Have you ever met somebody (unrelated to you/not a family member) with the same first name as you? Add embellishments to the tags (yes but spelled slightly different, no but I know a friend of a friend, yes and im named after them, etc)
My name is Fred (short for Frederick), and it turns out it’s a pretty damned rare name in the US. I’ve only met two or three other Freds out there — I’m pretty sure that, between Fred Flintstone and the dullest guy on Scooby Doo, Hanna Barbara ruined that name for a generation of Americans.
But then I took a job in Sweden, and I was like, the fifth Fred in my department alone.
I know the joke is that Ghost Trick fans can't tell you why to play it, just that you should, but here's some spoiler-free reasons to play it:
It's an incredible puzzle game. The puzzles are basically Rube-Goldberg machines, where you manipulate objects in a series to effect change in the overall situation. Do you like complex mechanisms and the concept of the butterfly effect? Play this.
The basic gameplay: you are a ghost. You have the ability to posses and manipulate objects, and move from object to object. Someone bas died. You can go to four minutes before their death to change their fate using your Rube Goldberg powers. Also! The puzzles do a great job of ramping you up in difficulty and teaching you the gameplay, but wow do they get HARD in late game. You can replay any puzzle, and also rewind time as you wish. You can't lock yourself out of things by doing it wrong, since you can redo.
The story is SO GOOD. There's a reason why everyone tells you as little as possible -- it's a compelling mystery that sucks you in. The basic idea: you are dead. You need to figure out who you are and who killed you. This spins out into a tale of political intrigue.
It's by Shu Takumi, the creator of Ace Attorney. It has very similar vibes, in that it's absolutely bonkers characters and situations but also WILL make you cry once it's all revealed. Great mix of serious and humorous tones. Seriously, someone dies when a giant roast chicken statue falls on them and the root cause is because of [serious political events]
The aesthetics. Great music, great character design, have you SEEN what the game looks like? Really good use of color and stylization. Character animations are often hilarious.
Missile is there. You WILL love bestest boy. Don't google him. Just trust.
So I've been lazy about getting this sorted but I managed to get all the 2D and 3D models from Cross Duel.
The 2D models are organised by character names. I can confirm they work in Spine at least, but no promises for any other software. If they don't work in any free software I'll see about uploading the spine files since the free trial will let you open them.
The 3D models were all sorted by ID numbers and I don't know enough about blender to combine them into a single fbx, so I've settled for adding the monster name to the main model for now so this doesn't get delayed even longer. If I get chance I'll reorganise them into separate files for each monster and add some generic effects too, but if you just want the models for art refs these should be fine.
Was going through my old pokemon games after the shutdown announcement and found n's pokemon on b2, and now im wondering if they'll remember and add in some special dialogue or something if you bring them up to the inevitable bw remakes
“I just want to find my own lost memory. I’m sorry, but I can’t help you.”
Here’s a post in which I talk about this particular part of Ghost Trick’s story, which I’m keeping as vague as possible outside of the spoiler cut, but those who’ve finished the game should know what I’m referring to. What’s actually going on here is rather interesting, and paints our friend Sissel in a much less negative light than the face-value assumption I tend to see most people jumping to with this.
First, though, I have written a fic illustrating this idea in narrative form rather than lengthily explaining it. If you’re interested, I recommend you go read that first before reading this, because being shown is more fun than being told!
(Also, spoilers, obviously. Go play Ghost Trick if you haven’t; it’s so good and absolutely not the kind of thing you want to be spoiled for.)
So, in the original timeline, Sissel refused to help Missile save his mistresses, stating that he just wants to find his own lost memories.
It could easily seem at a glance like Sissel’s character development over the course of the game is that he started off selfish, only caring about his own mystery, and it’s only through getting attached to everyone throughout the night that he begins to care about others and the bigger picture. As such, his refusal to help Missile in the original timeline is easy to read as being born of that, since this was early on when Sissel still only cared about himself.
But… it’s not actually that simple, because Sissel isn’t as selfish in the beginning as one might think. Sure, he’ll say things like “I have to focus on my own mystery”, or “this is all for my own benefit”. But that doesn’t actually match up with his actions. His own mystery may be, in theory, his number one priority, but a remarkably close second priority for him is to save the lives of any dead person he happens to come across. Even very early on, before he’s grown to care about any of these people!
