of course, have to go in depth for every story. Especially not short things. Though distilling everything above down to the basis of 'show me don't tell me' tends to be the best way, in my opinion, to have a character that actually feels like there's dimension there, rather than just a topic. For the most part, once you're happy with and familiar with your characterization, writing for them in a way that expresses that and who they are becomes easy and more fluid.
What about character arcs and believably having characters change and grow in your fics?
This overall process directly ties into character arcs and story arcs to a degree as well. They're so intrinsically tied, to me. Especially for longer things. There can't truly be one without the other. A character can't grow and change and have this big defining moment if we don't know why it matters, or anything about them. It takes away the value of the entire story. The writer needs to give it value. Why would the reader care if the writer doesn't? A character can't change if we don't know what they are changing from / who they are and why it matters to them, or the world in which they live. The change can't mean anything if one doesn't give it a reason to.
On the other side, learning all about a character and connecting with them can fall flat if it doesn't even truly matter. No character *should* be entirely perfect. They *will* be affected by and affect the story, themself. They're all connected to the plot somehow. They don't exist in a vacuum. *How* does the lived experience of the story affect them? How does that shift compare and contrast to how they were at the start? Or, who knows, perhaps they're resistant to change. Though this should be shown in the story including *why* they are and *how* their active efforts to defy such things affect relationships and personal growth otherwise.
In the end, there's good and bad in everything. They can't (shouldn't) *exclusively* have positive takeaways from *everything* that happens. They shouldn't only ever do things that have positive results. Sometimes stuff sucks. Sometimes they make mistakes, or have good intentions that aren't exactly the right choices. That's what makes stories -- and life -- mean anything. If it were always perfect, what would the story even be? Why would it need to be told?(Things like some fluff can of course be exceptions here, but this is speaking generally and, of course, excluding situational genres and stories.)
What’s your favourite and least favourite parts about writing?
I love making people happy through telling stories…. Or hitting them hard with angst and other fun things that keep them coming back. >:)
Overall world building can be sooo fun too, and hyper specific research that is literally in a sentence of a fic if at all and is basically entirely inconsequential. (Like finding the exact co-ordinates of where camp, and specifically, Thalia's Pine would be in order to find a real store on the route to camp. Or researching specific books from a franchise to see which would be out at the time of canon to allow a character make an era appropriate niche reference.) Meeting amazing people and communities as a whole, also.
Least favourite…. Probably editing. It's so rare I have access to my Editing Brain (tm). She's a fully different entity from Writing Brain (tm)
Do you have any unusual hacks to deal with writer's block?
Writer's Block is a pain. Especially when you haven't really written in a long time for other reasons. My favourite way to help deal with it is to use a one word prompt to write *anything*. I have a spinner with random words that I use. If you don't like that, maybe make a spinner with random genres, or tropes, or anything like that. Maybe look on tumblr for one sentence writing prompts.Go with the first thing you think of when you see or choose the prompt.
Don't put too much thought into exactly what it *should* be, that is the opposite of the point. It is key to not overthink it. Don't care about the word count. Don't even look at it. Don't force yourself to outline if you normally do. Don't force yourself to world build or be 10000% accurate to history or myth or the books or whatever else your brain gets hung up on. *Don't get hung up on making it perfect.* Hell, don't even post it if you don't want to, just get your brain working and thoughts flowing.
Who knows, maybe it'll spark an idea for a longer fic or series.
And, finally, do you have any advice for other Big Bang fanfic authors at this stage in the writing process?
If you're wondering ‘would anyone even read this?’ the answer is:
1. Yes
2. It doesn't matter, write for *you* not for commenters and what others think.
These events are for fun, not for stress. Yes there is a minimum word count for this event, but you don't have to do it all at once. Write a little bit every day. Even if that means a sentence. It's good to get thoughts out and on a page.
Want to join in? You can sign up to write/make art/beta here!
Hi Novlr,
would you possibly have any ideas about how to make character backstories more interesting?
Trying to breathe life into a character’s past without falling into the trap of cliché or a boring chronological list of events is always a challenge. Backstories are essential building blocks of three-dimensional characters, but making them interesting and meaningful can be confronting.
