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tilltheendwilliwrite · 3 years

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Cat Got Your Tongue

Chapter One

Master List / Series Master List

A/N: This series is set in the same world as Bare In The Woods (a one-shot were-bear Henry Cavill story). This series will be cross posted between Tumblr and AO3. As Tumblr has no way of preventing minors from reading the smutty bits (and there will be smutty bits) those chapters will only be available on AO3.

My archive work is available to Register Users Only. This means Yes, You Must Have An Account with Archive to read my work. If you'd like more information on how to acquire your Free archive account, please see this post. All you need is an email address to sign up. That's it. Just do it people.

Read on AO3 here!

Summary: The community of Salvation holds many secrets, not the least of which is the diversity of were-folk who call it home. Ember Porosha is one resident for who Salvation isn't just the town's name but her saving grace. After outrunning her past, she's resigned herself to playing surrogate to everyone else's children and never having her own. A mate was not in her future, and she was learning to live with that. Until he walked through the door of The Last Book and Brew.

Thomas Loki Hiddleston wasn't going to be in town long. Here for the naming of Henry and his wife's baby girl and presentation to the weres of Salvation, he planned only to stay a few days. A small town like this could never offer him the outlet he needed for his cat's dark desires, nor could he hide what he was for long. His nature would eventually need an outlet and Salvation held nothing for him. Or so he thought. One wiff of Ember's unique scent and he knew he'd found a long thought lost to him future.

But when she doesn't fall at his feet, and proves more stubborn than a mule, can he resit taking her in hand long enough to win her heart? Or will the bond between true mates not be enough to tame this wild hellcat.

Series warnings: Were-Creatures, Cats, Bears, Smut, Shameless Smut, Explicit Sexual Content, Explicit Language, Dom/sub, Blood, Blood Kink, this one could (will) get kinky

***

When the sleek black car drove through town, Ember gave it only a passing glance. It was odd, sure, but anyone who drove a Jag was so far out of her league they were playing on a different ball diamond altogether. The car screamed money, something she cared little about.

Sure she needed it, everyone did, but Ember was content with what she had, and in this sleepy town cradled lovingly between the mountains, she didn't need much. She had her sweet yellow cottage, her bookstore, and a community of friends when she desired company. And now, with the snow falling thick on the ground, she would have another singular pleasure.

Ember's little snow leopard heart leapt at the thought of running through the high passes and sliding down the long slopes, her wide paws keeping her above the snowpack instead of sinking in while her thick coat kept out the cold. It had been too long since she'd last played in her were form, and was looking forward to going out to the ranger station in a few days to visit with Henry, his wife, and their little cub.

The sweet baby girl already had Henry wrapped firmly around her finger, and Ember couldn't help but laugh at the goofy smile that perpetually graced his face when he looked at his family.

If a pang of jealousy jabbed her heart, Ember didn't let it show. She'd resigned herself to a lonely life a long time ago.

The bell over the door of her little shop gave a merry jingle, and she placed the last of the new James Patterson novels on the shelf before dusting off her hands and stepping out from behind the bookshelves to smile at Lorraine, the town's most gossipy raven.

If she was fluttering into The Last Book and Brew, then Ember was about to hear an earful.

***

Tom swept into the charming inn and forced himself to smile at the woman behind the desk. He'd spent a miserable six hours on the road, driven through a blizzard, and killed his cellphone when he'd dropped it in an icy puddle two hours prior as he'd filled the car with petrol. But there was no alternate way to get to Salvation, buried deep in the mountains, except to drive.

And Salvation was where he needed to be.

His old friend, Henry, was celebrating the birth of his first cub, and Tom dropped everything to come and see the little darling Henry was blessed with. And to meet the woman who'd tamed the giant bear after all this time. Sadly, he'd been unable to attend their wedding, but he refused to miss the welcoming of a new were into the community, whether he belonged to the Salvation clan or not.

That didn't mean he wouldn't give Hen the gears for choosing to live in some backwater nowhere even if it was beautiful here.

Still, Tom preferred the city for its indulgences and entertainments. No, he couldn't fall on all fours and run through the concrete jungle he called home, but he'd long come to terms with his destiny. It wasn't as if there was a panther out there waiting to run under the moonlight with him.

