title: One Canada Square

text: Water is pumped up to the pyramid roof, and is continuously replenished. A common sound that is heard inside the pyramid roof is water being moved around. The water is used for general water requirements, such as toilets, etc. The tower consumes an average of of water per day.


title: One Canada Square

text: The building maintenance units for washing the building windows are stored on the roof. There are two BMU's on the roof, both of these machines for cleaning the windows are supported by rails that run around the outside of the pyramid roof and that are bolted down into the maintenance floor itself.


title: One Canada Square

text: The aircraft warning light is at the very top of the pyramid. Access is via a ladder with a warning sign stating that unauthorised entry will lead to dismissal. The tower uses an omni-directional light usual for marking hazards. It has a very long life and requires little maintenance. Light intensity achieved is well in excess of the required 2,000 candelas. It uses low power consumption and the unit can be flashing or steady.


title: One Canada Square

text: There is electrical equipment that regulates the power to the rest of the building on the mezzanine floor. Some of the electrical generators on the mezzanine floor are powered by micro-hydro water turbines, sourced by water pumped up to the roof.


title: One Canada Square

text: The steel comprises a galvanised steel core, with a multi-layered protective coating and granular finish for better performance characteristics. The tile is in three satin finishes and a high-gloss silver and can be transported in situ in a building's roof.


title: One Canada Square

text: The pyramid itself is cleaned by special maintenance personnel who abseil from the light beacon opening at the very top of the roof. Not only do they have to deal with the height, as well as the winds that interfere with their ropes, but they also need to inspect the steel roof.


title: One Canada Square

text: The pyramid roof lights up in the evenings and can be seen away. It is a permanent lighting of the One Canada Square pyramid using a thousand electronically controlled fluorescent tubes capable of sequence programming for special occasions and festive seasons. The 4000 lights are highly energy efficient, and have an annual running cost of £23,360, rather than £116,800 if traditional incandescent bulbs had been used.


title: One Canada Square

text: One Canada Square uses a traditional roof circuit for its lightning protection system. The roof holds 5 lightning conductor rods. This rooftop network of conductors contain multiple conductive copper paths from the roof to the ground. The steel cladding does not form part of the lightning protection system, as it was considered too dangerous.


title: One Canada Square

text: At the peak cooling times, the HVAC (climate control) system requires cooling equivalent to that provided by 2,000 t of melting ice in one day. The building has a condensate collection system, which uses the hot and humid outside air, combined with the cooling requirements of the building and results in a significant amount of condensation of moisture from the air. The condensed water is collected and drained into a holding tank located in the basement car park.


title: One Canada Square

text: One Canada Square has 3,960 windows and was one of the first buildings to incorporate metallicised windows and other advanced window technologies, to assist with the building's energy efficiency plans. The tower uses super-insulated windows at triple-pane glazing (with a high solar heat-gain coefficient), low-emissivity (low-e) coatings to prevent heat loss in winter months, UV coatings, scratch resistant outer layers, sealed argon / krypton gas filled inter-pane voids, 'warm edge' insulating glass spacers, air-seals and specially developed thermally designed window frames. The windows were manufactured with high R-values [low U-values, 0.90 W/(m.K)] for the time, thereby the thermal resistance is one of the highest rated in the world for the entire window including the frame.


title: One Canada Square

text: The tower uses low energy consumption external lighting through intelligent lighting controls systems. This computer controlled system generates the visually interesting lighting displays on the exterior of the building. The uplighters that are usually seen on the exterior of the building are inductive fluorescent lamps that can be colour rendered and dimmed. The floodlights use compact fluorescent lamps used to provide controlled lighting at the base of the tower. The lighting control system has photocells that will automatically switch on the display when it is dark.


title: One Canada Square

text: The tower also has a synchronised building exterior decorative light and laser multimedia display. The technology was developed by Australian firm Laservision and cost approximately £2 million.


title: One Canada Square

text: In the event of a fire, One Canada Square is not fully evacuated. The floor that has the fire and all other floors above are evacuated. The air conditioning is set to work in reverse to extract smoke and fresh air is blown into the fire escape staircases to increase air pressure and therefore slow the entry of smoke into these areas. The sprinkler system will not operate unless there is sufficient heat acting on any sprinkler head (which are independent of each other and do not operate in unison).


title: One Canada Square

text: The only time when One Canada Square was fully evacuated was on 30 October 2001, during a test drill in response to the 11 September 2001 attacks. The test drill was unsuccessful as tenants were notified beforehand, hence evacuation was much quicker than expected by Canary Wharf Security.


title: One Canada Square

text: When the fire alarm activates on a floor, audio instructions tailored to each floor of the building sound. All floors will receive an evacuation message, with a controlled evacuation message replayed to each floor in order of priority. On floors below the source of the alarm a stand-by notification is given. Digital signage throughout the building displays alert messages followed by instructions tailored to each floor of the building. On certain floors, the instructions ask employees to leave the floor. Exit signs flash. The access control system unlocks doors as necessary. Fire dampers open. Throughout the building, cameras turn on and look for problems that intelligent video software applications have been programmed to detect. Within 2 minutes, the access control system sends a memo to the Security Director itemising how many people have left the affected floor and how many remain.


title: One Canada Square

text: One Canada Square has a steel pendulum that serves as a tuned mass damper. The pendulum sways to offset movements in the building caused by strong gusts of wind. The building can sway in the strongest winds.


title: One Canada Square

text: The lobby is high, clad in Italian Rosso Levanto and Verde Imperial Guatemalan marbles imported from Italy, Guatemala and Turkey.


title: One Canada Square

text: ""Rather than entering a corporate reception, you feel as if you're entering a hushed antespace of timeless power.""


title: One Canada Square

text: In February 2017, security in the lobby was extended to include security screens to prevent unauthorised entry to the lifts. This was a follow up to YouTuber Night Scape gaining unauthorised entry from the lobby to the roof.


title: One Canada Square

text: The tower has thirty two lifts for tenants to use, where 8 lifts serve roughly ten floors of the building. All tenant passenger lifts serve the ground floor and the following groups of floors – floors 5–17, floors 18–28, floors 28–39 and floors 39–50 (note that level 5 is the first office floor and there is no level 13). In addition there are 2 firemen's lifts which serve all floors in the building. These have colour designations with blue being in the northeast core of the building and green being in the southwest. From the building's initial construction until late 2009 there were 2 large freight lifts at which point another was added. This lift was built inside a vacant lift shaft and has the designation GL37 (GL for goods lift and 37 as it is the 37th lift in the building). The tower uses 'Gearless Traction Elevators' by Otis. These lifts were installed in 1990 (aside from GL37 – 2009) using a gearless traction machine. They have woven steel cables called hoisting ropes that are attached to the top of the lift cabin and wrapped around the drive sheave in special grooves. The other ends of the cables are attached to a counterweight that moves up and down in the hoistway on its own guiderails. It takes 40 seconds by lift from lobby to top floor (The Canary Wharf website has not been updated to include the new goods lift GL37).


title: One Canada Square

text: There is currently no public observation floor. However, there was an exception from 12 October 1992 to 15 December 1992, when bankruptcy administrators for Olympia & York Canary Wharf Limited opened the 50th floor to the public, to maintain interest in Canary Wharf. The scheme was stopped on 15 December 1992 when the IRA attempted to bomb the tower (see Terrorism section).


title: One Canada Square

text: The international BREEAM standard has awarded One Canada Square for best practice in sustainable design and environmental performance for buildings. To achieve the rating, the building had to meet or exceed a challenging score of 85% against strict criteria, and included environmental innovations such as the use of 80% recycled aggregate within the concrete used, and the recycling of waste heat to cool and warm the building. Aggregates used in the office build were from predominantly recycled sources, part of a strategy to integrate sustainable products and materials throughout the site, delivering both affordable and sustainable environmentally friendly features to the building.


title: One Canada Square

text: One Canada Square energy performance has improved by decreasing 30% from 2007 to 2016 by initiatives such as installing LEDs and upgrading HVAC and water services.


title: One Canada Square

text: The ground floor, foyer area and basement levels of One Canada Square are open to the general public, having an underground retail area and a transport interchange from Canary Wharf tube and Docklands Light Railway stations. Access from the basement also links to Canada Square shopping mall. The floors above the lobby are not open to the public, as they contain offices.


title: One Canada Square

text: There are many art works on display in the lobby. This includes the stained glass and the roundel in the foyer were designed by Charles Rennie, and are an original design. The design represents Canary Wharf, Water and Boats, illustrating the signs of London Docklands. The slate used here and in various places around the foyer on site is made from the Welsh slate shelving used in the repositories of the original Banana Warehouse at Canary Wharf.


title: One Canada Square

text: The staircases in the four corners of the lobby leading down to the basement floor were originally embellished with a four-piece commissioned sculpture, "The 20th Century–Thames" by Keith Milow. Around 2014, one of the tondi was removed to make room for a restaurant. The other three remain in situ.


title: One Canada Square

text: Other art works on display included Sergio Germariello's Guerrieri (Warriors) 2013, which is displayed in the lobby. The work is an aluminium laser cut out that has been painted.


title: One Canada Square

text: Blade of Venus 1985, by William Turnbull, is on display, part of a series of bronzes that originated in the shape of Japanese swords and Chinese chopping knives.


title: One Canada Square

text: Lawson Oyekan's Trail With Light (LIP) Series 1998, are terracotta vessels on permanent display. The concept is that it is supposed to reflect emotional experience and look as if they have been exploded and put back together again.


title: One Canada Square

text: The lobby is also used for temporary art displays. In 2017, the artist Richard Rome showed several of his bronze and steel sculptures here. This was followed by an exhibition of bronze sculptures by Auguste Rodin.


title: One Canada Square

text: During 16 April - 1 June 2018, the lobby hosted a photography exhibition known as AOP50 (Association of Photographers 50 years celebration). Large photographs were on display by famous photographers. Notable works included:


title: One Canada Square

text: The ownership of One Canada Square has changed since it was constructed. The table below shows who have previously owned One Canada Square, and also who are the current owners.


title: One Canada Square

text: Any use of a holding company has been excluded from this list, as it is easier to trace the true owner.