What makes a backstory interesting?
The most interesting character backstories aren’t just collections of past events. They’re carefully crafted lives that influence your character’s present actions, decisions, and relationships. Your character’s backstory is what makes them who they are in the present, much as your own past has shaped you into the person you are today.
An interesting backstory should:
Shape your character’s present motivations and fears.
Feed into their internal conflicts.
Influence how they interact with other characters.
Give context for their strengths, weaknesses, positive characteristics, and flaws.
Add depth to their personality to make them feel like fully rounded people.
What goes into great character backstories?
Emotional impact
Focus on events that left lasting emotional impressions on your character. These defining moments should still affect them in some way during your story’s present timeline. For example, a character who lost their savings to a scam might struggle with trust issues or be overly cautious with money, or someone who has led a privileged life might be naïve about what happens in the lives of their friends.
Different details for different purposes
Not every detail of your character’s past needs to be included in your story, but they’re often good for you as the writer to know them, anyway. A childhood pet might not be important to the story you’re telling, but might help humanise them to you so you get a better sense of who they are.
When it comes to backstory, it’s important to determine what’s just for you, the writer, and what will be important for your readers. For narrative purposes, you’ll only want to reveal elements that:
Directly influence your plot.
Explain important character traits.
Create interesting dynamics with other characters.
Add depth to your character’s present conflicts.
Write as much detail as you want, but be sure that you’re strategic in what you choose to reveal to your readers in any detail.
Hidden depths
The best backstories often contain secrets, regrets, or unresolved issues that can create tension in your story. You can gradually reveal these elements as the plot progresses, which helps to add layers of complexity to your character.
You can be strategic in how you reveal this information. It’s easy to fall into the trap of info dumping, but gradually revealing character backstories is always the best way forward. Let you get readers get to know them slowly, just like you get to know a friend.
Common pitfalls to avoid
Information overload
Don’t feel pressured to explain every aspect of your character’s past. Sometimes, leaving certain elements mysterious can make a character more interesting. Remember, you’re writing a story, not a biography. You can know things about your character that a reader doesn’t need to know.
Clichéd trauma
While traumatic events can shape characters, relying too heavily on tragic backstories can feel forced or manipulative. Focus instead on a mix of experiences, both positive and negative, that have shaped your character’s worldview.
Irrelevant details
Avoid including background information that doesn’t serve your plot. Ask yourself: “Does this detail matter to who the character is now or what they’re trying to achieve?”
Techniques for revealing backstory
Through action
Show how past experiences influence your character’s current behaviour. As an example, if your character is afraid of water, instead of explaining that fear, show them avoiding the beach or panicking when they’re put in a situation where water is inevitable (travel by boat, for instance).
Through dialogue
Let characters naturally reveal pieces of their past through conversations, arguments, or moments of vulnerability. This feels more organic than lengthy exposition (aka info dumping). We don’t announce our personalities, fears, quirks, and traumas to everyone we meet, so apply that same logic to your characters.
Through flashbacks
Flashbacks can be a double-edged sword. They can be effective, but only when used intentionally. If you use flashbacks, make them count. Choose powerful moments that directly connect to your current story and reveal something meaningful about your character that couldn’t be revealed another way.
Through objects
Physical items can carry emotional weight and history. A worn photograph, an old letter, or a cherished possession can reveal aspects of your character’s past. Simply showing the way that someone uses or interacts with something can reveal a lot about their experiences with that subject.
Questions to ask yourself to develop better backstories
When writing character backstories, you can ask yourself:
What experiences shaped their core beliefs?
What relationships influenced who they became?
What choices do they regret?
What achievements are they proud of?
What secrets do they keep?
How does their past affect their current goals?
Making it matter
The key to writing interesting backstories is making them relevant to your current narrative. Every piece of history you include should serve a purpose, whether it’s explaining current behaviour, creating conflict, building relationships, moving the plot forward, or illustrating character growth.
Remember, a character’s past should enrich your story, not overshadow it. Focus on elements that matter to your current story and let the rest remain in the background.
