Schizm: Mysterious Journey

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Published on: October 14, 2011

Schizm: Mysterious Journey

A Few Notes on Navigation


Schizm allows you to rotate through a full 360° in most locations (to better see the scenery) but you can only move along certain fixed paths between certain fixed points. I call these “paths” and “nodes” in this walkthru.

Many nodes have multiple paths leading from them so it may not always be obvious which path I am directing you on. I will try to give landmarks to navigate by as best as I can but if you seem completely lost try going back to the last node and looking around for another path.

If I tell you to look for an arrow, what I mean is that you should move the cursor around until it changes into the arrow indicating you can walk forward. When I tell you to examine an object, I mean that you should move the cursor over the object until it turns into the magnifying glass then click on it.

There are numerous places in the game where you have to click forward several times to get anywhere. For example, the game has an annoying tendency to have you stop in the middle of bridges, stairs and the like, forcing you to click forwards a second time (or third, or fourth, or…) in order to go the rest of the way. If I tell you to cross a bridge or whatever, just go forward however many times is necessary.

Finally, there are a number of actions in the game, such as entering and exiting vehicles or elevators, that you will find yourself doing over and over again. I won’t be giving detailed instructions on how to do this every time you come across one; just assume it works the same way it did the last time.

The Story So Far


When the planet Argilus was discovered, it was found to contain cities, machinery and other evidence of an advanced civilization, but no people. The planet was deserted, its population seeming to have vanished without a trace.

The planet was quarantined and a scientific expedition sent to attempt to discover what had happened to the Argilans. Then, contact with the scientific team was lost.

Now, a supply ship piloted by contact specialists Hannah Grant and Sam Mainey has arrived at Argilus. They were supposed to receive a briefing once they reached the planet but their hails go unanswered; the science team seeming to have vanished as mysteriously as the Argilans before them.

Suddenly, the drives on their ship fail and it begins an uncontrolled reentry into Argilus’ atmosphere. Hannah and Sam are forced to eject in the escape pods and fall to the mysterious planet below.

Walkthrough
Hannah and the Living Ships


After the introduction is finished you get your first view of Argilus in the person of Hannah Grant. She will unsuccessfully attempt to contact Sam then you will gain control. You can switch to Sam at this point if you want but we’ll continue with Hannah for now.

Go forward and up the ramp directly in front of you. As you arrive at the next landing you will see a flash of light. Hannah will comment on this but it really doesn’t mean anything; it’s just a foreshadowing of events to come.

Turn to the right until you see another ramp. Go forward and up it. You will arrive on another landing.

There are two paths forward from this node, one to the left of the organic-looking column directly in front of you and one to the right. Take the right path. This will take you to an area surrounded by several benches.

Turn to the right until you have almost turned completely around. You should see a couple of wooden tables under what looks like a clothesline. The nearest table has what looks like an electronic tablet on it. If you hold your cursor over the tablet it should turn into a magnifying glass. Click on it and you will get a close-up of an expedition logbook. Hannah will get very excited but her excitement will evaporate a moment later when she realizes that the memory in it has been erased. Now, why would someone have done that? Oh well, back out of this scene and turn around again.

You should be facing what looks like an open tower. Go forward out of the benches area and you will be looking at a doorway into the tower. There is a button to the left of the door and pushing it will summon an elevator. The elevator will also come automatically if you move forward so just go forward into the opening. The elevator will arrive and you will automatically get in.

Turn to the left until you see the control panel. Push the up button. When the elevator gets to its destination, turn to the left until you get a forward arrow again and go forward. You will leave the elevator shaft.

There is a device off to your right but ignore it for now. Find the path a bit to the right of center and go forward. Hannah will make a comment about how there are no people around. Again, go a bit to the right and forward. You will find yourself at the base of another ramp. Turn a bit to the left and go up the ramp and to the next landing.

You are now looking at a door to a building. You can flip the door-knocker but it doesn’t do anything at the moment. If you look to the left you will see a beehive. To the right is another beehive and a path. Take that path.

If you turn to the left you will see a large, pear-shaped container of some kind, partially filled with some type of liquid. You can click on it to get a close-up if you wish. Note the row of symbols down the middle of the container.

You will also see a small, wooden “shelf” on the right side of the container. Click on that as well. Take note of the object on the shelf and the picture on the wall behind it. There isn’t anything else we can do here at the moment so back out of any close-ups, turn until you are facing the ramp again, go forward then go down the ramp.

Turn to the right until you are looking at a more-or-less open path between a building on the right and a gazebo-looking structure on the left. Go forward then turn left to look into the entrance to the “gazebo”. (If you find yourself staring at a wall, turn right and go forward then turn left to face the entrance.) This is another elevator. Go in and take the elevator up to the next level.

When you exit the elevator you should be facing a stream of greenish liquid falling into a green pool and another one of those beehives. Turn to the right and go forward. You will be facing another ramp.

Don’t take the ramp yet. Turn to the left until you are looking at the corner of the building and have a forward arrow. Go forward. You will only take a few steps so hit forward again. You will walk around the corner.

In front of you is a lantern-like object sitting on a pedestal. You can pick up the “lantern” but don’t do that yet. Instead, look at the very top of the lantern. The top of the lantern is a push-button and, if you hold your cursor over it, the cursor should turn into a pointing finger. Click the button a few times and notice what happens with the spikes protruding from the wall. Now pick up the lantern. (Click in the middle of the lantern, not the push-button.) The lantern will be added to your inventory.

Turn around until you can see the ramp again and go forward. Turn left to face the ramp then go forward to climb it. When you get to the next landing, Hannah will comment about how quiet it is and speculate that she is on some sort of living ship.

Turn a bit to the left until you see an area with a few benches under a sloping column (which looks something like a bone). Go forward into this area then turn right until you see another expedition log sitting on a bench. You can get a close-up of this one too but Hannah doesn’t make any comments about it this time. (Unless you skipped the first one in which case she gets excited about this one. Dunno why there are two…)

Turn to the left until you are looking under the sloping column and go forward, under the column and to the base of a ramp. Go up the ramp to the next landing.

When you arrive, there will be another flash of light like the one you saw before. One of the missing scientists appears before you and implores you to find the “plaques”. It seems the plaques contain the coordinates needed for navigating the living ships. Someone or something has taken and hidden the plaques and, since the coordinates change with time, the old coordinates don’t work and you need the new ones to get back to Bosh. (Bosh’s Tunnels are the location of the main scientific base, if you didn’t read your manual.)

The scientist fades in and out a few times and says something about being trapped before disappearing completely. Hannah is confused and wonders aloud what the scientist meant.

When you regain control you should see a low platform in front of you with a spiral staircase leading upwards from it. Go forward onto the platform then turn left until you see the base of the stairs. Go forward and up the staircase.

Keep going up the stairs until you reach the top. You will stop a few times and will have to keep clicking forward to keep going up. You will occasionally have to turn to the right in order to see the stairs and continue upwards.

About halfway up you will pass a set of controls on your left. Ignore them for now and just keep going up.

When you reach the top of the stairs you will be looking at a tall tower with a pair of wing-like sails extending from each side. Turn to the right until you see a shelf with several items scattered about on it. One of the items is a small wooden tablet. Click on it to get a close-up. This is one of the plaques you were told about. Write down all of the symbols on the tablet, even the ones which are crossed out.

Back out of the close-up then turn around and head back down the stairs. Go down until you reach the control panel we passed earlier. Click on the control panel for a close-up.

You will see five dials on the control panel and should also see a view of the landing below, including the fountain and a row of “buckets” beyond it. If you click on one of the dials, you should see an object “thrown” from one bucket to another. Click on each of the dials and watch the object bounce around.

The goal here is to get the object to land in the bucket closest to the fountain. Number the dials from 1 to 5, starting from the left. There may be other solutions but the one I have found is to click the dials in the order 4 – 2 – 3 – 1 – 5. Once the object has landed in the correct bucket, back out of the close-up, turn left to the stairs and go the rest of the way down.

You should now be facing the fountain. Go forward and you will walk around the fountain and be looking at the row of buckets you saw from above. (From here they sort of look like tulips.) Click on the nearest one to get a close-up of the inside. If you manipulated the dials above correctly then you should see another wooden tablet lying in the bucket. Write down all of the symbols on this tablet as well.

We now have everything we need to leave. Back out of any close-up, turn to the right then go forward to the top of the ramp. Turn left to the ramp and go down to the next landing.

On the landing, go forward, turn a bit to the right and then go forward again. Go down the ramp in front of you to the next lower landing. There, turn left, go forward, turn right, go forward then turn left to face the elevator. Take the elevator to the next lower level.

Outside the elevator, turn left until you are looking at the other elevator (the one in the open tower structure) and go forward. You should be looking into the entrance of the elevator but do not go in.

Instead, turn to the left until you see a circular console beside a wooden platform. Go forward to the console. Push the button in the middle. You will get a cinematic of a boat-like vehicle arriving on an overhead track. When it arrives you will automatically get on board and travel to the next tower.

Once there, turn to the right and go forward to the base of another ramp. Go forward again to climb the ramp.

At the next node you should be looking at a wall with several protruding spikes. There is a torch to the right and the edge of a ramp to the extreme right. You can click on the spikes to get a close-up view. Look familiar? They look like the spikes you saw on the wall in the area where you picked up the lantern.

Back out of the close-up then turn to the right to face the ramp and go forward. It’s a short ramp and you will only travel a short distance before stopping in front of what looks like a sculpture of tentacles. Examine the tentacles. When you do, you will walk around them and will find yourself on a platform with a pedestal in front of you and a view of the wall with the spikes beyond. There is a dial on the pedestal with 14 markings on it and there are 14 spikes on the wall. Click on the top of the pedestal to place the lantern there.

If you remember from when we first found the lantern, the button on the top affects the spikes in the wall. Each press of the button causes the selected spike and the spike on either side of it to reverse position; if it was retracted it will extend and if it was extended it will retract.

Spikes are selected using the dial on the pedestal. There are 14 spikes. Number them 1 thru 14 starting from the left. There are also 14 markings on the dial. Number them 1 thru 14 starting from the right. Select a spike by turning the dial to the corresponding number and pushing the button on the lantern.

The goal here is to get all of the spikes extended. There may be shorter solutions but the one I found was to select spikes 2 – 4 – 7 – 9 – 10 – 12 – 13 – 11 – 9 – 5 – 3. (If you make a mistake you can reset the spikes by backing out of the close-up then examining the tentacles again.)

When you have extended all of the spikes you will see a brief energy display along them. Back out of the close-up, turn around then go forward off the ramp. Turn right to face the spikes again. Previously you could only examine the spikes but now you can go forward. Do so and you will walk a good distance along the energy field over the spikes then across another bridge. You will eventually stop in front of a horizontal beam.

Look at the beam and you should see an object hanging from beneath it. Click on the object to get a close-up then click on it again. It will unfold to reveal a seat and a set of handles. You will automatically get on board and it will take you to yet another tower.

You are now on another platform. Turn right until you see a ramp and go forward to go down it. On the next landing, go forward and into the elevator. Take the elevator up to the next level.

Well, it looks like we’ve found some sort of control room! Go forward twice. You should be looking at a chair. Turn right until you see three control panels in front of you. You can select any of the three to get a close-up but start with the leftmost panel.

You should see three concentric rings of symbols with another symbol in the very center. These symbols should look familiar; they are the ones from those wooden tablets we found. The two rows of symbols that were crossed out at the top of each tablet are the old coordinates that don’t work anymore. We are interested in the bottom two rows on each tablet.

The symbol in the center should match one of the symbols from the first column of the plaque. If you look at the three concentric rings of symbols you will see that one symbol from each ring is illuminated. (Actually, only the outermost ring has all of the symbols on it, the other two have dots, but you can determine which dot corresponds to which symbol by looking at the outer ring.) The rings correspond to the second, third and fourth columns from the plaques.

If you compare the illuminated symbols with those from the plaques you will discover that they match those from the plaque you found at the top of the stairs. Those are the coordinates for your current location. You want the coordinates from the other plaque. Click on the symbols from the plaque you retrieved from the bucket. (That’s the 7, 8 and 10 o’clock positions on the outer, middle and inner ring respectively.)

Back out of the close-up and select the right console. Do the same thing here. (This time you want the 9, 2 and 9 o’clock positions.)

Back out of this close-up too and select the center console. Click the hand symbol in the middle. If you have entered the coordinates correctly you should get a cinematic of the living ship setting sail while Hannah happily reports to Sam that she is on her way to Base 1.

Hannah and the Science Base Docks


When you regain control of Hannah you will still be looking at the center console. Before you leave here, note the row of lighted buttons around the bottom of the console. These are navigation presets. If you push the first lighted button the controls will automatically be set for the living ship fleet. Pushing the second lighted button sets them for here. (Don’t be intimidated by the number of unlighted buttons; you won’t need most of them for the game.)

At any rate, we need to get started. Back out of the close-up and turn right. Go forward twice to leave the control room then forward again to enter the elevator. Take the elevator down.

Go forward and up the ramp then turn left to look at the horizontal beam. Click on the object hanging below the beam to get a close-up then click on it again to cause it to unfold. You will get on board and be taken to another location.

When you are back in control, immediately turn around and attempt to use the chair again. Uh-oh… It doesn’t work. Hannah will be concerned about this then speculates that someone or something is causing all of this to happen. Well, there isn’t anything we can do about it right now so turn around again and go forward.

You will find yourself in a large, abandoned building. Hannah will speculate about where she is and once again wonder where all the people have gone. Well, that’s kind of what we’re here for, isn’t it?

Go forward twice then turn left to look at the circle of light. Click on it for a close-up and note the three symbols. Then back out of the close-up and turn completely around until you see a ladder leading up the side of a statue.

Go forward and you will climb partway up the ladder. Turn left and click on the ladder to get a close-up of the top of the statue. You will see that the statue is projecting the three symbols you just saw. You can’t do anything with the statue right now so back out of the close-up and turn left then look down and go forward to climb back down the ladder. (Navigation on the ladder is a bit tricky and you can ignore this whole area for the moment if you wish.)

You are now facing the circle of light again. Turn left, go forward, turn right then go forward again. When you arrive, there is another of those flashes of light and a figure appears before you. Hmmm… Interesting. I don’t think this is one of the missing scientists, do you? The figure will say something in an unknown language and give you an object. The object appears in your inventory but you can’t do anything with it right now, or even tell for certain what it is.

Turn a bit to the right until you get an arrow again then go forward twice. There is a device to your left but ignore it for now. Instead, turn right then go forward three times. You are now facing a doorway but you can’t go through it. Just remember where it is for now.

Turn completely around and go forward until you are facing the device we passed a few minutes ago. (Hannah will complain along the way but it isn’t totally clear what she is upset about.) Go forward towards the ladder and you should climb it. Turn to the left to get another arrow then go forward and turn right to face the device.

The device you are looking at is a mechanical computer. Click on it for a close-up. You should see a keyboard with symbols on eight of the keys. If you click on one of these keys the machine will chatter for a moment but not seem to do much else. There is also a row of short posts across the top of the device. If you click on them they will move up or down.

Click on a few of the posts to raise them then click on any of the labeled keys except the leftmost one. The machine will chatter for a bit then several indicators along the bottom of the device will light up.

The device is a mechanical computer. The posts across the top are the inputs and the lights at the bottom are the outputs. Each key causes a calculation to be performed using the values defined by the posts and lights and the lights display the result. There is a separate calculation for each key.

The inputs and outputs are in binary. Those of you familiar with binary can skip forward a bit. For the rest of you, here is a quick introduction.

The number system most everyone is familiar with is the decimal system. The decimal system uses base 10. That is, each position in a number is a power of 10. Thus, we have a ones place, a tens place, a hundreds place and so on. There are ten possible values for each place; 0 thru 9. In base 10, the number 234 is understood to mean (2 x 100) + (3 x 10) + 4.

Binary works exactly the same way. Binary is base 2, meaning that each position in a number is a power of 2. Thus, there is a ones place, a twos place, a fours place, an eights place and so on. There are two possible values for each place; 0 and 1. The number 1101 is thus understood to mean (1 x 8) + (1 x 4) + (0 x 2) + 1. This is the same as 13 in decimal.

The values for the posts and lights are calculated in binary. Counting from the far right, if the second and third posts are up then we have entered the number 6 (calculated as (1 x 4) + (1 x 2) + 0). If the first and fourth lights are lit then the number being displayed is 9 (calculated as (1 x 8) + (0 x 4) + (0 x 2) + 1)

OK, with that out of the way let’s examine the keys. There are two rows of keys. Number the keys on the top row 0 thru 3 and the keys on the bottom row 1 thru 4 (starting from the left).

Each row has an equation associated with it. For the top row it is…

Key Value x Posts x Lights

…and for the bottom row it is…

Key Value x Posts + Lights

In both cases, if the value for the lights at the bottom is zero, it is treated as if it was one.

So, if the posts are set to the value for 6 and the lights are displaying the value for 8 and you press the third key on the top row the result would be 2 x 6 x 8 or 96. If you press the third key on the bottom row it would be 3 x 6 + 8 or 26. If the lights were displaying 0 (all lights off) then the result would have been 12 in the first case (2 x 6 x 1) and 19 in the second (3 x 6 + 1). No matter what values are involved, pressing the first key in the first row will result in all of the lights going off (since 0 x anything x anything = 0).

YOu can play around with the machine for a while but we haven’t found anything yet to tell us what we’re supposed to accomplish here. That means that we’ve done everything we can with Hannah for now. So, let’s see what Sam Mainey has been up to. Save your game (so we won’t accidentally lose everything we did with Hannah) then click on the picture of Hannah and Sam at the bottom right of your screen to switch to Sam.

Sam and the Balloon Fleet


Sam Mainey has found himself on a balloon floating a few thousand feet above the ground. He unsuccessfully attempts to contact Hannah before announcing that he is setting his equipment to “record” (heh-heh). You then gain control.

Immediately examine the object on the ground in front of you. It looks like some sort of compass. Write down the symbol at which the arrow is pointing. (Actually, go ahead and write down all of the symbols for reference. They should look familiar; they are the same as the symbols on the keyboard that Hannah was playing with a few minutes ago…)

Back out of the close-up, turn to the right and go forward. Ahead of you to the right there is a large, somewhat circular device with a number of large, paddle-like levers on it. Ignore this for now. To the left you should see a stand with what looks like an expedition log sitting on it. Click on the log to get a close-up.

Sam will recognize the log as belonging to a Dr. Richard Hovis and note that it only has one entry. Click on the screen to play a warning from Dr. Hovis, telling you to get away immediately. Too bad your ship crashed, huh? Sam will comment that first the people of Argilus vanished and now something has happened to the science team. He also wishes that he had gotten the briefing he was supposed to receive after reaching the planet. There is nothing else we can do with the log so back out of the close-up.

Ignore the device in the background for now. Turn to the left until you get an arrow and go forward along the corridor. At the next node, turn left and go forward onto the balcony then turn to the right. There is another of those compass objects here. Examine it and write down the symbol the arrow on this compass is pointing to then back out of the close-up.

Turn right and go forward to return to the corridor. Turn left and go forward until you are looking at a gondola hanging from an overhead cable.

Ignore the gondola for now. Turn right and move forward, now on the outer balcony. At the next node, turn left and examine the compass on the floor. As before, write down the symbol the arrow is pointing to. Back out of the close-up, turn right, go forward to the next node and turn left again. There is yet another compass here. Write down its symbol as well.

Back out of the close-up, turn right and go forward to a final compass. Examine it and write down the final symbol. You should now have written down five symbols, some of them possibly more than once. Back out of this close-up and turn to the right. You should see an expedition log lying on the floor. Click on it for a close-up then click again to play the log.

This log is from a Dr. Bremmer. Dr. Bremmer is concerned because the members of the scientific team have been disappearing and there are very few of them left. She comments that another scientist has taken one of the balloons to head to Base 2 while a Dr. Angela Davies has made a big discovery back at the main base. She plans to head back there herself. Sam will wonder aloud what is happening to the scientists.

Back out of the close-up then turn to the right and return to the node where you found the first expedition log. (Forward to the gondola, turn left, then forward through the tunnel.)

Once there, turn to the left and go forward to the device in the background. Click on it for a close-up. Note the symbols on the levers. You should recognize them as being the same as the symbols on the compasses you examined. Push the levers marked with the symbols you wrote down from the compasses, in the order in which you examined them. As you press each symbol you hear a voice announce something and, after pressing the fifth symbol, the center of the device will rotate open and several marbles will drop into it. Take the marbles.

Now, turn your sound on if you have been playing with it off and turn the volume up if necessary. Number the levers from 1 to 8, starting with the lever on the top right. Press lever 1 and listen to the sound it makes. It sounds like “ossa” so write down the symbol and that sound. Then press lever 4. This one should sound like “dissa”. Write down this symbol and sound too.

We’re done here so back out of the close-up, turn around and go forward then turn right and go forward to reach the gondola we passed earlier. Examine it and you will automatically get inside. There is a “T” shaped switch in the center of the console. Click on it and watch the cinematic as the gondola takes you to another balloon.

When you get control again, go forward to exit the gondola then turn right until you are facing an entrance to a tunnel. Go forward. Now, turn left until you are looking at a circular device. (It looks something like a steering wheel.) Click on it to examine it. Note the curving rows of symbols across the top and bottom and the three symbols to the right side. Back out of the close-up.

Turn right until you are facing the tunnel again then go forward to the middle of a four-way intersection. Turn to the right. You should see a device at the end of the walkway. Go forward to it and Sam will comment on the technology and speculate that there should be some way to make it work.

If you play around with the equipment here and wander around a bit without solving anything you will see a flash of light and Dr. Bremmer will appear and give you some hints. If you want to see her appearance, push random levers on the equipment and walk around the balloon for a while. Otherwise, read on…

You are attempting to fill the gas bag of the airship that you may have seen outside. This airship requires a special lifting gas that is twice as strong as the normal lifting gas. There are ten pipes carrying gas and these are controlled by the levers on the device in front of you. The problem is that which pipe carries the “super gas” is random and changes every time you use the equipment.

Fortunately there is a way to test the lift of the gasses. That is what the dial and small balloon you can see to your right are for. The first time you use the levers you put gas into the balloon. The dial then “weighs” the balloon to determine how much lift it has. Based on this information, you choose one lever and the gas bag on the airship is filled with that gas. (The airship has two gas bags and you have to fill each separately, thus the two machines.)

Now, if you could test each pipe one at a time it would be easy to determine which pipe carried the super gas but this approach is out since the pipe carrying the gas changes every time you test it. You have to somehow test every pipe at once. Fortunately, there is a way to do this.

Turn to the device, pick any lever and designate it as lever one. Press that lever one time. Press the next lever two times, the next three times and so on, all the way to lever 10 which you press 10 times. Then push the center button. You will automatically turn to the right and you will see the balloon inflate and the dial spin.

Now, you have put 55 units of gas into the balloon. (1 + 2 + 3 + 4 + 5 + 6 + 7 + 8 + 9 + 10 = 55) If all of the gasses had the same lift then you would have created 55 units of lift. But, since one of the pipes was carrying the super gas, the actual lift will be greater. The dial tells you how much the actual lift is.

The dial is read like a clock. There are two indicators, an outer and an inner. The outer indicator is worth 12 and the inner worth 1. So, if the outer dial is at the 4 o’clock position and the inner at 9 o’clock then the value is (4 x 12) + 9 or 56, if the outer is at 5 o’clock and the inner is at 12 then the answer is (5 x 12) + 0 or 60, and so on. Examine the dial and determine the lift value.

Since the super gas has twice the lift of regular gas, each press of the lever for the super gas was effectively counted twice. So, the difference between the value you calculated from the dial and 55 will tell you which lever controls the super gas. If your total was 58 then the super gas is controlled by lever 3 (58 – 55 = 3), if it was 62 then it was lever 7 (62 – 55 = 7), and so on. Determine which lever controls the super gas, turn to the left and push that lever. You should see the first gas bag inflate and the airship rise into the air.

Now turn around, go to the other device and repeat the process. You should see the airship rise completely to the docking platform and the loading ramp extend.

When the cinematic ends turn around and go back to the four-way intersection. (Sam may make a comment about Dr. Bremmer here that doesn’t make much sense unless she appeared to offer her hints. Basically he is wondering aloud what her hints meant, even though she never appeared and the problem is already solved. Go figure. The game has this problem in several places.) Turn to the left, which should be opposite the way you came in, and go forward until you are outside again. Once you are back outside turn left to face the airship.

(If you went the wrong way and found yourself at the gondola again, simply turn around and go all the way through to the other side then turn left.)

Go forward twice and you will climb up and into the airship. Turn around and go forward to the cockpit. Turn left and go forward then examine the chair there. You will see something that looks like a CD sitting on the seat. Pick it up. (You can examine the controls here but they really aren’t of any importance.) Back out of any close-up, turn around and go forward once to get to the center of the cockpit then forward again to reach the other set of controls. Now, examine the controls in front of you.

Play around with the controls for a bit. The dial at the top has 13 possible settings, the lever on the right has 10 and the lever on the left has 3. (You move the levers and dials by dragging them with the mouse.) Hmmm… Where have we seen these same symbols lately, and in a group of 13, 10 and 3 too…

Back out of any close-up, turn around and go forward to get to the center of the cockpit then turn left. Go forward then turn around and look down. Go down the stairs to get back to the docking platform then go forward again to reach the entrance to the tunnel. (The first time you get here Sam will ask Hannah if she can see what he is seeing. No, I don’t know why.) Turn right to face the tunnel then go forward all the way through the building.

You should be back on the gondola platform. Turn right and examine the wheel-like device we examined earlier. Yes, these symbols look to be the same as the ones from the controls in the cockpit. Click in the center of the device and you will place the CD from the cockpit there.

Now, click on the first of the three symbols on the right. The CD will spin and two other symbols will light up; one on the top and one on the bottom. Write these symbols down. Do the same with the second and third symbols on the right. These are the navigational coordinates for the main science base at Bosh’s Tunnels.

Back out of the close-up, turn right, go forward all the way through the building then turn left and go forward and into the airship. Turn around and go forward to the cockpit. Turn right, go forward to the pilot’s seat and examine the controls again.

Set the lever on the left to the first symbol. Set the dial at the top to the symbol from the top part of the navigational coordinate display and the right lever to the symbol from the bottom of the display. Then, push the button in the middle of the control panel. Repeat this process for the second and third symbols.

When you press the button after entering the third set of coordinates, you will get a cinematic of the airship lifting off from the platform, extending sails and setting off on its way.

Sam at Bosh’s Tunnels


When the cinematic ends you will be at the science base and still looking at the controls on the airship. Before you leave, note the two lighted buttons in the lower left corner of the console. These are presets for automatic navigation. If you press the first button the controls will automatically set themselves for the balloon fleet and the airship will return there. Pressing the second button will bring you back to Bosh’s Tunnels.

Leave the cockpit and go outside. When you exit the airship Sam will finally manage to make contact with Hannah. There is a brief happy reunion and she and Sam will fill each other in on what they have discovered. She will also tell Sam that she is stuck where she is and needs him to help her before she can progress further. Looks like it’s up to you!

You have a bit of a stroll in front of you so let’s get started. There isn’t anything along the way except for some scenery, so I’ll run through this as quickly as possible. Turn right until you get an arrow then go forward and down the stairs. Then, go forward, turn right, go forward again and turn left. Go forward onto the bridge.

The building in front of you is an elevator. Go forward. The elevator will arrive and you will automatically get on board. Turn left and push the button. When the elevator reaches its destination go forward to exit the car.

Go forward all the way across the bridge. Then, go forward a few more times until you are facing a tri-lobed door. You can’t open this one so turn left, go forward then turn right. Look just to the right of this door (where it looks like a pipe or conduit enters the side of the door). If you hold the cursor over this point it will turn into a magnifying glass. Click to get a close-up of a button. Push the button and the door will open. Go forward into the opening.

You should now be looking at a group of buildings. Go forward then turn right to face a bridge. Go forward three times to cross the bridge, forward three more times to cross another bridge, forward yet another three times to cross yet another bridge, then forward three more times to climb the steps. Whew! Made it at last!

You might want to make a save game at this point. Just a suggestion. Remember this spot; we’ll call it the Temple Entrance and will be returning to it several times.

There is a path into the tunnel directly in front of you but ignore it for now. Turn to the left until you get another arrow and go forward. You can see the science base in the distance but Sam will observe that there is no way to get to it. He will also say that the building he is in seems to be some sort of temple, wonder if this is where Dr. Davies made her discovery and speculate that there may be another base further inside.

Turn around and go forward to the Temple Entrance again. Turn left to face the entrance and go forward. You will find yourself facing a pool of water. Turn left and go forward twice. If you turn to the left you will see what looks like a row of Tibetan prayer wheels (vertical cylinders sitting on a base; the cylinders can spin). Click on them for a close-up.

Note that if you click on any of the vertical cylinders it will spin for a bit. If you look below each cylinder you will see a small window with a colored symbol in it. If you click on the symbol you can drag it up or down to reveal other symbols. Note that the symbols under all of the cylinders move together. You can play around for a bit but we really can’t do anything with this yet so simply note it and back out of the close-up.

Turn right and go forward to get to a corner. Turn right and go forward to climb a flight of stairs. There is a room to our left and we may as well check it out while we are here. Turn left and go forward into the room then forward again to reach what looks to be a shrine of some sort.

Look at the altar. Your cursor should turn into a magnifying glass so click on it for a close-up. Look familiar? It looks like the same picture of an insect that Hannah saw back on the living ship fleet. (It was on the wall behind the pear-shaped container.) Back out of the close-up then click on the engraving on the wall to the left of the shrine. This looks like one of the same symbols that Hannah found too. Nothing we can do here at the moment so just make a note of it for now.

Back out of any close-ups, turn around and go forward to the doorway then forward again to get back into the corridor. Turn left and go forward down the stairs. At the corner turn right and go forward. There is another set of prayer wheels to your left but you can ignore them for now. Go forward twice more. Here there is a stairway to your left. We’ll come back to it later so for now turn back to the corridor to the right and go forward again.

There is another set of prayer wheels to your left. Go forward yet again to find a fourth set. Now turn to the right. You should see a bridge extending out over the pool. Go forward once.

Now, SAVE YOUR GAME. Trust me on this one. You will want a save here. Also, if you have been playing with the sound off or turned down, turn it on now.

Once you have saved your game, go forward. You will automatically turn to your left to see a figure appear. Hmmm… That doesn’t seem to be one of the scientists either! The figure will chant something then disappear. Sam will confirm that the figure was not one of the scientists and that the locals are apparently trying to help him. At least, the figure seemed to want Sam to hear that chant sequence. It must be important.

Don’t remember the sequence? That’s why you have a save one move before hearing it. It will come in very handy later.

OK, a few more things to do here. Turn back to the right until you are facing along the bridge again and go forward. Turn right and go forward again. There is another set of prayer wheels here, for a total of five. Just make a note of that then turn around and go forward to get back to the bridge. There is a tunnel in front of you but there is nothing of importance down it at the moment, so turn left and go forward and across the bridge. Turn left and go forward twice more. This should put you in front of the stairs we bypassed earlier. Turn to the right to face the stairs and go forward. You will climb the stairs to the first landing. Turn until you are facing the landing and go forward and out onto the balcony.

Turn right and go forward twice. Turn right and enter the room. In here, turn to the right and examine the drawing on the wall. It looks like a diagram showing how to use some sort of surveying instrument. You may also recognize one of the symbols as one you saw on the side of one of the walls when you first arrived.

Back out of the close-up and turn around. Examine the machine in front of you. You can try it out if you like but you can’t do much with it at the moment. Back out of the close-up. You should notice that the symbol on the wall above the machine matches one of the symbols on the survey machine diagram behind you.

Turn to the left and go forward to leave the room. Turn right then go forward. Turn right here to see another expedition log lying in a doorway. You can examine it but it doesn’t seem to do anything. (There are several of these useless expedition logs sitting around.)

The corridor continues but there isn’t anything of interest down there. We’ve done all we can in this area at the moment so go all of the way back to the Temple Entrance.

You should now be looking at the stairs which first brought you here. Turn to the right and go forward to where you saw the science base. Turn a bit to the left and go forward. Turn completely around and look at the pillar in front of you. You should see a panel on the pillar. Click on it for a close-up then click on the pendulum-like switch. There will be a cinematic as a small monorail car arrives.

When the cinematic ends, click on the car to get on board. Click on the only working control and you will get a cinematic as the monorail takes you to another part of the complex.

At the end you will automatically get out of the car. You are facing a dark tunnel so just go forward. You will arrive in a room with eight large prayer wheels. Sam will recognize them for what they are. Go forward to stand in the middle of the wheels. Each wheel has two parts, the vertical cylinder on the top and a base with a window displaying a colored symbol. Click on any of the cylinders; it will spin and you will hear a two-syllable chant. Hey! That sounds a bit like the chant the strange figure said to us! Good thing we have a convenient save game in case we need to listen to it again.

Each of the eight prayer wheels produces a different two-syllable chant. Each wheel has a unique first syllable. The second syllable depends on what symbol is showing in the window in the base. You can click on this symbol and drag the mouse up or down to change it. Each symbol has a unique syllable associated with it and the same symbol will produce the same syllable on any wheel. With eight wheels each with eight symbols, there are 64 possible two-syllable chants.

Your goal here is to determine the combination of wheels and symbols needed to reproduce the chant the strange figure gave you. This can be difficult if you do not have a very good memory for sounds, which is why I recommended creating the save game immediately before the figure spoke. I recommend creating a second save game here. Then, reload the earlier save, listen to the figure, then reload this save and experiment with the wheels until you find the right combination for the first two syllables. Repeat the process until you have all six syllables.

Or, since you are reading a walkthru, just do the following. Turn until you are facing the path by which you entered (and you have a forward arrow). Number the wheels 1 thru 8, going clockwise and starting with the wheel just to the right of the path. The first two syllables are created by wheel 1 with the black symbol showing. The middle two are produced by wheel 8 with the white symbol showing and the last two by wheel 4 with the green symbol. Carefully note the shape of the cylinders and the color of the symbols.

Now, head back to the main part of the facility. Turn until you get the forward arrow and go forward twice. Click on the monorail car to get on board then click on the working control to travel back. When you arrive, go forward, turn right and go forward.

You should now be at the Temple Entrance again. Don’t go in yet; we have a bit more to do out here first. Turn to the right until you are looking along the wall and go forward. Does that symbol on the wall look familiar? Turn to the right and go forward twice. You should now be looking at another bridge. Go forward until you reach the end of the bridge. You will find a small metallic dome and Sam will comment on how everything is just sitting around even though the people are missing. You should recognize the dome from the diagram you found inside the building.

Examine the dome and you will sit down at it. Look down and you will see a lever. Click the lever. The dome will split open and the machinery within will be revealed.

The interactions with this device can be a bit complex so take a moment to become familiar with it. First, notice that when you turn left or right the device will always stop lined up with one of five metal columns rising around you, the symbol on the wall of the building or the entrance to the bridge. If you click on the “sight” you can raise or lower it, revealing a series of symbols.

If you move the cursor over most of the rest of the device it turns into a magnifying glass. If you click here the view will shift to show a dial and two buttons. Pushing the button marked with a “+” will cause the dial to spin. Pushing the “0″ will reset it to its initial position. (Apparently the science team labeled the buttons; the Argilans didn’t use recognizable symbols anywhere else around here!) You can also drag the dial back and forth with the mouse but it will return to its original position when you let go.

Finally, from the view of the dial, if you move the cursor to the top of the screen it will turn into another magnifying glass. Clicking here will show you a measurement scale of some kind. Notice that the scale is marked with a symbol from the diagram as well. There are ten symbols on the scale that correspond to the numbers from 0 to 9. (You can write these down if you wish though on my monitor they were very hard to make out.) The main thing to note is that the scale is 10 units long.

When you are done move the cursor to the bottom of the screen to back out of this display. Do the same on the screen with the dial and you will be looking at the sight again. If you back out here you will turn the device off and exit, so don’t do that yet.

Instead turn until you are facing the symbol on the side of the building. Then turn to the right until you are facing the first of the metal columns. Raise the sight until it is pointed at the very top of the column. Note the height of the sight. (Just count markings if the symbols aren’t clear.) Write down this number.

Now, release the sight and enter the close-up of the dial at the bottom of the device. Push the zero button then push the “+” button. Note where the dial stops. (Again, just count the dial positions if you can’t make out the symbols.) Write down this number as well. This number is actually the distance from the device to the column in question. Repeat this process for the other four columns.

Or, just note these values. The first column has a sight height of 4 and a column distance of 45. The second has a height of 5 and a distance of 16. The third is height 7, distance 20, the fourth height 4, distance 25 and the fifth is height 6 and distance 35. Write down all these numbers.

Now we’re ready to go. Back out of any close-ups until the device closes itself down then go back to the Temple Entrance. Turn to face the tunnel and go forward.

Turn left and go forward to the first of the prayer wheels then turn left to face it. Click on the wheels for a close-up. Sam will comment that it doesn’t look the same as the others and speculate that it has a purpose; like opening doors. Hmmm…

Find the three cylinders on this prayer wheel that match the ones you identified in the other chamber as being the ones which produce the chant you heard. If you then try to get the colored symbols under those cylinders to match up with the ones from the other chamber you will discover that you can’t get all three colors under the correct wheels at the same time. This isn’t the right prayer wheel, so back out of the close-up.

Go back to the base of the stairway. (From here (assuming you are still facing the prayer wheel) that’s right, forward, right, forward twice, right, forward three times then left.) Go forward to the stairs and forward again to climb them. Turn to face the balcony and to forward onto it. Turn to the right and go forward twice then turn right and go forward again. Turn right to face the diagram and examine it.

The diagram shows two triangles and if you remember the numbers you collected from the survey device you will realize that they correspond to parts of the triangles. The height of the sight is the height of the small triangle, the length of the scale on the device (10) is the base of the small triangle and the distance to the column you read from the dial is the second part of the base of the large triangle. (If you notice, the base of the large triangle is composed of two line segments; the distance you measured and the length of the scale on the device. You will have to take both numbers into account.)