He was going to be a lone cat, a bachelor. He'd resigned himself to it, for no matter what anyone said, no one - were or human - had ever submitted wholly to his dark desires and chosen to stay in his possession afterward. They were all far too soft for his liking, ending in no more than a one-and-done.

At least, he could stalk the clubs and play with those unaware of his darkest needs and wants in the city. Tom was not a Dom to be denied, and those who gave in to the allure of his pretty face soon learned all about the devil underneath his Gucci suit.

"Hello, darling," he purred to the desk clerk. "Thomas Loki Hiddleston, checking in. I believe I have a reservation."

She blushed to the roots of her hair, sputtered, and nodded. "Of-of course, sir. If-if you'll sign a few things and put your card on file, I can get you situated on your back- In your room!" she corrected, staring at her hands.

Tom couldn't hide his smile, but he swallowed his laughter. It was always the same. The sweet little birds flocked to him, but they had no idea a predator was stalking them.

He went through the incidentals, signed her documents, collected his key and listened intently when she told him about the room, breakfast, the restaurant, spa, and pool. His ears perked up at the last. He did enjoy a refreshing swim.

"And if you fancy something other than regular coffee or black tea, there is The Last Book and Brew just down the street. Ember makes the best scones and tea."

"Does she now?" he murmured, eyeing Irene - her name on a little plaque pinned to her chest - as she handed him back his credit card. "Perhaps I'll check in on it. A cuppa does sound delightful." The drive had been long, and tea might be just the pick-up he needed before calling round to Henry's.

He nodded to Irene and headed for the stairs instead of the elevator. Three floors were nothing for his long legs, the exertion minimal, as he hiked to the third floor and down to the end where he fit the old-fashioned key into the antique lock and pushed open the door.

Tom was pleasantly surprised to find a mixture of well-kept antiques and modern furnishings decorating the space. While the bed and mattress were new and covered with clean, white duvet and sheets, the dresser - upon which sat a television - was a heavy mahogany buffet with curved Queen Anne legs. The bathroom was a revolution of modern plumbing though a cast iron tub stood on clawed feet beside a glass shower big enough for two. Gilt framed mirrors hung above dual vanities into which water poured from brushed gold fixtures.

It was all very romantic with its old-world charm though the inn was showing its age. Wallpaper lifted at the edges, millwork was chipped and rubbed in places, and a few of the lovely old tiles on the floor in the bathroom were cracked. But with the likely age of the building, it wasn't so surprising. If the gorgeous stone building weren't at minimum a century, he would eat his scarf.

She could be an absolute beauty with effort and enough money. Yes, he would be comfortable here for a time. The Salvation Inn would suit him.

Tom made his way to the windows that looked out on Salvation's main street. The road was a mess of dirty snow, sanded and salted for ease of travel, but the thick white flakes floating down turned the quaint replica gas street lights into white-topped monuments of winter. Storefronts glowed with welcoming light, still running their Autumn displays, creeping toward American Thanksgiving. The commercialization of Christmas had yet to appear, giving everything a cheerful, colourful cast he found pleasing to his senses.

Cars moved without hurry, mimicking the people coming and going about their business. Everyone was bundled up, but no one seemed to mind the cold and the snow. To be expected, he supposed. They lived in the mountains where snow fell early and lasted late.

As his gaze traversed the lane, his attention landed on The Last Book and Brew and caused him to tilt his head, intrigued. Unlike the other traditional storefronts with their brick faces and colourful awnings, gold filigree writing on wooden signs, the little bookstore had a distinctly different feel to it.

The door, window frames, and brickwork that accented the front of the building were painted a shiny, deep black. There was no awning but three stunning lanterns hung above the windows on wrought iron arms, beautifully curved like the elegant lines of a woman's body. A sign in the same black iron hung perpendicular to the door. Shaped like a shield or some family crest, the words The Last Book and Brew glowed crimson outlined in gold, while a raven of the same black iron sat guard, casting judgement on all who entered. Red velvet mounded in the windows, lovingly cradling the displayed books like sacrificial offerings.

Someone knew what they were doing, for that was the sexiest storefront Tom had ever seen.