The Cosmos, a finite four dimensional realm (three physical dimensions + time) in which we exist, is but a linear, causal expression within the infinidimensional, acausal Chaos from which it was spawned. This Chaos represents the totality of all potential existence in simultaneity with absolute non-existence in a nontemporeal totality.
This means that Chaos is at the same time the essence of absolute fullness and absolute emptiness. A Thoughtless Divinity from which our limited Cosmos was birthed into existence, of which our Cosmos exists separately within, and to which all Cosmic existence possesses an inherent will to return. This will can be seen in the core nature of our realm. At the most basic of levels, entropy is the clear and irrefutable process of the Cosmos’s drive to self-destruction. The causal realm of the Cosmos is a manifestation of the antithesis of overarching acausal Chaos, and entropy presents as a physical manifestation of its reabsorption.
Whether the emergence of the Cosmos is viewed as the result of an acausal genesis, the mistaken emanation of a "thoughtful" aspect of Chaos's Thoughtless Divinity, or one of the various other narratives ascribed to its rise from non-existence throughout the annals of history, it is clear that its nature is one that is both finite and temporary within the greater infinidimensional realm of acausal Chaos.
The "I" & the "Self"
From the previously established basis, it can be intuited that our consciousness itself is a manifestation of this unified Chaos. In this case, the core spark of Chaos is cloaked in a false prison of individual perception as a result of the mechanizations of the finite Cosmos. The "I" can here be understood as an illusion of individuality formed by direct perception of and forced interaction with the ever-changing stimuli of the Cosmos. It is the Causal perceptive chain in which the Thoughtless Black Light of infinite potentiality, the true and universal inner "self" of humanity, is suppressed. This Black Light, even while suppressed behind the facade of the "I", provides a link to acausality that works to explain the divergence of humanity from the base causal chains that determine the progression of the rest of the material world. It is the universal aspect that allows us to question, to act in irrational ways, and to operate along paths that subvert expected causality for varying motivations. The "I" creates the illusion of individuality, but the true "self" provides the mechanisms through which we are able to diverge.
This Black Light is humanity's subconscious anchor to the Chaos from which it was spawned, and it is the inner "self" to which we look to attune to in order to heighten and build upon the understanding of and connection to the acausal realm of Chaos.
Masks of a Unified Current
The limitations of our understanding within the finite Cosmos in which we exist make the concept of such an ontological state as acausal, infinidimensional Chaos inherently incomprehensible to us. It is for this reason that Chaos is approached through the scaffolding of comprehensible concepts.
The Chaos deities of various mythologies alongside the ritual and imagery of Demonolatry are not incorporated into this Anticosmic practice as literal figures of worship or divinity, but as comprehensible "masks" through which aspects of all-encompassing Chaos can be understood. They are the means through which we can process, understand, and work with the underlying current of Chaos in finite ways on our path to Gnosis and liberation. This scaffolding provides a method of comprehending, at least in part, the infinite acausal through the lens of the finite causal by providing symbols through which understanding can be further pursued and intention can be centrally directed.
I feel like with any sincere discussion of Veilguard we should start off by establishing that there are multiple forms of 'fun' as it were, to be had from video games. The main purpose of a video game is, after all, to be fun. To entertain us.
So. With Veilguard I feel the problem is this; Veilguard succeeds at being fun. It succeeds at the kind of actionable fun. Veilguard is fun to actively play for most people. The combat is fun, the level design is fun, the main storyline is fun whenever we get to it. Veilguard offers fun that is quick and instant. I think it was no small feat that BioWare has finally managed to design levels and combat for a Dragon Age game that feels complete. Although I will go to my grave defending the tactical combat of DAO, it is a different more gripping kind of fun that Veilguard's mobility and systems can offer.
But there is another form a fun. The kind of fun you might be more used to associating with a good book. The fun of a story you can't wait to see the end of. The fun of fantasy world building, of seeing the marvel that is an author, or a collection of authors, who know what their vision is, and who are subtle enough to communicate that vision through fiction. The joy of seeing the result of experts building their craft. Environmental clues, implications in dialogue, tone in atmosohere. Seeing a good story unfold is fun, and with video games, which are an interactive audio visual medium how much moreso?