In fact, you have numbers for everything except the height of the large triangle, which corresponds to the height of the columns. Fortunately, we have everything we need to determine this. Since the near angle of both triangles is the same the ratio of the height to the length of the base of the triangles should be the same also. In other words…

(Heightsmall triangle / Basesmall triangle) = (Heightlarge triangle / Baselarge triangle)

Solving for Heightlarge triangle we get…

Heightlarge triangle = (Heightsmall triangle / Basesmall triangle) x Baselarge triangle

or…

HeightColumn = (Heightsight / LengthScale) x (LengthScale + Distancefrom dial)

Plugging in the numbers for the first column, we get…

Heightcolumn 1 = (4 / 10) x (10 + 45) = 0.4 x 55 = 22

If you do the same for the other four columns, you will find that Column 2 has a height of 13, column 3 a height of 21, column 4 a height of 14 and column 5 a height of 27.

With these numbers, back out of any close-up then turn to face the machine in the room. Examine it for a close-up. Set the first dial to the height of the first column or 22. Set the second dial to 13, the third to 21, the fourth to 14 and the fifth to 27. (Don’t worry if you can’t read the symbols; just count over the appropriate number of spaces.)

If you have set the dials correctly the view will pan down and a drawer in the bottom of the device will slide open, revealing a greenish disc. Pick it up, click on the drawer to close it and then back out of the close-up.

OK, we have one more thing to do here. Turn left and go forward to leave the room. Turn left and go forward to the stairs then turn left and go forward. Turn left to the stairs down then go forward to descend to the first level again. Now, go forward, left and forward to the bridge. Turn right to face the bridge and go forward twice. The mysterious figure will appear again and repeat his chant from before. This time Sam will notice that the figure leaves through a door but somehow knows that the door is locked. He also makes an odd comment about not exploring and waiting on Hannah (who has already contacted us saying she is stuck and needing our help).

Turn right to face the bridge again and go forward. Then turn right and go forward then turn left to face the prayer wheel. Click on it for a close-up.

Click and drag the colored symbols up or down until you get the correct colors under the cylinders you identified in the other chamber. In case you can’t tell one cylinder from another, you want the black symbol under the sixth cylinder, the white symbol under the third cylinder and the green symbol under the eighth cylinder. Then, click on the cylinders in that order (6, 3, 8). You should be rewarded by hearing the chant and getting a cinematic of the door the figure exited through opening.

Back out of the close-up, turn left then go forward. At the intersection, go forward again and through the tunnel. Go forward along the bridge then turn left to face the doorway. Go forward.

Hey, this area looks familiar! You will automatically go all the way to the computer device Hannah was working on and Sam will contact Hannah telling her where to meet him. Hannah will radio back saying that she is in front of the device, and where is Sam? Apparently they are both in front of the device, but can’t see each other.

Uh-oh.

It seems that whatever has happened to first the Argilans and later the scientists has now happened to Sam and Hannah as well. Hannah wonders why they can still communicate and Sam theorizes that whoever is behind all of this wants them to. He suggests they keep exploring to find out what they can.

The conversation ends with you still in control of Sam. You can switch to either character at this point and either one can now visit any location to which the other has previously been. The only thing you can’t do is transfer inventory from one to the other, so Sam is stuck with the marbles and the disc while Hannah still has the object the Argilan gave her. For the moment, we’ll keep controlling Sam.

Turn left and go forward as far as you can then turn left again and go forward. You are now at the base of the statue projecting the light symbols. Turn right to face the statue and go forward. Once you have climbed the ladder, turn left and examine the ladder to climb further. Look up at the “projector”. You will notice that you can place something there and when you click there you will place the disc in front of the projector. Back out of the close-up, turn around and look down then go forward. You should be facing the circle of light. Click on it for a close-up.

There are now six more symbols visible. Look familiar? They should; they’re living ship navigation coordinates. Looks like we’re about to visit someplace new! Write the symbols down.

Back out of the close-up and turn left. Go forward twice to reach the entrance then forward again to go through the tunnel and to the end of the bridge. Examine the horizontal beam then click on the device below it. You automatically get on board and travel to the ship.

Once Sam gets aboard the ship, let him stay where he is and switch to Hannah. Bring her to the ship as well (the beam transport device will now work for her again). Once there, turn right until you see the ramp and go forward to the bottom. Go forward again to enter the elevator. Take it up to the control room then go forward to the consoles.

Now, I know you can’t wait to go to the new coordinates you have found but we have a bit of unfinished business to take care of first. Remember the “shrine” you found in the temple, the one with the picture of the insect from the Living Ship fleet? We’re going to follow up on it first. So, get a close-up of the center console, click on the first lit button (to set the controls for the fleet) then click the hand. You get a cinematic as the ship returns to the fleet.

Hannah and Sam at the Living Ship Fleet


When you arrive you will still be controlling Hannah and in a close-up of the center console. Back out of the close-up then switch to Sam. Have him turn to face the beam transport device again, click on it once for a close-up and again to get aboard and be transported to the next tower. Once there, turn until you get an arrow and go forward to take the long path across the spikes. Go forward to a ramp and down it. Then, turn left and go forward to the control console. Push the button and wait for the boat-like vehicle to arrive. You will automatically get on board and travel to the next tower.

Once there, turn until you are looking between the two elevators and go forward. Turn right and go forward then go forward again to the base of the ramp. Go forward and up the ramp.

When you arrive, the door of the building in front of you will open and an Argilan will exit. He will talk to you briefly, telling how some of the Argilans learned the scientist’s language. This caused “Matia” to become confused and it then imprisoned all of the Argilans, as well as the science team. He will also tell you that unless things are made right the “Good Servant” will finish what it has started. Hmmm… That doesn’t sound good.

The Argilan tells you that he will trade “precious oil” for pearls. (OK, so they’re pearls, not marbles. Whatever.) You will have to measure them yourself. He then returns to the building.

Turn right and go to the pear-shaped container. Click on it for a close-up then click on the scale running down the middle of the container. The pearls will disappear from your inventory and an indicator will drop to the ninth position on the scale.

Click on the “shelf” you can see extending from the right side of the container. You will get a close-up of a small flask. Click on the flask to pick it up. Back out of any close-ups and return to the living ship.

Once Sam is back on board, switch to Hannah and click on the center console. Click on the second lit button then click on the hand symbol. Watch the cinematic as the living ship returns to the docks beneath the science base.

Hannah and Sam at the Science Base


When you arrive, switch back to Sam and have him take the beam transport device back to shore. Enter the docks and go all the way back to the shrine in the temple. (Can’t remember the way? Once you get off the transport device, go forward along the bridge and into the docks. Forward again, turn left, forward three times, turn right, forward three times, forward up the stairs, turn right, forward along the bridge, forward through the tunnel, turn right, forward three times across the bridge, turn left, forward five times to the corner, turn left, forward up the stairs, turn right, forward into the shrine. Whew! This game really needs a quick way of getting back to somewhere you have already been.)

Unfortunately, when you get there, an Argilan priest will appear, gesture angrily at you, then disappear again. Apparently you are one unit of oil short! Looks like we’ll have to go back and try to find another unit. Go all the way back to the ship again, switch back to Hannah and have her take the ship back to the Living Fleet.

Hannah and Sam at the Living Ship Fleet (again)

Switch back to Sam and have him go all the way back to the point where he met the Argilan earlier. The Argilan will exit the building again and talk some more. He will eventually acknowledge that you are a unit of oil short and tell you to go to the elevator. He then goes back inside again. Sam and Hannah discuss this a bit and finally decide it is more interference from Matia.

Turn around and go down the ramp. Turn until you are looking between the elevator and the building, go forward then turn to face the elevator.

((At this point you have to start using both characters to solve some of the puzzles. In most cases it doesn’t matter which one you use where. It only becomes important when a puzzle needs something that is in one or the other’s inventory. I’ll be mentioning which character I am using just to make it a bit clearer when I am switching from one to the other but if you have a favorite feel free to use them instead.))

At this point we need Hannah’s help. Leave Sam at the elevator entrance and switch to Hannah. Bring her all the way to this elevator as well. (You should know the way by now but look above if you need directions.) Have her enter the elevator and take it up to the next level. Don’t exit the elevator when you get there. Instead, switch back to Sam.

Sam should still be looking into the elevator shaft but the elevator should now be gone. If you examine the depression where the elevator was resting you will see another marble! (Pearl. Whatever.) Click on it to pick it up. Back out of any close-ups, turn left to face the ramp and go forward and up it. Turn right to face the container and forward to reach it.

Now, the first thing you need to do is to click on the shelf for a close-up then click on it again to place the flask there. Then switch to looking at the main container and click on the scale. The scale will drop one symbol and the marble in your inventory will vanish. Click on the shelf again then click on the flask to pick it back up.

Back out of any close-ups and turn to the ramp. Go forward. The Argilan will exit the building again and talk to you a bit more. He gives you some more information before vanishing in one of those flashes of light.

Time for everyone to head back to the living ship. Send Sam back and just have him wait where he gets off the beam transport device. Switch to Hannah and have her go all the way to the control room. There, select the center console, click the second button then click the hand symbol to head back to the science base again.

Hannah and Sam at the Science Base (again)

When you arrive, take control of Sam and go to the shrine again. (See above if you need the directions.) This time, when the Argilan appears, he is satisfied. He takes the flask of oil from you and gives you another of those navigation disks for the airship. Well, we only know of one place where we can use these things so it’s time to head for the balloon fleet again!

Leave the shrine and go all the way back to the airship. Somewhere along the way you will see the usual flash of light and Dr. Davies will appear. She will give you a few hints about solving the columns puzzle (which you have already completed) and talk about how ritualized everything on Argilus is.

She will fade out and Dr. Hovis will appear. Hovis will warn you not to trust Davies before fading out himself. Hannah and Sam will discuss this for a bit but finally decide that the only thing they can do is continue with what they are doing.

Once you reach the airship, go to the pilot’s seat and click the first lit button on the bottom left then click the large button in the center of the console. You will get a cinematic as you return to the balloon fleet.

When you arrive, exit the airship and go through the facility to the navigation coordinate machine. As before, put the disc in the middle of the machine then push the three symbols on the bottom right, writing down the symbols that appear. Then, return to the airship and enter the coordinates on the control panel as before. You will get a cinematic as the airship flies to Matia’s Island.

Hannah and Sam on Matia’s Island


Once on the island, leave the airship and go forward. Don’t go through the gate yet. Turn to the right where you will see a panel of some kind. There is a spot you can interact with to the left/center of the screen and, if you click there, a key will turn and the panel will open. Inside the panel you will see a set of airship coordinates and you should recognize them as the ones which brought you here. Click on the key again to take it.

Back out of any close-up, turn left and go forward to go through the gate. Go forward again. You will get a brief cinematic as an elevator arrives. Go forward into the elevator.

The elevator goes to four levels and you select which level to go to by raising or lowering the control in the center of the elevator. The further you move the control the further the elevator moves in that direction. We’re going to the very bottom first so just push the control down all the way.

When you arrive, turn to the left and go forward. You should be looking at a lake below a dam. Turn to the left until you see a water wheel. Now, have Sam wait here while we go get Hannah.

Hannah on Matia’s Island

Switch over to Hannah, who should still be in the control room of the living ship. You can try entering the coordinates you got from the light display but you will find that they don’t work. Remember, the scientist that Hannah saw told her that the coordinates change over time and that the old coordinates are no good. We need to determine the new coordinates.

Pull out the symbols you wrote down from the tablets that Hannah found on the living ship fleet. Now, to make things easier, let’s assign numbers to the various symbols. Look at either the left or the right console. We’ll assign numbers to the symbols as if they were positions on a clock. Thus, the symbol of a single vertical bar is one, two vertical bars is two and so on.

Once you do this, translate the coordinates you have into numbers. You should wind up with the old coordinates for the living ship fleet as Left 3, 6, 2 / Right 6, 8, 7 while the new coordinates are Left 3, 4, 7 / Right 6, 9, 11. Bosh’s Tunnels have old coordinates of Left 7, 10, 5 / Right 9, 1, 5 and new coordinates of Left 7, 8, 10 / Right 9, 2, 9.

Now, compare the old and new coordinates with each other. If you look at the living ship fleet coordinates for the left console you will find that the first value did not change, the second value changed from 6 to 4 and the third from 2 to 7. Thus, the coordinate changes were 0, -2 and +5.

If you do the same thing for the left console coordinates for Bosh’s Tunnels you will find they changed by the same amounts. Looks like we’re on to something! Do the same thing with the right console coordinates and you will get change values of 0, +1 and +4.

Now, apply these changes to the new coordinates you have. Translating our new symbols to numbers we get Left 10, 1, 9 / Right 3, 12, 10. We’ll start with the innermost ring and work out.

Start with the left console. The first number we have is 9. Adding 5 to it is the same as going 5 positions clockwise, so we wind up with a value of 2. Now, like a clock, since the inner ring passed the 12 position we need to advance the next outer ring by 1. So, go ahead and change the second value to 2. We then subtract 2 from this number (or go two positions counter-clockwise) and wind up at 12. We don’t do anything to the outer ring, so our new coordinates are 10, 12, 2.

We do the same thing with the right console. Our value for the inner ring is 10. Adding 4 takes us around to the 2 position and forces us to advance the center ring to 1. We then add 1 to the center ring to get 2. The outer ring is again unchanged. Thus, our final coordinates for the right console are 3, 2, 2.

Enter these values then click the hand symbol on the center console. You should be rewarded by a cinematic of the living ship setting off again.

When you arrive, leave the control room and take the beam transport device to shore. When you get to shore there will be a flash of light and the scientist that Hannah met earlier will appear. He will be very excited that you are there and give you some information. It seems that something called “Matia” is behind the disappearances. He fades in and out a few times but manages to convey some information.

“Matia” is the name of an Argilan defense system and custodian device and is also a cultural center for the Argilans. It sent the population somewhere to protect it from “contamination”, apparently a result of the arrival of the scientific team. Some of the Argilans attempted to contact the science team and now Matia seems to think that the entire population is contaminated and everyone is imprisoned somewhere.

The scientist says that Matia thinks the science teams were looting and pillaging, not studying. He also mentions something called the “Wanderer” which he says could be a doomsday device of some type.

Great. Now we have to save the entire world. Why is it never easy? (If you haven’t done so lately, you might want to save a game at this point.)

Look to your left and you will see a cart of some kind. Get into the cart and look at the console in the center. (If you are looking at the back of the console, click on it to turn it around.) Write down the symbol showing on the display. Then, drag the dial to the right of the display up or down to reveal other symbols; there are a total of four (though only three of them are of any importance.) Besides the initial symbol, the other two of interest are the one that looks like a fancy letter “U” and one that looks like a capital “I” with two dots over it. Select either of these and press the right button. You will get a cinematic as the cart takes you somewhere else.

Each symbol on the display corresponds to a station. Depending on which symbol you select you will go to different destinations. Actually, in this case, you will go to the next station or you will go past it to a point were part of the rails are missing. At this point you will automatically turn around and go to the next station anyway. So, no matter what symbol you select at the moment, you will always wind up at the same location.

When you regain control, note the symbol now showing on the display. That is the symbol for your current station. Write it down then turn until you get an arrow and exit the cart.

Note the device in front of you. It has the same symbol on it as the one you just wrote down. This device calls the car to this point if it is not here.

Go forward twice, turn right then go forward twice more and down the stairs. Turn a bit to the left and go forward twice again. You are now standing in front of a door to your right. Turn right to face the door. Note the symbol on the door. Now, click on the center of the door for a close-up. Write down the four symbols you see.

Now, click on the button in the middle of the door to open it. Go forward through the door. On the other side of the tunnel Hannah will exclaim about the tower in the distance and speculate that it is important since all of the rail lines go there. Too bad the tracks are out, huh? Turn to the right and go forward then click on the device in front of you for a close-up.

Welcome to the second-most annoying puzzle in Schizm! You are about to play a game against the computer. Move your mouse around over the board in front of you. If you notice, when the cursor is between two of the “posts” on the game board a line will highlight connecting them. If you click there, a “bridge” will form between the posts. The computer will then raise a panel, blocking a connection between two other posts on the board.

The object of the game is for you to create an unbroken connection from one side of the board to the other. You and the computer will alternate turns, with you making bridges and the computer blocking connections until either you create a complete path or the computer manages to block all possible paths.

When you complete an unbroken path, you are rewarded with a cinematic showing a rail rising partially into place. Now, you have to play the game again. If you win the second time you will see the rail rise the rest of the way into place. However, if you lose, the rail drops back down again. That’s right; you have to win twice in a row! (Fortunately, once you win twice the rail stays in place.)

Oh, don’t bother trying to save after your first win. The game will let you but when you reload you have to start from the beginning again.

Unfortunately, I cannot give you explicit instructions on how to win since the computer’s moves are somewhat random. The only strategy I hit that seems to work is to scatter your moves around the board. If you start at one side and simply try to extend your way across the board you will always lose. However, if you make your first few moves at scattered points on the board (say, center, then top left, then bottom right) the computer seems to have a harder time with its strategy.

Once you have won twice in a row, back out of the close-up, turn around and go forward to the door. Then turn left to the tunnel and go forward through it. You can go back to the cart now if you wish but you will find that there is still a missing section of track and you can’t get any further than before so let’s just continue on for now.

Turn to the right and go forward twice. You are now in front of another door. Turn right to face it. Notice the symbol on this door; it matches the symbol on the object that the Argilan gave Hannah in the docks area.

Click on the center of the door for a close-up. Clicking the button here does nothing. You will notice that you can move the symbols on either side of the button up or down. Obviously we need to find the combination to let us through this door. We’ll come back to it later.

Back out of the close-up, turn left then go forward until you are facing an elevator shaft. When you attempt to go forward again you will get the brief cinematic of the elevator rising in its shaft then you will enter.

The elevator goes to four levels and you select which level to go to by raising or lowering the control in the center of the elevator. The further you move the control the further the elevator moves in that direction. We’re going to the very bottom first, so just push the control down all the way.

When the elevator stops, turn right and go forward. You should be standing between two wheels. Go forward again to enter a chamber with a pool of water in the middle and a cell of some sort on the far side. There will be a brief semi-cinematic where you see a figure come to the bars of the cell then walk away. Hannah will say that it looks like one of the scientist and that it looks like he is really there, not a ghost. Unfortunately, there is no way to get to him.

Switch back to Sam then click on the wheel in front of him and drag it up or down. You will notice that you can turn the wheel. When you do, the sound of water you may be hearing stops. However, if you attempt to move, the wheel immediately turns back to its original position. So, turn the wheel until the sound of water stops then switch back to Hannah.

You are still in the same chamber as before but now the pool of water has disappeared. Go forward. The trapped scientist will come to the door of his cell and talk to you.

The scientist will identify himself as Dr. Santos. Since he is really here and not fading in and out he manages to give you a good deal of information. He confirms what you heard earlier; there is a device or entity on Argilus called Matia. Matia is a pervasive part of the Argilan’s lives and was designed to protect them, among other things.

When the science team arrived, Matia apparently took the Argilans to another dimension to keep them safe. Dr. Santos realized that, with all the technology around, there must be some central device controlling and protecting everything. He and some of his colleagues tried repeatedly to make contact and finally, in desperation, started taking items in hopes of triggering the device into action. Unfortunately, the result was the capture and disappearance of the entire science team.

Dr. Santos says that the only person he has seen was Dr. Hovis. Dr. Hovis said that he had discovered the secret of visiting the other dimension. He said there was a village where he had to enter each hut twice but leave only once. He does not know what Dr. Hovis meant by this.

Dr. Santos asks that you come back to visit then wanders off. There is nothing more to learn here so let’s head back out.

Turn around and go forward to get back to the entrance. There is a device to your right but we don’t have everything we need for it yet so ignore it for the moment and just go forward again. Go forward into the elevator, turn right then go forward again. (You can also go a bit to the right of the elevator and go forward to wind up at the same spot.) Go forward twice. You should now be standing in front of a drawbridge and there should be a control in front of you. If you click on the control you will see the bridge try to close but only go a short distance.

Time for some help again. Switch back to Sam and go back to the elevator. Once there, turn right and go forward to stand between the two wheels you saw earlier. Turn to the wheel on your left. You will notice that you can turn this wheel like the one you turned earlier but, unlike that wheel, you can turn it multiple positions and the wheel stays where you turned it when you move.

Turn this wheel several positions to the left (counter-clockwise) then turn around and do the same thing with the other wheel. Switch back to Hannah and have her try to close the bridge again.

You will notice this time that the bridge closes further. The wheels control how far the bridge closes. Note how far the bridge dropped then switch back to Sam and turn the wheels a few more times. Unfortunately, the only way to solve this seems to be trial and error. You will probably have to turn the wheels different amounts. It is also possible to turn the wheels too far, in which case the bridge will suddenly refuse to close again. If this happens, just back the wheel up a few positions. At any rate, switch between the characters having one turn one wheel or the other then having the other try the bridge until you get it closed.

Now, have Hannah turn left and go forward and across the bridge. The place you now find yourself is the village that Dr. Hovis was talking about where he entered each hut twice but left only once. Either character will work here but I recommend using whichever character has the object that was given to them by the Argilan in the docks. That’s Hannah if you’re following this walkthru.

Once across the bridge turn to the left. There are five huts in the village, four to the left of the curving path you are now looking down and one to the right in the center. Number the huts on the left from 1 to 4 going clockwise, 1 being the first one you pass on the left as you walk along the path and 4 being the last. The hut in the center of the village we will call hut zero.

You can try to enter any of the huts. To do so, go to the door and click on the door handle. If you do this to hut zero you will just see a flash of light. However, if you do this to any of the other huts, you will enter the door and come out another door, probably one to another hut.

If you try huts for a while it may seem as if which hut you wind up at is random but it actually isn’t. Each hut leads to a specific other hut, depending on how many huts you have previously visited. For example, if the first hut you enter is for hut 3, you will always exit from hut 4. If the fourth hut you enter is hut 2, then you will exit from hut 1. Attempting to enter hut zero will “reset” the count.

Here is a table showing which hut leads to where, based on how many huts you have entered.

1234
1st1042
2nd3211
3rd0032
4th3144
5th0403
6th1223
7th2134
8th4013

Your goal here is to enter each hut twice but only exit huts 1 thru 4 once. You will exit hut zero four times. If you examine the table you can determine that one valid sequence is 2, 4, 1, 3, 3, 4, 1, 2. (There may be other valid sequences as well.)

When you exit hut 2 after your seventh move, don’t simply turn around and re-enter the hut. Instead, take one step forward. You will see the now familiar flash of light and another Argilan will appear before you. He will say something and give you a tile like the one the Argilan in the docks gave you. If you notice, the symbol on this tile matches the symbol on the door you were able to go through earlier. (The one that led to the balcony where you played the game to raise the rails.) Once you have the object you can turn around and enter hut 2 for the last time.

You will exit hut zero to find that everything has changed. It is now night and Hannah can no longer contact Sam. Go back to the bridge. When you arrive, you get yet another flash of light and yet another Argilan appears; this one wearing sunglasses and staring at something. (Yes, apparently Argilans wear their sunglasses at night.)

The Argilan will address you and say that some of them have learned your language. She will also say that you are at the entrance to their sanctuary and that you must choose between the Wanderer and the Good Servant. She then looks at the sky again and disappears.

When you regain control, look in the same direction she was looking. You should see a row of lighted posts along the top of the ridge; some raised and some lowered. Write down the sequence of raised and lowered posts.

Hmmm… 12 posts… Haven’t we seen something with twelve posts that can be raised or lowered? Yep, the mechanical computer device back in the docks. We aren’t quite ready to go back there yet but keep that in mind.

Go back to hut zero and enter it. You will find yourself back in the normal world and will re-contact Sam and bring him up to date. After this point Hannah can go to the other dimension any time by entering hut zero but Sam cannot. In fact, he can’t even enter any of the huts.

Return to the bridge. It has raised but if you walk forwards then it will automatically lower for you. We are going back to the room where we met Dr. Santos so cross the bridge then turn right and go forward to the elevator. Turn left and go forward into the room. Turn left to face the device there and go forward to it. Click on it to examine it.

It is not immediately obvious but you can place an item in the top of the device. If you have one (or both) of the tiles the Argilans have given you then clicking on the top of the device will insert one of them into it. Note which one has been inserted. You want to first insert the one which has the symbol matching the door you were able to go through. If the wrong tile was inserted just click on the top of the device to swap it out.

The device has four sliding buttons that can move left or right. Once you have inserted the tile into the device, these buttons will light up showing symbols. You should recognize these as being the same as those on the door combinations.

Move the sliders left or right until the buttons are displaying the symbols from the door you were able to go through. (Top to bottom on the buttons matching the door symbols from left to right.) You should have to move the first button one to the left, the second two to the right, the third one to the left and the fourth one to the right.

Click on the top of the device to swap to the tile with the symbol for the door you couldn’t get through. Move the buttons to the same positions as for the first tile. (Left one, right two, left one, right one.) Write down the symbols that are displayed on the buttons.

Now, return to the elevator and return to the level with the two doors. (The one you originally arrived at.) The elevator can be a bit tricky to operate. If you pull the elevator control all the way up you will go one level above the one you are trying to reach. (The one where the airship is currently parked.) If you don’t pull it far enough up you will go to the level below the one you are trying to reach. Here there is a walkway you can go out onto but you can’t go any further along it. I recommend pulling the control just a little ways up and, if this doesn’t take you to the right level, just pulling it again. If you overshoot just push down a bit to drop to the next lower level.

Once you have gotten to the correct level, go and face the door you couldn’t go through earlier. Click on the center for a close-up. Now, drag the symbols up or down to match those you got from the device outside of Dr. Santos’ cell. When you are done, click the button in the middle. The door should open. Go forward through the tunnel, turn left then go forward again.

You are now looking at the single most annoying puzzle in Schizm! This game is the same as the one you played earlier with one important exception; this time the computer moves first. This makes the game a lot more difficult. As before, you have to create an unbroken path from one side of the board to the other to win and you have to win twice in a row. All I can say is… good luck.

When you have won twice (and finished screaming in frustration), back out of any close-ups, turn around and go back to the entrance. Turn right and go forward through the tunnel. Then, turn left and go back to where the cart dropped you off. Click on the button on the device to your right to get a cinematic of the cart arriving. Go forward onto the cart to get on board and click on the console to activate it.

Turn the dial to the symbol that looks like a capital I with two dots over it. Push the right button. The cart will now take you to the structure you have seen in the distance.

When you arrive, turn to the left and go forward to get out of the cart. (You may note that there is another device here with a button that will call the cart back.) Turn right and go forward. You are now standing somewhere between two huts. Turn to the left and go forward. You should see a hut somewhat ahead of you and a pipe leading to the hut somewhat to the right. Go towards the pipe then click on it for a close-up. You will notice that the pipe has eight posts along its top.

Back out of the close-up, turn right and go forward twice to the other hut. Note that it too has a pipe leading to it, this one on the left. Go to the pipe and click on it to see that it also has a row of posts on top.

Have we seen two rows of eight somewhere? Yep, the output display on the mechanical computer back at the docks. We’ve almost got everything we need for it.

Back out of any close-ups, turn to the left and go forward to the main path. Turn right. There are two paths ahead of you. Both lead to the same place but we’ll take the left path. Go forward, turn right and go forward again. Turn right to face a control. (If you took the right path, just reverse left and right above.)

If you press the control you will get a brief view of the structure overhead but nothing else happens. Well, we’ve done all we can here. Go back to where the cart dropped you off and push the button to summon it. Get aboard the cart and set the dial to the symbol that looks like a fancy U. (That’s the stop where we’ve spent most of our time here.) Click the right button to travel there.

When you arrive, go to the elevator and take it all the way to the bottom then go to the room where Dr. Santos is held prisoner. Switch to the other character, have them go to the wheel controlling the water in the room and have them turn the wheel to shut the water off. Then, switch back to the first character.

Go forward to talk to Dr. Santos. He will tell you that in order to change the Good Servant back into the Wanderer you will have to use “Ossa” and “Dissa”. He will then leave and Hannah and Sam will speculate about what this means.

OK, “Ossa” and “Dissa” should sound familiar to you. Remember the very first device that Sam worked with? The one that he got the blue marbles from? If you remember, each time you pressed a lever on that machine you heard a sound. One of those sounds was “ossa” and another was “dissa”. You should have the symbols corresponding to those sounds written down.

We are done here for the moment. Have Hannah go all the way back to the control room of the living ship. There, enter a close-up of the center console. Press the second lighted button then click the hand symbol to return to the docks.

Science Base (again)


When you arrive, take the beam transport device to shore then take the bridge into the docks. Go to the mechanical computer device you played with earlier.

Set the posts across the top of the machine to match the lighted posts we saw on the top of the ridge in the other dimension. Push the button for “ossa”, which is the second button in the first row. When the machine has finished, push the button for “dissa”. This is the last button on the bottom row. When the machine finishes this set of calculations, write down the pattern of lights displayed on the output. Then, go back to the living ship and return to Matia’s Island.

Hannah and Sam, the Wanderer and the Good Servant


We last saw Sam standing in front of the water control wheel. We need him now, so switch to Sam and turn to face the elevator. Go into it and go up to the level where the rail line is. (That’s one below the top.) Exit and go to where you can meet the rail cart. Push the button to summon it and get aboard when it arrives. Select the symbol that looks like a capital “I” and push the right button.

When you arrive, turn left and go forward to exit the cart. Go forward to the intersection and turn left. Go to the pipe for the left hut and examine it. Set the posts on the top of this pipe to match the output from the left set of lights on the mechanical computer.

Back out of the close-up, turn around and go to the right hut. Examine the pipe there and set its posts to match the right set of lights from the mechanical computer.

Now, back out of the close-up, turn around and go forward to the main path. Turn right then go forward along the left branch of the path. Turn right, go forward then turn right to face the switch. Push it.

You will get a cinematic of the large device above you opening and closing. One of the Argilans will appear and almost sound disappointed in you but will say that there is still time for you to help your friends. She will disappear.

Don’t leave quite yet. Turn around. You should see a panel similar to the one next to the place where the airship is docked. Click on the keyhole to the left/center to insert the key you are carrying and open the panel. Click on the panel for a close-up. Hmmm… More airship coordinates. Write these down.

Time to head for the airship again. Back out of any close-ups and return to where the cart dropped you off. Push the button there to summon it again. When it arrives, select the next station (that’s the fancy “U”-shaped symbol) and click the right button. When you get there, exit the cart, go to the elevator and take it to the top level. From there, return to the pilot’s seat in the airship.

Enter the coordinates you just found. When you do, the airship will take off and go to hover over the large device. It opens and the airship will retrieve an item from inside of it. It will then take this item to the living ship and drop it there. The airship then returns to its dock.

We’re almost done; we just have one more promise to keep. Leave the airship and return to the elevator. Take it all the way to the bottom. Turn left and go forward to stand in front of the wheel again. Turn to face the wheel then turn it to shut off the water flow. Now, switch back to Hannah.

Hannah is still in the control room of the living ship, so leave and take the beam transport device to shore. Get in the cart and take it to the next station (the fancy “U” shaped symbol again). From there, go to the elevator and take it to the very bottom. Go back to the room where you met Dr. Santos and go to his cell.

Dr. Santos will appear and seem surprised that you came back for him. He will comment that you and Sam need to stay together then he disappears. Guess he wasn’t as real as we thought, huh? Hannah and Sam will discuss this for a bit.

Time to go. Take Hannah all the way back to the control room of the living ship and go stand in front of the consoles. When she gets there, an Argilan will appear and point to something opposite the controls before disappearing. Don’t do anything quite yet, we have to wait for Sam.

Switch to Sam and bring him all the way to the living ship control room as well. When he gets there, have him or Hannah look at where the Argilan indicated. You should see a new button. Push it. It is then revealed that the living ship is actually a living spaceship as it launches itself into orbit.

Hannah and Sam, together again, watch a viewscreen as they are contacted by Dr. Davies. She tells them that they have passed the test; that by showing the proper amount of respect and concern for each other they have convinced Matia that humans are worth making contact with. The Good Servant has become the Wanderer and is coming with them back to Earth. She also says that everyone they met or contacted on the planet was really Matia. (Including Dr. Santos, apparently.) She wishes them well and Hannah, Sam and (presumably) Matia sail off in their living starship.

Congratulations, you’ve won. Roll the credits.

Sentinel: Descendants in Time (aka “Realms of Illusion”)

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Published on: October 12, 2011

Sentinel: Descendants in Time

A Few Notes on Gameplay and this Walkthrough

Sentinel allows you to move freely about in a three dimensional environment. Because of this, I cannot give you exact movement directions. I will try to direct you around using landmarks as best as possible but if you find yourself somewhere other than where I am describing, just backtrack and look around some more. None of the environments in the game are that large so you really can’t get lost.

You should be aware that Sentinel has a lot of sound based puzzles. You cannot complete the game without sound. Make sure your speakers are on and your sound turned up.

The interface is simple. To move forward, press the “W” key or the right mouse button. “A” and “D” move you to the left or right and “S” backs you up. You turn and look around using the mouse.

Normally the cursor is a single dot in the middle of the screen. When it is positioned over an area that you can interact with, a circle appears around the dot. Click the left mouse button to enter a closeup. Click the right mouse button to exit the closeup.

Pressing the space bar causes you to jump. This really isn’t necessary anywhere in the game though I did use it once or twice to free myself when I got “stuck” and couldn’t move.

The game has no inventory puzzles so it has no inventory as such. There is only one type of object you can pick up and you can only use them in one place. They appear on the screen whenever you are at that location and their use is more-or-less automatic.

I also must note that Sentinel did not get along particularly well with my video card. The game plays properly but none of the water effects in the game were visible; water appears as a featureless blue-green blob. I have seen the game on other machines and it looks fine so do not take the screen shots here as being representative of the game.

Finally, this game has been released under two completely different titles. The original release was titled Sentinel: Descendants in Time while a subsequent release was titled Realms of Illusion. Outside of the title the two games are identical and this walkthrough is valid for either one.

The Story So Far…

Far in the future, the Tastan civilization flourished. The wealthy and powerful Tastans built elaborate tombs for themselves and furnished these tombs with pocket dimensions, each holding a small environment modeled after some place that was important to the Tastan buried there. To protect the tombs, a security system was put in place that included the uploaded personality of the Tastan the tomb was designed to protect.

In the hundreds of years since the fall of the Tastan civilization, many treasure hunters have made names for themselves by braving the tombs, defeating their security systems and returning with artifacts and treasures from within. Only one tomb has remained unplundered after all these years; Tomb 35. Only one hunter, a man named Ramirez, has ever returned from that tomb and he returned empty handed.

You are Beni, a young treasure hunter. Your sister Carrie has been kidnapped by the crime lord Doba. Now, you must enter Tomb 35 and return with an artifact of value in order to save Carrie’s life.

Walkthrough
Tomb 35

When the opening cutscene ends Beni will automatically get on the elevator and ride to the tomb floor. Move forward along the bridge, the only path available to you. When you get near the end, Beni will start calling for Dormeuse; the security program for the tomb. (Beni, did it ever occur to you that one of the differences between successful and unsuccessful tomb raiders is that the successful ones didn’t call the attention of the security system to themselves? Just a suggestion.)

Dormeuse, the security system, will appear. She tells Beni that if he leaves immediately then she will let him go. Beni says he can’t and explains about his sister. This seems to intrigue Dormeuse for some reason and she disappears, leaving Beni to his own devices.

When you regain control, continue going forward until you reach an arched doorway. The device you see on the ground inside the doorway is a transporter that will take you to one of the pocket dimensions but it isn’t active at the moment. Look above the doorway and note the symbol carved there; a triangle open on the bottom-right.

Turn around and go back the way you came. Take the first ramp up to the right. At the top of the ramp, go into the doorway on the right. There is another transporter in here but it too is inactive. (All of the transporters are shut down at the moment). Go up the steps and follow them around.

At the top of the steps there is another transporter on the balcony to your left. Ignore it and go into the opening to the right and go up the steps you find inside. At the top of the steps, turn left and follow the path. You will see another arched doorway with another transporter inside. Note the symbol above this door; the base of a triangle with a vertical line rising from it.

Continue past the doorway. Take a moment to look out the window ahead of you to see a canyon dotted with tomb openings. Turn left and go the rest of the way up the ramp.

Out on the balcony, go to the right and follow the path around the outside wall. You will reach a third arched doorway containing a transporter. Look above this door to see another symbol, this one the base of a triangle.

Turn away from the doorway and walk out onto the stone bridge. You should see a crystalline object ahead of you; this is the “waystone” (though you don’t know that yet). Beni wonders aloud to himself as to why Dormeuse hasn’t killed him yet. (Or maybe he’s talking to you; who can tell?) Walk around to the far side of the waystone then turn to face it. Click on it for a closeup.

Click on each of the three buttons until they display the three symbols you have seen in the order in which you passed them. (Set the first button to show the triangle open on the lower-right, the second the base of the triangle with a vertical line and the third just the base of a triangle.) You will get a very brief cutscene of a transporter activating.

Dormeuse will appear and ask why Beni thinks she is just a defense program and not a complete, uploaded personality; she considers herself to be real. Beni points out that she would have been programmed to think she was real and asks, if she was, why she would choose to stay in the tomb instead of going into the outside world.

Dormeuse replies that she has her domains and can create anything she wants or needs. Beni says that she didn’t create him and she responds by asking how he can be sure. This seems to unsettle Beni and she leaves him to think about things for a while.

The three transporters behind the arched doorways are now active. You can visit the active domains in any order but we’ll start with the one nearest us. Walk back around the waystone and down the bridge then enter the arched doorway directly in front of you. Step onto the transporter to be taken to Tregett.

Tregett

When you arrive, step off the transporter. Dormeuse will talk to you briefly and remind you that this is just a sampling of the real thing. You can go forward and wander around the base of the tower in front of you if you wish but there is no reason to do so. Instead, find a path leading off to the left towards an elevator platform inside of an organic tower. (The on-screen arrows may help you here though I found them to be an annoyance most of the time.)

As you approach the tower a cutscene begins. Dormeuse appears and asks Beni why he is there. Beni asks what Ramirez told her and she replies that he said it was so he could test himself against the unknown. Beni basically agrees with this. Dormeuse then asks if it bothers him to disturb her final resting place and he responds that no one really thinks of it that way; it is only about the challenge. Dormeuse disagrees with this, saying that she thinks he is there to get information on the Tastans and their civilization from her and that she plans to prevent him from doing so.

When the cutscene ends, enter the elevator platform. It will automatically rise to the top of the tower. Exit the elevator and examine the control panel in front of you.

This panel controls the tower you see in the distance. The lower switch allows you to raise or lower it while the upper lever turns it to the left or the right. You control the tower by clicking on one of the white indicators around the lever and switch. Note that you can move the tower one unit down or to the right but that there are two settings for moving it up or to the left. The blue button on the lower-left part of the console “resets” the tower.

