0:00:03.299,0:00:09.580
order order everyone new frame plus is

0:00:07.029,0:00:11.650
in session by order of the patrons we

0:00:09.580,0:00:14.350
are here to examine the animation in the

0:00:11.650,0:00:17.019
Ace Attorney series so before we begin

0:00:14.350,0:00:19.720
thank you to Marina de Mar is Scout

0:00:17.019,0:00:22.630
hunter 546 and Archie Andrew ski for

0:00:19.720,0:00:24.640
suggesting this very good topic now I

0:00:22.630,0:00:26.619
realized that this might at first seem a

0:00:24.640,0:00:28.570
strange series to make an animation

0:00:26.619,0:00:30.460
analysis video about because the

0:00:28.570,0:00:33.070
animation in the Ace Attorney games is

0:00:30.460,0:00:36.340
incredibly minimal you could even argue

0:00:33.070,0:00:38.710
that it is unnecessary just a flourish a

0:00:36.340,0:00:41.320
light sprinkling of movement over top of

0:00:38.710,0:00:43.450
an otherwise static visual novel but

0:00:41.320,0:00:45.399
however non-essential the animation

0:00:43.450,0:00:47.380
might seem it is still an important

0:00:45.399,0:00:49.809
additive element and it's a big reason

0:00:47.380,0:00:53.110
why Phoenix Wright games have proven so

0:00:49.809,0:00:55.329
memorable game animation is always a

0:00:53.110,0:00:57.309
challenge of delivering the most bang

0:00:55.329,0:00:59.500
for your buck and ace attorneys

0:00:57.309,0:01:01.660
developers have historically had very

0:00:59.500,0:01:03.640
little buck to work with this is a

0:01:01.660,0:01:06.010
series whose visual identity has been

0:01:03.640,0:01:07.840
shaped by its limitations the first game

0:01:06.010,0:01:10.869
was developed by a team of seven people

0:01:07.840,0:01:12.820
over the course of just ten months the

0:01:10.869,0:01:15.040
original Phoenix Wright trilogy was

0:01:12.820,0:01:17.290
first made for the Game Boy Advance of

0:01:15.040,0:01:20.020
all things and yet despite all that

0:01:17.290,0:01:22.689
these games are loaded with expressive

0:01:20.020,0:01:25.150
characters and silly charm so how do

0:01:22.689,0:01:28.479
these games manage to do so much using

0:01:25.150,0:01:30.430
so very little to start it helps that

0:01:28.479,0:01:33.130
shoot akka me and his team chose the

0:01:30.430,0:01:35.619
perfect presentational format the visual

0:01:33.130,0:01:37.930
novel is an ideal genre for delivering

0:01:35.619,0:01:39.970
an interactive story on the cheap I mean

0:01:37.930,0:01:42.159
all you really need is backgrounds some

0:01:39.970,0:01:44.409
static 2d character art and a text box

0:01:42.159,0:01:46.840
and you can't get much more efficient

0:01:44.409,0:01:48.640
than that and if all these games had was

0:01:46.840,0:01:50.439
a handful of static poses and

0:01:48.640,0:01:52.270
backgrounds in a text box they still

0:01:50.439,0:01:54.640
would have worked I mean lots of

0:01:52.270,0:01:57.070
successful visual novels have been just

0:01:54.640,0:01:59.860
that but Ace Attorney does not stop

0:01:57.070,0:02:01.600
there the first thing that really sets a

0:01:59.860,0:02:03.450
Saturnia games apart from the pack is

0:02:01.600,0:02:05.829
the quality of their pose design

0:02:03.450,0:02:07.750
characters in these games only have a

0:02:05.829,0:02:09.399
handful of poses each and you're going

0:02:07.750,0:02:12.069
to be staring at those poses for hours

0:02:09.399,0:02:12.870
so they have to be good and they have to

0:02:12.069,0:02:15.209
somehow

0:02:12.870,0:02:15.930
