#jack jeanne translation

[nejis-desk]

Jack Jeanne Complete Collection - Interview with Ishida Sui and Towada Shin Translation

This interview is from the Jack Jeanne Complete Collection art book, it’s available on CDJapan and Amazon jp. You can also purchase a digital only version on bookwalker jp. I encourage anyone reading to purchase the game (if you haven't already) or the art book itself to support Ishida and Towada directly. 💕

This is a VERY long interview so I apologise for any typos or errors I may have missed.

~ ~ ~

An interview with Ishida Sui and Towada Shin, who both worked on writing the story of Jack Jeanne. In this interview they reveal what went on behind the scenes during production, rejected story ideas and much more. This interview was conducted remotely on the 9th of February 2021.

Interviewer: Yui Kashima

How did Ishida Sui end up making an otome game?

—How did the production of Jack Jeanne begin?

Ishida: It was sometime around Autumn 2015 I think… On an old personal site that I used to run, I received an email from the company Broccoli to an email address that I no longer use. It was a commission request for character designs.

—In 2015 Tokyo Ghoul was still being serialised wasn’t it?

Ishida: Yes. Usually job offers like that go through Shueisha first, so I contacted my editor asking why this one was sent to my private email…  At the time, in addition to working on Tokyo Ghoul, I was also drawing illustrations for a tear-off calendar and very busy with various other things, so when my editorial department heard about the offer they seemed very shocked like "What!?".

—Why did you decide to accept the offer even though you were so busy?

Ishida: I would often receive offers asking for me to draw manga or illustrations, so I figured that this one was a similar case. However, some words in the email caught my eye. Like ‘Gender Swap’, ‘Takarazuka’ and ‘All Boys Opera'. When I saw these concept ideas, a dream began to swell in my chest and I felt like giving it a try.

I think if it had just been a normal character design job, I would have turned it down. However just from reading the short brief in the email my interest was piqued. While in discussions with the Young Jump editorial department, I also casually mentioned the kind of offer I’d received to Towada-san.

Towada: Yeah, Ishida-san asked me for some advice. I was also drawn to the ‘Gender Swap’ and ‘Opera’ concepts. I could easily visualise the setting of the story. Additionally, it seemed like it would be a story that included many different themes such as gender. When I thought about that, I figured that Ishida-san would be a good fit, since I knew he would be able to draw something that went beyond all genders.

Ishida: I’ve been drawing androgynous characters for a long time, so Towada-san and I talked and wondered if that's what they must be looking for. After that, I created my own proposal and submitted it to Broccoli.

—You created your own proposal, Ishida-san?

Ishida: When I looked at the original proposal that Broccoli had sent me, a lot of it differed from my personal tastes. It was a very upbeat and dazzling story. It would’ve been hard for me to match my art style to that, so in my proposal I noted things like ‘if it were me, I’d do something more like this’. I was interested in this unpolished gem of a story, so I thought it would be a waste to turn it down altogether. I wanted to at least try throwing my own ideas into the ring, so I spent a week creating the six main characters and sent them in.

—At that time, I heard that the game wasn’t titled ‘Jack Jeanne’ yet, but was instead called ‘Jiemarie’.

Ishida: At first, I wanted to try creating a word that doesn’t exist. So using French as a base, I came up with ‘Jiemarie’ as the game's provisional title. But then a month later when I was reconsidering the title, I looked at it again and thought, damn this looks lame. So I hurriedly called Towada-san on Skype and we entered a discussion that lasted about ten hours over what the title should be.

That’s when we decided on ‘Jack Jeanne’. The male roles take the name from the knight, or the ‘Jack’ in a deck of playing cards. And the female roles ‘Jeanne’ take from the word parisienne and Jeanne d’Arc. When these two terms are put together, I feel like you can comprehend what the game is about with a bit of nuance. Plus you can shorten it to ‘JJ’… That’s also the title of a magazine though (lol).

—Taking on another job whilst your manga was being serialised sounds like it would be tough on you both physically and mentally.

Ishida: I think I must’ve been a bit unwell (lol). My body was fine, but being able to work on something other than a serialised manga was a lot easier on me mentally. I may have seen it as a way to escape, so I didn’t feel that working on two projects at the same time was difficult. When it comes to game development, I can only create what I’m capable of, and there was no set release date yet. Of course, I would work on and submit things whenever I could though.

—What kind of things would you submit?

Ishida: I would sketch character designs, discuss and create story elements with Towada-san and try to put Univeils history into chronological order. Then I would share the progress with Broccoli and have meetings and such with them. In the beginning, rather than having to draw anything yet, it was mostly just brainstorming and planning. That’s why I think I was able to do it all concurrently with the serialisation of my manga. 

~ ~ ~

How Ishida Sui and Towada Shin know each other

—Do you chat with Towada-san often?

Ishida: Well yeah, she is my older sister after all.

Towada: We talk a lot. When we both have the time we chat over Skype.

Ishida: Once we start the conversation can last up to five or six hours. We mostly talk about things that happened throughout our day. When I’m talking to someone I often bring up something that’s happened to me and ask their opinion on it. She became someone that I could chat with whilst working on my manga. Ever since my student days we’d talk until early morning, I usually told her about storyboards I’d drawn.

—At the Ishida Sui exhibition it was revealed that Towada-san had even given you advice on some of your earliest works.

Ishida: Yeah that’s right. It was a work I’d prepared for a 'bring your own work along' induction course in Tokyo that I attended back in my student days. It was a manga about two characters who eventually became the prototypes for Tsukiyama and Hori Chie in Tokyo Ghoul. It was only about 30 pages long, however when I showed it to Towada-san the day before the presentation, she told me that she thought my linework was too thin.

Towada: Yeah, the overall linework of the manga was thinly drawn. Once I told Ishida-san this thought, he began tracing over his linework and making it thicker. And then when he looked at it again, he said “Yep, I need to redraw the whole thing”.

The linework being too thin was only my personal opinion and the presentation was in Tokyo the next day, so in horror, I began hastily telling him, “You won’t make it in time, stop, stop!”

Ishida: All I could think about was that the lines really were too thin, so I wanted to redraw it. All of the screentones had already been affixed to the panels, but I didn’t want to bring something along with me whilst knowing it wasn’t the best that it could be.

Towada: Ishida-san handled the linework and I helped with redoing the screentones. We worked throughout the night and finished redrawing the whole manuscript. Once it was done, it wasn’t even comparable to the previous version, the lines were powerful and the characters' expressions conveyed a lot. I was seriously worried though (lol), I didn’t know if we’d complete it in time.

Ishida: I couldn’t think about anything other than the lines being too thin, so I wasn’t even worried about whether I had enough time or not.

Towada: I fell asleep halfway through, but you continued and boarded that Tokyo bound flight without having slept a wink, didn’t you?

Ishida: Yeah. I let Towada-san sleep and continued applying the screentones myself right up until the very last minute. I was still applying them whilst on the plane and also after my arrival in Tokyo. I used screentone number 10 a lot, so I remember the scenery around me gradually began to look grainy like the screentone. It felt as though I was hallucinating.

—Sounds like it was a tough manuscript to complete. Towada-san was also the author for the Tokyo Ghoul novels, has your relationship always been one akin to work partners?

Ishida: When it was decided that Tokyo Ghoul would be getting a novelisation, I was given other authors' works to look at. However, none of their styles really clicked with me, and they didn’t seem right for the series. I knew that Towada-san wrote, so I tried reaching out to her.

Although back in the days of Tokyo Ghoul’s serialisation, Towada-san and I didn’t talk as much as we do now. If I had any concerns I would just try and sort them out by myself. We’d always gotten along as brother and sister, however we didn’t really start to have a ‘work partners’ kind of relationship until we started working on Jack Jeanne together.

Towada: That’s true. Back then, we only occasionally conversed regarding the novelisation of Tokyo Ghoul. Before :re we only spoke once every few months over Skype. As Ishida-san said, it wasn’t until I started working on Jack Jeanne that we really started properly talking to one another.

—How often would you contact each other?

Towada: Depending on what stage we were at, we would bounce ideas off each other once every three or so days. Ishida-san would make a request like “I’d be happy if this part of the script was done within the next two weeks.” And then I’d present what I’d written and we’d discuss it and then I’d return to writing again. This process was repeated until Jack Jeanne reached its completion.

—Was Ishida-san the one that reached out to Towada-san to write the script of Jack Janne?

Towada: He didn’t ask me specifically to write the script, early in development he’d ask me to help with some research like “I’d like you to look up some information on this, could you help me?”. I’ve always liked ikusei games and within that genre I also enjoy romance and otome games. So I think that’s why it was easy for Ishida-san to consult me about it. We’ve had a common interest in games ever since we were kids.

Ishida: Back then I played games like ‘Pinnochia no Miru Yume’ and ‘Angelique’. I wanted to try and conquer Marcel in Angelique but it was one difficult game, so it was a tough task. Before I could even raise any flags with him, the training aspect of the game was so hard that no matter how many times I played I never got any good at it.

Towada: I’m the type that loves playing games, so after talking with Ishida-san, I went on to play every popular otome game that had been released around 2015, as well as every Broccoli published otoge. I completed every single character route in those games. I began analysing otome game trends and Broccoli’s brand identity and relayed my findings to Ishida-san. After that, I went along with the Jack Jeanne production team and Makasano Chuuji-san from Shueisha, who was the scriptwriter of the Tokyo Ghoul anime. We all visited the city of Takarazuka for research.

Ishida: I was also supposed to be there for the Takarazuka trip but since I had my manga to worry about, I had Towada-san go and take in the atmosphere in my place.

Towada: I did have to gather material but I think I visited Takarazuka a total of five or six times. From morning I would watch the Takarazuka theatre from afar and simply watch the guests move about, soaking in the atmosphere of the city.

Along with the Takarazuka plays, I also watched student plays, in total I probably went and watched one hundred shows. Theatre shows that are performed by professionals are fully realised and flawless. So getting to see the contrast to student plays, where they progress and improve until the show is complete was a very helpful reference.

I’ve always enjoyed watching plays, so everything I had to research overlapped with my own hobbies. I still shared my own input with Ishida-san though.

Ishida: I’d never formally been asked to write a script before… I felt like a fraud (lol). I think it’s because I’m not very good at being considerate of other people. I don’t think I’d be able to work with anyone other than Towada-san on something.

—Why is that?

Ishida: Well, for one I don’t want to talk to anyone for long periods of time (lol). Because Towada-san understands what aspects of a story are important to me, she’s also able to comprehend what I mean when I talk in abstract concepts. We could save time by not needing to have any pointless discussions.

Towada: Back then Ishida-san was still very busy publishing his manga, so bringing in all sorts of new people to work on the project probably would’ve put quite the burden on him. That’s why I wanted to help him out in some way.

After researching all sorts of things, I ended up participating in a production meeting for Jack Jeanne, but I was not expecting that I myself would end up being in charge of writing the script. Rather, I was more just looking forward to getting to play a game made by Ishida-san. As things progressed though, I was asked to try plotting things out, or to write part of the script to be used temporarily. Eventually I came to think, why don’t I just write the scenario myself?

I’d never written the script for a game before though, so that’s what had been holding me back. Unlike novels, it’s commonplace to not have to write descriptively. Novels are made up of dialogue and descriptions, like describing the setting and characters' expressions or emotions. So I had to spend a lot of time working out how to write to properly convey a story through dialogue alone.

When I first started getting the hang of it, I tried writing a script that still included descriptions but I quickly stopped. Jack Jeanne is about theatre, so I figured that it would be easier to convey the presence and narrative of the story through conversation. I usually write novels, so I was uncertain, but since Jack Jeanne has sprites of the characters on screen, I thought that I could do it. I suppose it’s closer to writing for a manga rather than a novel.

~ ~ ~

The rejected character routes

—Before Tokyo Ghoul was completed, what kind of things did you work on?

Ishida: The first two years were mostly spent creating the game’s world and mechanics. Like deciding how many performances there would be, how the plays would be presented. Would it be a dialogue drama? Would there be mini games? Things like that. We also had to decide whether summer break would be included or not, how raising affection would work and how the choices would be presented. Those are the sort of things that were talked about first.

—You got to watch over the entire game’s development then.

Ishida: At first, I got carried away and envisioned a stage play game full of skill mechanics that I personally enjoyed. A busy game full of specs you can raise and improve in mini games, however when I explained these details to a friend of mine, they were like “You’re just imagining a game that you would like, right?”.

They asked me if that’s what the eventual players of Jack Jeanne would be looking for. That same friend said that since it’s a story that deals with the theme of theatre, it would be better if the player could witness the performances themselves. So I took that advice and the prototype of the current Jack Jeanne was created. I told all of this to Towada-san and had her handle the script.

Towada: You can’t write a script without knowing how the game’s system works after all.

Ishida: Now that I think about it, before Tokyo Ghoul was finished, rather than build the game's foundation, all I was really doing was scattering the sand to prepare for said foundation.

When Tokyo Ghoul entered its endgame especially, I really had to concentrate on it, so I took a six month break from Jack Jeanne. Ending a story requires a lot of energy and attention, so I left the practical work of Jack Jeanne to Towada-san and only supervised the music production and attended any important meetings.

—So during serialisation you were making preparations to jump right into it afterwards?

Ishida: Yes exactly. I wasn’t able to do much practical work, so I had Towada-san prepare the script in advance for me. And for the time being, create one character route.

—Which character was it?

Towada: It was Shirota. I wrote about the equivalent length of a short book and it was more or less complete. In the end, we scrapped the entire thing though… Because the atmosphere in the beginning was quite dark.

Ishida: It was dark because I was too used to Tokyo Ghoul. It included issues like a troubled household and severe bullying. Reading something like that wouldn’t put the player in a happy mood.

Despite it being a story about the theatre, my attention drifted to other topics which didn’t fit. And it was me who had asked Towada-san to write something like that… A couple months after the Shirota route had been completed, I read over what Towada-san had written for me once again and realised that it was a bit too gloomy. I’d forgotten what prompt I’d even given to her in the first place (lol).

The first character portraits and CGs that I created were for Shirota too. The reason being that Shirota is the only second year student and he was already a complete individual, so he was easy to create for. As for the third year students, there’s three of them, Fumi, Kai and Neji. Along with Kisa, Suzu and Yonoga are also first years, so continuity and character relationships need to be taken into account in order to create them, so they were a little more complex.

—How did the other characters come to be?

Ishida: At the proposal stage, the first character that I created was Kai. It’s a game where characters will be falling in love and confessing to one another, so first off I wanted a character that was handsome. Then I made Fumi who would be Kai’s partner. After that, I think Shirota was next.

Towada: At first you created the characters by basing them on plays didn’t you?

Ishida: I’m a fan of Yamamoto Shugoro’s work ‘Kikuchiyosho’ so Shirota was created using that as a base. In Shirota's case the genders are swapped, but Kikuchiyosho is a story about a girl who is born into a samurai family and raised as a boy. It has an element of androgyny and portrays the confusion and anger concerning gender quite well.

—How did you select the plays to base the characters on?

Ishida: I chose plays that lots of people are familiar with and would be easy to assign characters to. Kai is ‘The Phantom of the Opera’, Fumi is ‘Salome’, Neji is ‘Faust’ and Yonoga is ‘Shintokumaru’. Kisa and her classmate Ootori are ‘Don Quixote’. Ootori ended up becoming a side character though.

—So Ootori was originally meant to be a main character?

Ishida: Yeah. If I were to compare it to Tokyo Ghoul, Ootori is in the same position as Tsukiyama. I wanted a pompous character like that in Quartz. However I may have made him a little too unique (lol).

I received feedback from Broccoli that they want the main six characters to be an elite group, so a more easy to approach character would be better. So I moved the bright and cheerful character that I had originally made as Onyx’s Jack Ace over. That character was Suzu.

Making the characters personifications of plays started to become difficult to stick with though, so I abandoned the idea entirely halfway through.

