Achtung, baby! Today we play it my way!
And play it my way we shall! That’s right, I’m cutting Klavier Gavin, the Glimmerous fop himself! Not counting Ga’ran, I believe this will be the first true main character of the rankdown to be cut, and most certainly the first main prosecutor. He will be going down in a blaze of glory more than worthy of the Rockstar of the Courtroom himself, so let’s light it up and get right down into the nitty gritty of this cut!
So, what exactly is it that’s led me to this path, to be cutting a main character so early, and a main prosecutor at that! Well let me tell you, this decision was not an easy one to make. Over Klavier’s career he seems to have gained something of a negative reputation among the representatives of the rankdown, so I think it’s time we set the record straight on Klavier, once and for all. That’s right, I don’t in fact hate Klavier, nor do I want to see him go out right now, but the sad reality is that this was going to happen real soon either one way or another, so I decided to swallow my pride, and accept the cold hard reality that Cody Hackins will be getting a higher spot in the Rankdown than Klavier Gavin.
Klavier Gavin is neither detrimental to the overall game of Apollo Justice, nor is he a boring character with no depth. Throughout this cut I will be attempting to prove these two points thoroughly, while also providing analysis of Klavier as a character on his own merits, as well as his relationships with other characters throughout the story. That’s right, this is both a defense write-up
and a traditional cut, crazy I know! Of course I won’t be neglecting any faults Klavier has as a character, but quite frankly I don’t think he has that many in the first place. But without further ado let’s get into the specifics!
“So, who have you come to see? Prosecutor Gavin, scourge of the courtroom…”
Klavier as a prosecutor functions quite differently from pretty much every other rival in the series, in that his role in the story is about as far from an antagonistic force as you can get. Every other rival, although some one turn eventually, tended to be against you for a majority of their screen time. This creates tense courtroom battles as you slowly make progress against a seemingly unstoppable force, clawing your way up as the underdog of every battle, desperately defending those which need you there to save them. It’s exciting stuff really, and I can definitely see why a sudden shift in dynamic with the prosecutor would be off-putting, but I honestly feel like this in no way takes away from the game, but in fact actually enhances the themes of Apollo Justice: Ace Attorney.
So what exactly
are the themes of Apollo Justice? Well there’s quite a few of them that can be felt throughout the game. This includes the ever changing nature of the law, or the meaninglessness of revenge, but the one that Klavier most enhances is the idea that the problems come from the system, and not the people. Throughout the Ace Attorney series we constantly see the dire state that the law system is in, and the way it corrupts and twists those within it. We see it corrupt prosecutors into trying to win every single case despite potentially putting away innocent men and women. We see those in places of power in the police manipulate evidence and even go so far as to kill those that work under them in order to put the guilty away. And of course, we even see it corrupt and twist defense attorneys, and nowhere is that better shown than Klavier’s very own brother, Kristoph Gavin.
Across the series, we constantly take down these corrupted officials, but nothing really ever changes. There is no final boss, no CEO of corrupt law, who we can just take down and suddenly all of the problems in the system are magically fixed. There’s always someone else, another person that’s corrupted, another one to take down and try to remedy this broken situation. But taking down those people is just treating the symptom of the issue, not the cause, not the system itself that’s affecting the lives of everyone involved. Kristoph, the very representation of this darkness dragging everyone else down deeper into the depths of the system itself, contrasts his brother brilliantly. Klavier represents the people in this system, affected by the nature of it, but still carrying on trying to make sure the will of justice is carried out.
When we first see Klavier in court, it honestly doesn’t feel like anything new. Sure, he has a cool design, and a cool theme, with some wacky animations, but that’s really nothing Godot didn’t have as well. He pushes against us whenever we attempt to make progress on proving Wocky innocent, not with the same ferocity as other prosecutors before him, but he certainly puts up a reasonable effort. However, once it seems like it’s all over within the first segment of the trial, something changes. Trucy pulls a fast one on the court and pretends that she’s being held hostage by an attacker, the judge and Apollo both instantly buy it and reasonably freak out, but Klavier sees right through her act. This is when any other prosecutor would call BS on her, but Klavier lets the defense have their recess, even Apollo notices how strange it is, maybe he’s up to something? But no, throughout the trial, and even the next day, we see him not put up much resistance. He’ll refute an argument if he thinks it’s dumb or incomplete, or correct us on something sure, but he
doesn’t actually fight back. Why is this?
Klavier is different from all of the other prosecutors before him, in that he doesn’t care about winning, in fact he probably cares about winning significantly less than even Apollo does. He just wants the truth, that’s all he cares about in court. Once the killer is revealed in court, as long as Klavier is convinced that Apollo is on the right track, he’s not gonna do anything to stop you, and in fact during the final trial of Turnabout Corner, he’s actively helpful, after all you
are nothing more than a rookie defense attorney, ja? Now at first this may seem like a clearly detrimental thing to the way the game plays out, after all just a few paragraphs ago I described how great the courtroom battles of the trilogy were, but this isn’t the only great feeling that can be gained from the courtroom.
