Yoshio Sakamoto, who would later be known for his work on the Metroid series, took on the pair of games as his first writing project. He was heavily inspired by Chunsoft’s point and click adventure game, The Portopia Serial Murder Case. Chunsoft would go on to become very well known in the supernatural mystery and visual novel genre worldwide for titles such as Danganronpa and Zero Escape. On the other hand, Famicom Detective Club was never released outside of Japan, remaining a cult classic among hardcore Nintendo fans and importers, and forgotten by Nintendo for many, many years.

Fast forward to February of this year, it was announced that remakes of both Famicom Detective Club games would be releasing for the Nintendo Switch in May; with new graphics, music, voice acting, and most importantly a worldwide release. People who might have wanted to check out the series but never got the chance to, or those just discovering them, would finally be able to experience the games with a fresh coat of paint. I was in the camp of people who had never heard of the games before and was not just interested in checking them out, but also seeing how Nintendo would modernize them. I have played plenty of modern murder mystery visual novels, but I had never checked out anything from this era. 

It’s interesting to note that right when starting up Famicom Detective Club that the games can be played in any order. While The Missing Heir came out first, chronologically it takes place a couple years after The Girl Who Stands Behind. Playing them in release order or the other way around makes no real tangible difference. Although, if you play them in release order, you would know the big twist at the end of The Missing Heir before you get a chance to get to know the main character when he was younger. It’s really up to the player as to which one they wish to start with. One nice touch is when you begin either story, you’ll be asked to input a name for the main character, which will carry over between games.

The Missing Heir begins with the protagonist being discovered after falling off a cliff by a man named Amachi. Soon after, the protagonist comes across a girl named Ayumi Tachibana, a long time friend of his. Ayumi tells him that he is an assistant detective at the Utsugi Detective Agency who has been investigating the death of Kiku Ayashiro, the head of the Ayashiro family. The investigation takes him to the Ayashiro estate in Myoujin village, where he meets the family butler and housekeeper who are distraught after the death of the elder Ayashiro. More members of the Ayashiro family visit the estate, and the tension brewing between them is gradually uncovered.

The Girl Who Stands Behind takes place 3 years before the previous game. The protagonist is 15 years old and on the run from two police officers after running away from his orphanage to find his parents. He runs into a private detective named Shunsuke Utsugi who tells the police that he will take care of the boy, quickly making the protagonist his assistant. Flash forward to a few months later, and the detective receives a call to investigate a crime scene at a school. A girl named Yoko Kojima has been murdered and upon further inspection, it is determined that she was strangled. Yoko was working on investigating “The Tale of the Girl Who Stands Behind”, a school legend about a blood-soaked ghost of a girl who stands behind students in a threatening manner. Her friends noticed that Yoko was acting strangely before she was murdered, like her entire life was riding on figuring out the truth about this old rumor.

In both games, the concepts at play are the same; you’ll need to ask certain characters questions related to things such as people involved in the situation, events, items in your possession, and/or their alibi. Sometimes you need to ask specifically about a key person in the murder case several times before you’ll get answer. This repetition makes it feel like the stakes are high, and you are trying to calm someone down before they’ll give you information. Asking someone every single choice that you have, and finding a new clue will prompt a “Ah ha” sound making it clear what your next plan of action will be while making it feel like you have learned something very important.  The story was filled with twists and turns that kept me engaged, and I was always ready to see where the next plot thread took me.

Important information will be stored in the game’s notebook to look over at any time. Only when you ask the right questions, or show characters items in a specific order, will you make another breakthrough or be able to travel to another area to advance the story.  Using the menu options including Take, Show, Remember, Ask, and Travel, the protagonist is able to look for clues in the environment. The point and click gameplay, where you might find an item needed for evidence or pick up the phone isn’t very prevalent compared to dialogue, but it does still come into play every now and again. This may be because the games rely more on the dialog choices that this became more of a secondary way of finding clues. Personally, I prefer interacting with characters to find out information more than just clicking and picking up clues. 

At no point does the story in both games stray from the mystery that needs solving. It feels refreshing to not see any instances of fanservice or comic relief that take away from the experience. At some point, the doctor in The Missing Heir does joke about how cute he thinks the missing Ayashiro family member Yuri is based on her photo, but it’s still a huge difference from the type of humor that games like Danganronpa have that can break the mood. In a market with tons of games with fanservice it’s nice to see something a little more grounded. It was a pleasant surprise from what I’m used to that I’ve played in the last ten years and I am very interested in checking out more 1980’s adventure titles.