A book is just words, a show on tv is always linear and restricted to what the camera shows us. A video game has a whole three dimensional world that you can move inside of, witnessing the story and world building both passively and actively. A video game has dialogue and characters, who can both drive and narrate the plot for you. A video game can put you inside the world the story is happening in and immerse you in it.
And I feel that Veilguard fails to take advantage of the full breadth of the vast collection of storytelling tools a video game has. The fact that the companion quests and companion writing seems to have been left incomplete, pieces wilting on the cutting room floor when the companions are meant to be the emotional core of this story? The fact that all the factions are presented as unambiguous good guys which leaves them with no depth, their stories woefully superficial and unwilling to engage in any deeper ideas? The fact that vast amounts of world building and lore have been essentially discarded? That is all severely unfun.
So I think it's fair to say that Veilguard is fun and disappointing and not fun. The fun that I had while playing this game was always followed by a collection of things that were not fun. And the most annoying part is the parts about Veilguard which are fun are the parts that are fleeting. That I can find combat in a video game entertaining, extremely entertaining sometimes, is nothing when compared to the staying power of a gripping story with not just good set up and pay-off, but also an immaculate structure supporting that all the way throug.
When I am 80 years old I will not remember fondly the fact that Veilguard was the first Dragon Age game to finally have an actual dodge mechanic. There are always going to be games with fun combat mechanics, Veilguard isn't special for that. But I will remember Solas turning into a dragon sized wolf in a desperate bid to fight a dragon ten times his size, to help the hero he became a villain to. I will remember what it felt like to have a protagonist start off by treating Solas with suspicion, knowing there was no reason to trust Solas but choosing to give Solas a chance to prove himself trustworthy anyway, and Solas breaking that trust. And I'll remember what it felt like to have that protagonist then face Solas again, and make a choice to either be kind or to be just like Solas.
You will sometimes see gamers who say they don't really care about the writing in their games that much, but then their favourite games are things like The Witcher 3, God of War, The Last of Us. The reason they say that is because the writing is so integrally a part of the gameplay experience they don't even realise how much work it's doing. Fun gameplay doesn't matter if there is no reason to continue it.
Do you know what I remember about Dragon Age Veilguard? I remember dreading opening the game and seeing the list of companion quests in my journal that I had no interest in doing, because I had already realised how nothing a lot of them were. And I'm not talking about the gameplay of those quests, I think we've established I enjoyed smacking the bad guys and moving through the levels quite a bit. Oh no. I'm not even talking about the dialogue, not really. It was the stakes. Why were these characters doing these things, and why should I care? There was so little emotional conflict in those early to mid game companion quests.
Do you know how plot structure works when you really boil it down? Conflict is set up -> tension rises -> conflict comes to a head -> tension releases. This is why you need conflict and this is why you need characters to have flaws that they will not self psychoanalyze to a resolution within the first 5 minutes of the story. The realisation of those flaws is the plot! The character overcoming those flaws is the plot. You can't have a story without plot! What are we doing here????
That's how those quests felt. They felt like all the actually meaningful things the writers of these sub-plots had to say got crammed into their final quests. With a couple exceptions. And that's why doing most of the companion quests felt like a chore.
So, anyway, in summary. Remember that a video game contains within itself multiple forms of fun. As many forms of fun as there are ways of interacting with a game.
Understanding the 3D vs. 4D: The Shift Between Realities
Shifting is often described as the act of moving between realities, but the process is more complex than simply changing locations or environments. The distinction between 3D and 4D is not only significant in terms of the worlds themselves, but also in how we experience and perceive reality. Understanding this difference is crucial for anyone who is serious about shifting, as it unveils a deeper layer of reality that has the potential to change our understanding of existence itself.
The 3D World: Linear Time and Physical Constraints
To begin understanding the shift between 3D and 4D, it’s important to first grasp what the 3D world represents. The 3D realm is the reality most of us are familiar with, where we experience time, space, and matter in specific ways. Time in the 3D world is linear. It moves from past to present to future in a steady, measurable progression. Days, hours, and minutes dictate our lives, and every event follows a particular order. We are bound by the laws of physics that govern space—our physical movements are restricted to three dimensions (length, width, height), and our senses are designed to interact with the world in tangible, touchable ways.