Think back to Turnabout Samurai, throughout the entire case you’ve been fighting against Edgeworth once again, trying to stop him from getting a guilty verdict passed on your client, but then at the end, something happens. Suddenly Edgeworth realizes that you’ve been right all along, and sees that the end of the trial is just around the corner, so he stops fighting. He makes an objection and finds a reason for the culprit to stay and testify once again, leaving you room to win. This is the feeling Apollo Justice’s courtroom battles recreate, the feeling of two bros against the world, fighting the corrupt system itself, and finding those swept up in the madness of this world.
There's a darkness in this world, Trucy-doll. Waiting, hungry. Compared to it, these gangs' turf wars are like kid games. When you're up against real evil... Well, it don't matter if you're weak or strong. It'll take you all the same.
-Guy Eldoon
This right here is what Apollo Justice is about, the swallowing whole of innocents by the darkness of humanity and the underbelly of society. If Klavier were just another poor soul affected by this system and corrupted by it, it wouldn’t mean anything. We’ve seen that before, numerous times. But instead of that, here we have Klavier, someone in the position of proving the guilt of people, and trying his damnedest to stay unaffected by it and find the truth. The problem isn’t the people, no the problem is the system affecting them, and Klavier knows this better than anyone, and he’s gonna do everything in his power to fix it. It’s really great stuff that the game manages to get across just by having him try something new as a prosecutor, but it’s not just the story that accounts for this, the game does as well.
In Trials and Tribulations we get a prosecutor who doesn’t really fight back, one who mostly sits back and lets you make points against his case, for completely different reasons than Klavier, but the result isn’t dissimilar. But as
u/Sciencepenguin pointed out in one of their own write-ups on Klavier, the game is built for this, by having the culprits typically take the role of your main opposition. Luke, Furio, and Dahlia are all quick thinking foes who constantly hold the courtroom itself in the palm of their hand, Godot simply nudges you or the judge off course to assist the killers, except of course Dahlia, for obvious reasons. However, if you’re paying attention you can see that Apollo Justice attempts something similar, yet very different, and in fact more representative of these themes we keep coming back to.
As I’ve said, the enemy in Apollo Justice isn’t any one person, it’s the situation itself, and this is true of the cases as well. These cases are consistently more complex and multilayered than most any equivalent case in the trilogy, with the exception of Rise from the Ashes, which hardly really counts. From a four person murder setup with poker chips playing a pivotal role, to four different intersecting incidents in one single case, to a case that spans seven entire years which has murder weapons setup just as much in advance. The catharsis of beating the snot out of someone with your words isn’t really present in Apollo Justice, instead the game opts for the satisfaction of solving the crime, putting the pieces together, and finally setting the record straight on these incredibly complex mysteries. And what better kind of prosecutor to be in that kind of story than one who’s right by your side, to call you out on any BS, and help you on your way to solving this impenetrable mystery and ridding the world of this impenetrable darkness.
“...Or Klavier, lead vocalist for the Gavinners?”
Okay guys can we just be honest with ourselves, Klavier is pretty dang cool. He bangs the wall, yells “Achtung baby!” and then his coolness levels are so high that he rewrites reality to blast music
in the courtroom to which he then shreds to with an imaginary guitar. Throughout the trials we consistently see him carry himself with this absolute swagger to him, from the way he talks to witnesses, the way he attempts to direct the trial, or just him dicking around because he feels like it. You can tell he takes his job seriously from the way he constantly assists you in reaching the truth, but he knows that he’s good enough that he can still have fun in the trial, after all it’s not all about trying to win, and who cares what’s common in the system? The system is broken so why not try to inject a bit of human emotion into it, that’s what the jurists are for after all.
So yeah, Klavier is a pretty fun prosecutor to be around even if you have issues with the way he affects the game, or with a topic we’ll be touching on in the next session, his supposed lack of character development. Take away these two things and you get yourself a great personality who livens up any courtroom battle they take part in. Not only does this personality and way he carries himself set him apart from really any other rival in the series, it also does wonders to establish him as a likeable figure in the game, as he’s not supposed to be just another hateable rival. He’s not even really meant to be hated at all, and nowhere is this clearer than him literally giving you backstage passes to his own concert after nothing but a singular trial against you. However, it’s at this trial that we finally see the other side of Klavier, as no one is perfect and no one can be Prosecutor Gavin, scourge of the courtroom at all times.
Throughout the beginning of this case we basically see just about everything go wrong for Klavier. His motorcycle stops working, he has to break open his own guitar case, during the show not only does his prized guitar burst into flames on stage, but
his bandmate MISSES a CUE, the audacity of them. Oh also someone dies that kinda sucks. So yeah things are just really not going well for Klavier, and this is the first time we really see another side of him. He’s extremely emotional and has quite the short temper with basically anyone he interacts with throughout the investigation. He’s an utter perfectionist outside of the courtroom who refuses to budge on his bandmate’s mistake, nor brush off problems like he does within the court. From this, we can truly begin to understand who Klavier is.
