Summary: In the fourteenth column for the official Gyakuten Saiban 3 (Ace Attorney 3 - Trials & Tribulations) website, Takumi explains how he managed to solve a fatal problem in the original script for the final episode of the game, The Magnificent Turnabout (Bridge to the Turnabout). After three years, Takumi decided to take the advice he had written so often in the games and use it himself, and that led to a surprising result.Summary: In the thirteenth column for the official Gyakuten Saiban 3 (Ace Attorney 3 - Trials & Tribulations) website, director Takumi starts his two-part series on the final episode in the game: The Magnificent Turnabout (Bridge to the Turnabout). As seen in previous columns, the last episode of each game usually proves to be the most difficult, and this was no exception. Even though he already had a rough outline finished for the first part of the game, that version had actually been abandoned earlier because it contained a fatal flaw he didn't manage to fix. But with little time left, Takumi was forced to use that version anyway, and hope he'd come up with a solution to his problem anyway.
The twelfth column of the Gyakuten Saiban 3 (Ace Attorney 3 - Trials and Tribulations) website has Takumi writing about the fourth episode in the game: Turnabout Beginnings. Takumi talks about how he had considered making this the first episode in the game, because it is chronologically the first trial to happen. He also explains how Mitsurugi (Edgeworth) came to have a role in this episode. Summary: In the tenth entry of the Gyakuten Saiban 3 (Ace Attorney 3 - Trials & Tribulations) blog, Takumi talks about writing the second episode in the game: The Stolen Turnabout. As he mentions in the eleventh entry of the blog, he considers the second episode in his games as the second-most important episodes after the first one, because they are usually the first full case in a game. For 3, he decided to use a story based on the works of Edogawa Rampo, the author of the short story that got Takumi interested in mystery fiction in the first place. Takumi also talks about the new prosecutor Godot.Summary: In the nineteenth blog entry for the original Game Boy Advance version of Gyakuten Saiban (Ace Attorney GBA), Takumi Shū talks about the third episode of the game, Turnabout Tonosaman (Turnabout Samurai). It is revealed that this was actually the first story he worked on for the game, some time before the Gyakuten Saiban development team was actually formed and while he still had to finish work on Dino Crisis. The original plans for this story however were very different from the final product.
Summary: In the 35th entry in the Capcom Legends column on the Capcom site, where they interview Capcom staff members, designer Nuri Kazuya is invited to talk about his career and about Dai Gyakuten Saiban (The Great Ace Attorney: Adventures), where he worked as the character designer and art director. In this interview, dated July 2015, Nuri talks about the games he worked on before he came to work on the Gyakuten Saiban series, about his favorite characters and about the thought process behind the designs of the main characters in Dai Gyakuten Saiban.Summary: Story, character and art design are by the topics most often discussed on the Gyakuten Saiban developer's blogs and some parts of the development cycle are practically never mentioned. In the seventh blog post for Gyakuten Saiban 2 (Ace Attorney 2 – Justice for All, director Takumi decided to write about a group of unsung heroes: the bug checkers. The people who have to play the game again and again in search for bugs. And that's not just programming bugs: they also need to look out for story bugs: contradictions that would mess up the story. Takumi explains why these people are so important, especially when he's working on a game. As always with the Gyakuten Saiban 2 blog, the post is followed by a section where Naruhodō (Phoenix Wright) and Mayoi (Maya Fey) add their own comments to Takumi's post.
Summary: In this interview by Game Watch with producer Eshiro and scenario director Yamazaki, the two talk about Gyakuten Saiban 5 (Ace Attorney 5 - Dual Destinies), the first new Gyakuten Saiban game in six years. The two had previously worked on the Gyakuten Kenji (Ace Attorney Investigations) series, but this time they'd be working in a game in the main series, and one fans had been waiting for a long, long time. The interview was published on July 27, 2013, a few days after the release of the game, but done a few days before the release. In this interview, Eshiro and Yamazaki talk about how they came to work on Gyakuten Saiban 5, about the characters, about working on a new game in a beloved series, on getting the look of the game just right, and much, much more. 
Summary: This is an interview included with Gyakuten Saiban 6 Official Visual Book, released in August 2016. In it, director Yamazaki Takeshi and art director Fuse Takurō first talk about the early stages of the development process and then proceed to focus on each of the five episodes (+ special episode) and the characters that appear there. They have something to say about basically all of the characters, and explain how they came up with both their visual design and their story background. The interview is full of spoilers, obviously, as it is intended for people who have played the game and have gone through the artbook (which again, obviously, is full of spoilers).
Summary: In the sixteenth blog entry for the Game Boy Advance version of the original Gyakuten Saiban (Ace Attorney GBA), Takumi Shū talks about how he first came up with Turnabout Sisters, the second episode in the game and the episode which would introduce two more characters of the main cast. He also mentions some of the early names of the characters featured in this early prototype version, but also points out why this early version didn't actually work: he had already mentioned in an earlier blog entry that this version was actually very badly received by his superiors. 