vade the totality of each character's

0:02:15.209,0:02:18.450
personality

0:02:15.930,0:02:21.299
Capcom's artists have to essentially

0:02:18.450,0:02:23.159
take each character and condense all of

0:02:21.299,0:02:25.709
their body language and all of their

0:02:23.159,0:02:29.010
full emotional range down into just a

0:02:25.709,0:02:31.950
few snapshots and these games are so

0:02:29.010,0:02:34.590
good at it all these characters are so

0:02:31.950,0:02:36.659
expressive so many visual novel

0:02:34.590,0:02:38.640
characters will spend their entire game

0:02:36.659,0:02:41.250
standing in these relatively neutral

0:02:38.640,0:02:43.110
poses letting the text and their facial

0:02:41.250,0:02:45.390
expressions do all of the work but not

0:02:43.110,0:02:47.700
these folks just look at the range on

0:02:45.390,0:02:52.500
edge words courtroom posing you got

0:02:47.700,0:02:54.450
neutral smug Stern assertive very

0:02:52.500,0:02:56.910
assertive taken aback

0:02:54.450,0:02:59.239
exasperated that's not a whole lot of

0:02:56.910,0:03:01.890
poses and yet he is larger-than-life

0:02:59.239,0:03:04.739
every one of these characters makes an

0:03:01.890,0:03:06.480
immediate strong impression like you

0:03:04.739,0:03:09.269
don't need to read a single line of

0:03:06.480,0:03:13.859
dialogue from red white to know that you

0:03:09.269,0:03:15.959
hate him here I'll show you see just one

0:03:13.859,0:03:17.489
glance at that pose and that smug

0:03:15.959,0:03:20.430
expression and do you have all the

0:03:17.489,0:03:23.130
information you need heck this game has

0:03:20.430,0:03:24.930
some of the most iconic poses in all of

0:03:23.130,0:03:27.450
gaming you don't have to have played a

0:03:24.930,0:03:30.989
single Ace Attorney game to recognize

0:03:27.450,0:03:32.549
this this brings us to another important

0:03:30.989,0:03:34.379
element that sets these games apart

0:03:32.549,0:03:36.750
their approach to limited animation

0:03:34.379,0:03:39.629
because as you can see these are not

0:03:36.750,0:03:41.489
just static poses compared to a lot of

0:03:39.629,0:03:43.470
their visual novel contemporaries Ace

0:03:41.489,0:03:45.660
Attorney characters actually animate

0:03:43.470,0:03:47.639
quite a bit you see one of the common

0:03:45.660,0:03:49.410
challenges for this genre is that you

0:03:47.639,0:03:51.930
want your visual novel to be visually

0:03:49.410,0:03:53.430
engaging right because static images can

0:03:51.930,0:03:55.739
get pretty boring to look at after a

0:03:53.430,0:03:57.569
while but you got no money so you've

0:03:55.739,0:03:59.519
either got to accept that your games

0:03:57.569,0:04:01.799
just gonna look pretty static and that's

0:03:59.519,0:04:03.959
gonna have to be fine or you've got to

0:04:01.799,0:04:05.970
figure out how to liven things up in a

0:04:03.959,0:04:07.530
way that costs very little and it's

0:04:05.970,0:04:09.989
pretty fun looking around to see how

0:04:07.530,0:04:12.030
many varied solutions different visual

0:04:09.989,0:04:13.680
novels and adventure games have used to

0:04:12.030,0:04:15.840
address that problem because there are a

0:04:13.680,0:04:18.510
lot of really creative approaches out

0:04:15.840,0:04:20.820
there now in the case of Phoenix Wright

0:04:18.510,0:04:22.860
fully animating these characters on such

0:04:20.820,0:04:24.780
a tight budget and schedule obviously

0:04:22.860,0:04:27.350
out of the question so what the artists