In the 3D world, cause and effect are clearly defined. The events we experience follow a clear timeline—what happened yesterday can’t happen tomorrow, and what will happen in the future hasn’t occurred yet. This world operates on limitations, both physically and mentally, with space and time as constant forces shaping our experiences. Our bodies are subject to aging, our thoughts follow a rational progression, and our reality is defined by what we can see, hear, touch, and measure. Even the most abstract thoughts we have are contained within the structure of time and space.
This strict framework shapes how we live and understand the world. However, for those who wish to shift, this understanding of reality becomes a constraint. The 3D world, with its linearity and physical boundaries, is only a small piece of the larger, more expansive universe. To move beyond it, one must explore the possibility of stepping out of these limitations, to see beyond the veil of time and space.
Entering the 4D: A Higher-Dimensional Experience
When we shift to a 4D reality, we step into a world that is far more fluid, flexible, and expansive. The concept of the 4D world challenges everything we know about time and space. In this realm, time is no longer linear. Instead of being confined to a steady progression from past to future, time becomes malleable. It can bend, overlap, and occur simultaneously in multiple instances. Imagine being able to experience all moments at once—not just reliving the past or seeing the future, but understanding them as layers that exist together. This is what 4D time offers: the freedom to see time as an interconnected web, rather than a straight line.
The experience of space in the 4D realm is also radically different. While 3D space is fixed and measurable, 4D space allows for an expansion of what is possible. In the 4D world, the concepts of height, width, and depth can intertwine in complex ways. It’s not just about moving in three directions, but about perceiving multiple realities simultaneously. Imagine being able to see through objects, or being aware of a multitude of parallel universes at the same time. Movement in the 4D world is fluid and can happen across multiple dimensions at once, allowing for experiences that are not possible in our 3D understanding.
Perhaps the most profound aspect of the 4D world is the way beings in this realm interact with time and space. In 3D, we are restricted by physical boundaries, but in 4D, beings are able to transcend these boundaries. They might be able to experience events as they unfold across different moments in time, or even affect the timeline itself. A 4D being might be aware of their past and future in ways that 3D beings cannot comprehend, able to manipulate time to create change or prevent events from occurring.
Shifting Between Realities: A Bridge Between Worlds
So, how do we shift from the 3D world to the 4D? The transition between these realities is not as simple as stepping into another physical location—it’s about shifting the way we perceive and understand reality itself. To move from the linear, tangible experience of the 3D world into the expansive, fluid world of the 4D, we must first break free from the mental constraints that hold us in the 3D. This means shedding our reliance on linear time and physical limitations. Shifting into the 4D requires expanding consciousness beyond the familiar boundaries of space and time.
One way to approach this shift is by deepening our awareness of the non-linear aspects of existence. In the 3D world, we are trained to think in terms of time as a sequence, with one event leading to another. But in the 4D, time is not experienced in this rigid way. It is important to let go of our dependence on time as we know it and embrace the idea that past, present, and future can coexist, interweaving to create a reality that is far richer and more dynamic.
The key to shifting into a 4D reality is trust and letting go. Trust in the fluidity of existence. Trust in your ability to transcend the 3D constraints. As you begin to shift your perception, you may start to notice subtle changes in the way you experience time and space. These changes might feel disorienting at first, but with practice, they become more natural. Shifting into a 4D reality means stepping into a new way of being—one where time is an expansive force, and space is a fluid, interconnected experience.
The Implications of 4D Shifting
The deeper implications of shifting into the 4D realm are profound. Moving beyond the limitations of 3D opens up possibilities that are difficult to fully comprehend. In the 4D world, time is no longer a prison but a canvas. The way we experience our lives, the world around us, and even our interactions with others can be altered in incredible ways. It’s not just about physical space and objects—shifting into the 4D realm can alter how we perceive ourselves, our identity, and our place in the universe.
By shifting to the 4D, we become more aware of the interconnectedness of all things. We begin to understand that every choice we make ripples through time, and every moment is part of a greater whole. It’s a humbling and empowering experience, one that transcends the linear, finite boundaries of our 3D world.