When it comes to the soundtracks for these games, you can really tell the composer wanted to keep the tone of the original games while still wanting them to feel more modern. There are two separate original soundtracks for each respective game. Kenji Yamamoto, the music director, is also well known for his work on the Metroid series and more recently Donkey Kong Country: Tropical Freeze. Going in, I thought that both games would share the same music because of how short they are, but this was not the case. The music in The Missing Heir has tracks that give off the feeling of a small town with an ominous atmosphere, where people are spreading rumors about a murder that has just taken place or is about to.   The music helps set the stage by implementing a more synthetic sounding intense track for a murder scene letting the player know that the stakes have been raised.  On the other hand there are a lot of calming songs that utilize the keyboard and flute for a quiet and familiar setting. These are among some of the most heard tracks in the game. This game has less tracks than The Girl Who Stands Behind, and that was a little bit disappointing to me. Don’t get me wrong, they are all used effectively to fit their scenes, but after a while they can feel repetitive. The Girl Who Stands Behind is more memorable to me, and gives off more of an upbeat tone while still retaining a mysterious vibe. I got the feeling that they really wanted to bring some  80’s style beats into the mix along with the synth style of music. Just listening to the credits roll from The Girl Who Stands Behind feels like the perfect outro for a crime drama show in the 1980’s. There are even alternate versions of the tracks in a higher key that are perfect mood setters.  

The character designs are gracefully and respectfully upgraded for a new generation and among the best aspects of these two forgotten gems, but there are a few downsides. After looking up the original’s sprite artwork, it is very much a product of its time, but it has this gritty charm that is missing from the reimagined aesthetics. The washed out colors of the 1980’s box art almost look like watercolors which is a vibe that would have been an interesting artistic challenge for them to tackle. In this day and age hand drawn illustrations aren’t as prevalent so seeing this is always nice.  Still, the new designs are all unique and never feel out of place despite the drastic art style change. I feel that it captures the tone of the period that the original games come from, while still looking like a brand new visual novel.  It makes me wonder how long it’s going to be until we see modern crime drama games like Phoenix Wright with an 80’s anime art style for a brand new entry. 

My favorite part about the new art was the fact that even if a character made a very small appearance, their sprite was just as expressive as the key characters in the story. What I mean is that many visual novels don’t usually give very minor characters detailed sprites, and this was nice to see. For example, an old nameless woman who gives you clues while her facial expression changes from scared to terrified the more you speak to her. Emotion plays a huge role in the narrative, and pairing the artwork with the expressive voice acting was a big part of why this game works so well in my opinion. I could tell that this was a project that a lot of people were passionate about, and the addition of the updated artwork was a must to tell the classic story to a brand new audience as well as reintroduce it to old fans. 

The characterization and personalities of the key characters feel like a mixed bag. The protagonist, rightfully, is a blank slate in both games, and this made me feel like he was a character who I could slowly help piece together an identity for.  I liked how he was frustrated about remembering who he was while trying to solve a mystery that he may or may not have been directly involved with because of outside forces. 

Most of the members of the Ayashiro family have very minor roles, but I did like that they fit the stereotype of the rich relative who has better things to do with their time. One of the Ayashiro’s that stood out to me was Kiku’s niece Azuka Kasuga. She planned to live in the family home after the reading of the last will and testament and had a large debt that she depended on Kiku’s inheritance to pay. This was totally in character for someone looking to benefit from a dead family member, and was very believable. In my opinion Asuka is one of the family members most affected by the events that took place, and she becomes the next target. I appreciated that she had a lot of depth from her illness justifying her mood, to her need to find the missing heir and settle the problem of who inherits the company. I also really liked how enthusiastic Dr. Kumda was wanting to help solve the mystery and how quickly he changed from one minute helpful in the autopsies to goofing off the next. He added some much needed light-heartedness to the situation and was a great choice for someone for the main character to rely on. These characters dealt with loss in different ways whether it be looking to use the situation to her advantage or supporting those who are trying to uncover the truth because of a long time commitment he had to the family.