0:04:24.780,0:04:30.110
did instead was work within their key

0:04:27.350,0:04:32.120
poses adding just enough movement to

0:04:30.110,0:04:33.920
keep the characters feeling alive I've

0:04:32.120,0:04:36.200
talked before about the concept of

0:04:33.920,0:04:38.210
limited animation which you often see

0:04:36.200,0:04:40.280
deployed in animation for TV which has

0:04:38.210,0:04:43.400
to work on a tighter budget well this is

0:04:40.280,0:04:45.380
basically that but stripped down even

0:04:43.400,0:04:48.050
further down to the barest minimum

0:04:45.380,0:04:50.780
possible so the characters will hit

0:04:48.050,0:04:53.330
these striking poses but then as they

0:04:50.780,0:04:55.610
hold each pose they will continue to

0:04:53.330,0:04:57.950
blink when they speak as their text

0:04:55.610,0:04:59.720
dialogue appears below their mouths will

0:04:57.950,0:05:02.480
cycle through a handful of talking

0:04:59.720,0:05:04.910
shapes and for certain poses characters

0:05:02.480,0:05:07.190
will even have extremely limited unique

0:05:04.910,0:05:08.960
animation just one or two additional

0:05:07.190,0:05:11.150
drawings wherever it'll have the most

0:05:08.960,0:05:13.640
impact maybe even on just one part of

0:05:11.150,0:05:16.400
the body like nervous characters will

0:05:13.640,0:05:18.650
visibly sweat detective gumshoe will do

0:05:16.400,0:05:20.600
this heavy breathing which just adds to

0:05:18.650,0:05:23.450
his sense of eager intensity

0:05:20.600,0:05:25.940
dee Vasquez will smoke her pipe Cody

0:05:23.450,0:05:28.250
Hawkins will try and fail to draw his

0:05:25.940,0:05:31.010
toy sword Luke at me will clean his

0:05:28.250,0:05:33.230
magnifying glass thing Franziska von

0:05:31.010,0:05:35.090
Karma will tensely grip the fabric of

0:05:33.230,0:05:37.400
her sleeve just like her dad does by the

0:05:35.090,0:05:39.710
way and they'll add these anticipation

0:05:37.400,0:05:42.230
frames to the poses that really need to

0:05:39.710,0:05:44.510
pop with some more energy like Phoenix's

0:05:42.230,0:05:46.550
accusatory point or the moments where

0:05:44.510,0:05:49.340
Phoenix or Edgeworth slammed their hands

0:05:46.550,0:05:51.260
down on the stand that tiny bit of extra

0:05:49.340,0:05:53.360
animation attention goes wherever it

0:05:51.260,0:05:56.420
will achieve maximum personality or

0:05:53.360,0:05:58.400
appeal or comedy like the first time

0:05:56.420,0:06:01.370
you're up against Godot and you see him

0:05:58.400,0:06:03.380
lean forward hand outstretched and a

0:06:01.370,0:06:05.960
coffee mug suddenly slides into his palm

0:06:03.380,0:06:07.880
out of nowhere if that gag is not worth

0:06:05.960,0:06:12.320
a few more frames of animation than what

0:06:07.880,0:06:14.420
is but the real value of this strong

0:06:12.320,0:06:16.490
pose design and hyper limited animation

0:06:14.420,0:06:18.860
is in the ways that they can both be

0:06:16.490,0:06:21.260
used to show a progression of emotions

0:06:18.860,0:06:23.690
over the course of a story this is a

0:06:21.260,0:06:26.210
game of comically exaggerated courtroom

0:06:23.690,0:06:28.700
drama and the posing on this cast of

0:06:26.210,0:06:30.920
absurd caricatures needs to reflect the

0:06:28.700,0:06:33.110
drama of the moment and not just for

0:06:30.920,0:06:35.960
narrative purposes but also for player

0:06:33.110,0:06:37.970
feedback in the context of a virtual

0:06:35.960,0:06:40.010
courtroom visible shifts in a