Summary: In the penultimate column for the Gyakuten Saiban 2 (Ace Attorney 2 – Justice for All) website, Takumi writes about the final episode of the game, Farewell, My Turnabout. Because of the problems described in the column titled The Meteorite Brothers, Takumi had to do a lot more in this episode than he had originally planned and he also forced use an idea for a story he wanted to sit on a bit longer. Because of the total chaos while working on this final episode, he made a lot of mistakes in the scenario and he didn't even manage to clean all of them up. In the Backstage part, Naruhodō (Phoenix Wright) and Mayoi (Maya Fey) have their usual commentary on Takumi's comments, talking about how Obachan (Oldbag)'s design was made, showng some examples of the mistakes Takumi made in the initial version of the story and they even reveal The Seven Mysteries of the Courthouse.
Summary: Concluding his series of posts on the staff members of the original Gyakuten Saiban (Ace Attorney GBA), Takumi talks about the management: the producer Inaba Atsushi, and the head of Capcom's Production Studio 4, Mikami Shinji, who both were a big support for Takumi's experiment. Both managers had a long history 'in the field' by the way, with Mikami originally being a planner and Inaba a programmer, before they became producers. Mikami and Inaba would eventually move out to form Clover Studio, and after that also Platinum Games.Summary: In his second post introducing all the staff members who worked on the original Gyakuten Saiban (Ace Attorney GBA), Takumi looks at the rest of the development team he hadn't mentioned yet: Ōtani and Endō of Programming, and Sugimori and Mori of Sound Design. Sugimori Masukazu is probably the best known of these four, as he composed the iconic soundtrack of the first game. Sugimori would leave Capcom, but Takumi and Sugimori would team-up again for 2010's Ghost Trick. Mori is perhaps not very well known by name, but he was actually the person who "saved" the game. He was the person who had been added to the Gyakuten Saiban team when the game was about to be canceled because it didn't have enough staff members. The poor guy had to work on both the Biohazard (Resident Evil) team and the Gyakuten Saiban team (see blog entry 8).
Summary: On June 13, 2016, the seventh blog post for Gyakuten Saiban 6 (Ace Attorney 6 - Spirit of Justice) was published, written by programmer Hirata Momoko. She was introduced by Eshiro in the previous post as the only woman in the programming team and in this post, she also reveals she's actually the youngest staff member. She explains about "scripts", tools that decides what appears when and how on the Nintendo 3DS screen. Everything from the characters and text to backgrounds and music is governed by a script and they have been a big part of the Gyakuten Saiban series since the first game.
Summary: In the ninth blog post on the Gyakuten Saiban 6 (Ace Attorney 6 - Spirit of Justice) website, posted on June 20, 2016, background artist Ishikawa tells about how the Kingdom of Kurain (Kingdom of Khu'rain), the new setting in the game, was designed. Ishikawa had previously worked on Gyakuten Saiban 5 (Ace Attorney 5 - Dual Destinies), but because the Kingdom of Kurain was a completely new setting, it was almost like starting from scratch all over again. Included are some of the earlier designs of the kingdom.
Summary: The sixth blog entry for Gyakuten Saiban 6 (Ace Attorney 6 - Spirit of Justice) was posted on June 2, 2016 and was written by Akitsuki Chieko, who worked on effects in the game. Ever since the first game, the Gyakuten Saiban series has been praised for its attention to lively presentation, and effects are of course an important part of that. Akitsuki first runs us through her other task in the team (keeping the snack table stocked), and then explains about how effects are used in the water mirror for the Spirit Channeling Vision (Divination Séance) system. She also discusses (and shows images of) a few of the rejected design ideas for spirit channeling, which were quite different than the one we got in the final product.
Summary: In the sixth blog post for the original Gyakuten Saiban (Ace Attorney 1 GBA) for the Game Boy Advance, Takumi talks about the role of the actual legal system and trials in Japan in his own game. While few would ever believe the legal system in the game is realistic, there's an unfounded belief that the game was designed to be a parody of some sorts on the actual Japanese legal system. As Takumi himself already explained over the course of the developer's blog however, that never was the intention: he just gathered all kind of stereotypical images of the courtroom to make a mystery game. 
Summary: Most people only know the courtroom from TV, so Takumi decided to have a little field trip to the courthouse with the Gyakuten Saiban (Ace Attorney 1 GBA) team, so they could learn more about each other, and see a bit of the courtroom. Luckily, the courthouse was very near the Capcom headquarters, but the experience at the courtroom was perhaps not exactly what Takumi first had in mind. 
Summary: In this interview published on May 3, 2014 about Gyakuten Saiban 123 (Phoenix Wright Ace Attorney Trilogy), Iwamoto Tatsurō tells about the work he has done on the original three Gyakuten Saiban games. While he was the secondary character designer (and all-round graphics artist) for the first game, he became the main character designer from the second game on after Suekane Kumiko left Capcom. He talks about desiging characters, about how the development went on the first games and about his favorite character and even about how he voiced Mitsurugi (Miles Edgeworth).
Summary: The final part of an exclusive fourt-part interview with the development staff of Gyakuten Saiban 6 (Ace Attorney 6 – Spirit of Justice) for the official fan website for the series: Gyakuten Tsūshin. This part was first posted on August 4, 2016. In the final part, the staff members are asked about things they experienced for the first time while working on the game. In the second half, the staff members are asking each other questions. The question asked by producer Eshiro to all members is perhaps the big one: whether they want to work on a hypothetical future Gyakuten Saiban game and what they think that game could be.