title: One Canada Square

text: Canary Wharf Management Ltd are responsible for the maintenance of the building. There are about 130 in-house and contract staff who maintain, manage, secure and clean the building. There are normally ten maintenance personnel on-site during working hours and three at night to attend to routine repairs and adjustments to the internal environment. Critical spare parts for the electricity, gas and water systems are kept within the building.


title: One Canada Square

text: One Canada Square has been 'named and shamed' for being the top building to leave the lights on unnecessarily. The research carried out by the BBC's "Inside Out" programme found that on midnight Sunday, One Canada Square left more lights on than any other building in London.


title: One Canada Square

text: However, Canary Wharf Group said that some tenants have staff working around the clock, and 100% of the energy comes from renewable resources.


title: One Canada Square

text: One Canada Square regularly holds charity abseiling events during weekends. Various charities are given permission to use the building for their abseil challenges to raise money. Participants abseil down from the pyramid roof to street level. Abseilers normally use only 2 ropes and have to put up with windy conditions at 800 feet, whilst enjoying the views of London as they abseil down the steel clad.


title: One Canada Square

text: The first abseil was on 21 July 2001, when a team of Royal Marines, and members of various companies including a team led by David Levy from HSBC, and this team, raised in excess of £45,000 for 5 different children's charities. The event earned a World Record and was covered by BBC Record Breakers.


title: One Canada Square

text: One Canada Square achieved the title of tallest skyscraper in the UK in August 1991 upon building completion (as of CTBUH guidelines), or June 1990 (during construction when it overtook Nat West Tower). It held the record until 2012 when The Shard was completed. It became the third tallest building in the United Kingdom in 2019 upon completion of 22 Bishopsgate.


title: One Canada Square

text: One Canada Square never achieved the title as tallest skyscraper in the European Union because in accordance to the CTBUH method, a building has to be "completed" before its receives its title, with Messeturm in Frankfurt being completed in 1990.


title: One Canada Square

text: On 15 November 1992, the Provisional Irish Republican Army attempted to place a large improvised explosive device near the tower. The IRA had already worked out that to cause maximum damage, the bomb had to be placed under the Docklands Light Railway bridge to disrupt infrastructure near the Canary Wharf Tower for a devastating effect. The bomb was in a van which was driven to the designated place. As the bombers were about to make their escape, security guards approached the van because it was parked illegally on double yellow lines. Two men got out of the vehicle and one pointed a revolver at one of the security guards. The gun failed to fire. The terrorists were then pursued as far as the boundary of the wharf, but they escaped. Armed police were on the scene within minutes and the army bomb squad discovered that the vehicle contained a bomb. The detonator failed to ignite the main charge, and the bomb did not go off, so there was no bomb damage to Canary Wharf. The wharf was sealed off for a couple of days whilst an intensive search took place for further devices. A few days later, the IRA described it as 'sheer ill luck' as the bomb failed to detonate. There was criticism that the intelligence services did not know about this massive bomb travelling through London. As a result of this attempted bombing, the observation floor was closed (see Public access section) and security was dramatically increased at Canary Wharf.


title: One Canada Square

text: On 9 February 1996, the Provisional IRA successfully detonated a large bomb at South Quay, south of Canary Wharf (outside Canary Wharf), which killed two people and devastated several buildings. This explosion is commonly, but erroneously, referred to as the "Canary Wharf bomb".


title: One Canada Square

text: The towers at Canary Wharf were evacuated as a precaution on September 11, 2001 following the attacks on the World Trade Center and The Pentagon in the United States.


title: One Canada Square

text: There have been many news articles in recent years stating that the towers at Canary Wharf have been a target for terrorism. However, some of these plots have been denied by the government. One plot was confirmed on 4 April 2008, when a terror cell appeared at Woolwich Crown Court accused of targeting Canary Wharf. The men denied the charges, but were found guilty for planning attacks on the Canary Wharf skyscrapers.


title: One Canada Square

text: As the Canary Wharf Tower is the first skyscraper to be clad in stainless steel with metallised windows, this may have caused analog television reception interference for local people living in the area. In the case "Patricia Hunter and others v. Canary Wharf Ltd.[1997]", the House of Lords concluded there is no legal right to receive good television reception. Patricia Hunter and others lost the case because of a variety of reasons that included:


title: One Canada Square

text: In Spring 2001, the BBC received some television interference complaints from residents in the Poplar area (north of Canary Wharf). A possible cause for the interference are the other Canary Wharf towers being built. Their advice was to get digital television, satellite or cable.


title: One Canada Square

text: Other films featuring the Canary Wharf Tower can be read from a publication called "Canary Wharf And Isle of Dogs Movie Map".


title: One Canada Square

text: During the 1990s, One Canada Square was home to the television station "L!VE TV", which broadcast live from the tower.


title: Laurie Bembenek

text: Lawrencia Ann "Bambi" Bembenek (August 15, 1958 – November 20, 2010), known as Laurie Bembenek, was an American former police officer, convicted for the 1981 murder of her husband's ex-wife. Her story garnered national attention in 1990 after Bembenek escaped from Taycheedah Correctional Institution in Wisconsin and was recaptured in Thunder Bay, Ontario, Canada, an episode that inspired books, movies and the slogan "Run, Bambi, Run". Upon winning a new trial, Bembenek pleaded no contest to second-degree murder and was sentenced to time served and ten years' probation in December 1992. For years after, she sought to have the sentence overturned.


title: Laurie Bembenek

text: Prior to her arrest, Bembenek was fired by the Milwaukee Police Department (MPD) and had gone on to sue the department, claiming that it engaged in sexual discrimination and other illegal activities. She worked briefly as a waitress at the Lake Geneva, Wisconsin, Playboy Club. At the time of her arrest, she was working for Marquette University's Public Safety Department in downtown Milwaukee. On November 20, 2010, Bembenek died at a hospice facility in Portland, Oregon, at the age of 52.


title: Laurie Bembenek

text: Lawrencia Ann Bembenek was the youngest of three girls born to Joseph and Virginia Bembenek in Milwaukee, Wisconsin, on August 15, 1958. Joseph had previously worked for the Milwaukee Police Department (MPD) but quit after witnessing what he described as corruption within the department. He later worked as a carpenter.


title: Laurie Bembenek

text: Bembenek, raised Catholic, attended St. Augustine Elementary School and St. Mary's Academy in Milwaukee. She later transferred to Bay View High School, where she graduated in 1976. Upon graduation, Bembenek attended Bryant & Stratton College in Virginia Beach, Virginia, where she earned an associate degree in fashion merchandising management.


title: Laurie Bembenek

text: After college, Bembenek worked in retail and had a brief stint as a model. In 1978, she appeared as "Miss March" in a calendar distributed by the Joseph Schlitz Brewing Company.


title: Laurie Bembenek

text: In March 1980, Bembenek began training at the Milwaukee Police Academy. While still a trainee, an anonymous tipster reported that she was seen smoking marijuana at a party. Bembenek denied the charge, which was investigated but never substantiated. Bembenek later said she believed the accusation was made by the wife of a Milwaukee police officer who confronted her at a party about her clothing and accused Bembenek of leading on her husband. Bembenek graduated from the Academy in the summer of 1980 and was assigned to the MPD's South Side Second District.


title: Laurie Bembenek

text: In her autobiography "Woman on the Run", Bembenek claimed that the MPD was then composed of "brutal, lazy, apathetic and corrupt" police officers. She further claimed that female and minority officers were routinely subjected to harassment and abuse during training. Bembenek stated that when female and minority trainees became members of the MPD, they were often severely punished or fired for minor infractions during their probationary period while white male officers went unpunished for more serious offenses.


title: Laurie Bembenek

text: While training at the Academy, Bembenek met and became close with another female trainee, Judy Zess. At a rock concert in May 1980, Zess was arrested for smoking marijuana. Bembenek's subsequent dismissal from the MPD on August 25 stemmed from her involvement in filing a false report on Zess' arrest. After being fired, Bembenek discovered scandalous photos of several MPD officers, including her future husband, Elfred O. "Fred" Schultz, dancing nude on picnic tables in Gordon Park near one of their favorite hangouts, The Tracks tavern. She took the pictures to the Equal Employment Opportunity Commission (EEOC) arguing that while she was fired for a minor infraction, the photos proved that other police officers committing more serious violations were not punished. The EEOC encouraged Bembenek to file a discrimination report with the MPD's internal affairs division. In the months following her firing, Bembenek briefly worked as a waitress at the Playboy Club in Lake Geneva, Wisconsin.


title: Laurie Bembenek

text: Around that time, Bembenek met Schultz, then a 13-year veteran of the MPD. Schultz had two sons and had obtained a divorce from his first wife, Christine, in November 1980. Bembenek and Schultz were married in January 1981 in Waukegan, Illinois. At the time of the marriage, Bembenek was working as a personal trainer at a health club and was living in an apartment with Schultz, her friend Judy Zess, and Zess' boyfriend Thomas D. Gaertner. Bembenek later got a job as a campus security officer at Marquette University in Milwaukee.


title: Laurie Bembenek

text: In November 1981, Bembenek and Schultz were remarried after a judge ruled that the couple's marriage was invalid, stating that Schultz had violated Wisconsin law by not waiting six months after his divorce from Christine to remarry.


title: Laurie Bembenek

text: On May 28, 1981, at approximately 2:15am, Schultz's ex-wife Christine was murdered in her Milwaukee home. She had been shot point blank into her back through her heart by a single shot from a .38 caliber pistol. Christine had been gagged and blindfolded, and her hands were tied in front of her with rope. Her two sons, then 7 and 11 years old, found her face down on her bed and bleeding. The older boy, Sean, had seen the assailant and described him as a masked male figure in a green army jacket and black shoes. He also said the man had a long (approx. 6" or 15 cm) reddish-colored ponytail. Bembenek had dyed blonde hair, weighed 140 pounds and was .


title: Laurie Bembenek

text: At the time of her murder, Christine and Fred Schultz had been divorced six months. Schultz initially stated he was on duty investigating a burglary with his partner, Michael Durfee, at the time of the murder, but years later admitted they were actually drinking at a local bar. When ballistics testing allegedly revealed it was his off-duty revolver that had been the murder weapon, suspicion shifted to Bembenek, as she had been alone in the apartment she shared with Schultz and had access to both the gun and a key to Christine's house that he had secretly copied from his oldest son's house key. Bembenek was arrested for Christine Schultz's murder on June 24, 1981.