0:06:37.970,0:06:40.910
character's emotional state are some of

0:06:40.010,0:06:42.950
the clearest

0:06:40.910,0:06:45.230
back the player can get in response to

0:06:42.950,0:06:47.810
their choices like if that last question

0:06:45.230,0:06:50.060
got a big emotional reaction then you

0:06:47.810,0:06:51.980
might be on to something or if the

0:06:50.060,0:06:54.200
prosecution starts looking smug all of a

0:06:51.980,0:06:56.480
sudden now that's probably a bad sign to

0:06:54.200,0:06:59.450
show you what I mean let's look at just

0:06:56.480,0:07:01.790
one characters entire animation set over

0:06:59.450,0:07:04.370
the course of one story and to show just

0:07:01.790,0:07:06.290
how good a Saturnia spin at this from

0:07:04.370,0:07:07.910
the start let's do it with a character

0:07:06.290,0:07:10.970
from the very first episode in the

0:07:07.910,0:07:13.490
series Frank saw it now this particular

0:07:10.970,0:07:16.220
episode opens with a cutscene showing us

0:07:13.490,0:07:18.170
that Frank is in fact the real killer so

0:07:16.220,0:07:20.870
there is no ambiguity going into this

0:07:18.170,0:07:23.900
case we know for a fact that the accused

0:07:20.870,0:07:26.150
our client is innocent and that Frank is

0:07:23.900,0:07:28.370
not to be trusted so when the trial

0:07:26.150,0:07:30.920
starts and it's finally Frank's turn to

0:07:28.370,0:07:34.880
take the stand this is the first pose we

0:07:30.920,0:07:37.040
see look at this suck-up clearly he is

0:07:34.880,0:07:38.630
hoping to come in here sweet-talk his

0:07:37.040,0:07:41.060
way through his testimony and get out

0:07:38.630,0:07:43.760
without a scratch now obviously this is

0:07:41.060,0:07:45.380
not subtle characterization but it's not

0:07:43.760,0:07:47.870
supposed to be this is a game of

0:07:45.380,0:07:50.510
larger-than-life caricatures subtlety

0:07:47.870,0:07:52.310
has no place here and he's already got

0:07:50.510,0:07:54.710
some limited animation happening in this

0:07:52.310,0:07:57.140
first pose just a set of three drawings

0:07:54.710,0:07:59.540
on only his body to allow him to do that

0:07:57.140,0:08:01.610
little sycophantic wiggle and this is a

0:07:59.540,0:08:03.919
particularly great touch because that

0:08:01.610,0:08:06.320
back-and-forth movement not only adds to

0:08:03.919,0:08:08.330
the cloyingly over friendly nature of

0:08:06.320,0:08:11.180
the pose but it also gives Frank a sort

0:08:08.330,0:08:13.130
of nervous energy and of course we know

0:08:11.180,0:08:15.230
why he might be feeling nervous it's

0:08:13.130,0:08:18.200
just two extra drawings but they have a

0:08:15.230,0:08:20.030
big payoff so then the prosecutor asks

0:08:18.200,0:08:21.800
his first question and it's a pretty

0:08:20.030,0:08:24.080
simple little soft ball of a question

0:08:21.800,0:08:26.330
but Frank's response is accompanied by a

0:08:24.080,0:08:28.340
flash and a screen shake the Ace

0:08:26.330,0:08:30.830
Attorney games use these full screen

0:08:28.340,0:08:33.050
effects a lot for emphasis in this

0:08:30.830,0:08:35.479
instance it makes Frank's response feel

0:08:33.050,0:08:38.240
kind of overeager like maybe he replied

0:08:35.479,0:08:39.740
a little too suddenly or too loudly this

0:08:38.240,0:08:41.479
is also where we see the additional

0:08:39.740,0:08:43.370
drawings for Frank's talking mouth in

0:08:41.479,0:08:45.440
this pose just his default mouth shape

0:08:43.370,0:08:48.080
and three additional mouth poses playing