The tower acts like a lighthouse. Your goal here is to turn the tower so that it points at each of the five “flower buds” surrounding it. You have twelve “moves” in which to do this before the tower resets itself and you have to start over.

To solve this, do the following. Reset the tower if necessary and turn it 1 Right, 1 Up, 1 Right, 1 Down, 1 Left, 1 Down, 2 Left, 2 Up, 1 Right and 1 Down. (“2 Left” means to use the second position to the left and “2 Up” means the second position up; everything else uses the first position.) There will be a brief energy display as lightning bolts leap between the “flower buds” and hit the tower. Beni will express surprise that it was so easy. (Don’t worry Beni; we’re just getting started.)

Go back into the elevator platform and ride it back down. Now approach the tower. On either side of the tower there is a flashing red light. Approach either light. Near the light there is a white button on a pole. Click on the button and the walkway surrounding the tower will rise into the air. When it stops, walk around to find a platform with four control panels on it.

Examine any of the control panels for a closeup. Note that there are eight switches on each panel. Flip any one of them to examine the result. A series of lights will appear along two cables ahead of you. Each switch causes a particular combination of lights to light up. Only one switch from each panel can be on at a time but you can have a switch active on all four panels.

If only one switch causes a light to be activated it will be red. Two switches cause it to be yellow, three cause it to be blue and four cause it to “overload” and go out. If matching lights on each cable are blue then an energy beam will appear between them. Your goal is to get all of the lights to turn blue by causing each light to be activated by exactly three switches.

To do this, turn off any switches that may be on then flip switch 8 on the first panel, switch 3 on the second, switch 6 on the third and switch 4 on the fourth. All of the lights will turn blue. Beni will again express surprise at how easy it was and speculate that Dormeuse wants him to see these things. Exit any closeups, walk around the panels and go up the stairs formed by the energy beams. Look around to find a tunnel entrance and walk through it.

On the far side of the tunnel, Beni calls out to Dormeuse and asks about the comment she made implying that she created him. She appears and observes that it bothers him. Beni says that if he isn’t real, then Carrie and Doba aren’t real either so there is no reason for him to continue. Dormeuse then, oddly, encourages him to continue by saying he can’t afford to assume they aren’t. This restores Beni’s resolve and he says that Ramirez warned everyone that despair was the real enemy in the tomb. Dormeuse agrees.

When the cutscene is over, turn towards the right and cross the bridge to the structure you see. Enter the railed-off area. Notice that there are three flower-like windmills outside of the structure. There is a device that looks like a lever on the outer railing facing each of the windmills. There is also a small device on the inner railing. The inner railing devices match up with the windmills, but not necessarily with the nearest one.

When you first enter the structure the inner rail device almost directly in front of you goes with the windmill to your left. If you go around the inner railing to the right, the first inner rail device you come to goes with the first windmill on the right. The second windmill on the right goes with the remaining inner rail device.

Approach any of the outer rail levers and examine it. Your view will shift to show the lever and the windmill. Notice that, as the windmill turns, a series of concentric circles appear near the center of the windmill and radiate outwards. You should also notice that each circle is drawn with a unique pattern. If you watch for a while, you will see that the patterns eventually repeat. If you click on the lever, the windmill will stop rotating. Click on it again to start it back up.

Back out of the closeup, turn around and examine the corresponding device on the inner rail. For now, notice that there are also three concentric circles in the center of the device here. These circles also have unique patterns. Make note of the patterns then back out of the closeup.

Turn back to the windmill again and reenter the closeup with the lever. Watch the patterns on the windmill. Eventually you will see the three patterns from the inner railing device appear. When this happens, pull the lever to stop the windmill. (Note: You need to anticipate the pattern a bit. Pull the lever just as the circle with the innermost pattern starts to emerge. If you wait until it is completely in position the windmill will advance one more cycle before stopping. If you miss it the first time, don’t worry; the patterns eventually repeat.)

Look at the stopped windmill. Notice that the windmill has both long and short blades. Make note of the order and positions of the blades then back out of the closeup and turn back to the inner railing device again.

Now examine the outside of the device. You will notice that there are a series of posts around the outside edge of the device and that these posts can be extended or retracted by clicking on them. Click on the posts until they match the arrangement of long and short blades on the stopped windmill.

Now, repeat this process for the other two windmills. The images here show the correct combination of windmills and devices but if they aren’t clear here are the correct settings. For the first device you encounter after entering the structure, start at the top right post and set the posts to out, in, out, in, in, out, in and out (going clockwise around the device). The second device (going to the right around the inner rail) gets set to in, out, in, in, out, out, out, in. Finally, set the third device to out, in, out, out, in, out, in, in.

When you have correctly set all three devices, an elevator will arrive in the middle of the inner rail. Enter the elevator and ride it to the ground. Beni will again wonder why he is doing so well and say that it feels as if he has gained extra skills. (No Beni, you just have us looking over your shoulder, that’s all.) You should be able to see a transporter nearby but it isn’t active. Instead, look around until you find a path leading to a low hill. There is a device on the hill with a crystal inside. Click on the crystal to pick it up. Beni will excitedly say he may be able to give the crystal to Doba to get him to release Carrie.

Go back down the path. The transporter is now active, so step into it. This takes you back to Tomb 35.

You arrive back at the same location as before (except the transporter here is no longer active). Go straight ahead across the bridge and back to the waystone. Click on it to automatically insert the crystal you found. (In spite what Beni just said there is no way to offer the crystal to Doba.) The waystone will project a symbol onto the wall of the tomb.

Dormeuse will speak up at this point and tell Beni that he needs to find all of the “hearth crystals” and bring them to the waystone. Beni asks what the crystals are for but she does not reply.

Though you don’t know it, another of the transporters has activated. Basically, each time you complete a domain by retrieving a hearth crystal from it, that domain’s transporter shuts down. Then, when you insert the crystal into the waystone, another activates. It doesn’t matter in which order you do the domains as each is independent of the others (and you can leave and return to a domain as often as you like until you take its hearth crystal). So, we’ll just take them (more or less) in the order we encounter them.

That said, go back down the bridge and away from the waystone. Follow the path to the right until it loops around and reenters the interior of the tomb. Continue following the path on down the ramp to the right.

At the bottom of the ramp is another arched doorway containing an active transporter. Step into the transporter to find yourself in Maru.

Maru

Welcome to Maru; hope you aren’t afraid of heights. Dormeuse will briefly appear to remind Beni that the domains are just small pieces of the real thing before departing again. Look around a bit if you like (I thought Maru was the most impressive of the domains myself) before going down the bridge in front of you. (You will later learn from Dormeuse that these floating facilities are called “sky engines”.)

At the bottom of the bridge you will find a control. Click on it and the wall in front of you will spin past. Keep clicking on the control until an opening moves into place in front of you. Go forward into this opening then turn left and go forward until you reach a second control.

Face this control and click on it until another opening appears. Go straight through the opening to another control.

Click on this control until yet another opening appears ahead of you. Don’t go though it yet. Click on the control one more time. A second opening will move into position. Go forward through this opening then turn right and go through to the next chamber. Once there, turn right again and go back out to the next outer ring. Turn left and go forward to another control.

Click on the control and the door you just came through will move in front of you. Click once more to bring the second door here. Go forward, turn right and go forward again to reach a final control. Keep clicking on this control until the final opening slides into position. Go forward into the sky engine. Somewhere along the line Dormeuse will start talking again and explain that her father was stationed on Maru when she was a child but that she always remembered it. She says this is why she is showing it to you. (Dormeuse, you’re the security system, I’m the tour guide, OK?)

Go forward into the center of the sky engine. The central part of the platform is an elevator and, when you reach it, will automatically rise to the upper level.

Take a moment to look around and orient yourself. You should see a green light on top of a pole nearby. Go stand next to this pole.

Maru contains the first of many sound puzzles so make sure your speakers are on at this point. Look at the pole and you should see a handle on its side. Pull the handle and you should hear a sound. (My notes say I called it a “flat trumpet fanfare”.) Remember this sound and the color green.

Now, navigation on Maru can be a bit tricky since the sky engine is symmetric. I will use this pole as a reference mark. There is a path extending outwards from beside this pole. (The pole is to your right as you face the path.) Go along this path to the outside edge of the sky engine.

When you reach the outside edge, Dormeuse will start talking to Beni again and he will look around wildly for her, though he can’t find her. She will express surprise at how far he has come and say that he must have had help. (Oh, don’t mind me Dormeuse.) She asks what Ramirez told him and he replies that Ramirez talked about her and said that she was ruthless and beautiful. Dormeuse seems flattered by this comment and tells Beni to call her Tamara; Dormeuse is apparently just Tastan for “sleeping woman”.

Tamara again wonders why Beni is there and speculates that it is for vandalism or theft. Beni protests that he hasn’t done anything like that and she says she knows that and thanks him. Beni then adds that he has to take something valuable to Doba or he will kill Carrie. Tamara doesn’t seem to believe him.

Since Beni has been randomly looking around you may be disoriented. Turn until you are facing the center again; towards the pole with the green light. There are some steps to our right and a telescope behind us but we need to do something else before we start to interact with them. Turn to the left and start walking around the outer edge of the sky engine. (You should be going clockwise around the rim.) You will come to an elevator on your left. Enter the elevator and look for the controls. You are currently on level III, so push the button for level II.

When you arrive, exit the elevator and start walking around the corridor. You will eventually reach another pole, this one with a blue light. Pull the lever and make note of the tone associated with this one. Then, return to the elevator (there are actually two but it doesn’t matter which one you take at this point) and ride it down to level I.

Here you will notice that you can exit the elevator in either direction; there are two concentric walkways. Exit the elevator to the inner walkway and start walking around. You will soon find another pole, this one with a purple light. Pull the lever to hear another tone.

Go to either elevator and walk through it to get to the outer walkway. Walk around this one to find a pole with a yellow light. Pull the lever to hear what sounds like a tuba.

Walk around the outer walkway some more until you find a platform or gondola on the outside of the catwalk. (You may have already passed this while looking for the yellow pole.) Enter the platform and push the “I” button. The gondola will travel along a cable to another floating sky engine. Exit the platform.

Tamara appears to Beni and again asks why he risks death to enter the tombs. She accuses him of stealing things to sell but he denies this. He repeats that it is just about the challenge. He tells her that his civilization is simpler and “less bold” than the Tastan’s was. They have no wars and almost no crime. (Tell that to your sister, Beni.) Raiding the tombs is one of the few challenges they have. Tamara, sounding angry, sarcastically says that she is glad that they give purpose to Beni and the others of his time.

There are two poles on this smaller engine; one with a red light and one with a white. Pull each lever and listen to the sound. (I called them “flat tone” and “foghorn”.) Return to the gondola and push the “II” button to return to the main sky engine. (Tamara talks a bit more about the sky engines along the way.) Once you arrive, go to either elevator and ride it back up to the top level.

Look around and find the pole with the green light again. Go to the path beside this pole and stand where the path meets the outer rim. Turn to face outwards. You should see a telescope in front of you and some steps to your left. Approach the telescope and click on it to look through it.

You should find yourself looking at a small sky engine with a flashing light. If you watch for a while you should see it flash, in sequence, yellow, red, purple and green. Back out of the closeup.

Now, climb the stairs next to you. You will find yourself on a higher platform which faces the same small sky engine. There is a pole here with a speaker on the top and several valves or buttons on one side. Examine the valves for a closeup.

If you press the valves you will hear that they produce the same sounds as the levers on the various poles. Your task is to convert the flashing lights on the small sky engine to sounds; the poles around the engine tell you which sound goes with each light. If you play around a bit, you will discover that the first valve produces the sound from the red pole, the second valve the sound from the green pole, the third the sound from the blue pole, the fourth the yellow pole, the fifth goes with the white pole and the sixth valve corresponds to the purple pole.

In this case, the colors are yellow, red, purple and green. Number the valves from 1 to 6 (starting at the top) and press valves 4, 1, 6 and 2. The remote sky engine will echo the sounds and an energy beam will fire from it to the top of the engine you are on. A mechanical device near the center of the sky engine will drop somewhat.

Back out of the closeup and descend from the platform. Continue clockwise around the outer rim until you reach a second telescope. Look through it to see another sky engine. (You can also see the transporter you arrived on from this telescope; the engine you want is above it.) The lights here are purple, blue, green and white. Exit the closeup and go up the stairs. The valves here work the same as those on the other platform, so press valves 6, 3, 2, and 5. Again, the remote sky engine will repeat the sounds and emit an energy beam which causes the mechanical device to drop further.

Repeat this for the other two platforms. Continuing clockwise, the third light pattern is green, yellow, white and purple so press valves 2, 4, 5 and 6. The final pattern is yellow, blue, green and red so press 4, 3, 2 and 1. When you have correctly matched all four patterns you will get a brief scene as the mechanical device lowers another crystal to the elevator platform. Beni gloats a bit.

Return to the center of the sky engine and take the crystal from the device. The elevator lowers you to the bottom level again. Leave the elevator and return to the maze formed by the rotating walls.

Fortunately, leaving is a lot easier than entering. Enter the first chamber, turn right, go to the next room, turn left and go forward. Go to the control here. Press the control four times. At this point, the wall in front of you should not have a door in it. Turn left and enter the next room. There should be a door to your right. (If there isn’t, go back to the control and press it again.) Go through the door and follow the path back out. (There is only one way to go so you can’t get lost. You don’t need to do anything else with the controls.) Cross the bridge and step onto the transporter to return to Tomb 35.

Now, we could go ahead and take this crystal back to the waystone but there really isn’t any need to do so right now. So, exit this room, go to the left and follow the steps down to the right. Exit through the opening to your left. Note that the transporter on the balcony here has activated (this one turned on when you inserted the crystal from Tregett into the waystone). You could go on through this one (it leads to Corabanti) but I like to do the three initial domains first then come back and get the others. So, for now, go down the steps to the left.

There is another transporter in this room but it is still deactivated. Exit and go down the ramp outside. At the foot of the ramp, turn left then go forward and enter the room ahead. Step onto the transporter and it will take you to Eska.

Eska

No, you haven’t suddenly traveled to the Florida Keys; this is Eska (bane of my video card). Step off of the transporter and Tamara will make her usual comment about how this is just a small piece of the real thing, mysteriously adding that there is enough of it to test Beni. (Test? No one said there would be a test!)

Leave the short boardwalk on which the transporter is sitting and go left. A little ways down the boardwalk you will see a wooden box on the right side; stop and examine it. Note the three ropes hanging from beneath the box. You can click on them to move them up or down but we don’t know what we’re supposed to be doing with these yet so for now just note that the ropes are colored red, purple and blue. Back out of the closeup

There is nothing else we can do in this area for now so turn to face the direction from which you just came and go forward. Just after you pass the boardwalk leading to the transporter the boardwalk you are on will turn to the left. Keep following the boardwalk. You will pass two more of those boxes on the right side of the boardwalk. Examine both of them to find that one has four ropes hanging from it while the other has five. Note that the four ropes are yellow, red, green and blue while the five ropes are blue, yellow, red, green and purple. When you have finished examining them continue on down the boardwalk. Remember where they are though; we’ll be coming back later.

The boardwalk will enter a small covered shed. In one corner of the shed there is a console that looks like a shell. Examine it for a closeup then push the button on it. A fountain will start spraying water. Back out of the closeup.

The boardwalk continues past the shed so keep following it. You will enter another covered shed. There are two boardwalks leaving this shed; take the one to the right. (The other path is a dead end for now.) You will next come to a “T” intersection. Turn to the left and follow the boardwalk to a tower.

Climb the tower. Just before the top you will find another of those shell-like consoles. Examine it and press the button. A slight spray of water starts coming out of the top of the fountain. Back out of the closeup and admire the view of Eska for a moment. (Note: the button here is a sort of “reset” button. You will be pressing several buttons to increase the water coming from the fountain. If you press them in the wrong order, the water spray from the top of the fountain will shut off. If this happens, come back here and press this button again to start over.)

You can go a bit higher in the tower but there is nothing on top except a large, greek vase hanging from a rope (and no, I don’t know why). So, go all the way back down. (Note: I occasionally got “stuck” on the stairs here. If that happens, hitting the space bar to “jump” was sufficient to free me.) Once down, go back along the boardwalk again. When you reach the “T” intersection keep going straight and follow the boardwalk into a partially walled-off area.

When you enter this area Tamara will appear again. She asks Beni if he trusts Doba to release Carrie and Beni says that he has no other choice. She then asks if he trusts her and he says he can’t; she is a defense program after all.

Tamara points out that she may be an uploaded personality. If so, she might let Beni go. Beni says that a defense program may be programmed that way also; it may let visitors go if they pass certain criteria, such as not destroying things and passing certain tests. Tamara seems amused by this and suggests that the main criteria may be entertaining her. Beni asks how he is doing and she responds that she is still entertained and that he is still alive.

When the cutscene ends look around until you find a box hanging from one of the walls. Examine it for a closeup. Note that this box has three ropes hanging from it with a light above each rope. If you click on the ropes they will move up or down and the light above each rope will change colors as it does.

Remember the box with the three colored ropes? Those ropes were red, purple and blue. So, click on the first rope until the light above it turns red, the second rope until the light above it turns purple and the third rope until its light turns blue.

Now, look at the pole on which the box is mounted. There is a series of seven notches cut into the pole. Number the notches from 1 to 7 starting at the top. Notice that the first rope is even with the sixth notch, the second rope with the fourth notch and the third rope with the sixth notch. Write these numbers down then back out of the closeup.

The boardwalk continues a short distance from here but there is nothing to see. So, turn around and start back in the direction from which you came. When you reach the “T” intersection turn back to the left and go all the way back to the first box you examined earlier; the one with the three colored ropes hanging from it.

Now, remember the settings we got from the box with the lights. Click on the red rope until it is at the sixth notch, the purple rope until it is at the fourth notch and the blue rope until it is on the sixth notch. You should see a bridge rise into position next to you. Cross the bridge into another of those covered sheds. There is another shell console here, so examine it and press the button. The spray of water above the fountain increases a bit.

Back out of the closeup. There is nothing else to do in this part of the boardwalk so leave this shed and turn to the left. Follow the boardwalk around until you reach the covered shed with two boardwalks leading from it. This time, take the left boardwalk. The boardwalk will pass a long pipe with several valves on it and will end at a lever and an odd suspended bridge. Unfortunately, the bridge is rotated away from us and we can’t use it. You can pull the lever if you like but it doesn’t do anything at the moment. Instead, turn to face one of the valves.

These valves control the pressure in the pipe and the pressure in the pipe is what is used to rotate the bridge. If it is too low the bridge won’t move. Too high and it swings too far. We have to figure out what the correct pressure is.

Look at the valve and the wall above it. First, notice that each valve has 16 markings on it. The markings correspond to settings of 0 to 15. All valves are currently at zero. (Once you rotate a valve, you can tell which is the zero marking by looking at the spiral pattern in the middle of the valve; the “point” of the spiral is at zero.)

Now look at the wall above the valves. Notice there are three circles on the wall and a line is drawn from one circle to the valve. The rightmost valve (as you face them) connects to the large circle, the middle valve to the middle circle and the leftmost valve to the smallest circle.

Finally, notice that each circle is four times the diameter of the next smaller circle. (Count the boards.) Four times the diameter means 16 times the area. There’s 16 again. From this, we can gather that each marking on a valve corresponds to a full turn of the valve to its left. This tells us all we need to know in order to determine how to approach this.

Set the small and medium valves (the left and middle ones) to zero. Set the right valve to 8 (halfway). Go pull the lever. The bridge doesn’t move so obviously 8 isn’t high enough. So, go set the right valve to 12 (half the remaining distance). (Remember to click on marking 12, counting from the point of the spiral. Also remember that the first marking is 0, not 1.) When you pull the lever this time the bridge swings too far. So, 12 is too high. Go back and set the valve to 10 (half the distance between our known too low and too high settings). The bridge stays too far over so 10 is still too high. Set the valve to 9 (half the remaining distance). This time the bridge swings back. So, we know the setting is somewhere between 9 and 10. Since we can’t adjust any further with the rightmost valve, leave it set to 9 and move to the middle valve. Repeat this same process there to learn that its correct setting is 12. Finally do the same on the leftmost valve. When you set this valve to 4 and pull the lever the bridge moves to its center position. So, the correct settings, from left to right, are 4, 12 and 9.

Cross the bridge. When you do, you will see a clamshell console to your left. Do not use this one yet! The clamshells have to be activated in a particular order. If you don’t, the fountain spray shuts down and you have to start over again with the button on the top of the tower. This isn’t the one that needs to be activated next, so skip it for now. (Unfortunately, I never found anything to tell me what order to use the clamshells in other than trial and error.)

Instead, turn to the right and go to the end of the boardwalk then turn left and go through the mesh tunnel. Then, continue to follow the boardwalk to another partially walled-in area. Look around to find another box with ropes and lights, this one with four ropes. We saw another box with four ropes earlier and the ropes there were yellow, red, green and blue. So, move the ropes here until the lights are displaying yellow, red, green and blue. This should leave the ropes hanging to positions 5, 4, 7 and 6.

Leave this closeup and return to the box with the four colored ropes, near where you first arrived on Eska. Examine the box for a closeup. Then click on the ropes until the yellow rope is at notch 5, the red rope at notch 4, the green rope at notch 7 and the blue rope at notch 6. A bridge will rise into place beside you.

Back out of the closeup and cross the bridge. Turn right and go through the mesh tunnel then turn right again to continue following the boardwalk. You will see a set of stairs going down to your left; ignore them as they really don’t go anywhere. Continue on down the boardwalk, down the stairs straight ahead then up another set.

Just after you climb back up the stairs there will be a ramp to your left. Turn and take this ramp. Follow the boardwalk here on around and through another mesh tunnel to get to yet another of those covered sheds.

When you step into the platform, Tamara will appear again and ask Beni what he thinks of her domains. Beni will express admiration and say that he has never seen anything like them before. He then says that Tamara must have been a great and powerful woman. This seems to please Tamara (who is oddly playing with an umbrella the entire time).

Tamara asks if the domains have given Beni any insights and he says they are distracting him; that he needs to find something to give Doba to save Carrie. Tamara interrupts him and says that she values her conversations with him and that he should make time for her. If he does, she might reward him.

Beni asks if this means that she will give him something and let her go. Tamara doesn’t promise anything but says that if he brings her news of the world outside then she may be merciful to him.

Once Tamara is gone, look around until you find another rope box on the wall. This one has five ropes, matching the remaining rope box we found. The earlier box had ropes that were blue, yellow, red, green and purple. So, as before, set the ropes on this box so that the lights show blue, yellow, red, green and purple. These correspond to rope settings of 1, 5, 1, 2 and 4.

Well, we have another set of numbers so it is time to use them. (This area of boardwalks is actually fairly extensive and there is another clamshell console near here but we need to use another one before we can use it so we’re skipping it for now.) Return to the boardwalk near your arrival point then go a short distance up the boardwalk to the five rope box you saw earlier.

Set the blue rope to position 1, the yellow rope to position 5, red to position 1, green to 2 and purple to 4. Another bridge will rise into place.

Cross the bridge and turn left. Go straight ahead and up through the mesh tunnel ahead of you. Turn left and go into the covered platform ahead of you. Tamara will start speaking and will talk about how much she loved Eska. (Tamara? One word: handrails.) There is a clamshell console in here, so examine it and press the button. The plume above the fountain will increase.

Leave here and go back to the spine bridge (the one we rotated with the valves). Cross the bridge and go to the clamshell console to the left. Now we can safely use this one. Examine the console and press its button. More water sprays from the fountain.

Now go back to the bridge next to the four rope box. Cross this bridge and follow the boardwalk around as before except, this time, continue straight along the boardwalk past the ramp to the left. Enter the small shed, turn left and go straight to the next shed. There is a final shell console in here. Examine it and press the button. The water plume increases for a final time, becoming strong enough to turn a water wheel above the fountain. A covered platform will rise from the water. Walk around to the newly exposed platform to find a crystal on the side wall. Take the crystal then return to the transporter (keep going straight ahead to take a shortcut) and return to Tomb 35.

Back in the tomb, go straight out of the room and down the ramp. Take the ramp up to the right then enter the room to the right. The transporter in here is still inactive so take the stairs up and around. At the top of the stairs there is an active transporter on the landing to your left; the one we bypassed earlier. We may as well use it while we’re here, so step into the transporter and travel to Corabanti.

Corabanti

OK, let me get this out of the way; I hated Corabanti. Not because it was difficult, but because it was tedious. Figuring out what you need to do here is quite simple. Actually doing it takes forever.

But, enough of that. Tamara gives her usual reminder that this is just a small piece of the real thing then leaves us to our own devices. Step off the transporter and look around. Hmmm… Looks warm. To one side you should see a complex arrangement of wooden walkways and poles with an antenna looking device beyond. (Wooden walkways? Over a lava field? Does this make sense to anyone? Me neither.) There is a telescope pointing at the arrangement of walkways. Approach it and examine it for a closeup. Look through the telescope and pan around using the mouse. You will notice that there is a symbol on each pole and each pole sits on a set of walkways. You will also notice that all of the walkways do not connect with each other. You probably should note down the various symbols but, just to make things easier, I have reproduced all of them below so don’t worry too much about it.

Back out of the closeups and turn around. You are on a small island in a sea of lava. There is a charred wooden bridge extending from your island to a larger one. Cross the bridge. (And did the Tastans just not believe in handrails or what?) Turn to the right and walk around the outside edge of the island.

There is a tower in the center of the island and you will shortly come to a path on your left that leads to an opening. Go up this path and through the opening into the tower. (There are a few openings you can use to look into the tower but you can only go through this one.) Once inside, continue onward to the center of the room. You can see another hearth crystal in front of you but you can’t get to it yet. Instead, turn to the left and enter the small room to the side of the tower.

Approach the table in the middle of the room and examine the book lying on it for a closeup. The book shows a mechanical drawing to which someone has added several colored marks. There are a different number of marks for each color; four red, three yellow, five green, two purple and one blue. Note that an arrow has been drawn from the purple marks to the second indicator on the device. Note the colors down then back out of the closeup.

There is nothing else in this small room (there is a bookcase but you can’t do anything with it) so return to the main part of the tower then go stand just inside the doorway through which you entered. Look around and you should see a pole with a small red button on the top. Press the button. The platform you are on will rise to the top of the tower.

Take a moment to look around. There are four large windows up here, each looking out over a set of wooden walkways like the one you looked at earlier. There is also a four-sided console in the middle of the room. If you examine the console you will see that it is covered with buttons and that each button is labeled with a symbol similar to the ones on the poles over the walkways.

The console controls the walkways. Each time you press a button, the walkway corresponding to that symbol rotates. Sometimes. Actually, it will only rotate if there is an unbroken path of walkways leading from the center walkway in the row nearest the tower to the walkway you are rotating. (The walkway you are rotating does not have to be connected but every walkway leading to it does.)

Your goal here is to rotate the walkways so that you will have an unbroken path from the entry walkway (the center walkway in the row nearest the tower) to the antenna-like device beyond them. Once you have done so we will be visiting those devices.

Normally this would require that you go to each set of walkways and use the telescopes there to note all of the symbols as well as the current arrangement of the walkways. You would then have to come to this console and use the buttons to rotate the walkways into position. This is the tedious part.

Fortunately, I have done the hard work for you. I will be using the volcano you have probably seen in the distance as a reference so walk around the console until you are looking across it and out of the window in which you can see the volcano. Click on the console for a closeup. You will be able to see the console and the walkways beyond. Below is a graphic showing the initial arrangement of the walkways and their corresponding symbols.

You will always enter the walkways through the center walkway in the lower row. The destination is different for the different walkway sets, but in this case it is the center walkway in the upper row. So, remembering that you can only rotate walkways that are connected, you need to hit the symbols in the following order.

If you need to press a button that isn’t visible on the console, don’t back out of the closeup. Instead, click on the “rotate” button at the very bottom of the console until the set of buttons containing the symbol you need rotates into view. (The rotate button is the small arrow at the very bottom of the console.)

(Note: If you had previously pressed any of the buttons on the console then the walkways may be in different orientations. If so, just look to see what the current orientation is and, using the graphic above to see which button controls which walkway, rotate them until you form the correct path.)

Now, walk around the console until you are looking out the window to the right of the one with the volcano. Examine the console here. This set of walkways has the configuration and symbols shown here. (Note: You can actually rotate any walkway, even if you are not facing it, but it makes it a bit easier when you can see what you are doing. You do need to be aware however that if you accidentally press the wrong button then you may rotate something you can’t see.)

In this case, your destination is at the left walkway in the top row. These walkways can be set to the correct orientation by pressing these symbols in the following order.

Back out of the closeup and walk around the console some more to look out the window opposite the volcano. Examine the console from here. (You should be able to see the red light on the elevator that brought you here on the left.) This set of walkways has the configuration here.

It is solved by pressing buttons:

Back out of the closeup and walk around to look out of the final window. The walkways here are configured like this.

Rotate these walkways by pressing these buttons.

(Note: Always remember that if you have pushed any other buttons then these initial configurations and button sequences will not be correct. In this case, just use the graphics here to determine which button controls which walkway and rotate them as necessary.)

We’re done for the moment so go to the elevator and press the button to go back to the base of the tower. Go straight out of the tower until you reach the outer edge of the island then turn right. Go forward around the edge until you reach a pathway and bridge to your left. Go across this bridge. The transporter that brought you to Corabanti is here but ignore it and continue out onto the complex of walkways. Follow the path until you reach the small island with the antenna on it.

When you arrive, Tamara will talk a bit about how most people hated Corabanti (see, I’m not alone) but that she loved it. When she is finished, examine the crank in front of you.

If you click on one of the spokes of the crank it will turn and cause the antenna to raise and lower in its shaft. Notice the lights on the antenna shaft. The antenna base should remind you of the drawing in the book back in the tower.

Remember how there was an arrow from the two purple marks to the opening in the antenna base? Raise or lower the antenna until the purple light in the second position is showing through the opening. Then, back out of the closeup. Go back across the walkways and across the bridge back to the main island.

Once there, turn to the left and continue around the island until you reach the next opening to your left. Cross this bridge and the next complex of walkways to reach another antenna and crank. Examine this crank to use it. Remember the book back in the tower and compare the lights here to the markings in it. In this case, there were three yellow marks in the book and you are able to move the antenna so that the yellow light in the third position shows through the opening in the base. Do so then back out of the closeup.

Now, turn to your left. A couple of rocks away you should see another telescope. Hmmm… Wonder why that is there? Turn on to your left and go onto the first bridge then turn to the left again. Yes, that is another set of walkways and another antenna. However, this one is hidden from the view of someone in the tower by a rock outcropping. To see the symbols on these bridges, you would have had to configure the walkways where you are now standing so that you could have reached the telescope you just saw. Actually, you can’t read all of the symbols from it since some face the other way. You would also have had to configure the next set of walkways to reach a telescope there as well! Then, you will have to configure this set of walkways a third time to connect to the new set of walkways so you can reach the antenna there. Yes, you have to do the same thing three times!

Don’t worry, I’ll save you some effort. Here are the symbols and initial configuration of this new set of walkways. We’ll get to them later.

In the meantime, just go back across these walkways and to the main island. Once again turn left and continue around the island to the next walkway. (This is the one facing the volcano.) Follow the walkways to the antenna. In this case, you will move the antenna up or down until the red light in the fourth position is showing through the opening in the base. When it is set, back out of the closeup and look to the left to see the telescope with the fifth set of walkways beyond it. Fortunately, you won’t have to worry about this one.

Go back across the walkways to the main island. Once more turn to the left, walk around to the final walkway and walk out onto the smaller island.

When you cross the first bridge, Tamara will appear and ask Beni if he has any “insights” for her. Beni, with some excitement, says that the Tastans want people like him raiding the tombs. Tamara seems pleased with this idea and asks Beni why he thinks that would be. He responds that it would be so that the defense programs would be constantly tested and improve themselves. He says this would keep the defense system entertained.

Tamara asks how he came up with the idea and he says that anyone who could create domains and upload personalities wouldn’t worry about things like hearth crystals and waystones. Tamara again seems pleased and says that apparently they give each other purpose.

Beni asks Tamara to help him find something to give Doba. Tamara thinks it is amusing that someone would ask the security system of the person they were robbing for help. Beni insists that he will get something and get out and Tamara, with slight sarcasm, observes that hope is always beautiful.

When the cutscene ends, go on out to the end of the walkways. Examine the crank and antenna. Move the antenna up or down to find that the correct match with the colors in the book is to have the green light in the fifth position showing through the opening in the base. Set the antenna then back out of the closeup.

We have now set the four antennas we can reach to the correct positions. We now need to set the hidden walkways correctly so that we can reach the hidden antenna. Return to the interior of the tower and ride the elevator to the top. Walk around the console until you are looking across it and out the window to the left of the one with the volcano. Examine the console for a closeup.

Now, the first thing we have to do is set the visible set of walkways so that they connect with the hidden set. (You can actually see the first walkway of the hidden set to the right of the main walkways.) If you have been following this walkthrough, the walkways should look like the diagram below.

To rotate everything into position, press the buttons in the following order.

Remember, you will not be able to see your last few moves. (As before, if you have pressed any other buttons then your walkways will not be in the configuration shown here. In that case, just use the diagrams here to determine which button rotates which walkway and do whatever moves are necessary in your case.)

Exit the closeup, return to the elevator platform and return to the ground. Leave the tower and follow the path to the outside edge of the island then turn to the right and follow the path. Ignore the first path to the left and continue to the second. Take this path and follow the walkways all the way to the hidden antenna. Use the wheel here to put the blue light into the opening in the base. When you do, you will get a brief cutscene as a panel back in the tower rotates into a position which will allow you to reach the crystal.

When the cutscene ends, back out of the closeup and return to the tower. Take the crystal then return to the transporter.

When you approach the transporter another cutscene begins. Tamara’s voice asks Beni what he knows about history. Beni responds that the Tastan’s civilization was 500 years before his own and that his is simpler technologically and “debased” by comparison.

Tamara then asks if Beni has ever wondered why there are only 85 Tastan tombs. She points out that their culture lasted for seven centuries and had a population that numbered in the millions. Beni says that the Tastans vanished overnight and she asks him what happened to all of them.

Beni speculates that those in the tombs were part of a select group. Tamara encourages him at first then becomes amused at his wild speculation. Beni even guesses at one point that all of the millions of Tastans are uploaded into the tombs and Tamara laughs. She then asks why the greatest culture the world had ever known allowed itself to be replaced by a simpler successor. Beni says he doesn’t know and Tamara leaves, saying that she is sure that something will come to him.

When the cutscene ends step into the transporter to return to Tomb 35. Once there, return to the waystone and insert all of the hearth crystals you have found. This causes another three symbols to be projected onto the wall of the cavern and activates another two transporters. (The crystals from Maru and Eska cause the transporters to activate. The one from Corabanti does not have an immediate effect.) Tamara will also speak briefly and say that it is tempting to skip some of the domains but that if you do you might miss a vital clue. (Even if you wanted to you don’t have a choice; you have to do all of the domains.)

Leave the waystone and follow the path around to the right and back into the interior of the tomb. Keep following the path until you find the next active transporter; at the foot of the stairs about halfway down. Step into the transporter to be taken to Sanselard.

Sanselard

Well, after the lava fields of Corabanti, Sanselard should look pretty good. Hope you brought a jacket along though. As usual, Tamara will talk briefly about how much she liked Sanselard before leaving Beni to explore a while on his own. Take a minute to look around.

Be aware that most of the puzzles here are sound based so turn your speakers on and your volume up. Also, Sanselard is probably the most complex of the domains in terms of navigation so it will be difficult to give exact movement directions. Instead, I am going to describe what needs to be done here and leave it up to you to find your way around.

At some point while you are wandering around Tamara will appear again. She asks Beni if he has thought any more about what happened to the Tastans. Beni at first guesses a war against an unknown enemy but Tamara dismisses this. He then says that the Tastans, for some reason, decided to change into a simpler and less complex society; his own. Tamara more-or-less confirms this then asks what that tells him about the 85 tombs.

Beni says those in the tombs refused to go along with the change. Tamara leaps on the word “refused” and disappears in a burst of bitter laughter.

As you look around, you should see three major types of structures. These are called “Towers”, “Mills” and “Totems”. (Examples of each are to the right.) Note that both mills and totems have diaphragms on them that create sounds when you click on them. The diaphragm on the totem also has two symbols that flip back and forth. Finally, towers have a panel at their base that shows a similar set of four symbols. You will also find what looks like a manhole cover showing a relationship between the mills and towers but it isn’t exactly clear what the diagram is indicating.

To get started here, you first need to go to one of the mills. Click on its diaphragm and note the two sounds that it makes. Then, go visit the various totems and click on their diaphragms. You will hear another two sounds. The two symbols on the diaphragm correspond to these two sounds. Keep checking totems until you find the one that makes the same sounds you heard from the mill. Make note of these two symbols. (Note: There is not a one-to-one correspondence between symbols and sounds. Instead, two symbols together produce a unique two sound combination. A single symbol will not always correspond to the same single sound.)

Next, go to a second mill and repeat the process. This will give you another two symbols.

Now, go to one of the towers. In its base there is a display showing four symbols. Examine it for a closeup. Click on the symbols to change them and set the upper two symbols to match those from one of the totems and the lower two to match those from the other totem. An elevator will descend to the base of the tower. We’ll get to it in a minute.

Repeat this process with another two mills and another tower. Do this for all four towers. The symbol combinations you need are shown to the right. (Note: If a particular combination doesn’t seem to work for one of the towers, just try a different one. I had this happen occasionally but never determined a pattern to it. You really only need to gain access to three of the four towers but you may as well do all four.)

When you enter the four symbols for a tower an elevator platform will arrive. Step onto the platform and ride to the top of the tower. Look around and you should see a small console. Approach it and click on it for a closeup.

You have probably noticed by now the energy beams that are jumping between the four outer towers and the tower in the middle of the complex. The beams are firing with different timings. Your goal now is to get all of the beams to fire together.

The console here controls the timing of the beam. This is not that difficult to adjust. There are several settings around the outside of the console. If you click on one of the settings on the left, the beam from your tower will start firing a bit earlier. If you click on one to the right, it will fire a bit later.