title: Laurie Bembenek

text: Schultz had previously been exonerated in the fatal shooting of a Glendale, Wisconsin, police officer on July 23, 1975. The Glendale officer, George Robert Sassan, had arrested a subject in a bar while off-duty. Milwaukee police officers, including Schultz, responded to the call in suburban Glendale (outside their jurisdiction), reportedly mistook Sassan for a suspect and shot him to death when he turned toward them, holding a gun. Schultz and his partner were cleared by the Milwaukee County District Attorney's Office in the shooting.


title: Laurie Bembenek

text: Bembenek's trial generated tremendous publicity, and newspapers began referring to her as "Bambi" Bembenek (a nickname she disliked). The prosecution portrayed Bembenek as a loose woman addicted to expensive living who wanted Christine Schultz dead so that her new husband would no longer have to pay alimony. Pointing out that Bembenek had financial problems, the prosecution claimed that she was the only person with the motive, means and opportunity to carry out the crime. The gun used to kill Christine was Bembenek's husband's off-duty revolver, which the prosecution claimed Bembenek was the only person besides Schultz who had access to; blood was found on the gun. Bembenek supposedly also had access to a key to Christine's home. There were no signs of a break-in and no valuables taken. The strongest evidence, however, was two human hairs found at the crime scene which matched ones taken from the hairbrush of the defendant. Schultz's eldest son, however, stated that Bembenek was not the person who had held up their house and shot his mother.


title: Laurie Bembenek

text: Witnesses testified that Bembenek had spoken often of killing Christine. The prosecution produced a witness who said Bembenek offered to pay him to carry out the murder. According to witnesses for the prosecution, Bembenek owned a green jogging suit similar to the one described by Schultz's son. It was pointed out that she owned a clothes line and a blue bandanna similar to what was used to bind and gag the victim. A wig found in the plumbing system of Bembenek's apartment matched fibers found at the murder scene. A boutique employee testified that Bembenek purchased such a wig shortly before the murder.


title: Laurie Bembenek

text: On March 9, 1982, Bembenek was found guilty of first-degree murder and sentenced to life in prison. She was imprisoned at the Taycheedah Correctional Institution in Fond du Lac, Wisconsin.


title: Laurie Bembenek

text: On June 28, 1983, Bembenek filed for divorce from Schultz. In an interview she gave to "The Milwaukee Sentinel", Bembenek said that Schultz had written her a letter informing her that he was living with a 19-year-old woman in Florida and had decided to end their marriage. Their divorce was granted on June 19, 1984. While Schultz had initially stood by Bembenek and believed she was innocent, he later changed his mind and publicly stated that he believed she was, "Guilty as sin." Bembenek in turn came to believe that Schultz was guilty of hiring someone to murder Christine and allowed her to take the fall.


title: Laurie Bembenek

text: Bembenek claimed that the real murderer was Freddy Horenberger. He, along with an accomplice, had been questioned nearby days before the murder by a deputy with the Milwaukee County Sheriff's Office. Horenberger had briefly worked with Schultz on a remodeling project and was a former boyfriend of Judy Zess. A disguised Horenberger had robbed and beaten Zess several weeks prior to Christine's murder and would later serve a ten-year sentence for that crime. Bembenek contended that the attorney whom Schultz had hired to represent her had a conflict of interest and had purposely failed to inform the jury that there was evidence that Schultz was connected to the murder.


title: Laurie Bembenek

text: After her imprisonment, Bembenek filed three unsuccessful appeals of her conviction, citing police errors in handling of key evidence and the fact that one of the prosecution's witnesses, Judy Zess, had recanted her testimony, stating it was made under duress. Bembenek and her supporters also alleged that the MPD may have singled her out for prosecution because of her role as a key witness in a federal investigation into police corruption. Bembenek's supporters suggested that Schultz may have arranged to have someone else, possibly Horenberger, murder his ex-wife.


title: Laurie Bembenek

text: According to a number of affidavits which emerged following Bembenek's conviction, Horenberger boasted of killing Christine to other inmates while he was in jail. Horenberger publicly denied any involvement in the murder up until his alleged suicide in November 1991, following a robbery and hostage situation in which he had been involved.


title: Laurie Bembenek

text: There were questions raised as to the accuracy of the information and the evidence used in the trial. Dr. Elaine Samuels, the medical examiner who conducted the autopsy, had originally concluded that hairs recovered from Christine's body were consistent with that of the victim; after Dr. Samuels had come to that conclusion, the hair evidence was examined by Diane Hanson, a hair analyst from a crime lab in Madison, Wisconsin, who stated that two of the hairs were consistent with samples taken from Bembenek's hairbrush. Dr. Samuels refuted that claim, stating in a 1983 letter, quoted in the "Toronto Star" in 1991, that "I recovered no blonde or red hairs of any length or texture ... [A]ll of the hairs I recovered from the body were brown and were grossly identical to the hair of the victim ... [I] do not like to suggest that evidence was altered in any way, but I can find no logical explanation for what amounted to the appearance of blonde hair in an envelope that contained no such hair at the time it was sealed by me."


title: Laurie Bembenek

text: The apartment where Bembenek and Schultz lived shared drainage with another apartment. In the shared drainpipe was found a brownish-red wig which matched some of the hairs found on the victim's body. The woman who occupied the other apartment testified that Zess had knocked on her door and asked to use her bathroom; after Zess used the woman's bathroom, the plumbing was clogged. Zess had also admitted to owning a brownish-red wig.


title: Laurie Bembenek

text: While in prison, Bembenek earned a bachelor's degree from the University of Wisconsin–Parkside and helped found a prisoners' newspaper. She also met and became engaged to factory worker Dominic Guglietti, who was the brother of Bembenek's cellmate.


title: Laurie Bembenek

text: On July 15, 1990, Bembenek escaped through a laundry room window and was picked up by Guglietti. The couple were spotted two days after Bembenek's escape in Guglietti's truck in Wauwatosa, Wisconsin. The abandoned truck was later found in a parking lot of a Target. Bembenek and Guglietti fled to Thunder Bay, Ontario, Canada, while sensational stories about their relationship swirled through American tabloids. Her escape also reignited publicity surrounding her case, and she became something of a folk hero. A song was written about her, and T-shirts were sold with the slogan "Run, Bambi, Run".


title: Laurie Bembenek

text: While on the run, Bembenek used the name "Jennifer Gazzana" and got a job working as a waitress. She also worked as a fitness instructor.


title: Laurie Bembenek

text: On October 17, 1990, the couple were arrested after a tourist saw a segment about Bembenek's escape on "America's Most Wanted". Guglietti was deported back to the United States a month later and was eventually sentenced to one year in prison for his role in the escape. Bembenek, however, sought refugee status in Canada, claiming that she was being persecuted by a conspiracy between the police department and the judicial system in Wisconsin. The Canadian government showed some sympathy for her case, and before returning her to Wisconsin, obtained a commitment that Milwaukee officials would conduct a judicial review of her case. The review did not find evidence of crimes by police or prosecutors, but detailed seven major police blunders which had occurred during the Christine Schultz murder investigation, and she won the right to a new trial.


title: Laurie Bembenek

text: Bembenek voluntarily returned to the United States on April 22, 1991. Rather than risk a second conviction, however, Bembenek pleaded no contest to second-degree murder during a hearing held on December 9, 1992. She was sentenced to 20 years which was commuted to time served. She was released from custody three hours after the hearing having served a little over ten years.


title: Laurie Bembenek

text: Bembenek wrote a book about her experience, titled "Woman on Trial". After her release, she had various legal and personal problems. She was arrested again on marijuana possession charges and filed for bankruptcy, as well as developing hepatitis C and other health problems. She also admitted to being an alcoholic. She legally changed her name to Laurie Bembenek in July 1994.


title: Laurie Bembenek

text: In 1996, she moved to Washington state to be near her retired parents in Vancouver. There she met a local resident, U.S. Forest Service employee Marty Carson, whom she eventually married in 2005.


title: Laurie Bembenek

text: Bembenek was diagnosed with post-traumatic stress disorder, complicated by a growing addiction to alcohol. As a form of therapy, Carson encouraged her to devote time to her passion of painting. Bembenek had made paintings since childhood, and her early work had been the subject of an exhibition at UW–Milwaukee in 1992. Carson constructed a studio for her, and she eagerly returned to her art. After several years she had amassed about 30 paintings, which she put on display at a local art gallery. The gallery burned down in a fire and all the paintings were destroyed.


title: Laurie Bembenek

text: In 2002, Bembenek either fell or jumped from a second-story window, breaking her leg so badly that it had to be amputated below the knee. Bembenek claimed that she had been confined in an apartment by handlers for the "Dr. Phil" television show and was injured while attempting to escape.


title: Laurie Bembenek

text: Bembenek continued to insist she was innocent, but the Wisconsin Supreme Court refused to overturn her no contest plea, saying such a plea cannot be withdrawn. In April 2008, Bembenek filed a petition with the United States Supreme Court, seeking a reversal of the second murder conviction. Bembenek's attorney pointed to evidence not heard in the original trial, including ballistics tests matching the murder bullets to the gun owned by Fred Schultz, male DNA found on the victim, evidence the victim had been sexually assaulted and the eyewitness testimony of the two young sons who said they had seen a heavyset, masked man. Bembenek's petition argued the court needed to clarify whether defendants who plead guilty or no contest have an opportunity to review evidence comparable to the rights of those who plead not guilty. Her appeal was denied in June 2008.


title: Laurie Bembenek

text: Her case was the inspiration for two television movies and various books and articles portraying her as the victim of a miscarriage of justice. In 2004, MSNBC produced and aired a biography of Laurie Bembenek on their "Headliners and Legends" television show. Bembenek did not take part in the show. She was interviewed by WTMJ-TV anchor Mike Jacobs for a two-part sweeps interview that aired on that station's 10pm newscast on October 28 and 29, 2010. In April 2022, Apple Podcasts and Campside Media released the podcast series "Run, Bambi, Run," hosted by Vanessa Grigoriadis.