Klavier is a flawed person, just like anyone else. He’s rash and often emotional about things going wrong, and a perfectionist to boot. He values those around him and yet he gets annoyed when those that he works with don’t put in the same level of effort as he does, and won’t hesitate to call them out on this. He’s exactly what you’d expect a prosecutor to be, somewhat self-centered and with a bit of a nasty personality added on top of that. Although, of course the subversion in this situation comes from that this is only how he acts outside of the courtroom, within the sacred walls he’s completely respectful and constantly keeps a level head, even when his own bandmate is being pinned as the killer. So what exactly does this tell us about Klavier as a person? Well despite his flaws and his attitude, he still understands just how important the courtroom proceedings are, and is willing to put aside everything else in order to make sure they run smoothly. He keeps his personal biases out of it until the very end, and this right here is where we can truly understand who Klavier is.
Klavier is nothing special, just another rockstar who has a big head and a huge following. But Prosecutor Gavin, this is where Klavier puts away his attitude and swallows his pride, it’s where he knows he can make a real difference. Of course, I may be filling in the gaps a little on my own, there’s really no way to know exactly what it is that drives Klavier, other than an unwavering desire for the truth. But I think this is for the best, Klavier has no reason to just explain at us exactly why he’s doing what he does, and this two-sided personality creates a more real character, leaving us to wonder exactly what drives him. It’s well done exploration of his character, and an effective way of endearing him to us. Klavier and Prosecutor Gavin, two sides of the same coin yet distinct in their approaches, but that distinction wasn’t always there. No, at one point these two entities were one and the same, in a person that we can see the full extent of just seven years earlier, at the trial that changed everything.
Origins of a Rockstar
Zak Gramarye’s trial in Turnabout Succession is one big subversion, but it’s one the game lets you know is coming. The entire trial gives off the feeling of nothing more than another case to add onto Phoenix’s ever growing pile, from the witnesses to the circumstances, to even the prosecutor. Valant appears to be nothing more than a first witness killer with not so hard to see through lies, and Gumshoe’s just being plain old Gumshoe. It really feels like nothing new, and even Phoenix doesn’t seem too concerned with things, he’s seen it all before. But of course, we know this isn’t the case. We know that Valant is still roaming free and is returning to activity, we know that this is when Phoenix loses his badge, and we know that that diary page we just received is the root of everything.
Klavier simply adds to this feeling, as here we get to see him how he was when he made his debut. Remember how I described Klavier as kind of arrogant and nothing really special when he’s in his rocker persona, well at this point in time that was his only persona. He didn’t yet understand what it meant to be a prosecutor, nor how important it was to treat the courts with respect. Right now he was nothing more than a rookie prosecutor, and an arrogant one at that. Throughout the trilogy we come across a new legend of the courtroom every year, and we take them down a peg every year, and young Klavier is doing absolutely nothing to set himself apart from every other prosecutor we’ve faced up to this point.
It’s at this point that I’d like to discuss the difference between character development and character progression, as understanding this difference is key to realizing why the criticisms of Klavier’s character are often unfounded. The progression of a character is the way they change throughout a story, how their demeanor and actions change based on what happens around them, and is often confused with development by many. Progression is not required when writing a well-rounded character. Character Development is the expanding on a personality of a character, to the point where we can understand a character fully, and know why they’re doing what they do, and hopefully understand them a layer deeper than their surface actions.
This is what’s required for a fully rounded character, and it’s something Klavier has in spades.
Throughout the game we constantly get further insight into Klavier as a person, from the way he works in court, to the reasons he acts the way he does when helping us. Then we get further expansion on his personality, and get to understand how he acts when put in other situations such as at one of his concerts or during his research into one of his numerous cases. And of course, the time in which we learn the most about who Klavier is is during this past case, where we get to see him at his rawest, a rookie prosecutor trying to win a case, and we realize that in the beginning he was nothing more than another soul who was following the system, the same system that led every other prosecutor down the wrong path.
During this trial Klavier, for the one singular time in the game, feels like an actual threat to us. Of course it’s not a huge threat, as the experienced Phoenix, and the experienced player is able to push against every counterpoint that Klavier throws at us pretty easily, but it’s resistance nonetheless. Had Phoenix had time to prepare, Klavier would probably have nothing on him, but throughout the trial Klavier is the one who constantly holds the most cards, and thus is able to stay one step ahead. Despite our experience, we’re still somewhat the underdog due to our lack of evidence, which really helps sell the trilogy vibe they were going for. Of course, this back and forth ends abruptly and tragically, a Klavier finally baits Phoenix into presenting the evidence he knew that he had.