Conclusion: The Next Step in Our Evolution
In the end, the shift from 3D to 4D is not just a physical relocation—it’s a journey of consciousness. It’s about transcending the limitations of time, space, and perception to embrace a greater understanding of existence. The 4D world is where time and space become fluid, where realities intertwine, and where we begin to understand our place in the cosmos on a much deeper level.
For those who are ready to explore the higher dimensions, shifting between the 3D and 4D is a way to unlock the full potential of reality. It’s an invitation to leave behind the constraints of the physical world and explore the infinite possibilities that exist in the realms beyond. With each shift, we step closer to understanding the true nature of existence—and perhaps, even the nature of time and space itself.
why the Inherited Turnabout is so good: an analysis by someone with too much time on their hands
(I think the new games call it Turnabout Legacy, but I won’t be, and I’ll be using the fan translation names for the sake of my sanity)
under the cut because I can yap for fucking hours about this case to the fact where I’m novelising it for AO3 from Ray’s perspective for my own enjoyment. I’m not normal about this case
to address some things: am I biased? yes. this is Ray’s backstory. it’s the Rayte case and they’re like my main Ace Attorney ship. moving on.
but I’m also pretty good at writing meta and analysing themes and stuff. I was an English Lit student and a bloody good one (before I had to drop out of university due to the stress of breaking off my engagement, which as you can imagine gets complicated). ANYWAY.
this case is Ray’s story. he’s a character who we’re introduced to pretty recently, but we already know a lot about him from his early interactions with Miles. we know he’s incredibly smart, always beating Miles at chess. we know he used to mess with Miles when they were kids (the trick question in the prison). we know he’s a flirt, he’s fond of jokes, and he’s deeply, deeply traumatised.
(I am going to mention Ray a lot. because like I said this is his story)
we also know that he operates like normal defence attorneys do — he charges for his services. he’s been abroad. I keep saying it but the pro-bono/kind and charitable heart exchange is one of the funniest in the franchise because this is a guy who’s worked internationally, for, as we discover, a long-ass time. his rates are through the roof. source: I was a legal secretary for a while. ANYWAY. more about that line can be found anywhere on my tumblr I keep going on about it.
the impact hinges on knowing why he’s taken Miles here in the first place — it’s the location of Gregory’s last case, but knowing the impact DL-6 had on Miles from 1-4? yeah. more to the point, though, you know what’s going to happen before the flashback even starts. you know that Gregory loses this case before going in.
as you play through the flashback segments, though, it’s so easy to forget that, because you’re doing everything right. if you were playing Phoenix or Apollo, it would be an easy win. you have evidence. you have proof of cheating in the competition. you have a detective on your side. you have proof that your client was tortured in prison.
you should be able to win this (or at least get the case thrown out, by irl legal standards).
Gregory and Ray should’ve won this case, by the game’s own logic. but they didn’t. but, while you’re playing it, it’s so easy to forget that while you’re engaging in their story.
and then you switch to the present day segments and it hits you. they didn’t win. my heart genuinely hurts during the second flashback segment.
it’s also the case where Ray not only apologises to Miles, but reveals what I can only describe as intense survivor’s guilt, which he’s been holding onto for nearly two decades. aspects of the case which don’t make sense (him not knowing Miles was present in court that day) aside, this is a truly moving moment. Ray also, probably, didn’t have anyone to talk to about this after DL-6. he’d just passed the bar, according to an interview, and now has to take on what is a very, very complicated case involving celebrities. the media attention must’ve been overwhelming.
ANYWAY.
the characterisation of Gregory, turning him from “historic victim” into “three-dimensional character” makes his loss of life all the more sadder. he’s a single father who absolutely dotes on his son, worrying about him making friends, getting him a chocolate attorney’s badge (we will not talk about how that implies how quickly he thinks this case will be resolved), not wanting him to be raised by a man like Manfred von Karma. which… yeah. ugh.
there’s a lot of small details that really round out this case’s characters. Gregory’s preference for blueberries. Badd knowing Piece of Cake. Ray having had a teacher who yelled at him a lot. Gustavia’s skill increase. Kate having made the sweets Ray tries to hand out in the previous case.