0:08:45.440,0:08:49.670
on a loop now as Frank starts giving his

0:08:48.080,0:08:51.800
testimony you might notice a subtle

0:08:49.670,0:08:53.080
difference in his animation during the

0:08:51.800,0:08:55.540
moments when he's speaking

0:08:53.080,0:08:58.120
he is still holding that same pose as

0:08:55.540,0:09:00.580
before but as the text appears on screen

0:08:58.120,0:09:03.130
and his mouth flaps the speed of his

0:09:00.580,0:09:05.260
wiggling increases slightly when he's

0:09:03.130,0:09:07.300
beautifully just standing there idle his

0:09:05.260,0:09:09.279
little wiggle animates on twenty frame

0:09:07.300,0:09:11.050
intervals but when he's talking that

0:09:09.279,0:09:13.510
animation speeds up so that the drawing

0:09:11.050,0:09:15.310
cycle every 15 frames or so which makes

0:09:13.510,0:09:17.980
him feel a little more active on screen

0:09:15.310,0:09:19.570
and I love this little efficiency the

0:09:17.980,0:09:21.730
artists are altering the character's

0:09:19.570,0:09:23.800
performance just through timing alone

0:09:21.730,0:09:25.300
here without having to add any new art

0:09:23.800,0:09:27.519
and we're gonna see them play with that

0:09:25.300,0:09:29.920
timing a lot more in a second so Frank

0:09:27.519,0:09:32.019
gives his testimony and wait a minute we

0:09:29.920,0:09:32.649
find an inconsistency when we call him

0:09:32.019,0:09:34.720
on it

0:09:32.649,0:09:36.850
that's when we see Frank's second pose

0:09:34.720,0:09:38.920
and it's very similar to the first one

0:09:36.850,0:09:41.140
in fact I think the body animation might

0:09:38.920,0:09:43.480
be identical which again hey efficient

0:09:41.140,0:09:45.490
but now his head is tilted downward

0:09:43.480,0:09:46.839
slightly his brows are furrowed he's

0:09:45.490,0:09:48.730
looking a little more worried he's

0:09:46.839,0:09:51.550
starting to sweat and that body

0:09:48.730,0:09:53.019
animation cycle is going even faster now

0:09:51.550,0:09:55.149
the drawings are switching on eighth

0:09:53.019,0:09:57.310
frame intervals plus we're starting to

0:09:55.149,0:09:59.410
see more screen shake on his responses

0:09:57.310,0:10:01.000
he is getting more and more nervous and

0:09:59.410,0:10:03.130
that act he's been putting on is

0:10:01.000,0:10:05.440
starting to feel less charming and more

0:10:03.130,0:10:07.390
desperate and does that not feel

0:10:05.440,0:10:09.220
satisfying of course he does come up

0:10:07.390,0:10:10.930
with a lie to dig himself out of that

0:10:09.220,0:10:13.510
hole and he reverts to that original

0:10:10.930,0:10:16.060
smarmy grin but then he gives revised

0:10:13.510,0:10:18.700
testimony and aha another contradiction

0:10:16.060,0:10:20.260
and with another flash and screen shake

0:10:18.700,0:10:22.720
Frank is cornered again

0:10:20.260,0:10:24.550
Phoenix calls him out on this latest lie

0:10:22.720,0:10:26.890
and that's when we see a brief glimpse

0:10:24.550,0:10:29.170
of pose number three an expression of

0:10:26.890,0:10:31.510
furious shock kind of like when a cat

0:10:29.170,0:10:33.579
digs their claws into your leg it's only

0:10:31.510,0:10:35.589
onscreen for a second but it's a telling

0:10:33.579,0:10:37.630
sign we are beginning to break through

0:10:35.589,0:10:39.820
the act and there's a little animation

0:10:37.630,0:10:42.100
to this pose too so long as you don't

0:10:39.820,0:10:43.690
blink you might see his toupee flap off

0:10:42.100,0:10:45.130