Were this an isolated trial, or the first time we see Klavier, it would seem like he was nothing more than a cocky jerk who wanted to bait his opponent into ruining their own life. However, through all the times we see Klavier before this, and through his words in the final trial, we can come to understand exactly why he did what he did. It wasn’t to win the trial, nor was it to see Phoenix disbarred, it was to reach the truth. We know that this is what fueled Klavier throughout the game, and we can see that he wholeheartedly believed Phoenix was trying to obscure the truth of the incident. A misguided, cocky, rookie prosecutor trying to reach the truth, that’s all Klavier was. A perfect subversion of everything we expect from a trilogy prosecutor, but exactly in line with what we’d expect from both Prosecutor Gavin, and the Klavier, lead guitarist of the Gavinners.
This is where Klavier’s development truly lies, not from seeing him change as a person as he reflects on the cases and his actions, but rather from understanding better
who he is. We slowly come to realize more and more of the truth throughout the game as we get a clearer picture of the true form of Klavier Gavin, and this right here is the breaking point. This trial is what makes it all click, it shows us both of his sides as one, singular person, and we get to understand which one is the real Klavier, and the answer is both of them. Klavier is a multifaceted character who gets amazing development throughout the story from both his role in it, as well as the interactions he has with others. The most notable of these being his “rivalry” with the protagonist of the game, Herr Forehead.
A Mirror Worthy of that Forehead
Klavier and Apollo have one of the most unique dynamics of any rivals in Ace Attorney, in that they’re hardly really rivals at all. Most prosecutors in this series will have some sort of ulterior motive when going up against you, whether it be related to your personally or not, they have something else at stake through the course of every trial. Klavier just really doesn’t have anything like this, in fact his motivation during trials is pretty much the exact same as yours. He’s there to reach the one, singular, unmoving truth of the situation, and he’s probably even more committed to it than you are at the start. This creates an interesting dynamic because Apollo and Klavier really just don’t have any reason to dislike each other, and for the most part that holds true.
Franziska had a grudge against you for besting edgeworth, Godot wanted revenge for Mia’s death, and Edgeworth started off hating the lawyers who would protect who he saw as criminals. The most Klavier and Apollo have is just Apollo being kind of annoyed at Klavier being more popular and cooler than he is. It’s a dynamic we don’t really see again or before, with the protagonist being the one with the grudge, as silly as that grudge may be. This lack of real conflict between them lets their relationship be more relaxed in nature, which can be seen even from the beginning of their second case together, with the invitation to Klavier’s show. This close relationship is what lets us understand Klavier so well, and allows him to develop in our minds, as we’re able to see so many more sides of him than Godot or Franziska ever got. And of course, the relationship itself is top notch.
Apollo and Klavier have some pretty fantastic chemistry as characters, and it’s really fun to watch them go at it in court, as Klavier holding the superior position most of the time leads to some really great comedy at Apollo’s expense. Additionally, Apollo, being the sarcastic straight man that he is, is able to contrast beautifully with Klavier’s over the top cool guy persona, and his commentary on Klavier’s rocker outbursts are pretty fun as well. There’s really not much to analyze about their dynamic beyond that though, it’s fun and that’s about it, there really doesn’t need to be anything else more. But of course, that’s not all there is to their relationship as characters in a narrative, as Klavier serves as an absolutely brilliant mirror character for Apollo.
Throughout this write-up I’ve described Klavier’s transition from a hot blooded, fairly average prosecutor who’s stumbling and making mistakes on his way to reaching the truth, all the way to a stylish and professional prosecutor who’s able to consistently guide trials to the truth of the situation. Of course, this character arc is done off screen, or at least that’s what it appears like at first, but if you look closer to the specifics of this arc, it’s easy to realize where we can truly see this transformation. And that, of course, would be in Apollo himself.
As the story progresses we see Apollo’s transition from a hot blooded, fairly average defense attorney who’s stumbling and making mistakes on his way to reaching the truth, all the way to a confident and highly competent attorney able to find the true criminal and topple the regime of a small country. This should sound familiar, aside from that last bit. Klavier serves as a mirror to view Apollo in, he’s the final result of the arc that Apollo begins going through in his game, and serves as a mentor to guide what he probably sees as a younger version of himself to the correct outcome. Of course, he’s not the only one to guide Apollo, Phoenix is also there for that, but in Apollo’s debut game Phoenix is a bit concerned with other matters, so it’s really just left up to Klavier.
In Turnabout Trump it’s implied that Kristoph will be something akin to Apollo’s Mia throughout the game, but of course, this couldn’t be any further from the truth. Instead this role seems to fall upon Phoenix, but as I just said, he’s a bit preoccupied. So that would mean that the one Apollo leans on in times of need, the one to guide him down the correct path, and the one to show off the final version of himself, the person whom he will become and then surpass, that’s all Klavier baby. Having the mentor character of the game be the prosecutor is pretty genius, since it stops them from swooping in and saving the day in an unsatisfying conclusion, which we see Mia do several times. The most Klavier can do is stall for time or give hints to Apollo, since at the end of the day he’s still the opposition, and needs to make sure he sticks to his job. This not only consolidates down two roles in the story to one character, but also greatly improves one of those roles through the use of this consolidation. What an absolutely rockin’ idea.