title: Laurie Bembenek

text: On November 20, 2010, she died at a hospice facility in Portland, Oregon from liver and kidney failure.


title: Chromosome abnormality

text: A chromosomal abnormality, chromosomal anomaly, chromosomal aberration, chromosomal mutation, or chromosomal disorder, is a missing, extra, or irregular portion of chromosomal DNA. These can occur in the form of numerical abnormalities, where there is an atypical number of chromosomes, or as structural abnormalities, where one or more individual chromosomes are altered. Chromosome mutation was formerly used in a strict sense to mean a change in a chromosomal segment, involving more than one gene. Chromosome anomalies usually occur when there is an error in cell division following meiosis or mitosis. Chromosome abnormalities may be detected or confirmed by comparing an individual's karyotype, or full set of chromosomes, to a typical karyotype for the species via genetic testing.


title: Chromosome abnormality

text: An abnormal number of chromosomes is called aneuploidy, and occurs when an individual is either missing a chromosome from a pair (resulting in monosomy) or has more than two chromosomes of a pair (trisomy, tetrasomy, etc.). Aneuploidy can be full, involving a whole chromosome missing or added, or partial, where only part of a chromosome is missing or added. Aneuploidy can occur with sex chromosomes or autosomes.


title: Chromosome abnormality

text: An example of trisomy in humans is Down syndrome, which is a developmental disorder caused by an extra copy of chromosome 21; the disorder is therefore also called trisomy 21.


title: Chromosome abnormality

text: An example of monosomy in humans is Turner syndrome, where the individual is born with only one sex chromosome, an X.


title: Chromosome abnormality

text: Exposure of males to certain lifestyle, environmental and/or occupational hazards may increase the risk of aneuploid spermatozoa. In particular, risk of aneuploidy is increased by tobacco smoking, and occupational exposure to benzene, insecticides, and perfluorinated compounds. Increased aneuploidy is often associated with increased DNA damage in spermatozoa.


title: Chromosome abnormality

text: Chromosome instability syndromes are a group of disorders characterized by chromosomal instability and breakage. They often lead to an increased tendency to develop certain types of malignancies.


title: Chromosome abnormality

text: Most chromosome abnormalities occur as an accident in the egg cell or sperm, and therefore the anomaly is present in every cell of the body. Some anomalies, however, can happen after conception, resulting in Mosaicism (where some cells have the anomaly and some do not). Chromosome anomalies can be inherited from a parent or be "de novo". This is why chromosome studies are often performed on parents when a child is found to have an anomaly. If the parents do not possess the abnormality it was not initially inherited; however, it may be transmitted to subsequent generations.


title: Chromosome abnormality

text: Most cancers, if not all, could cause chromosome abnormalities, with either the formation of hybrid genes and fusion proteins, deregulation of genes and overexpression of proteins, or loss of tumor suppressor genes (see the "Mitelman Database" and the Atlas of Genetics and Cytogenetics in Oncology and Haematology,). Furthermore, certain consistent chromosomal abnormalities can turn normal cells into a leukemic cell such as the translocation of a gene, resulting in its inappropriate expression.


title: Chromosome abnormality

text: During the mitotic and meiotic cell divisions of mammalian gametogenesis, DNA repair is effective at removing DNA damages. However, in spermatogenesis the ability to repair DNA damages decreases substantially in the latter part of the process as haploid spermatids undergo major nuclear chromatin remodeling into highly compacted sperm nuclei. As reviewed by Marchetti et al., the last few weeks of sperm development before fertilization are highly susceptible to the accumulation of sperm DNA damage. Such sperm DNA damage can be transmitted unrepaired into the egg where it is subject to removal by the maternal repair machinery. However, errors in maternal DNA repair of sperm DNA damage can result in zygotes with chromosomal structural aberrations.


title: Chromosome abnormality

text: Melphalan is a bifunctional alkylating agent frequently used in chemotherapy. Meiotic inter-strand DNA damages caused by melphalan can escape paternal repair and cause chromosomal aberrations in the zygote by maternal misrepair. Thus both pre- and post-fertilization DNA repair appear to be important in avoiding chromosome abnormalities and assuring the genome integrity of the conceptus.


title: Chromosome abnormality

text: The International System for Human Cytogenomic Nomenclature (ISCN) is an international standard for human chromosome nomenclature, which includes band names, symbols and abbreviated terms used in the description of human chromosome and chromosome abnormalities. Abbreviations include a minus sign (-) for chromosome deletions, and "del" for deletions of parts of a chromosome.


Phoenix Wright: Ace Attorney – Dual Destinies is a visual novel adventure video game developed and published by Capcom. It is the fifth main entry in the "Ace Attorney" series, and was originally released for the Nintendo 3DS in 2013, with iOS and Android versions following in 2014 and 2017.


title: Phoenix Wright: Ace Attorney – Dual Destinies

text: The game is set around a year after the previous game, "", in a time where the court system has entered a dark era of false charges and fabricated evidence, caused in part by the event that led to Phoenix being unjustly disbarred. The player takes the roles of three defense attorneys Phoenix Wright, Apollo Justice and Athena Cykes, who defend their clients in multiple cases and try to restore confidence in the courts. The gameplay is split into investigation sections, where the player searches for evidence and talks to witnesses, and trials, where they search for inconsistencies between witness testimonies and the evidence. The player can use some character-specific gameplay mechanics: Phoenix can see "psyche-locks" over witnesses who are hiding something, Apollo can spot visual cues in witnesses that indicate deception, and Athena can detect conflicting emotions in witnesses' voices.


text: The development team included the producer Motohide Eshiro, the directors Takeshi Yamazaki and Yasuhiro Seto, and the composer Noriyuki Iwadare. Due to the game being made a long time after "Apollo Justice", the developers wanted it to make a big impact, and came up with the idea of the player working to revive the trial system. As it was the first "Ace Attorney" game on the Nintendo 3DS, the developers made use of 3D graphics; they focused on preserving the look of the earlier "Ace Attorney" games' 2D art, and wanted to ensure that the graphics looked better than those in the simultaneously developed "". The game's localization was directed by Janet Hsu, and was incorporated into the overall development, allowing the localization team a larger degree of insight into the developers' intentions. The game was generally well received by critics, who praised the audio, visuals and character art, but criticized the game for sometimes not accepting logically valid input during trials. The game achieved the estimated sales, which were high compared to how the franchise had performed in the past.


text: "Dual Destinies" is a visual novel adventure game in which the player takes the roles of three defense attorneys: Phoenix Wright, Apollo Justice, and Athena Cykes. The player aims to solve multiple cases and get their clients declared not guilty, which is how the game's episodes are cleared.


text: The gameplay is split into two types of sections: investigations and trials. During investigations, the player goes to the crime scene, where they have access to a menu with four options: examine, which brings up a cursor used to search for evidence and clues; talk, which lets the player interview a witness at the current location, choosing from a number of a topics to discuss; present, which lets the player show the witness evidence; and move, which brings up a list of locations the player can choose to go to. At some points, the player can use Apollo's "perceive" mechanic to watch for visual cues in a witness as they are talking, such as a twitching eye, that indicate that they are lying. The player can also sometimes use Phoenix's "psyche-lock" mechanic to see locks on the hearts of witnesses who are hiding something.


text: During trials, the player cross-examines witnesses. They can move backwards and forwards through statements in the testimony, and can choose to press the witness for more information on a particular statement; sometimes, the witness will revise their testimony based on this. If the player spots a lie or a contradiction in the testimony, they can present evidence to demonstrate the contradiction. If the player presents incorrect evidence, the judge's confidence in the player will be lowered; if the judge's confidence in the player is depleted, the game ends.


text: At some points, the player can use Athena's "mood matrix" mechanic to detect conflicting emotions in witnesses' voices during their testimonies, such as sudden happiness in the middle of fear. Four different emotions can show up in testimony analyses – happiness, anger, shock, and sadness (the icon of which also represents fear) – which will light up with different intensity. The player goes through the testimony, and aims to determine the cause of the conflicting emotion. Near the end of trials, when the player is close to solving the case, they can use the "revisualization" mechanic to look back at known facts and make a series of deductions by picking the right choices, to reach a conclusion.


text: "Dual Destinies" takes place roughly a year after the events of the previous game, "". The legal system has entered a dark era, filled with false charges and fabricated evidence. Phoenix Wright, the owner of the Wright Anything Agency, retakes the bar exam to once again become a defense attorney following events in the previous game. He hires a new lawyer named Athena Cykes, who specializes in analytical psychology, to assist his other young attorney, Apollo Justice.


text: Under the watchful eye of police detective Bobby Fulbright, Phoenix, Apollo, and Athena become involved in several cases. They first defend mayor Damien Tenma, accused of murdering alderman Rex Kyubi. They face Simon Blackquill in court, who prosecutes despite being on death row for murder. Despite this, Apollo and Athena expose Kyubi's real killer as Tenma's aide, Florent L'Belle. Additional content set after these events tells the story of Phoenix's first case after regaining his badge, having to defend an orca accused of killing her owner.


text: Afterward, Athena defends her childhood friend, Juniper Woods, who is charged with the murder of her teacher, Constance Courte, revealing the killer as another teacher, Aristotle Means. Sometime later, following a bombing at a space center, Apollo's friend Clay Terran is found murdered. During the trial, where Athena and Apollo defend an astronaut named Solomon Starbuck, a bomb goes off in the courtroom, injuring Apollo. Juniper is accused of the bombing, but Phoenix and Athena defend her and reveal bomb squad specialist Ted Tonate as the real culprit. Feeling personally involved in the case, Apollo takes a leave of absence from the agency to investigate the case on his own while Phoenix takes over Solomon's case. He proves Solomon's innocence via the testimony of the station's director, Yuri Cosmos, but a new piece of evidence places Athena as the prime suspect in Clay's murder, resulting in her arrest.