of his forehead just a little it's a

0:10:43.690,0:10:47.560
little bit of foreshadowing for you

0:10:45.130,0:10:49.870
so Frank digs himself out of this lie

0:10:47.560,0:10:52.029
also but this time he doesn't go back to

0:10:49.870,0:10:54.130
the smarmy pose he sweats through his

0:10:52.029,0:10:55.890
entire third attempt at testimony and

0:10:54.130,0:10:58.420
when we call him on yet another

0:10:55.890,0:11:01.990
inconsistency this time we get pose

0:10:58.420,0:11:04.390
number 4 anger he's shaking his fist the

0:11:01.990,0:11:06.640
screen is shaking a lot on his dialog

0:11:04.390,0:11:08.470
now his eyes are blinking just

0:11:06.640,0:11:11.050
lightly out of sync which mmm that's

0:11:08.470,0:11:13.390
good we are seeing a new side of Frank

0:11:11.050,0:11:15.880
come out the true Frank who can't keep

0:11:13.390,0:11:18.070
his anger in check we've almost got him

0:11:15.880,0:11:20.560
you see what I mean about this animation

0:11:18.070,0:11:22.930
acting as player feedback Frank's

0:11:20.560,0:11:24.400
emotional state and also the emotional

0:11:22.930,0:11:26.440
state of the prosecutor which is very

0:11:24.400,0:11:28.930
fun to watch functions as evidence of

0:11:26.440,0:11:31.060
your progress in this case and these

0:11:28.930,0:11:33.550
emotional outbursts also weirdly

0:11:31.060,0:11:35.860
function as a kind of celebration but as

0:11:33.550,0:11:38.050
you wear the witness down with more and

0:11:35.860,0:11:40.390
more of your very good lawyering they're

0:11:38.050,0:11:42.910
escalating nervousness and anger is your

0:11:40.390,0:11:44.590
reward and if you can manage to keep

0:11:42.910,0:11:49.290
pressing them and break through their

0:11:44.590,0:11:49.290
last few desperate lies then

0:11:50.230,0:11:55.610
the game will celebrate your victory

0:11:52.940,0:11:58.580
with a relatively elaborate meltdown

0:11:55.610,0:12:00.320
this is almost always the most animation

0:11:58.580,0:12:02.570
you're going to see on these antagonist

0:12:00.320,0:12:04.850
characters Frank's little toupee throw

0:12:02.570,0:12:07.130
here requires a whopping seven new

0:12:04.850,0:12:09.440
drawings or I guess closer to twelve if

0:12:07.130,0:12:11.960
you include the hair and also Phoenix's

0:12:09.440,0:12:14.000
expression it is no wonder players love

0:12:11.960,0:12:16.279
these meltdowns so much because they are

0:12:14.000,0:12:18.560
immensely satisfying moments that you

0:12:16.279,0:12:21.020
worked so hard to earn and the actual

0:12:18.560,0:12:23.600
animation of these moments isn't even

0:12:21.020,0:12:24.950
that impressive by most standards this

0:12:23.600,0:12:27.200
would probably be considered kind of

0:12:24.950,0:12:29.630
poor but the over-the-top comedy of the

0:12:27.200,0:12:32.330
outburst still makes for an incredibly

0:12:29.630,0:12:34.460
satisfying surprise but Frank's not done

0:12:32.330,0:12:37.220
yet now that he's had his outburst we've

0:12:34.460,0:12:39.500
got a sixth pose of pure rage and it has

0:12:37.220,0:12:41.720
a lot of movement on it the Frank that

0:12:39.500,0:12:44.450
started this trial is nowhere to be seen

0:12:41.720,0:12:47.060
and when you deliver the final final

0:12:44.450,0:12:49.240
blow the game has one more reward for

0:12:47.060,0:12:49.240
you

0:12:52.310,0:13:02.089
a court case won by knockout that's some

0:12:59.810,0:13:04.790
good lawyering we just did and that's it

0:13:02.089,0:13:06.800