A World of Herrs and Fräuleins
Klavier’s relationship with Apollo is by far his most interesting, but that doesn’t mean he lacks any other meaningful relationships with the rest of the cast, just that there’s not much to dissect there, or at least not a lot that I can find. Out of the main cast his other most notable dynamic would probably be with Ema, who he has a pretty fun back and forth with. He’s technically her boss which she absolutely hates, giving him somewhat insulting nicknames and begrudgingly accepting his orders, but he doesn’t seem to have too much of a problem with her. Overall it’s a pretty solid comedic relationship that doesn’t really have much depth to it but doesn’t really need to either. It does serve to somewhat humanize Ema, but a lot more of that comes from Apollo than Klavier. And to Klavier, well it’s really just another fräulein whom he is able to tease a bit during his job.
Speaking of just another fräulein, we have Trucy Wright, who Klavier himself doesn’t have much of a dynamic with, nor seemingly many thoughts on her. He seems to somewhat respect her as an intellectual throughout the trials, especially whenever she’s entire steps ahead of Apollo, but not really more than that is shown. Trucy, however, does have clear thoughts on Klavier, after all he
is a rockstar, and she
is a teenage girl, so it’s not really surprising that she seems to have a bit of a thing for him. Although, Trucy being Trucy, she doesn’t really let it show much outside of some offhand statements, or nicknaming him as a prince when she first meets Klavier in Turnabout Corner.
Of course, it’s not just the main cast that Klavier has a relationship with, as during the third case of the game we get to know one of his bandmates, and one critical to the case at that, that being Daryan Crescend. Daryan’s relationship with Klavier is really my only actual complaint with Klavier as a character, as there’s not much here when there really should be. We see Klavier being annoyed at Daryan missing the cue, which is natural to his rocker persona, and of course we prove that Klavier is indeed correct. There’s a few more interactions between them throughout the case but they never really amount to much. At the end of the day I’m not really sure what either of them thinks of the other, which isn’t great when it comes to two seemingly close friends who are both pivotal to the case.
Daryan’s send-off at the end isn’t particularly notable either, as Klavier kind of lacks a reaction. As we begin to finger Daryan as the culprit, Klavier puts up pretty much his usual amount of opposition, and doesn’t seem too terribly broken up about it either. It’s possible that this was done in order to further cement him as more mature in the courtroom, and able to recognize the need for the truth to come out, but it kind of ends up just making this relationship come off as hollow. Having him more melancholic about it would allow him to seem like he genuinely cared, while not compromising that ever present desire to reach the truth that’s so ingrained in Klavier as a character.
The complaint with Daryan isn’t an isolated incident though, as it’s a common belief that Klavier’s interactions with Kristoph don’t amount to anything much, and it’s a major reason why many hold the belief that nothing is really done with him as a character. However, this complaint is just plainly not true, and comes from a fundamental misunderstanding of the characters. Kristoph is hardly a character in his own right, he’s a representation of an idea, he’s the physical embodiment of everything wrong with the court system. He manipulates evidence for his own gain, he makes those who oppose him or pose a risk to his secrets disappear, he’s petty and is willing to go to great lengths for personal gain, and more than anything he is absolutely unchanging.
There is no greater relationship to be had with Kristoph, he is a darkness who seeps into you, one that can slowly drag you down if you’re not careful, the same way he dragged down so many before. Klavier is someone who was so close to being dragged down by this darkness, we see it affecting him throughout the past trial, his arrogance and faith in this broken system show that, but we also see the good in him. We see that he was fighting for the right reasons at the end of the day, and we see him go to great lengths to fight the very ones that he believes are damaging this system. By the time we see him in the modern day, he has been fighting a long time to rid himself of this darkness, and perhaps it’s even the reason why he adopted this persona in the courts, to oppose the cool and calculated demeanor of his brother.
This fight to rid themselves of the system, of Kristoph, is present in a number of characters in the game, and is the main conflict of the final case. Every character has some stake in the fight to rid themselves of this darkness, and to forge a new, better law system out of the broken pieces of the old one. Both Apollo and Klavier were trained under this darkness, but through their encounters with Wright and each other were able to free themselves from it. This is what we see happen to Klavier during Turnabout Succession, he’s not confronting his brother, he’s confronting himself, the person he could have been, and the actions that he himself took. As we begin to accuse Kristoph of the crime, Klavier fights back, more desperate than ever, trying to justify this darkness to himself, to pretend it was never there. This conflict is tearing him apart in front of our very eyes.
Klavier: Evidence! Evidence that shows this man, Kristoph Gavin, requested that forgery seven years ago!
Kristoph: Klavier...?