text: Phoenix's investigation brings him to look into an incident seven years ago, in which Athena's mother Metis was killed and Blackquill was convicted for the murder. With one day until Blackquill's planned execution, his sister Aura takes several people hostage, including Phoenix's adopted daughter Trucy, demanding that a re-trial of the case be held to convict Athena for Metis's murder. Upon receiving a letter from Maya Fey delivered by her cousin Pearl, Phoenix decides to hold the trial in the courtroom destroyed in the earlier bombing. Together with chief prosecutor Miles Edgeworth, Phoenix deduces that a third party was responsible for the murder, proving Athena's and Blackquill's innocence. Edgeworth declares Blackquill a free man and places him back in charge as a prosecutor for the case while he retrieves vital information. Phoenix learns that the true culprit behind both Metis's and Clay's murders was the Phantom, an international spy that has disguised himself as the deceased Fulbright. The Phantom posed as Fulbright to steal evidence to conceal his true identity, fearing he will be killed by his enemies should it be revealed. With the assistance of Edgeworth, Blackquill, Apollo, and Athena, Phoenix manages to break the normally emotionless Phantom, after which the Phantom is shot by an unseen sniper but survives. After proving the Phantom's guilt and Athena's innocence and bringing an end to the Dark Age, the Wright Anything Agency sees Solomon off as he heads into space.


text: "Dual Destinies" was produced by Motohide Eshiro and directed by Takeshi Yamazaki and Yasuhiro Seto, with music by Noriyuki Iwadare. Series creator Shu Takumi had no involvement in the title due to him focusing on "". The game was first announced in May 2007, a month after the release of the previous "Ace Attorney" game. In January 2012, almost five years after the original announcement, Capcom revealed the game's logotype during the celebration of the series' tenth anniversary. In September 2012, it was revealed that a demo would be available at Tokyo Game Show 2012, and that the game would be released on the Nintendo 3DS. It was developed using Capcom's game engine MT Framework Mobile.


text: When development began in 2011, only a few core staff members were working on the game, forming a skeleton team. At this time, Yamazaki said that the player should be able to use emotions and analytical psychology to reach the truth, in addition to using evidence: he thought that previous "Ace Attorney" games had only focused on evidence versus statements, and wanted to introduce a third element. Natsuki Ikawa, one of the game designers, read books on psychology and talked to the other staff members about what to do. She wrote down several ideas for how to handle it, including goggles that show the witness's personality as a specter, or a large computer that analyzes brain waves and heart rates, and showed them to Yamazaki, who would say "that's a pretty nifty idea" but still reject them; this contradiction between what he said and what he felt made Ikawa realize the basic concept for the mood matrix system, which was revised through feedback from everyone on the team and was implemented in the game. Another game designer, Yoriki Daigo, worked on several new features, including making the player able to move between locations freely and designing the revisualization system. Because the game was built from the ground up, the user interface for investigation sections was overhauled completely to be more visually appealing. The developers tried to keep the game simple, keeping it in line with Takumi's original vision of a game simple enough for his mother to play.


text: Sound effects from previous games, such as that of the judge's gavel, were remade for "Dual Destinies": Toshihiko Horiyama, the game's sound director, re-imagined the original "crisp and dry" gavel effect as one where the initial sound of the gavel peaks early, leading into the richer sound of the gavel's core. He went through a similar process for all the effects, trying to both preserve the original sounds and revitalize them. After Horiyama came up with a sound concept, the game's sound designer, Amagishi, created the sound based on it. Because of the improved hardware capabilities of the Nintendo 3DS compared to the Nintendo DS, the development team was able to use unprocessed sounds of real instruments at some points in the music, such as in the title track, which features Iwadare playing the trombone. A feature was implemented where the game detects whether headphones are plugged into the Nintendo 3DS, and it adjusts the audio output to be optimal for the player's current setup. While Capcom staff provided all voice acting in previous "Ace Attorney" games, "Dual Destinies" instead used professional voice actors, with some smaller roles being handled by Capcom staff. Only the cutscenes are fully voiced; this was a deliberate choice, as the developers wanted to give the player the freedom to read dialogue in whatever kind of voice they want in their head. Eshiro also said that full voice acting would ruin the game's pacing and tempo.


text: Yamazaki focused on the game's scenario, while Seto worked as his "backup", ensuring that the development staff was all on the same page and that things go smoothly. According to Seto, Yamazaki was the person who had the most influence on the game, but his ideas sometimes clashed with Eshiro's, as Eshiro had to view the game as a product and give feedback based on that; the staff then had to create a compromise that both Yamazaki and Eshiro could accept. This led to long discussions, and eventually Seto had to make final decisions on what to do, which he called "no small task"; some big decisions took days to make.


text: Due to "Dual Destinies" being made long after the previous main game in the series, the developers felt that they needed it to make a big impact; they knew from the start that they wanted Phoenix Wright to return as the game's main character and as an attorney, since they had hinted at it at the end of the previous game. Additionally, they wanted to retain Apollo Justice as an important character, and not steal the spotlight from him, as he had already been established as a new main character. Feeling that Apollo's story had not been explored enough in the previous game, they focused on developing his character further in "Dual Destinies", and added the character Athena Cykes as his junior. Yamazaki created Athena to be an active partner for Phoenix, rather than a "supporter in the background". The development team encountered problems while figuring out how to make the impact they wanted with the game with both Phoenix and Apollo, until they decided on the story concept of Phoenix and Apollo working to revive a collapsed trial system. From the start, Yamazaki knew that he wanted all three player characters to have their own motivations and purposes, which would play out throughout the game. At one point, he considered having five lawyers in the game, because of it being the fifth game in the series; he later called this idea crazy and overly ambitious, and felt that they had "dodged a bullet" by not using it.


text: The development team intended to continue the story of the previous game in the series in every way with "Dual Destinies". They focused on an overarching story and plot twists, and on characters' motives and how they get involved in the story, but not directly on the characters themselves. When deciding which characters to bring back from previous games, they did not want to bring back anyone only for the sake of bringing them back, instead intending for everyone to have important roles in the story. They considered some characters to "come in sets", such as Apollo and Trucy, which affected which characters to bring back. Miles Edgeworth was brought back as the developers felt that Phoenix needed a character to play off of. Yamazaki said it was difficult to create the new rival character Simon Blackquill, as he had to be at least as unique and memorable as the ones in previous "Ace Attorney" titles. He came up with the idea that Blackquill would be a convict, thus being the "most criminal prosecutor yet". Blackquill's intelligence and use of psychological manipulation turned out to make trials challenging to write, as Yamazaki kept writing himself into a corner, with it being difficult to come up with a way for the protagonist to win. Yamazaki went through several ideas when brainstorming ways for Blackquill to be seen as a difficult opponent, such as making him immortal and two hundred years old, or "super-rich" and able to buy off any witness; these ideas were scrapped due to not fitting into the "Ace Attorney" series.


text: When writing the cases, Yamazaki would usually come up with the twist of the case first; he would think of something shocking or a surprising event, as well as the setting and set-up of the episode. He would then figure out how it could logically have happened, which he said was the most compelling method, story-wise; if it were done in the other direction – starting with how the case would work logically and then adding a twist - he found that it would not "ring true". He found that coming up with ways of resolving these mysteries was very difficult compared to coming up with the set-up. He worked towards including story developments that would "keep [the player] guessing", and puzzles that "appeal to their curiosity". He tried to create scenarios that make the player interested, which resulted in the bombing in the first episode and how the second episode's murderer appears to be a mythical creature. Among scrapped ideas for the episodes were a case of an "ethereal murder" where the suspect remembers killing someone but there is no body and no evidence of it even happening, and a case where a doll has been killed. He noted that these ideas, while having an impact and sounding interesting, were unrealistic and would not work. Yamazaki took inspirations from several different kinds of stories, including books, movies and television; the second episode in particular was inspired by the works of the author Natsuhiko Kyogoku.


text: The development team included a scripting team, who inserted pre-programmed scripts into the dialogue, a process referred to as scripting: these scripts could be used to change characters' animations, stop the text in the middle of a sentence, automatically proceed to the next text box, and pan the camera. The staff had to envision how scenes would look, and used these scripts to create a flow of character animations and add dramatic tension, such as adding a pause after a character sighs to increase the dramatic effect.


text: The downloadable episode "Turnabout Reclaimed" was written by the game designer Yuki Nakamura, with the concept of "lighthearted fun" to set it apart from the main game. The first thing she decided on was to feature an orca, and have the story take place in an aquarium; it took her several tries to decide on the rest of the story. One of the scrapped ideas involved the orca stealing treasures from the aquarium and attacking people by the shore during its escape to the sea, with the episode's mystery involving the reason for the orca's behavior. The opening for this draft would have involved guards and detective Fulbright vaguely referring to someone escaping; the intention was that the player would think they were talking about Blackquill, before it was revealed to be the orca.


text: "Dual Destinies" was the first game in the main series to be developed for the Nintendo 3DS; this move from the Nintendo DS to the Nintendo 3DS was the most difficult part of the development, with the development team being unsure of whether to use 2D graphics like with previous games or to use 3D models. Eventually they decided to use 3D graphics, because of the stereoscopic 3D effect being a selling point for the Nintendo 3DS system. Because of the move to 3D, the in-house artist Takuro Fuse was in charge of the art direction, rather than the series regular Tatsuro Iwamoto, so that they could have meetings about the art more often. This was Fuse's first work on the main series, so he initially had problems with making character designs that fit the series, and had to get a lot of feedback from Eshiro. According to Eshiro and Yamazaki, they put effort into the graphics, wanting to ensure that "Dual Destinies" graphics looked better than those of "Professor Layton vs. Phoenix Wright: Ace Attorney".


text: The first thing Fuse and his art team had to do was figuring out how to create 3D models that preserve the look and feel of the previous games' 2D sprites, even when viewed in stereoscopic 3D. Some of the artists on the team created a concept trailer for how the game's visuals would work, featuring a 3D model of Phoenix. Looking back at it, Fuse called the model "cringe-worthy", but it was able to be used as a base. Everyone on the development team gave feedback on the model, and it was continuously refined until everyone was satisfied with its look; this process alone took six months. The art team also wanted to preserve the "lively" style of animation used in the 2D sprites. To do this, they used "various tricks" such as using different character models for different angles. They also took advantage of the increased capabilities of the Nintendo 3DS hardware, and added camera movements and connecting animations to give the character animation further fluidity.