Simply adjust the timing of your tower’s beam until it matches those from the other towers. For the first tower you are on, I recommend adjusting your beam to match the beam of the tower to your left. After that, adjust the beam of the tower you are on to synchronize with those that you have already matched up.

There are several markings on the console and you can click on different ones to adjust the timing by different amounts but I recommend just using the first setting. Click it, watch the result then click on it again as necessary. You will need to adjust the timings on three towers.

When all four towers are synchronized you will see an object “drop” in the central tower. You will then see what looks like a manhole cover open up. This is the elevator to the surface. (You did notice that this entire complex is floating in the air, didn’t you?) Leave the tower you are on (you get back down by stepping onto the elevator platform again). The easiest way to find the elevator to the surface is to go to the central tower then take the bridge from there to the middle of the complex. Step into the elevator and ride it down to the surface.

Exit the elevator and follow the only path available to you around what looks like a tree trunk. You will eventually come to a wheel facing what looks like a door into the tree. Examine it for a closeup.

It is not immediately obvious but the door-like panel in the side of the tree can be rotated into a number of positions. One of those positions has a window in it and another has an open doorway. What you cannot see is that there are another four panels behind this one.

The wheel here causes the panels to rotate. The lever to the right of the wheel determines which panel the wheel rotates.

Normally the wheel only causes one panel to rotate at a time (even if you can’t see the panel in question). There is one exception to this. If any panel between you and the one you are rotating has its door opening showing, then all of the panels from the one being rotated up to and including the one with the door will rotate.

Obviously, we are trying to get all of the doors in the panels lined up so we can enter the tree. But we can’t just rotate the nearest door into position then switch to the next panel as this will cause the door to rotate away. What we have to do is to rotate the windows into position, starting with the one closest to us, until we can see all the way into the inside of the tree. Then, since we can see what we are doing, we rotate the doors into position starting with the one furthermost from us.

How can you tell a window from a door? Windows have railings at the bottom (and usually have frost on them as well). Doors have railings at the top.

Start by making sure the lever is in the bottom position, which means we are controlling the panel closest to us. Click on the right part of the wheel to cause the panel to rotate. Continue doing this until the window comes into view. (If the door shows up, ignore it for now and keep rotating.)

Once you are looking through the window, set the lever to the next position upwards and start rotating the next panel. When its window appears switch to the next panel and rotate it. Continue doing this until you have rotated all five panels so that their windows are showing and the lever is in the topmost position.

(Note: It can be sometimes difficult to tell what is happening, especially once you are looking through three or four windows. Just make sure that there aren’t any railings showing at the top of the windows during this part and you should be OK. You will know you are done when you are looking into a green lit room.)

Once you have all the windows showing, leave the lever in its top position and continue rotating the furthermost panel until its door rotates into position. (Watch for the railings to appear at the top of the window.) When it does, move the lever down one position and rotate the next nearest panel until its door comes into view. Continue this way until all of the doors are in position.

When they are, simply enter the doorways. There is a crystal inside (You were expecting elves?) but before you can do anything with it Beni starts calling for Tamara.

Tamara appears and Beni expresses frustration over the fact that he knows so little about what is going on. Tamara seems to take some pity on him and asks how old he is. Beni says he is 78. (Really? So why the whiny teenager attitude, Beni?) Tamara accepts this and asks if a typical lifespan is around 500 years. Beni confirms this and Tamara asks if he finds this unusual.

Beni doesn’t and wonders why Tamara would think it was. Tamara points out that, for most of history, human lifespans have been less than one hundred years. She says that the Tastans used genetic engineering to increase human lifetimes. Beni still doesn’t understand what she is driving at and she finally tells him that the “tombs” were not built as such; they were designed to be traps. She stares at him significantly for several seconds before disappearing again.

When the cutscene is over, take the crystal then return to the elevator. When you step inside you will be taken back up to the tower complex. Once there, simply go back to the transporter that brought you here and return to Tomb 35.

We have a new crystal but there is no point in taking it to the waystone yet. Instead, leave the room you are in and continue down the path to the bottom. (Tamara will speak up along the way and again encourage you to visit all the domains.) Once there, follow the path to the right along the edge of the underground lake. You will soon find another transporter to your right. Step into it to travel to the next domain.

Goda

You will find yourself in the underwater domain of Goda. Oddly, Tamara does not immediately comment on it for once. There is only one way to go so just follow the tunnel. About halfway down, Beni will suddenly call out to Tamara again. (I guess he was wondering where she went as well.)

Beni will ask if the domains and the puzzles in them are just there to slow him down and distract him. Tamara partially admits this but says that the domains really were important to her in life. She then asks him if he has thought any more about why there are only 85 tombs. Beni says he hasn’t but that the answer must matter to her since she keeps asking about it.

Tamara somewhat sarcastically asks how something could be important to her if she is just a security program. Beni says he just feels that it is and she points out that intuition is a human trait. Tamara replies by pointing out that lying is too and that she was once human. But, he does want to understand the 85 tombs. Because it matters.

Continue on down the corridor. Along the way, Tamara will finally talk about Goda a bit. When the corridor ends at a door, click on it to open it and go inside.

The room you are now in is an elevator. There are six levels in this complex, numbered 0 to 5. Though you have no way of knowing at this time, the machine in front of you controls the doors (actually drawbridge-like gates) on each level. You can only set two levers on each level and, initially, you don’t know which doors you need to open.

What you are supposed to do here is ride the elevator to the top level then walk down a spiraling ramp to the bottom again. The drawbridges you are opening connect the ramp to each level. The way you would normally solve this is to ride the elevator to the top, go down the ramp as far as you can, look to see which drawbridges need to be opened, go back to the elevator, go to the proper level, set the levers for that level then return to the top and try again.

Fortunately, I’ll save you the effort. Push the button labeled “1″ to go to the first level. Number the levers from 1 to 4 starting on the left. Pull lever 3. Push the “2″ button to go to the second level. Here, pull levers 1 and 2. On the third level pull levers 1 and 4. For the fourth level pull levers 3 and 4 and, for the fifth level, pull lever 2.

You are now at the top. Beyond the machine and to the left you should see the top of the spiral ramp. (There is also a short walkway to a module extending from the side of the main structure. If you go there Tamara will talk for a bit but doesn’t say anything of major importance.) Go to the ramp and start going down. At each level, just look around to find the next ramp and keep going down. The ramp will eventually end at a landing above a short set of stairs that lead to a circular walkway running around the outer edge of this level.

Spaced along this walkway are twelve machines. Turn to look at the one just to the right of the stairs (as you descend them). The machine has two controls on it; a large dial and a lever. Click on the dial to turn it. You will get a very short scene of a light on the top of a machine turning on.

The machine you just saw is a short distance down the walkway. From the stairs, turn right and start walking around the level. (You should be going clockwise around the facility.) You will pass a few more of the machines like the one you just examined then you will come to a covered switch facing two large machines, one of which has the red light you just saw on top of it. Between you and the machines there is a channel filled with water. This channel goes all the way around the facility and separates the walkway you are on from the central areas of the complex.

We need to get to that central area but cannot cross the water. There is a floating bridge further on down the walkway, but it is too low for us to use. We need to raise the level of the water in the channel.

The two large machines in front of you are water pumps and they are controlled by the smaller machines located along the walkway. Some machines control one pump and some control the other.

You have to activate exactly seven of the smaller machines. (The smaller machines are activated by using the lever on their base.) When seven machines have been activated a cover will close over them and the cover over the switch in front of you will open. Pull this switch to have the pumps send water into the channel. This will cause the floating bridge to rise.

But, if both pumps are on, too much water will be pumped into the channel and the bridge will rise too far. We need to make sure the seven machines we activate all control the same pump.

The way to do this is to use the large dial on one of the machines then go look at the pumps and see which one is on. If only the left pump is on then that machine is one of the correct ones; go back to it and activate it using the lever on its bottom. If the right pump is on then you need to leave that machine off; go back to it and turn its dial back to off.

To correctly raise the bridge, go back to the stairs. Number the machines from 1 to 12 starting with the one you switched on a few minutes ago and going clockwise around the walkway. (If you are facing the stairs, machine 1 is on your left and you want to continue in that direction.) You have already turned on machine 1 so activate it by pulling the lever. Now, additionally turn on and activate machines 3, 5, 7, 8, 10 and 11.

When you activate the last machine the covers will drop down over them and the one over the switch will open. Go to the switch (it’s between machines 2 and 3) and pull it. The floating bridge over to your left will rise into position. Go to the bridge (between machines 5 and 6) and cross it to the central part of the level.

You are now facing another console, this one with 10 switches on it. Examine it for a closeup. Beyond the console is a door that is locked with a set of 10 rods. Each switch on this console causes one rod to move to the left and one to move to the right. You need to get all 10 of the rods to move to the central position.

This is easily done. Number the switches from 1 to 10 starting on the left. Then, flip switchs 10, 1 and 9 (in that order). The door will open.

(Note: If you have previously used any of the switches then the solution here will not work. In this case, number the rods from 1 to 10 starting at the top and use the following information to determine what switches to use. (In the following, S1-5L,9R means that switch 1 causes rod 5 to move left and rod 9 to move right.)

S1-5L,9R S2-7L,8R S3-1R,6L S4-2R,4L S5-3R,10L S6-2L,7R S7-1L,9R S8-3L,6R S9-5R,10L S10-4L,8R)

Walk around the console and into the doorway. You are back in the elevator again. The elevator will automatically start to rise and will go past the fifth level and on up to the top of the complex. When you arrive, you will see a crystal ahead of you. Walk around the machine and pick it up.

Turn around and you should see an active transporter on the other side of the level. Walk towards it.

Before you get to the transporter, Tamara will appear again. Beni will complain that the domains and tests are distracting him and that he keeps worrying about Carrie. Tamara (who is sorting through her wardrobe; apparently she does have something other than that one outfit) will stop him and say that he is of no use to Carrie dead and that both Carrie and her need him to stay focused.

Beni expresses surprise at this remark and the fact that she hasn’t done more to stop him. Tamara reminds him that the entire tomb is a trap and points out that his food and water won’t last much longer. She then adds that she does want Beni to continue exploring the domains within the tomb and asks if he has any more ideas as to why there are only 85 of them. Beni doesn’t know and asks her for the answer. She says that the answer must come from him and that she will leave him alone for a while to think.

Once the cutscene is over, step into the transporter and return to Tomb 35.

Time to go back to the waystone and drop off the latest batch of hearth crystals. Go back down the path and all the way up through the tomb to the waystone. Along the way, Tamara will say that Beni does indeed have to visit all of the domains and that he needs to; not just for Carrie but for her as well.

At the waystone, insert the latest hearth crystals. Then, go all the way back down through the tomb again and along the pathway on the edge of the lake. Keep going past the point where the transporter to Goda was located. A bit further along there will be a room on the right with a final transporter inside. Step into the transporter to be taken to the final domain; Argannas.

Argannas

Toto, I think we’re in Kansas again. Actually, it’s Argannas but I can see the resemblance. Step off the transporter and take a moment to look around. Tamara will start talking about how much she loved Argannas and mention that she tried to save it at the end but failed. (This apparently refers to the event Beni mentioned where all of the Tastan cities were destroyed.)

Argannas contains yet another set of sound puzzles so turn your speakers up again. Be warned that some of these are very subtle; I’ll point them out when we get to them. Also, these sound puzzles are random so I cannot give you exact solutions for them. Instead, just follow my instructions on solving them to get the correct solution for your game.

(Actually, you don’t really need to solve the puzzles with the various noisemakers and keypads. The only reason for solving them is to reach the birdhouses you need to find in order to open the main door. The codes needed to open this door are not random, so if you are completely stuck you can use my solution here to open it.)

Finally, Argannas is just complex enough that is slightly difficult to give good directions for moving around. So, if you seem to be lost, look around for a bit.

That said, start by looking ahead and to the left. You should see a tall tower with a large door in its side (visible in the image here). Walk towards it. When you get close, you will see that the door is surrounded by four panels. Three of them are covered by metal grilles but the fourth (on the upper right) is open. Examine it for a closeup.

You will notice that there are eight geometric shapes on the panel as well as a large, red button on the upper left. Click on the button and you will hear a series of bird chirps. You can also click on any of the geometric shapes. When you do, the shape will slide into the panel and another shape will slide back out into its place. If you continue clicking, you will discover that there are five different shapes.

We can’t do anything with this yet so back out of the closeup then turn around to face the transporter that brought you here. To the right of the transporter you should see a ramp. Walk down this ramp. In front of you there is what appears to be a birdhouse on a tall pole. Walk around to the other side of the pole then turn to face it.

The first thing you should notice is that there is a plaque showing four shapes on the pole. Below the plague is a button. If you push the button, the pole will spin and you will hear a series of bird chirps; the same chirps you heard when you pressed the button on the panel beside the door. These shapes are the first four shapes you need for the first door panel so note them down. Also note the shape of the birdhouse on the top of the pole.

When you are done go back up the ramp. Continue going more-or-less straight, though you will have to bear a bit to the right. Keep going until you get near what looks like a closed gate in the back wall. You will pass several more birdhouses of various shapes along the way but when you get near the gate you should see another birdhouse that looks like the one you examined earlier. The pole for this birdhouse also has a plaque on it with another four shapes. Note these down as well.

Now return to the door into the tower and examine the panel on the upper right. Click on the shapes until the top four shapes match those from the first birdhouse you examined and the bottom four match the shapes from the second birdhouse.

You will automatically exit the closeup and several things will happen. The metal grille will close over the panel you just used while the grille covering a second panel will open. Also, the door into the tower will open, revealing… a second door. (You didn’t expect it to be that easy, did you?) Examine the panel that just opened and press the large red button. Note the series of chirps that it makes then back out of the closeup.

There are several more birdhouses scattered about but none of them are of use to us. There are several closed-off areas of the domain and we need to find the way to enter them.

Start by facing the door that just opened then turn to the left. Go forward until you reach a wall. There is a keypad in the wall here and you can examine it if you wish though we don’t know what to do with it yet. Turn to the right and go forward along the wall. Follow the path you are on; it will bend to the left. Keep following it under what looks like a hanging sculpture of a dragonfly until the path ends at a corner.

At the corner, turn to the right. You should see a building in front of you with an open doorway. (The building looks like an unfinished church of some kind.) Enter the building.

Take a moment to look around. There are a series of columns supporting the roof here and, if you examine them, you will find that each of the columns has a crank of some kind on it as well as a symbol. If you examined the keypad you saw earlier you will realize that the symbols here match those on the pad; obviously there is a connection. You will also notice that each column is different in that each has from three to eight sides.

If you click on the cranks they will turn and you will hear a sound. There are six cranks in here and they produce a variety of sounds, but one sound will be produced by three different cranks. Note down the symbols for the three cranks that produce that common sound and the number of sides on the columns to which those cranks are attached.

Now, return to the keypad you saw earlier. Enter the symbols you just noted on the keypad. The order in which you enter the symbols is based on the number of sides of the column the symbol was on; enter the symbols in order of increasing number of sides.

When you do, several things will happen. A panel will close over the keypad you just used and you will see a second keypad open somewhere else. Additionally, the door to your left will open. Go through the door.

When you enter you will see the keypad that just opened over to your left but, since we haven’t found the code for it yet, just ignore it for the moment. Also to your left there is one of the birdhouses with a button on its pole. You can push the button if you wish but it isn’t one of the ones we are looking for.

Instead, turn to the right. There is a street in front of you with a covered sidewalk on the right side. (To me it looks sort of like an “old west” style street.) Walk along either side of the street. Spaced along each one you will find several bells hanging from the roof, each marked with one of the keypad symbols. Also note that the rope holding each bell has a number of knots in it. Click on each bell to ring it. The bells will make various ringing sounds but, as with the cranks, three of the bells will make the same sound. Note the symbols on the three bells with the common sound and the number of knots in the ropes holding them
.

While you are ringing the bells Tamara will suddenly speak up and ask Beni if he has figured anything out yet. Beni, excitedly, will say that he has figured out who the tombs are for. They are those few Tastans for whom the process to extend their lifespan failed to work.

Tamara confirms Beni’s guess. The tombs were created to trap and kill those who left her and the others like her behind when they became “near immortal”. She and Beni talk about this a bit and Beni asks if this revenge is enough. Tamara says that it has to be.

When you have the symbols from the bells, go to the keypad we passed a few minutes ago. Enter the symbols in the proper order, which in this case is based on the number of knots in the ropes. Once again this keypad will close and yet another will open. Looks like we may be here for a while.

Go through the door. In this room you will find a series of seven tracks with a barrel sitting in each one. You will also find several more birdhouses. Beni will gloat a bit when he gets inside. Ignore the birdhouses for now and go examine the barrels.

If you look, you will find that each barrel has a keypad symbol on one side. Click on the barrel and it will roll to the opposite end of its track. Do this for each barrel and listen to the sounds each one makes as it rolls.

Once again, several of the barrels will make the same sound when rolling while the others will make different sounds. (Note that some of the differences may be subtle here.) In this case, there are four barrels with a common sound. Make note of the symbols on these barrels and their relative sizes then leave the room.

Go back down the street with the bells and continue to the back wall. You should see a stairway on the wall that leads to nowhere. You can climb it and look around if you wish but there is really no reason to. Instead, go under the stairs. You should find a small gap in the fence, go through it.

Go ahead and a bit to the right. You should find the next keypad in a small alcove. Enter the four symbols you got from the barrels in the order of increasing barrel size. Once again this keypad closes and you get a brief view of still another keypad opening. The door beside you opens as well. Go through this door.

Inside you will find several flights of stairs. Climb the stairs and note the sound your footsteps make as you climb each set. (Be careful. If you go full speed up the stairs you may not hear anything. Go up the stairs a few steps at a time.) As you can probably guess, your footsteps make different sounds on different flights of stairs but one sound will be common to five of the flights.

About halfway up each flight of stairs there is a symbol on the side wall. Note the symbols for the five flights of stairs with the common sound and the order in which you encounter them as you climb. Be aware that some of the differences in the sounds here are very subtle, so listen carefully.

As you near the top Tamara will speak up again. She will repeat that she tried to save Argannas at the end and add that very few people have made it this far. You can briefly pat yourself on the back before finishing all of the steps.

When you reach the top level, take a moment to look around. There is an odd set of up-and-down stairs on the far side of the room that you need to climb to get the last symbol. You should also notice a pair of birdhouses up here. Note the one near that far set of up-and-down stairs. It has a button on its side, so push it. You should hear the sound from the panel next to the door into the tower. This is the first half of the code you need, so copy down the shapes from the side of the pole.

Once you have identified the five symbols and gotten the shapes from the pole, go all the way back downstairs and exit this building. When you leave, continue going straight along the alley in front of you, between the building to your right and a fence to your left. After a short distance you will see a flight of stairs leading up to a balcony. Climb them. At the top of the stairs you will find a birdhouse which matches the one you found at the top of the squeaky stairs. Copy then symbols down from this birdhouse as well.

Now head back to the street with the bells. (You can either go back down the stairs and retrace your steps or you can follow the balcony around up here. It leads to another set of stairs that takes you down to the street of bells.) From there, return to the door into the tower and enter the shapes you just found into the panel there. This panel will close, the next door will open and a third panel will open. Examine the newly opened panel and press its button to hear another set of chirps.

Fortunately, this one is easy to find. Go back down the street with the bells. As you approach the stairs along the wall in back, turn to your right to face a courtyard. There is a birdhouse with a button here. Press it to hear the same chirps you just heard. Copy the shapes from this birdhouse.

Next, return to the room where you rolled the barrels around. As you enter, turn to the right and go through the opening into a small courtyard. There are several birdhouses out here too and one of them matches the one you just found. Copy down its shapes too.

Return to the door into the tower again and enter the shapes you have found into the panel. As before, another door opens, this panel closes and the final panel opens. Push the red button on the final panel to hear the last set of chirps.

The birdhouse that produces these chirps isn’t accessible to us yet, so we have to go though some more doors. Face the door into the tower then turn to the right. Go straight ahead and into the open door of the building in front of you. Inside you will find the next keypad. Enter the five symbols you got from the stairwell in the order in which you passed them on the stairs. The door next to you will open and, yes, another keypad will open somewhere else. (Is this getting annoying or what?)

(A slight trick on solving the keypad puzzles. If you are having trouble eliminating one of the sounds, it is fairly easy to solve the puzzles even if you can’t eliminate the last one.

In this case, suppose two of the sounds were clearly different but you couldn’t tell what the third different sound was. So, you have six possible symbols instead of five. If this happens, simply enter the symbols five at a time, leaving out a different one each time. Since you know the ordering there are only six possible solutions at this point and it shouldn’t take you much time at all to find the correct one.)

Go through the opened door. Inside you will find another door, this one with a symbol on it. Click on the door to open it and listen to the sound it makes as it opens. Go through this door and continue on to the next. Open it and listen to its sound. Continue onwards, opening doors and listening to the sounds they make. The path twists around and goes up and down several sets of stairs but there is only one way to go so you can’t get lost. You will pass several pieces of furniture along the way but you can’t do anything with any of them.

After you have gone through the fifth door, you will descend a flight of stairs into a courtyard. There is a birdhouse here with a button. Push the button to hear the chirps from the last door panel. Copy the shapes from the birdhouse then continue on your way.

When you go through the door leaving the courtyard you will pass the door with the keypad. Ignore it for now and continue on until you have found all nine doors, six of which make the same sound when they are opened. Note the symbols on these doors and the order in which you went through them.

Now return to the keypad. Click on the six symbols in the correct order. The door will open and this time no other keypad is revealed. Whew! Glad that’s over with. Go on through the door and up the stairs behind it. On an upper balcony you will find the birdhouse matching the one back in the courtyard. Copy the shapes from this birdhouse.

And now we’re almost done! Go back to the door and enter the last set of shapes into the door panel. The final door will open and Beni will cheer his success, saying that he now knows how Ramirez must have felt. Tamara doesn’t have a response for this, so go through the doors. You will find yourself in an elevator which will automatically rise to the next level.

When it arrives, exit the elevator and take the corridor to the right. You will come to an opening on your right with a flight of stairs beyond it. Follow the stairs down and go to the right at the bottom to find yourself in a well-furnished room.

A cutscene will start in which Tamara will tell Beni that she has allowed him to see everything after all; this is the final chamber. She seems fairly bitter about him being there (even though she just admitted that she allowed him to get this far) and says that this is where Ramirez wrote his name on the wall; indicating some markings as she does so.

Beni becomes instantly regretful and starts apologizing to her. Their conversation is a bit odd and it seems at one point as if he is even offering to stay there with her. Tamara is dismissive of him but he tells her that he will make sure everyone knows the truth about what happened to Tamara and the others. Tamara doesn’t seem convinced and eventually disappears.

When the cutscene ends you can wander around Tamara’s rooms if you wish. The various items and pieces of furniture you have seen her with in her earlier appearances are all here though you can’t do anything with them.

The major item of interest here are the markings on the wall. If you examine them, you should recognize them as the same as the symbols being projected by the waystone onto the wall of the tomb.

Remember that Tamara said that Ramirez wrote his name on the wall here? Well, “Ramirez” is seven letters with the first and fifth letters being the same. There are seven symbols here, with the first and fifth symbols being the same. Yes, this is Ramirez’s name. (I wonder how he programmed his name into the waystone as well?) There is no way for Beni to write his name here (even if he wanted to), so just go back up the stairs when you have finished looking around.

Go back into the elevator and it will rise to the top of the tower. Exit and follow the corridor around to find the hearth crystal for Argannas. Pick it up then return to the elevator. You will be taken back to the ground level. Once you step back outside the final door into the tower will close again and you will not be able to reopen it. There is nothing else to do here so just go back to the transporter and return to Tomb 35.

Tomb 35

Tomb 35 should be familiar to you by now, so just go all the way back up to the top of the tomb and place the final hearth crystal into the waystone. The final symbol will be projected onto the wall of the tomb. When it does, you will see what looks like a crypt rise from the ground. Well, I guess that’s where we need to go next.

Go all the way back down to the bottom of the tomb again. Follow the path around the edge of the water and past the point where you found the transporter to Argannas. There is a narrow bridge here that leads out to the crypt. Go across it.

When you reach the front of the crypt there will be a device of some sort to your left. Ignore it for now; you can’t reach it yet. Instead, go into the crypt. Keep going forward until you find yourself… right back where you started?

Beni will express surprise at this (and I’m not sure what happened either) and say that he is back where he started. Tamara will appear and ask if he is sure. She will then ask, if Ramirez went through the tomb, why no one knows about their true purpose or who the 85 really were. Beni guesses that Tamara either changed Ramirez somehow or that she converted him to her side. Tamara dismisses both of these ideas and suggests a third one; that Ramirez never really escaped.

You should have seen a step slide into position at the base of the device we passed earlier so go examine it. Though it is not obvious, this is a keyboard. When you press any of the keys, a series of balls will roll into the tracks on either side of the keyboard.

Above each track there is a symbol, a set of radiating lines and a set of circles. Together, these tracks indicate a symbol like those being projected onto the wall of the tomb. For example, the first symbol being shown has four lines and two circles. So, the key that causes four balls to roll into the lines track and two balls to roll into the circles track is the correct key for this symbol.

Each time you press a key, an asterisk symbol appears above the keyboard. When you have entered seven symbols, the asterisks reset.

What you need to do here is press the keys corresponding to the symbols that are being projected by the waystone. Since we have already determined that the symbols are the name “Ramirez”, you are entering Ramirez’s name. The correct keys to press are shown in the image to the right. Just press, in order, R – A – M – I – R – E – Z. If you have done this correctly, the asterisks will change to “RAMIREZ” and a final cutscene will start.

Tamara will reappear and tell Beni that he is Ramirez. When she first encountered him she was impressed by his compassion and nature but she needed to test him again to see if they were real. She has decided that he is honest and so she will let him go.

Beni… er, Ramirez asks if she is afraid that he will tell everyone the truth. She replies that she doesn’t think it will matter, given what they have discussed of human nature. But, she says that maybe things will change. She blows Ramirez a kiss and bids him farewell, at least until they meet again.

Ramirez slowly walks back towards the entrance to the tomb, where he is met by “Doba” and Carrie. Doba tells Carrie that he knew her father would return and welcomes you home, and we fade out as Carrie runs towards you calling “Daddy!”

And you have completed Sentinel: Descendants in Time. Glad you came along.

Final Thoughts

Allow me a moment to say… “What the frell?”

All right, let me talk about the puzzles first. For the most part, I liked the puzzle part of Sentinel. I thought it was a bit heavy on the sound puzzles but that is really a minor quibble. I liked them because solving them came with a sense of accomplishment. For the most part, you had to understand the puzzle in order to complete it; you couldn’t simply try every item in your inventory or every possible combination and just get past the puzzle without knowing how or why it worked. (For example, there are over 390 thousand possible combinations of shapes for each of the four panels on the door into the tower in Argannas. You aren’t getting through that door using trial and error. This is why I had the problem with Corabanti that I did; even after “solving” the puzzle there you still had to rotate bridges over and over and over again. That isn’t puzzle solving; that’s busywork.)

On the other hand, much of the plot had me going, “Huh?”

Let me see if I understand this. The Tastan civilization, technologically advanced and peaceful, is at its peak. Then, the Tastan’s develop a means of drastically extending their lifespans. The entire population decides to undergo the treatment and, overnight, chooses to destroy their own civilization, burning their cities to the ground and rebuilding a simpler, less advanced culture.

Why? This is never made clear. Perhaps the people of Beni’s… er… Ramirez’s time are simpler and “less bold” (as Beni puts it) because of a side effect of the life extension treatments. But, if that was a side effect, wouldn’t there be some number of Tastans who would choose not to take the treatments? Choosing a shorter but “bolder” life?

Apparently not, since it seems the only ones who didn’t undergo the treatment were those who couldn’t. And they apparently were so angered at their inability to have their lives extended that they designed the tombs to trap and kill those who could.

And they apparently succeeded, to some extent, since know one knows the real reason for the tombs. Or what happened to the Tastans for that matter. Which also doesn’t make sense.

The Tastan civilization ended 500 years ago. And the life extension process extends lifespans to around 500 years. So, the Tastan civilization fell only one generation ago. But no one knows what happened to them? The Tastans kept it a secret from their own children? All of them? Why?

Of course, we only think we know all this because we hear it from Beni and we know that his memories have been altered by Tamara. He doesn’t even remember being Ramirez, how can we know that he really didn’t know what happened to the Tastans before Tamara erased his memory? For that matter, if we accept that Tamara can erase memories and implant false ones, how much of anything that happens can we believe?

On the other hand, maybe she can’t. Maybe the ending of the game is where Tamara finally closes her trap on Beni. Remember the tunnel through the crypt, the place where Beni seemed to return to his starting point? Suppose that tunnel led him to another domain, one created just for him by Tamara. He isn’t Ramirez, he just thinks he is because Tamara told him he was. And, soon, Beni will die within the tomb, thinking he is Ramirez and that he has been reunited with his “friend” Doba and his “daughter” Carrie. Just the latest victim of Tomb 35.

Actually, that idea may make the most sense. Go back into the game and Tomb 35. Look at the place from which you entered the game; the column where Doba and Carrie are supposedly waiting for you. It’s just a small, isolated column sitting in the middle of the tomb. How did you get there in the first place?

Maybe “Tomb 35″ is just another domain. Tamara did say, several times, that she could create anything she needed. So, maybe this is the trap. Beni will spend the rest of his life, forever searching through Tomb 35 again and again.

Or, maybe I’m overanalyzing this. After all, the “plot” of an adventure game is really there just to provide an excuse for the puzzles. Still, it is possible to have a plot which makes sense and provides a reason for the puzzles as well. (See Syberia as an example.)

Overall though, Sentinel: Descendants in Time (or Realms of Illusion or whatever it is called now) is a good game. I just wish it had been a bit clearer as to what was supposedly going on.

Return to Mysterious Island

Categories: Walkthroughs
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Published on: October 5, 2011

A Few Notes on Gameplay


Return to Mysterious Island allows you to rotate through a full 360° in most locations (to better see the scenery) but you can only move along certain fixed paths between certain fixed points. Many points have multiple paths leading from them so it may not always be obvious which path I am directing you on. I will try to give landmarks to navigate by as best as I can but if you seem completely lost try going back to the last location and looking around for another path.

The vast majority of the game involves combining items from your inventory and using them in various ways. The most interesting facts about this are that almost everything the game expects you to do actually makes sense and that there are usually multiple ways to solve most of the “puzzles”. Actually, I almost hesitate to call them “puzzles” since for most of the game you are taking what would be fairly realistic actions under the circumstances. So, keep in mind when I tell you to do things that there may be (and probably are!) other ways to accomplish the same task. This gives the game a replayability that most adventure games lack.

Since so much of the game involves your inventory it probably makes sense to look at it briefly. You bring up the inventory screen by right-clicking anywhere; right-click again to close it. The major part of the screen contains of what the game calls the “stock”. This consists of a number of tabbed screens; you can switch from one to the other by using the tabs at the top. It is probably a good idea to organize the items you find among the various screens; use whatever organization scheme makes the most sense to you.

In the top-right corner of the screen is the “transit area”. Whenever you pick up an item it will appear here. Periodically check your inventory and move the items in the transit area into the stock.

To the left of the stock are three buttons. The first brings up the game menu. The second is your wrist phone, which also has a GPS unit and a news feed built in. Its batteries are dead but once you find a way to recharge it you will get occasional updates through it.

To use an item from your inventory, click on it to pick it up. If you want to use it on something in the world, right-click to close the inventory screen then click where you want to use the item. Note that the item you are holding is displayed in the top-left corner of the screen. To put the item away again you must again right-click to bring up your inventory then click on an empty space in the stock.

You can also use one inventory item on another and this is a very common action in the game. To do this, simply click on the first item to pick it up then click on the second item. In some cases you can combine three or more items. When this happens, the first two items will appear in the “combination area” which is just below the stock. Now you can click on the third item to pick it up then click on the combination area to add it to the combined item. Question marks in the combination area will show you how many missing items there are. It is possible to have several partially assembled items in the combination area at the same time; use the scroll arrows to the right of the combination area to select between them.

It is also possible to take apart a partially assembled item. Simply click on an item to select it then deposit it back into the stock. Finally, you can “disassemble” an assembled item by dropping it into the “disassembly box” which is to the left of the combination area. The individual items making up the combined item are placed into the transit area. (Note that you are not always able to reverse an assembly. Sometimes the creation of a combined item will destroy one or more of the items making it up.)

A Bit of Background

Return to Mysterious Island is a semi-sequel to the Jules Verne novel Mysterious Island , itself somewhat of a sequel to 20,000 Leagues Beneath the Sea. Mysterious Island tells the story of a group of Union prisoners from the US Civil War that manage to escape by means of a balloon. The balloon is blown far off course by a storm and eventually crashes on an uncharted island somewhere in the Pacific. Much of the novel involves their building of a new home on the island, which they name Lincoln Island. They eventually discover that the island is also the home of Captain Nemo; the commander of the Nautilus and protaganist of 20,000 Leagues Beneath the Sea. In the end they are rescued, just as a volcanic eruption destroys the island. The Nautilus sinks, taking captain Nemo with it.

The game assumes a different ending for the book in which the island was not destroyed.

The Story So Far…

Mina is a sailor who is competing for the “Jules Verne Trophy” by sailing around the world solo. Somewhere in the south Pacific, she encounters a storm and is washed overboard. Battered by the waves, she somehow manages to make it to land and is washed up onto the shore of what seems to be a deserted island. Or, maybe not. As Mina regains consciousness a figure seems to be standing over her, but it leaves before she can be sure of what she is seeing.

Walkthrough
On the Beach


Special thanks have to go to the members of the Just Adventure forums , especially member Elfstone, for their help in finding the various bonus points in the game. We’ll get a perfect score yet!

In the aftermath of the storm, Mina (that’s you) picks herself up off the beach. Take a moment to look around. Notice that you can pan through a full 360° in all directions. Admire the view for a while. Note the odd vertical lines out near the horizon. Hmmm… Wonder what those are? Also notice the nice waterfall down the beach. Too bad we can’t go in that direction.

From the waterfall, turn to the left until you are looking at a small notch in the cliff. Go forward to that point. Hey, there’s someone up there! Mina yells but the figure disappears back into the cliff. There must be an opening up there somewhere but we can’t get to it. So, for now, just look to the right to see a bird’s nest sitting on a ledge. Click on it to collect an egg. There is another nest higher up but you can’t reach it.

Look down at the sand to find a “rusty key”. (It looks more like a rusty nail to me.) Click on it to pick it up.

Turn to the left until you are looking along the cliff face. In front of you there is another cliff with a black smudge of some kind on it. (You may also see a rock archway and the remains of a boat further to your left; ignore them for now.) Go forward towards the smudge on the cliff.

You will stop at an exposed rock in the middle of the beach. Hey! What was that! Yeah, it might have been an earthquake of some sort but… weird. (And I suddenly started getting a Lost vibe from the game at this point though I doubt there is a connection between the two.) Once the earthquake has passed, turn to face the black mark on the cliff again and go forward.

Look around this small alcove in the cliff. Mina will identify the black smudge as soot but you can’t do anything with it beyond that. You will also find some flint and a piece of sandstone as well as a spot that Mina says would be good for building a fire. Remember where this is.

If you look around you will find two paths from this point, one leading up a small canyon and into the island while the other leads back to that flat section of rock where you felt the earthquake. Take the path back to the rock. Turn to face the remains of the boat you can see on the beach and go towards it.

Take a moment to look around and pick up the seaweed you see nearby. Now examine the boat and notice the large, wooden rib with the metal plate on top. You can try to pick it up but Mina says it is pretty solid.

Open your inventory and move the items we’ve collected from the transit area into your stock. Arrange them however you like. While we’re here, click on your phone to bring it up. Your battery won’t last long so quickly click on the “News” button to learn that Mina was competing for the “Jules Verne Trophy”. The phone and GPS won’t work and the batteries will die in a few moments anyway. Oh well.

Exit from the phone back to the inventory. Select the sandstone from your inventory then exit the inventory screen. Use the sandstone on the wooden rib to knock it down. Pick up the “driftwood” and the piece of metal.

Return to your inventory and arrange things. Time to make our first item! Use the sandstone on the piece of metal you just picked up. You will see a drawing of Mina sharpening the metal into a knife! Put the knife and sandstone away in your inventory.

Turn to face the canyon and go forward. When you get to the point where you felt the earthquake go forward again. Look to your right; you should see a small plant covered with thorns. Use your knife on the plant to collect some thorns. If you look up and to the left you should see another tree with thorns but this one is beyond your reach. Look around some more and you will find some worms and a metal plaque on the ground. Pick them up as well.

Continue up the canyon. At the next stop you may see some odd metal objects attached to the walls of the canyon. Mina will wonder what they are for. You can’t do anything with them at the moment so ignore them and go the rest of the way up the canyon.

You will now reach a point where the path is blocked by some fallen trees and Mina is still too exhausted from her ordeal to move them. She needs to find some food to recover her strength. Look to the left and collect the amadou fungus growing on the side of the tree and the forked branch lying at its base. To the right there is a vine, use the knife on it to collect it.

Go back down the canyon to where you collected the thorns. Open your inventory and combine the knife and the forked branch to get a “knife with handle”. Use the knife with handle on the thorn tree you couldn’t reach earlier to collect some curved thorns. Open your inventory again and disassemble the knife with handle to get the knife and forked branch back; we’re going to need them for something else soon. Now, go back to the ruins of the boat.

Turn to face the archway and go forward. Turn to the left to look at the side of the arch and the pool beneath it. There are four oysters here; three on the rock and one in the pool; collect all four. (There is also a “giant oyster” in the pool but it is a bit hard to find. I recommend ignoring it at the moment as taking it now prevents you from getting a cutscene later.)

There is also a fish swimming in the pool but we can’t grab it. Time for another item. Combine the forked branch, small vine, curved thorns and worms to create a fishing pole. Use the fishing pole on the pool to get the fish. When you are done, disassemble the fishing pole and put everything away.

Turn back to the arch and go forward and through it. Notice the turtle crawling away in the distance. Turn to the left and you will see another set of turtle tracks extending away from a disturbed section of beach. Click on the disturbed sand to reveal a chest and some turtle eggs. Click on the eggs to pick them up. Select the key from your inventory and click on the chest to open it. Take the silver coins and the broken telescope from inside the chest.

Turn around and examine the rocks to find some lichen; pick that up as well.