Klavier: Just... prove it! Clear up these doubts now, or I swear, I'm off this case!
He wants desperately, more than anything, for us to prove that this is indeed the truth, that his doubts are wrong, and that the darkness that he feels consuming him is real. After seven years of this past incident affecting him, he’s pretty much come to understand the entire truth by now, but he just cannot accept it on his own. After all, it’s his own brother behind it, and his own hands that caused it. The darkness won’t let go yet, and it won’t allow him to pursue the truth that he’s come to realize. This is where Apollo finally returns the favor and allows Kristoph to grow, and put this darkness behind him, revealing the truth for everyone to see. Kristoph, of course, fights back just as much as you’d expect him to, but this one action, this unwavering devotion, this refusal to let the system affect him, is finally enough to break the camel’s back and let Klavier free from the chains of his past, and he does not disappoint.
Klavier: Frankly, I'm relieved. This has been bothering me for seven whole years. And I'm tired of the whole youthful angst scene. ...Now's our chance. Let's clean out the family closet, eh, Kristoph?
Kristoph: Klavier... You're spinning out of control. Calm yourself before you say something you'll regret.
Klavier: Spinning out of whose control? Mine? ...Or yours?
It’s by now that Klavier has come to accept the reality that he’s pretty much known to be the truth, the same way Phoenix came to accept that Dahlia wasn’t the person he thought she was, Klavier has come to accept this for his very own brother. He rejoins your side and ultimately drops the bombshell of the jurist system on Kristoph, sending him into an absolute rage. Kristoph is left as nothing but a broken husk, a symbol of an outdated and dead legal system, while Klavier is able to finally put this behind him, and move on to the future, and hopefully a system that will allow the truth to be unveiled by simpler and more reliable means. Kristoph may not be needed anymore, but those that fight for the truth, and fight for the change that every system will eventually need, will always be needed in the world, and Klavier is no exception.
Conclusion
Klavier isn’t perfect, but many of the problems people hold with him are simply unfounded, and those that are true are hardly criticisms within the greater context of Apollo Justice. This is a game about themes more than anything else, and that even extends to the characters within it. Klavier is incredibly well developed not only as a person, but as an idea, a representation of the way that we can move on from our past, and change ourselves and those around us for the better. He shows us that fighting for what we believe in isn’t a fruitless effort, as long as you’re willing to not only accept the truth, but the methods to reach it as well. He’s an excellent multifaceted character, but ultimately he and I both got swallowed up in the darkness of this rankdown. I only hope that I’ve done something to change this darkness for the better, and allowed those of us ranking to put Klavier behind us, for better, or for worse.
Achtung baby,
u/NateTheGreat3602 out!
Be me, party rogue, ninja, swordsage, all-around hard to find guy. Also happen to be a psycho little bastard with less than no morals, nothing even approaching sympathy or empathy unless it helps him, and a brutal streak two miles long and a mile wide. Rolled disgustingly well for myself, so at 1st level about at gross as you can get.
Rest of party includes Wolfman Paladin, Bear-lady Barbearean, assorted others not important to story.
Party starts as kids, small training session against imaginary hydra that is actually old tree.
Mock combat ensues. Me, not being idiot take cover and start throwing crystal shortspears at it. Paladin goes up to it obviously, barbearian also.
Defeat tree, realize it was tree, have laugh with party until paladin picks fight because massive shoulder chip.
I'm not having it, start laying down ass-whupping somehow with no BAB, no improved grapple, etc., manage to crit grapple and pin paladin screaming "I AM AN ADULT" because someone suggested getting an adult to deal with the fight.
At this point, I am 12 and Paladin is 9, annoying little brother type. I have no mercy to speak of.
Suddenly, town is being invaded by dudes and monsters, we're getting escorted out of town by local guard captain b/c we're just kids etc.
Captain McGuard has to split to go save some other civvies, tells us to haul ass into the nearby woods and don't look back, after giving one of the NPC's, here daughter, her slightly magic longsword.
Me, homeless child who's parents were eaten at 3 by dire tigers and was trained by the circus knife-thrower from 3-5, basically lives in alleyways and the woods between brutal child gang wars. Half my time I'm gutting older children because relatively young members of our gang of urchins don't have the guts to do it. Set myself up as protector, brutally slaughter pretty much anything that threatens.
I see no problem with living in the woods instead of dying in the streets. My gang is all dead now, a year or so ago we got captured and molested by evil priests for most of a year and I managed to escape, stab the priests, then had to mercy kill them because they were too fucked up to get out and then survive on the streets.
This begins one-sided grudge against most gods, priests, clerics, paladins, etc. None of the party know backstory, not likely to share because trauma for days.
Two of the PC's, barbearian and ranger or something, holding hands as we're walking out of town.
Notinmyhouse.jpg
As a joke, say I slap their hands apart. Rest of group takes me seriously, so I roll bluff and act like I wanted to hold hands too, and slide my hand between theirs.