—Despite appearing glamorous, the characters are all dealing with their own issues, like certain complexes and family troubles. I think that they’re all conflicts that are easy to sympathise with, how did you decide what the backbone of each character's conflict would be?

Ishida: First I created the character's appearance and then decided what personality would match them. Like with Fumi, when I began to think about making his story about the unique struggles that come with being born into a respected family, if becoming a successor was going to come into question, then he needed to have a brother.

In this way, I worked backwards from the vibe of his appearance and created his home life. I did the same with the other characters too, thinking things like ‘to have a personality like this they must not have parents, or they must struggle with expressing themselves’.

I think that if you let your characters do human-like things, then aspects of them that are easy to sympathise with will be born.

Jealousy, setbacks due to failure, inferiority complexes… Each and every character naturally ended up having some form of theme attached to them.

—I feel as though Kisa had a different sort of personality than that of a typical heroine.

Ishida: To put it simply, I want my protagonists to be fighting something. If they’re not giving it their all, then it’s no good. If they’re just standing around, then you can’t empathise with them.

—There’s times where she draws others towards her or supports those around her. She also has some masculine aspects to her.

Ishida: I think that I’m moved by characters who make me think “This kid’s really admirable”. That’s why I made Kisa a girl who works hard no matter the difficult situation that she’s in. I like Kisa and I’m sure Towada-san feels the same way.

Towada: She’s the result of both of our preferences. While due to the game’s setting, she of course has struggles related to being a girl, but I was careful to write the main thread of her story in a way that transcended gender and instead simply showed her charm as a human being.

—Regarding gender, I was impressed by how neutrally it was portrayed.

Ishida: Yes. Originally, I was going to make Shirota a character with a feminine personality, but I ended up scrapping the idea. In the end, he ended up having more of a masculine mentality. The premise of Jack Jeanne is that boys also play the female roles on stage, but it’s not a metaphor for anything and I didn’t want it to raise any questions. I simply wanted to give it my all creating plays with that setting and create something new and refreshing.

I don’t struggle with any gender related issues myself, so it’s not like I can fully understand what it’s like, but in general I’ve never considered gender to be a very big deal. If someone born male were to tell me “I have the heart of a woman” then I’d just think ‘ok cool’.

To me it feels strange to place so much weight on such an issue. I don't see why others need to be bothered by someone else's gender, I'm not since I myself am not able to speak for such experiences.

Towada: At first, it was possible to take that direction with Shirota but as I continued to write, I came to realise that there was no need to exaggerate any emphasis on his gender identity.

To those looking from an outside perspective, it may seem like a unique identity such as that is a person's defining trait, when in reality it's only just a portion of their whole self. If you consider it to be all they are, then you end up denying the other aspects of that person.

Whilst considering the individually of each character, I kept in mind to write them in a way that seemed natural for them.

—The side character, Tanakamigi Chui of Amber, had a very striking presence. How did you go about creating him?

Ishida: I wanted someone that’s easily understood to be the antagonist, so I went ahead and tried to draw someone who looked like an unstoppable genius. Despite being a second year, it’s as if he controls the school. I wanted an enigmatic and intriguing character like that. Once I named him Tanakamigi Chui I felt as though he was complete and his inclusion in the story was quickly decided on.

—On the flip side, were there any characters that you had a hard time creating?

Ishida: I had to think a little harder about the other members of Amber. They needed to have the aura of the enemy but since they’re only villains in the context of the stage, they’re not actually bad people. So it was hard to find that balance between them.

Visually they’re edgy and have a talented vibe, but they also have their own individual quirks, they’re not all homogeneous. I struggled with Kamiya Utsuri especially, I wanted him to visually look like he could be a Jeanne while also still looking like a boy, so it was difficult to get him right. I didn’t have to do many redesigns though and all the other characters came to be without much trouble.

What I actually had more trouble with, was the fact I made the cast too large. I initially created almost double the amount of first year characters, but when I looked back over the script that Towada-san created, I told her “There’s way too many characters, please cut some of them out.” To which Towada-san replied, “Ishida-san, you’re the one who created them in the first place.” (lol).

Towada: That’s because the cut characters had already appeared in the script (lol).

Ishida: I feel that when there’s too many characters a lot of them get wasted, so just like that I end up creating and scrapping a lot of my characters. I think even Broccoli were surprised by the amount of times I’d suddenly tell them “Oh that character doesn’t exist anymore.”

—Apart from characters, were there any other aspects of the game that were abruptly discarded?

Ishida: The performances I suppose… Originally I had wanted there to be a larger variety of shows, but if you were to put all of them in the script it probably would’ve ended up being three million characters long.

In the beginning of development, I had originally planned for each character's route to have a different final performance. There’s six main characters, and including Kisa’s route, that would total to seven unique shows.

Before that there’s the newcomers, summer, autumn and winter performances, so I arranged to have a script written for each. Basically I wanted to include more shows and increase the amount of sub stories, but that would be confusing to play through and development would never end. The game engine has its limits too, so I decided to keep it simple.

Towada: It would’ve been difficult to play through all that as well (lol). For the final performance, we settled on it being one show and letting the player enjoy it from each character’s perspective instead. And even then, there’s still over 20 different endings to the game, so it still took a long time until everything was fully complete.

—Newcomers, summer, autumn, winter and the final performance, were these five show’s scripts all original?

Towada: Yes. However at first, like the characters, we had planned to base them on famous productions. Like Shakespeare or fairy tales. We figured that players would find it easy to get immersed in plays that they were already familiar with.

Ishida: For the newcomers' performance, I thought we could have a show called ‘House of Biscuits and Candy’ based on Hansel and Gretel. I had also originally planned to use each character's motif to base the plays on.

Towada: Like Shintokumaru, right?

Ishida: Yeah yeah. I even went as far as getting permission to use it, but if the show were to be following a story that already exists, then the script would be bound to it. Once I understood that it would make it difficult to relate the stories to Univeil, we decided to create the plays ourselves.

Since I acquired the permission to adapt Shintokumaru though, maybe I’ll have to make a manga about it someday…

By the way, the one who was saying “Let’s do this” and then changing it to “Nevermind let’s not” was all me. I’ll start on something wholeheartedly thinking that it’s the right choice before realising halfway through that I can’t actually take it anywhere and stop. Jack Jeanne’s development was full of trial and error.

Whenever I’m about to start something, Towada-san will express her concerns with my ideas but I always end up pushing on with them only to ultimately scrap it.

I probably have at least ten books worth of scrapped drafts alone. I had no real knowledge of how to properly craft a story. I hadn’t drawn anything other than Tokyo Ghoul, so even though I had no idea what the fundamentals of storytelling were, I misunderstood that I could write other kinds of stories too. This time around I studied and revised each time… I really learnt a lot.

Towada: You learn things by doing them, so I think I just got used to it (lol). Also, you don’t commonly see stories presented within stories, I thought that it was a rare case for a game especially.

~ ~ ~

The story behind ‘Lyrics: Ishida Sui’

—You also wrote the lyrics for each of the songs used in the performances didn’t you, Ishida-san?

Ishida: Yes, that’s how things ended up. It goes without saying, but no one, including myself, thought that I’d be the one writing the lyrics.

Originally Broccoli brought in several professional lyricists and had me look over what they’d written. However I couldn’t help but feel that they were lyrics I’d heard somewhere before, or they at least didn’t leave a unique impression on me. I did feel the finesse of a professional, and they were beautiful lyrics that fit the story in one way or another… But the words used didn’t touch on the core of the story. 

The songs in Jack Jeanne are stage songs that Neji wrote for the members of Quartz. So unless you’re familiar with the setting and understand how the characters are feeling, then you won’t be able to write lyrics that perfectly fit the scenario.

While I knew that my lyric writing technique would be far from that of a professionals, I thought that no one understands and loves these characters more than me, so I approached Broccoli about it. I’d poured my heart into not only the character designs, but also the story and system of the game, so I didn’t want to compromise on the lyrics and have them pale in comparison.

So, to the best of my ability, I wanted to at least try my hand at writing them. I had Broccoli check whether or not what I’d written was viable and asked them “If there are no problems, then please let me write the lyrics.”

—Did you sing the temporary vocals for the songs too?

Ishida: When I submitted the lyrics to Broccoli, I got the normal response of “Thank you, we’ll leave the temporary vocals to you.” Along with this message they also wrote “You can hire a professional vocalist if you’d like, or you could record the temporary vocals yourself.”

Because of this I started thinking that maybe I should record them myself. Similar to how one wouldn’t be able to write lyrics for the songs without a deep understanding of the story, if you weren’t the one who wrote the lyrics, you wouldn’t know how they’re supposed to be sung either.

So, after deciding that I had to be the one to do it, I made preparations to acquire some audio recording equipment and downloaded some editing software. I divided up the parts and harmonised with myself and over the course of three days, I finished recording the temporary vocals. That’s more or less how I did it.

—When recording yourself singing, being self conscious about it can interfere, can’t it?

Ishida: I don’t think I was possessed by him or anything, but… When I tried to go all out, as expected I felt a bit hesitant, so I began recording whilst imagining I was Neji.

In the game, Neji is the one who writes the scripts, so surely he would also write the lyrics and subdivide the song and do everything himself. So I got through it thinking like that. In that pumped up mental state, I sent in the temporarily recorded songs but all Broccoli said back was “Alright, let us know your upcoming schedule”, I got so carried away that I was somewhat bewildered by the cold response (lol).

~ ~ ~

Recruiting via DM, gathering specifically selected creators

—It appears the creators you gathered to handle things such as the concept art and music are all people whose work you enjoy.

Ishida: Yes. Almost everyone was sent a targeted offer. For example, I’ve always loved the concept artist Lownine-san’s work ever since I was a student. I suppose you could say I was jealous of how high quality their artwork is… They’re someone who I thought I'd never be able to beat in my entire life. Lownine-san is an amazing artist who is especially good at blending characters into their backgrounds.

When we were creating Jack Jeanne, I wasn’t sure if I’d be able to pull something like that off, so I definitely wanted to recruit Lownine-san for the job. After getting permission from Broccoli, I reached out to Lownine-san myself through Twitter DM’s. I had only appreciated Lownine-san’s work from afar, and we’d never actually interacted before, but we did both follow each other. I received a reply that Lownine-san was fully on board to accept the job.

Towards the end of Jack Jeanne’s development, I got the chance to speak with Lownine-san, so I asked them “Could you teach me how to draw?” They gladly accepted this request and taught me how to draw whilst screen sharing over Skype. However, in about 10 minutes, they’d already drawn such an amazing piece that I felt I should just put my pen down (lol).

Towada: You were a little down after that, weren’t you?

—Had you been a fan of Kosemura-san, who was in charge of music, since you were a student as well?

Ishida: Yes, I’ve listened to Kosemura-san’s music a lot since I was a student. When I was brainstorming what kind of music would fit Jack Jeanne, Kosemura-san’s ‘Light Dance’ immediately came to mind, since it fit perfectly. Because I didn’t have any personal connections to Kosemura-san however, I didn’t know how to get in contact with him, so I made the request through Broccoli. I only found out about this recently, but apparently Kosemura-san almost turned the offer down*, I was quite shocked to hear that (lol).

*When the initial request was sent, it was under wraps that the game was being made by Ishida Sui, and since Kosemura-san didn’t have much experience in writing game music, he wasn’t optimistic about the offer. However, later, when he learned that it was a game being made by Ishida Sui, he readily accepted the offer.

—How did Seishiro-san, who was in charge of the choreography, get chosen for the job?

Ishida: A very long time ago I saw the group Tokyo Gegegay appear on a program called DANCE @ HERO JAPAN and I remember thinking ‘this group is crazy good’ and I was immediately charmed by them. After that, whilst I was looking through more videos of Tokyo Gegegay on YouTube, I happened upon a studio workshop video and discovered Seishiro-san.

—What about him caught your eye?

Ishida: Whilst first and foremost his dancing was super sexy, it also had a certain strength to it. I remember thinking that he danced in a way that embraced the best elements of both masculinity and femininity. And that had stayed in my memory ever since. When Seishiro-san was recording motion capture for the game, he allowed me to interrupt and even taught me some of the choreography.

(note: you can watch Seishiro dance here, he is also the choreographer behind this RADWIMPS music video!)

—I hear you’ve known Gyudon-san, who was in charge of making the movies, since your Tokyo Ghoul days. 

Ishida: Yes. Around the time volume 13 of Tokyo Ghoul was set to be released, we held a still image MAD (Music Anime Douga) contest. The grand prize winner of said contest was Gyudon-san, who at the time was still only a student. The way they made a video by manipulating the manga panels to move so fluidly was really cool and stood out from the rest. 

Around when Tokyo Ghoul had ended and :re was about to start, I had Gyudon-san make a minute long video for me. After that, Gyudon-san grew in popularity and became someone whose work is in high demand, so they seemed very busy.

However when Jack Jeanne was announced, we were able to have them create a promotional video for us. Since I’ve known them since Tokyo Ghoul, I figured I couldn’t go wrong entrusting the job to Gyudon-san. They didn’t just deliver their finished work without a word either, Gyudon-san also made a variety of suggestions and worked on the project with a positive attitude. For the videos used in the performances, I was asked to provide materials and became very involved in the process. I think it took about two weeks… Despite the really tight deadline, Gyudon-san allowed me to catch up and was super helpful.

I was also the one who reached out to Touyama Maki-san, who was in charge of creating the in-game chibi characters and the 4koma manga used for promotional purposes. During Tokyo Ghoul’s publication, Touyama-san would draw short comics for the series as a hobby, I thought they were a nice person for doing so. Their art was great too and I was very thankful. So when it was decided that we’d be displaying chibi characters during the game’s lesson segments, I wanted to leave it to Touyama-san and sent them the offer.

(note: this is the MAD that gyudon won the contest with, they now regularly make moving manga CM's for jump titles, they make the Choujin X ones too!)

~ ~ ~

The winter performance moves into Quartz’s ending, and the divergence in the story since the beginning of the year drastically branches off

—The performances, packed full of each of the character’s skills, continue for a year and pass by in the blink of an eye. Once the new year breaks, it feels as though the atmosphere of the game drastically changes. What were your intentions behind this?

Towada: That’s when the character route specific endings begin. So we packed all the needed material to set them up into the winter performance.

Ishida: The winter performance is like an ending for Quartz as a whole, so we packed it full of good lines and scenes without holding back. I may have used up all of my cards but by using them all without compromise, we were able to make the story reach a nice peak. After that, the story switches to focusing on each character's individual ending.

Towada: We used a lot of great material in the winter performance, which meant the final performance would have to be even better still. In a good way, it gave us a higher hurdle that we now needed to overcome.

—So you needed to create even more anticipation heading into March?

Towada: From January to March, each character’s route is completely different. From the new year onwards I needed to create seven different scripts, so it was very challenging. The amount of text for the last three months of the game alone just about eclipses the amount of text from up until the winter performance. There was so much to write that I began to fear I wouldn’t even be able to finish it.

Ishida: Having more choices that drastically change the ending of the game makes the player feel more involved. So, despite it making things tougher on ourselves, around the time we were working on the autumn performance is when we began thinking about how the game’s big branches should work. Along with the main routes, we also planned for there to be the option to deepen your bonds with the side characters.

—How did you go about creating the confession scenes?

Towada: Before the winter performance, to some extent each character has already grown closer to Kisa, so I kept in mind not to disrupt that flow. Since if I didn’t make it a confession that respected both Kisa and her suitor’s feelings, then I felt it would spoil the fun.

—Is that how you approached the ‘realising Kisa’s a girl’ scenes as well?

Towada: Yes, I suppose so. As I was writing the script, I knew that a point was going to come where Kisa would have no choice but to acknowledge the fact that she’s a girl. There’s characters that realise her true gender once their bond deepens and on the flip side, there are some who don’t realise it at all. There’s also the case of Yonaga, who knew Kisa’s situation from the beginning. I guess you could say each reveal followed one of these three patterns. Those who came to realise it, those who didn’t notice anything and those who knew from the start. I think they ended up being nice variations and I put careful consideration into writing them to make sure none of the realisations felt forced.