On the other hand, Detective Utsugi was too nice of a guy when I first met him. He took a random boy off the street and instead of giving him to the police or sending him back to the orphanage, he made him his assistant. I felt like his generosity to take in this kid without knowing much about him was a bit strange. Maybe Utsugi could have told him that he reminded him of a younger version of himself and that was why he was being so nice. The main character is too quick to trust this man and the skip to a month later without seeing how he is integrated into the agency is a little bit unrealistic. I felt it was a lot like comparing it to anime where the main protagonist quickly becomes the best at what he does with very little character development shown to fill in the gaps. Of course this is a short game and they needed to get the plot going, but I still would have liked a small montage of cases the two worked on together during that month. 

Ayumi is the fan favourite character from the series, and I can see why people really have taken a liking to her. Many consider her the series mascot, as she helps the protagonist out with the murder cases. With the new character sprites Ayumi looks even better then she did in the 80’s and I can see why fans wanted her to be in Super Smash Bros. Melee. Her optimistic personality and willingness to help the main character is a big part about her character in my opinion, and she feels like a very down to earth girl that would be popular in a real life Japanese school. I could feel that she genuinely cared about helping the young detective regain his memories and discover the truth. I can honestly say that returning to the office after a day of looking for clues and discussing what is known so far with Ayumi was one of my favorite parts of the game.  

Voice acting is a new addition to the series, but there is no English dub included. Since the games take place in a Japanese setting, it makes sense to maintain the Japanese voice cast, as it is very important for the effectiveness of the narrative. It relies heavily on inspiration from Japanese customs and folklore. Many times when games have English dubs mispronouncing Japanese words can feel off putting and immersion breaking. All of the voice actors perform their roles perfectly, and this one one of my favourite new additions. Nintendo got a lot of well known actors and made sure that the voice direction was ominous and dark. The protagonist is voiced by Megumi Ogata, who many consider to be a fan favorite and is known for her past roles as Shinji Ikari from Neon Genesis Evangelion and Haruka Tenou from Sailor Moon.  

Overall, The Famicom Detective Club duology is a pair of great but very short games. Each one can be finished in about 5 hours. While not perfect in every aspect, I can see how much love and passion was put into these remakes. Although I can say that this was a well written experience that could be accessible to people from all walks of life no matter if they have gaming experience or not. Murder mystery fans and those who love modern adventure games will especially enjoy them. These games made me happy to be a Nintendo fan even if this came out of left field as something that would get a remake. It definitely deserved the revamp and I am glad that it came to be. 

It feels like Nintendo might have been trying to gauge interest for a brand new game in the series by remaking the old titles. If that were the case I would love to see a longer entry in the series containing about 20-25 chapters instead of the 13. Whether it takes place directly after The Missing Heir, or follows a completely new protagonist in a more recent time period. I would be very interested in seeing the team that worked on the remakes reprise their roles for a brand new mystery adventure game in the Famicom Detective Club series. If that never comes to be, however, I am glad I got to experience them, and become interested in checking out more adventure games similar to this one. 

The post Famicom Detective Club Review appeared first on Gamesline.

It is the year 2021. We are currently in the dark age of the law.

Fans of Capcom’s Gyakuten Saiban — known as the Ace Attorney series in English-language speaking regions  — have expressed both sighs of relief and shock at the announcement of the international release of the The Great Ace Attorney games as a collection.

The Great Ace Attorney titles have long been a contentious topic, with many fans wondering whether they would ever be made available outside of Japan more than five years after their initial release. For those who were able to play or watch someone else play, these games brought a refreshing take on the series with an entirely new cast of characters and location. Carrying a story set in a radically different setting, The Great Ace Attorney boldly pushes to explore more socially charged themes, all while still being faithful to the more sillier aspects that define Ace Attorney’s world. As a result, it inspired a fan group to translate the games in an effort to broaden this accessibility that Capcom seemed to not want to bring to players outside of their country.

The fandom had always felt at odds with Capcom’s marketing and international distribution of the games. If you look up “ace attorney” on Google, one of the leading questions you will first see is, “Is Ace Attorney Dead?” (And if you keep scrolling down even further, meanwhile, the Pandora’s box of fan content from memes to fanfic to doujinshi are endless; there’s truly a disconnect!) The latency between games’ releases, which some would blame as being detrimental to the game’s potential for wider success, inspired a much earlier endeavor that ended up producing a complete American-fan translation of Ace Attorney Investigations 2.