Utterly enchanted and desperate to see if the interior matched the exterior, he left his leather valise unpacked on the bed, pocketed his key, and headed for the door.

Irene looked up as he passed her, but Tom paid the clerk little mind. He was on a mission, a hunt now, needing to discover the answer to the mystery of just who this Ember of Last Book and Brew was that she could create with such aplomb a store so alluring.

There was no wind when he trotted down the inn's exterior stairs and out into the snowfall. Traffic was light, so he crossed mid-street, avoiding puddles and snowbanks in an attempt to keep the Italian leather of his shoes dry while large flakes of falling snow collected in his dark ginger locks. He reached the door and admired the ornate handle before opening the door into another world.

Tom stepped inside and stared in amazement. He'd never thought a bookstore could be moody, but this one certainly was. The floors were highly polished ebony wood that led into dark railings which spiralled past the sunken first-floor cafe up a short flight of stairs toward the bookstore beyond.

He admired the cobblestone floor in the cafe, again shiny with polish, sealed he suspected to make cleanup easier. Upon them sat a virtual Mad Hatter's Tea Party of chairs, all shapes and sizes separated by wrought iron tables topped with glass. And though the chairs were unique in shape, they matched for colour, upholstered as they were in the blood-red and black brocade that turned them into a sexy indulgence he prayed were as comfortable as they looked.

And hung above it all, like a lady's magnificent fascinator, was a chandelier worthy of the name. Clearly electric, it appeared to drip ropes of black jewels and crystals as long as his palm, lit by three dozen candles that flickered with faux flames. It was spectacular.

Beyond, the cafe counter, like a walnut dream, appeared to be a repurposed and rehabbed saloon bar where elegant scrollwork on a pristine chalkboard announced the daily specials. He could see the cakes and pastries in their glass case, and while his stomach rumbled to remind him of the last meal he'd eaten, Tom was too enthralled with the decadence of the store to allow himself to be led by his nose when a small sign at the foot of the stairs requested no food past that point.

Another small sign asked him to wipe his feet, which he did without thought, before heading up the short but wide curved stairwell to the second floor into the fantasy world of someone's most magnificent mind.

He felt guided by the hand of a fae as he wound his way through ebony bookcases over hardwood floors, beneath more hanging lanterns and delicate chandeliers. The soft white of all the lights allowed him to read titles and leaf through pages without feeling as if the overhead lights would eventually dry out his eyes or buzz their annoyance through his brain. Every so often, he came upon stands of lightly scented candles, or soaps, or lotions made with all-natural products and tingling with the lightest touch of were-magic, causing Tom to look at the store with deeper senses.

The corners and cardinal points of the space had crystal wards, he realized, and the soft pulse of benevolent magic left him at ease. Whoever this Ember was, she bid all who came to her sanctuary welcome.

Even more intrigued than before, Tom found his way toward the counter where voices spoke in hushed tones, intent on finding the owner and congratulating her on the sensual, slightly erotic nature of her store. It left him breathless in a way that was hard for him to come by, and yet even as it pulled at his dark, seductive nature, he knew a family could come into such a place and find it magical, like falling into the rabbit hole of a dark Alice fantasy.

"That's nice, Lorraine, but I don't think Henry would approve of you gossiping about his friend."

Tom stopped in his tracks. Warm brandy and velvet bled over his senses, stroking straight through him to the soul of his cat. The panther purred and preened, wanting the owner of that voice to pet him and whisper words of seduction in his ear.

"Poppycock! Some big-city fella isn't going to care if we mountain folk talk about him."

Ugh, raven. He'd know that grating tone anywhere.

"Besides, he's some fancy lawyer or something," the raven, Lorraine, continued. "I'm sure he's used to people talking about him."

"It is still impolite."

Tom shivered, eyes half-lidding. He had to roll his head, stretching his neck to keep from sprouting fur. What he wouldn't give for one night with the owner of that voice.

Never one to hide in the face of scrutiny, Tom glided out from behind the bookshelf and smiled at the two women. "Actually, I run hotels."

The raven eeped and jumped, spinning to face him. She was older than he'd suspected, her dark hair thoroughly saturated with grey though her eyes remained clear brown orbs. The other, oh, the other, he could not help but stare.