Continue down the beach away from the arch. When you reach the point where you saw the turtle, click on the ground to uncover another set of turtle eggs. Pick them up. Continue forward into the trees ahead of you. (The thumps you hear are coconuts falling around you.)

In front of you there are two crabs apparently eating a dead porcupine. Wait until they are facing away from you then click on them to pick them up. Pick up the porcupine too. Look around and pick up the green and brown coconuts and the palm fronds (which the game calls palm trees).

Now, head back towards the arch. When you leave the trees a green coconut will fall directly in front of you. Pick it up. Keep going forward to the arch then on to the small indentation in the rock that Mina said would be a good place to make a fire.

When Mina arrives on the island her health is at 10 and you need to increase it to 40 before she can proceed with her exploration. This means you need to eat 30 points worth of food. You can do this with any combination of foods. Here are the point values of the foods.

  • Bird’s Egg – 2
  • Coconut – 3
  • Crab – 5
  • Fish – 5
  • Oyster – 1
  • Turtle Egg – 2

Time to do some things. Open your inventory. Use the knife on the brown coconut to get a stripped coconut and some coconut fiber. Use the knife on the stripped coconut and Mina will show you how to eat a coconut without any waste. (You can also use the sandstone on a coconut but that results in the coconut being smashed to pieces.) Use the knife on each of the green coconuts to remove their husks but don’t do anything else with them yet. Then use the knife on one of the oysters to eat it too. Do not attempt to open a second oyster; you can but your knife will break when you try to open a third and we may need one later.

Now use the rusty key on one of the eggs. Mina punches a hole in the egg and drinks its contents. (Note that this contradicts the game’s statement that the eggs have to be cooked. You get an extra point for eating one of the eggs this way.)

The rest of your food needs to be cooked. Open your inventory and combine the flint with the plaque you found earlier to create a lighter. (Notice as you do that the plaque reads “Nautilus: 1860″) Note that you could alternately have used the sandstone on the plaque to create your knife and combined the piece of metal with the flint to make a lighter. Or, you can make a knife out of both metal items then combine either one of the knives with the flint for the lighter. I believe there are at least two ways to do everything in the game. I will point out alternative ways of doing things when we come across them but I am certain there are still some out there that I have missed.

Now, we could use the lighter we just created to start our fire but we’re going to do it a different way to get some extra points. Use the key on the broken telescope to retrieve a lens. Use the lichen on the palm fronds then use the lens on the combination to get a “ready made fire”. Use the fire on the spot Mina identified on the ground to create a fire. (You get the lens back. Note that you could have used the amadou fungus instead of the lichen and the driftwood instead of the palm fronds when making the fire but the end result is the same.)

Use both crabs on the fire to eat them. Do the same with the fish. Now, use each of the remaining three oysters on the fire. The heat opens them, which allows you to eat them without risking your knife. Finally, cook and eat three eggs (or use the rusty key on them as above, though you don’t get any more points). This should be enough to fill Mina’s health bar to maximum. She announces that she feels ready to explore the island. But, before you do, take the acacia thorns and use them on the fire, causing them to curve. We don’t really need them (we could have used them for our fishing pole earlier though) but we get an extra point for it.

Heart of Darkness


Go up the canyon to where the trees blocked the path earlier. Click on them to move them out of the way then go forward. Another of those strange earthquakes will occur. Mina will comment on this again. (The earthquakes will occasionally occur from this point forward.) Look around and pick up the small palm from the ground.

Continue up the path. The next location is a four-way intersection. Turn to the left. You will see a plume of “smoke” rising into the air and Mina will excitedly say that there may be a house in that direction. Look around and use your knife to collect a hibiscus plant. Mina will comment on how tough the hibiscus fibers are. Next, use the knife on the small palm to get an incomplete bow. Combine the incomplete bow with the hibiscus fibers to create a bow. Now we just need to find some arrows.

Go towards the “smoke”. When you arrive, Mina will be disappointed to find that it is just a hot spring. Look around and you will find a snake on the ground. Use the forked stick to pin it to the ground. (Mina won’t let you kill it even though she had no trouble eating the eggs of an endangered species back at the beach! (Ahem.)) Once the snake is disabled, use the knife on the plant next to it to collect a medicinal plant.

Look above the snake. You should see a tree branch with a cut on it (and a large spider near the cut). Use the knife on the cut and something will ooze out of the tree. Click on it to collect some rubber. Retrieve the forked stick again. (Don’t worry, the snake won’t hurt you.)

If you look around you will find that there are two paths leading from here. Take the leftmost one to reach the edge of a canyon spanned by a ruined bridge. There is what looks like a telephone pole here but you can’t do anything with it yet. Instead, look around until you find a plant with a dead rat nearby. Use the knife to collect the “narcotic plant”. Remember where this ruined bridge is; I’ll be directing you back here later.

There are two paths from this location as well so take the leftmost one. This leads you back to the four-way intersection. Turn left and go forward through the field. This leads to a second four-way intersection. There are screams in the distance and Mina will say that it sound like an animal somewhere is hurt.

Turn left and go forward. You will stop near a tree and, when you look around and Mina sees it, she will identify it as a maple tree. There is a tube extending from the tree (near a lizard) and, if you use the knife on it, it will start to ooze maple sap. You can’t do anything else with it quite yet though so continue on the way you were going.

You arrive at a rocky beach on an inland lake. Turn right and go forward to the lake. Click on the lake to have Mina get a drink of water then click on it a second time to have her take a bath. Note that she says she feels a slight current. Remember where this stone beach is; you’ll be coming back here a lot.

After your bath, look around. You may see an area of the cliff wall that looks as if it has been bricked up. You can’t do anything with that point yet but remember where it is. Then retrace your steps back to the second four-way intersection; the one where you hear the animal screams. When you arrive, continue going forward.

You will find yourself near a rock wall. If you look around you should be able to see some ruined steps but you can’t go up them because they’re broken. (Huh? This is one of the few places in the game that seems arbitrary; Mina should certainly be able to climb up that damaged section of wall.) Pick up the brick mold from the damaged wall. Look around and pick up the three pinecones lying on the ground as well (the game calls them pine kernels). Finally, note the two long vines hanging from the tree. You can’t do anything with them quite yet because Mina wants to be able to cut them off longer. Remember where they are though. When you are done, head back down the path.

Turn right and go through the opening in the wall and across the field. When you arrive, Mina will be startled for a moment then quickly realize that she is facing a scarecrow. (Bit of a Blair Witch moment there, though.) Click on the scarecrow to collect four dirty rags.

Look around and you will see several monkeys throwing rocks at you. Don’t worry, they can’t hit you here and Mina wisely won’t walk into their range. Look around and pick up the two oranges and two lemons you see lying on the ground. Use your knife on the wheat growing near the intersection to get some straw and some wheat grains.

You can’t take the path past the monkeys so turn around and take the path leading the opposite direction. You should find yourself near the lake again. There is a bare patch of orange ground here and Mina will get nervous when she sees it as there are footprints of a large cat of some type visible. Hopefully it won’t bother us. Click on the orange ground to collect some clay. Open your inventory and use the clay on the brick mold to create unfired bricks. (Note that the brick mold vanishes… Why?) Then exit your inventory and collect some more clay; we’ll need it later. (You’ll be using quite a bit of clay so remember this spot too.)

Look around. There are quite a few things to collect here. Click on the large piece of bamboo to pick it up (you get two pieces). Then, using your knife, click on the stump to get some willow bark and wicker, click on the elderberry plant to get some elderberry pith and click on various patches of bamboo to collect a medium piece of bamboo and some small bamboo shoots.

Now we have some backtracking to do. First, go to the stone beach where Mina took her bath. Use the dirty cloths on the water to get clean cloths. (You need at least two but you may as well do all four since you get a point for cleaning each one.) Next, go all the way back to the beach and to where you built your fire. (The fire may have burned down at this point but if you look at it the fire will blaze back up.) Use the bricks on the fire to create fired bricks. (You get two sets.) While you are here, use one of your cloths on the fire to get a burned cloth; it may come in handy and gets us a point if nothing else. Then, go all the way back to the wall with the ruined steps. Use one set of bricks on the steps to repair them. Now you can climb the steps.

When you do, Mina will note a side path which leads to the monkeys who attacked her earlier. Ignore it for now and look around. You are standing in front of a ruined windmill with a monkey watching you from a tree. Collect the wooden fork, broken metal fork and grapes. If you look straight down you will see that you are practically standing on a pickaxe that you should also pick up. (When you do, Mina makes a comment about it being dangerous. That is because of a somewhat slapstick scene where Mina steps on the pickaxe and hits herself with it. If you want to see it, don’t pick up the pickaxe. Instead, enter the windmill then turn around and leave. When you do, Mina steps on the pickaxe and gets hit. Now you can pick it up.)

You should see a sheet of cloth covering something; click on it to pick it up. When you do, the chest it was covering falls over and spills onto the ground, revealing copper coins. Pick up the coins. You can also click on the chest to read a poem which hints at the location of the chest with the silver coins that we have already found.

Time to take care of those monkeys. You have two choices here. The peaceful solution is to simply take the path Mina pointed out a few minutes ago. This brings you up behind the monkeys and to the ruins of a workshop. The monkeys run away without a fight but you don’t get any points for chasing them off.

Or, you can take the aggressive approach. Combine the wooden fork or the forked branch with the rubber you got earlier to create a slingshot. Then go back to where the monkeys were attacking you. You can now start attacking the monkeys with the slingshot. Every time you score a hit the green bar at the top of the screen shrinks and, when it is gone, the monkeys run away. You can then take the path you couldn’t earlier which also leads to the ruined workshop. You get ten points for getting rid of the monkeys this way which makes it the recommended approach.

A Monkey on Your Back

Look around. The first thing you should see is the ruined remains of a kiln. Use your second load of bricks to repair the kiln. There is a bellows attached to the kiln and, if you click on it, you will learn that it was made of sealskin but is now broken. (I think that you should have been able to use the heavy cloth to repair the bellows but the game doesn’t let you; one of the very few instances where you are forced to do things a particular way.)

Go ahead and build a fire in the kiln. Combine the driftwood with the burned cloth and either the lighter or the lens to create a fire then place it in the kiln. Use another cloth on the fire to get another burned cloth for another point.

Look around and pick up the stack of wood. (You could have picked up the wood first and used it instead of the driftwood to create the fire.) Enter the ruined building. Hey, there’s another monkey in here! This one is hurt and Mina decides that it was attacked by the other monkeys. (Or, maybe it stepped on the pickaxe. Who knows?) Anyway, Mina decides to name the monkey “Jep” and to nurse it back to health.

Like Mina, Jep needs to eat to regain his health though his health is so low that he needs to be healed some before you can even give him food. His health starts at 2 and needs to be raised to 40. Here are the things you can give Jep. (Note that you have to bandage him before you can do anything else and that you have to raise his health to 20 by using a remedy or by letting him sleep by using the mattress before you can feed him anything.)

  • Bandage – 10
  • Mattress – 4
  • Opened Coconut – 6
  • Orange – 4
  • Pine Cone – 4
  • Remedy – 4
  • Water – 4

Start by using one of your clean cloths on Jep. Mina bandages the wound but says that Jep is still too sick to eat. We have some medicinal plants but have no way to prepare them yet. Time to do a bit more work.

Look around. You should find two wooden disks that spin when you click on them. You may or may not recognize this as a potter’s wheel. Use the clay from your inventory on the wheel then click on the wheel to spin it and you get a set of unfired pottery. Unfortunately, a normal fire isn’t hot enough to properly fire the pottery. You will have to find a way to repair the bellows before you can proceed.

Finish looking around the building and pick up another brick mold (though you really don’t need it). Then go all the way back to the beach.

When you arrive, Mina will see some birds circling and comment that she sees something. Go towards the object on the beach to find a dead seal. (How convenient!) Collect the seal then use the knife on it to get sealskin, tendons and two units of seal fat. (You could have used the tendons instead of the hibiscus fibers when making the bow though there is no reason to take ours apart to change.) Now, go all the way back to the kiln.

Look at the fire in the kiln to cause it to blaze back up if necessary. Use the sealskin on the bellows to repair it. Use the bellows to boost the heat of the flames then use the unfired pottery on the fire to create fired pottery. Mina is very happy that she now has containers that can hold water and withstand heat. (You now have all the pottery you need. You don’t need to explicitly include the pottery in any of your combinations; whenever you need a piece it is automatically used for you and you never run out.)

Go to the rock beach where Mina took her bath. Click on the lake to collect a bowl of water. Combine the water with the medicinal plant to create a remedy though you should note that it needs to be heated up in order to be effective. Click on the lake a second time to get another bowl and combine that one with the willow bark to create a second remedy. Then, click on the lake a third time to get a third bowl of water. Don’t do anything with this one. Head back to the kiln. (Along the way, stop at the maple tree and click on the cut you made earlier to collect two bowls of maple syrup.)

Use each of the two bowls of medicine on the fire to heat them up. Then, go to the workshop and use each of the bowls on Jep. He will drink the medicine and his health will improve to the point where he can eat. Use the bowl of water on him as well to have him drink it.

Use the knife on one of your coconuts to get an open coconut. Give that to Jep then give him all three pine cones. He will eat them and his health will return to full. Mina will decide that she has now done enough for one day and she and Jep will settle down for a well-deserved night’s sleep.

(Note: You should now have scored over 100 points, which means you get your first bonus scenes in the gallery. Open your inventory and click on the “objectives” button.)

Ghost in the Machine


During the night, Mina and Jep will be visited by the ghost of Captain Nemo. Nemo asks Mina to find his body and give him a proper burial. Well, why not…

First, look above the entrance to the workshop to see another bird’s nest. Use Jep on the nest to collect another bird’s egg. Then leave the workshop and go to the windmill. Take the steps you repaired down. (The path is a bit hard to find but it’s just to the right of the windmill.) Open your inventory and use your knife on Jep (don’t worry, you are giving it to him, not attacking him with it) then use Jep on those vines hanging from the tree that you couldn’t do anything with earlier. Jep will climb the tree and cut the vines for you. Mina will take the vines and use them to make a pair of rope ladders. In your inventory, drag Jep to the disassembly box to get your knife back.

Now, go down to the stone beach and collect another container of water. Then, go all the way back to the beach and to the notch in the cliff where you saw the mysterious figure way back at the start. Before you do anything else, use Jep on the bird’s nest you couldn’t reach before. You still can’t get the egg (it falls to the ground and breaks) but watch the feather float to the ground. When it lands, pick it up.

Use one of your rope ladders on Jep then use Jep on the opening in the cliff. The apparently highly intelligent Jep will climb to the opening and lower the ladder for you. Climb the ladder. (The cut scene showing Mina climbing the ladder takes forever to go away on its own so just click on it to continue.)

Welcome to Granite House! Look around. The body on the floor should be immediately obvious and Mina will surmise that it is Captain Nemo. Pick up the mysterious key, musical score and diving suit that are lying next to the body. Look around some more and get another egg from the bird’s nest next to the cave entrance. Look above the entrance to see the name “Granite House – 1860″. You should also be able to find a block-and-tackle arrangement but you don’t seem to be able to do anything with it at the moment.

Head on deeper into the cave. The paths forward and to the left are too dark for you to enter so turn right and go forward. Examine the chest in front of you to open it. Take the shirts and wicks from the chest. (You should get two shirts and three wicks.) Turn to the right. You should see a cannon pointing out of an opening in the cliff face. There are documents on the left and right walls. The one to the right shows a map of “Lincoln Island”, apparently where you are. The one to the left shows a layout of some caves, including the one you are in. Notice that there is a tunnel leading to the back of the Granite House.

Turn back to the cannon and go forward. There are a good number of things to pick up here. Look around and get the cannonball, hardened powder, photos, and the rod and tubes. Click on the top of the table to the right of the cannon to find two papers.

The first paper seems to be a letter from Captain Nemo. It tells of how he returned to the island but was attacked by something and is now dying. He mentions those odd streaks near the horizon and indicates that they are part of a shield of some kind that keeps the island hidden. He adds that the shield isn’t perfect and how sometimes, in storms, things can get though the shield. Well, that explains how Mina wound up here. Now, how do we get out?

The rest of the letter is even more fragmentary but it indicates that we need to repair his diving suit and also says something about guardians and traps. Uh-oh. Guess we need to be careful.

The other paper is a set of chemistry notes. It tells how to make several items and compounds, including Becquerel and Volta batteries, Nitroglycerine, Sulfuric Acid and Gunpowder.

OK, the paper tells us how to make a Volta battery and we actually have everything we need for it. Combine the medium bamboo tube, silver coins, copper coins, a lemon and a clean cloth to create a Volta battery. Mina will automatically use the battery to recharge her wrist phone.

Unfortunately, she can’t call out. You can use the GPS to find out your current location and Mina will express surprise that the island is near the major shipping lanes. Also, you will occasionally get some news updates on the phone detailing the search for Mina and at some point you will get a call from Mina’s mother (though she can’t hear Mina when she tries to answer). There will be a beep and the phone button will flash when an update comes in. None of these are of major importance. (The GPS function won’t work inside the caves, btw.)

The main thing recharging the phone does is to activate the encyclopedia option in the inventory. Now, when you select an item, the lower part of the inventory screen will give you much more information about the item and suggestions on what it can be used for.

(Note: You could have created the Volta battery much earlier; anytime after you have all the components. This means you could have recharged the phone even before you meet Jep. I placed its creation here since this is where you get the in-game instructions on how to create it.)

Turn away from the cannon and go forward. Look around the shelves in front of you to get some iron filings (you get two sets), a roll of wire, a hammer and screwdriver and some nails (you get two sets of these too). If you look to the left of the shelves then you will find some planks.

Now, turn right and go forward. Look at the shelves to your left and collect some charcoal (you get two sets). Look at the floor to find a steel chain.

Turn to the right until you see two “windows” and a fireplace. Go forward. Look around to find a boiler and another piece of amadou. Look on the shelves to the right of the fireplace to pick up a tank then pick up the coil that was behind the tank.

Open your inventory and combine the logs, the burned cloth and the lighter to produce another ready-made fire. Put the fire in the fireplace. Then combine the boiler, tank and coil to produce a still. Put the still on top of the fireplace.

Now we can do all kinds of things! First, use the knife on your remaining stripped coconut to get another open coconut. Use the open coconut on the still to get a bowl of alcohol. Then use both oranges, the grapes and the remaining lemon on the still to get another four bowls. (You get a point for each bowl you create.)

Use both bowls of maple syrup on the fire to get two units of sugar. Then turn around and use one sugar on the still for another bowl of alcohol. (Keep the other sugar; we’ll need it later.)

The seaweed you picked up earlier should now be dried seaweed. Use it on the fire to get soda. Combine the soda with one of the seal fats to get soap and two containers of glycerin.

Use your container of water on the fire to get boiling water. Combine one of the glycerins with the boiling water to get candle wax. Finally, combine the candle wax with a wick to get a candle. While you are at it, combine the other seal fat with a wick to get an oil lamp (and you keep the seal fat).

Go back to the front room where you found Captain Nemo’s body. Combine the planks, nails and hammer to create a coffin. (The hammer disappears for some reason.) Use the coffin on Nemo’s body and the view will instantly pan to one side, showing the coffin lying on the ground. Now click on the block-and-tackle you couldn’t do anything before to attach it to the coffin then click on the coffin to lower it to the ground. You will get a cut scene as Mina and Jep respectfully bury Captain Nemo on the beach, where the land meets the sea.

When the cut scene ends a figure will appear near the stone archway and call Mina’s name. Go there. When you arrive, your view will pan to look at the pool and a voice will say “a present”. At this point your cursor is pointed exactly at the giant oyster in the pool; click on it to pick it up. (If you picked up the giant oyster earlier then this scene won’t take place.) Use your knife on the giant oyster to get a giant pearl. Mina will exclaim that it is probably worth enough for her to buy another boat. Assuming we ever get off the island, of course.

This Old Granite House

There are a large number of things you can do at this point, not all of which are necessary for winning the game (though they do give you more points). You can do most of these in any order so don’t feel that you have to do them in the order below.

Also, there is a somewhat random event that will occur at some point. Some time after you have entered and exited the Granite House for the first time, a monkey will appear in Granite House and throw down your rope ladder and it will not allow Jep to put it back in place. Fortunately there is a back way in. You actually want this to happen since you get points for getting past the monkey, so at this point simply enter and exit Granite House a few times until the monkey appears and throws the ladder down.

Once it does, pick up the rope ladder then go back to the stone archway. Keep going down the beach until you reach the cluster of trees where you picked up the crabs and the porcupine. Look up and you should see a coconut still in one of the trees. Shoot the coconut with the slingshot or use Jep on it to make it fall. Pick it up and use the knife on it to get another stripped coconut. Use the knife on the stripped coconut to get another open coconut.

Return to the stone archway then head up the canyon and through the fallen trees. Keep going forward until you reach the ruined bridge. Use the rope ladder on Jep then use Jep on the telegraph pole next to you. Jep will demonstrate that he is a genius level monkey by crossing the chasm and using the rope ladder to replace the bridge. Cross the bridge.

You will find yourself confronted by another aggressive monkey and Mina is afraid that using the slingshot on this one will make it angry. You have several choices here on how to get past the monkey.

First, look in your inventory and notice that the encyclopedia entry for the large bamboo tube says that burning bamboo will scare animals away. Well, we don’t have a fire here but to our left there is a second hot spring and Mina will comment that it can be used to cook something. Put the large bamboo into the hot spring and it will pop loudly, scaring the monkey away.

Or, you can give the monkey a bowl of alcohol. It will drink the alcohol and pass out, letting you proceed.

Once you have taken care of the monkey, search the building it was in to pick up some mineral coal and a broken cage. Look next to the hot spring and pick up some sulfur. (You could actually have picked up the cage and the sulfur without dealing with the monkey.) Continue forward down the path. At the next location, look around and get some potash and some iron sulfate. That’s all for here. Turn around and go back across the bridge. On the far side of the chasm, take the right path to return to the first hot spring.

Combine wicker with the broken cage to create a cage. Use the forked branch or the wooden fork on the snake to pin it in place then use the cage on the snake to capture it. Then, go to the stone beach where Mina took her bath.

Time to get clean. Use the soap on Jep to bathe him. Then, use the soap on the water (the lake, not any water you may have in your inventory) and Mina will use it to wash her face. (Be sure to wash Jep first as the soap vanishes after Mina uses it.) Since Jep is upset with his bath, combine the thin vine or the coconut fibers with the straw to create a mattress. Use the mattress on Jep and he will take a nap. Finally, get another bowl of water.

Now go to the windmill. Once there, use the heavy cloth on the windmill to attempt to repair it. Unfortunately Mina can’t do anything because the monkey in the tree holds the windmill blade and prevents it from turning. Looks like we need to do something with this monkey too.

There is no convenient heat source here so we can’t use the bamboo trick and the monkey doesn’t trust us enough to take anything from us. Well, maybe it will trust another monkey. Give Jep a bowl of alcohol then use Jep on the other monkey. The monkey accepts the gift and lets go of the windmill blade. Use the cloth on the windmill blade to repair it.

The windmill still isn’t ready for use. Go inside and look up. Mina will comment that the windmill shaft is rusty. Give a seal oil to Jep then use Jep on the shaft. Jep, the world’s smartest monkey, will grease the shaft of the windmill and it will start turning.

There are now a couple of things you can do. Look around to find the input and output hoppers on the windmill. Put the hardened powder in the input hopper to create gunpowder. Pick it up. Then use the wheat on the input hopper to create flour. Collect it as well. Now head to the kiln.

Time to do some baking. Combine the water, flour, an egg, the open coconut and the sugar to make a ready-to-bake cake. Use the ready-to-bake cake on the fire to create a cake. (Yes, a cake. It looks more like a pie to me.)

Next, go to the area with the clay. Get some clay (if you don’t have any) and use it on the brick mold to get another set of unfired bricks. Then get some more clay.

Now we’re ready to head for Granite House again. Go back to the stone beach. Remember the spot on the cliff wall that looked as if it had been bricked up? Use the pickaxe on that point to break open a tunnel.

You can’t immediately enter the tunnel because it is dark. Use the candle or the oil lamp on the tunnel to illuminate it. Now you can enter. About halfway down the tunnel you will find a monkey blocking your path; you will have to find a way to get past him.

Like the monkey near the bridge you have several things you can try. The bamboo trick is out since there is no heat source here. However, you can give him a bowl of alcohol (if you still have one) to make him pass out or you can give him the cake (if you have baked it) to cause him to go to sleep. Finally, you can use the caged snake on him to scare him away. (You could also have used the cake or the snake on the monkey by the bridge.)

Once the monkey is gone you can look around to find a lantern and a gun; pick them up. (You also find the skeleton of a monkey who apparently was playing with the shotgun.) The lantern is dead but you can recharge it by using your Volta battery on it. Combine the gunpowder, iron filings and the gun to get a gun and ammunition. Now you’re armed and dangerous! Continue on down the tunnel.

Odd note: The writing on the wall is in English and is readable, but the text the game gives you does not exactly match what is written. Kheops, who made the game, is a French company. I assume that in the French version of the game the writing on the wall is still in English (since the characters in Mysterious Island were American) but the game text was in French. I suspect that when the game was translated for the English release someone simply translated the French game text into English without looking at what was actually being displayed in-game.

You will arrive in Granite House from the first of the two darkened tunnels (which are now lit). Turn right and go forward. Notice the hole in the ground. Don’t worry about it; we’ll be getting to it in a moment. Instead, look at the cabinet to the right. Search it to find some sulfuric acid, some more sulfur, another lantern and a broken projector. Look to the right of the cabinet to see a water basin with some writing above it. Click on the writing to read it. Get some water from the basin if you don’t have any.

Use your Volta battery to recharge both lanterns if you have not already done so. Combine the broken projector, lens, photos and one of the lanterns to create a projector. Use the projector on the table in the middle of the room to cause it to project images on the wall. You can now look at the images. (Do take the time to look at them, you get points for doing so. They show scenes from the original novel, Mysterious Island. Oddly, you cannot pick up the projector once you put it down.)

Now you can go down the hole in the floor. You will find yourself on the shore of an underground lake. Look around and pick up the helmet and the air tank. Combine the diving suit, helmet, air tank and the remaining lantern to create a working diving suit. (Notice that, once you do, the picture of Mina on your inventory screen changes to show her in the suit whenever she is in this location.) Now, face the underground lake and attempt to enter. Mina will start to do so but will then see a large creature moving through the water. Yikes! That was close! Glad you’re fast on your feet, Mina.

Looks like we need to get rid of the creature before we can explore the underground lake. Combine the knife with the porcupine (remember it?) to get quills and a porcupine without quills. Combine the narcotic plant with the porcupine without quills to get a laced bait. Then, go back down the hole and use the laced bait on the water. The creature eats the porcupine and leaves, apparently to sleep it off. Now you can safely enter the water.

(It appears as if you can use the gun to shoot the creature too. Ready the gun then attempt to enter the water. Blast away at the creature when it appears. I was never able to succeed so I cannot report on the final outcome of this option but feel free to try.)

You will soon find a ship anchored in the cave and will quickly discover that it is a submarine; none other than the Nautilus itself. Climb the ladder in front of you to reach the main deck.

Look around and you should see a red light. Click on it and a control will rise from the deck. If you examine it, you will see an opening that looks like it should match the mysterious key you found earlier. Unfortunately, the key won’t work. If you examine the key you will find that its crystals have lost their charge and need to be replaced.

However, you now have bigger problems. A hatch in the deck opens and several robots come out. Mina immediately decides that discretion is the better part of valor and beats a hasty retreat. Fortunately the robots can’t follow you underwater. Unfortunately, they now know you’re here.

War Against the Robots


Great. Now we’ve got killer robots after us. Don’t try to leave Granite House yet, that would be a Bad Thing™. Instead, go to the room with the cannon. You should see a robot flying around outside. We need to get rid of it but first we need to play chemist some more.

First, go to the room with the still. Look at the fire to bring it back up if necessary. Put the iron sulfate in the still to get another unit of sulfuric acid. When you have it, go back down the hole to the underground lake.

Once there, look at the wall behind the ladder to find some saltpeter. Combine the saltpeter, charcoal and sulfur to get gunpowder. Get another saltpeter then combine it with your second charcoal and sulfur to get a second gunpowder. Get a third saltpeter and combine it with one of the sulfuric acids to create a container of “sulfuric acid and saltpeter”. Collect yet another saltpeter and do the same with the other unit of sulfuric acid. Get still another saltpeter to get an extra point.

Go back to the room with the still. Put one of the containers of sulfuric acid and saltpeter in the still to get three units of nitric acid. Don’t do this with the second container; drag it to the disassembly area to get the sulfuric acid back. (We only made the combination earlier so the game would let us collect one more saltpeter for an extra point.)

Use the knife on one of the shirts to get two more clean cloths. (Leave the second shirt alone; we’ll need it in a few minutes.) Use one of the clean cloths on the fire to produce another burned cloth. You can then combine either the burned cloth or the amadou, the mineral coal and the lighter to create another ready-made fire (though you won’t need it and don’t get points for it). Use the unfired bricks on the fire to get two more sets of bricks for an extra point.

Combine one of the nitric acids with the glycerin to get nitroglycerine. Then, combine the nitroglycerine, some clay and a wick to create dynamite. Combine another nitric acid, the sulfuric acid and either a clean cloth or the elderberry pith to create guncotton. (Oddly, you could have used sugar instead of clay to create the dynamite but there is a better use for the sugar.)

Combine the feathers, the wicker or the small bamboo shoots and the porcupine quills to create arrows. Then combine the arrows with the bow you made earlier to create a bow and arrows. The bow is a bit harder to use than the gun (it fires more slowly) but with hordes of killer robots about we can probably use all the weaponry we can get. (We could have used the acacia thorns we got a while back instead of the quills if we hadn’t curved them in the fire but the quills work just as well and curving the thorns got us an extra point. You really don’t need any weaponry until the robots show up anyway.)

While we’re going for points, drag your Volta battery to the disassembly area to take it apart and use its lemon on the still for one more alcohol and another point. (Don’t worry, you won’t need the Volta battery again and Mina is now set to throw a really big party when she gets rescued.)

Now return to the cannon. Click on the back of the cannon to open the breech. Put the cannonball and either some gunpowder or guncotton into the breech. (You can add the second set of iron filings or nails to the cannon too, for more of a “shotgun” effect if you wish.) Close the breach then click on the cannon’s fuse.

You will get a view of the robot flying around outside, with a crosshair in the middle of the screen. Note the “fuse” at the bottom right and the fact that your cursor has turned into a match.

This is the first of several arcade-type sequences in which you fight the robots now patrolling the island. You can die if you fail in these sequences but all that happens when you do is that you get a cut-scene then you immediately get an option to try again, so there really isn’t anything to worry about.

In this sequence, you need to light the fuse at the right time so that the robot flies into the path of the cannon when it fires. You get around three shots before the robot kills you so the pressure isn’t that bad. I found the best timing was to light the fuse just as the robot turned towards the center of the screen. It shouldn’t take you long to get the timing down. When the robot is blasted, Mina will cheer her success.

Now you can leave Granite House via the front entrance. Use the ladder on the vine just below the entrance to replace it then return to the beach, go to where the remains of the robot have fallen on the beach and pick up the “thruster”. Then go to the remains of the boat and look around. You should see a “damaged key” lying on the ground nearby. Pick it up then turn to face the rock arch.

You should see another robot flying around beyond the arch. While not strictly necessary, we’ll take it out too. Ready your bow and arrows then go to the arch. When you arrive, immediately shoot at the robot (remembering to aim for the thruster at the base). The robot will explode. Go forward to examine its remains and pick up another thruster. Look around and you will find another damaged key; pick it up as well.

(You can of course use the gun instead of the bow and arrows and it is actually easier to destroy the robot that way. But you get more points for using the bow and, since there is no penalty for dying, I recommend it if you are going for points.)

It’s time to head inland. Head up the canyon towards the interior of the island. When you reach the entrance to the canyon you will come across a damaged robot. There is a control panel on the side of the robot; examine it for a closeup.

You will see a set of four letters and a numeric keypad. You need to enter the numbers corresponding to the letters.

To solve this, the important letters are those in the word “NAUTILUS”. N=1, A=2, U=3 and so on. (Note that “U” appears twice in “NAUTILUS”; you can use either 3 or 7 for it.) Any letter not in NAUTILUS has a value of 0. So, for example, the letters “XAPS” would correspond to 0208. Enter the correct numbers and the robot will shut down and its thruster unit will disengage. Pick up the thruster then look around and pick up another damaged key.

Continue up the canyon. Well, now we know what those odd metal objects are. Don’t try to cross the laser beam; a pair of shock cannon will fire and kill you.

Fortunately, there are several ways past here. First, look around until you see a metal plate. You can’t reach it but Jep can. Give him the screwdriver and use him on the plate to have him open it, Examine the opened plate.

The object of this puzzle is to use the buttons along the top and right sides of the puzzle to create an unbroken path from the source (right center) to all five of the lights along the left. This actually isn’t that difficult. Click on the button above the first column then the buttons to the right of the first, second and fourth rows. All lights turn green and the laser cuts off.

Alternatively, there is a safe way past the shock cannon. Combine the chain with the broken metal fork to create a lightning arrester. Use the lightning arrester on the laser and it will attract the discharges from the shock cannon, allowing you to pass safely. (For maximum points, use the lightning arrestor to pass the beam then turn around and use the panel to solve the puzzle.)

Continue to the interior of the island. When you pass the fallen trees you will start to hear thunder. Hmmm… sounds ominous.

At the first four-way intersection you will see another robot further down the path and Mina expresses concern that it will see you. Note that the robot seems to be close to the telegraph wires and that occasionally you will see what looks like an electrical “arc” near it. Turn right and go to the second four-way intersection. There is a robot down near the lake but we’re safe here for the moment. Time to play Dr. Science again.

Combine the wicker or the bamboo shoots (whichever you have left), the remaining shirt and the coil of wire to get a kite. Give the kite to Jep then use him on the telegraph pole near the intersection. Lightning hits the kite and the current travels along the telegraph wires to the robot, destroying it. (One of the best kills in an adventure game, ever!) Go back to the ruined bridge to collect the robot’s thruster and damaged key.

(If you are missing something you need for the kite you can also get rid of the robot the hard way. Go to the first hot spring then take the path from there to the ruined bridge. This lets you come up behind the robot and you can shoot it with either the gun or the bow and arrows. The kite gets you more points though.)

Ignore the other robots for the moment and go to the clay pit. Get some clay and combine it with the glass and metal strips, the potash and the remaining nitric acid to create a Becquerel battery. (You really don’t need it but it replaces the Volta battery we disassembled earlier.) Pick up another clay and give it to Jep to have him hold it. This lets you pick up yet another clay for another point. Drag Jep to the disassembly area to get the clay back. While we’re doing things with Jep, give him the dynamite to get another point then immediately drag him to the disassembly area to get it back.

Now, go straight up the path to the kiln then go to the windmill. Uh-oh, another robot. Fortunately, this one hasn’t seen us. Use the dynamite on the robot to destroy it then go down the steps and pick up its thruster and damaged key. (Note: For me the cursor froze on the “can’t use” icon when the robot blew up. I could still go down the steps and the cursor returned to normal once I did. Be sure to look up to see the gravity defying tree branch.)

(Note that you could also have used the dynamite to get past the laser and the shock cannon by blowing them up, though you don’t get any points that way.)

Ready your bow and arrows and head towards the lake. When you encounter the robot, quickly shoot it in the thruster unit to destroy it. (This one is easy to get with the bow and arrows since it isn’t moving when you first arrive.) Pick up the thruster and damaged key then continue on to the lake. Enter the tunnel to return to Granite House. Once back in Granite House just go to the hole and descend to the underground lake. Enter the lake to return to the Nautilus.

Well, it looks like the Nautilus is under guard too. Ready your weapon of choice then wait for the patrolling robot to pass. As soon as it does, climb the ladder. When you get to the upper deck, turn to face the robot and blast it.

We All Live in a Rusty Submarine

OK, the guardian robots are gone so put your weapon away then examine the console we had a brief look at earlier. As we noted then, the console looks like it accepts the key you have but the crystals in that key have lost their charge. Maybe we can use the damaged keys we collected from the robots to replace them.

Use the screwdriver on the mysterious key to remove the old crystals. Then use the screwdriver on each of the damaged keys to get a single crystal from each. (You should have six damaged keys; you only need the crystals from four but may as well retrieve all six.) Then, combine the empty key with four crystals to create a key. Use the key on the console.

Another puzzle will appear. This one is easier than it looks. Simply add 1 to the first number, 8 to the second, 6 to the third and 0 to the fourth. (1860 is the date from the Nautilus plaque and the Granite House carving.) If the number is greater than 9 then just consider the one’s digit (So 8 + 8 = 16, use 6). The hatch will open and allow you to enter the Nautilus.

The steps end in a cage. You can see a control on the wall to the right but you can’t reach it. Jep might be able to but Mina is afraid that he will cut himself. Combine Jep with one of the thrusters then use him on the control. Jep will float across and open the cage. Drag Jep to the disassembly area to retrieve the thruster.

Go around to the left. There is a beam lying on the floor but you can’t do anything with it yet. Continue on around until you reach a flight of stairs blocked by a fallen metal plate. Use a thruster on the plate to partially raise it then use a second thruster to raise it the rest of the way. You can go down the steps at this point but instead go back to that beam you couldn’t do anything with a moment ago. Click on it now and slide it across to the plate you just raised. Cross the beam to go stand on the plate.

Examine the puzzle in front of you. Each time you click on one of the tiles it rotates. You need to rotate the tiles so a letter “N” is formed. The only trick to this one is that some of the tiles have fallen off. Click on the fallen tiles at the bottom of the puzzle to pick them up and place them in the proper positions. You can then click on the newly replaced tiles to rotate them. When the tiles have been placed and rotated to form the “N” the door will open. (Don’t worry if you have trouble with this one; the puzzle is optional. We’re only here for the points.)

Once the door is opened, behind it you will find a hallway with a hole in the floor. You are given the option of jumping down, but don’t. Instead, go back across the beam and down the stairs.

The door here has a puzzle on it too (I’m sure you’re surprised). This one looks more difficult since it seems as if you are solving two puzzles at once, but you really aren’t. The keypad alternates accepting entries for the top and bottom panels. For the top panel, simply enter “1860″. For the bottom panel, each time pick whichever one of the letters available are from the word “NAUTILUS”. The door will open.