Also, the beginning half of the story is akin to that of a sports drama about teenagers putting on shows together, so the room for romance to be added is limited. That’s why, when I first started adding romantic elements to the character routes, it felt strange to me, so I discussed it with Ishida-san. I wasn’t able to effortlessly soak the story in romance. I think I had to rewrite Shirota’s ending at least three times…

Ishida: Shirota was who you tried writing an ending for first after all.

Towada: Shirota and Kisa aren’t the sort of people who’d be all flirty, and Shirota’s initial route was already muddy, so it was difficult to pull everything together. However, once I stopped trying to write in a way that forced romance on them and instead wrote them becoming closer as partners, things went more smoothly.

It may not be a stereotypical sort of love, but it was a human love. I thought that the natural way these two would be drawn together wouldn’t be through whispering sweet nothings to one another, but instead by coming to understand one another without having to exchange words at all. Once I’d completed Shirota’s route, to some extent, I continued writing the other routes in a similar way.

Ishida: While it’s true Shirota acts like that, the other characters all act differently. To the point some aren’t even comparable. In contrast to Shirota, Suzu’s route ended up being more of your stereotypical kind of romance. I thought that it would be nice for each character to have their own unique form of love.

Towada-san’s strong suit is writing a love story with your more classic otome guys like Suzu and Kai. I have no idea about that kind of thing, so I left Towada-san to pour her own ideas into their routes. On the flip side, characters like Fumi and Neji were dyed more with my own ideas. Neji’s way of flirting especially were mostly lines that I requested.

Towada: He’d say “Make him say something like ‘Try seduce me!’ Because I want this CG to appear.” (lol).

Neji especially plays with his words a lot, so unless Ishida-san told me what wordplay to write, I wouldn’t have been able to expand on it. Ishida-san has a very unique way of phrasing things, so I asked him for advice a lot to make sure I was making Neji speak in a Neji-like way. I then arranged the lines and created events in order to reach the intended goal. I constructed the route in a way that wouldn’t disrupt the flow of the story. As for Fumi, Ishida-san wrote his route himself.

Ishida: Yes, I wrote it all myself.

—Well isn’t this quite the exciting plot twist?

Ishida: I turned into quite the young maiden myself (lol). Even though I’m clumsy at it… I began wondering why I ended up loving writing it so much. I added some lines that have more of an adult and deeper meaning to them, so when I played the route myself I was like “Woah!”.

Towada: It’s more interesting if at least one character is that way. From the early days of production, I’d quietly wanted Ishida-san to write a character himself, so I was happy. I was unsure how to deal with Fumi too, so it was a big help that Ishida-san took him on. His route ended up being a lot sweeter than I’d been expecting though, it got my heart racing (lol).

Ishida: I was also the main writer for Kisa’s solo route. There’s no romance in it, but it’s an ending where long lasting friendships are born and it ended up being the kind of story you’d see in an uplifting shoujo manga.

Towada: It’s full of Ishida-san’s flair, I loved it.

Ishida: If love is a lie, then how do you face that lie? That’s the sort of thing I thought about. Kisa is lying about her gender and pretending to be a boy, but Neji, Suzu, Fumi, Yonaga and so on, are also hiding lies within themselves.

The fact they’re all hiding their true motives is something that they have in common with Kisa. Whilst hiding, the two grow closer. I think that a confession is a scene where all these lies intersect and burst open. Everyone is lying, and I thought that was like a play, without realising it I think that slowly became the theme of the work. 

As people, we meet others whilst lacking something and some people end up becoming a necessary part for someone else. I wanted to see a drama like that. Despite it being a game with confession scenes, I wanted it to be a story that both women and men alike are able to identify with.

~ ~ ~

From thorns to rounded edges, how the style of work transformed 

—If there was a small novels worth of rejected material, then how many books worth of words made it into the final game?

Towada: In terms of paperback books, probably about twenty volumes worth.

—Because as well as the main scenario, there’s also the sub scenarios and the stage plays?

Ishida: As much as time allowed, I put my all into creating the game. However there was a deadline for things like the voiceline recordings, so I was working both day and night to get things done in time.

Towada: I was only getting around three hours of sleep. I feel like at one point Ishida-san didn’t sleep for four days.

Ishida: I was in a serious pinch so I don’t remember it well, but when I was writing the script I would hole myself up in a manga cafe for around thirty hours at a time. Multiple times a month. Once I felt as though I’d written to a good point, I’d go home only to return to the manga cafe again. Why? Because I was sleeping in the manga cafe. I mays well have been living there…

Towada: Once Ishida-san had finished writing his part of the script, he’d have me check it. So at the same time, I’d have Ishida-san check what I’d written.

Ishida: For a period of time it seemed like Towada-san was always awake. Whenever I would send a check request she always responded right away regardless of the time, so I figured she must not be sleeping.

So that my productivity wouldn’t be affected, I made sure to sleep at a regular time, however I’d be awake for like 30~40 hours at a time and then sleep for 10 and then be awake again for another 40. My sleeping patterns would repeat in this cycle. During Tokyo Ghoul’s serialisation my sleeping patterns were similar, so to some extent I might’ve gotten used to it.

—That’s just like Neji-senpai, isn’t it?

Ishida: Yeah yeah, I worked in a similar way to him. However in Neji’s case, he can complete a script just one day after coming up with the idea for it, so he works way faster than us. It took us around two months to write parts of the script, so Neji really is a genius isn’t he? I was writing whilst wishing I could be like Neji.

After experiencing writing a script, I’ve come to have a lot of respect for authors. Writing is completely different from drawing. When writing I need to really concentrate on it, I can’t multi-task or think about anything else. Whereas with drawing, there are some things that can be done as long as you can move your hand, so I can talk to someone whilst drawing or watch a movie in the background or work whilst thinking about other things. I can’t do that when I’m writing though, I was starting to wonder if I really had to think so deeply about everything I wrote.

—During the production of Jack Jeanne, as you worked on the script or the lyrics etc, did you notice any changes in how you worked?

Ishida: For Tokyo Ghoul, I was always consciously adding things, meaning I would draw everything that I came up with. I thought that it was fine to only put 20% of my output into the characters and dialogue. However, when I was working on Jack Jeanne, I began to think that my method of just adding things was incorrect and that I should also consciously remove things. It’s ok to just be left with what’s necessary. My way of thinking ended up being the exact opposite to before.

—What brought about this change in thinking?

Ishida: It was early in production, when I had asked Towada-san to write Shirota’s route for me, I got concerned about the ‘sharpness’ of the story. As I mentioned earlier, I ordered Towada-san to add this and that and sent her walking on a long journey. Except, what lay completed at the end of that road was such a painful story that even I myself was shocked by it. When I looked down at the world I had created it was as if I’d received a psychological shock. I think I even smelt the faint scent of blood.

—From thorns to rounded edges. I still remember the comment you made during a press conference saying, “I was careful to not kill off any characters”.

Ishida: Stories where characters die are usually fast paced with high stakes, however, the kids at univeil are living a different kind of story. I had to consider the best way to create drama in that kind of setting. I thought about it a lot and it may have only ended up being possible because of the fact it was a game.

—Why is that?

Ishida: Because of the flow of the dialogue, backed by Kosemura-san’s music while it's being read out by all of the voice actors. It all comes together as one… That’s what I think at least. Writing and illustrating are Towada-san and I’s main domain of expertise, but I think that it was thanks to all of the other various creators involved that we were able to create something new.

—Do you think anything about yourself changed, Towada-san?

Towada: It came down to the fact I wanted to create something for Ishida-san whilst there were also things that I wanted to add myself. This dilemma caused me trouble at times, however when I started to consider what components I should add, or which ones I should remove, I began to discover what elements I liked and what my own skillset was. 

The way that Ishida-san and I go about creating stories is different. I came to understand that Ishida-san’s strong point is creating impactful scenes, whilst mine is plotting and world building. Ishida-san being in charge of the pivotal scenes would make things more exciting, so I concentrated on writing everything else whilst keeping the balance in mind. Through working on Jack Jeanne, I’ve become able to say that my strong suit is being able to create a story that flows well.

It may be true that by working with other people, you come to understand more about yourself. Starting with Ishida-san, I also looked at what the other creators were doing and thought ‘so this is how they interpret the story.’ Seeing what they came up with made me notice different approaches that I hadn’t thought of.

I’d write whilst listening to Kosemura-san’s music and decide which way to take a scene. Or I’d watch Seishiro-san dance and think about how I could make the performances more exciting. We were all connected in some way. Novels are usually written alone by one person, so I came to learn the thrill of working on something in a team.

—The way you all came together as gears to create a single work sounds similar to the story of Univeil.

Towada: True. I never thought I’d experience something straight out of my youth again at this age. Being helped by other team members or being supported by them, being motivated by simple phrases like “It was great” or “I like this idea”.

For example, when I was working on the final phases of the story, I was just writing and writing with no end in sight, I couldn’t take it anymore and my pen just stopped moving. During this dire moment so close to the end, my proofreader messaged me saying, “You’re almost done.” And with that simple message alone, it was as if a burst of light appeared before my eyes. Everything had gone pitch black, but they lit everything back up again. Ishida-san also wrote some of the script, so I didn’t feel as alone.

Ishida: At that time I left all my drawings alone and decided to solely focus on the scenario.

Towada: Yeah, because I hit a point where I wasn’t able to write it on my own anymore… When Ishida-san sent me the script he’d written, it was interesting and I let out a breath of relief. I felt the joy of being able to see someone else's work. I was the same as the Univeil students who find joy in performing with others. I definitely wouldn’t have been able to do it if I was alone.

Ishida: You’ve got that right. I think that if anyone was missing from the team, it wouldn’t have worked out. Not to mention that in my case, everyone’s contributions were directed to me, and they were all people that I’d personally gathered.

With manga, even if it comes to the worst case scenario, at the very least it would all just fall on me. However this game isn’t just something I made on my own, I need to contribute as much as I can or the efforts of everyone around me will go to waste as well. There was a moment where I felt afraid of having such a heavy responsibility placed on me. However, if I had tried to do it all on my own, I think I would have given up.

By listening to wonderful music, reading interesting scripts and moving forward together with everyone, I was inspired. Coming together with fellow creators to make one work came with a lot of challenges, but it was fun. It was refreshing being in an environment working alongside other people, and because of it I was able to experience something new.

—Has working alongside other people changed the way you work at all?

Ishida: Right now I’m still in the state immediately after being swept away by the raging waves of a storm, so I’m not sure how I really feel yet. I’m in the phase of just watching what becomes of Jack Jeanne as the waves subside.

Even though the script and illustrations were done, like bonus stages lots and lots of new tasks kept popping up. So I was still busy with work up until the beginning of October last year. When I looked at some of the thoughts people had on the demo version of the game, it felt as though what we’d all been working so hard on had finally taken shape, and I was relieved.

Working on this project I’ve come to learn both the hardships and the fulfilment that comes with creating something with others. So, I suppose I’ve started considering working on something by myself again… I’m not trying to say that it’s in my nature to want to work alone, I think I’m just experiencing some kind of aftershock. I think the waves are returning.

Towada: I’m still working overtime and supervising Jack Jeanne (lol). Like checking content that will be posted on social media, as well as the 4koma manga. Content is still being released and there have been bug reports from some people who played the demo… Meaning that my journey is still not over yet. I think that things should calm down once the game has been released for a while.

Ishida: Yeah, probably after around five months (lol).

—After their final performance, the members of Quartz all threw a party to celebrate. Did you and the rest of the creators do the same upon the game's completion?

Towada: I celebrated with Ishida-san as siblings. And then afterwards we got swamped with work again (lol).

Ishida: Yeah, we didn’t end up meeting with the other developers or the voice cast. Big project after parties aren’t as common these days, but I do want to hear everyone’s stories of any struggles they had.

Towada: There were way too many people involved in total for me to be able to speak with them all, but I’d still love to convey my impressions to them. Like letting them know what I thought was good, or letting them know that a certain thing really helped me out.

Ishida: Ideally I would like to gather everyone and really have it feel that ‘this is the team of people that created Jack Jeanne’ and I’d like to express my gratitude to them all in person. I hope that an opportunity like that will come one day.

~ ~ ~

[ririya-translates]

Puppet Manga English Translation

At long last, our English fan translation of Sui Ishida's free one-shot manga "Puppet" is finally done! (75 pages, original here). It's an original story in the Jack Jeanne universe that Ishida created himself about a student in the 76th Amber class (he has no specified name so he's often called Puppet-kun or Ore-kun/俺くん). It gives a fascinating look into the dynamics at Amber that we've been dying to share with the English fans.

It's a standalone story that can be read without any prior knowledge of Jack Jeanne and has no major spoilers since it primarily focuses on another group of characters.

Project credits list: Translation: @ririya-translates @otomemories Clean/Redraw/Typeset: @ChoujinXArtRT @YashaaShirayuki Proofreading, Calligraphy: @himehikoshrine

[himehikoshrine]

Now that the translation is complete and live, I want to share these side by side. On the left is the original page from Puppet, and the right is my English version. This went through so many iterations, and I still maintain the one we chose is more legible than the original, but I'm happy with how it turned out. The second panel was tough to crack, but I hope people like the solution I ultimately went with. I think overall the vibe is preserved.

We decided to preserve the JP in the color spread as it would change it too much to try to redo it, but its part of the same lines I suspect you'll recognize. It did take a bit to decode and we had to consult someone to make sure we were getting the kanji matched up. The first two lines are just in hiragana, though in the game they are usually shown in kanji, but this makes them look really cool scrawled between the figures.

[neversetyoufree]

I've talked to death on this blog about VnC and Vanitas's relation to the meaning of "vanitas," but on the topic of latin phrases, I'm also really intrigued by the name of Jeanne's gauntlet: Carpe Diem.

I'm guessing most of y'all have a general idea of what "carpe diem" means (sieze the day), but the original phrase in full is super interesting when applied to Jeanne. It's "carpe diem quam minimum credula postero." Seize the day, trusting as little as possible in the next one. Or in other words, make the most of today because you don't know whether you'll have tomorrow.

Originally, Marquis Machina gives the gauntlet this name when he first gives it to Jeanne, and he makes it pretty clear what he means by it. He tells her to "rampage to her heart's content." Bourreaus don't tend to survive very long, so "carpe diem" in this context is him telling her to make the most of her little remaining time. She could die tomorrow, so she ought to go as wild as possible in the meantime, and her super-powerful weapon Carpe Diem is the medium through which she can achieve that wildness.

Of course, she can't actually "seize the day" in any meaningful way while she's a bourreau, because she isn't allowed to have any desires of her own. Killing as much as she can for her masters does not a full life make. However, her arc so far has in large part been about rediscovering the agency and personal desires that she's been denied, and now her biggest motivation/assurance is kind of a curious reversal of the full carpe diem phrase.

The original message is that, because you don't know whether you'll have tomorrow, you ought to live fully. Death is an uncertain quantity on the horizon, and the threat of its arrival is motivation to make the most of yourself before it catches you. And Jeanne has lately been able to live her life more fully because of the specter of death on her horizon! It's just that for her, death is not a threat, but a comfort.

Since her promise from Vanitas, Jeanne has been able to let go a little bit and make more of her life because she knows that she can die. If she loses control, she knows that Vanitas can kill her. Seize the day, trusting that if the seizing goes wrong, you will not have to face self-made horrors in the next one. The thought of looming death motivates her to live more fully not because she wants to fill her life before she dies, but because the knowledge she can be killed makes her less afraid to fill it. Death becomes not a caution but a safety valve.

It's such an interesting twist on the role and philosophy that were originally assigned to her, and it makes me really curious about where her relationship to this idea might go next.

