Specifically creativity was the field of intelligence, which made up the strength of Sigmund.

What did it mean to be creative? Well to answer that, one would have to first point out, that the question itself was not a question that a creative person would ask, but not because they already knew what it meant to be creative, but because this question was the antithesis to creativity. In creativity lies the means of coming up with unexpected solutions for problems that had not yet been solved. This was not dealt with, by asking for the solution of the problem over and over again, most problems like this could be compared to a maze with several exits. If one only went into one direction (asked a question), one was likely to step into an area that was titanic in size, but provided no exit at all, only ways to waste ones time.

That was what creativity was the opposite of. Instead of going into one direction, one would search the immediate area (ask related questions), close to the point one has been as throughly as possible. In that one spent less time chasing an illusive 'goal' and instead became more aquainted with the relevant area, despite the temptation to run along a path that seemed promising.

Should the goal lie far far away or close, to be creative is to look into every path from the problem, to climb through hidden hatches in the ceiling into a strange vertical labyrinth filled with portals, non-euclidian space and moving parts, and then not becoming lost in the fascination, but merely testing several things close to the hatch, climbing down again and then looking at where the trapdoor close to the original point might lead. That was how one came up with creative ways to deal with problems, looking for that which came close.

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Sigmund was not only that of course, he had gone lost somewhere up in the hatch when he had invented his automaton race, studying an area around one of the portals which he had chosen to be his next starting point. He hadn't even spotted the trapdoor yet.

Enough about Sigmunds creativity and back to the starting point. Who could he trust?

He instead asked, what was trust? Trust was some possibility that one would not lie.

He then asked, what makes one trustworthy? Previous experiences of one having not lied.

Could he extrapolate from previous experiences (he was beginning to stray from the origin)?

This place defied previous experiences in some places, one had to be careful.

What could he trust based on previous experiences? There was still up and down, he had control over his body, vision showed him relevant things, he could still hear and things that moved made sound, the metallic ground made a metallic sound, he could understand the language, people were roughly anthropomorphic, he could open the door next to him with his hand- more searching in this direction would lead too deep.

Was there even a reason to trust? The positives never outweighted the negatives and purely from that standpoint, he had more to lose in trusting any of them than he had to win, the right move was to distrust both. Sigmund had not strayed much from the original problem, he had resisted the temptation of going haywire on the reality check or analyzing the details of what had been said to him, he had searched the surroundings and found that one of the wooden doors in an metaphorical labyrinth provided the exit. Sigmund ran away from Red and ran away from the direction he had seen Blue leave in, he did not look back.