Uh-oh, another robot! Hmmm… this one seems to think we’re Captain Nemo. That’s lucky. Ignore the robot for the moment and wander around the room. There are a lot of artifacts on display that you can look at but we are only interested in a few things at the moment; the safe, the desk and the organ.

Start with the safe. Examine it and you will find another tile puzzle. This one is similar to the one in the room above in that you are again trying to form the letter “N”. In this case you click on the small buttons between the tiles. Each time you do, the four surrounding tiles rotate around the button. To solve this one, click on row 2 button 3, row 3 button 1, row 2 button 2, row 2 button 1, row 2 button 3, row 3 button 4, row 2 button 3, and row 4 button 1. When the safe opens, examine its contents. Note the two levers on the bottom; pull both of them. One opens the windows on either side of the room while the other opens the cover on the organ. You should also note the picture of Nemo and his family; notice that Mina bears a resemblance to Nemo’s wife.

The desk has several items of interest. First, there is a drawing showing the underground cave in which the Nautilus is hidden. Then there is a letter from Jules Verne himself addressed to Captain Nemo. Apparently Verne heard the story of Mysterious Island from the heroes of that story and turned it into a novel. He changed the ending to preserve Nemo’s secret. Finally, there is Nemo’s personal journal and a first-edition copy of Mysterious Island itself.

Look around a bit more. Notice that a beam has fallen from the ceiling and destroyed one end of a display case. Click on the beam to move it. Notice the empty display where the beam had fallen.

You have several choices here. You can take the pearl you found in the giant oyster and put it on the empty display. Or, you can look under the sofa nearest the door. There is a second pearl there (though it may be a bit hard to find; it is just at the corner between the bottom of the sofa and the second leg). If you can find it you can place it on the display. Or, you can ignore the entire thing since it isn’t really necessary. (You do get a point for putting a pearl on the display. You may have to place a pearl there if you are answering the riddles described below as it is the answer to one of them.)

You will also notice that on one wall there is a display of weapons but the robot will not let you get close enough to them to read the dates on their descriptions. On the other hand, the robot ignores Jep. Give Jep the clay then use him on one of the display plaques. Jep will press the clay against each of the plaques, recording an impression of the dates. (This is also something you need to do to solve one of the riddles described below though you can do it at any time, even if the robot never asks you the riddle. The counters showing the number of correct/incorrect answers appears after you do this, even if you aren’t answering the riddles at all! Giving the clay to Jep is worth a point though.)

At some point you should talk to the robot again. It will tell you that the Nautilus is in need of repair (its control cables have rusted) and that the entrance to the underground lagoon has been blocked by an avalanche but that the shield protecting the island is still functioning. You can ask the robot to shut down the shield but it says it cannot without first confirming your identity.

You have two choices here. The robot wants to ask you a series of riddles. The answer to each riddle is an object somewhere in the room. You answer the riddle by finding the object and clicking on it. You have to answer seven riddles correctly while missing no more than two. When you have answered all seven, the robot will decide you are Nemo and accept your orders. (This is fairly straightforward but I recommend using the alternate solution.) The riddles you get are random so there may be others I haven’t seen but here are the answers to the ones I found.

Riddle

Answer

A lifesaving animal for sailors in strife…

Dolphin (picture on wall to left of organ)

All its twinkling sisters, shine above the crests…

Starfish (in display case)

Captain, show me this strange creature…

Sponge – polyp (in display case)

Cedar Laurel, Ulmus Beech…

Aboriginal Club (wall of weapons behind robot; you must give the clay to Jep and let him take impressions of the plaques first, though you should note that the first letters of the first four words spell “club”)

Floating in its shell, like you in your vessel…

Argonaut or Nautilus (picture on wall to left of organ)

Found again after five hundred years…

Chinese Porcelain – Yuan dynasty (along wall to left of organ)

It has five teeth for grazing, along the sea floor…

Sea Urchin (in display case)

Its silvery surface which weighs the invisible…

Mercury Barometer (on wall near safe)

Ivory daggers in close-knit rows…

Shark’s teeth (in display case)

Of all the creatures adorning the walls…

Swordfish (picture on wall to left of organ)

On a wine-red case it lies supreme…

Giant Black Pearl (either find the one under the sofa or take the one from the giant oyster and put it on the empty display in the display case)

Rising from the water with her large eyes…

Dragonfly (picture on wall to left of organ)

The respected master of the greatest conqueror…

Aristotle’s “The Poetic” – 9th Century Arabic Manuscript (in safe)

This shell from the sea, though not the prettiest…

Janthine – mollusk (in display case; note that there are two Janthines in the case, you want the one on the right (it has a left-handed spiral to its shell))

This miraculous device, a precious ally…

Sextant (on wall near safe)

Underneath the ocean, it’s racing across the sand…

Seahorse (in display case)

What correspondence from so far away…

18th century metal case (in safe)

When its contents turn misty and start forming stars…

Storm Glass (on wall near safe)

When time and distance are measured together…

Chronometer (on wall near safe)

Where are all my believers, the sun is so far away…

Aztec Scepter – 14th Century (on wall to left of organ)

Your most treasured belonging…

Picture of Nemo’s family (inside of safe door)

The other way to convince the robot you are Nemo is to use the organ. Go to the organ and notice the box above the keyboard. You will see that there is a set of music there, similar to a player piano music roll. Click on the lever next to the box and the organ will automatically play the music.

When the organ finishes, select the musical score from your inventory and use it on the box to add it to the score. Then, use the organ to manually play the part of the score that you just added. This is easier than it looks. Notice that there are a limited number of keys that you can actually play. The score is played using only the black keys, so number the black keys you can play from 1 to 7, starting at the left. Then, play keys 5 – 7 – 3 – 5 – 1 – 2. The robot will recognize the music as being Nemo’s style and will accept you as Nemo. (I recommend this solution as it seems to give you more points.)

Once the robot decides you are Nemo, Mina will tell it to drop the shield hiding the island. She returns to the beach as the strange lines and light effects on the horizon fade. Mina contacts her mother and, after a brief reunion, sends her coordinates and tells her mother to contact rescue. (Um… Mina? Your phone works now. Have you thought about calling rescue yourself?)

In the underground lagoon, the ghost of Nemo (or, is it Nemo himself?) plays the organ as a rescue helicopter arrives at the beach and drops a ladder to an enthusiastically waving Mina. She has survived the island and rescue has arrived.

Congratulations, you’ve won. Roll the credits. (If you have followed this walkthru, you should finish with around 387 points. I have heard that the maximum possible score is 400 so there are apparently a few things I have missed along the way.)

(If you are short of points there are a few things to be aware of. Shooting a robot with the gun is worth four points, using the bow is worth seven and using a “unique” item (the cannon, the kite or the dynamite) is worth ten. Using the slingshot to chase off the monkeys near the kiln is worth ten points, coming up behind them and scaring them away is easier but gets you none. Similarly, playing the melody on the organ is worth ten points while answering the robot’s riddles is worth nothing. Finally, there seems to be a timed component to some of the puzzles; finish them as quickly as possible for maximum points.)

Final Thoughts

Return to Mysterious Island is one of those excellent games that will keep you up well into the night as you keep telling yourself “just let me try one more thing”. The puzzles are logical, well thought out and realistic, leading to a level of involvement that is missing from many games. Maybe it is because of my engineering background but I loved the inventory combination puzzles and my only real complaint about the game is that it was too short! After I met the robot on the Nautilus, I thought I would have to repair the sub and clear the underwater avalanche before sailing for home in the Nautilus itself. I didn’t expect to simply tell the robot to turn off the shield and have the game end. (And it seems too bad that you have to reveal Nemo’s secret island to the world; I wish there had been a way to rescue Mina while allowing the island to remain hidden.)

There seem to be a few minor loose ends too; mainly the apparent resemblance between Mina and Nemo’s wife. Once this was revealed I kept expecting it to become relevant but the game ends soon afterwards and it never seems to amount to anything. (The ending also seems to imply that maybe Nemo isn’t dead; hey, he does have that copy of the Necronomicon!)

Still, Return to Mysterious Island is an excellent game and one well worth playing through. Glad you came along for the tour.

Syberia

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Published on: September 28, 2011

Syberia

A Few Notes on Game Play


Syberia allows Kate to wander around freely on the screen so she may be facing at any direction at any moment. Since this could cause confusion when I give directions, I will be giving them relative to you, the player; not Kate. So, if I say for you to go left, I mean have Kate go to the left side of your screen, not Kate’s left.

Usually your cursor will highlight whenever it is over a path which will take you to another screen. If I say for you to go to the next screen, I mean to move your cursor to the edge of the screen until it highlights, then click. In this case I will usually just tell you where to click. However, a few screens will scroll one way or the other as Kate approaches the edge of the screen so if I tell you to go in some direction and you can’t find a path there, just have Kate keep going in that direction until you find the highlight.

To use an item in Syberia you must first select it from your inventory (by right-clicking anywhere to bring up your inventory then clicking on the item you want to use). The active item will appear in the bottom left corner of the screen. To put the item away again (so you won’t try to use it on everything you click on) right-click to bring up your inventory then immediately right-click again to dismiss it.

Your inventory also holds your cell phone (click on it to use it) and a file of all documents you receive. You can switch to a view of your documents by clicking on the document icon. There, you can either read the documents (by first clicking on the eye icon) or use the documents as if they were inventory items (by first clicking on the hand icon).

Sometimes when you examine an item or read something you will wind up in a closeup. You will have to click the exit button in the bottom right of your screen to exit the closeup before you can do much of anything else.

When you talk with anyone you will get a list of topics you can ask about. It is a good idea to ask about everything on the list every time you talk with someone even though most of the time they will repeat themselves on most topics. Sometimes they have new information to reveal and the game sometimes will not let you progress until you have talked to a particular character about a particular topic.

The Story So Far…

The Universal Toy Company is in the process of acquiring the Voralberg Automaton factory located in the town of Valadeline, France. The owner of the factory, Anna Voralberg, has agreed to the acquisition and the only thing left is for the paperwork to be signed. Young, New York attorney Kate Walker (that’s you) has been sent by her firm to the town of Valadeline to acquire the final signatures for the deal. (I guess fax machines and Fed Ex never made it to Valadeline…)

Walkthrough
Valadeline, France


The first sight to greet Kate (and you) upon arrival in Valadeline is a funeral procession made up of automaton figures. Well, isn’t that cheery? When the procession is over Kate will automatically walk through the town to the inn where she will be staying. An automaton will greet her from the roof as she arrives.

Get used to the automatons… You’re going to be seeing a lot of them.

Just inside the door you will gain control. On the wall near the door is a rack of literature and, if you click on it, you will pick up a brochure which tells you about the Voralberg automatons. (The brochure isn’t necessary for the game but gives some background if you are interested in the story.)

Have Kate walk down and to the left to the next screen. The view will switch to show the room from the opposite angle and you will see that Kate isn’t alone; a boy is sitting at a table in the corner. This is Momo. You can have Kate talk to Momo for a while but you won’t find out much; Momo seems to be somewhat simple-minded and isn’t exactly friendly. When you are done, click on the bottom edge of the screen to have Kate walk back to the other side of the room.

Click on the counter to have Kate approach it for a closeup of the first puzzle in the game (and possibly one of the most obvious puzzles in the history of adventure gaming). Pick up the key lying on the counter then select it from your inventory and click on the automaton to wind it up. Click on the button to ring the bell.

The innkeeper will appear. Talk to him and tell him who you are to check in. Exit the conversation and have Kate go to pick up her suitcase. She will complain about how heavy it is and say she needs someone to help her with it. (Sigh. Kate…) Talk to the innkeeper again and ask for help. He will agree to carry the suitcase and will lead you upstairs to your room.

While this is happening, the innkeeper will recognize you as the person who has come to buy the factory. He seems to think this is a good idea but Momo disagrees. Momo becomes angry and runs from the room. The innkeeper will also tell you that Anna Voralberg is dead. In fact, that was her funeral you saw when you first arrived. Uh-oh.

Once in your room the innkeeper will talk a bit more, repeat that he thinks the buyout of the factory is a good idea, mention that a message came for you, then leave. Click on the bedside table to switch the view to there then click on the envelope to pick it up and read the message.

Guess we need to let the office know the bad news. Bring up your inventory then click on the cell phone. Scroll down through the memory to “Office” and hit “Send”. (Great. Even the game puts us on hold.) Eventually you will get to talk to Mr. Marson, your boss, and fill him in on the latest development. Fortunately he has planned for this contingency and has a backup plan. He will fax you a letter of introduction to the local notary. If you take the letter to the notary, you can get him to sign the agreement.

Click along the bottom of this screen to switch to the other view of the room. (You can’t go through the door next to you. In fact, the game is full of doors that your cursor will highlight on but you can’t go through. Annoying, really.) Click on the door to the left to go back to the hall. Click beyond the stairs to switch to the other end of the hall then click on the stairs to descend.

Talk to the innkeeper again and ask about your mission to get him to bring you the fax. You know, I don’t think this place is going to be winning any service awards anytime soon. Oh well. Talk to the innkeeper about all of the topics in your notebook then exit the conversation.

Click along the bottom of the screen to switch to the other side of the lobby and have Kate walk to the table where Momo was sitting earlier. Click on the table for a closeup. There are two gears on the table. Pick them up and note the drawing on the table. You can copy it if you wish but it really isn’t necessary.

Back out of the closeup. There are two more gears lying on the floor. They may be a bit hard to see (especially if Kate is standing on them) but search around with your cursor until you find both of them. You should wind up with a total of four gears; one each of large, medium, small and tiny.

Click on the bottom of the screen to switch to the other end of the room then click on the door to go outside.

Once outside, walk towards the screen and down to get to the main road. Go left to the next screen. You are now looking along the main road of Valadeline. The entrance to the Voralberg Automaton Factory is on the right but we can’t get in yet, so just remember this location (we’ll be coming back here several times) then go down to the next screen.

The person you see standing beside the road is a baker. You can talk to him but he doesn’t have anything important to say (other than the fact that the mayor has declared a day of mourning because of Anna Voralberg’s death and thus all the stores are closed). Go left (this is a scrolling screen) until you get to the next screen.

The large house belongs to the notary you are looking for. (There is a newspaper lying on the bench to the left that you can pick up and read if you want to get a bit more of the story. It really isn’t that relevant though.) Click on the porch to go to the door and get a closeup of the automaton.

Pull the lever in the middle of the automaton to lower its head. Remove the letter of introduction from your inventory (it’s in your personal file and is called “Fax 2″) and place it in the automaton’s hands. Pull the lever on the right of the automaton. The paper will be lifted in front of the automaton’s eyes and you will see the notary reading it from inside via a periscope-like device. The door will open and you will automatically enter.

Kate is now in the waiting room. Go to the right and down to get to the next screen. There are some things on the desk but ignore them for now. Click on the door to the left to enter the notary’s office. After the introductions are complete sit down then talk about your mission to start a long conversation. Hmmm… So, Hans Voralberg is alive and apparently living in Siberia. (Yes, that isn’t how the name of the game is spelled. Yes, there is a reason). Well, that complicates matters, doesn’t it? (Of course, it would be a pretty short game otherwise.)

The notary suggests that you look in the factory for clues as to where to find Hans and tells you where to find a key. The notary really doesn’t have anything else of importance to say so leave through the door you entered.

In the next room, go down to the left to switch to the view of the door. Pick up the object hanging from the coat rack then exit. (The notary asked you to close the door when you left but there doesn’t seem to be any way to do so.)

Once back on the street we need to return to the factory entrance. (Two screens to the right.) Along the way you will get a call from your fiancee, Dan. (Yeah, he’s a jerk.) The conversation is automatic so just wait until it’s finished. There will be several phone calls during the game that mainly help to establish character and background for Kate but they sometimes include bits of useful information so pay attention to them.

You are back on the main street with the factory to the right. Click on the gate to the factory to approach it. When the screen changes, click on the gate for a closeup. Select the telescopic key from your inventory and click on the upper automaton on the gate to insert it. Wind up the lower automaton then pull the lever near the center of the gate. The gate will open and you will automatically go inside.

Go forward to a five-way intersection at a fountain. (Remember this spot; you’ll be seeing it a lot.) Take the first path to the right. Your view will switch to show Kate approaching a large house. Go forward to the house then go around the house to the right. (Don’t bother with the front door; it’s locked.) Go right again on the next screen to reach the back of the house.

The door back here is locked too so examine the ladder device instead. If you try to operate it Kate will complain that she needs a key. Exit this screen to get back to the back of the house then exit this screen to the right.

Uh-oh! A maze! Calm down. Though I am sure the temptation was great the designers didn’t put one in here. Go forward into the maze entrance.

Talk to the woman to your right. She doesn’t have much to say but note that she calls the automatons “robots” even though the innkeeper was offended by the term. (She also has an interesting pronunciation of “Valadeline”.) When she is finished talking, take the path to the left. (You can go examine the fountain and statue in the background if you wish but it’s just a dead-end with nothing of interest except a view of a broken statue and unmaintained fountain.)

Go forward along the path to the next screen. Ignore the gate on the left; it’s locked. Instead, go into the narrow opening next to where Kate is standing. You will see a short path leading to another, smaller fountain. Click on the fountain for a closeup and take the key lying there. Back out of the closeup.

Leave by the bottom of the screen to the next scene. Go right to the next screen then exit from the bottom again. Exit from the bottom of this screen also then do the same from the next. You should be back in the back of the house. Click on the ladder device. Select the key you just found from your inventory and click on the ladder device with it to extend the ladder. Then, click on the ladder. Kate climbs the ladder and enters an attic window.

In the attic, exit the screen to the right. Continue in the direction you are facing to the next screen. There is a light bulb in the upper right of the screen. Click on it to turn it on. You will automatically return to the attic entrance screen where Momo is now standing. (Did he follow Kate up the ladder or was he in the attic all along? Who knows.) At any rate, Momo asks Kate to draw a picture of a mammoth for him.

Talk to Momo and he will give you a pencil and piece of paper. Kate insists that she can’t draw but Momo won’t tell you anything until you draw one for him. Exit the conversation then go back to the screen where you switched on the light. Look at the wooden beam on the right wall. There seems to be some markings on it. If you examine the markings you will get a closeup of a carving of a mammoth, apparently done by Hans. Select the pencil and paper from your inventory and use them on the carving. Kate will make a rubbing of the mammoth.

Exit this screen to the left and the next through the bottom. This takes you back to where Momo is waiting. Select the mammoth tracing from your inventory (it’s in your personal file, not your main inventory) and give it to him. He will thank you, offer to show you a secret and run off. Watch where he goes.

Momo will wait for you when he gets too far ahead so let’s finish exploring the attic before we follow him. Go left to the next screen and click on the desk. Pick up the bottle of ink and the diary. Read the diary; it gives a lot of background on Anna, Hans and the Voralberg automatons and explains why everyone thinks Hans is dead and the odd preoccupation with mammoths.

Now let’s go after Momo. Exit the closeup, go right to the next screen then click on the window to climb back down the ladder. Go all the way back to that fountain at the five-way intersection we saw when we first entered the factory grounds. Momo is waiting for us here and will exit off the bottom of the screen. Follow him. From the factory gate, exit to the main street.

Momo is again waiting for you and will exit off the bottom left. Go down and left twice to reach the notary’s house, then left again. Go left on this screen (it scrolls) until you see Momo again, now standing in front of a gate. Click on him and he will open the gate and go through it. Follow him through the gate.

On the next screen, go left across the bridge and up the steps. Go to the steps near the back of the next screen and up then on to the next. Keep going right along the forest path until you get to another screen. Go forward across the bridge here and continue along the path to another screen.

Observe the boat here. You can’t do anything with it (yet) so just remember where it is for now and just continue on to the right to reach the next screen. Here you will find Momo waiting for you. Talk to him about everything in your notebook. Hmmm… apparently the cave from the diary is nearby. (And Dan won’t like the way Kate looks because she walked a few hundred feet through the woods? Loser.)

Take the path to the upper left, which leads to a stream. You can see the path continue on the far side of the stream but Kate refuses to cross it. (Sigh. Kate…) Go back the way you came then take the path to the upper right. Go up the steps on the next screen. Click on the crank. Kate will try to turn it but fail, saying she needs help.

Go back to Momo, talk to him and ask for help. You will both automatically go to the dam. Momo will attempt to turn the crank but the handle will break off in his hand. He will shrug, drop the handle and leave. Pick up the handle. (How does Kate store that handle under her jacket anyway?)

Remember the boat we saw a few screens back? Go back to it. One of the boat’s oars is visible to the left of the boat. Click on it and Kate will complain that she can’t reach it. Select the broken handle from your inventory and click on the oar with it. Kate will drag the oar closer to shore then complain that it is wet and dirty. (Sigh. Kate…)

Go back to Momo and ask for help again. He will follow Kate to the boat, pick up the oar and leave. Go back to where he was standing. Ask for help again and he will agree to open the dam. You will both automatically go to the dam. Momo will use the oar to replace the broken handle and open the dam. He leaves.

Exit the screen to the bottom-left then go down the stairs. Hmmm… looks like Momo left. Take the top-left path. The water level has dropped so Kate can now safely cross the streambed. Click on the path across the stream to go to the next screen.

You should now be outside a cave. Click on it to enter then go forward and deeper into the cave. Well what do you know? There are cave paintings of mammoths here. Walk around the central stalagmite then click on the object lying in the beam of sunlight. Yes, it’s the mammoth doll Hans was trying to reach when he fell. Take the doll, back out of the closeup then exit the cave.

Now, go all the way back to Valadeline. Along the way (probably just after you cross the dry streambed) you will get a call from your friend and co-worker Olivia. (Glad to see you have your priorities, Olivia.) When the call is over, finish going back to town and continue on to the main street in front of the Voralberg Factory. Don’t go in. Instead, keep heading up the street to the next screen.

You are now back in front of the hotel. Go to the right and the next screen. You are in front of a bridge. There is a local sitting on a bench to the right of the road (he may be behind Kate and hard to see). You can talk to him if you wish but he doesn’t have much to say and Kate complains about not having time to talk anyway. Go forward and over the bridge to the next screen.

You are now looking at the bridge from the other side. (This is a bit confusing since the camera angle reversed and it isn’t immediately obvious which direction you are facing.) Exit the screen from the bottom. Climb the hill on the next screen towards the church you see in the distance. On the next, go towards the church gate and then through it.

You are now standing in front of the church. You should get a call from your boss at this point and he isn’t happy about the latest set of news. (Though, to be fair, Kate doesn’t exactly handle her end of the conversation well either; she sounds very confused and uncertain.)

The main entrance to the church is locked so take the path to the right. On the next screen, ignore the door or booth to your left. (It’s an elevator but we need to get something else first.) Instead, continue along the path to the back of the church. Once there, go though the door in back.

This is the priest’s quarters. Ignore the other door in here (it’s locked). Instead, exit off the bottom of the screen to walk around the table. On the next screen, click on the crucifix on the wall behind the altar. (Yes, that’s an automaton on the crucifix; I’m not even going to speculate on the religious implications of that one.) Note the scuff marks on the wall? Click on the crucifix and retrieve the key from behind it then exit from the closeup.

Now, click on the chest on the far left. When you get the closeup, select the key you just found from your inventory and use it in the keyhole on the top-right of the chest. Open the top drawer of the chest and take the punch card you find inside then close the drawer. Do the same with the second, fourth and fifth drawers. (Skip the middle drawer for now.) You should wind up with four punch cards.

Now, open the middle drawer. It will only open partway. Turn the crank on the right side of the chest to open the drawer the rest of the way. Take the Voralberg key you see inside then exit from the closeup.

Walk down and around the table to reach the next screen then exit through the door you entered. Take the path back towards the front of the church.

When you reach the screen with the elevator booth, click on the box you see on the wall to the right of the elevator. You will get a closeup. Note the two gears and four empty spindles. Select the gears from your inventory one at a time and place them on the correct spindles. (You got the gears from the hotel. The table there had a drawing showing the correct placement of the gears but since each gear will only go on its correct spindle there really isn’t any need for it.) When all four gears are in place, pull the lever to the right of the box. The elevator doors will open and Kate will automatically enter and and travel to the top of the steeple.

On arrival, exit the screen through the bottom. On the next, move Kate to one side so that you can see an automaton sitting in front of a crank. Click on the automaton to get a closeup of a slot on its back.

The punch cards you have will cause the automaton to play various melodies on the church bells. You can listen to all of them if you like but the one you want is the purple punch card. Place it in the slot and the automaton will play a funeral march. You will get a cinematic of the churchyard and a tomb where an automaton will remove its hat, revealing a key slot.

When the cinematic ends Kate will automatically discard the other cards so if you want to hear their tunes you will need to listen to them first. (One is the wedding march, one is a Christmas song and the third simply rings the bells.) Return to the elevator and enter it to ride back to the ground. Once there, exit to the bottom-left to return to the church entrance.

Back at the entrance, take the upper-left path. On the next screen you will see the tomb in the background so walk towards it. When you arrive, click on the automaton’s hat for a closeup then select the Voralberg key from your inventory and use it on the hat. The tomb door will open. Go inside.

At the bottom of the steps go forward through the door. Inside the tomb, click on the bottom of the screen to switch to an opposite angle of the room. Kate is standing directly in front of two coffins. The upper one is Anna Voralberg’s, the lower one is Hans’. (And it seems to be partially open. Hmmm…) Click on Hans’ coffin for a closeup, a second time to pull it out then a third time to open it.

Hmmm… There isn’t a body in here after all. The piece of paper is Hans’ obituary. You can pick it up and read it (though it doesn’t tell us much that we didn’t already know). Pick up the cylinder from the coffin as well; we’ll learn the use for it later.

We’re done here. Back out of any closeup, exit the tomb and go all the way back into town and to the Voralberg factory entrance. Enter the factory grounds and go to the fountain with the five-way intersection we visited a while back.

Take the path to the upper-left then go towards the covered platform in front of you. Once there, pull the lever on the pole near the center of the screen. A clamp will arrive on a track and will take the large object from the platform into the building. That’s it for here. Return to the fountain.

Now, take the leftmost path which leads to the factory. Keep going towards the factory (through several screens) until you reach the entrance. Go through the doors to go inside.

OK, we have several things to do here in the factory. Note this screen. Call it the Factory Main Entrance; I’ll be telling you to return here several times. For now, go to the right to the next screen then take the path to the upper-right, between the rows of equipment and the wall. When you get to the door, go through it.

Exit through the bottom of the screen to switch the camera angle to the other side of the room. Pull the chain you see hanging on the right part of the screen. A mechanical hamster will be released and it will run in its wheel for a bit, lowering the water wheel outside. When it is done, pull the lever on the left.

Now the factory has power. Return to the Factory Main Entrance and go through the bottom-left to the next screen (but not up the stairs; take the lower path to the left). From there just continue to the left. When you arrive at the next screen Kate will get another call, this one from her mother! Pay attention to the name of her mother’s new boyfriend; it may become important later. Kate will rush her mother off the phone. Think she finds these calls as annoying as we do?

When the call is over click on the object near the center-left that looks something like a forklift or hand truck. When you get the closeup click on the object again. Kate will wind it up and the automaton forklift will pick up the object you sent inside earlier and carry it into the factory.

When you regain control exit through the right side of the screen. On the next screen, click on the door in the background to go through it.

Hmmm… who’s that hanging from the ceiling? Walk around the table to the right to reach the next screen. Click on the crank near the middle to lower the hanging figure to the ground. When you regain control, walk back around the table to the left.

Talk to the figure to meet your companion for the rest of the game; automaton XZ2000, aka “Oscar”. Talk to Oscar about everything in your dialog notebook. You will learn that Oscar is almost complete but that he needs his feet. Well, maybe we can do something about that.

Terminate the conversation and return to the Factory Main Entrance. Now go up the stairs. At the top, go through the door that should be just to the left of where Kate is standing. This takes you to Anna Voralberg’s office. Exit through the right to the next screen.

Click on the desk in the back of the office for a closeup. Click on the papers on the spike to learn that the Voralberg Factory is in financial trouble and on the blueprints on the right to see an advanced clockwork train. Finally, click on the letter in the middle of the desk to see Anna Voralberg’s last, unfinished communication with Hans.

Exit the closeup then click on the bookshelf to the right of the room for another closeup. Here, examine the books on the top shelf and click on the one you can interact with. The central shelf will spin around, revealing an automaton music box. Music will play for a bit then you will get a cylinder like the one you found in Hans’ coffin.

Well, we know what the cylinders are used for now. Select the “Valadeline Voice Cylinder” from your inventory and click on the “music box”. Watch the cinematic to see Hans’ injury in the cave, though it doesn’t reveal anything we didn’t already know. When the cinematic ends the top will pop off the cylinder player. Click on the top to add it to your inventory, back out of the closeup then exit the office.

Now, go to the left end of the catwalk and up the stairs there. You are now standing in front of a control console. Click on it for a closeup. This is the automated control center for the entire factory! Put the card Oscar gave you into the slot in the center. Flip all six of the switches in the right part of the console. (Ignore the warning light.) Push the button to the left of the card slot three times. Finally, push the button to the right of the card slot. You should get a cinematic of the factory operating and producing a set of feet.

Back out of the closeup and return to the Factory Main Entrance. Go right to the next screen then right again to reach the end of the conveyor belt. Examine the feet then pick them up. Back out of the closeup and return to the Factory Main Entrance. From there, go left twice then through the door to return to Oscar.

Select the feet from your inventory then click on Oscar. He will put the feet on, thank you and leave to find his train. Just a hunch, but maybe we should do the same.

(If Oscar rejects the feet it is probably because you used the wrong kind of wood. The type of wood used is selected by the button to the left of the card slot; the one I told you to push three times. What you want is a yellowish-white wood; if you had previously pushed the button then you may have wound up with something else. In this case, just keep trying different woods until you find the right one. You can make as many sets of feet as you need to get it correct.)

Return to the Factory Main Entrance then exit the factory. Return to the fountain with the five-way intersection and take the one path we haven’t explored yet, the one to the upper-right. Well, that looks like a train station to me. Click on the door to go up to it then click on the door on the next screen to go inside.

Exit off the bottom edge of the screen to go into the station. At the bottom-right of the screen you should see some steps leading onto the train car. Click on this to climb onto the platform on the passenger car. Click on the door to go inside.

Oscar should be waiting for you inside the car. Talk to him about your mission and Kate will announce that she is planning on riding the train. Oscar will tell her that she needs a ticket in order to do so. He will go outside so we should follow.

Back on the platform, exit to the left to get back to the station. You should see Oscar standing inside the ticket booth. Click on it and talk to Oscar. Man, is this thing programmed to be annoying? Talk about your mission again. You should wind up with a train ticket and a form authorizing you to use the train. The form needs to be notarized so it’s time to visit the notary again.

Go back to the fountain then exit to the main road. Go left two screens to the notary’s office. Enter through the open door. (Guess it’s a good thing we didn’t close it, huh?)

Go to the right and down to walk around the desk. Now, click on the desk for a closeup. You should see another automaton; this one a notary stamper. Click on the top of the automaton to open its cap. Select the bottle of ink from your inventory, use it on the automaton to refill it, then close the cap.

Now, select the train release permit from the personal file area of your inventory (you may have to switch from “examine” to “take”) and place the form on the blotter under the stamp. Finally, push the button to stamp the form. Take your stamped forms and go all the way back to the train station. Board the train and enter the passenger car to find Oscar again.

Give Oscar the train release permit and your ticket. (Select them from your personal file then click on him.) He will take the release permit but tell you that he cannot accept the ticket because all departure conditions have not been satisfied. He says there are spaces in the luggage compartment that specific items have to be placed on. (Yeah, he’s programmed to be annoying.)

Exit off the bottom-left of the screen to switch to the opposite view of the hallway. Click on the door in back to go through it. You are now in what looks like a trophy room of some kind. Take the “music box” top and place it on the pedestal in the middle of the room. (In your inventory it is called the “Hans-Anna Mechanical Toy”. You can use it to play the voice cylinders here, if and when you find more of them.) Place the mammoth doll on the table on the right (on the small pedestal). Click on the cabinet in the back-left of the room to get a closeup and place the two cylinders you have on the platforms you see there. Back out of the closeup.

The exit to the right leads to a sleeping compartment (which we don’t have to worry about right now). Instead, return to the passenger car and try giving your ticket to Oscar again. Unfortunately, you still can’t leave because the clockwork mechanism on the train isn’t wound up! (And Oscar doesn’t know how… Yep, definitely programmed to be annoying.)

Exit the train car to the passenger car platform then exit the platform to the right. Exit the next screen off the bottom. You should see a large machine in the foreground. Walk to the machine then click on the crank to extend the winding mechanism. Pull the lever next to the machine. A panel on the train engine will open and the machine will wind the train. When it is complete, turn the crank again to retract the winding mechanism then return to the train. (You can wander around the rest of the station if you like but there really isn’t anything else of interest here. There is a guy pushing a broom on another screen but you can’t even talk to him.)

When you step aboard the passenger car platform you will get another call from Dan. He’s still a bit of a jerk but Kate isn’t exactly being a font of information or understanding either. Basically he’s upset that Kate isn’t coming back home. (And, who are the Goldbergs and why is it so necessary that Kate be there?)

When you are done, return to the hallway and give your ticket to Oscar again. Finally he is satisfied and tells Kate to take her seat. He leaves and you are treated to a long cinematic of the train pulling out of Valadeline and traveling through the countryside. The trip lasts overnight and Kate falls asleep but she awakens when the train arrives at another station. (And you get to switch to the second CD.)

Barrockstadt University


Welcome to the university town of Barrockstadt. Kate is standing next to the seat in which she spent the night. (Why she slept in the chair when there is a perfectly good bed in the next compartment is anyone’s guess.) Exit off the bottom of the screen to switch to the opposite angle then talk to Oscar. Basically the train has run down and it needs to be wound up again in order to continue with your journey. (And, as usual, Oscar is going to be of no help.) It’s up to you and Kate to save the day again.

Talk to Oscar about everything in your dialog list then exit to the passenger car platform. Exit to the left to get to the station. The Barrockstadt station is also an aviary and has its own canal. Versatile place…

The station has a number of interesting locations but we’ll try to cover it in a reasonable order. Exit the screen to the right. This takes you to the front of the train. Notice the bird that flies away? Those birds will become important in a bit. Exit this screen to the lower right. Go down the steps to the right on the next screen.

Now you are outside and have a good view of the station. Hey, are those mammoths back there? They seem to be turning up everywhere, don’t they? Anyway, exit this screen off the bottom.

On the next screen, notice the ruins in the background. (They don’t seem to be important, except to show that the university here is well past its heyday.) Keep going left (this is a scrolling screen) until you can exit to the next screen.

When you arrive, Kate will spot a device that she recognizes as a winding machine for the train. Now you just have to figure out a way to get the train to the machine. Notice the large wall in the distance. You can approach it if you like but there isn’t any reason to do so yet. So, for now, just go all the way back to the screen where you got off the train. When you arrive, Oscar will step onto the passenger car platform and say that he needs to talk to you.

Go back into the train. Oscar will say that the Rectors of the University want to talk to whoever is in charge of the train. Apparently that’s you. All Oscar can tell you is that whatever they want to talk about is important. Oh well, we’ll look around for them when we reach the university.

When you finish talking to Oscar, exit through the door to the passenger car platform then exit to the left to get back to the station again. This time, exit to the left. Kate will climb some steps to stand in the middle of a bridge. Go down the steps to the lower-left. On the next screen, keep going left (another scrolling screen) until you get to the next screen.

Here there is a small beach leading down to a canal. Talk to the man you see standing beside the canal; this is the stationmaster. Talk to him about everything in your dialog list. Note his description of the Amerzone Cuckoo and the fact that they apparently have an automaton here. Hmmm… interesting.

When you are finished, pick up the hook you can see lying in the sand then go all the way back to the bridge. Once there, take the stairs leading up to the right. From there, descend the stairs to the right back down to the floor. (This is the main entrance to the station; remember where it is.) Exit this screen to the right then do the same for the next screen.

Kate will find herself outside again. Go down the steps to the left. Once there you will see a barge sitting on the canal. Approach the barge and talk to the two people you see on its deck. The husband and wife you are talking to are the owners and operators of the barge. The husband doesn’t speak English (he actually speaks a mish-mash of several languages) but the wife will translate for you. Talk to them about everything in your dialog list. (Kate gets really defensive when they start asking her about her salary. Heh.) In the end they will agree to tow the train to the winding machine for $100. Now, we just need to find a way to get the money for Kate. (The poor, broke lawyer.) Note that the two also mentioned a problem with the lock on the canal; we should probably look into that too.

Go back up the stairs in the back. On the next screen, exit to the right (don’t go back into the station). This takes you out to the front of the station. Take the stairs you can see towards the right. You will get a very brief cut-scene of Kate climbing the main steps to the University of Barrockstadt. Note the large mammoths overlooking the steps. Hmmm…

You are now in the courtyard for the University. Walk around the gazebo-like structure in the middle of the screen and to the steps in the back. (Remember where the gazebo structure is; it will be important later but we can’t do anything with it right now.) Ignore the man standing beside the steps (he just wants to hit on Kate). Instead, go through the door at the top of the steps.

Once inside, exit to the right. This is the main entryway for the University. (Remember where this is too.) Hmmm… more mammoths. Exit to the left. Cross the next screen and exit to the left again. Go through the doors directly in front of you then go up the stairs to the right. Approach the three men you see sitting behind the desk ahead of you and talk to them.

These are the Rectors of the University. Talk to them about everything in your dialog list. Yeah, they’re annoying, aren’t they? It seems that they are unhappy with you because the train has stopped in their station and they want you to move it. Well, that’s kind of your goal too.

Anyway, when you talk to them about money they will decide that they will pay you the money you need to hire the barge if you repair their automaton bandstand for them. Well, what do you know; Hans Voralberg was here. At least we know we’re on the right track. (The bandstand is the gazebo-looking thing you saw earlier back in the courtyard.)

When you are done with the rectors, exit off the bottom of the screen then go through the door to the left. Exit off the bottom of the next screen. Now, go through the door you should see behind Kate. This takes you into the University library.

OK, what’s all this about something called the “Amerzone”?
Glad you asked. Amerzone was the name of an earlier adventure game by Benoit Sokol. It’s basically an inside joke here, since there is otherwise no connection between that game and this one.