[couldbebetterforsure]

So in my ever continuing brain rot concerning Jack Jeanne, I did a tiny bit of splurging…and got me the limited edition version of the Japanese edition of the game 😅 Why do I keep doing this to myself, I can’t read Japanese!!! But at least with the game I know what I’m doing (but I already have the English version but it’s nice to have this one too). It came with the physical game, another art book, a mini novel, a drama cd, a soundtrack, and here’s the funny bit.

When I ordered this thing the description was limited and in Japanese and I had a hard time figuring out what was included. So I sent the seller a message asking and they told me it included the stuff I mentioned before along with a bonus picture. I figured it was like those bonus picture things I reblogged a couple posts of before so I was excited to possibly get some since I’ve said how pretty they look!

Anyways it finally got here and had everything mentioned…and now about that bonus picture. With the box there was a tiny file showing one of the bonus pics (one with all the Quartz babies so I was happy). And I figured that was it and was about to throw away the box……when I realized there was something heavy still in the box. So I saw this cardboard thing that I originally assumed was just there for support until I noticed it was covered in plastic. I open it up….and inside is a 12x16 version of the smaller pic framed in a simple but cute looking Jack Jeanne frame!!!! Like holy shit!!!!

Anyways, yeah I’m a happy camper! And I’m happy I managed to get at least ONE of those pretty bonus pictures! And that if I had to get any at least it was one of all of my sweethearts!

[literaryvein-reblogs]

more literary & character tropes

Tropes - themes, motifs, plot devices, plot points, and storylines that have become familiar genre conventions

All writers manipulate language to create certain effects. At the level of individual phrases and sentences, the skillful use of tropes is key to creating writing that’s fresh, memorable, and persuasive.

Artifical Script - found mainly in fantasy settings, this trope is about fictional scripts invented by the author.

Busman's Vocabulary - when a character in a certain profession isn't on the job, they're going to still use jargon from that profession, basically to let us know what they do for a living. Mafia guys will use "whacked" and the like, chefs will use culinary language, and so forth.

Classical Tongue - a language that isn't typically known or used by the common man. It may be dead and mostly forgotten, or only spoken by educated elites such as nobility, scholars, clergy, or mages. A few words from it might be used to denote something special, or it is used for something or someone's name, or someone who knows it might drop a phrase here and there in an attempt to sound clever, but don't expect the common masses to use it (anymore). It's often an Expy of Latin, if it isn't Latin itself.

Dissimile - when you attempt to make a comparison between two things that can't be usefully compared, realize your problem, and then throw more words at the argument in an attempt to salvage it. This just undermines your comparison even further, to the amusement of anyone listening. ["Boxing is a lot like ballet, except there's no music, no choreography, and the dancers hit each other." — Deep Thoughts by Jack Handey]

Enslaved Tongue - certain types of monsters, wizards, and other supernatural or alien beings are able to control your voice, or otherwise replace your communications with those around you. They will use your voice to lie to teammates, friends and loved ones, or to deliver warnings or threats.

False Prophet - someone comes along and preaches a message about how they're going to make everyone's lives better. People will flock to them out of hope, or because they see an opportunity to increase their own power by aligning with the prophet. If they don't already have it, this figure will request assistance—physically, monetarily, or in some other way—so that their goals can be achieved.

The Grotesque - a character that induces both fear and pity in viewers because his deformities belie a perfectly normal — if not noble — personality. The pathos associated with The Grotesque is the implication that he could easily have been a well-adjusted member of society if not for the hideousness that he is powerless to remedy.

Higher Self - the aspect of a character which "knows better". More specifically, however, the Higher Self is the aspect which rises above whatever is going on in the plot and can see the situation in a way that's removed from emotional or melodramatic entanglement.

Inconsistent Spelling - when names and other terms are not spelled consistently in officially published materials (and not fan-made translations), usually because of transliteration issues.

Jeanne d'Archétype - a fictional character inspired by Saint Joan of Arc. This can incorporate various elements of the historical Joan's story. This character is Always Female, usually young, often an Action Girl, and often of humble origin. Her devotion to a religion, her country, or simply a desire to protect her loved ones causes her to assume an active role in liberating the oppressed from an overbearing force, eventually becoming not only a respected leader, but also a living symbol and a reminder of just how unjust the oppressors are if they bring out the warrior in the most unlikely of people. Therefore, her example directly inspires many otherwise ordinary people to follow in her footsteps and join the same cause.

If these writing notes helped with your poem/story, please tag me. Or leave a link in the replies. I'd love to read them!

More: Literary & Character Tropes

[transparentquartz]

Related Reading for Jack Jeanne

I enjoy related reading and thought others might as well so I'm sharing this list of JJ literary references and allusions* in the hope it brings additional color to your Jack Jeanne world as it has for me.

If I can make a recommendation, you may want to start with the "Interview References". These came from Ishida and Towada in interviews and most are connected to specific characters. Anything else with 'direct' is mentioned either by name or strongly alluded to. 'Related' either have a connection to Ishida's other works and could apply to Jack Jeanne too or are explained in the notes.

This list is still very much a work in progress. There are works I can't quite pinpoint or have less confidence in that I hope to add if the connection becomes clearer. If anyone else is tracking things down, I'd love to work together.

Finally, thank you to everyone who has shared translations and to himehikoshrine, who pointed me in the direction of some things early in this project that I might have missed. Any mistakes you find here are entirely my own.

Please reach out if you spot a mistake, have questions, or would like to chat about anything on the list.

Happy reading(/listening/watching)!

*The list includes things other than literature as well

Note: These references were identified in the English translation.

[otomemories]

Jack Jeanne comic: “Set You Free”

I enjoyed trying to recreate the tone of this piece.

Translation done by me

Original comic: Here

Please support the original♡

[sonic-nancy-fan]

Oh Rama Havenna, Oh Beloved Havenna~Jack Jeanne English Trans-lyrics

These are my English trans-lyrics for the full version of Oh Rama Havenna, Oh Beloved Havenna from Jack Jeanne. This is by far my favorite song since I really like jazz/swing music. The song also has a lot of word play, symbolism, references, etc.

My lyrics this time are based on the official short English translation, and the translation for the full song done by HanaMitsu- (https://www.reddit.com/r/otomegames/comments/15ty90j/jack_jeanne_for_the_linguists_and_jj_fans_an/).

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Download Lyrics

Shining, the street lamps stay Glowing like paintings that Pollock made In our strange party tonight Frustrations? Throw them away

Da-ba-da ba-da-da-ta Like moths to a flame comes these outlaws This party paradigm Is our lowly, lonely, sad, gesselschaft

“Oh, Rama Havenna!”

Now the, zoetrope Clatters as, it falls down Spin round, and around Visions sway, with another round

The pain you feel is a mirage Just pay it no mind The world was rough with you this time Stay, unwind, you’ll be fine Dance up and down, as you know Da-da-bee-doo-dooo Give yourself to night tonight Singing out, “Havenna”

Soon you will fall, for all the traps Artemisia vulgaris, one more glass If you want to act a fool Stańczyk’s a lonely fool too

Ha-ya-pa-ya cha-cha-cha In these sprawling neon alleys, I saw (Showering in absinthe) That here, there, everywhere, God is absent

“Oh, Rama Havenna!”

Like a, ring of smoke We’re spinning, and swirling Until you’re jonesing Listen to, this song on repeat

The pain of this world is hidden Behind smoke and lies Take some psychedelics this time Come, it’s fine, let’s get high No up, just down, as you know Du-du bi ba-ba Sway ‘til the lights go out tonight Dancing for Havenna

Da-ba-da-ba da-da-ta-ra Da-da-ra da-ba-da-ba da-da-ta-ra Cha-cha cha-cha-pa cha-pa-ya Cha-ba-ya cha-cha-cha cha-pa cha-pa-ya

“Oh, Rama Havenna!”

Human, puppets dance All twirling, as they buy A room for the night So their dreams, of heaven don’t die

Tomorrow’s pain is a mirage Act like it’s nothing From the start, the world’s been smelling That mugwort you’re smoking Dance up and down, as you know Da-da-bee-doo-dooo Give yourself to night tonight Singing out, “Havenna”

No up, just down, as you know Du-du bi ba-ba Stay ‘til you overdose tonight Singing out, “Havenna”

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Notes: I took a few liberties this time since the song's scatting lines are sometimes pointless, other times references, etc. and there's so much symbolism I had to play with things a bit to get most of it in. I am very proud of how I handled the second chorus' "No up, just down" line though! I think it gets the meaning across while sounding very close to "Dance up and down" which is what one of the goals of the original dan-dan-da-la seemed to be.

[suitanart]

I got permission to post it, so here my contribution to the Jack Jeanne Secret Santa for @ririya-translates!!💕

[jackjeannebrainrot]

Jack Jeanne Special Gold Saves

Japanese credit and English translation credit

WARNING: Potential Route Spoilers can be found below, continue reading at your own risk.

COMMON ROUTE

In the scene at the shrine, when Chuza says, "Oh, you must think I'm some flashy con artist, don't you? Take a look at the school's website. Here."

In the scenario that occurs during the first singing lesson, when Tancho's line, "Life must be dazzling! And so too will you dazzle, my little diamonds in the rough!"

Tues April 14th - In the conversation scene after rehearsal, when Neji says, "Well, just leave it to me. I have confidence from polishing the 'dull Quartz' after Tsuki Tachibana left."

Sat May 30th - During the "Newcomer Performance", when Otori's line "…………………… Gah." (Scene where Otori's event illustration is displayed)

During the preparation period for the summer performance, during the 5th Weekend with Ion'', the line "I mean, I'm now a match for Kiito with his incredible physique." (before starting song practice)

In the additional scenario that occurs when you visit Mona Star School 10 times during the preparation period for the summer performance , when Mona 's line “Oh, yes! I was known as Univeil's Brown Rose, you know?''

Sat July 25th - During the "Summer Performance", when Kai's line "Don't play dumb. It's as if… " (Scene where Mutsumi's event illustration is displayed)

During summer break when selecting "Go Out" with Kasai at Onyx Dorms (playing soccer/football) - Kasai says, "Or so you think…!"

Mon Oct 12th - In the scene during rehearsal, when Orimaki 's line "Gotcha! Hup. Hahaha."

Sat Oct 24th - During the “Autumn Performance,'' right after choosing to speak to Fumi from the wings of the stage, his line “Wow, that really ticks me off!!!"

Sat Oct 24th - During the “Autumn Performance'', after choosing the option to speak to Suo, his line "I'll kill you… I'll kill you, I'll kill you, I'll kill you, I'll kill you!!" (Scene where Sou's event illustration is displayed)

Tues Dec 22nd - After rehearsal at the theater (at night), in the conversation scene with Mitsuki, his line “No matter who you are, I accept you."

Thurs Dec 24th - During the "Winter Performance", when Kisa's line "Aaaaahh… agh…!" ( Scene where event illustration with Mitsuki is displayed)

KISA ROUTE

Sat Jan 16th - when Ao says, "I'll be rooting for you. If times get tough, just remember Ao is here. I'll always be with you."

Wed Jan 27th - when Kisa 's line "The central nation of Kielce is my entire life" (Scene where Kisa's event illustration is displayed)

Sun Jan 31st - In Kisa's route , when Chui’s line "Come with me. I’ll take you as far as you want to go" appears. This is a scene after going out.

Sat Feb 27th - Before the play begins, in the scene in the theater/corridor, Kisa says, "So watch me, okay?"

SUZU ROUTE

In Suzu's intimacy scenario 3, when Suzu's line " ... " appears. (Scene where event illustration is displayed)

Mon Jan 4th - In the scene in the Rhodonite practice hall, when Mare's line "Whaaaaaaaa?!” (the second time)

Sat Feb 27th - After the Final Performance on Suzu’s route, when Kamiya 's line “I'm sorry, I'm sorry, I’m sorry, I’m sorry, I’m sorry'' appears. (Scene inside the Universal Theater)

MITSUKI ROUTE

In Mitsuki’s Intimacy Scenario 2, when Mitsuki says, " Do you guys mind…?" (Scene in the rehearsal hall at the beginning of the scenario)

Fri Feb 12th - In Mitsuki’s route, when Kaido says , "I was waiting for you to say that! Sugachi, I want you to be Onyx’s victorious dancing princess!"

SOU ROUTE

Mon Feb 1st - In Sou’s route, when Momonashi says, “I want to consume Chui Tanakamigi. I want to take him, swallow him, and turn him into myself.” (Scene at Mt. Odate)

Wed Feb 24th - In Sou’s route, when Sou says, “Your ability to think about yourself gets warped and you can’t see the world for what it is.” (Scene where event illustration is displayed)

KAI ROUTE

Fri Jan 29th - In Kai’s route, when Kai says, “What is it?” while talking to Mitsuki as he’s looking for Kisa.

FUMI ROUTE

Fri Feb 19th - In Fumi’s route, when Fumi says, “Sorry… I wasn’t careful and I got sick.” when visiting Fumi in his room.

NEJI ROUTE

Wed Feb 24th - In Neji’s route, when Neji says, “I was excited to see how far he’ll go. Which is why I wrote scripts for him and even played his AI Jeanne.” when speaking in the Quartz Training Room.

[nejis-desk]

Jack Jeanne Complete Collection - Interview with Terasaki Yuka (Kisa’s Voice Actor) Translation

This short cast interview is from the Jack Jeanne Complete Collection art book!

Ishida: What were your impressions when you first saw the setting of Jack Jeanne?

Terasaki: It’s a story about teenagers putting on plays together that’s drawn by the creator of Tokyo Ghoul, Ishida Sui-sensei. That information alone was all it took for me to be interested. I’m sure a lot of other people thought the same.

Since it’s a story that takes place in a theatre school, I found the way it's like a game meets theatre to be unique. I also found the aspect that the shows are put on by an all male cast to be really intriguing.

—

Ishida: When you were voicing Tachibana Kisa, were there any aspects of your performance that you had to be careful about?

Terasaki: Kisa is a character herself, but she is also the stand in for everyone that’s playing the game. That’s why I stuck to the initial impression of the script as much as possible without adding too much of my own flair. I wanted her to be ‘transparent’ like Quartz.

In the romantic scenes especially, I want the player to have their heart racing over what Kisa’s love interest is saying and focus on them. So during those scenes I made sure to act out Kisa’s emotions more subtly. I’d like for those playing to be able to decide their own colours for Kisa, so I left some of her canvas blank. I remember I would go into the recording sessions keeping that in mind.

—

Ishida: Were there any particular challenges you faced while working on Jack Jeanne?

Terasaki: The singing. When I first listened to the songs with the temporary vocals I was like ‘I’m going to be singing this!?’ and my anxiety quickly turned into terror! I had to reconstruct the way I’d been singing up until then from scratch. It was very difficult and I was unsure about a lot of things, but now thanks to Jack Jeanne I love singing even more than I did before.

—

Ishida: Other than Kisa, are there any other characters that are your favourite or that you took a liking to?

Terasaki: Tachibana Tsuki… He’s Kisa’s older brother, but there’s still a lot of unsolved mysteries surrounding him. I can’t help but be curious about him. I’d love to read a novel or something about Tsuki-nii when he was a student at Univeil. I’d like to see Fumi-san and the other third years when they weren’t upperclassmen too.

—

Ishida: Quartz, Onyx, Rhodonite, Amber. If you were to enrol at Univeil, which class would you like to be assigned to?

Terasaki: The relationships between the seniors and juniors are wonderful in every class, however I think I’d have to pick Quartz. Since I don’t think you can join the other three unless you’re already particularly skilled at singing, dancing or acting. So I’d like to find my own way to express my individuality in Quartz!

—

Ishida: You have some experience with stage acting, so were there any scenes or moments in the game that you could relate to?

Terasaki: Jack Jeanne has a lot of different choices and branches in the story. You can choose different lines to say during the plays too, but no matter which one you choose the show will still reach its conclusion. If another actor changes something then you have to change with them, and if you change something, then they have to change with you. Even though every performance of a show is supposed to have the same programme and script and movements, you go into it with a fresh mind each day and there are slight differences between the shows.