Bluff is disgusting, newfriendacquired.png
Ranger girl hates me, because I don't like Paladinbro, because he's an annoying 9 yr old with a chip the size of Mt. Everest on his shoulder.
Barbearian = new best friend
Fight wild dogs in woods, kill them easily between me, barbearian, and pallywolf.
I tell DM "Gonna skin em and make bags."
Thehorror.jpg from Paladin and ranger who are both wolffolk. I do it anyway, roll like 18 on survival to skin, 20 to make bags.
Tell DM "Gonna eat em."
Morefuckingwhygods.gif from the two wolfpeople. I do it anyway, cook em up good, offer everyone including paladog and ranger doggo some, they decline horrified. Their loss, good stuff.
Later, we sleep like dumbasses without hiding ourselves in bushes and shit, wizard and barbearian get kidnapped in sleep by bandits who hole up in abandoned tower.
Ain't havin that shit, that's my new friend/morality chain. Only thing stopping me from killing everyone else and living like a feral animal in the woods forever.
Sneak on em, I'm gross at hiding and using cover like a champ, get right up next to the cages in a bush, bandit is guarding it of course.
Me, two weapon fighting with thrown darts and sneak attack, go to take out frito bandito holding friendos hostage. Almost kill him, miss with one dart, barbearian rages and grabs him from cage, murdulates him with hands.
Other bandits are blind and deaf apparently, have noticed nothing. Until...
Paladin steps into clearing loud as shit and in the open, bandits take notice, everyone else roll initiative.
So begins a battle of (non)epic proportions, with people stabbing bandits and such.
Battle's over, paladin pukes his guts up at having to kill a man.
Me, being fucked up since 5, tells him now isn't the time.
Paladin, being 9, asks why the fuck I'm not horrified.
Me, again, being fucked up since like 5, tell him these aren't my first kills, probably not even my 20th kills, and aren't as horrible as some of mine.
Rest of party goes silent as fuck. 12 yr old just said he's got a pretty good fucking kill count, little odd.
Adventure continues a little more wary of me, I give -2 shits. Loot the corpses for spare gold and maybe weapons, don't find much.
Go to sleep in abandoned tower after dragging corpses to woods, enter the timeskip.
Should be noted that when paladin started talking about the families of the party (110% dead from invasion of homeland), I basically told him I'd murder him and make it look like an accident if he hurt the party. Nothing more important than survival of the group, obviously.
He asks me who died and made me the leader, I reply with "Nobody, yet. You want to volunteer?"
During 10 year timeskip, I use Sleigh of Hand every day as perform, because it can be used like that for card tricks and shit.
Become greatest fucking stage magician and juggler the country has ever seen. Take ten nets me 30, so I make 3d6 a day for ten years. Even with living expenses and buying a few magical items, I come out pretty fucking rich.
Ten years later, still best friends, maybe more with barbearian, trained with the others, leveled up to like 5th level. Good times. Whole time, paladin nursing jealousy for me because I made everything look smooth as butter on an elf and maybe the death threat didn't help.
On we go, fighting various creatures and helping some people along the way. Scare the shit out of some racist villagers when they make funny lookings at barbearian friend, etc.
We stop in at a capital under construction. Paladin being a paladin, tells DM "Wanna help, I take off my gear and get to work." Doesn't explain anything other than that, sounds like he literally hucked his shit in the middle of the street and ran off to help these dude move lumber.
I whisper to the DM. "Gonna take his gold, teach him not to leave shit by the side of the road."
My Sleight is gross, no chance of stopping me.
When paladin is done, he realized he's been robbed.
Comes to me, as the sneak of the group, asks me to track down thief who so callously robbed him in broad daylight.
I say "Why not, but I'm going to charge you 10% of whatever you've got in the purse."
He agrees, I basically naruto run up a building and spiderman flip over the edge because gross climb.
I fuck off for the day and watch clouds from the rooftops while the party does their thing, I do some Batman patrolling for criminal scum to execute in the name of psychopathy because why not.
I find nothing, go to bar at the end of the day where group is, toss paladin his purse, 10% lighter.
Lessonlearned.jpg
He never even knows until the DM fucks up and says it out loud with him in the room, he's pissed at me for like two whole months after. Fuck the death threats, this gets to him.
At one point, helping a gay goblin wizard track down his probably not gay goblin apprentices, one of them happens to be thinking about getting a little handsy with children, hasn't done anything yet though.
'Namflashbacks.jpg
Turn invisible because Ninja, slit throat and dump corpse in bag of holding in the middle of the party interrogating the other apprentices on what happened to their gay master's "flesh" golems.
Sleight of Hand for the win.
At different point, paladin gets backhanded with a curse, because the dark gods love fucking with servants of light. Curse makes him basically stupid CE for a bit if he fails a will save. Extra saves if he gets damaged during episode to snap out of it, etc. None of the party knows.