text: Fuse found Athena difficult to design, due to her being both an assistant to Phoenix and Apollo, and a strong-willed attorney who wants to prove her capabilities in court. He designed her hairstyle based on how she would be standing on the left of Phoenix or Apollo when assisting them, making sure that it looked good from that perspective. He also created the hairstyle to be able to convey Athena's enthusiasm and energy through its movements. He gave Athena the little gadget named Widget, that hangs around her neck, to visually represent the mood matrix. As they wanted other characters to be able to see the mood matrix, it was decided to make Widget project the mood matrix as a hologram. The mood matrix itself, which needed to represent people's mental state visually, was a challenge for the art team. They eventually decided to use the vastness of outer space and the Earth in the design, and ended up using a portable planetarium as the base motif. This also influenced the mood matrix background music, which Fuse described as having an "outer space feel".


text: When designing Simon Blackquill, the new rival prosecutor character, Fuse initially intended to make him different from all previous "Ace Attorney" prosecutors and focusing almost entirely on the convict aspect of Blackquill, making him look like a "total criminal". At this point in development, Blackquill was intended to be the character who could analyze emotions based on voices, so he was given a headgear to wear. Next, Fuse put more focus on the prosecutor aspect, but ended up with a design that he described as "just another prosecutor"; he realized that the prosecutor and convict aspects were opposites, with one decreasing as the other increases.


text: The black-and-white stripes on the prisoner's uniform in the first design reminded Fuse of the Forty-seven Ronin, who wore black and white; this led him to incorporate traditional Japanese clothing into the design. He called this the key to solving the problem, but still had further issues with the design: if he made the outfit too Japanese, Blackquill would not look like an "Ace Attorney" prosecutor, and he thought it would be strange if he gave him a katana like an actual ronin, since Blackquill is a convict, and even average citizens are not legally allowed to carry swords. He realized that he could use a combination of Japanese black-and-white clothes and prosecutorial Western clothes found in the Meiji era, when Japan was Westernized. As they needed the character to look "sharp and stylish in Western clothing", the only direct indication of him being a convict in the end was his shackles. His messy ponytail was also used to convey a feeling of "long incarceration", as well as evoke the image of a ronin. Blackquill's hawk, Taka, was initially just meant as a part of the Japanese elements of the design, being reminiscent of Japanese falconers. Taka's role was eventually extended to bringing documents and evidence to Blackquill, highlighting how Blackquill's movements are hindered by his shackles. Fuse described the final design as looking like a "Meiji Restoration-era fighter".


text: "Dual Destinies" features animated cutscenes produced by the animation studio Bones, which were directed by Seto at Capcom and Kenji Nagasaki at Bones. The scripts for these were drafted by Yamazaki, and included characters' lines as well as the general events and backgrounds for each scene. After the scripts were written, they were sent to Nagasaki, who drew storyboards for the scenes. When boarding the sequences, he added suggestions for details and nuances; for instance, in the script for one scene, Athena was going to trip and fall over, while Nagasaki suggested and boarded her tumbling down stairs, and added a guard character for her to interact with at the end of the scene to emphasize how painful the fall had been. After finalizing the scene, the team at Bones worked on the background art; while the courtrooms and defendant lobbies are shown in-game, the courthouse's stairway and main hall had not been shown before, and had to be designed specifically for the cutscenes.


text: After the different components of a scene were finished, the team at Bones created its layout art; this included things such as determining the camera position throughout the scene and how movements would be done. The developers wanted to focus on how the characters' faces were drawn and animated, and make sure that the characters matched their respective in-game 3D models, so Fuse gave detailed feedback on the layouts, and drew over them in red to indicate what he wanted to be changed. These changes included corrections to off-model drawings, facial expressions, body postures, and character acting. Once the layouts had been approved, the animators drew the key animation, after which the in-between frames were drawn. Once the animated footage was completed, it was put together and rendered in stereoscopic 3D. Voice acting, music, sound effects, sound leveling and remixing was then done, and added to the cutscene.


text: Capcom announced a localization for the North American and European market in September 2012; at the time, they had planned a localization for about two years. Capcom USA's then senior vice president, Christian Svensson, described the game's sales forecasts as high compared to the commercial performance of past "Ace Attorney" titles, which was necessary to get a Western release greenlit.


text: The localization was directed by Janet Hsu, a series regular who previously worked on "Ace Attorney" as the localization lead and lead translator. As the localization team wanted to work closer with the developers on "Dual Destinies" than they had on previous games, the localization work was incorporated into the overall development of the game. This gave them a larger degree of insight into the developers' intentions with the game, helping them with localizing the game more faithfully. The localizers also had more control over the pre-programmed dialogue scripts in "Dual Destinies" than they had in any of the previous "Ace Attorney" games: they were able to use an internally developed tool to transfer the scripts from the Japanese dialogue to the English one; the development staff would put the scripts in the general area they belonged in for each sentence, after which Hsu would adjust the placement to increase the dramatic impact, for instance by having a dramatic pause and finger-pointing animation occur at a specific word. Due to being different from English, Hsu sometimes had to add words to "push" a big reveal into the second half of the sentence or rearrange the order facts were revealed in, to make revelations line up with dramatic animations or camera zooms.


text: Hsu described the localization work as a balancing act, and said that continuity and consistency was very important. To avoid situations where a small detail in one game is changed in localization, and then comes back as a major point in a sequel, Hsu avoided changing things unless necessary, such as when something in the original would not be understood by the target audience. One thing the localization team had to keep in mind was keeping the writing in-character: when substituting a Japanese joke with an English one, they had to consider whether it would be something that the character would say, and not simply that it was funny. They also worked towards having puns and references be appropriate for the dialogue, so that the dialogue still makes sense to players who do not get the reference or pun.


text: One of the first major decisions was how to localize character names. Hsu said that if character names sound too foreign and do not have any unconscious associations attached, rooted in the player's culture and language, they just come across as a "jumble of sounds" to the player, serving no purpose; she felt that the localized names, like the originals, should strive to convey certain images and feelings to the player. She said that this was particularly important in "Ace Attorney", due to how integral each name is to its respective character. Hsu and the translators brainstormed ideas, and eliminated suggestions until they had a final name for each character. These names are puns or have meanings: Athena Cykes' first name is a continuation of the series tradition of naming protagonists after mythological creatures or gods. The reason for spelling "Cykes" with a C instead of using the more common spelling "Sykes" came from how "Sykes" was considered too similar to the previous character Ema Skye's name, and how the shape of the letter C connects to the crescent moon motifs in the mood matrix, her glove and her earring. Widget was localized to use male pronouns because of his Japanese name, , which uses the kanji character from the name , and which is often used to create "generic-sounding little boy’s name out of a noun". Widget's English name was chosen to sound little and cute, similarly to the Japanese version's use of rather than the usual way of writing "Monita" with the katakana character .


text: While Simon Blackquill speaks in an old-fashioned and "rough" way in the Japanese version, matching what a ronin would be expected to sound like, Hsu said that this cultural shorthand of a ronin character did not exist in the West to build his character upon, so his characterization had to be rendered in a different way to be more accessible to Western players. Hsu and the translators had the same problem with this as Fuse had when balancing the prosecutor and convict aspects of the character, but eventually leaned more towards the prosecutor side, and made him speak Victorian English. They felt that this made more sense than portraying him as a cursing delinquent due to his high intelligence, and his Victorian-era clothes, due to their different cultural connotations in the West compared to Japan.


text: In the localization, they labeled him a samurai rather than a ronin – which is a subset of samurai – due to samurai being more recognizable and readily understood for Western players. They still portrayed him as a "rude jerk", as they were able to preserve that aspect through word choice: Hsu said that both Japanese and English from the Victorian era could be verbose, making the two styles blend naturally during Blackquill's "samurai" sword metaphors. Blackquill's localized name was developed together with his manner of speech, and like with previous prosecutor characters, it was chosen to not be an "overt pun", but rather a name with a double meaning that describes him. His surname comes from how he wears a samurai battle surcoat: these coats commonly feature the wearer's family crest. The crest on Blackquill's coat features a black-and-white feather, so his name was based on the color ("black") and the feather ("quill"). It was also made in reference to the character John Blackthorne from the novel "Shōgun". The name was intended to sound like a "Victorian villain", to match his localized characterization and manner of speech.


text: Localizing backgrounds was more difficult than it had been in previous games: while the earlier games used 2D illustrations as backgrounds, which could be changed, "Dual Destinies" uses 3D models, hindering the localization team from changing the shape of objects without risking encountering bugs. Because of this, Hsu described some objects as not feeling right; the most prominent type of object affected by this was signs with vertical text, which she said did not feel as natural in English as in Japanese. Some aspects of the user interface had to be modified as part of the localization: for instance, some text had to be moved around on the save file screen because of some words being longer in English than in Japanese, and a smaller font was chosen for the investigation notes to allow for multiple lines of text. For the dialogue box, a thin condensed font was chosen, and the box itself was elongated, to make room for as much text as in previous games. They only used two lines of text for it, both to look visually pleasing and to avoid hiding important detail behind a taller box.


text: For the cutscenes, the localization team took into account that the animation had been done to the Japanese lines, so they made sure that the English script matched the already set lip flaps and timing. Because the Japanese voice acting was not yet recorded when Hsu worked on the English dub script, she used her imagination to guess what the Japanese voice acting would be like based on the script; this was made easier due to her familiarity with "standard anime conventions" from frequently watching anime. For some dialogue, she wrote alternative lines, as the footage had not yet been finished, and the script could be interpreted in different ways: in one scene, where Phoenix speaks on the phone, Hsu had him follow the line "It's for this very reason I returned" with either "Time to bring it to an end" or "To put an end to it all"; she used the former because of how there was a dramatic pause between the two lines.