There are things you sometimes only realise on opening day when you see the audience walking in, so I could relate to the sense of tension actually putting on a show brings. I’d love for the players to see how each character's dialogue changes with each option, so please play through the shows multiple times!

—

Ishida: Every show in the game is quite different thematically, which one (setting, musical composition, etc) did you like best? Also, were there any shows that you’d like to try starring in in real life?

Terasaki: All of the shows are very different and I love all of them, but the one that I felt the most accomplished and happily tired after was the autumn performance. During auditions, the selection of lines from it were full of passion and tension, so I remember being excited to record for the autumn performance.

As for which one I’d like to try in real life, it would be Sissia of the Central Nation. When I recorded my lines for the whole show in one session, I started arranging how the stage set would look like in my mind. I’d think ‘this line would definitely be delivered from the top of the set, and this line would be said from the audience to the stage’. I’d read the lines whilst imagining what the show would look like and the performance that I could picture the clearest was Sissia of the Central Nation. So I ended up really wishing I could see it in person.

[ririya-translates]

JJ Novel Ch 1 Translation

I mentioned in a previous post that there are Jack Jeanne novels by the original game creators, written by Towada with illustrations by Ishida. One is more of a light novel taking place in the summer whereas the much heftier full novel-sized one recaps from the prologue to the newcomer's performance. But importantly this is not simply a retelling of the original because we are given a window into Kisa from a third-person narrator perspective. It's a very different side of Kisa that I think is important for the EN fans to know about so I decided to publish my translation of the first chapter. It only covers part of the prologue so no spoilers to worry about.

Apologies for wonky paragraph formatting. I'm not quite used to this type of writing so I hope it reads okay.

[cassia37]

I wll give her a hug! 😭😭😭 What a shame that we didn’t have a chance to watch all of the story. 🥺 Can I hope for the special contents or sequel of JackJeanne?

Mary Jane Stage Script (EN)

This is the full Stage Script from the game menu for Mary Jane (occasional typos and all, though I tried not to add any that weren't already there, but no promises).

There are some things in this script that are not in the game version that are very much worth reading - in-game, parts of the script are elided in favor of summary. In my opinion, some of the cuts for this play are particularly heinous.

The Stage Scripts don't include any character ad-libs from the in-game performance, though. Of course, you can access it from the game menu, if you've got it, but this version is searchable! The play is over 900 lines long, and is thus behind the cut. Tumblr dislikes that many line breaks, so the formatting may get wonky, especially if you're trying to copy and paste. I have a version saved elsewhere that might work better if you're looking to save it -- feel free to ask.

Mary Jane  By Neji Kokuto

(1) Kakuriyo Island

A stormy sea.

Sounds of a torrential downpour.

Man:   “What a storm!” Sailor:   “Not much farther now until the island, but at this rate, the ship will…”

The ship runs aground of the rocky shore with a great crash.

Woman:   “Eeek!” Man:   “The ship’s leaning

Sounds of the ship's wooden planks splintering and breaking apart.

Sailor:   "Aaaaaagh!"

Sounds of violent winds.

Sounds of violent winds begin to fade.

(2) The Reviled Dollmaker

Fade out.

Narration:   "Behold the sky, the sea, the island." Narration:   "Birds fly, fish swim, and men work steadily once again." Narration:   "Forgetting what is important, losing what is important." Narration:   "That place is Kakuriyo Island, floating alone in the sea. There is no end to the praises it can be given. A paradise, so long as you don't ask for more.” Narration:   "A paradise, so long as you don't ask for more."

◆Harbor Town

Townspeople busily go about the day. A day like any other.

Mumbling can be heard.

The island dwellers look away, as if they see something they do not want to.

The murmurs turn to whispered conversations.

Islander:   "The dollmaker." Islander:   "It's that dollmaker." Islander:   "The dollmaker's here!"

The dollmaker appears, carrying a basket stuffed with dolls.

Mary:   "Dolls, would you like a doll?! A doll for your house! An adorable doll made specially by the dollmaker!" Mary:   "Would you like one? If you buy one, then how about another? Or, three, four, five, six, or even seven! A discount for the whole family!" Mary:   "A bit of food would be payment enough, in fact that would be best! Gold or silver won't help this empty stomach of mine!"

The dollmaker finds a man walking nearby and rushes up to him.

Mary:   "Hello, good gentleman! Let us shake hands in greeting." Mary:   "Oh? What a solemn face you have, like a flying fish who cannot fly. Look at these dolls I have, and you'll be happy in an instant!"

The islander man runs away, trying to escape the dollmaker's outstretched hand.

Mary:   "Good day, my lady. Let us shake hands in greeting. Your skin is as pale as a fish's belly today. One of my dolls would be perfect for you!"

The islander flees from the dollmaker.

Mary:   "Young boys and girls, elderly women and men, let us shake hands in greeting! And with that hand, hold one of my dolls!" Mary:   "I am Mary, Mary Jane! The dollmaker, Mary Jane! The dollmaker whom no one calls by name." Mary:   "Gather 'round, and please buy one of my dolls!"

Charles and Figaro appear.

Charles:   "Figaro, look! There! It's her, the dollmaker! That woman is the dollmaker!" Figaro:   "So that's the rumored Mary Jane. The dollmaker everyone abhors." Charles:   "What a strange manner she has. A headless chicken would have more grace." Charles:   "Figaro, tell me more about the rumors the islanders have shared since our arrival." Figaro:   "Yes, yes, as you wish." Figaro:   "The dolls she crafts are dolls of the devil, white skin with a deathlike pallor, and lips as red as dripping blood." Figaro:   “And that is because it is said... she makes her dolls out of corpses!"

Figaro raises both his arms up as if to scare Charles.

Charles:   "Ah, how frightening! Frightening, indeed!"

Charles puts on a mocking act, acting scared.

Figaro:   "There is another rumor as well." Figaro:   “Every last one of the dollmaker's wares are cursed. The door to the netherworld will swing open and pull you into the realm of the dead!" Charles:   "Ah, how scary! How terrifying! Aah, aah, aha, aha... Ahahahahaha!" Charles:   "I had initially taken it as idle gossip, but seeing such a peculiar woman, I must say the rumors suit her." Charles:   "I must repent for distrusting the islanders! God, save me!" Figaro:   "The islanders look at the dollmaker as though she is a ghost." Charles:   "They give her no answers whenever she approaches them."

As the dollmaker rushes around for a customer, she notices Figaro and Charles.

Mary:   "Oh! I have never seen your faces before." Charles:   "She's coming this way, Figaro." Figaro:   "It's because you keep staring at her, Charles." Mary:   "How very nice to meet you! I am the dollmaker. Let us shake hands!" Charles:   "My apologies. Where we are from, shaking hands is a challenge to duel." Mary:   "Oh, what a happy little custom! It's all right. I have no intention of fighting you to the death!" Mary:   "Look at these dolls! They are wonderful, aren't they? Very popular with the islanders. Before they run out, why don't you have one for yourself?" Charles:   "This woman is lying straight through her teeth!" Mary:   "No need to concern yourself with the details! Just a piece of food will do for pay!" Figaro:   "A doll... Huh. Look at this, Charles." Charles:   "Whoa, won't we get cursed? Let's see here... Oh." Charles:   "This looks iust like a person! It's so well done that I wouldn't be surprised if it were made from corpses." Mary:   "Yes, it is wonderful! Lovely enough to trade for a bit of food, wouldn't you say?!" Charles:   "Hmm... Nope! A bit of food is far more lovely." Mary:   "Hm? How strange, to love food so much." Charles:   "In my eyes, you are the one who is far stranger." Charles:   "All right, we're done talking here! Figaro, let's go."

Charles and Figaro start walking away.

Charles:   "Hmm, she's even more peculiar up close. Maybe it's best that we don't interact with her." Charles:   "All right, let's get back to sightseeing before the next ship arrives." Figaro:   "Right." Islander:   "She is the dollmaker of those cursed dolls." Islander:   "She lives right next to the forest along the island's edge." Islander:   "Those eerie dolls, that eccentric dollmaker." Islander:   "She is like a ghost. The cause of headaches on Kakuriyo Island." (3) I Am the Dollmaker

◆Dollmaker’s House 

Mary:   "Home sweet home!" Mary:   "I'm back with just as many dolls as I left with. What a shame that none of you could find a new mommy or daddy." Mary:   "Such cute, adorable things. It's a wonder you are not the "trend' of the island. My heart breaks for you!" Mary:   "I'm so sad, it's making me hungry. It must be nice that you all have no stomachs to pester you." Mary:   "Now then, here is the food I managed to buy with my meager savings. Let's see..." Mary:   "Ah, again! The food is rotten again!" Mary:   "The food yesterday was rotten, too. And it was rotten the day before that." Mary:   "It wasn't rotten the time before that, but it was time before that." Mary:   "Rotten, rotten, not rotten, rotten, rotten." Mary:   "They sell me rotten food day after day." Mary:   "I cannot keep up with this rotten 'trend' of this island! Off to the bucket you go!" Mary:   "I suppose I have no choice but to chew on some mushrooms. They don't taste great, but they're good for the body. And what is good for the body is good for the mind." Mary:   "And when your mind feels good, one's vigor is renewed. Yes, let us make some more dolls!" Mary:   "What design will it be this time? Hmm... That's it!" Mary:   "I can draw inspiration from the two strangers I met today! They were so wonderful, in such unusual clothing!

◆Dollmaker's House (Night)

Mary:   "All right, I'm done!" Mary:   "What wonderful dolls. I feel as if they'll move on their own at any time." Mary:   "...How wonderful would it be if they did." Mary:   "The islanders are spreading rumors that I use corpses for my dolls because they look so much like real humans." Mary:   "There isn't a single grave on this island, though." Mary:   "The real materials are just fabric, cotton, strings, buttons, and overflowing love." Mary:   "Oh, no! I've forgotten!" Mary:   "There's one last, important material left."

Sound of a hair being plucked.

Mary:   "My own hair. This is the string that connects me to the dolls. Proof that we are all family…” Mary:   "Now they are truly done. Good morning, dolls. I'm your mommy!" Mary:   "What good dolls you are! So gentle and wise. You're the only ones who don't run from me..." Mary:   "Oh, drat! The sun is setting! I'm sorry, there is somewhere I must be." Mary:   "When the sun sets, it's the moon's turn to rise. Now then, I must get ready." Mary:   "This is Kakuriyo Island, floating alone in the sea. There is no end to the praises it can be given. A paradise, so long as you don't ask for more." Mary:   "A paradise, so long as you don't ask for more. But…” Mary:   "The unchanging scenery, the unchanging days, the unchanging people." Mary:   "It's the worst nightmare l've ever had." Mary:   "There is but a single place where I can have pleasant dreams." Mary:   "And that is the chapel of the ghosts!"

(4) Ghost Chapel

◆Ghost Chapel

Ushinoko:   "Another party tonight, a ghost party!" Hachinochi:   "We are ghosts! Undead ghosts!" Sister Ghost:   "We live in a wonderful chapel." Hachipochi:   "We are ghosts! Lively ghosts!" Bukuro:   "Ghosty, roasty, toasty ghosts." Ushinoko:   "Another party tonight, a ghost party!" Sister Ghost:   "Until the moonlight disappears." Ushinoko:   "Until the bright morning sun rises!" Ushinoko:   "...What a splendid night it is. I imagine that in ten seconds, Hachipochi will bare his stomach and do a bit of moonbathing." Hachipochi:   "How did you know what I was thinking, Ushinoko?! As expected of you, woof!" Hachipochi rolls over and bathes in the moonlight.

Sister Ghost rubs his stomach.

Sister Ghost:   "The light from the moon shines vibrantly through our bodies. What a blessing from God!" Bukuro:   "Light tonight, bright and white."

Sounds of rustling in the bushes.

Mary:   "Ah, they look like they're having so much fun!" Mary:   "Every day, the ghosts are bright and cheery and so sociable! It gives me the strength to be alive!" Mary:   "Ah, I want to join... I want to laugh with them...!" Mary:   "But... if I draw near, I'm sure the ghosts would run away, just as the islanders do. I'm sure their smiles will disappear." Mary:   "I want to join the ghosts, I want to laugh with them, but… I am a human being. I cannot be their friend." Mary:   "...Hahh." Mary:   "Watching them from the shadows is enough. Now then, I should go back and make more dolls."

◆Harbor

Sounds of waves.

Mary:   "I have no mommy or daddy. That is why I made dolls to be my family. Then my loneliness disappeared, just a little." Mary:   "I made dolls that looked exactly like the islanders, hoping to give them as presents. However, none of the islanders wanted any dolls." Mary:   "I wonder if they are lonely without any dolls. Or if they are better at bearing their loneliness." Mary:   "I am so lonely! I can spin my loneliness faster than the fabric for a doll..." Mary:   "Ah, I really do want to befriend a ghost..! I want to sing and dance and shake their hands!" Mary:   "But I'm sure that wish won't come true.. Mary:   "Ah!"

A thudding sound.

Mary:   "Did someone pull my leg? Oh, it's just the root of a tree…” Mary:   "Moon! You must shine more carefully or it'll be dangerous for me!" Mary:   "...Hm?" Mary:   "This is not a rock jutting out, nor the root of a tree."

She holds up a human foot.

Mary:   "It is the foot of a person! My, what a sturdy heel." Mary:   "I'm sorry to have kicked you as I was dancing, Mr. Heel!" Mary:   "Let us shake hands in greeting. Oh, how cold you are!! Mary:   "And what a difficult shape to shake hands with!" Mary:   "Mr. Heel, where are your hands? Oh, this is...!" Mary:   "Moon! Don't dawdle now. Shine as brightly as the daylight sun!" Mary:   "I will not be able to locate the other human parts otherwise!"

The shoreline is scattered with corpses and objects drifted from the ocean.

Mary:   "Not just corpses, but bottles of wine. Wet books. Swords and guns. Glass bottles. All scattered about." Mary:   "Ah! Could this be... a present from the moon to me?" Mary:   "I apologize for complaining so much, Moon! I shall accept this with gratitude." Mary:   "But what a large number of corpses this is. They are surely dead. This is the first time I've seen a corpse." Mary:   “...That's right." Mary:   "The islanders are spreading rumors that I use corpses for my dolls." Mary:   "Because my dolls are so lifelike, they seem as though they could move any moment." Mary:   "In that case..." Mary:   "I wonder what would happen if I made a doll out of an actual corpse?" Mary:   "What if my dolls, on the cusp of human likeness, actually moved as a human would?" Mary:   "Perhaps a ghost would be born from it?" Mary:   "Oh what a great idea, Mr. Heel! I'II make you into a doll!" Mary:   “I’ll make a body perfect for you and become your mommy!" Mary:   "First, I’llI need another heel. This one is too narrow. This one is too wide. This one is full of so many holes that it's not even worth my time." Mary:   "This may take a while. But it'll be fine. Hands and legs and stomachs and heads, and even pretty faces, there are so many materials here!"

The dollmaker excitedly gathers up the various parts.

◆ Workstation

Mary:   "I'll use my needle to string things together. To tie these chunks of meat into more meaningful shapes." Mary:   “I’ll connect all the body parts I've gathered in order to make a lovely doll!"

(5) First Friend

◆ Dollmaker's House (Night)

Mary:   "Phew... Hahh.." Mary:   "I wonder how many times the moon had risen. I want to sleep, but my needle just doesn't know when to stop." Mary:   "Lastly, I'll pass my needle through here... And there, very good! Everything's in place now!" Mary:   "And for the finishing touch, a strand of my hair!"

◆Sound of hair being plucked.

