The famous pacing curve has been
a popular template for many stories. The curve starts increasing, driving
tension and going up high for a climax, and then going down, back to where it
was before the dramatic increase, but a tad higher. Then it starts going up
again for another climax, ending at one higher than the last climax, and then
down again, etc. It’s one of the best ways for a story to keep players engaged
and balance things out with calm thoughtful moments and dramatic intense
moments. And of the many stories I’ve experienced, the Phoenix Wright series is
one in which it is easiest to see this curve. Not only do the investigation and
courtroom segments of every case show a clear divide between slow thoughtful
gameplay and quick dramatic gameplay that slowly build through each one, but
even the cases themselves if looked at from afar show this trend.
While it differs slightly from
game to game, it’s very clear to see within this first installment. The first
case is light hearted, simple, exciting and without much reason to slow down,
and overall, it’s tons of fun. Then the second case ramps things up to eleven,
having a hugely important and dark case to create lots of tension and give the
player much to think about. And then, we return to a more lighthearted tone
with Turnabout Samurai, the 3rd case of Phoenix Wright: Ace Attorney.
I like how this case starts off
by explaining why things are lighthearted right at the start. Phoenix explains
in narration that it’s been a month since the last case, meaning he and Maya
have had time to mourn and move on, and suddenly it feels like a normal day at
the office. It’s a bit shocking if you start this case right after Turnabout
Sisters’ climax, but I like it.
One little detail I found interesting
was that early on in the case, Phoenix informs the player that they’ve been
unable to find another case since the last one, and that this is bad because
they need them to pay for food and rent. I imagine I’m overthinking things, I
blame Apollo Justice for these thoughts, but I wonder, was this line meant to
be dark? Was it meant to show the dark truth of this crazy machine Phoenix has
gotten himself into, in which now that he’s a full time lawyer he needs to
constantly be solving cases? He’ll have to keep solving cases until he dies
just to get by, and even if he doesn’t want to, he’s chained to this. I dunno,
it seemed like a dark foreshadowing of the great struggles that comes with
having a full time job that causes him to constantly get involved with super
serious criminals and powerful attorneys……but you know, probably overthinking
that line. :p
On the note of foreshadowing
though, one thing I like about Turnabout Samurai is that with it being the
first case to begin Phoenix and Maya’s adventure, we get to see the two of them
interact for the first time. And it’s……interesting. They make for an
interesting pair, and well…..I definitely see lots of potential for character
development in them. And something that drives this point home well is when Mia
enters the scene.
Yes indeed, Mia joins you through
Maya’s body for a part of the investigation sequence on Day 2, and one little
detail I noticed and loved is that during this sequence, if you interact with
everything you could examine that would cause Maya to say something, Mia will
respond with her own unique dialogue, and Phoenix will often respond with his
own unique lines as well. They could have so easily just had it repeat Maya and
Phoenix’s words, but I love this little change, as it adds so much to Mia and
Maya’s characters, and allows you to see the different ways Phoenix interacts
with them.
Anyways, maybe this comes from my
growing age (I’m older than Phoenix in the first game), but I was touched at
how much more calm and wise Mia was compared to Phoenix and Maya. It definitely
shows that this is something she’s been doing her whole life and is good at.
And it also shows that Maya and Phoenix have much room to grow, which makes
perfect sense given this is their first adventure together. So I liked that, it
shows that the two of them have a long fun journey ahead.
Speaking of characters that
develop, probably the most significant character change in Turnabout Samurai
comes from the prosecutor himself; Miles Edgeworth. And I absolutely loved
Edgeworth’s development here, and thought it was done very well. To start it
off, it becomes clear during the first courtroom segment that Edgeworth will be
acting very differently here compared to the last case. While in Turnabout
Sisters Edgeworth was on top of everything, the mastermind in the courtroom, he
couldn’t be more different in Turnabout Samurai. Oldbag is constantly ignoring him
and his comments, withholding whatever information she’d like from him, and
it’s quite the sight to see this evil mastermind who caused you so much trouble
last case now put in his place and unable to really do anything to help his
cause while the witnesses run circles around him.
It’s cool too how this theme of
witnesses who ignore and spat at Edgeworth remains constant throughout the
case, almost like it’s meant to show how wrong Edgeworth is about thinking he’s
some great ruthless prosecutor above everyone. Cody Hackins does what he wants
ignoring Edgeworth, and De Vaquez even shuts up Edgeworth a few times. With no
one on his side, and the events of Turnabout Sisters and Phoenix Wright being
on his mind, I don’t think it’s surprising to think that Edgeworth would be in
a thoughtful mood throughout the case, with the truth being on his mind a lot.
I like how once the big plot twists are revealed that even Phoenix can’t
believe, you can see Edgeworth start to become genuinely curious about what the
truth is, no longer caring for whether the verdict is guilty or not.