The library is a fairly large room but there is surprisingly little you can do in here. Go down the steps directly in front of you. Once on the library floor, look at the lower table on the right. You should be able to see a blue book sitting on the left end of the table. Pick up the book to read about the Amerzone Cuckoo and the Forest Sauvignon grape. When you are done, take the stairs up and to the left.

Back on the balcony again, exit off the bottom of the screen. Click on the ladder to climb it. Look at the shelves in front of you. Notice the one book that is upside down? Click on it to pick it up and read about the Yangala-Cola fungus. When you are done, back out of this closeup. Click in the “back” of the screen to have Kate walk to the far end of the balcony. Once there, click on the doors to exit the library. (Don’t bother trying to talk to anyone in the library, none of them have time to talk to you. You can’t look at any of the other books in the library either.)

Once outside the library exit to the right to get back to the main entryway. Exit to the right. Talk to the professor you see examining the mammoth.

This is Professor Cornelius Pons. Talk to him about everything in your dialog list. He has several interesting things to tell you. First, he knew Hans Voralberg but says that Hans left around fifty years ago. Well, that’s a bit of a cold trail. He says that Hans was only interested in mammoths and that Hans told him of the stuffed mammoth toy. Pons apparently didn’t believe Han’s story as he says that the description of the toy matches that of the Youkol tribe and that the Youkols are apparently from a place known as Syberia (ah-ha!). He can’t imagine how such a toy could have found its way to the French Alps. Hmmm… I wonder what Professor Pons here would think if we showed him the toy?

Finish talking to Professor Pons and he will suggest that you come to one of his lectures on the Youkols. As a final observation, notice how defensive he gets when you mention Sauvignon grapes. I wonder if he’s hiding something. Oh well, nothing we can do about it right now.

(You may have noticed that the book you picked up about the Yangala-Cola fungus was written by Professor Pons. If you go back to that location in the library there will be a student from one of Pon’s classes standing on the ladder and looking for the book. He doesn’t have time to talk to you and you don’t seem to be able to give the book to him though.)

When you have finished talking with Professor Pons it is time to head back to the train. Click in the “back” of the screen to have Kate return to the main entrance. Exit off the bottom of the screen then exit the next screen to the left.

You will find yourself back outside and Kate will get a call from her boss. Marson is getting increasingly frustrated and Kate still doesn’t have much to tell him. When the call ends, exit off the bottom of the screen to get to the courtyard. Exit to the lower-left and watch Kate walk down the steps between the mammoth statues. (You get to watch Kate go up and down these stairs quite a few times… it gets old.) On the next screen, have Kate go in the main entrance to the station (which should be directly in front of her). Go to the top of the bridge then exit to the left.

Take the stairs down to the upper-right. You are now outside the train again. Enter the passenger car and go to the trophy room (or luggage compartment or whatever). Pick up the mammoth doll then exit the car again. (Oscar is hanging around in the passenger car but he doesn’t have anything new to say.)

Exit the passenger car platform to the left (as usual) to get back to the station then head back to where you spoke to the station master. (Basically just keep going left.) Talk to the station master about the Sauvignon. He will evade the question a bit then say he has to get back to work. He leaves. (Think these people are hiding something?)

Go back to the bridge and take the stairs up to the right. You will find the station master standing on the top of the bridge. Talk to him about the Sauvignon again. He will evade a bit more before telling you to go talk to the “paleontologist”. Hmmm… Sounds like Professor Pons. Exit the conversation and go all the way back to where you met Pons.

When you find Pons, talk to him about the Sauvignon. He will evade a bit more then tell you to talk to the Rectors. (Sigh. More runaround.) Talk to Pons about your mission. He will mention Hans’ mammoth doll again and say how much he wishes he could hold it.

Well, maybe we can help there. Exit the conversation, select the mammoth doll from your inventory then use it on the Professor. He will be very excited, ask if he can borrow the doll for a while then tell you that he is planning on giving an impromptu lecture on the Youkols that afternoon. He invites you to the lecture and says that he will give the doll back as soon as the lecture is over. He leaves to go to his lab. (The screen somewhat confusingly changes camera angles at this point, even though you haven’t moved. The room you are looking at is Pons laboratory. Also, you have no choice but to let Pons take the doll.)

You can follow Pons at this point but instead let’s follow up on the Sauvignon with the Rectors. Exit off the lower-left side of the screen to switch the camera angle back to where we talked to Pons. From here, go all the way back to the room where you spoke with the Rectors. Once there, talk to them about the Sauvignon. A long, rambling conversation will ensue in which they almost, but not quite, admit to growing Forest Sauvignon and making wine. Apparently the station master and Professor Pons are in on the scheme as well, which explains their odd behavior. Well, maybe they’ll open up a bit more now that we are in on the secret.

Exit the conversation and return to where we previously met Professor Pons. He isn’t here anymore, so exit off the lower-right side of the screen to switch the camera angle to show the entrance to his lab. Use the door to enter the lab.

When you arrive, examine the cabinet to the left of where Kate is standing for a closeup. Look on one of the lower shelves, just above what looks like a small mammoth’s skull. Hey, that looks like one of those voice cylinders like we found back in Valadeline! Pick it up then back out of the closeup. Now exit off the bottom of the screen.

Professor Pons is here but, before we talk to him, examine the lab table at the lower-right. Pick up the test tube holder (it looks like a pair of tongs) and the bottle of Yangala-Cola powder. Exit from the closeup and talk to the professor about the Sauvignon. Heh. He’s using the students to make the wine for him. Oh well, the joys of higher education.

Exit the conversation and go all the way back to the station, to the top of the bridge where we last saw the station master. When you arrive, talk to the station master about the Sauvignon. He still tries to deny that anything is going on until Kate explains that she has gotten the full details from the Rectors. Kate still has to make a few vague threats about going to the authorities before he gives in and agrees to give us access to the garden. When the conversation ends the station master will exit to the left. Do the same.

On the next screen take the steps up and to the left; the ones we haven’t taken yet. Then take the path into the garden to the left. Just keep following this path until you meet the station master again in a room with a large, open door in the back. The station master will give a vague apology that Kate accepts then he will leave. When he is gone, exit through the large door in the back of the room.

We’re back outside the station again. Exit this screen to the left. Do the same on the next. Move your cursor over the bushes in front of Kate to find some grapes. Click on one of them to pick them up. (There are several clusters on the bush but you can’t take more than one.) Exit this screen at the bottom then exit the next the same way. Click on the door to re-enter the station.

Once back inside, follow the path through the greenery to the right. Exit the next screen via the bottom and the one after through the lower-right. This brings us back to the base of the stairs. Don’t go back up them quite yet. Instead, go up and to the right to explore some more of the station. Exit off the bottom of the next screen.

You should now see a ladder with several of those birds around its base. You can click on either the ladder or the birds to approach them but, when you do, they caw and flap their wings and Kate doesn’t seem to want to get too close. (Sigh. Kate…)

Technical Note: My game routinely crashed whenever Kate tried to use one of the ladders here in the station. I found that I could reduce the chance of it happening by changing my video options to turn off shadows and to use the lower resolution but I still had problems occasionally. Just to be safe, you may want to save your game before getting on the ladder.

Select the Sauvignon grapes from your inventory and use them on the birds. Kate will drop them on the ground some short distance from the ladder and the birds will wander over to investigate. When you get control again, click on the ladder to have Kate climb it. When she stops halfway up, click on the next ladder to have her climb the rest of the way.

Well, it looks like we’ve found the mechanical eagle. Too bad it isn’t working. In fact, it seems as if some birds have added insult to injury by building a nest in its back. Click on the nest for a closeup. Notice that one egg is different from the rest? Kate can’t quite reach it so select the test tube holder from your inventory and use it to get the egg. Exit the closeup.

Now, go back down both ladders. Exit through the back of the screen. Click on the stairs to return to their base then take the stairs up and to the right. Take the stairs up and to the right on the next screen as well.

The station master is here waiting for you and he will initiate a conversation with Kate. He gives her a bottle of the Sauvignon wine as an apology for the runaround he gave earlier. When he is done, take the stairs down to the right then exit through the main doors. Take the steps to the right to return to the courtyard.

This time, click on the automaton bandstand in the center of the courtyard. Click to the right of the bandstand to walk around to the far side. Examine the door in the side of the bandstand.

There is something on the door that looks like a balance scale with an egg on one side. An egg? Select the cuckoo’s egg from your inventory and use it on the opposite side of the balance. The balance evens out. Click on the circular handle to open the door then click on the open door to go inside.

Once inside the bandstand you should see a ladder on the left side of the screen. Click on it to descend to a machinery room. Once there, pull the lever on the right. The machinery will start up and you will get a short cinematic of the automaton bandstand playing. (Given that “fixing” the bandstand pretty much involved simply turning it on, I think it is safe to say that Barrockstadt University doesn’t have an Engineering department.)

When the cinematic ends you will automatically find yourself back outside of the bandstand. Click to the right of the bandstand to walk back around it then click on the small bridge to return to the courtyard. Now, return to the room with the Rectors.

Talk to the Rectors about money. They are happy to have their bandstand working again and, after conferring among themselves, will agree to pay you the money you need. When you are finished, leave and go back to the main entrance of the station. From there, go to where you talked to the couple on the barge.

Use the money you just got from the Rectors on the couple on the barge and they will agree to help you move the train though they will again mention that there is a problem with the lock on the canal. Ask about the lock and one of them will throw a key. (Watch where it lands.) Exit the conversation, pick up the key then return to the station entrance.

When you arrive, Kate’s phone will ring. It is her mother again, still talking about her new boyfriend “Franck”. Kate manages to stop her before she goes into TMI mode and manages to get her off the phone.

When the call is over, go left. On the next screen, click on the console you see in the background to approach it. There are several parts of the console that you can examine; a covered panel, a telephone and a sign.

When you look at the telephone (right part of the console) you will learn that it is broken. Click on the sign above the telephone. Kate will helpfully translate the message there as giving the number for the support line. Well, the phone is broken but Kate has her cell phone. Select the cell phone from your inventory then dial the support number (2766-6742).

Oh great. It really is a telephone support line! Well, we are at the Barrockstadt lock, so press “4″ at the first prompt. If you look, you can see that the water in the lock is high. We need to lower it so the barge can enter the lock. Press “2″ for the second prompt then press “*” to confirm the action. The help line will then inform you that no technician is available for 48 hours and suggest using the manual controls. Heh. (At least we weren’t put on hold.)

Now examine the covered panel. Use the key on the key slot to open the panel. Now, remember the sequence we just used on the cell phone? Enter “4 2 *” on the keypad and watch the water level drop and the lock doors swing open.

Now we need to tell the people on the barge that the lock is ready. Go all the way back to the barge. Talk to the couple about the lock to tell them that you have figured out how to use it. The barge will set off and you will get a brief cut-scene of it sailing through the station. When you regain control, go back to the control panel.

The barge should be here waiting for you. Examine the panel again and enter “4 1 *”. You will see the barge rise in the lock then sail forward to the front of the train. Now we need to get to the front of the train ourselves.

Back out of the closeups and return to the station entrance. Climb the stairs then exit to the left. Go down the stairs to the right to get to the train then go right twice. You should see both the barge and the train in the background and the couple should be waiting for you on the barge deck. Talk to them about “help” and the husband will throw a chain to the station. Select the hook from your inventory and use it on the chain. (The chain is a bit hard to see but it is lying on the mossy ground near where Kate should be standing.) Kate will automatically attach the chain to the front of the train and the barge will automatically pull it to the winding machine.

When the cutscene ends Kate will be standing in the now-empty station. Exit to the right then go down the stairs. Go left past the ruined buildings to the next screen.

As soon as you arrive, Kate’s cell phone will ring again. This time it is Professor Pons, telling Kate that his lecture is about to start. Oh yeah… Forgot about that. Well, we can’t keep the professor waiting. Go all the way back to the entryway for the university. Once there, click on the mammoth skeleton near the back of the entryway to switch the view back to there. Click on the stairway near the middle of the screen to climb partway up then click on the stairs to climb the rest of the way. Exit off the bottom of the screen to get to the top of the lecture hall. (Doesn’t look like Professor Pons’ lectures are that well attended, are they?)

When Pons sees Kate he will tell her to take a seat. Kate will find one automatically and the lecture will then start. This is a long cutscene in which Pons talks at length about the Youkols. In short, the Youkols were a primitive tribe in Siberia who may have been the only group of humans to ever domesticate the mammoth. The mammoth was an integral part of their culture and, after the mammoths died out, their culture survived for centuries by excavating the mammoths frozen in the ice of Siberia. Unfortunately, the Youkols themselves were wiped out when the then-Soviet Union expanded into Siberia. However, rumors persist that some Youkols and even some of their mammoths still survive on the far-northern island of Syberia.

When the lecture ends Pons will tell Kate she can pick up the mammoth doll in his lab. Pons leaves, as do a few bored students. When you finally get control again, leave the lecture hall to the left, go back down the stairs then return to the entryway through the lower-left. Return to Professor Pons’ laboratory.

Once there, talk to Professor Pons a final time about your mission. Kate says that she found his lecture fascinating (though I suspect she is just being polite). Pick up the mammoth doll from the left end of Pons’ desk then pick up the stack of papers from the right end. The papers contain some more information on the Youkols and also tell of an “ice ark” which seems to go to a land where the mammoths still live. Interesting.

And we’re done for here! Leave the lab and go all the way back to where you left the train. Click on the passenger car to get on the passenger car platform. Don’t go inside yet. Instead, exit off the right side of the platform.

You should see the winding machine. This one works exactly the same as the one back in Valadeline. Click on the crank to extend the winding key then pull the lever to wind up the train. The winding key retracts automatically when it is done.

At this point Kate gets another phone call. It’s Dan again and, yes, he’s still a jerk. At least Kate stands up to him a bit more this time. (Go Kate!) Still, it’s one of those phone calls that leaves no one in a good mood after they hang up.

Click on the passenger car to return to the platform then go inside. Ignore Oscar for a moment. Click on the bottom of the screen to switch to the opposite view of the car then enter the trophy room. Select the mammoth doll from your inventory and put it back on its pedestal. Then, select the Barrockstadt voice cylinder and use it on the central column; the one with the mechanical toy sitting on top. (The cylinder goes in a hole in the column itself.) There is a brief cinematic of a message from Anna to Hans, apparently recorded shortly after their father died sometime during the second World War. It doesn’t really contain any new information though. When the cinematic is over, Kate will automatically take the cylinder and place it in the cabinet in back.

Return to the passenger compartment and click on Oscar. To Kate’s surprise, everything is ready to go. Oscar leaves and the train sets off again.

And travels about twenty feet.

The Wall


Well, the train has stopped and Oscar hasn’t appeared so maybe we better see what has happened. Exit the passenger car then exit the platform to the right. Click on the small building near the center of the screen to approach it and start a conversation with Oscar. OK, now Oscar says you need an exit visa before you can leave. He doesn’t have one to give you but suggests that there should be someone around who can. You can talk to Oscar about whatever you want (Kate proves she’s a lawyer by threatening to sue him at one point) but he won’t budge. Sigh. I guess we had better find an exit visa.

Exit the conversation to leave the closeup. Take the path to the left that goes around the back of the small building. On the next screen, you should see a door leading into the wall on the left side of the screen. Click on the door to enter the wall. (Ignore the door into the small building; you can’t get in.) Once inside the wall, click on the stairs to climb them.

When you emerge onto the top of the wall Kate’s cell phone will ring. It’s Olivia again, this time asking Kate about the fight she had with Dan. Kate downplays the argument and doesn’t seem too concerned that her best friend seems a bit too interested in the emotional state of her fiancee. Olivia also complains about how boring it is back home. Kate just talks about how impressive the wall is, somehow missing all the flashing, red warning signs in this conversation. Or, maybe she thinks denial is just a river in Egypt. Whatever.

When the call ends, exit the screen to the lower left. Cross the bridge then enter the door into the watchtower.

Once inside, take a moment to look around. There is a person in the room that I missed seeing the first time I came here; he is standing behind the telescope. Click on him to start a conversation. This is Captain Malatesta, who is in charge of the Wall. He is indeed the person who can give you an exit visa, but he won’t. Apparently there is a Cossack horseman watching and waiting for someone to leave the Wall so they can attack. He even suggests that you look for yourself.

Talk to Malatesta about everything in your dialog list. He doesn’t have much to pass on except to confirm that the mechanism in the wall was built by Hans Voralberg. When you are done, exit the conversation.

Click on the telescope to look through it. Hmmm… Yeah, that does kind of look like a horseman but something isn’t quite right. Click on the red buttons above the view to change the focus on the telescope to see that you are really looking at an old log. Apparently the dangers outside the wall have been somewhat exaggerated.

Exit from the telescope view. Malatesta probably won’t take Kate’s word for what is going on so we’re going to have to find a way to convince him. Look at the desk in the lower right part of the screen and click on it for a closeup. Click on the eyeglasses on the desk to confirm that Malatesta does indeed have bad eyesight.

Remember what we read about the Yangala-Cola fungus back in the library? Maybe we can help Malatesta’s eyesight. Look at the desk again and notice the two wine glasses. (Does Malatesta do much entertaining up here?) Select the Yangala-Cola powder from your inventory and use it on the wine glasses. Then select the Sauvignon wine from your inventory and use it on the wine glasses as well. Exit the closeup and a conversation will automatically start in which Kate will offer Malatesta some wine. He drinks, then Kate suggests he check the horseman again. He does and now sees it for what it really is. Malatesta is embarrassed and gives Kate an exit visa. Kate agrees to keep his secret.

Leave and go all the way back down to the front of the small building. Don’t click on it to start a conversation; for some reason you never have an opportunity there to give Oscar the exit visa. Instead, remain on the screen with the small building. Select the exit visa from your inventory (it’s in your personal file area) and use it on the building. This starts a conversation with Oscar where you give him the exit visa and he gives you another train ticket.

When the conversation ends go back to the passenger compartment of the train to find Oscar waiting for you. Select the ticket from your inventory and give it to him. He tells Kate to take her seat and the train will get underway.

A long cinematic starts in which the gate in the wall opens and the train passes through. The train then travels for some time through an increasingly desolate countryside, finally approaching a valley shrouded in smoke and smog. The train coasts to a stop at a station beneath a towering automaton figure.

Komkolzgrad


Welcome to Komkolzgrad, once the pride of the former Soviet Union. Oddly, Oscar doesn’t show up so have Kate leave the passenger car and exit the platform to the right. There’s nothing right here in the station so exit the screen to the left.

On the next screen Oscar will call to Kate from the engine. Apparently the engine has run down again and, as usual, Oscar can’t do anything to help. This time his excuse is that the pollutants in the air will damage his mechanism. Yeah, well Oscar, they probably aren’t doing Kate’s lungs much good either but you don’t hear her complaining, do you? Anyway, Kate agrees to look for a winding machine since there really isn’t much else she can do.

Exit the screen to the left. On the next screen there is a large building. There is an entryway into the building in front of you but it’s locked so just ignore it for now. Exit the screen to the right. On the next screen, click on the ladder to have Kate climb it.

You are now inside the giant automaton figure you saw earlier. Click on the shelf above the bed in front of you for a closeup. Hey, another voice cylinder! Pick it up. Then pick up the paper the cylinder was sitting on to find a drawing of the automaton in which you are standing. Notice that a spot on the leg is marked. Put the drawing away then pick up the T-shaped handle that was hidden underneath the drawing. Back out of the closeup.

Now examine the control console to Kate’s right for another closeup. Select the handle you just picked up and use it on the slot in the middle of the console. Now click on the console above the handle. There will be a cutscene of the automaton slowly moving towards the train. When it stops, click above the handle a second time to have it travel the rest of the way to the train. Then click on the red button on the console. A winding mechanism will extend from the leg of the automaton and wind the train.

Well, that was easy! (But remember what they say; anything that seems too easy, probably was.) Click below the handle twice to have the automaton return to its original location. (Waiting for the cutscene of the automaton moving to finish after each click gets old fairly quick.) Once it is back, exit the closeup then click on the bottom of the screen to climb back to the ground.

When you get back down there will be a short cutscene of someone leaping from the train and running into a building. Kate will call out to them but get no answer. Uh-oh, this doesn’t look good.

Click in the “back” of the screen to get back to the building you passed earlier. The figure ran into this building but if you check you will find that the door is still locked. Guess we better find out what he was doing on the train. Exit to the left to get back to the engine then exit to the right to return to the outside of the passenger car. Climb onto the car and go inside.

Hmmm… Still no sign of Oscar. Exit off the bottom to switch to the opposite angle, click on the door to enter the trophy room then click on the door to the right to enter the sleeping compartment.

Here’s Oscar; he wasn’t waiting for us because he was tied up. Literally. Click on Oscar to untie him. Oscar is quite distraught; he has been attacked and his hands have been stolen. Now who would want to steal the hands from an automaton? Talk to Oscar about everything in your dialog list. Unfortunately, he doesn’t have much useful to tell us. Oscar can’t run the train without his hands so Kate will have to find the person who stole them and get them back.

(Oscar says he was in Kate’s bedroom because he was “polishing his metalwork”… No, I’m not going there…)

Exit the conversation then look around the room and pick up the metal shears from the floor. (The game calls them metal “sheers”.) Click on the door to return to the trophy room.

While we’re here, we may as well use that voice cylinder we just picked up. Select the voice cylinder from your inventory and use it on the player. This is another message from Anna to Hans, who was apparently working for the Soviets at the time. This concerns Anna somewhat but she is glad that Hans’ talents have been recognized. So, apparently this entire town is an industrial center being run by Hans’ automatons. Not bad.

When the message ends Kate will automatically put the cylinder in the cabinet. Now, leave the train and go all the way back to the control room of the giant automaton. Examine the console then click above the lever once to move the automaton forward one stop. Exit the closeup then exit the control room.

Kate is now standing near an upper balcony. Click on the balcony to hop from the automaton to the balcony. Click on the covered window to have Kate peek through a hole in it into the room beyond. Looks like some sort of storage room. Select the metal shears from your inventory and use them on the window. There will be a short cut-scene as Kate cuts her way into the room.

When the cut-scene ends, click on the opening to have Kate enter the room. It looks like there should be a lot to do here but there surprisingly isn’t. Exit off the bottom of the screen. Examine the shelves on the left for a closeup then pick up the spark plug from the shelf. Exit the closeup. That’s it. You can look through the two windows if you want but there’s really nothing to see and the door in the back of the room is locked. Go back to the control room of the giant automaton and return it to its original position. Then, exit the automaton and return to the outside of the passenger car. Don’t go in. Instead, exit the screen to the lower-right.

Notice the crates in the foreground. The symbol on the side of the crate is the symbol for “explosives”. You can’t do anything with them right now but remember where they are. Instead, look for a lever just to the left of a column near the center of the screen. Pull the lever to call the elevator. When it arrives, click on the elevator and Kate will get in and ride it down.

When the elevator arrives Kate’s cell phone will ring. It’s Dan again and it sounds like he wants to talk about the argument he and Kate had on their last call. Unfortunately, cell reception isn’t very good at the bottom of the mine shaft and Kate can barely hear him. Dan doesn’t seem happy, especially when Kate tells him she’s in a mine. Kate promises to call back later and hangs up.

It’s dark in the mine and a bit hard to see but examine the device on the left side of the tunnel for a closeup. Select the spark plug from your inventory and use it on the top of the device. Then slide the lever below the spark plug to the right. This turns the power on and lets you see. Exit the closeup then exit off the bottom of the screen. Click in the “back” of the screen to go deeper into the mine then exit off the bottom of the next screen. Click inside the elevator to have Kate enter it and ride it to the surface.

Kate is now in a different part of the complex. Exit to the right. Hmmm… That looks like a huge pipe organ of some kind (and it should look familiar; you saw it when you played the latest voice cylinder). Click on the organ to approach it. On the next screen, click on the organ itself for a closeup.

An automaton organist? Why are we not surprised. Those hands on the organist look suspiciously new, don’t they? Unfortunately, Kate can’t just grab the hands and run. Oh well. Pick up the screwdriver that is sitting on one side of the organ console then exit the closeup. Leave the organ to the left then exit off the bottom of the next screen to get back to the elevator.

Now look at the path leading down. There is a door about halfway down the path but it is locked. However, just above the bottom of the screen there is a console. Use it and the door will open. This door leads back out to the station platform; it is the door that was locked that you couldn’t get through earlier. The same door that the mysterious figure ran through after stealing Oscar’s hands.

We have no need to go back outside yet though, so exit off the bottom of the screen. There is nothing of importance on the next screen so just exit to the left. On the next screen, examine the sign on the column just to the right of where Kate is standing. Use the screwdriver on each of the four screws holding the sign in place. This removes the sign, which was blocking a ladder. Click on the ladder to have Kate climb to the upper level.

On the upper level there is a door towards the back that we can’t get through yet. Instead, click on the door that is a bit to the left of the center of the screen. This leads to the control room for the complex. Once inside, click on the figure seated in front of the consoles to start a conversation. This is Serguei Borodine, the director of the Komkolzgrad industrial complex. He’s also quite insane. (And how did he get up here anyway? Wasn’t the ladder blocked by that sign?)

Borodine doesn’t even really try to evade the question and readily admits that he “borrowed” Oscar’s hands. It seems that Borodine is obsessed with the Russian singer Helena Romanski. As in stalker level obsessed. He has converted this entire factory into an organ and concert hall and fully expects Romanski to come and perform there, for him. As soon as she does, he will return Oscar’s hands.

Of course, Borodine hasn’t actually asked Romanski to come perform, mainly because he doesn’t know where she is. (And possibly because she doesn’t want him to know where she is.) At any rate, Borodine basically tells Kate that if she wants Oscar’s hands back then she will have to find a way to get Romanski to come to Komkolzgrad. Kate agrees to this surprisingly readily (though, to be fair, she really doesn’t have too much of a choice).

Borodine doesn’t know where to find Romanski but he has collected all the information he can about her. He suggests that Kate may find a clue as to her whereabouts there. Borodine does something with his console and his “shrine” to Romanski is lowered to the ground.

Finish talking to Borodine about everything in your dialog list then exit the control room. Go back down the ladder. Borodine’s shrine should now be visible in the back of the room so click on the door to enter.

You know, this place is… creepy. Yeah, Borodine is definitely at the psycho stalker level. Oh well. Exit off the bottom of the screen to switch camera angles then click in the “back” of the screen to go deeper into the shrine. Once there, look at the table visible in the lower-left part of the screen. Click on the open drawer to pick up a scrapbook that Borodine has assembled. Read through it to find out some information about Romanski. One of the final clippings mentions that she has performed with another singer by the name of Franck Malkovitch.

Hmmm… That name sounds familiar. Oh yeah, the man Kate’s mother is dating! (What a coincidence!) Close the scrapbook and go ahead and look through the rest of the drawer. You will find a series of letters from Borodine to Romanski, all returned. Oh well. Exit the closeups.

Now, pull out the cell phone and have Kate call her mother. (Notice the slight hesitation when Kate asks if she woke her up? Also notice that her mother says that she won’t talk to Dan for her. Apparently Dan let everyone know about the “fight”.) Anyway, Kate’s mother quickly confirms that it is indeed Franck Malkovitch that she is dating. In fact, he’s there with her now. (That explains that hesitation…) Kate relays her question about Helena Romanski and quickly learns that she is now convalescing at a spa in a place called Aralbad.

Kate thanks her mother and Franck and hangs up. Leave the shrine and head back to the control room. Just after she climbs the ladder, Kate’s cell phone will ring again. It’s Dan again. He basically apologizes but does try to put some blame on Kate, saying that she is “changing”. Kate apologizes too and the two somewhat make up. When the call is over, go back into the control room.

Once inside, talk to Borodine again. Talk to him about Aralbad to tell him that you have located Romanski. Then, talk to him about your mission. He will say that you can probably find a vehicle that will take you to Aralbad at the cosmodrome up on the plateau. There is a monorail that will take you there. Exit the conversation then exit the control room. The monorail is the door in the back of the screen that you couldn’t use earlier. Click on it to have Kate enter and you will get a short cutscene as you are taken to the cosmodrome.

Komkolzgrad Cosmodrome


The Komkolzgrad Cosmodrome, once an integral part of the Soviet space program, now lies in ruins. Well, hopefully there’s a vehicle up here somewhere. Exit the screen to the right. Kate promptly gets another phone call, this one from Olivia. Kate wants to tell Olivia about how she is going to meet the famous Russian singer Helena Romanski but Olivia is more interested in how much Kate has changed. She says that Dan thinks so too. Apparently they have been having drinks together. And going to movies. And Dan has invited her to the party at the Goldbergs. Kate is strangely non-committal about this; apparently she is still too busy thinking about a river in Egypt.

Anyway, when the call ends exit through the “back” of the screen then climb the steps to the back-left on the next. On the next screen take the exit to the right.

To save some time later, exit the next screen to the bottom right. When you arrive on the next screen, turn the valve near where Kate is standing; this will save us a trip later. Return to the left. Click on the raised platform to the right of the walkway to have Kate climb the steps.

Now, enter the cylindrical building on the platform. Exit off the bottom of the screen to switch the camera angle. The person at the desk is Boris Charov, a quite drunk test pilot. Talk to him about everything on your dialog list but don’t expect many useful answers. When you are done, pick up the bottle laying near the back of the room. Boris will immediately wonder where his other bottle went and wander outside. Kate will automatically follow. Once outside, Boris will attempt to balance on a rail but fall over backwards into a bucket of some kind. Let him sleep it off for a while and go back inside the building.

Back inside, click on the bottom of the screen to switch the camera angle again. Click on the shelves next to where Boris was sitting for a closeup. Pick up the key and the sheet of paper from the shelves. Hmmm… Looks like Hans worked for the Soviet space program for a while but his project got canceled. Back out of the closeup and return to the outside.

Click on the console near the center of the screen (near where Boris fell) to have Kate approach it and get a closeup. Select the key you just got from your inventory and use it in the keyhole on the console.

There are three levers on the console. Click to the left of the rightmost lever (the horizontal one) to move the bucket Boris is lying in to the left. Click above the leftmost lever (the first vertical one) to move the bucket up. Then, click above the second vertical lever to dump water on Boris. (The valve we turned earlier turns on the water for this.) The water wakes up Boris and sobers him up. Exit the platform and walk around to the screen where we turned the valve earlier. Talk to Boris to start a conversation.

Several interesting things come out of the conversation. First, Boris will confirm that Hans spent some time here. He even built a clockwork flying wing that Boris was supposed to be the test pilot for. But, Hans learned that the Soviets planned to put a nuclear warhead on the wing and apparently left. The project was abandoned and Boris never realized his dreams of flying the wing. You will also learn that there is a airship here that is programmed to automatically go to Aralbad and that nesting birds are a problem at the cosmodrome. Fortunately, there is an eagle named Soyuz that can scare the other birds away. Finally, Boris tells you several times that Borodine is insane and can’t be trusted. (Yeah, we noticed.)

End the conversation and exit to the right to see Han’s clockwork flying wing. Walk around the launch unit to the right to see the airship with a number of birds flying around it. This causes your dialog notebook to be updated. Go back to where you left Boris and talk to him again. Ask about the airship. He will give you the key. Go right to the launch unit then go right again. Click on the stairs to climb to the airship. Select the key from your inventory and use it on the door to enter the airship.

Inside, there is an automaton at the controls. You can pull the lever to the right of the automaton but nothing happens when you do. Click on the door to exit. Exit to the right to return to the ground then exit off the bottom of the screen to get to the front of the launch unit. Now, walk around the launch unit to the left.

Boris will be waiting for you when you arrive and he has a deal for you. If you will help him realize his dream of flying the wing, he will tell you how to use the airship. Not having much of a choice, Kate agrees.

Climb the steps in the background to reach the launch control room. Click on the console to the right for a closeup. Pick up the Voralberg key sitting on the console then use it in the slot to wind it up. Click the power switch (to the right of the display) to turn the unit on.

Hmmm… Nothing happened. Time to try some repairs. Click on the metal plate below the power switch to remove it. Click on each of the two loose wires below the plate to reattach them. The console will now power up.

Look to the right of the console and you will see a device with a hole in it. This is a blood sample device. Click on it to pick it up then back out of the closeup. Exit the control room to return to the ground. Boris will approach you and complain a bit about how long this is taking but Kate will explain that she needs a blood sample. She will eventually convince Boris to give one. Select the blood testing apparatus from your inventory and use it on Boris. Once he gives the sample, return to the control room and examine the console for a closeup again.

Put the blood sample device back into the console. Then, click the first switch on the console. Outside the window, you will see a crane pick up the crew module. Now click the second switch. There will be a puff of smoke from the blood sample device and the display will light up and indicate that the sample was rejected because its blood alcohol content was too high.

Well, we can’t let Boris’ dream fail, can we? Click on the blood sample device and Kate will stick her own finger into it. Now try the second switch again. This time the blood sample is accepted. (Why Kate couldn’t have done that in the first place is beyond me.) Click the third switch. This will cause the crew module to spin on a centrifuge for a while.

There is a bit of a pause as Boris gets into position then he tells Kate that he is ready. Kate reminds him that he was going to tell her how to use the airship and he responds that she just has to wind it up! Push the fourth switch and watch the countdown. (Boris gives you a quick thumbs-up from one of the monitors.) There is a brief cinematic as the flying wing launches into space. (And Godspeed, Comrade Charov!)

When the cinematic ends, back out of the closeup and exit the control room. Exit to the left to get back to the front of the launch unit. There is an object lying on the ground to the lower-left that wasn’t here before (you should have seen Boris throw it to the ground just before he entered the flying wing, but it’s just to the right of some boxes). Pick it up to find a crank handle. Exit off the bottom of the screen.

Exit off the left of the next screen. Then go to the left of the cylindrical column or tower in the background. When the screen changes, go the rest of the way around the column to the left. Kate will climb some stairs in the background to get to the next level.

On the next level you will see the cage holding Soyuz in the background. Have Kate walk to the back of the screen to switch the camera back to there. Notice the device near Kate that looks like a box with a horn sticking from it? This is an emergency siren. Select the crank handle from your inventory and use it on the siren. Kate will turn the crank and the siren will blare a warning. This is the cue for Soyuz to go into action. There is a brief cinematic as Soyuz takes to the sky and chases away the birds in the area. (So, the birds are a danger to the large, slow-moving airship but not to the small, fast-moving spaceship? Huh?)

When the cinematic ends have Kate go all the way back to the cabin of the airship. Once there, pull the lever to the right of the automaton pilot. There will be a long cinematic as the airship takes off, breaks through the clouds above Komkolzgrad and flies to the former resort of Aralbad. (Notice that even though Boris told us that we needed to wind up the airship, what we really had to do was sound the siren and free Soyuz. Yeah, that confused me too.)

Aralbad


The resort and spa of Aralbad has seen better days, as is obvious when the airship arrives. The ocean level has retreated, leaving ships stranded on dry land and the resort some distance from the shore. Well, let’s hope Romanski is still here.

When the cinematic is over exit the airship. Go down the stairs then exit off the lower left. You will arrive in the front of the resort and Kate’s cell phone will ring. It’s her boss again and he is even more angry at how long it is taking Kate to find Hans Voralberg. Kate says that she is doing the best she can and points out that things are often very different “on the ground” than they are back in the office. (Go Kate!) Marson apparently doesn’t like to have an employee who actually stands up to him and becomes still more angry, telling Kate to find Voralberg and soon. He hangs up.

Take a moment to look around. The exit in the background leads to the train station but we don’t need to go there. Do take note of the fountain, however. When you are done, enter the resort on the left. Inside, approach the desk and talk to Felix Smetana, the manager. You can talk to him about everything in your dialog list but he isn’t very helpful or cooperative. Looks like we’ll have to find a way around him.

End the conversation then exit off the lower left to get back to the lobby. Exit off the bottom left of the screen to switch the camera angle to the other side of the lobby. The gated doorway is locked, so we can’t go through there. Instead, click on the closed door to the left. This is a maintenance closet. Click on the bottle of detergent sitting on the shelf to pick it up then back out of the closeup.

Exit off the bottom of the screen to switch the camera angle again then click on the door to exit the lobby. Once back outside, select the detergent from your inventory and use it on the fountain. The fountain will almost immediately fill up with foam. Go back into the resort.

Back in the lobby, click on the curtains to the left of the door to open them. Then approach the desk again. Smetana is watching television and won’t respond to you directly, so click on the bell near the corner of the desk. Smetana starts to berate Kate then notices that someone has vandalized his fountain. There is a short cutscene as he gets a mop and heads outside.

When he is gone, click behind the desk to walk around it then click on the register for a closeup. There are a couple of things of interest here. First, look through the register to see that Helena Romanski is indeed staying here. You might also notice that Hans Voralberg spent some time here as well. Hmmm… Note that the register indicates that permanent guests have a resident code of some sort while day visitors have an access card. (You might also notice that the Aralbad resort and spa doesn’t have much business anymore.)

Close the register. Above and to the right of the register there is a brochure for the Edenor Hotels chain. (Note that the Aralbad resort is apparently better known as the Kronsky Hotel.) Pick it up to see that they have hotels around the world. Hopefully they are doing better than the one here. You may notice that a number is written in for the Paris hotel; you may want to make a note of this number. Just a suggestion.

Put the brochure away and look below the register. Push the red button. This opens the locked gate you couldn’t get through earlier. Exit the closeup then click beyond the desk to have Kate walk around it again. Exit to the lower left to get back to the lobby then exit to the lower left again to switch the camera angle. Click on the gate to go through it.

Ah, this is apparently the spa. Time to do some exploring. Exit to the right. There is nothing important on the next screen so just exit to the left.

On the next screen, look around to find a raised spa on the left. Click on it to approach it. When the camera angle changes, look for a valve to the left of the spa. Click on the valve to have Kate turn it. This apparently controls the temperature in the spa as, after a few moments, steam will start rising from it. We’ll just let this water heat up for a while, so exit to the right. (Remember where this is though; we’ll be coming back here later.) When you get back to the previous screen, exit to the lower left. (Note as you do that there is a chessboard sitting beside the pool. Don’t worry, there isn’t a chess puzzle coming up.)

On the next screen notice the locked gate in the background. We can’t get through there yet either so exit to the left. Click on the hallway in the background. The camera angle will switch to show the view from down the hallway with a serving cart in the foreground. Click on the cart to have Kate approach the cart and pick up a wineglass. Click in the background to return to the spa area. Exit to the left.