Her face was the kind that would make angels weep with sharp, classic features, high cheekbones and a pointed chin like a sweet little fox. Her big eyes widened in surprise, showing off the shocking green, so pale and light they were almost neon when the light caught them. The heavy fall of thick curls that slipped from her shoulder left his mouth dry with the desire to sink his fingers into the mass that started black at the root and faded into tones of silver and dark grey, hinting at patterns like small rosettes.

A sleek, lithe body lovingly caressed by a sweater of raspberry wool and leggings of black knit glided out from behind the cash desk, her steps silent in small silver ballet flats. "Mr. Hiddleston?"

"Indeed," he purred, accepting her hand when she offered it. He captured it between both of his rather than shaking it as presented and held it lightly. "Thomas Loki Hiddleston, at your service, love. My friends call me Tom."

"Ember Porosha. Welcome to Salvation and The Last Book and Brew." She tilted her head, causing all that lovely hair to slide to the opposite shoulder. "Henry speaks highly of you."

"Mm," he chuckled, adjusting his grip to lightly press his thumb into the palm of her hand as he brought her knuckles to his lips. "Brags, does he?"

"Terribly," she agreed with a smile.

Tom smirked and pressed his lips to her skin. He inhaled and went rigid. That scent, the sweet smell of pine and snow somehow laced with the delicate notes of summer dreams, drowned him, flooding his lungs until he was sure he would never be able to breathe again without breathing in Ember's delectable fragrance.

She tried to retrieve her hand. Tom growled, low and deep, more a purr than a reprimand, and opened eyes he knew would glow green with his cat.

"Well, hello, pet," he smiled. "It seems I was wrong." He wasn't destined to be alone after all.

Sharp claws latched into his hands. "I've no desire to start anything with you, true mate or not."

He dropped her hands and brought his to his mouth to catch the blood seeping from the minor wounds. "We will see about that."

She hissed at him.

Tom threw his head back and laughed before gliding into her personal space and threading his fingers into her hair. "Spit all you like, little kitten. I always get what I want."

"I think it's time you left, Mr. Hiddleston," Ember growled, her hand on his chest to keep him at bay.

"Tea first," he smirked. "I'm gagging for a cuppa. Haven't had a decent one all day!" He stroked the silvery strands before letting them fall through his fingers. "Is your coat just as soft, Kitten?"

She glared daggers at him. "Leave."

He chuckled but stepped back, practically able to see her tail flick in anger. "Until later then, Ember."

***

He turned on his heels and sauntered away, leaving her seething behind him. How dare he. How dare he! How dare he assume such liberties when they'd only just met. When it was clear he was only passing through and would leave nothing but devastation in his wake.

"How dare he!" she hissed and stormed toward the back of the store to her office to calm down, forgetting Lorraine was still there.

Ember didn't slam the door, knowing he was still in the store, and she'd be damned before she gave him that much power over her. She would not be brought to heel like some… some… Kitten!

She growled a low sound and clenched her fists, determined to get control of herself and that snow leopard rolling like a damn hussy inside her.

She'd smelt him the moment he'd stepped beyond the books—dark spice and leather, mandarin and rosewood, with notes of cinnamon and vanilla. Ember's mouth watered with the desire to taste his skin and see if he tasted as good as he smelled.

"No," she said firmly. Her cat scoffed. "He won't stay here. He's a big city panther, and we will never go back." She was determined to live alone, be alone because she was safer that way.

Salvation was, well, their salvation. When she was most desperate for a new start and a place to hide from her past, Salvation was there with open arms, and an established were community.

Her cat settled down with the reminder and left her alone to pick up the phone.

Ember dialed the number by heart and waited for them to answer. "Hey, Henry, it's Ember. About tonight. Something has come up… I'm… not going to make it."

Next Chapter

#cat got your tongue #hiddleston au #Thomas Loki Hiddleston #were creatures

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yunaffie · 5 years

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Shu Takumi interview

Several years ago, Official Nintendo Magazine UK (now no longer existent) had an interview with Shu Takumi and it was even on their website. Now their website is no longer around, but I did manage to find the interview on the Wayback Machine and I figured I’d repost it to make it easier to find, as well as give people who haven’t seen it yet the opportunity to do so.