He doesn’t hesitate to save Missile, despite having zero reason to assume that this little doggie will be any help with his mystery. The second time he finds Lynne dead, when he’s getting to talk to her and learns that she doesn’t actually know much about him and probably won’t be able to help him because she’s got her own case to pursue tonight, he still reassures her that she doesn’t owe him and he’s going to save her life anyway.
And even right at Lynne’s very first death, in the game’s opening narration, Sissel makes a point that he doesn’t want to stand back and let her get shot, and that he feels bad for her, despite her being a complete stranger!
Evidently, even right at the beginning, Sissel isn’t selfish. He just thinks he is. Because cats can be tsundere like that.
Sissel: “Why am I so determined to save this woman? After all, it’s not as if I know her. My reason is twofold. Number one, I’m not the type to leave women lying around, discarded like trash.”
(Here’s a bit from later in chapter 1 featuring Sissel being amusingly surprised by his own altruistic streak. He seems to expect to only care about himself – yet here he is, not wanting to leave a stranger lying dead if he can help it. Not so selfish after all, huh?)
So if that’s not the problem in the original timeline, then what is? Why does Sissel leave Missile to deal with saving his ladies alone when he’d have no reason not to try and help? – after all, he hasn’t been given a fake time limit in this timeline! He’s not even in a hurry with his own mystery! For that matter, Sissel was still there in the junkyard at the beginning – why didn’t he just save Lynne himself?
We can get a good indication of what the issue is from that very same opening narration I was just talking about.
Sissel: “Now, I’m not the kind of guy who can just stand back and watch a poor woman get shot. But I have just one little problem… I’m already dead myself.”
Sissel: “I feel bad for her, sure. But what can I do? I’m dead. But just as I was thinking that…”
The real problem is not that he doesn’t care about saving a stranger’s life. Rather, it’s that, because he’s dead, he doesn’t think he can. He’s not expecting to magically have ghost superpowers; why would he?
And it’s just as he was thinking that he can’t do anything (which, while part of his screen-filling monologue narration, was still his thoughts and therefore something any nearby ghost could hear)… that Ray speaks up to tell him that actually he can save her.
Sissel: “Huh?” (Me? Save her? Uh, how?)
Immediately, Sissel questions the notion once again, not with a why but with a how. It’s not that he doesn’t want to; he simply doesn’t think it’s possible.
This general idea continues throughout the entire tutorial, which is absolutely packed with lines that show Sissel being deeply sceptical about the idea that he could possibly save someone’s life or alter someone’s fate.
Once Ray’s taught him about his basic ghost tricks and he’s managed to delay Lynne’s death by a few moments… she still ends up dead anyway. And Sissel thinks that’s it. Because of course he does. Even if he can stop time and manipulate objects, he has zero reason to believe that his powers can undo a death that’s already happened.
Sissel: “In the end, it looks like her fate remains unchanged. So what good are these ‘ghost tricks’ of mine? But just as I was thinking this…”
Sissel: “It looks like my ghost tricks didn’t do much good.” (She still ended up just as dead as before.)
He even ends up feeling like his new superpowers are barely worth anything, because he can play a few little tricks on someone, but that’s not enough to save someone’s life, is it?
Ray: “Isn’t it a shame to see such a pretty young woman lying here discarded like a piece of trash?”
Sissel: “But what can I do? She’s already dead.”
Ray: “And while she’s resting, you can save her life.”
Sissel: “Oh, sure. You make it sound so easy.”
And again, he’s very dismissive of Ray implying or telling him that he can do something about this. After all, how could that be possible any more?
In particular, there’s this vital little bit of trickery here…
Ray: “Now what do you suppose will happen if you possess a corpse?”
Sissel: “Nothing, because I already tried that, remember? And nothing happened at all.”
…in which Sissel assumes his powers just don’t work on corpses, because he’s already tried and failed to do anything with “his” corpse. If he’d been alone, without Ray to guide him through things, he most likely wouldn’t have even tried to possess Lynne’s corpse in the first place, because he would have had no reason to believe it would achieve anything!