One of the speculated hurdles on what may have delayed The Great Ace Attorney’s international release is a conflict between the series’ previously established localization and its new setting. The Great Ace Attorney takes place in Japan near the culmination of the country’s Meiji period, a locale that defines each facet of its identity. The announcement trailer makes this clear, with hints of the game possibly even having dual audio options in both Japanese and English with a multilingual cast, reflecting  a crucial time when Japan was facing the impact of Westernization. With a story centered around issues like nationalism and racism, it would be ridiculous to strip it from its Japanese context in any fashion,  even more absurd than 4Kids Entertainment’s changing of the onigiri to the non-equivalent “jelly donuts” in the earlier seasons of the Pokémon anime.

Meanwhile, the official English translation of mainline Ace Attorney games have been completely removed from their native Japan setting to take place in the United States —  California specifically  and other countries’ own respective versions of the games follow suit. Characters’ Japanese names have been changed into Westernized equivalents, thus implying they are no longer Japanese but American. This would not raise questions if not for the fact that all of these games are directly connected: the central character of The Great Ace Attorney, Ryuunosuke Naruhodou (成歩堂 龍ノ介), is an ancestor to Phoenix Wright, the iconic main character of the series. He is otherwise known as Ryuuchi Naruhodou (成歩堂龍一) in the original Japanese script.

Their shared surname references an expression that roughly means “I understand” or any response of affirmation — hence the settlement on “Wright” sounding like “right” in English. However, this is one of few easier puns to tackle across the game, and more complexities arose when it came time to preserve the integrity of Japanese characters. Their first names reference the dragon, which is typically a benevolent symbol in East Asia, yet one that carries more sinister and miserly connotations elsewhere. Numerous names like these had to be swapped out with completely different equivalents, and thus “Phoenix” rose from the ashes, sourced from Greek myth instead.

With plenty of technicalities like these, excitement for The Great Attorney was muddled with confusion. It now seems like the settings of these interconnected games are completely at odds with each other! It’s great that this game is now getting localized, but does it now contradict this canon we have been fed due to the translation decisions made in the other ones? From my perspective, I think these concerns are making assumptions about a problem that does not even exist.

In an interview with USgamer, Alexander O. Smith, who led the localization for the very first game in 2005, discussed the difficulty alone in just maintaining the wordplay of the characters’ names. But with each passing case and each new entry in the series, it was no longer the names and gags that were the crux of translation hurdles. From the ever-increasing presence of social customs and religious traditions tied to character backstories and even turning points in the narrative, the game’s very blatant Japanese setting masqueraded as a fictional United States was getting harder and harder to ignore. Sure, the gimmick that your dead mentor’s ghost now occasionally inhabits this teenage girl’s body to help your pathetic self is a little much, but there is at least a very specific cultural justification for it.

“Normally, what you do in a situation like that is leave [the location] vague”, Smith said. “[Y]ou adapt the cultural references that will go over the heads of your audience”. Smith later ran into a particular case in which the specificity of the game’s original Japanese setting tied to an important piece of evidence. Even more cases later depended on referring to actual time zones and locations, which are key in how these scenarios would be solved and could no longer be “[left] vague.” “I know this has become an issue in later games, especially—the difficulty in selling where the game is set”, he said. “The Japanese references have gotten layered on heavier and heavier and heavier.” While Smith is currently based in Japan, and continues to do translation work for games and even other industries, there was a disconnect to this idea that these Japanese references could not find a place in an American setting. Smith perhaps struggled with the possibility of a “melting pot” concept for the games while not living in the States himself.

It was clear that the series’ English-language localization needed a pivot under someone who had the proper background and touch to balance the game’s now fully embraced American setting while respecting its Japanese intent. When Janet Hsu took over localization of the games starting with Justice For All in 2006 (Adam Smith briefly returned to Capcom to lead the localization for Apollo Justice in 2008), she wanted to “recreate the feeling and experience Japanese gamers had in a way that is understandable to a Western audience”. Hsu has written several blog posts chronicling her localization adventures and communication with Shu Takumi, the creator of the series. By projecting her own experiences having lived in different countries as an Asian woman, she was able to approach the games that interpreted the world of Ace Attorney taking place in “an alternate universe where anti-Japanese sentiments and anti-immigrant laws were not enacted, and Japanese culture was allowed to flourish and blend into the local culture in the same manner as other immigrant cultures”.