On the day that Phoenix Wright: Ace Attorney - Dual Destinies is released, Takumi talks to us about his best-loved series

Shu Takumi's most famous creation, Phoenix Wright, is famed for his 'turnabouts'. These whiplash-inducing twists of logic see him step into the unknown in order to seek his client's innocence; he's essentially a chancer, blagging his way to victory. Talk to Takumi, however, and you sense that he leaves nothing to fate. His stories are intricately plotted, his jokes laser-targeted and his heroes full-bodied personalities.

In a medium in which storytelling starts and ends with 'man hates thing, man shoots thing', Takumi is a rare exception to the rule. With his latest yarn, Professor Layton Vs. Ace Attorney, on the horizon, Associate Editor Matthew Castle was lucky enough to cross-examine one of gaming's definitive voices.

Matthew Castle: Before we start, just for any readers who might not know who you are, could you tell us about your role at Capcom?

Shu Takumi: I'm a director, which means that I propose ideas for new titles, design the games, write the scenarios and direct the projects. In addition, I mutter complaints and, when the intense pressure of an impossible schedule finally gets to me, escape into a fantasy world of my own creation [laughs].

MC: Before developing Ace Attorney you worked on Dino Crisis. How does one go from dinosaur survival horror to virtual courtrooms?

ST: Dino Crisis was the brainchild of my then boss, Resident Evil creator, Shinji Mikami. Working on his projects taught me not only how to make games, but also how to think about them. After Dino Crisis 2 wrapped, Mr Mikami gave me six months in which to create any kind of game I wanted.

I was still pretty wet behind the ears, but as I'd originally joined Capcom with a desire to create mystery and adventure games, this was a huge chance for me to make my mark as a creator. In the end it took a team of seven 10 months to produce the first GBA Ace Attorney title. Having the freedom to create exactly the kind of game I wanted was amazing and it was a real pleasure to work on that project.

MC: Can you remember when the idea of Ace Attorney first came to you? How did your bosses respond to the idea of a lawyer-based adventure game when you first described it to them?

ST: It was in 2000 when Mr Mikami said I could make my own game and my original idea was a fairly typical adventure with a detective as the main character. Most mystery adventures have the player choose from a number of different dialogue options for their character in order to progress the story, but I wanted a new gameplay style that enabled players to deduce for themselves what was happening, rather than just selecting canned responses. I developed this into the concept of facing off against the suspect in a crime and exposing the contradictions in their statements.

I was sure my new idea would be a fun and original take on the genre, so I started to revise the main character, since a detective would be too traditional for such an original concept. I asked myself, "What kind of professional would face off against a suspect and expose their contradictory statements?" The answer, of course, was a lawyer and so the Ace Attorney concept was born.

Incidentally, I wrote the game design document at home during my summer holiday straight after Dino Crisis 2 finished. One day, I got a call from Mr Mikami. Despite having supposedly given me free rein to design whatever I wanted, he warned me off doing a game about courtroom trials!

MC: Ace Attorney paints the police and legal profession in a silly light. Have you ever had feedback from lawyers or policemen about your portrayal of them?

ST: A few years ago I had the opportunity to speak with some police detectives and they told me that their real-life investigations are nowhere near as absurd as those that were depicted in Ace Attorney. I thought to myself, "Well, I had sort-of guessed that already..."

I've never had feedback from any lawyers, but I imagine it would be the same. They'd tell me they don't scream out "Objection!" as vigorously as our characters and I'd think to myself, "Well, I had sort-of guessed that already..."

MC: Every Ace Attorney game is full of great characters, so when you wrote each sequel how did you decide which people to bring back?

ST: The first time a previously featured character returned in a later case was Larry Butz. Phoenix defended him on a murder charge in the very first case of the first game and he showed up later in the same game as a supporting character in the fourth case.

He wasn't originally planned to be a recurring character, however. The schedule for designing and drawing a new character for that case was so tight that there was a serious risk we wouldn't make it in time, so we decided to reuse an existing character simply to save time on asset creation. Thus, Larry made his encore appearance, which ended up being a well-received element of the first game's storyline, so from the second game onwards, we started bringing old characters back intentionally.