(Meanwhile, Missile in the original timeline also had zero reason to believe he could do anything for Kamila, but he was so anguished and desperate that of course he would have tried anyway. He’d try anything to save her, because he is good and loyal and Dog. So he was able to discover his time-rewinding powers where Sissel didn’t, and thus he passed that knowledge onto Sissel in the game’s timeline.)
And as Ray tells Sissel that he can in fact rewind time to redo the last moments of Lynne’s life, he’s completely dumbfounded and bewildered by the very idea of it.
Sissel: “Are you serious?! Back through time?!”
Sissel: “But this is crazy! None of it makes any sense!”
Ray: “To the time four minutes before this woman was murdered!”
Sissel: “H-Hey, wait a second! I still don’t know what you’re talking about!”
What is this lamp even talking about?! Of course turning back time isn’t possible! He had no reason to believe it was possible, even as part of his new wacky ghost powers.
(Meanwhile, when Sissel is saving Missile in the game, we get a little exchange that shows Missile being completely unfazed by the idea that Sissel’s brought them back in time. It’s no weirder than humans walking around on two legs, right? One way or another, the cat can barely wrap his head around it, while the dog sees it as perfectly plausible.)
One thing Ray says more than once during the tutorial is, “The best thing to do is try it.” Because Sissel is being so stubbornly cynical that he will not take this desk lamp’s word about how useful his powers are and has to literally be pushed into trying it himself in order to believe it, every time.
Even after seeing for himself that he can go back in time and watch Lynne’s death again, Sissel still manages to be pessimistic about this.
Ray: “And there you have it. The last four minutes of her life.”
Sissel: [strained] “No…!”
Ray: “It’s kind of ironic, when you think about it. A woman toyed with by fate, and a man toyed with by a ghost.”
Sissel: “But she still died.”
He went back in time, and she still died. There’s still apparently nothing he can do, right? No, Sissel, just have a bit of patience! This is just the mechanic that lets you understand what happens before you dive in and start changing things; you’ll get your chance soon!
And once he’s finally successfully saved Lynne…
Ray: “You used your powers to avert that woman’s fate.”
Sissel: “So I did that?”
Sissel still has a moment of being surprised at the notion that he was capable of something like this.
It’s really striking to me, watching over chapter 1 again with this thought about original-timeline Sissel in mind, just how many lines to this effect there are throughout the whole thing. The writers did not need to include this many moments of Sissel being sceptical, or even any of them at all, really, in order for the tutorial to do its job as a tutorial! But they’re here anyway, because it is in fact really important to the story that Sissel is somebody who would not have tried hard enough to figure out that his powers can undo deaths unless he had someone holding his hand through it the whole way.
The way old-Missile talks about it when he’s explaining himself at the end, it’s easy to get the takeaway that the most important thing he did as Ray was to take advantage of Sissel’s supposed self-interest: by not contradicting his misconception that he’s the man in red, by telling him Lynne is the key to his mystery (a half-truth at best), and by giving him a fake time limit. And it’s not that those things didn’t help, but they’re not really the most important thing at all.
The most important thing Ray did for Sissel, the thing that Missile absolutely most needed to spend those ten years waiting to do, was exactly what it appeared to be during chapter 1: to teach him how to use his powers to save lives. Because the number one thing the Sissel from the original timeline needed but didn’t get was, quite literally, a tutorial.
There’s a little bit more to it than this, though. So, okay, Sissel in the original timeline didn’t know he had the vital time-rewinding power. But then that begs the question: why didn’t Missile just tell him that while asking for his help?
For that matter, why did Sissel leave Missile shortly after being asked for help? It can’t just be because he urgently had to go and look elsewhere for answers to his own mystery, because he’s not pressed for time here. And he was apparently chilling at the junkyard just eavesdropping on the investigators’ conversations before Missile showed up. Why the sudden shift in locations now of all times, when there’s someone here who’s actually talking to him – the first person Sissel would have been able to talk to all night – and asking him for help?