In an effort to simply fill in the gaps previous localization decisions have created, Hsu redacted one of many ugly parts of American history in an effort to instead imagine a more idealized, but still imperfect society. As an Asian American myself, to see a lot of thought put into navigating a tricky canon by turning it into something meaningful for the Asian community is a huge deal.

There were slivers of this cultural flavor that constantly popped up in the games, and it remains unclear to me as to why dramatic changes to undo its presence were necessary. One example of this is the recurring joke that Maya Fey (Mayoi Ayasato 綾里真宵) is obsessed with burgers. In the original Japanese text, she is obsessed with ramen. Why was this necessary to swap out to begin with? Even if more authentic ramen and all of its variants are more commonly found on the blocks and within pantries of Asian communities, it’s safe to say knowledge of this food item is not unknown to our globalized world. As if ramen has not been a known food staple in the United States entering the latter half of the 21st century? As if college students everywhere don’t eat and breathe Nissin Cup Noodles as the high sodium fuel to procrastination?

Although mostly a comedic bit, this is poignantly used as a storytelling thread to refer back to Phoenix Wright’s connection with Maya when she is not present in Apollo Justice. The second case in the game introduces a ramen noodle vendor in which Maya and Phoenix were frequent customers to his father. In this same case, we learn that Phoenix’s life has plummeted to an all-time low, but he still goes to this ramen stand with his adopted daughter — as if trying to pass on a positive tradition to her and to fill a gap he no longer has. At this point in the chronology of the series, the player is supposed to feel all sorts of emotions from this information! The titular character of the game, Apollo Justice (Housuke Odoroki 王泥喜 法介), constantly resisted trying the ramen and his slow acceptance of it (albeit still with disdain) serves as a symbolic acknowledgement of his role as a new main character in this series. But because we have been fed up to this point that Maya specifically loves burgers, that this whole time ramen has been a symbolic food for all of these characters might come off as very sudden.

The impact of these small relationships is lost because the original trilogy swapped Maya’s gluttony for noodles with a different type of food. Maya’s eventual return to the games poked fun at this, commenting at some point she would like to try an “extra-large” Hamburg steak — a German-originated beef patty dish since absorbed into Japanese cuisine and other Asian cultures that is basically just a burger without the bun — over a ramen bowl. The script made both ends meet to pretty much suggest she is obsessed with both burgers AND ramen. US-based marketing content for the game have also occasionally made fun of this now permanently fixed gag. This might very well be Ace Attorney’s “jelly donuts” equivalent.

I would like to imagine a world where the Chinese Exclusion Act of 1882 did not happen, banning migration from China for the sake of “racial purity”. I would like to imagine a world where the Immigration Act of 1924 also never happened, a federal law that banned immigration from Asia and the Eastern hemisphere to “to preserve the ideal of US homogeneity.” As a Filipino, where would I be in this universe if the exclusionary terms set by the Tydings-McDuffie Act of 1934 did not perhaps influence the decisions made by earlier generations of my family?

If not for these racist barriers that have heavily influenced migration trends from Asia to the United States in the modern century, how different would the country look like today? These are lost generations of “hyphenated Americans”, and this interpretation of the Ace Attorney localization has considered the possibilities that these people could have been Phoenix Wrights, Apollo Justices, and many others. If it wasn’t for the manufactured obstacles that stopped so many people from professing the right to be vocal about their identity in our world, at the very least, these video game characters can be validated and build legacies in their worlds.

History ended up taking a different turn and Asian Americans now make up a huge portion of California’s population. The state has the largest concentration of Asian Americans living within the mainland region of the United States. It should not be difficult to imagine a slightly different scenario where Asian Americans would make up the dominant demographic of an alternate reality California instead, if not funneled by some history revisionism. On the other hand, instead of that reality, we unfortunately live in one where some people can’t imagine a more multicultural world where the experience of white Eurocentrism is no longer the default option.

It should not be weird to imagine a city where shrines adorn the every few blocks you walk by. It should not be weird to see storefronts donning vibrant, red decorations and cute, gilded illustrations of animals on a cold day in February. Some people also prefer to start hanging their Christmas lights in September! It should also not be weird to immediately remove your shoes, dirtied and worn from the outside, when you enter a home. (Please, I beg of you!)