Katherine Hall — Kate — is a fantastically tragic character. she and Ray visited Jeff every day together until Ray went to Europe (I theorise around the time of the Joe Darke trial but that’s just a theory… a game theory). it’s clear from how they act that their friendship is deep and long-lasting. so, when it’s revealed that Kate set up the present day incident, you feel Ray’s heartbreak. he couldn’t help her and he feels terrible.
she set up this whole Agatha Christie style situation, which probably cost her millions of dollars, because it was all she could think to do. I’m pretty sure it’s the reason Ray came back from Europe, when he got the invitation.
what’s really interesting, to me, though, which is actually what got me wanting to write this post, is the music.
given the number of one-time characters, a lot of them have their own themes which really enhance them.
Gregory’s is a masterpiece. it gives “experienced lawyer”, it gives “let’s get to it”, and most of all it gives optimism, which we as the player know is ultimately futile but holy shit it makes you think you can do this.
Master’s is exactly what I’d expect for a character who works on a 90s kids TV show. it’s friendly, it’s upbeat, it’s grand, it’s inviting!
the best thing about their respective themes, though, is that they sound older. of their time. like you would be surprised to have a character in the game’s present day with themes like that (obviously Master is different from Gregory, but Master’s not been able to move on due to being wrongly imprisoned). they really cement the time of the case as being in 2000.
Gustavia’s is straight up unsettling. it’s intense, but it’s not giving “murderer”, at first, it’s giving passionate. but something’s up. it’s intimidating. it’s brilliant.
Ray’s, we’d obviously heard before. but his is distinctly retro in sound. note “retro”, not “dated” or anything like that. he’s trying to stay cool, trying to move forward, but he’s not able to let go, attached to the past.
Kate’s is truly representative of who she is — trying to be all sunshine and flowers and tea, while also complimenting Jeff’s because she’s on the show too. hers stays the same, because she’s not moved past this ordeal either.
and then there’s the IS-7 Reminiscence theme. holy shit. someone who knows about music composition is better fitted to talk about this than I am, but I’ll give it a shot. it’s hopelessness, regret, anger, all captured in a song. it’s a stark reminder that no one involved in this has come out well. Master’s wrongful incarceration. Badd’s inability to expose the corruption he knew was happening. Ray’s survivor’s guilt and feeling of inadequacy. Kate being driven to do what she did. Simon and Horace and what this did to them. Gregory’s death. Miles’ loss of his father.
I think the music is what really makes it. it should be a silly case. it’s the Great British Bake Off on its surface, but countless lives were ruined.
and for me, because I’m me, the kicker is when Ray confronts Kate after he finds out what she did. he blames himself, not her. and then he asks to defend her. I say “asks”, not “offers”. he wants to do this as her friend, and maybe also to get over some of his own guilt. but by asking, as a request, it brings us back to how Ray operates. he normally takes money. he’s doing this for her, as her friend.
and then he reveals that they had to use a technicality to even be able to get to this point in the first place.
this is a case where no one truly wins. there is so much more that I could say about it but this is getting long and I’m worried my phone is going to brick and delete it all.
any questions please contact my ask box xo
(it also has this brilliant line, “I’m Delicia Scones, the pharmacist who makes delicious drugs!” which I immediately screenshotted and sent to my pharmacist mother)
For context on what TFP:CR (Transformers Prime: Cybertron’s Rising) is, it’s an AU of mine that involves my interpretation of how the Aligned Continuity went, lots of ships (especially MegOp), and pretty much AU (including crossover) stuff.
The current fanfic I am working on in this AU is Do You Remember? and it is on AO3. More is planned to be built within this AU but that’s about it.
Anyway, time for me ramble about my sentient transforming robot crossover thoughts!
WARNINGS: Aside from TFP OCs & light flirting from one of them being present, none
Meeting MCB cast (Before Optimus’ return)
Megatron (Post PR) met the Metal Cardbot S1 cast some time after the end of S1 and were the first otherworldly transforming bots that he met. Fortunately, he was not alone and had the entire group of rogues with him. Because their damned ship got caught in some huge dimensional portal that led them to this Earth.