Mary:   "And now you and I are family." Mary:   "All done!" Mary:   "Ah, it's done! My doll is finally completed!" Mary:   "Oh, how adorable.." Mary:   "Oh yes, I have to give him a name. Something more humanlike than anyone on this island." Mary:   "John, James, Alex... Too common, perhaps?" Mary:   "Joseph, Michael, Reinhardt, Ja... Ja... Ja…” Mary:   "That's it!" Mary:   "Jacob. I'll name you Jacob!" Mary:   "I am Mary Jane. And you are Jacob Jane!" Mary:   "Jacob, what shall I do when you wake up? First, a handshake!" Mary:   "After that, you'll tell me your name, and after that I'll tell you my name..." Mary:   "I want to be your friend!" Mary:   "A friend who won't run off, who will look me in the eye and talk to me." Mary:   "Oh, how wonderful that would be..." Mary:   "... Ah, but..." Jacob:   “...” Mary:   “He will not move." Mary:   "But of course. He is dead." Mary:   “...” Mary:   “I’ll never have a friend, ever…”

Enchanting music plays.

The cobbled-together corpse becomes a ghost through the island's magic.

*Dance "A Friend Without a Name"

The corpse awakens and joins the dollmaker in a dance.

When the dance ends…

Mary:   "Jacob! He's moving...!" Jacob:   "Good morning, Mary." Mary:   "'Mary'?! Did you just call me ‘Mary'?! The name no one here has ever spoken before?!" Jacob:   "I did, Mary. You are Mary Jane. My mother." Jacob:   "And I am Jacob Jane, your undead creation." Mary:   "Undead!" Mary:   "H-Has my dream come true…?!" Mary:   "I have always wanted to become friends with a ghost!" Jacob:   "I know. That is why we should go." Mary:   "Go?! Go where?" Jacob:   "To the party."

◆Ghost Chapel

Ushinoko:   "Another party tonight, a ghost party!" Hachipochi:   "We are ghosts! Undead ghosts!" Sister Ghost:   "We live in a wonderful chapel." Hachipochi:   "We are ghosts! Lively ghosts!" Bukuro:   "Having fun without the sun." Ushinoko:   "Another party tonight, a ghost party!" Jacob:   “Until the baby's milk has spilled." Ushinoko:   "Until the bright morning sun…” Ushinoko:   "Hmm?! Seeing a newcomer here is quite the treat!" Mary:   “Jacob!” Hachipochi:   "Treat? Treat? I love treats, woof!" Bukuro:   "Sweet treat, neat, petite." Sister Ghost:   "A newcomer? I wonder if they're dangerous! Oh, God!" Jacob:   "Hello. I am Jacob. This is my mother." Jacob:   "We want to become friends with you ghosts." Mary:   "The ghosts I've been watching from afar... are looking at us..!" Hachipochi:   "Friends, you say?!" Bukuro:   Friends unite to play at night." Sister Ghost:   “Having more friends is splendid. It is God's will. However..." Sister Ghost:   "Jacob, you are a ghost just like us, but isn't your mother a human?" Hachipochi:   "A human?! Sniff, sniff...She's right! A-wooooo!" Bukuro:   "Humans are not ghosts." Mary:   "Ah, I guess it's no use... If I am of the living...!" Jacob:   "You can't give up, Mary." Ushinoko:   "Everyone! Silence!" Hachipochi:   "Ushinoko! Tell us our future!" Mary:   "Ushinoko?" Sister Ghost:   "He is the leader of our ghost group." Ushinoko:   ''Mother', our unexpected visitor. May I ask your name?" Mary:   "Mary. I am the dollmaker Mary Jane. All the islanders call me the crazed dollmaker." Ushinoko:   "Hmmm, I see. I shall give a prediction!" Mary:   "Prediction?" Hachipochi:   "Ushinoko here can see the future!" Mary:   "The future?! How amazing!" Ushinoko:   "I can see ten seconds into the future." Mary:   "Ten seconds... into the future?!" Ushinoko:   "Hahaha, ten seconds from now is still the future." Ushinoko:   "Now then, let me make a prediction. Mary... In ten seconds, you will say 'yes'!" Mary:   "Ten seconds from now... I'II say 'yes'?" Hachipochi:   "Woof! That's our Ushinoko!" Bukuro:   "It still hasn't happened." Ushinoko:   "You…” Ushinoko:   "Must adore ghosts, I presume!" Mary:   "Yes!" Hachipochi:   "He was right!! You did it!" Bukuro:   "Surmise, then surprise." Ushinoko:   "And let me make another prediction! In ten seconds… you will become friends with us!" Mary:   "Friends?! Me, friends with ghosts.?! My long-awaited dream will come true?!" Hachipochi:   "She looks super happy!" Sister Ghost:   "You're a human, but you really do want to be friends with us. Ah, what a wonderful blessing from God!" Bukuro:   "Happy, crappy." Hachipochi:   "In that case, from today onward, you're our friend! Oh, you were right again, Ushinoko! Wooof!" Bukuro:   "Mary and Jacob. Meetings and greetings." Sister Ghost:   “I hope we'll get along, Mary!" Jacob:   “Good for you, Mary." Mary:   "Oh, Jacob! The ghosts are calling me by name! Surely, I must be dreaming!" Ushinoko:   "Now then, let us continue our party!" Ushinoko:   "My adorable two newcomers. This is the ghost chapel." Ushinoko:   "We require no formalities here, so enjoy yourself as much as you like!" Sister Ghost:   "If there is anything you don't know, please ask Ushinoko. He can see the future, after all." Ushinoko:   "But only ten seconds from now!" Hachipochi:   "Woof!" Mary:   "Whoa!" Hachipochi:   "Ahaha! I surprised her!" Ushinoko:   "This is Hachipochi. He's a ghost who loves to surprise people. He's probably a dog. Perhaps a dog. I believe so." Hachipochi:   "Don't get a heart attack from jumping in surprise! A-woooo!" Sister Ghost:   "I'm Sister, the keeper of this chapel." Mary:   "Good evening, Sister. Allow me to shake your hand..." Sister Ghost:   "Oh, you can't." Mary:   "Whoa!"

Sound of her falling over.

Jacob:   "Mary!" Mary:   "Ahaha! My body went right through her…!" Ushinoko:   "Sister Ghost is a very ghostly ghost, as untouchable as the smoke from a candle." Sister Ghost:   "Indeed, for I serve a consecrated life for God!" Jacob:   "What is your name, you there in tattered rags?" Bukuro:   "Gunny sack, funny sack, money sack." Jacob:   "Nice to meet you, gunny-funny-money sack." Hachipochi:   "His name is Bukuro! The hidden-headed, half-brained, no-faced gunny sack. Sweet, harmless Bukuro. Our own sleepy scarecrow!" Ushinoko:   "Welcome, Mary! Welcome, Jacob!" Hachipochi:   "Let's play together! Let's dance until morning!" Sister Ghost:   "Don't forget singing!" Ushinoko:   "Another party tonight, a ghost party!" Hachipochi:   "We are ghosts! Undead ghosts!" Sister Ghost:   "We live in a wonderful chapel." Hachipochi:   "We are ghosts! One of us, a human!" Ushinoko:   "We are ghosts! One of us, a human!" Bukuro:   "Human, crewman, women, woman." Jacob:   "Another party tonight, a party with all of you!" Mary:   "Until the moonlight disappears." Mary:   "Until the bright morning sun rises!"

◆Dollmaker's House

Mary:    "Ah, that was so fun! I've never had so much fun in my life!" Jacob:   "Good for you, Mary." Mary:   "It's all thanks to you, Jacob!" Mary:   "Oh, drat! I forgot something so very important!" Jacob:   "What's wrong?" Mary:   "A handshake." Jacob:   "Handshake?" Mary:   "Yes, a handshake. Our very first handshake!" Jacob:   "We cannot shake hands." Mary:   "Huh? Whyever not?" Jacob:   "Because it is a challenge to a duel. You and I are family and friends. Something more suitable would be better." Mary:   "Then I wonder what we should do?" Jacob:   "Hug." Mary:   "Hug?" Jacob:   "Yes. To hold and squeeze the other tightly. Not with one hand, but both arms." Mary:   "All right... Like this?" Mary:   "Wow, your skin is as icy cold as a doll's, but you have a comforting warmth that's different from a human's." Jacob:   "I do not feel heat. But my heart is warm. What a comforting warmth."

(6) Visitor

◆Dollmaker's House

Jacob:   "Mary, breakfast is ready." Mary:   "Good morning, Jacob! This lovely aroma will wake me up in an instant, regardless of how late we stayed up with the ghosts!" Mary:   "The meals you cook are always so delicious. And most of all, they're not rotten!" Jacob:   “I throw away all the rotten things in the bucket outside. That is simple enough for me to do." Mary:   "My mornings have completely turned around since you've arrived, Jacob. Every day is wonderful..!"

A knocking sound.

Mary:   "A knock? Has someone come to visit me?" Mary:   "The islanders would never come here, but neither would the ghosts during daytime." Mary:   "The answer lies behind the door. Yes, I'm coming." Jacob:   "I’ll hide myself, Mary." Mary:   "Oh Jacob, you're so shy! Yes, who is it?" Figaro:   "Good morning. Is that a flying fish meuniere you're having for breakfast?" Charles:   "Sniff, sniff. I can smell roasted mushrooms. too!" Mary:   "Oh? Who might you be?" Магу:   "Your faces look so familiar." Mary:   "Ah, yes. You look exactly like a couple of dolls I made!" Figaro:   "You recognize us, but have forgotten as well. My name is Figaro. This is my twin brother, Charles." Charles:   "Morning!" Figaro:   "The two of us are journeying across the world together." Mary:   "Oh, my! What business would travelers have here? Were you not told by the islanders to steer clear of the dollmaker?" Mary:   "They are geniuses at gossiping about me. They have so many ways of doing so." Charles:   "Yes, we've heard. Enough gossip to make our ears bleed." Figaro:   "They told us our bodies would be made into dolls if we went to the dollmaker's house." Mary:   "Then why have you come? Do you wish to become dolls?" Mary:   "Oh, dear. I've never made dolls out of living humans before. I'm sorry!" Charles:   "Hah! You really ARE strange!" Figaro:   "We do not wish to become dolls." Figaro:   "We have come here to befriend you." Mary:   "To befriend me?" Mary:   "What new meaning does 'befriend' have these days? I'm afraid I do not know." Charles:   "Her hands may be quick, but her brain sure isn't!" Figaro:   "Charles." Charles:   "I'm joking, I'm joking. Do not mind me." Figaro:   "There is no hidden meaning to the word. We wish to be your friends." Mary:   "Friends?" Figaro:   "Yes, friends." Mary:   "You humans?" Charles:   "Yes, we humans!" Figaro:   "Can you blame us for being interested? A single human who is the source of all island gossip." Charles:   "I thought you were crazy when I first met you, but…” Figaro:   "We travelers are captivated by the exciting unknown." Figaro:   "That, and the dolls you make." Figaro:   "...I actually would like one." Mary:   "One of my dolls?" Charles:   "He may not look like it, but this guy loves adorable things! Cute, right?" Figaro:   "The payment was a bit of food, was it not? How about this bright, shiny apple?" Mary:   "Oh, yes." Figaro:   "All your dolls were wonderful, but if there is one in my likeness, I would like that one. Would you please show it to me?" Mary:   "Just a moment... There he is! It's this one here." Charles:   "Wow, he DOES look like you! That's pretty impressive!" Figaro:   "Two peas in a pod. I love it. Thank you." Mary:   “...” Mary:   "This is the first time someone's accepted one of my dolls!" Figaro:   "Really? Even though they're made so well?" Mary:   "On this island, gossip is as good as truth. My dolls are so eerie, no one will come near them." Figaro:   “...” Figaro:   "Dollmaker, what do you think of going to the islanders right now?" Figaro:   "With a basket full of dolls." Mary:   "For what purpose? To chase them around while carrying a heavy basket?" Figaro:   "Just take your friends' advice to start. Now then, let us go."

Figaro stuffs some dolls into a basket.

The dollmaker and Figaro exit the house.

Jacob:   “...” Jacob:   "Mary…”

◆Harbor Town

Charles:   "All right, we've arrived in town." Charles:   "You certainly are an infamous figure. I've never seen people scatter so quickly." Mary:   "Thanks to that, I am quite a fast runner." Charles:   "So, what are we gonna do, Figaro? We've got a basket full of cursed dolls that the islanders absolutely hate." Figaro:   "Charles, a moment?" Charles:   "Hm? What's up?"

The two talk in secret.

Charles:   "Mhm... Ohh, I see." Charles:   "Okay. Leave it to me, Dollmaker." Mary:   "Leave what to you?" Figaro:   "He's going to change the curse into a blessing.” Mary:   “...?" Charles:   "Now then... Ahem." Charles:   "Everyone! Here are the dolls from the dollmaker! Adorable, wonderful dolls!" Islander:   “...Some travelers are advertising the dollmaker's dolls. Has the dollmaker cursed them?" Mary:   "We seem to be drumming up gossip rather than sales." Figaro:   "Another rumor or two is nothing at this point, right?" Charles:   "Yeah. I've heard ten thousand rumors. What's one more?" Figaro:   "I'm sure this will be the very last one." Charles:   "We are travelers who roam the world! The dollmaker's wares are among the most exotic and surprising things we have seen!" Charles:   "Never have we seen dolls so beautiful in the entire world thus far!" Charles:   "Such clear skin, beautiful curly hair, red lips, like princesses from a distant kingdom!" Charles:   "Outside of the island, they would each fetch no fewer than two silver coins!" Charles:   "And this skilled dollmaker will trade them for just a bit of food. There aren't many people with such lack of greed!" Islander:   "T-Two silver coins?! For THOSE dirty dolls?! I don't believe it..." Charles:   "If you don't, then so be it. WE will just buy them all and sell them ourselves." Charles:   "The riches we can make from the profits! Perhaps we will buy another ship!" Islander:   "...Wait! I'll give you all the fish I've caught! Just give me a doll!" Charles:   "All right, congratulations! Dollmaker, give him a doll." Mary:   “Ah, sure...! Okay, then here's a doll that looks just like you...!" Islander:   "You're right, there's one that really looks like me. I can understand why this would be worth two silver coins...!" Islander:   "Thank you, Dollmaker! I'II take good care of it!"

The islander takes the doll and shakes the dollmaker's hand.

Mary:   "Wow, wow..." Charles:   "Come now, who's next?!"

The islanders shout out names of different food as they crowd around. Charles:   "Eggs over here! Poultry from over there! Seaweed and shellfish, too! Huh? No, no, a shirt cannot be eaten!" Mary:   "I can use shirts as clothes for the dolls." Charles:   "We got an okay on the shirts!"

The people who receive a doll shake her hand and leave.

◆Port

Charles:   "We sold them! We sold all of them! We're sold out!" Figaro:   "I think there were even a few who couldn't get one. Let's come sell them again tomorrow. We'll help you." Mary:   "...” Mary:   "Why are you both so kind to me? Everyone else hates me…” Figaro:   "You are human, same as us. That is reason enough, Dollmaker." Charles:   "Well, we've got our own reasons after seeing the world." Figaro:   "That, and we're new friends, after all." Figaro: "Now then, let us shake hands, Mary."

Figaro extends his hand.

Mary:   "...!” Mary:   "Wasn't a handshake supposed to be a challenge to a duel where you are from?" Charles:   "Oh, just forget that!" Figaro:   "This is a handshake of friendship." Mary:   "It's so warm…”

The islander's hands are cold.

Charles:   "Of course it is! We've got the same blood running through our veins. Did you not know, Mary?" Mary:   "Friends..." Mary:   "Friends who are human... just like me…”

◆Dollmaker's House (Night)

Mary:   "...I'm back." Jacob:   "Welcome back, Mary. Let's go to the ghost chapel again tonight." Jacob:   "They said everyone's bringing snacks, so we'll be having a snack party." Mary:   "I'm sorry, Jacob. Snack parties are great, but I should get to sleep. I have to wake up early and make dolls!" Jacob:   "Huh…” Jacob:   "Mary…”

(7) Human? Ghost?