text: The English dub was recorded at Cup of Tea Productions, and was directed by Sam Riegel, who also voiced Phoenix, having previously voiced the role in "Ultimate Marvel vs. Capcom 3". Hsu was present for the recording, as she knew the story and was the translator of the scripts, and thus could explain what was happening in each scene and what the motivations behind the lines were, as well as how she wanted the voice actors to deliver certain lines. Because Horiyama had attended the Japanese voice recording sessions, he was also present, so he could give advice about things that sounded too different from the Japanese version, and give consultation about technical issues within the game. The voice actors took turns recording their lines to near-final versions of the cutscenes, so they could match the characters' lip flaps. In addition to the voice acting, some sound effects had to be localized, due to sound being used differently in Japanese and Western films, resulting in different things sounding natural; one such case was the opening cutscene for the fourth episode. Due to the English voice acting occasionally becoming unintelligible when sound effects or music was played on top, the localization team had to lower the volume of the music at some points, move the sound backwards or forwards slightly, or raise the volume of certain consonants; the largest such issue was the voice clip for the "Objection!" interjection, where the "b" consonant initially was drowned by the sound effect.


text: "Dual Destinies" was released for the Nintendo 3DS in Japan on July 25, 2013, and on October 24, 2013 in North America and Europe. In Japan, a limited edition was made available, which includes a Phoenix Wright figurine, a Nintendo 3DS pouch, and stickers. The American and European releases were only made available digitally, due to a lack of retail support for previous "Ace Attorney" games. According to Eshiro, the developers also wanted to reduce the delay between the Japanese and Western releases. An iOS version was released on August 7, 2014 in Japan and on August 14, 2014 in North America and Europe. The first episode is available for free in this version, with remaining episodes being sold separately. An Android version was released in Japanese and English on May 23, 2017.


text: The two additional episodes, "Turnabout Reclaimed" and "Quiz Turnabout Deduction", were made available as downloadable content shortly after the game's Japanese release. "Turnabout Reclaimed" was released in the West on November 21, 2013, but "Quiz Turnabout Deduction" remained exclusive to Japan due to its dependency on in-depth knowledge of Japanese culture. Downloadable costumes for Phoenix, Athena and Apollo were made available for download upon the game's release. These costumes were available for free until August 15, 2013 in Japan, and until November 7, 2013 for the English versions, after which they were available for purchase.


text: "Dual Destinies" received "generally favorable reviews", according to the review aggregator Metacritic. It debuted at the top of the Japanese video game charts with 250,216 copies sold in its first week. According to Capcom, the projected sales of the game "were basically achieved".


text: Chuck Osborn at IGN enjoyed searching crime scenes for clues, but wished that the mood matrix and perceive systems could have been used on demand rather than at specific points only. Meanwhile, Reona Ebihara at "Famitsu" said that the mood matrix fits perfectly into the game and is fun to use. Chris Hoffman at GamesRadar said that the gameplay felt fulfilling, with victories feeling earned, but that there were a few instances of "debatable" logic. He liked the mood matrix, saying that it adds "some nice diversity" to the trials. He also enjoyed the perceive and psyche-lock systems, but found them underutilized.


text: Aerox at Destructoid said that the game inherits issues from previous "Ace Attorney" games, such as how evidence sometimes can only be presented when the game's script allows it, and how it sometimes is unclear how to trigger events during investigations; he did however note that these occur less frequently than in previous "Ace Attorney" games. Osborn criticized the cross-examinations, saying that objections that should logically be valid are sometimes not accepted by the game, and that the player often has to resort to trial and error. Meanwhile, Bryan Vore at "Game Informer" said that the in-game task list and new way of traveling made sure that he never felt lost during investigations, and knew what to do to proceed. Urara Honma at "Famitsu" also noted the hints and lower difficulty as helpful features.


text: Honma commented on the twist in the game's ending, calling it shocking, and saying that "Dual Destinies" was the best in the series. Rolling Uchizawa at "Famitsu" thought that some scenes during trials felt forced, but that the back-and-forth dialog is effective at creating tension. Aerox called the game "an extremely strong addition to the series", saying that the cohesiveness of the themes and narrative made the game's episodes more connected than those in previous "Ace Attorney" games, and that he liked how the game discusses subjects such as declining trust in the legal system, the definition of justice, and people considering winning more important than the truth. Vore said that the game's last two episodes had him "glued to the screen", but that he was tired of the series' reuse of the same story structure, with early cases having small connections to a bigger case, which in turn has a connection to a mystery from the past.


text: Critics enjoyed the game's visuals: Osborn said that it was the best-looking game in the series, and that the 3D effect worked well; Ebihara described the animations as exciting to watch and smoother than those in previous "Ace Attorney" games; and Honma said that the 3D characters felt more "alive and charming" than the 2D characters in previous "Ace Attorney" games. Honma, Ebihara and Hoffman thought the character visuals retained their image and comical aspects from the 2D games, something Honma called "incredible". Vore said that the new 3D environments made the crime scenes feel like real places rather than "interactive paintings". Aerox called the 3D animation beautiful, and liked the cutscenes and soundtrack.


text: In addition, the English localization was criticized for the abundance of typos and spelling mistakes.


text: The game was awarded 2013's Best 3DS Adventure Game by IGN. Gamezebo included it on a non-ranked list of the twenty-five best iOS games of 2014. Digital Spy gave it a Game of the Year award for most memorable moment, for the game's third episode, "Turnabout Academy", citing the narrative use of the friendship between the characters Juniper, Robin and Hugh. It was also nominated for Destructoid's "Best of 2013 Portable Game" award, and was the runner-up for VGMO's award for the best Eastern soundtrack of 2013. The downloadable episode "Turnabout Reclaimed" won "Hardcore Gamer" award for the best downloadable content of 2013.


title: Anna Maria Luisa de' Medici

text: Anna Maria Luisa de' Medici (11 August 1667 – 18 February 1743) was an Italian noblewoman who was the last lineal descendant of the main branch of the House of Medici. A patron of the arts, she bequeathed the Medicis' large art collection, including the contents of the Uffizi, Palazzo Pitti and the Medicean villas, which she inherited upon her brother Gian Gastone's death in 1737, and her Palatine treasures to the Tuscan state, on the condition that no part of it could be removed from "the Capital of the grand ducal State...[and from] the succession of His Serene Grand Duke."


title: Anna Maria Luisa de' Medici

text: Anna Maria Luisa was the only daughter of Cosimo III de' Medici, Grand Duke of Tuscany, and Marguerite Louise d'Orléans, a niece of Louis XIII of France. On her marriage to Elector Johann Wilhelm II, she became Electress of the Palatinate, and, by patronising musicians, she earned for the contemporary Palatine court the reputation of an important music centre. As Johann Wilhelm had syphilis the union produced no offspring, which, combined with her siblings' barrenness, meant that the Medici were on the verge of extinction.


title: Anna Maria Luisa de' Medici

text: In 1713 Cosimo III altered the Tuscan laws of succession to allow the accession of his daughter, and spent his final years canvassing the European powers to agree to recognise this statute. However, in 1735, as part of a territorial arrangement, the European powers appointed Francis Stephen of Lorraine as heir, and he duly ascended the Tuscan throne in her stead. After the death of Johann Wilhelm, Anna Maria Luisa returned to Florence, where she enjoyed the rank of first lady until the accession of her brother Gian Gastone, who banished her to the Villa La Quiete. When Gian Gastone died in 1737, Francis Stephen's envoy offered Anna Maria Luisa the position of nominal regent of Tuscany, but she declined. Her death, in 1743, brought the grand ducal House of Medici to an end. Her remains were interred in the Medicean necropolis, the Basilica of San Lorenzo, Florence, which she helped complete.


title: Anna Maria Luisa de' Medici

text: Despite her mother's efforts to induce a miscarriage by means of riding, Anna Maria Luisa de' Medici, the only daughter and second child of Cosimo III de' Medici, Grand Duke of Tuscany, and his consort, Marguerite Louise d'Orléans, was born in Florence on 11 August 1667. She was named after her maternal aunt Anne Marie Louise d'Orléans, Duchess of Montpensier.


title: Anna Maria Luisa de' Medici

text: Her parents' relationship was quarrelsome; Marguerite Louise took every chance to humiliate Cosimo. On one documented occasion, she branded him "a poor groom" in the presence of the Papal nuncio. The enmity between them continued until 26 December 1674; after all attempts at conciliation failed, a stressed Cosimo consented to his wife's departure for the Convent of Montmartre, France. The contract created that day revoked her privileges as a "petite fille de France", and declared that upon her death all her assets were to be inherited by her children. Cosimo granted her a pension of 80,000 livres in compensation. She abandoned Tuscany in June 1675; Anna Maria Luisa, who was less than eight years old at that time, never saw her again. Although Cosimo doted on his daughter, she was raised by her paternal grandmother, Vittoria della Rovere.


title: Anna Maria Luisa de' Medici

text: In 1669, Anna Maria Luisa was considered as a potential bride to Louis, "le Grand Dauphin", the heir-apparent of Louis XIV of France. Cosimo III did not like the idea of a French marriage, and never devoted himself fully to the cause (she was later rejected). Instead, Cosimo offered her to his first choice, Peter II of Portugal. Peter's ministers declined, fearing that Anna Maria Luisa might have inherited her mother's temperament, and may seek to dominate Peter II while being herself intractible to reason. In fact, contemporaries thought her traits to be a combination of those of her father and paternal grandmother, Vittoria della Rovere.


title: Anna Maria Luisa de' Medici

text: Following refusals from Portugal, France, Spain and Savoy, James II of England put forward his brother-in-law, Francesco II d'Este, Duke of Modena, but the Princess deemed a duke too lowly in terms of protocol for the daughter of a "grand" duke. Finally, it was Leopold I, Holy Roman Emperor who suggested Johann Wilhelm, Elector Palatine. The Elector Palatine obtained the style "Royal Highness" from the Holy Roman Emperor for Cosimo III in February 1691. (Cosimo had hitherto been outranked by the Duke of Savoy — much to his anger—who derived "royal" status from his successful pretendership to the abolished Cypriot throne). Consequently, Johann Wilhelm was ultimately chosen. He and Anna Maria Luisa were married by proxy on 29 April 1691. At the accompanying festivities, a contemporary describes the Electress's physical attributes: "In her person, she is tall, her complexion was fair, her eyes large and expressive, both those and her hair were black; her mouth was small, with a fullness of the lips; her teeth were as white as ivory..."