In a prelude to him being cursed, I may have accidentally caused it to happen by stabbing the avatar of a god in the back with a sharpened holy symbol because she was a little too close to bearfriend who at this point was definitely something more. Essence came out of avatar, went into paladin. I can't knowledge religion to save my life or anyone else's, no idea what happened. Invisible and crit were the only reasons I actually did anything, so there's that.
Train of random events while cursed:
Molests 2 separate bartenders, one of which is a guy, makes lewd props at random people.
I never find out about the 2nd molest, the 1st one I slam his head into the bar, knock him out, drag him outside. Throw him in alleyway, take his gold and sword so he doesn't get robbed.
He wakes up an hour later, comes in demanding his sword and gold. I give up both, he's still pissed at me. Never apologized to barkeep. (I did after I came back in.)
Here's me, stupidly protective of bearfriend.
Here's him, threatening to rip her tits off and make her eat them.
Here's me, stabbing him in the kidneys. (He lived, kinda)
Here's him, rolling divine intervention to live through a pulped head from barbearian hammer to face. (Told you he lived)
Eventually, we gather gold and go to a church and have that curse broken with a stupid lucky roll by the cleric performing the cursebreaking. 19 +modifiers gets rid of that right quick.
Sadly, paladin trusts me even less after I let girlbearfriend mash his face. Don't really care, but it doesn't help our relationship any.
Eventually, dark goddess sends corrupterofsouls.jpg to mess with paladin, sends lesser minion after us as distraction.
So I dangled the minion off the side of a moving carriage by the neck with a spiked chain, there are strangle rules apparently. Whoknew?.jpg (Hint: It was me. I knew.)
Minion teleports out, because fuck that noise.
We go back to town, I see minion standing by tall dark and schmoozy. Persuader McCorrupt waves at me, beckons like he wants to talk.
I flip him off, go invisible, and sneak up behind paladin to spook him, maybe rustle his jimmies a bit. I hide of his giant moth mount, because he's a paladin of a moon goddess so why not. Thing is fluffy as fuck, I hide in the fluff, making myself one with my surroundings.
Agent of evil over there walks over to Pally, starts doing the whole "Let me show you the power of darkness" spiel.
I realize I'm the luckiest fucker ever because I'm on the damn mount. Evil dude pats the mount of a bit, DM tells me to roll hide/move silent.
I'm not moving, no move silent. Invis means +40 to hide when not moving.
Gods can't find me atm, fuck this guy. They walk off into the woods, moth follows because it's a moth. DM and paladin start whispered convo, DM gives me relevant verbal info, some of the convo is mental. Guy is showing the pally all the times, real or faked, that the party has basically laughed at him behind his back, mocked him, and showed him that I'd robbed him before, because while he knew that, his character didn't.
Timetofall.jpg as paladin says "Fuck those guys, darkness rocks!"
Badguy McEvil tells him "Prove your evilness by killing your god-given mount with this" and hands him basically a scorching ray of darkness cannon.
I realize "Aw shit I'm on the moth." as it begins to fly away, realizing the paladin has gone rogue. I jump off it as it gets vaporized, land in the trees with nice move silent, invis as swift action because ninja.
Now I'm my element, trees.
Paladin starts arguing for the safety of the party a little bit, but no mercy for me. Fuck me with a red hot poker.
Hangmaniscomindownfromthegallows.mp3 begins playing in my head as I realize I have a spiked chain and am in a tree.
Begin strangle.exe
Stack a bunch of shit on there so I get sneak attack, Iaijutsu Focus, etc, and weapon damage.
Damn near kill him in one shot.
Bad guy wants to sunder my crystal chain, so glad it was crystal. Chain survives.
Begin reeling the paladin into the trees like the demented murder spider I am.
Opposed strength checks, because he's fighting me. I roll high as fuck, he doesn't, up he goes.
Got a thing that lets me jump as a swift, my jump is disgusting as is.
Furtherupthemurdertree.jpg
He's making gestures like he wants to talk, I finally relent and drop his ass from thirty feet up because fuck your legs.
He basically accuses me of being legit Satan and helping destroy out homeland.
I tell him to stop being retarded, I was 12. I was a badass sure, but the biggest thing I could probably help wreck was a building.
He's pretty convinced I'm Satan though, no go.
I tell him "We grew up together, and we could have been like brothers. That's the only reason you're alive right now. If I see you again, you won't be." and ascend into my murderous canopy.
Cue my bearfriend who doesn't know what's going on wandering into the woods to try and find him. They start talking like me almost snapping the paladin's neck didn't even happen, because why not I guess.
I'm doing my best impression of an attic ghost, rattling my chain to remind him to keep on the straight and narrow.
Eventually, he wanders off, only to realize evil sucks, he's lost everything he ever worked for, and that he has basically nobody to back him up.
perksofbeinggood.nothing
Campaign ends because I'm being too ruthless, any bbeg would find me in his fucking house at 2 am coup de grace'ing the fuck outta him with strangulation.
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