◆ Harbor Town

Islander:   "Ah, it's the dollmaker! The dollmaker's here!" Mary:   "Dolls, dolls, dolls, from the dollmaker!" Islander:   "Dollmaker, I've brought some food! Sell me some dolls!"

The people crowd around the dollmaker. She quickly sells her entire stock.

Mary:   "My dolls are getting new mommies and daddies, one after the other!" Mary:   "The islanders who always called my dolls eerie are now all holding one of them!" Mary:   "Everyone is glad to see me now!"

Everyone leaves once the dolls have been sold.

Mary:   "But..." Figaro:   "Mary's dolls were a big hit again today." Mary:   "Figaro!" Charles:   "Oh? You look a bit sad, Mary." Mary:   "Th-That's not true, Charles!" Figaro:   "...How about you come for a walk with us?"

◆Harbor

Figaro:   "Mary, do you like the island?" Mary:   "Why the sudden question, Figaro?" Figaro:   "You just seemed so lonely, even when surrounded by all the townspeople." Mary:   "...!" Mary:   "...Thanks to you both, the islanders have changed. They pay notice to me now. They approach me. They buy my dolls." Mary:   "But it feels as though they aren't actually paying attention to me. That's why it feels like the islanders are even colder to me now than before." Mary:   "And that's... what makes my heart ache." Figaro:   "...I've become sure of something, Mary." Figaro:   "You must leave the island with us." Mary:   "What?" Figaro:   "A herd will always single out a runt." Figaro:   "You will find no happiness here in the midst of such disdain." Figaro:   "You must get out, Mary. As long as you live on this island, your role will never change." Figaro:   "That's why it's best for you to leave with us." Mary:   "Leave the island... But if I struggled so much on this island, how could I ever do well outside of it?" Charles:   "Hahaha! How many islands do you think there are in this world?" Mary:   "I don't know. How many?" Charles:   "I don't know, either!" Mary:   "Wha...?" Charles:   "That's how big the world is! I'm sure there is an island you can truly call home." Figaro:   "There is joy and happiness that you can hardly imagine. Please think it over. Good day."

The two of them leave. Mary:   "Outside..."

◆ Ghost Chapel

Hachipochi:   "Woof!" Jacob:   "Hello, Hachipochi." Hachipochi:   "Tch, how boring! It's no fun that Jacob never gets surprised!" Jacob:   "Maybe that's because there are snails in my ears." Hachipochi:   "In that case, I'll scare Mary. Where's Mary?!" Jacob:   "Mary goes to the harbor town each day to sell dolls." Sister Ghost:   "How splendid to work so much every day! Dear God, please grant Mary your blessings!" Jacob:   "...” Bukuro:   "Jacob, not happy." Jacob:   "That's not true." Bukuro:   "Want to flee, but nowhere to be?" Jacob:   "Why do you think that?" Hachipochi:   "I hear Bukuro tried running away in the past, but failed. Woof." Sister Ghost:   "The gunny sack and the rope on his arm are symbols of his sins. God have mercy..." Jacob:   "I see... Everyone has their own circumstances, it seems." Jacob:   "Perhaps I want to run away, too. I'm not sure." Jacob:   "I just want to mull over my thoughts awhile." Ushinoko:   "You can do anything here. Mull to your heart's content." Jacob:   "Thanks, Ushinoko." Jacob:   "...” Jacob:   "Mary. Mary is the best dollmaker. The dolls Mary makes overflow with love." Jacob:   "I'm the same. I feel Mary's love in every single stitch on my body." Jacob:   "It's not just love. Mary's pain, sadness, and the loneliness she's carried all this time, all of it is etched in me." Jacob:   "Mary. I wonder if talking to humans soothes your soul. I wonder if it makes you happy." Jacob:   "Now that you have human friends, I wonder if you don't need dolls or ghosts anymore." Jacob:   "I wonder if you won't need me anymore." Jacob:   "Say, Mary. Mary, Mary... Jacob:   "Hah…” Jacob:   "Hm…?" Jacob:   "What's that? There's a large ship on the horizon.”

Fade out.

◆Harbor Town (Night)

Islander:   "The dollmaker's doll, worth two silver coins..." Islander  "It is only a doll. but it looks iust like me." Islander:   "I remember when I look at this doll... What exactly? I remember something." Islander:   "Something I'd forgotten long ago. Something I'd thrown away. Something important." Islander:   "Something important."

The islanders cover their faces, looking at their dolls.

Charles:   "...Figaro, something strange is happening on the island." Figaro:   "I think we'll have to move a bit sooner than planned..."

◆Dollmaker's House (Night)

Mary:   "I'm back, dear dolls. Mommy's home." Mary:   "Jacob, are you at the chapel?" Mary:   "...Hm?" Jacob:   "Zzz…”

Jacob is sleeping on the sofa.

Mary:   "You'll catch a cold sleeping in a place like this... Oh, but ghosts don't catch colds!" Mary:   "Still, I'll put a blanket over you. Here you go." Mary:   "...”

She touches Jacob's cheek.

Mary:   "What a cold cheek. He's different from Figaro and Charles. He's different from a human." Jacob:   "Mrrn... Mary..." Mary:   "...” Mary:   "But when I'm with you, my heart steadily grows warm." Mary:   "I'm curious of the world outside, but I'm sure my place is here!"

(8) Burning

◆Dollmaker's House

Mary  "Hahh... Hm? The sky's as red as a ripened tomato. It's already evening." Jacob:   "Good morning, Mary." Mary:   "Jacob. 'Good evening' is more like it. Why did you not wake me?" Mary:   "I had business in town today." Jacob:   "In town, you say…” Jacob:   "Town... harbor... ship…ghost.." Mary:   "Jacob?" Jacob:   "Please stop going to town, Mary!" Mary:   "Whatever is the matter? Why do you look so sad?" Jacob:   "I have an unbearably bad feeling about this. Please, stay here." Mary:   "A bad feeling? But I must see Figaro and Charles today." Jacob:   "Those humans?" Mary:   "They're my friends now. We made plans to meet today…” Jacob:   "I'm your friend too, Mary!" Mary:   "Aah! What is the matter, Jacob? Yelling as loud as Hachipochi." Jacob:   "Even Hachipochi wanted to see you, too! Let's go to the chapel! Let's go the place where the ghosts are!" Mary:   "I told you, I can't today. Figaro invited me to go with them to the outside world." Jacob:   "The outside... world...?" Jacob:   "I guess you do prefer humans…” Mary:   "Jacob?" Jacob:   "I hate you." Mary:   "Wha…” Jacob:   "I hate you, Mary! I absolutely hate you!" Mary:   "Wh-Where has this come from?!" Jacob:   "Mary, you're... you're... not my friend!" Mary:   "...!” Mary:   "Were you the same as the islanders all along..? You were a friend only on the surface?" Jacob:   "No... I...!" Mary:   "You are! In the end, if I stay on this island, I'll never be loved by anyone!" Jacob:   "Mary...!"

The dollmaker rushes out of the house.

◆Outside the Dollmaker's House

Mary:   "Terrible, how terrible... I thought he was my friend, too..." Mary:   "My fingertips are cold. I feel they might freeze." Mary:   "Hm?" Mary:   "The setting sun is covered in black." Mary:   "What is that black color? Smoke? From where? It seems to be coming from town... Too billowing to be from any kitchen…” Mary:   "...It's a fire." Mary:   "The town is on fire!"

◆Burning Harbor Town

Mary:   "It spread so fast! The islanders, Figaro, Charles…” Islander:   "…..Dollmaker."

An islander appears, carrying a doll.

Mary:   "Ah, good gentleman of the island. I see you are safe! ...Hm?" Mary:   "My doll... Did you hold onto it so that it wouldn't be caught in the fire?" Islander:   "This doll is like me. The doll, it... speaks to me." Mary:   "This is no time for speaking. Hurry and escape or you'll be burned to a crisp." Islander:   "I didn't want to remember. I didn't want to remember, and yet. Urrgh, uurgh…!” Islander:   "This is your fault, Dollmaker!" Mary:   "…Urk! Aagh!"

Sound of a gunshot.

Islander:   "Aaaargh!" Mary:   "H-He was shot...?" Charles:   "Ahahaha! That was close, huh Mary?" Mary:   "Charles!" Mary:   "You shot the islander?! Why…” Islander:   "Agh, ugh…”

Whooshing sound of the islander disappearing.

Mary:   "He disappeared...?" Islander:   "Dooollmaaaaker!" Charles:   "Oh, there's another one!"

Gunshot.

Mary:   "Aah…” Islander:   "...Dollmaker." Islander:   "Dollmaker, dollmaker!" Mary:   "That person, and that one, they're holding dolls…” Islander:   "It's your fault that I remembered..." Islander:   "My life, my death, my rotted corpse..!" Mary:   "Death...? Rotted..?" Charles:   "Ahaha...Mary, you really didn't realize what was happening?" Charles:   "That everyone on this island aside from you are ghosts!" Mary:   "Everyone's a ghost... aside from me…?” Islander:   "Dollmaker, dollmaker, dollmaker." Islander:   "Dollmaker, dollmaker, dollmaker." Mary:   "The islanders are gathering together..." Charles:   "They were finally able to forget they had died, but remembered again thanks to your dolls. Only natural for them to hate you for that." Charles:   "Still, there are quite a few of them. Too many to clear away with a gun." Islander:   "Dollmaker, dollmaker, dollmaker!"

Sound of a blade cutting through flesh.

Figaro cuts down islanders rushing toward them.

Islander:   "Aaaaaagck!" Mary:   "The islander was cut in two..!" Figaro:   "If only you had a sword too, Charles."

Whooshing sound of the islander disappearing.

Mary:   "They disappeared…” Figaro:   "Both Charles's bullets and my sword are blessed. They have properties that are effective against ghosts." Mary:   "I don't understand, Figaro! Why are the islanders attacking me?! Why are you attacking them?!" Mary:   "Please tell me!" Figaro:   "...This island, Kakuriyo island, is a strange one. Every person who dies here becomes a ghost." Mary:   "The people become ghosts…” Figaro:   "Have you ever seen any of the islanders grow old?" Figaro:   "Have you ever seen babies growing into children, children into adults, adults into the elderly, or the elderly passing away?" Mary:   "The islanders never change! The children stay children, and adults stay adults." Mary:   "The newborns seek their mother's milk day after day, and those on the verge of death from illness live to see every sunrise." Магу "But isn't that how humans are?" Mary:   "I am the one who is strange. With my changing moods, with my hobbies. That is why everyone thinks I'm strange and avoids me." Charles:   "Your common sense was just distorted because of the ghosts." Figaro:   "...Let's leave the island, Mary. You've been burdened with a pain you were never responsible for." Charles:   "A ship's just arrived, a ship for us. Our friends are there." Mary:   "Friends...?" Mary:   "You're right. There are so many people here I don't know..." Mary:   "These strangers holding torches..." Mary:   "The flames are the same color as the fire...!" Figaro:   "This is no ordinary flame. It was brought here specifically. Flames kindled by priests, which light the depths of the great cathedral." Charles:   "The ghosts don't stand a chance with this." Mary:   "Just who are you people?" Charles:   "We are the Order of Shadows. We specialize in hunting ghosts." Charles:   "Our objective is essentially…” Figaro:   "To wipe out everyone on this island." Mary:   "...!” Figaro:   "We were actually supposed to take care of this more quickly." Charles:   "The ship we rode here is no more. Figaro and I were the only survivors." Charles:   "But reinforcements have finally arrived." Charles:   "We've got to finish this job and get home. With you." Charles:   "These ghosts pretending to be humans are almost gone. There's no reason to stay on an island all by yourself, right?" Mary:   "...” Figaro:   "Are you worried about the ghosts at the chapel?" Mary:   "How do you know of them?" Figaro:   "We are no ordinary hunters. We investigated everything about this island, down to the doll that lives in your home now." Mary:   "You mean, when you came to my house for the first time…?” Charles:   "It's our job, sorry." Figaro:   "I feel so sorry for you, Mary. To have to reached out to ghosts because you couldn't bear the loneliness." Figaro:   "However, you are not alone anymore. We are here with you." Figaro:   "We are as warm as you are, in the same form. Humans who can grow alongside you." Figaro:   "Let's leave the island, Mary." Mary:   "...” Mary:   "My best friend told me he hated me. The doll I made by sewing parts of corpses together.” Charles:   "That's a ghost for you. They'll make you trust them, then stab you in the back without blinking. I see it all the time." Mary:   "I see. That's what ghosts are... Mary: "..." Mary:   "......” Mary:   ".........” Mary:   "That can't be!" Charles:   "What can't be?" Mary:   "I... I... I still care for Jacob!" Mary:   "Even if Jacob hates me, I still care for him! I like all the ghosts in the chapel!" Mary:   "I didn't become friends with ghosts just because I couldn't get along with humans!" Mary:   "I wanted to be with them because they were so full of life!" Mary:   "None of them have done anything wrong. Please leave them alone and return to your country!" Figaro  “...” Charles:   "What we do, Figaro?" Charles:   "If that's how Mary feels, we've got no choice…” Charles:   "Yeah, you're right." Mary:   "I'm sorry. Thank you…”

Figaro knocks the dollmaker down with the hilt of his sword. Mary:   "Urgk!"

Sound of the dollmaker falling down.

Charles:   "Ahaha! A clean hit!" Mary:   "Why...?" Figaro:   "Why?" Figaro:   "Because I have to take you back to our country and crucify you for making a doll from the corpses of our friends, Dollmaker!" Mary:   "The corpses of your friends..." Charles:   "Wow, you really are stupid. You really don't get it?" Charles:   "The corpses you used to make your disgusting doll were our friends who perished in the storm!" Mary:   "Your friend's... corpses...” Charles:   "Understand now? The depth of your sins?" Mary:   "If you can love unmoving corpses so much…” Mary:   "How can you not feel for living ghosts...?" Charles:   "Yeah... She's off her rocker." Charles hits the dollmaker with the butt of his gun and knocks her out. Figaro:   "Don't put humans and ghosts together, you crazy dollmaker!"

◆Dollmaker's House (Night)

Jacob:   "...” Jacob:   "Ahh, why did I say such a terrible thing...” Jacob:   "As a ghost, I was jealous of Mary's friends for being human like she is." Jacob:   "Because of that, I lied and hurt her." Jacob:   "When she gets back, I must apologize to her…”

Sound of a door opening.

Jacob:   "Mary?" Jacob:   "Mary! I'm so sorry, Mary! I said something so terrible to you. Please, forgive me..." Sister Ghost:   "I don't know what has happened, but repenting for your sins, seeking forgiveness, and expressing your love are the very things God wishes!" Jacob:   "Sister Ghost, why are you here?" Sister Ghost:   "I'm sorry to come unannounced, Jacob. Look out the window." Jacob:   "Out the window...?....!" Jacob:   "The town is on fire...?!" Jacob:   "Mary! Mary's in town! Mary, Mary!" Sister Ghost:   "Calm down, Jacob! I'm sure Mary's fine." Jacob:   "Being sure isn't good enough!" Sister Ghost:   "But it's certainly better than what will be arriving in mere moments." Jacob:   "What will arrive...?" Sister Ghost:   "The Order of Shadows are ghost hunters, and they are on their way to kill us." Jacob:   "The Order of Shadows…” Sister Ghost:   "The dollmaker is human, so even if she's captured, she won't immediately be killed. That will not be the case for us." Sister Ghost:   "They are given enchanted weapons and sent to places where there is neither God nor devil." Sister Ghost:   "Let us escape for now, Jacob, so that we may see Mary as well." Jacob:   "...” Jacob:   "All right..."

(9) Save Jacob

Darkness.

Mary:   "…Urgh. Where are we? It's pitch black." Mary:   "Ah! Where's Jacob?! Where are the ghosts of the chapel?!" Mary:   "Figaro! Charles! Let me out of here!" Mary:   "...I cannot hear a single thing." Mary:   "Will this door reopen when everything is done? When everyone on the island has died?" Mary:   "I don't want that! Jacob, Jacob..!"