title: Anna Maria Luisa de' Medici

text: She departed for Düsseldorf, her husband’s capital, on 6 May 1691, accompanied by her younger brother, Gian Gastone. Johann Wilhelm surprised her at Innsbruck, where they officially married. The Palatinate Anna Maria Luisa arrived in was ravaged by the ongoing Nine Years' War, in which Louis XIV assaulted the Palatinate on behalf of his brother, Philippe of France, Duke of Orléans, occupying the city of Philippsburg in the process.


title: Anna Maria Luisa de' Medici

text: The Electress became pregnant in 1692; however, she miscarried. It is thought incorrectly by some historians that soon after arrival she contracted syphilis from the Elector, which they think explains why Anna Maria Luisa and Johann Wilhelm failed to produce any children. Anna Maria Luisa and Johann Wilhelm, notwithstanding, shared a harmonious marriage. The Electress spent her time enjoying balls, musical performances and other festivities. He commissioned a theatre for her where the comedies of French playwright Molière were performed. Because Anna Maria Luisa patronised many musicians, the contemporary Palatine court enjoyed regard as an international centre of music. She invited Fortunato Chelleri to court and appointed him "maestro di cappella" ("music teacher"). Agostino Steffani, a polymath, was sponsored by the Electress from his arrival in Düsseldorf, in 1703, until her return to Tuscany; the Conservatorio Luigi Cherubini library in Florence houses two editions of his chamber duets.


title: Anna Maria Luisa de' Medici

text: Anna Maria Luisa arranged a marriage for her younger brother at the instigation of their father: On 2 July 1697 Gian Gastone de' Medici married Anna Maria Franziska of Saxe-Lauenburg, heiress of the eponymous duchy, in Düsseldorf. Gian Gastone's wife repulsed him, and for that reason, they separated in 1708.


title: Anna Maria Luisa de' Medici

text: The same year as Gian Gastone's marriage, the Peace of Ryswick ended the Nine Years' War: French troops withdrew from the Electoral Palatinate and Johann Wilhelm received the County of Megen. Following the revocation of the Edict of Nantes, a document which had hitherto given rights to Calvinists, in 1685, 2,000 French Huguenots emigrated to the Electoral Palatinate. Johann Wilhelm, under criticism for his treatment of the Palatine Protestants from the Elector of Brandenburg introduced a "Religionsdeklaration" in 1705, which sanctioned religious freedom.


title: Anna Maria Luisa de' Medici

text: Cosimo III wished to alter the male-only Tuscan line of succession so as to allow the accession of his daughter, Anna Maria Luisa, in the event of a male-line succession failure. But his plan was met with fierce opposition from the European powers. Charles VI, Holy Roman Emperor, Tuscany's nominal feudal over-lord, subscribed, but only if he should succeed her. Cosimo and she were at odds with the proposal. Without a concord in sight, the "Tuscan question" became dormant.


title: Anna Maria Luisa de' Medici

text: Some years later, as the question of the succession became more urgent, Cardinal Francesco Maria de' Medici, Cosimo III's brother, was released from his vows and coerced into marrying the incumbent Duke of Guastalla's elder daughter, Eleanor, in 1709. The Electress urged him to care for his health and "give us the consolation of a little prince." However, two years later, he died without issue, taking with him any hope of an heir.


title: Anna Maria Luisa de' Medici

text: Following the death of his heir apparent, Ferdinando, in 1713, Cosimo deposited a bill in the Senate, Tuscany's titular legislature, promulgating that if Cosimo and his new heir apparent, Gian Gastone, were to predecease the Electress, she would ascend the throne. Charles VI was furious; he replied that the Grand Duchy was an imperial fief and therefore he alone possessed the prerogative to alter the laws of succession. To complicate things further, Elisabeth Farnese, heiress of the Duchy of Parma, the second wife of Philip V of Spain, as a great-granddaughter of Margherita de' Medici, exercised a claim to Tuscany. In May 1716, Charles VI, who constantly changed his stance on the issue, told Florence that the Electress's succession was unquestioned, but added that Austria and Tuscany must soon reach an agreement regarding which royal house was to follow the Medici.


title: Anna Maria Luisa de' Medici

text: In June 1717, Cosimo declared his wish that the House of Este should succeed the Electress. Charles VI had previously offered the Grand Duke territorial compensation—in the form of the State of Presidi—if he chose quickly, but reneged. In 1718, Charles VI repudiated Cosimo's decision, declaring a union of Tuscany and Modena (the Este lands) unacceptable. Hereafter, a stalemate existed between them.


title: Anna Maria Luisa de' Medici

text: The Elector Palatine died in June 1716. His widow, Anna Maria Luisa, returned to Florence in October 1717. Dowager Grand Princess Violante Beatrice, her brother Ferdinando's widow, and Anna Maria Luisa did not enjoy an amiable relationship. Upon hearing of Anna Maria Luisa's intention to return, Violante Beatrice prepared to depart for Munich, her brother's capital, but Gian Gastone wished her to stay, so she did. To keep the two ladies from quarrelling over precedence, Cosimo III defined Violante Beatrice's status just before the Electress's arrival by appointing her Governess of Siena.


title: Anna Maria Luisa de' Medici

text: On 4 April 1718 England, France and the Dutch Republic (and later Austria) selected Don Carlos of Spain, the elder child of Elisabeth Farnese and Philip V of Spain, as the Tuscan heir (with no mention of Anna Maria Luisa). By 1722, the Electress was not even acknowledged as heiress, and Cosimo was reduced to a spectator at the conferences for Tuscany's future. In the midst of this, Marguerite Louise, Anna Maria Luisa's mother, died. Instead of willing her valuables to her children, as prescribed by the 1674 agreement, they went to the Princess of Epinoy, a distant relative.


title: Anna Maria Luisa de' Medici

text: On 25 October 1723, six days before his death, Cosimo III distributed a final proclamation commanding that Tuscany shall stay independent; Anna Maria Luisa shall succeed uninhibited after Gian Gastone; the Grand Duke reserves the right to choose his successor. Unfortunately for Cosimo, Europe completely ignored it. Gian Gastone, now the Grand Duke, and Anna Maria Luisa were not on good terms. He despised the Electress for engineering his unhappy marriage with Anna Maria Franziska of Saxe-Lauenburg, while she detested his liberal policies: he repealed all of his father's anti-Semitic statutes and revelled in upsetting her. Consequently, the Electress was compelled to abandon her apartment in the left wing of the royal palace, the Pitti, for the Villa La Quiete. She refurbished La Quiete's house and gardens with the assistance of Sebastiano Rapi, the gardener of the Boboli Gardens, and the architects Giovanni Battista Foggini and Paolo Giovanozzi. In the period 1722–1725, the Electress embellished the villa further by commissioning twelve statues of various religious figures.


title: Anna Maria Luisa de' Medici

text: In spite of their mutual dislike, the Electress and Violante Beatrice attempted to improve Gian Gastone's poor public image together. Rumours abounded that the Grand Duke had died; it was a rarity for the public to see him. To dispel the said rumours, the Electress compelled him to make an appearance—his last one—in 1729, on the feast day of the patron saint of Florence, John the Baptist. The "Ruspanti", Gian Gastone's morally corrupt entourage, hated the Electress; and she, them. Violante Beatrice tried to withdraw the Grand Duke from their sphere of influence by organising banquets. His conduct at these literally sent those in attendance scrambling for their carriages: he vomited repeatedly into his napkin, belched and told rude jokes. These distractions ceased upon Violante Beatrice's death in 1731.


title: Anna Maria Luisa de' Medici

text: In 1736, during the War of the Polish Succession, Don Carlos was banished from Tuscany as part of a territorial swap, and Francis III of Lorraine was made heir in his stead. In January 1737, the Spanish troops, who had occupied Tuscany since 1731, withdrew; 6,000 Austrian soldiers took their place.


title: Anna Maria Luisa de' Medici

text: Gian Gastone died from "an accumulation of diseases" on 9 July 1737, surrounded by prelates and his sister. Anna Maria Luisa was offered a nominal regency by the Prince de Craon, the Grand Duke's envoy, until Francis III could arrive in Florence, but declined. At Gian Gastone's demise, all the House of Medici's allodial possessions, including £2,000,000 liquid cash, a vast art collection, robes of state and lands in the former Duchy of Urbino, were conferred on Anna Maria Luisa.<ref name="Young502/8">Young, p 502; p 508</ref> In regards to this, her most notable act was the "Patto di Famiglia" ("Family Pact"), signed on 31 October 1737. In collaboration with the Holy Roman Emperor and Francis of Lorraine, she willed all the personal property of the Medici's to the Tuscan state, provided that nothing was ever removed from Florence.


title: Anna Maria Luisa de' Medici

text: The "Lorrainers," as the occupying forces were dubbed, were popularly loathed. The Viceroy, the Prince de Craon, whom the Electress disliked for his "vulgar" court, allowed the Electress to live undisturbed in her own wing of the Pitti, living in virtual seclusion, only on occasion receiving a select-number of guests under a black dais in her silver-clad audience room. She occupied herself financing and overseeing the construction of the Cappella dei Principi—started in 1604 by Ferdinando I de' Medici, Grand Duke of Tuscany—to the tune of 1,000 crowns per week, and she donated much of her fortune to charity: £4,000 per annum. This is equivalent to £ in present-day terms. On 18 February 1743, Anna Maria Luisa de' Medici, Dowager Electress Palatine, died of an "oppression on the breast". Sir Horace Mann, 1st Baronet, a British resident in Florence, recalled in a letter that "The common people are convinced she went off in a hurricane of wind; a most violent one began this morning and lasted for about two hours, and now the sun shines as bright as ever..." The royal line of the House of Medici became extinct with her death. Her will, having been completed just months before, according to Sir Horace Mann, left £500,000 worth of jewellery to the Grand Duke Francis and her lands in the former Duchy of Urbino to the Marquis Rinuccini, her main executor and a minister under her father, Cosimo III. She was interred in the crypt that she helped to complete in San Lorenzo; although not entirely finished at the time of her death, her testament stipulated that part of the revenue of her estate should "be used to continue, finish and perfect...the said famous chapel San Lorenzo".