Indeed, the result of this case
being confusing for Edgeworth is that Phoenix becomes the main driver of things,
directing where the case will go. And from this, it becomes clear as day that
Phoenix is searching for the truth before clearing his client, marking a nice
contrast to Edgeworth. And I think all these conditions being placed upon him
is what causes Edgeworth’s fascinating change during the final day of the case.
It becomes clear as day by the end of the second courtroom segment that Powers
was not the killer, so when Edgeworth is tasked with declaring him guilty,
which is clearly not true, what else is he to do but wonder if what he’s doing
is right? Well, maybe if he had more pressure from others like in the last case
he wouldn’t think of it, but maybe, this is the first case of his in which he
truly has no control over things, no outside pressures, and in that environment,
he’s able to see things in a new light and undergo a great change?
Indeed, what’s great about
Turnabout Samurai is that upon reflection Edgeworth’s actions really don’t seem
all that out of the ordinary, which makes it all the more satisfying when he
comes through at the end to help you and Phoenix win the day.
On that note, I think the fact
that it took Phoenix and Edgeworth’s combined wit to conquer De Vaquez is a
show of just how smart she was. Despite Turnabout Sisters being the tensest
thing there was, De Vaquez struck more fear in me than Redd White did, and felt
a lot smarter and like a more formidable foe. I remember when first playing the
game I wondered how in the world they’d top Redd White, the most powerful man
in the area, and I think they did it in a very great way, by making a character
who couldn’t be more different than White.
De Vaquez almost feels like a
contrast to Redd White, his opposite. Where he is loud and boastful she is calm
and straight to the point. Where Redd appears simple and lovable Vaquez appears
complex and unnerving. She hardly shows emotions which makes the few times she
does feel powerful, and she always speaks words that feel real cunning and like
she thought them through. I have to say, I grew to really respect and admire
her as a character. Her ability to remain calm and logical under the tough
situations Phoenix and Edgeworth put her in was really something to see, and
the way she took defeat was incredibly fascinating.
And after her great showdown with
you in court, Phoenix and Edgeworth have one last encounter, in which Edgeworth
warns Phoenix to never see him again. It’s clear that Edgeworth wasn’t okay
with how he did that last trial, or what he did. And things started changing
and getting tough for him when Phoenix showed up, so it makes sense for him to
put the blame on him. It shows just how hardened Edgeworth is that despite
these changes he doesn’t want to let himself change more, and wants to stop it
at all costs. And I must say I really loved how his development was handled
overall here. I’m excited to see what happens to him in the next case, and can’t
wait to continue my adventure through this game and its fantastic cases.
So to conclude, Turnabout Samurai
serves as a great middle point in the story of Phoenix Wright’s first
installment, and it sets up the finale perfectly. I’ll see you there!
Random Notes:
I like how Mia asks Phoenix when
all seems lost if he truly believes in his client, harkening back to what she
said in the first case. I like how this theme is referenced in each case,
marking it as core to the story of the first installment.
Scratch that, Jack Hammer is also
the best name ever.
This is also the first case to
introduce cases that last 3 days instead of 2! I always preferred 3 to 2 days,
as I find it allows the pacing curve to go higher and feel more dramatic by the
end, and having more changes between investigating and trialing has it feel
like there’s more variety as well. I was very sad to learn that the 2nd,
3rd, and 4th installments all have their cases only go up
to 2 days. Here’s hoping we see more 3 day cases!
I’ve always been fond of this
case’s story and its plot twists, particularly the one at the end of the 2nd trial segment. That thing was sooooo mind blowing, and in the best way
possible.
It’s interesting how Oldbag goes
from being super unlikable to likable by the end of the case. The writing in
this game is incredible.
I always thought this case had a
semi large plot hole. The monkey statue head blocking the path between studios
is often referenced as a means to give the people at the studio an alibi for
the murder. But at the path you can clearly see that you can just walk around
the path and through some trees to cross the paths! Cody Hackins even does this
himself!!!! So why is it never brought up that the adults might have done this
as well? Ah well, if there’s one thing I’ve learned replaying these games and
experiencing stories in general, it’s that people place way too much emphasis
on plot holes. No story is going to make perfect sense from every perspective,
and I’ve always found it silly that people can let it hurt their enjoyment of a
story so much. I’m happy to say that this plot hole didn’t bother my liking for
this case at all, and I’m very happy at my ability to do that.
Sal Manella’s sad faces he would
occasionally use at the end of his text boxes slayed me so much.
Maaaan that Day 2 investigation
segment could get frustrating, you had to go back and forth so much and often
could get stuck on what to do and arrrrgh.
I like how unique this case and
its results are in hindsight. Few cases in the series have the victim be the
bad guy with the intention of killing, and even fewer have the killer be
someone who didn’t intend to kill and did so by accident.
The Steel Samurai is silly, that
is all.
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