Sound of the door unlocking.

Mary:   "...!” Hachipochi:   "Wooof!!!" Mary:   "Aahh!" Hachipochi:   "Ahaha! Did I scare you, Dollmaker?!" Mary:   "Hachipochi?!" Hachipochi:   "Ushinoko said that you'd definitely be scared!" Ushinoko:   "I can see ten seconds into the future, after all." Mary:   "Ushinoko! Why are the two of you here...?" Mary:   "I see, so the Order of Shadows does not exterminate ghosts after all! You're all safe!" Hachipochi:   "I remember, that's why we're here!" Hachipochi:   "Even though we were all hiding in the chapel, the Order of Shadows came and sprayed holy water all around!" Mary:   "Holy water?" Ushinoko:   "It is like acid or poison to us ghosts. We'll melt if we touch it, and suffer when we smell it!" Hachipochi:   "Raw garbage smells way better! Woof!" Ushinoko:   "We were able to barely escape, but everyone else is still in the chapel. Jacob is there, too." Mary:   "Jacob!" Ushinoko:   "They'll grow weak and die if we don't save them quickly…” Mary:   "What do we do?!" Ushinoko:   "First we must get out of here... Though it is rather hellish outside."

◆ Burning Harbor Town

Wailing voices.

Gunshots.

Screams.

Mary:   "Ah, the islanders…”

The islanders disappear, attacked by the Order of Shadows.

Mary:   "We must find something...something to save Jacob and the others…” Ushinoko:   "If only we could find something to wash away the holy water…’ Mary:   "Wash away…” The dollmaker looks at the islanders. Mary:   "Ah, that's right...!!" Ushinoko  "Ah, I see...! I know what you'll say ten seconds from now!" Hachipochi:   "What is it, Ushinoko?! What did the dollmaker think of?!" Mary:   "If we use THAT, then maybe...!"

◆ Ghost Chapel

Charles:   "I've never heard of ghosts holing themselves up in a chapel before." Figaro:   "It must be Sister Ghost's plan. We can burn the town, but not a chapel." Charles:   "If it's a nest for ghosts, we can burn it down without guilt, can't we?" Figaro:   "Don't forget we are granted God's divine protection, Charles." Charles:   "You sure are faithful. Well, the ghosts inside must be weakened by now, anyway."

◆Ghost Chapel (Inside)

Bukuro:   "Choking, croaking..." Sister Ghost:   "Hang in there, Bukuro… Urgh." Jacob:   "The scent of the holy water is filling the chapel." Bukuro:   "Fly now or die now…” Sister Ghost:   "No! If we leave, we all be killed by the Order of Shadows!" Sister Ghost:   "Ushinoko and Hachipochi will come save us, I'm sure! Mary will come as well! Let's believe in them and hang in there!" Sister Ghost:   "Ah, but... I am losing consciousness…” Jacob:   "Me, too... My mind is beginning to fade." Jacob:   "Will I never see Mary again?" Jacob:   "If I can at least apologize to her…” Jacob:   "I want to... hug her again…” Jacob:   "Mary…”

◆Ghost Chapel

Figaro:   "...it's about time." Charles:   "Time for cleanup duty!" Mary:   "Stop!"

The dollmaker appears, holding a bucket.

Charles:   "The dollmaker?! Why is she here...?" Figaro:   "…..She's holding a bucket?" Mary:   "The ghosts saved me! That is why I'm going to save them!" Charles:   "Hah! What can you even do alone?!" Mary:   "Just watch! These are all the things the islanders have given me!" Figaro:   "That's... No! Charles, stop!" Sound of the dollmaker throwing down sludge. Charles:   "What is this stench?! It's sickening!" Mary:   "It's rotten food!" Charles:   "Rotten food...?! You're pouring it everywhere!" Mary:   "Even God would hold his nose and run away from this!" Mary:   "…..The people from this island are all dead, so they must not know what foods are rotten and what aren't…” Mary:   "All that's left is you two!"

Splashing sounds. Figaro:   "Urk." Charles:   "Ugh, I'm gonna vomit!" Mary:   "Jacob, Jacob! You're there, aren't you?! It's me, Mary!"

◆Ghost Chapel (Inside) Jacob:   "..Mary? I can hear Mary's voice…” Bukuro:   "Mary's gotten something rotten." Sister Ghost:   "The smell of the holy water's weakening…” Mary:   "Jacob, Jacob! You have to escape from here! Come outside, hurry!" Jacob:   "...Mary! Mary!" Charles:   "Hah! The entrance to the chapel's barricaded with holy wood!" Figaro:   "Even if the effect from the holy water is gone, the ghosts can't open it..." Jacob:   "Aaaagggggh!"

◆Ghost Chapel 

Sound of a wall breaking.

Ushinoko:   "Jacob! I didn't imagine you'd break through the chapel wall!" Charles:   "Are you serious...?!" Figaro:   "...What strength." Jacob:   "Mary!" Mary:   "Jacob!" Jacob:   "Mary, Mary!" Jacob:   "I'm sorry, Mary, ..." Mary:   "My precious doll. Let us rejoice in seeing each other again!" Jacob:   "Yes…! Mary, you stink!" Mary:   "This is a gift from the islanders." Charles:   "..Damn it! What 'precious doll'..?" Charles:   "Listen, Dollmaker! His face is Quoran's, his eyes, Cumero's! His feet are Ozarki's and his hands are Rinzei's!" Charles:   "His heart is of a Kariudo… all friends of ours!" Charles:   "To sew all of those together and make them into a doll! You disgusting zombie, I'll purify you first!"

Sound of a gun cocking.

Hachipochi:   "Grrrr... Woof, woof, woof, woooof!!! Charles:   "Agh!" Figaro:   "Wh-What a loud sound...!" Charles:   "It's like my eardrums are bursting! This dog of a ghost! I'lI blow your brains out!" Hachipochi:   "Dog?! Did you just call me a dog?!" Hachipochi:   "Yes! Finally, someone said I'm a dog!" Mary:   "Hachipochi!" Hachipochi:   "Oh, that's right. Now's not the time for this!" Mary:   "Everyone, run away!"

*Dance

"Hallelujah Shout the name of God, My Friend~"

Sounds of running footsteps. Figaro:   "Urk... After them, Charles!" Charles:   "Right!"

◆Forest

Mary:   "Hahh, hahh."

Sound of a gunshot. Jacob:   "...They're already right over there!" Sister Ghost:   "They'll catch up to us at this rate! Oh, God!" Bukuro:   "Gunning for us, running toward us." Ushinoko:   "My prediction for ten seconds from now! They'll shout in voices as loud as Hachipochi's!" Mary:   "Ushinoko?!" Ushinoko:   "In ten seconds, the two of them will fall into a hole I dug!" Charles:   "A hole?!" Figaro:   "...Charles, wait a second!" Charles:   "Damn it! Where is that hole…” Ushinoko:   "Now then, go!" Hachipochi:   "Ushinoko, when did you have time to dig a hole?!" Sister Ghost:   "Would it not have been better to simply say nothing and let them fall in...?!" Ushinoko:   "Heh heh, listen very, very closely!" Ushinoko:   "It takes less time to tell a lie!" Jacob:   "So there isn't a hole!" Mary:   "I guess ten seconds into the future isn't all you can see!"

Everyone runs off together.

(10) Head to the Ocean

◆Burning Harbor Town

Dolls strewn about.

Mary:   "...”

The dollmaker gazes at the dolls left behind.

Mary:   "So they were all ghosts.” Ushinoko:   "They all thought of themselves as human, unlike the rest of us." Ushinoko:   "It was what they wanted to believe." Mary:   "I see. Indeed..." Hachipochi:   "Ushinoko, what are we gonna do now?" Bukuro:   "We're not covered, we'll be discovered." Ushinoko:   "You've just given me an idea. Come, this way!"

◆Port

Mary:   "The port?"

Sound of a gunshot.

Hachipochi:   "Ah! I felt a bullet graze my fur!" Charles:   "This game of tag is over!" Mary:   "Charles." Figaro:   "We'd like to return to our country quickly." Mary:   "Figaro…” Bukuro:   "Sought us so fast, caught us at last." Figaro:   "...Charles. Aim for the dollmaker." Mary:   "...!” Jacob:   "Why?! Mary isn't a ghost, she's human!" Figaro:   "She's a sinner who has done the work of the devil and desecrated the dead." Figaro:   "There's no point in bringing her back to our country just to punish her there." Charles:   "You heard him. I happen to agree." Mary:   "Figaro, Charles…” Mary:   "Even now, I see you both as my friends..." Charles:   "That's nice." Figaro:   "But farewell all the same." Bukuro:   "…Look out!" Charles:   "Agh, what are you doing?! Let go!" Mary:   "Bukuro?!" Bukuro:   "Run away, run away!" Mary:   "Bukuro, what are you…” Bukuro:   "Run awaaaaaay!" Mary:   "Bukuro…!” Charles:   "St-Stoppp!"

Sound of them hitting the ocean water.

Charles dies.

Figaro:   "Charrrrrles!" Mary:   "Bukuro pulled Charles down into the ocean…” Ushinoko:   "Urk... Everyone, hurry onto the ship…” Figaro:   "Charles... Charles..." Figaro:   "Aaaaaaaaaaaaaaaaagh!" Jacob:   "...Mary, look out!" Mary:   "…..Urk!"

Jacob saves the dollmaker.

Figaro  "How could you... Charles... I won't forgive you... I’ll never forgive you…” Figaro:   "I'II kill you... I'll kill all of yoouuu!!!" Ushinoko:   "Sister Ghost, get back!!" Sister Ghost:   "Eeek!" Hachipochi:   "Look out!" Hachipochi grabs Sister Ghost and dodges the attack. Hachipochi:   "Ah, did my ear get cut?!" Figaro:   "I'II kill you... I'll kill you.. I'll kill you...!" Ushinoko:   "We can't get closer to the ship with him waving his sword around like that...!" Mary:   "Figaro…” Figaro:   "Don't speak my name with that filthy voice of yours!" Figaro:   "Everything would have ended without any problems if it weren't for you...!" Figaro:   "Yeah, that's it...Dollmaker... It's you. It's your fault... It's your fault Charles died!!!" Jacob:   "Mary!" Mary:   "Stay away, Jacob!" Figaro:   "Dieeeee!!" Mary:   "...”

A large number of dolls jump out and grab onto Figaro. Figaro:   "...Urk!! Wh-What?!" Mary:   "Dolls...?" Jacob:   "Mary, these are…” Doll:   "Mommy." Doll:   "Mommy, mommy." Jacob:   "The dolls Mary made…” Doll:   "Mommy, mommy.” Doll:   "Mommy, mommy."

Ushinoko:   "More and more are gathering together...!"

Figaro:   "Not just the pile of corpses cobbled together, but even these simple dolls have souls...?!" Doll:   "Mommy was so alone." Doll:   "Mommy was so lonely." Doll:   "But Mommy isn't alone." Doll:   "We were always there with her." Doll:   "Protect Mommy, let Mommy run away." Doll:   "Protect Mommy, let Mommy run away!" Mary:   "Ah, ah..." Figaro:   "Ugh, get off! All of you, get off…!" Ushinoko:   "Now's our chance! Let's go!" Ushinoko:   "We need to escape the island!" Mary:   "But...!" Doll:   "Protect Mommy, let Mommy run away." Doll:   "Let Mommy run away. Please Mommy, run away." Mary:   "My dears…” Jacob:   "Mary!"

Jacob grabs hold of the dollmaker. Jacob:   "Let's escape!" Mary:   "Urgh, uurrrrghh..." Mary:   "I'm sorry, I'm sorry... Thank you all!" Figaro:   "Urgh! Get off... Get off!!" Doll:   "Protect Mommy, let Mommy run away." Doll:   "Protect Mommy, let Mommy run away." Figaro:   "Aaaaaaaaaaagh!"

The dolls overtake Figaro completely.

(11) On the Boat

◆Ship

Hachipochi:   "Ushinoko, this ship makes my head spin! Woof!" Sister Ghost:   "Holy Bibles, holy water, holy weapons...! There are so many things stored here that ghosts hate!" Ushinoko:   "Not to worry! We have a powerful ally with us. Mary the human, throw them all away please!" Mary:   "This is the first time I've been so happy to be a human!" Mary:   "...” Mary:   "Figaro and Charles mentioned before that the world was so big." Mary:   "There is surely an island where I can be happy. To experience joys I cannot fathom." Mary:   "I'm sure they only said that to win my favor..." Mary:   "But I want to believe in those words. They were the first human friends I had ever made." Jacob:   "Right. I'm sure that joy and happiness await. Beyond all our dreams." Mary:   "...Yes, that's true. I'm sure that's true!" Mary:   "All right, I'II throw everything we don't need into the ocean!" Mary:   "First, these heavy books! Next, these glittering candlesticks!"

Sounds of splashes as they hit the ocean. Bukuro:   "...Items pricey! Water spicy!" Mary:   "...?!" Jacob:   "That voice... Ah, look!" Hachipochi:   "There's something that looks like trash floating in the ocean!" Ushinoko:   "Oh, wait! In ten seconds we'll all be a whirl of joy after noticing what that trash is!" Mary:   "Bukuro... It's Bukuro!!" Hachipochi:   "He's okay! That's amazing, woooof!" Sister Ghost:   "Oh, what a miracle! Thank you, God!" Mary:   "We can't wait ten seconds! Let's pull him up!" Jacob:   "Right!"

◆ Harbor

Charles appears, soaked to the bone. Charles:   "Agh... To think our ship would become a ghost ship!" Figaro:   "Looks like we'll have to wait here on the island for another rescue crew." Charles:   "Still, looks like we survived by a hair." Figaro:   "I didn't know what would happen for a moment there." Figaro:   "...By the way, Charles. You look pretty terrible." Figaro:   "That pale face of yours, is like a flying fish that can't fly." Charles:   "You're one to talk, Figaro. Your skin is as pale as a fish's belly!"

◆Ship

Sounds of waves.

Ushinoko:   "Another party today, a ghost party!" Hachipochi:   "We are ghosts! Undead ghosts!" Sister Ghost:   "We lived in a wonderful chapel." Hachipochi:   "We are ghosts! One of us, a human!" Bukuro:   "Friends together, fun forever." Jacob:   "Whether you're a ghost or human doesn't matter!" Mary:   "Another party today, a party for all of us!" Jacob:   "To where the sea wind whispers us to go." Mary:   "Until we reach the end of the world!"

*Song

"!!!Ghost Party!!!"

The End

[englishotomegames]

Jack Jeanne (ジャックジャンヌ)

Release dates (Nintendo Switch) Japanese: March 18th, 2021 English: June 15th, 2023

"Kisa is about to abandon her dream of becoming an actor when she is given the opportunity to enroll at the prestigious Univeil Drama School. She is granted admission with two conditions: be chosen as the lead in the final performance and hide her identity as a girl! Competition at the school is fierce and the rivalry is real!

Will Kisa be able to forge powerful bonds with her all-male classmates while competing against them for key roles?

Will she be cast in the lead role in the final performance at the end of the year all while keeping her secret?"

This is a game for the Nintendo Switch translated by Aksys Games! You can buy the physical version from Amazon.com here, or digitally from the Nintendo store.

[couldbebetterforsure]

I saw you asking for the full lines distribution for the title song of Jack Jeanne (Jack Jeanne of Quartz) and I just found a website with the lyrics (in Japanese) WITH WHO SINGS WHAT!!

It bothered me so much not knowing 😂

https://petitlyrics.com/lyrics/3039516

Anon, my beloved, we shall be wed in the morning!

Seriously though, thank you so much for taking the trouble to find this! I checked out the site and it looks like it does have the lyrics and who sings what for all the songs in the game, not just the title one so I’m gonna have fun going through it!