The issue here, I believe, is that this isn’t just a matter of Sissel’s lack of understanding what his powers can do. It’s also a matter of emotional state – both Sissel’s, and Missile’s. Both of them would have been incredibly stressed out and upset, Sissel due to his loss of memory and seeing deaths in front of him that he doesn’t think he can do anything about, and Missile due to his mistresses’ deaths that he also can’t do anything about, even though he has a superpower that lets him try but it just isn’t quite enough.
How would Missile and Sissel’s interaction go when they’re both so upset like this? There’s actually a fun little bite-sized example of this in the actual canon timeline. During the last desperate struggle to escape the sinking submarine…
Missile: “Sissel! Y-Y-Y… You’re not telling Miss Lynne to leave poor Miss Kamila behind, ARE YOU?!”
Sissel: *sigh* “Could you just be quiet for a minute, Missile?”
Missile and Sissel are bound to be both extremely anxious and stressed in this situation – trapped in the submarine, Lynne and Kamila in danger of drowning if they don’t do something. And in that state of mind, it seems that Missile is prone to eschewing logic to be even more loudly desperately protective of his mistresses… while Sissel especially does not enjoy Missile being Loudly Boisterously Dog in his ear when he’s stressed out. After all, cats and dogs have very opposite and very incompatible ways of dealing with stress!
So it follows that the conversation between Sissel and Missile in the original timeline would likely have been an incoherent emotional mess, in which neither of them properly communicated their side of things at all. Missile must have just never even thought to tell Sissel that he can rewind time and therefore saving his ladies is actually possible in theory, because that was already obvious to him! He wouldn’t be capable of understanding why Sissel would be so reluctant about this.
As for why Sissel wasn’t just reluctant to help but outright ran away and sealed the deal – I think, more than anything, it’s got to be down to the fact that he couldn’t stand having Missile being so loud and energetic at him when he was this upset. Especially not while repeatedly saying that he can save them, which would be the exact thing Sissel has been miserably convinced that he just can’t. It follows that he’d just have wanted to run and hide somewhere Missile isn’t, where he can have some peace and quiet. Cats who are upset often like to hide and isolate themselves to feel safer.
There’s one other part in the game’s tutorial that suggests the problem originally might have been partly a matter of Sissel’s emotions:
Ray: “Hello there. How are you feeling? Not very well, I imagine. A terrible tragedy, what happened tonight.”
Sissel: “………” [neutral face]
Ray: “Ah, ignoring me, are you? It’s a little too early for you to be so stiff and cold, I’d say.”
Sissel: [smiling] “Ah, so it was you. You were that voice in my head, right?”
This is very noteworthy, because Ray is the only person in the entire game who ever takes the time to ask Sissel how he’s feeling. He wouldn’t be feeling great after waking up dead, watching a woman die in front of him and failing to save her, would he?
It seems like old-Missile, with his years of wisdom and time to reflect on everything, realised that his approach to getting Sissel’s help last time really was way too focused on his own problems, and he never even stopped to think about how Sissel must have been feeling. So here, he presents himself as a friend, someone who cares about Sissel and his journey, because that’s exactly what Sissel needs! This poor kitty must have felt so lonely and sad and helpless in the original timeline. But hearing Ray’s words, and realising that this desk lamp is someone semi-familiar, does seem to cheer him up at least a little bit here! Sissel really is a character whose core desperate need is to just not be alone, even if you’d be hard-pressed to get him to admit that at the beginning.
Interestingly, way back when I first played Ghost Trick, on the DS soon after it came out, I found myself intrigued by Sissel in the original timeline. I vaguely toyed with the idea of writing a fic exploring how he was feeling and why he refused, though I never got around to actually doing so. Then recently, the game coming out in HD rekindled my hyperfixation and made me think about it some more and actually end up writing that fic after all. And the thing is, back then, I didn’t remotely consciously understand any of this stuff I’ve just explained here. But even so, I find it neat how I still had this wordless sense that what was going on with Sissel must have been so much more than just selfishness – that he must have been so sad in that timeline and that had to be the real basis of why he didn’t help.
"Shaymin and Roselia"
I created this Pokémon fanart traditionally with watercolors on a small ATC (artist trading card) format ♫ Size: 3,5 by 2,5 inch
> Please do not repost, recreate, edit or trace, thanks~ :3
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