These may be unfamiliar concepts to others, but to me, they are just a few examples of things that are normal to my everyday way of living, my upbringing, and my own integration and interaction with other Asian cultures — all while still tied to an existence living in the United States. When confronted with a different image of what “American” can be, it is considered the incorrect one. There exists a conditioned mindset that expresses a genuine terror over becoming the new “minority”, which only speaks to the hurdles that marginalized communities continue to still face while being othered to this day.

Elements of Phoenix Wright as a character are intentionally left blank due to his nature as a “cipher” character for the player (This even gets to a point in which something as mundane as what his bedroom looks like is controversial). It is hard not to fill in those empty pages wondering if he is a first-generation immigrant that adapted a new name distinct from his original Japanese name. I know many people in my own life that have two names, simply choosing to use one over the other on paper. Although no longer a mandated practice, some people immigrating to the United States still debate about anglicizing their names in fear of scrutiny and being subjected to bias. Many change their names on their resumes, especially Asian-language based names, in fear of discrimination in the workforce. What if his Japanese parents just wanted to give him a non-Japanese name without any pressing reason? Surnames can also easily naturally change across generations. This opens up another door to the idea that Phoenix Wright could be of mixed race. The possibilities of ever further exploring his (now canonical) Japanese ancestry should be a non-issue.

This tiny revision can also apply to a plethora of other cast members, a simple gesture that undoes the accidental erasure of their racial identities of being Japanese where it can now be made significant once again. What about the “German” von Karmas? Guess what? They’re Japanese too!

I do not blame the few who saw The Great Ace Attorney Chronicles announcement only to react with confusion, immediately jumping to the dire conclusion that the localization team ended up digging a hole for themselves for the rest of the series by displacing its original setting. For me however, it was easy to imagine a man who was stripped of his Asian roots to be commodifiable in both the land he now lives in, and to the players of his own game. We are so used to the consumption of media where the protagonists are white-passing characters or of some sort of ambiguous fictional ethnicity as to not rustle particular feathers, that I myself often fall into the trap of feeling like something is wrong in cases where a character is depicted otherwise.

Although more Asian Americans are now increasingly practicing and studying law, there still remains a gap when it comes to their numbers in more visible leadership positions. Not only would it be interesting to see this representation of Asian Americans in law, but it is an affirmation to see more Asian Americans in video games at large.

There are numerous Asian characters in fighting games like the Street Fighter franchise and Mortal Kombat, but those characters come from a different experience compared to diasporic Asians who do not live in or were not raised in their ancestral countries. Games like these are also set in the mainland Asian region or something allegorical to it, like the Yakuza franchise, Sleeping Dogs, and Shenmue. The few characters that do remain coded as Asian in Ace Attorney’s localization have been presented as foreigners to the game’s setting in the United States. For instance, several significant characters in the Investigations games hail from Zheng Fa, a fictional country that might be inspired by China.

Characters in major releases like Metal Gear and Ada Wong from the Resident Evil series are Asian American, but that representation still remains few and far in-between. Other names that I can think of off the top of my head are: Faith Connors from Mirror’s Edge, Ashley Mizuki Robbins from the now relatively obscure Another Code games, and Chell from Portal.  It would be a significant inclusion to finally bring to the table this everyday man who fights less with his fists and more with his wits, all aided with the power of (usually unfortunate) luck. (He also still manages to fulfill the stereotype by being in a fighting game in Ultimate Marvel vs. Capcom 3!)

Just make it canon: Phoenix Wright is a Japanese American man. The series’ localization team cannot reset the path they have laid in front of them without destroying it, completely obliterating the composition established in Ace Attorney games for English-speaking fans. Instead, this should be taken as an opportunity to move forward and establish a new normal in order to imagine a future and America where these characters rightfully deserve to be unequivocally and unapologetically Asian without scrutiny or censorship.

It is the year 2021. We are still currently in the dark age of law. The scent of dill from a fresh batch of borscht fills the restaurant’s chilly air as a Japanese American man tinkers with a piano’s keys. He thinks about the dire circumstances of his present. He realizes it has been one whole year since becoming a father. He wonders how much he can make later that night. He is unaware that several years from now, he will be able to reclaim his future and once again, be himself.

The post Making Phoenix Wright Canonically Asian American and Why That is Important (to Me) appeared first on Gamesline.