How we choose who to bring back is simple: it's usually either characters who are popular with fans, or those I am fond of [laughs].

MC: For all the madness, there's something traditional about the mysteries at the heart of Ace Attorney. Did you draw on any classic crime writers for inspiration?

ST: You could say that there is a mixture of the spilled blood of victims, the guilty tears of killers and the sweat of hard-working detectives flowing through my veins... To put it less graphically, from the time I came across the Sherlock Holmes series as a child, all the way through to my university days, I've been obsessed with reading classic murder mysteries. It's safe to say that Ace Attorney would not exist were it not for Perry Mason.

When writing the cases for the games I've found inspiration in the works of GK Chesterton, Ellery Queen and Anthony Berkeley, to name but a few. And I can't leave out that modern classic of the genre, Columbo.

MC: How hard is it to devise a juicy twist and to hide it from view? In storytelling you often want to obscure the details, but videogame design often requires clarity. Did you find it hard to rectify those two things?

ST: They say that it's harder to create a puzzle than to solve one and that's certainly proved to be the case in my experience. For the first game, with my lack of experience I found it less like a challenging task than a hobby with which I became obsessed.

You need to control the information presented in the game so that there is a single right answer for the player to deduce, but also weave in plenty of initial inconsistencies for them to uncover and our trademark 'turnabout' twists to confound their expectations. This is where reading all those mystery novels in my youth has really paid off.

MC: Having worked on four Ace Attorney games, how did it feel to step away and work on Ghost Trick? Were you nervous to leave that safety bubble?

ST: I first started working on the Ghost Trick concept in 2004, after the completion of the original GBA version of Ace Attorney 3. The third game was supposed to be the last one, but plans changed and I ended up working on the first DS Ace Attorney, which, as you know, was the first Ace Attorney title to be localised and released in the west. My next project after that was Apollo Justice: Ace Attorney, so by the time I got around to finishing Ghost Trick it was 2010, six years after I first thought up the concept.

I certainly felt a lot of pressure when making Ghost Trick, as it was a brand new IP and I had just left the Ace Attorney series, but I was grateful for the chance to take on a new challenge.

MC: Ghost Trick featured some incredibly gruesome murder concepts - death by giant roast chicken is my favourite. From where did you draw inspiration for such a huge variety of deaths? Did any not make the cut?

ST: I feel that the most violent way of murdering someone is by directly shooting, stabbing or strangling them, so for Ghost Trick I wanted to have more indirect ways of killing someone, with a darkly comical, more symbolic feeling to them.

Combining this approach with the fact that the Nintendo DS screens are not the largest, or most high-resolution displays out there, it became important to make sure that whatever death we were presenting to the player was visually easy to comprehend. So being crushed to death by some giant object was a perfect fit for our requirements, whether it was under a big rock or a huge roast chicken.

As far as cut ideas, there was going to be a stage where the victim had been crushed by a huge safe that fell from the ceiling, but time restrictions meant the whole stage was cut. I do love having giant objects fall on people, don't I? That's probably the influence of Tom and Jerry on the young Shu Takumi showing through.

MC: More importantly, how did your team react as you presented these death ideas to them. Was anyone worried for your sanity?

ST: Yes, and not only that, but I also made it my goal to cause the team to worry for my sanity whenever I presented an idea, because if they were, it meant it was a good one. I would hear a little voice in my head saying, "You win!" at times like that. The more "You win!" moments one can have in life, the better.

MC: There were nods in Ghost Trick to Ace Attorney - Missile the dog, for example; a character who looked like Wright - do you see the two games as existing in the same universe?

ST: Those are really just coincidences: the guy who looks like Phoenix actually only has the same colour suit on and the dog is not the same breed as Missile, which, coincidentally, is the name of my pet Pomeranian.

Ghost Trick takes place in what is obviously a much more fantastical world than Ace Attorney. You may have noticed that the level backgrounds in Ghost Trick never have any kind of writing in them. This was an intentional design choice to prevent the game's setting from being identifiable as taking place in any particular country or era from the real world.