He met the S1 cast after he and his old friends/gladiator mates (my TFP OCs, Steelfist & Shear) went with him to look for some oil to drink for the meantime. They were spotted by Edo and Edo thought they were MCBs, so that’s when the three met Jun and the Cardbots. And Jun assumed they were Cardbots. Steelfist try to keep things calm by telling them they are here to find something to drink without causing trouble. Shear, assuming these Cardbots were Cybertronian, even asked if they had energon. The Cardbots did not know what energon is, but some bots like Blue Cop and Buffalo Crush did say that they had some gasoline and oil. That, however, meant staying at Edo’s shop. Which led to a problem, that being the three Cybertronians can’t.
Reasons
They all have alien alt modes and don’t have time to scan for an Earth alt mode.
2. They have a much safer place to stay, that being the rogue ship.
3. No one knows when the portal back home will open and it could be anytime.
Jun offered to seal them, which seemed to trigger something in Megatron, Steelfist, and Shear. Because what did he mean “seal”? Trap them? Imprison them?
Enslave them?
Oh, PITS, no!
Megatron jumped to conclusions and angrily assumed this human boy intends to enslave them and even questioned if he has enslaved the Cardbots. Everyone got ready to fight, but Shear and Steelfist managed to hold him back, alongside several of the more peaceful Cardbots (Blue Cop being one of them) wanting to explain, trying to make sure a battle does not start.
Shortly after Megatron calmed down, Blue Cop explained to the Cybertronians what is meant by “sealing” and even explained what the Metal Breath is. After hearing that, the three Cybertronians refused to be sealed because the idea to be commanded by someone brings back the memories they’d rather forget (they were in the same caste during the Golden Age and suffered a lot under the Caste System). Besides, they are not creations of “Deus Machina,” so they believed that sealing them is an impossibility as they are created by Primus, not Deus Machina.
Steelfist: Who is Deus Machina? All we know is that we Cybertronians are created by Primus.
Blue Cop: Who is Primus? And what’s a Cybertronian?
Eventually, Megatron and his friends still needed something to drink and bring to the other rogues. The Metal Cardbots managed to help them by bringing in what they eat and/or drink. The Cybertronians are quite surprised at how broad the MCB diet is (like, they can survive off fragging methane!) but they went with oil and gasoline.
TFP x MCB Interactions include:
Megatron with Heavy Iron & Black Hook, often talking about (war)crimes. Heavy Iron and Black Hook feel a little uneasy around Megatron after hearing that he fought a war for over “4 billion years.” 4 slagging billion years. Yet, they feel calm and that sense of familiarity as reforming villains.
Steelfist talked about his gladiator days with some of the other Cardbots, telling stories about what his life was like and what Cybertron was like before the war. And what he did after it ended. He never mentioned the Golden Age.
Fleta Z gave Shear some Earth flowers, which flattered Shear and she thanked him by being a little flirty to him, giving him a little stroke on the cheek. Fleta Z was found flat on the floor, helm smoking from overheating and his eyes were pink. Meanwhile, Shear was beside him, laughing. She did this because she was in the mood to tease a little.
After the three Cybertronians left, the entire MCB cast were curious about the Cybertronians. Like there were questions like:
Who and what are they?
What is Cybertron? What is a Cybertronian? What’s the same or differences between us?
Who is Primus and Unicron?
What is Energon? What is high-grade? Can we (Metal Cardbots) eat it?
And the question that led even Megatron to silence:
Who is Optimus Prime?
Optimus Prime’s name slipped out of Megatron’s mouth when he was talking about his days as a warlord. And he talked about the Prime both fondly and aggressively, but overall, melancholic and maybe remorseful, making some of the Cardbots wonder if he has some sort of infatuation (Mega Ambler called it an “obsession”) for this “Optimus Prime.” And then came the question(s) of:
What is a Prime?
Are they like Star Guardians?
And even more questions that overwhelmed the former gladiators.
Eventually, when the MCBs meet with Megatron and his gladiator pals again, they hang out in secret areas & chat, talking about what life is like before their planet’s destruction.