that's all of Frank's animation just

0:13:04.790,0:13:08.749
seven or eight poses with some extremely

0:13:06.800,0:13:11.420
limited movement thrown in for emphasis

0:13:08.749,0:13:13.670
compared to most other hit games that's

0:13:11.420,0:13:16.399
barely anything and yet it achieves

0:13:13.670,0:13:18.499
everything it needs to in fact this

0:13:16.399,0:13:20.959
style of limited but exaggerated

0:13:18.499,0:13:23.449
animation is so effective that modern

0:13:20.959,0:13:26.089
Ace Attorney titles are still using it

0:13:23.449,0:13:27.980
the characters may all be 3d models now

0:13:26.089,0:13:29.569
and the snippets of animation may have a

0:13:27.980,0:13:32.269
bit more detail than they used to but

0:13:29.569,0:13:34.809
everything is still built on simple held

0:13:32.269,0:13:37.790
poses accented with extremely limited

0:13:34.809,0:13:39.410
specific motion and I'm actually shocked

0:13:37.790,0:13:41.240
at how well this works in 3d

0:13:39.410,0:13:42.980
granted the models aren't able to hit

0:13:41.240,0:13:44.689
those old poses with quite the level of

0:13:42.980,0:13:47.540
appeal as the original pixel art and

0:13:44.689,0:13:49.420
drawings had but they do get like 95% of

0:13:47.540,0:13:51.860
the way there and the constant use of

0:13:49.420,0:13:53.600
unusually static poses makes the

0:13:51.860,0:13:57.050
flourishes of animation even more

0:13:53.600,0:13:59.139
appealing by contrast the animation in

0:13:57.050,0:14:01.970
ASA tourney games is simple and

0:13:59.139,0:14:03.949
impressive all at once aesthetically it

0:14:01.970,0:14:06.439
has to strike this extremely delicate

0:14:03.949,0:14:08.360
balance of adding just enough movement

0:14:06.439,0:14:10.370
to keep things feeling alive and

0:14:08.360,0:14:12.740
expressive without that simplistic

0:14:10.370,0:14:15.769
movement just feeling like bad animation

0:14:12.740,0:14:18.319
to be cheap without feeling cheap

0:14:15.769,0:14:20.600
basically the line between limited

0:14:18.319,0:14:23.329
animation and bad animation can be

0:14:20.600,0:14:25.699
extremely thin and Phoenix Wright does

0:14:23.329,0:14:27.740
drift over that line with some frequency

0:14:25.699,0:14:29.779
if I'm honest but when you're posing is

0:14:27.740,0:14:31.819
this strong and when your characters are

0:14:29.779,0:14:34.519
this expressive and their reactions are

0:14:31.819,0:14:37.220
this satisfying I'm not sure any amount

0:14:34.519,0:14:39.319
of clunky animation can ruin that like I

0:14:37.220,0:14:41.269
said at the end of the day the eternal

0:14:39.319,0:14:43.250
challenge of game animation is in

0:14:41.269,0:14:45.709
delivering the most bang for your buck

0:14:43.250,0:14:49.179
and very few teams succeed in achieving

0:14:45.709,0:14:51.679
this much while working with so little

0:14:49.179,0:14:53.329
thanks once again to my patrons for

0:14:51.679,0:14:55.490
choosing this topic this was not a

0:14:53.329,0:14:56.660
franchise I was planning to dig into but

0:14:55.490,0:14:58.670
I'm very happy you gave me the

0:14:56.660,0:15:00.290
opportunity to do so if you would like

0:14:58.670,0:15:01.939
to suggest a topic for a future new

0:15:00.290,0:15:03.500
frame plus episode then consider

0:15:01.939,0:15:05.779
supporting the show like all of these

0:15:03.500,0:15:06.499
beacons of justice over here thank you

0:15:05.779,0:15:08.870
for watching

0:15:06.499,0:15:23.289
I'll see you next time

0:15:08.870,0:15:23.289
[Music]