MC: Could you imagine an Ace Attorney/Ghost Trick crossover? Any deaths that we couldn't prevent by way of possession could then go to trial in a courtroom...

ST: ...or Phoenix Wright could be killed and Sissel could prosecute his killer in court! Whatever form it might take, a crossover between these games is something I would love to see happen.

MC: When you return to Ace Attorney after a period of absence - whether it was to write Apollo Justice or Professor Layton Vs. Ace Attorney - how easy do you find it to slip back into that world and that writing voice?

ST: Writing for Professor Layton Vs. Ace Attorney was the first time in several years that I wrote in the voice of Phoenix and Maya, but those characters are so dear to me that I carry them around everywhere in my heart, so it was very easy to pick it up again. It was like a reunion with old friends and was a very pleasurable and nostalgic experience for me.

MC: When you came to write the scenario for Professor Layton Vs. Ace Attorney, how hard was it to make those two universes gel? Layton's world traditionally dispels the paranormal, while Wright tends to embrace it.

ST: I worked together with Level 5 to develop the world in which the crossover takes place. It took quite a lot of time for both sides to find a setting into which we were happy to place our biggest characters. The starting point for me was when I wondered to myself if one could still use logic to solve a case in a world in which crimes could be committed using magic. I really liked this idea, so it was hard, but fun, work to design the court sections of the game around it.

MC: Putting all diplomacy aside, who would win in a battle of the wits between Professor Layton and Phoenix Wright?

ST: If you ask me, I don't think Phoenix would be able to hold a candle to Layton in a real battle of wits. However, we all know that the hand of fate somehow always manages to bring a 'turnabout' in Nick's fortunes, no matter how sticky the situation, which means, well, sorry, Professor, but you're out of luck!

MC: With Ace Attorney 5 and Ace Attorney Investigations how does it feel to see your characters in the hands of other Capcom employees? We imagine it must be like a parent sending their child to school for the first day.

ST:

That's an apt comparison. I do have mixed feelings about it sometimes. For instance, I was really surprised to see that after we focused on the new character of Apollo in the fourth game, the Dual Destinies team decided to bring Phoenix back. Ultimately, though, having creators other than myself take the helm of the series is a valid choice, as it brings new directions and new story possibilities.

The team on the new game have looked at what the essence of Ace Attorney is, and as long as they can give the fans another great game to enjoy, I'll be happy. After all, the fact that the series is still going over a decade after I made the first game is something I couldn't possibly have imagined in the first place.

MC: Have you seen the Ace Attorney film? If so, what did you think of it? Was it funny to see characters you sketched out all those years ago in the flesh?

ST: I saw it, and I even got to make a little cameo when the film company invited some Capcom staff to visit the set. You can see me briefly in the spectators' gallery in the final court scene.

It was really something to see the story I wrote for the first game brought to life on the big screen by real-life actors.

And those costumes! They were such perfect recreations. The director, Takashi Miike, is an expert at making existing works from other media into entertaining live action films and he did a great job with Ace Attorney. I highly recommend that everyone reading this check it out, if they can.

MC: This interview is part of our 100th edition and we're looking back over some of our magazine highlights. Looking back over your own career, what is your personal highlight to date?

ST: As a creator, the greatest compliment to me is when someone tells me that they played one of my games and enjoyed it. In the course of the press tour for Ghost Trick in 2010, many players from around the world expressed their love of Ace Attorney to me and it's moments like those that make me glad I became a game creator. Also, I'm deeply honoured to have been asked to take part in this special issue and having myself, my team and our work considered a highlight of your magazine's history. I'd like to thank you on behalf of everyone at Capcom. This opportunity is in itself a highlight for us.

MC: Many of our readers are keen to know, what's next for Shu Takumi?

ST: Game projects are a complex balance of so many factors: what I want to make, what players might make of my concept, what Capcom as a company wants from the game, and also broader trends in the gaming industry. My next project is in the preparation stages and I still don't know myself what form it might take by the time it's finished.

Whatever happens, though, I'll be pouring my heart and soul into it and working towards that eternal goal of hearing positive reactions from the players at the end of all the hard work.

#ghost trick #ace attorney #shu takumi

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