Well, we found the restaurant. There is another locked gate here with a console of some kind next to it. Click on the console for a closeup. To open the gate, you enter an access code and pull the lever to the right. (The button at the bottom of the console clears the display.) Unfortunately, we don’t have an access code; it looks like we’ll have to find one. (When you looked at the register you may have noted that Helena Romanski’s code is 1270 but when you try that you will find that it doesn’t work. (You’ll find out later that she is already outside.) Hans Voralberg’s was 1478 but his doesn’t work either. (Probably since he isn’t here anymore.))

Exit the closeup then click in the “back” of the screen. Hey, is that an automaton? Click on the automaton to meet James. (The camera angle changes on its own as the conversation starts.) James, you will quickly learn, is another of Hans Voralberg’s creations and the “nurse” for Helena Romanski. Talk to him about everything in your dialog list. You will find out that Romanski is outside and will be happy to talk to you but that you probably shouldn’t talk to her about Hans; apparently that is a bad topic.

Exit the conversation then exit the screen to the right. Exit the next two screens off the lower left. This takes you back to the spa area. Exit to the right. Notice that the gate which was locked earlier is now standing open. (You must have attempted to enter a code into the door console in the restaurant before it will open.) Click on the gate to enter the dressing room. Pick up the access card from the floor. Hopefully whoever this belongs to won’t need it anytime soon. Leave the dressing room and return to the console in the dining room. Enter the code from the access card (0968) and pull the lever to open the door.

Click on the door to exit. Now, remember what James said about the Salt Wind? Click on the gas mask hanging from the hook to Kate’s right to have her put it on. Now, click on the door to go outside. (And remind me to never vacation at a resort where I have to wear a gas mask just to go outside!)

Exit off the lower right side of the screen to walk out onto the pier then exit off the lower right of the next as well. Click on the gazebo at the end of the pier to approach it. There is someone sitting inside the gazebo, so click on it to approach them then click on the person to start a conversation.

We’ve found Helena Romanski. Kate will introduce herself as an acquaintance of Franck Malkovitch and will start to explain her mission but Romanski will cut her off and say that she doesn’t want to talk right now. She asks Kate to call James for her.

Exit off the bottom of the screen. Before Kate can do anything, Felix Smetana will arrive and berate Kate while apologizing to Romanski. But, before Kate can say anything to defend herself, Romanski will turn the tables on Smetana by saying that Kate is her guest and should be treated as such. Smetana will start to argue but Romanski doesn’t want to hear it. Beaten, Smetana leaves. (Heh.)

When you get control again, exit off the bottom of the screen. Now, examine the object on the side of the pier. (Next to the light pole on the corner.) This is the bell that Romanski uses to summon James. You can pull the chain to ring the bell but unfortunately James won’t be able to hear it over the wind. Click on the bell itself to take it then exit the closeup.

Exit the screen to the left. Exit off the bottom-left of the next screen then click on the resort in the background to exit the next.

When you arrive on the next screen, look along the edge of the pier (between Kate and a lamp post). You should see another mount like the one you took the bell from. Click on it for a closeup. Select the bell from your inventory then use it on the hanger. Pull the chain to ring the bell then exit the closeup. Click on the door to return to the inside of the resort.

Once back inside, click on the place where the gas mask was hanging to have Kate remove hers and hang it back up. Exit off the bottom of the screen then go talk to James. Kate will ask if he heard the bell and James will say that he did, but that he is afraid the Salt Wind will damage him. (Yeah, he’s definitely got Oscar’s programming.) Kate will suggest that he use her mask and James will think this is a good idea. He leaves to get Romanski. (Wait a minute… Automatons breathe? How else would just a gas mask do any good? And how did Romanski get out to the end of the pier unless James took her in the first place?)

Right after James leaves, Kate’s phone will ring. It is her mother asking if she has found Romanski yet. Kate will fill her in on the details. Her mother will suggest that Kate tell Marson that she couldn’t find Hans Voralberg but Kate says she can’t do that. No matter what Marson wants, she has to find Hans to satisfy her own curiosity now.

The call ends and James returns with Romanski. Talk to her again about everything in your dialog list. Romanski actually seems intrigued by the idea of performing for Borodine but insists that she can no longer sing. Then, she mentions a time she was performing in Paris and a bartender there gave her a drink that restored her voice. If only she could find out what that drink was.

Well, it just so happens that we have the phone number for the hotel in Paris. Take out Kate’s cell phone and call the number from the hotel brochure (4643-3643). After briefly being put on hold (heh) Kate manages to talk to the bartender. The bartender who mixed the drink for Romanski is no longer there but this bartender seems to know most of his drinks. He starts listing them and Kate tells him that the “Blue Helena” is the one she wants. (She also tells him that it is a matter of life or death. Whatever.) The bartender tells her that a Blue Helena consists of Vodka, Blue Curacao, Honey, Lemon and Ice. (Shaken, not stirred.) Kate thanks him and hangs up.

Time to play bartender. The first thing we need to do is find all the ingredients. Examine the cabinet under the bar for a closeup and take the lemons and the crystallized honey you find there. Back out of the closeup.

Unfortunately the crystallized honey isn’t going to do us much good. We need to find a way to liquefy it again. Leave the bar and go back to the raised spa, the one we turned the water temperature up in. When you get there, select the crystallized honey from your inventory and use it on the spa. Kate will hold the bottle in the hot water which will cause the honey to melt and become liquid again. When she is done, go back to the bar. (Note along the way that there are now two people in the pool playing chess. You can talk to them if you like but neither of them pay any attention to Kate.)

Back at the bar, examine the large device in the back. This is an automated drink mixer. We first need to make sure it has everything we need. Select the now liquid honey from your inventory and put it in the rightmost empty slot. Select the vodka you took from Boris and put it in the other empty slot on the right. Select the lemons and put them in the empty slot on the left (above the juicer).

If you look at the machinery, you should see a piece of paper sticking out from among the tubes and hoses. Click on it to pick it up. This shows which key on the bottom of the machine dispenses which drink. The things to note here are that there are fourteen drinks that can be dispensed but only seven keys. The switch to the right of the keys (which is labeled with musical cleft symbols) determines which set of seven drinks are being dispensed. You should also note that as the list is read from top to bottom it corresponds to the keys going from right to left.

Now we’re ready to begin. Push the on-off button on the far left of the device. (The one that shows the 1/0 symbol.) We need to add vodka first, so set the switch to the right of the keys to the left (actually it looks to be straight up and down) then press the second key from the left. Flip the switch to the right and press the third key from the left to dispense the Blue Curacao.

Push the middle button on the right (the one that looks like a honeycomb) to add the honey. Then push the button with the lemon on it (the first button on the right) to add the lemon juice. Next, push the middle button on the left (the one with the snowflake on it) to add the ice and finally push the rightmost button (the one with the small image of an automaton on it) to shake the mixture up.

A small automaton will deliver the Blue Helena and Romanski will drink it. She tests her voice then says that the drink didn’t work, even though both Kate and James disagree. It looks like we need to find some way to help her restore her confidence.

Select the wine glass from your inventory (the game calls it a “crystal dish”) and place it on the end of the bar then talk to Romanski. Romanski will try her voice again and shatter the glass. This convinces her that her voice is restored. She will rush James off so that she can get ready to perform for her last fan. When she is gone, have Kate go all the way back to the cabin of the airship. (When you get out from behind the bar, exit through the “back” of the screen. This takes you to the front of the spa and saves you the walk around the pool.)

When you enter the airship, Kate’s phone will ring again. This time it’s Olivia and the conversation seems to get off to an odd start, but that’s just because there really isn’t a good way to tell your best friend that you just slept with her fiancee. (OK, anyone surprised by that plot development? Yeah, me neither.) Kate barely reacts to this, prompting Olivia to accuse her of being some kind of automaton. (Heh. Actually Olivia, I suspect she’s just trying to think of how she’s going to dispose of yours and Dan’s bodies once she gets back home…) Kate says that she needs time to absorb this bit of information and hangs up. She doesn’t get much time to do so though, as James arrives with Romanski moments later.

This starts a long cinematic which shows the airship leaving Aralbad and returning to Komkolzgrad. The automaton organist begins to play and Helena Romanski begins her final concert. Her singing is magnificent and even the automatons of the factory gather around to hear her. Kate smiles while, behind her, Borodine rubs his hands in fiendish glee. Then, as Romanski finishes her song, a cage drops into place around her, trapping her on the stage. (Yeah, saw that one coming too.)

Komkolzgrad (Again)


When you regain control, climb the stairs in the background to approach the cage in which Romanski is trapped. Romanski will ask Kate what is happening and Kate will say she will get her out. Examine the door to the cage to get a closeup. Select the metal shears from your inventory and use them on the padlock of the cage. Exit the closeup and Kate will tell Romanski to run for it while she gets Oscar’s hands. Romanski leaves, though not very fast. (To be fair, she has been confined to an automaton wheelchair for a while…)

Click on the organ to approach it. (The hotspot is pretty much behind Kate, so it looks like you are clicking on her.) When you get the closeup, select the screwdriver from your inventory and use it on the organist’s hands to retrieve them. (Why couldn’t you have done that when you first got the screwdriver, Kate? Would have saved a lot of trouble. Oh well…) Exit the closeup then exit to the left. Exit off the bottom of the next screen.

Kate will catch up with Romanski, who is now standing beside the door to the outside (the one you opened with the console the last time you were here). Kate automatically uses the console to open the door again and Romanski exits, but before Kate can follow Borodine appears on a monitor and a gate closes over the door. Kate gives Oscar’s hands to Romanski and tells her to have Oscar get ready to leave. Romanski leaves for the train. Now, we just have to find a way for Kate to follow.

Click on the elevator at the upper-left. Kate will get in and ride back down to the mine. Go down the mine tunnel until you reach the elevator at the other end. Once there, click on the lever to the right of the elevator shaft.

When the elevator arrives, don’t get in. Instead, notice that there is something sitting on the floor inside of it. Yep, it’s a bomb. Fortunately Kate sees it too and runs for cover. Unfortunately, both elevators are now destroyed.

When you regain control, head back down the mine tunnel again. On the next screen, notice that the cover has been blown off the air vent. Click on the air vent to have Kate enter it and climb to the surface.

Once on the surface, look around and find the crate marked with the explosives symbol that you saw earlier. Examine it for a closeup and pick up the bomb from inside. (Where do you order a crate of time bombs from anyway? eBay?) Back out of the closeup and exit the screen to the right. On the next screen, don’t enter the train. Instead, exit to the left.

Oscar is standing on the side of the engine. Talk to him and go through everything in your dialog notebook. (Oscar starts to complain about having an extra passenger this time around and Kate tells him what he can do with his regulations. Heh.) When you are done, exit the conversation and return to the passenger compartment. When you do, there will be a brief cut-scene of rods extending from the legs of the giant automaton as it moves towards the train.

When you enter the passenger compartment, Kate’s phone will ring. It’s Dan, showing some remarkable timing. He tries to act as if nothing has happened, until Kate mentions that she has already talked to Olivia. Dan immediately starts apologizing but Kate cuts him off. She softens the blow a bit by saying that she may have driven him away from her but then says that they don’t love each other and breaks everything off. She is surprisingly unemotional about this but she admittedly does have more pressing issues on her mind. Like, why isn’t the train moving?

Leave the passenger compartment and return to the engine. Talk to Oscar to find out that the giant automaton is now blocking the train. Well, Kate really isn’t in the mood for this right now; she’s ready to blow something up!

Exit the conversation then exit the screen to the left. Exit the next to the right. The giant automaton has moved, so Kate can’t climb the ladder to get to the control room anymore. So, instead, select the bomb from your inventory and use it on the leg of the automaton. Kate will automatically run back to the passenger car, yelling for Oscar to get them out of there as she does. This triggers a cinematic in which the giant automaton explodes and the train races out of the station as a series of further explosions destroys the entire Komkolzgrad complex. (Way to create an international incident there, Kate.)

Aralbad (Again)


The cinematic continues as the train makes its way to the Aralbad station. There, James arrives and takes Romanski back to her rooms.

When you regain control, exit the train. Exit through the “back” of the screen to get to the other end of the station platform. Here, to Kate’s surprise, you will find Oscar standing outside the train. Talk to him about everything in your dialog notebook. Oscar and Kate both seem more relaxed than usual, though admittedly there is no immediate crisis facing them for once. There also seems to be a bit of uncertainty as to where they should go from here.

Well, we may as well start by winding up the train again. The winding machine is behind where Kate and Oscar are standing so click on the crank to extend the winding mechanism then pull the lever to wind up the train. Click on the crank again to retract the mechanism.

Before you can do anything else, Felix Smetana will arrive and tell Kate that there is a package for her at the desk. Oddly, he doesn’t know where it came from; someone left it there while he was watching the television. Strange… Who knows Kate is here?

Exit the screen to the right. Go though the gate on the next screen to get to the front of the resort again. Enter the resort through the door to the left.

When you enter the resort Kate’s phone will ring again. This time it’s Marson, who is now quite angry that Kate still hasn’t found Hans. Kate points out that she is doing everything she can but Marson doesn’t want to hear it. He hangs up.

When the call ends, click on the hotel desk to approach it. Smetana is watching television again so just click on the box on the far left end of the desk for a closeup. You will find that the box contains a mechanical toy mammoth. Click on it to pick it up. Hmmm… Who do we know of that can make complex mechanical devices and is into mammoths? Hey… You don’t suppose…

While Kate thinks about this, the hotel phone will ring. Smetana will answer it then tell Kate that Romanski wants to see her. She is waiting in the restaurant.

Go to the restaurant bar area. (When you go through the gate into the spa, exit the next screen to the left. This takes you directly to the restaurant and saves you the walk around the pool.) Click on Romanski and James to talk to them. The conversation this time is automatic. Romanski talks about Hans Voralberg some and basically tells Kate not to waste her life. There is some sadness through the entire conversation and, after mentioning that there is a supply plane at the end of the pier, Romanski and James leave.

When they are gone, go out onto the pier. (The salt wind is gone so you don’t need to use the gas mask.) Outside, you should see an elderly man sitting on a bench. Click on him to start a conversation.

The man is, of course, Hans Voralberg. From this point on, everything is automatic. Hans asks where Anna is and Kate tells him of her death; something he seems to have already known. Kate gives him the paperwork and Hans signs it without reading it. Kate questions this and Hans admits that he can’t read. Concerned, Kate offers to read it to him but Hans dismisses her concerns. With a touch of sadness, he says that the time of the factory is over. After a pause, Kate agrees.

Kate’s phone rings. It’s Marson again, even more angry than before. He tells Kate that he is sending someone to replace her before Kate cuts him off and says that she has the signed paperwork. Marson’s mood immediately reverses and he starts congratulating her, even saying he may give her a promotion for this. He says that he wants Kate to be the one who gives the paperwork to the client, says that he wants the papers on his desk the next morning and hangs up. (Check the dosages on those mood swing meds, will you?)

Hans stands up to leave and asks Kate if she is coming with him. Kate seems surprised by this and stammers that she has to get back to New York. Hans looks at her and says that maybe she just doesn’t like adventures. (Heh.) He tells her that the supply plane can probably take her to where she needs to go and, saying goodbye, leaves.

Kate slowly makes her way down the pier, seeming to argue with herself as she does. As she reaches the plane its engines start, but then she hears the whistle of the train. Reaching a sudden decision, she turns and races back down the pier and through the resort. The train is pulling out of the station as she arrives and Hans watches without surprise as she runs along beside it. At the last moment, she grabs the side of the train and pulls herself onto the passenger car platform. She looks back as the train disappears into the swirling snow, heading for the sequel.

But, until it gets there, you’ve won. For now, roll the credits. We hope you enjoyed the tour.

Dark Fall II: Lights Out

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Published on: September 22, 2011

Dark Fall II: Lights Out

A Few Notes on Navigation

Lights Out‘s interface should be obvious but there are a few minor quirks with it. The main issue is that the cursor sometimes takes a few moments to change shape when it passes over a hotspot on the screen. So, you may sometimes miss a path or an item of interest because the cursor failed to change when you passed it over the location in question; I found it very finicky in a few places (and in at least two it completely failed to change like it should). Therefore, if the cursor doesn’t seem to be behaving the way I say it should, just move it around a bit.

Also, the game likes to make you work at examining things. Sometimes you have to click for a closeup, click again for a closer closeup, click a third time to pick the item up, click a fourth time to open it then a fifth time to actually read whatever you found. Rather than telling you to click a half-dozen times if I tell you to examine something then just click however many times is necessary to get to wherever you need to be.

The Story So Far…

The year is 1912. You are Benjamin Parker, a cartographer with the Royal Academy of Sciences, and you have been sent to map the Cornish coastline; a task you resent as the coast of this part of England has been mapped for years.

It is only after your arrival in Trewarthan that you begin to suspect that there is more to your assignment than you have been told. For here you have found a lighthouse; one that does not appear on any of your charts.

That night, you have a nightmare…

Walkthrough
Trewarthan


You are awakened from your nightmare by someone knocking on the door of the cottage in which you are staying. Open the door and go outside. Hmmm… No one here. Perhaps they wandered off.

Oh well, while we’re out here we may as well look around. You can explore quite a bit though there really isn’t that much of importance to see. Go forward four times (the path isn’t always completely obvious but you shouldn’t have any trouble). Turn left and go forward again. You should find yourself facing a dock. You can look down the steps towards the water but you can’t go any further in that direction. Yet.

Turn around and go forward once. Turn right and go forward. Turn left. You should hear someone call out to you. (I say “should” because this doesn’t always happen for me.) Approach the building in front of you and examine the door.

Note: While playing game several times I occasionally had a game where Demarion never appeared. This doesn’t cause any problems and you don’t actually need to talk to him to proceed. So, if he doesn’t show up, don’t worry too much about it.

This is the first of a few “conversations” in the game. This is Robert Demarion, the person who has requested your presence here in Trewarthan. Listen to what he has to say and respond to him in pretty much any way you like; the end result seems to be the same. (If you give a “wrong” response you simply wind up outside the building and have to click on the door again to start the conversation over.) Basically, something strange has happened out at the Fetch Rock Lighthouse; the one that seems to be missing from your charts. The lamp is out and the lighthouse keepers aren’t responding. Since a fog is coming in, Demarion is concerned that a ship may crash on the Whipside Sands unless the light is restored.

Demarion needs you to investigate because the locals think the lighthouse is haunted. Or something. Demarion really isn’t clear on the subject and seems unnecessarily evasive. Get the impression that he isn’t telling you everything he knows? Oh well, there isn’t much else we can do so agree to check on the lighthouse. He tells you to make sure you get everything you need from the cottage then leaves. There isn’t anything else we can do out here so go on back to the cottage. Turn to the right, go forward three times then turn right to face the cottage door. Click on the door to enter.

Once you get back to the cottage take a while and look around. It’s only one location but there is quite a bit here. Look at everything, even if it seems unimportant. The game won’t let you proceed until have thoroughly searched the cottage.

The primary items of interest are on your bed. (Weren’t we just sleeping in the bed? Who put these things there?) Click on the bed for a closeup. The folder on the left is your sketchbook; click through it to look at a few pictures of the area.

The book to the right is your journal. This is a key item. Examine it and start reading through it.

When you get to the page where you read about having breakfast with Demarion, something odd happens. Suddenly you seem to have been transported to another location.

You are now in Demarion’s home during the time you were just reading about. (Basically this is a “flashback” to the time you were there; actually a fairly clever way of handling it.) Since your journal said you took the opportunity to snoop around a bit, take this opportunity to snoop around a bit.

Remember the two pictures in front of you. Now, turn left. You can try this door but it won’t open. Oh well. Turn left again. Open this door to get a closeup of the contents of the pantry.

You can look around in here a bit (click on the top or bottom shelves for closeups of their contents) but the important item is the box to the right of the lower shelf. Examine the box to open it then take the book from inside. Read through the book to learn about some of the strange goings on out at Fetch Rock. Examine the pictures and pick up the floppy disk to add it to your inventory. Then, back out of the closeups and…

Hey! Wait a minute! A floppy disk? In 1912? Hmmm… Apparently there are some really weird things going on out at Fetch Rock. (Notice that the floppy is from our old friend Hadden Industries, who you may remember from Darkfall .) Anyway, make sure you get the disk as the game won’t let you proceed without it.

Back out of the closeups until you are looking at the door again. Turn left and go forward. Examine the cabinet to the lower right. Open it then take the stereoscope from inside. Click on the top of the stereoscope to pivot the eyepieces upwards then click on the eyepieces to look through them. Click once more to start viewing the images. (Click to the left or the right of the eyepieces to page through the images. Several of them show the Fetch Rock Lighthouse but none of them seem to be of particular interest. And, yes, that is a lot of clicking for a negligible payoff.)

Back all of the way out of the closeups then turn to the left. Go through the door. Turn to the left. Go forward then click on the door to the outhouse to open it. Examine the outhouse and the toilet within it then pick up the two pieces of paper from inside the toilet and read them. Hmmm… More weird things happening at Fetch Rock.

Back out of the closeups. You can look around out here if you like (there is a tub of water that produces a nice ripple effect when you click on it and an axe (why is there always an axe?)) but there is nothing else of importance out here. Return to the cottage.

Examine the table in front of you and look through the items on it though none of them are that important. You can also examine the drawing of the rabbit on the wall if you like. When you are done, turn to the right and go forward then turn right to face the two paintings again. Click on them for a closeup then click on them again to end the “flashback”. You are back in your cottage. Finish reading your journal then close it. Back out of the closeups.

Next examine the table that is visible just to the left of the bed. Examine the case on the table to open it then look at the maps inside. (These are apparently maps drawn by Benjamin Parker.)

Back out of the closeup and turn left. You should now see a desk. Start by examining the shelf over the desk. There are two rolled papers that you can examine. One is a railway map of England, the other shows someone using a stereoscope (which probably relates back to the one in Demarion’s cottage but I never found anything relevant with it). Back out of the closeup.

Actually being able to get onto the boat to leave for Fetch Rock was a bit frustrating. You must have thoroughly searched yours and Demarion’s cottages before the game will let you board the boat. I think all you should have to have done is have read yours and Demarion’s journals and have taken the disk, but the game will still sometimes stubbornly refuse to let you leave for the lighthouse. If this happens, just go back to the cottage and look at everything again . I sometimes had to do this two or three times before the game would let me progress.

You can also examine the two boat hooks in the corner and the contents of the desk but there doesn’t seem to be much of interest there beyond another map of Cornwall. When you are done, back out of any closeups then turn left to face the door.

You should now be ready to leave for Fetch Rock. Leave your cottage and go all the way back to the dock you saw earlier. Now you should be able to go down the steps to the small boat. Turn left to face the boat so that you are looking over it and towards the town. Go forward. There is a cutscene where you hear a poem being read while nautical images are displayed. The cutscene ends with your arrival at Fetch Rock.

Fetch Rock


Welcome to Fetch Rock. Not much to see, is there? You can wander around among the rocks a bit if you like but there isn’t much to see beyond some debris at the water’s edge, so just turn right to face inland and go forward. Turn left and go forward then turn right to face some steps. Go forward and turn to the left. Go forward up the steps several times then turn right and go forward again to reach the lighthouse platform.

(Along the way you may occasionally hear a whispered “Over here!”. Don’t worry about that yet; we’ll get to it in a bit.)

The door to the lighthouse is to your right but we can’t get in yet because it’s dark. (Never mind that we have a lantern. Apparently it’s solar powered or something since you can’t use it unless there is some light in the area first…) So, go forward then turn right. Look in the upper part of the wall in front of you. See the box on the wall? Examine it for a closeup then pull the lever on the side of the box. This turns on the emergency generator.

Back out of the closeup, turn right, go forward, turn left, go forward and turn left again. Click on the door to enter the Fetch Rock Lighthouse.

Once inside, turn right and go forward. There is a key sitting on the windowsill to your right but I never found a use for it. Instead, go forward. Look down (examine the bottom of the screen) then go forward again to descend the steps.

Go forwards once more. You are now in the boiler room. Turn around to face the steps again. Look at the dark patch on the lower-left part of the stairs. Click there for a closeup then use the lantern to illuminate the dark patch. (See what I mean about the lantern?) Pick up the rolled piece of paper you see there and examine it. Note the three ships you see pictured in two places on the paper. Put the paper back down and back out of the closeup.

Turn left and go forward. You are now in the coal room, though that really isn’t important. Turn right. Notice the speaking tube on the wall. Click on it for a closeup. You can click on the tube itself to hear some spooky sounds if you like but we are more interested in the sheet of paper stuck behind it. Examine the paper to find a picture of some ships, each associated with a number of dots. You should recognize several of the ships as being the same as those on the paper you just found and realize that the ships correspond to the numbers 2, 3 and 1.

Put the paper away and back out of the closeup. Turn right and go forward to return to the boiler room. Find the path in the upper-right part of the screen to go forward and around the boiler.

It’s dark back here so turn on the lantern then turn left. Go forward and turn left again. Note the controls in front of you. Remember the sequence of ships? Click the second, third then first levers then return to the coal room.

Once inside the coal room, turn left. Examine the dark patch in the lower-left part of the screen to get a closeup then use the lantern to illuminate it. Remember the ship drawing again and press the middle, bottom then top valves. You should hear the generator power up and get a brief cutscene as the lights come on inside the lighthouse. Well, that’s something. The main light still isn’t on though.

Back out of the closeups then exit the coal room. Turn right and go forward. This is a storage room. You can look around in here if you like but there really isn’t anything of interest. Instead, turn left to face the steps and go forward and up them. (You can’t climb the steps before you turn the power on because they’re dark. Even though you have the lantern. Is Parker afraid of the dark or something?) Turn left then examine the door ahead of you to look up then go forward to reach it. Hmmm… wonder who broke that door panel out? Go through the door then go up the stairs beyond it. Keep going forwards up the stairs until you reach the next level.

You can examine the items on the shelf in front of you if you like but there isn’t much of importance here at the moment. We’ll come back later. For now, turn right to face the door and click on it to enter the kitchen.

Hmmm… Looks like the table is set for a meal and something is cooking on the stove. I wonder where everyone went? Something very Marie Celeste is going on here.

Go forward to the left of the table then turn around to face the door. Notice the chest at the very bottom of the screen? Examine the chest and open it to reveal some blankets. Move the blankets to one side to find a hidden compartment then open the compartment to find two pieces of paper. Examine the papers. One is just a sketch of a ship but the other looks like a combination of some kind; better write it down. Put everything away and back out of the closeup.

You can look around the rest of the kitchen if you want though there really isn’t anything else of interest here. Leave the kitchen. Back in the stairwell, turn left to face the stairs and go forward. Turn right then go forward and up the stairs. Keep going up to the next level.

Turn right to face the door and click on it to enter. This is the bunkroom. There are a couple of things of interest here. Go forward and turn to the left. Examine the box to the right. Click on the odd statuette to examine it. Back out of the closeup.

Now click on the shelf in front of you for another closeup. Examine the box labeled “FRL” (apparently for Fetch Rock Lighthouse). Open it and look at the pictures inside. They may not seem important right now but remember they are here. Put them away then back out of the closeups.

Turn around to face the bunks. Click near the bottom of the screen to examine the lower bunk. Examine the pillow and move it to one side, revealing some papers. Click on them to pick them up and read them. Hmmm… So Drake, the lighthouse keeper, is acting strange and Demarion seems to know something.

Put the letters back and replace the pillow. The book on the bed (half covered by the blanket) is on photography. Just… interesting I suppose. You can also look at the pictures on the walls next to the two bunks but they aren’t of particular importance.

Back out of the closeups then turn right to face the door. Go forward then turn right. Examine the mirror sitting on top of the chest of drawers then turn it over to find some more papers. Click on the papers to read another set of letters about Drake, Demarion and the lighthouse. Put the papers back and back out of the closeup. Examine the pictures above the chest of drawers then look behind the right picture to find more letters. Read them as well. Yep, it definitely looks like Drake and Demarion are up to something. What have we gotten ourselves into?

Put everything back, back out of the closeups then click on the chest of drawers itself. Look through all of the drawers. There isn’t much of interest in them except for a drawing of a hanged man and an odd drawing of a cloaked figure, similar to the statuette you found. (You can also find the text of the poem you heard being read during that cutscene a while back.) Curiouser and curiouser. Put everything back, back out of the closeups then leave the bunkroom. Turn left to face the stairs and go forward then turn right and climb on up to the third level.

Turn right to face the door. Note the plate where the doorknob should be. Examine the plate then open it. Look familiar? This is the lock you found the combination to earlier. Number the buttons from 1 to 4, starting on the left. Then, click buttons 1 – 2 – 1 – 3 – 2 – 4 – 3 – 4. The door opens and you go inside.

You are now in Drake’s room. There is a lot to look at in here. Start by going forward and turning left. Click on the door to open it then examine the clothes. Use the lantern then shove the clothes to one side. There is a locked compartment in the side wall. You can examine it if you wish but we don’t know how to get into it yet so just ignore it for now.

Back out of the closeups and turn right. Examine the pictures on the wall in front of you (they’re Drake’s children though you don’t know that yet). Click on each of them to look behind them. There is a number written on the back of each picture; just write them down for now. (The number is the child’s age; William is 18 and Catherine is 24.)

Back out of the closeup and turn right again. Examine the table at the bottom of the screen. There are a couple of items you can look at here but the one you are most interested in is Drake’s journal. Read through it to discover several things, the first being that Drake has been having dreams similar to yours. The other is that Drake is expecting you. That doesn’t sound good.

Finish reading the journal and put it down then back out of the closeups. (There are some other items on the table but they have no particular interest.) Examine the painting above Drake’s bunk. Use the lantern to illuminate it then click on it. Part of the painting peels aside, revealing a button. Press the button.

Your view immediately shifts to show the bottom drawer of a chest opening. (This is slightly confusing as you have moved within the room; you are actually standing beside the door again.) There are two sheets of paper in here. One shows a map of Fetch Rock with a path indicated. (This is how to get to the caves that Demarion mentioned in his journal.) The other is a drawing showing a barrel-like object near the lighthouse. Note the four colored squares; write down the order of the colors. (Purple, Green, Yellow, Blue.)

Now check the other two drawers. (The other two drawers open easily but if you want to reopen the bottom drawer you will have to go examine the picture and push the button again.) In the other drawers you will find several letters from Demarion that concern… you. Apparently Demarion and Drake have brought you here for some reason. This definitely doesn’t sound good. Unfortunately, we can’t do anything about it now.

We’re done here for the moment. Back out of the closeups, turn right to face the door and click on it to open it. Go forward to leave Drake’s room. Examine the lower part of the screen to see the stairs then go forward to go down. Go all the way back down the stairs. (We haven’t visited the lamp yet but there isn’t any reason to do so at the moment. Note that to go down the stairs you sometimes have to examine the lower part of the screen to look “down” before you can go down them.) Once you are all the way down, go outside to where you turned on the emergency power and turn to face the box again. Now, look at the bottom left part of the screen. You should see the very top of a ladder there. Examine it twice to get to the top of the ladder then climb down. (You have to climb ladders several times in the game. When you are on the ladder, move the cursor to the top or bottom of the screen until you get an up or a down arrow then click to climb up or down. This particular ladder does not become accessible until you find the map of Fetch Rock in Drake’s cabinet.)

Once down, turn around and just follow the path. There is only one way to go so you can’t get lost. Just keep following the only path available to you and you will eventually find your way into the caves. (Along the way you will probably hear the “Over here” whisper a few more times. I think this may be supposed to help you find the caves but I never discovered for certain who or what was supposed to be making the sounds.)

In the caves, keep going forward until your path is blocked by a pile of wooden crates. Turn right to face some barrels and go forward. Turn right again. You should now see a tunnel in front of you. Go forward into the tunnel and keep going until it ends. Hey, what was that! Weird. Oh well, there doesn’t seem to be anything else in here so turn around and leave the tunnel again.

Hey, what happened to all of the boxes that were in here? That’s odd! Go forward as far as you can then turn left and go forward until you leave the cave.

Lighthouse Museum – 2004


Hey! Wait a minute! It was dark a minute ago, wasn’t it? Something doesn’t look right, so let’s take a moment to look around. Where did this sign come from? They don’t use icons like that on signs in 1912, do they?

Uh-oh…

Welcome to 2004! Hopefully you aren’t too surprised; that floppy disk you picked up had to come from somewhere after all. Still, I hope Benjamin Parker isn’t having too much trouble adjusting; he has a lot to do yet.

Turn to face the cave (to orient yourself) then turn to the right. Go forward twice. Turn right and go forward. You are now standing in front of a ticket booth. We’ll be back here in a moment so just go forward again. Turn left and go forward. Click for a closeup then examine the objects on the ground in front of you. Pick up the odd pointed pole. Back out of the closeup.

Now turn around. Examine the base of the pole to the left. Note the odd symbol with the Roman numeral II beneath it. Sketch the symbol as best you can and back out of the closeup.

Go forward, turn right, go forward again then turn left to face the ticket booth. You can look at the discount tickets lying in the window if you want but instead click on the window itself for a closeup. Notice that piece of paper stuck to the wall? I wonder if it’s important. Too bad we can’t reach it.

Or, can we? Select the pointed pole from your inventory then click on the paper. This causes you to stab the paper with the pole. Click on it again to bring it close enough to read. Note the sketch and remember the code 5 – 5 – 8 – 2. Click to put the paper away.

Back out of the closeup, turn right and go forward twice. Turn right, go forward twice more, turn right again then go forward again. Turn around then click on the trash can to the right for a closeup. Click on the metal plate on the side of the trash can to find another symbol, this one labeled IV. Sketch this symbol as best as you can then back out of the closeups.

Go forward then turn left. Go forward four times. Turn right and go forward twice.

In front of you are the restrooms. You can go into either the men’s or women’s room (or both if you wish). There is something we need to find here and we can find it in either one. There is an inventory item that is only found in the men’s room but it isn’t essential that we get it. Still, we’ll do both just for completeness sake.

Start by entering the men’s room by clicking on the opening. Turn left and go forward. Click on the sink for a closeup. There is another one of those plates on the wall under the sink. Click on it for a closeup and sketch the symbol. Note that this one is labeled I. Back out of the closeups.

Turn to the right and examine the urinals for another closeup. Man, some people are slobs, aren’t they? There is a cup lid lying on the drain. Click on it to pick it up and discover several coins lying beneath it. Click on the coins to pick them up and add them to your inventory.

There are a few more things we can look at in here but they are of little interest and no importance. (Every now and then you can hear what sounds like someone in the other restroom but it doesn’t seem to be significant.) So, back out of the closeup, turn completely around and go forward to the exit to leave.

Go forward again then turn around to face the restrooms again. Now we’ll check out the women’s room. Click to the right of the men’s room entrance to enter. (The easiest way to do this is to simply click on the women’s room sign.) Turn right and go forward then turn left. Click on the left stall for a closeup.

Looks like the slobs have been in here too. Oh well. Note that you can see the edge of something along the side of the door to the right of the toilet paper. Click on it for another closeup. It’s another metal plate, identical to the one in the men’s room. Back out of the closeups.

There is more to look at but like the men’s room none of it is important so that’s it for here. (The coins seem to only be in the men’s room so you have to go into that one to get them. They aren’t really needed anyway.) Turn around and go forward twice to leave the restrooms.

Back outside, go forward twice more then turn right. Go forward twice. There is a panel of some sort to your left (turn left to see it if you want) that looks as if it should be somehow significant but I never found any use for it. Go forward again and examine what is in front of you to look down on another picnic area. We’ll be getting down there in a few minutes.

For now, back out of this closeup and turn right. Go forward to reach the entrance to the lighthouse. Examine the door for a closeup.

Look familiar? This looks like the sketch we found on that piece of paper down in the ticket booth. Number the buttons from 1 to 8, starting at the top. Then, press buttons 5, 5, 8 and 2. Lights will blink and the door will open. Go forward into the gift shop.

As you would expect, there are a lot of things you can look at in here. Only a few of them are really significant but let’s take the time to check out some of the highlights.

You can look above the counter to see several posters then look above them to look straight up through the glass ceiling at the storm clouds overhead. Looks ominous, doesn’t it?

There are several books on display on the counter. You can look through all of them except one (the one on the Spanish Armada). None of them are of particular importance though you may note that Bright Spark: A Modern Smuggling Story is written by Timothy Pike, one of the ghosts you met in Dark Fall. I guess he got better.

Turn right and go forward. There are more books on the counter here but they are of no particular importance (except that you can learn that “Trewarthan” means “farm on the hill”). Go forward again then turn left to face the cash register. There are several things to look at to the right of the cash register but we’ll get back to them in a moment. For now, go forward to the left of the cash register. The rolled up posters in front of you are the same as the ones hanging overhead so ignore them and turn left. Go forward twice.

There is a CD rack in front of you. You can examine the CDs or change the music that is playing in here by pressing the buttons but there is nothing of importance. (There are more CDs lower down that you can see by examining the bottom of the screen.) When you are done, back out of any closeups then turn left.

In front of you is a copy of Horror at Fetch Rock . (If you examined the books on the other side of the counter you may have seen the spine for this one but you couldn’t look at it from there.) The picture on the cover is supposed to be of you, Benjamin Parker. Not a very good resemblance, is it? Click on the book and read it.

Well… That’s an unpleasant turn of events, isn’t it? It seems that the missing lighthouse keepers were never found and that you are blamed for their deaths, you disappeared (and were assumed to have committed suicide) and that your chief accuser was Robert Demarion, the man who hired you!

Well, the rumors of your death have been greatly exaggerated but you have missed your trial by about 92 years. It looks like we’ll have to keep trying to find out what happened and see if we can get back to your time to clear your name.

There is one more important piece of information in the book, the combination of the safe in Drake’s room. The combination is the sum of the birth years of Drake’s children prefixed with the letter “R”. That may come in handy, assuming we ever get back to 1912 again.

But, for now, let’s keep going. Put the book away, back out of any closeups and turn left. The shelves to our left contain an assortment of touristy-style souvenirs. Look at them if you want but none of them are of any importance. (The coffee mugs have Fetch Rock’s web address on them but it doesn’t work. Someone missed a marketing opportunity there.) Instead, go forward twice. (When you arrive at the cash register it sometimes spits out a ticket that you can pick up and examine. It doesn’t seem to be that important though.)

Turn right and go forward (you can’t do anything with the postcards) then turn completely around to face the cash register again. Now, click on the cash register itself to get a closeup. Click on the yellow sticky-note stuck to the cash register to read a note from the lighthouse staff to someone named Polly White, wishing her luck in her investigation. (Polly is a ghost hunter who you also may remember from Dark Fall .) The sticky-note to the left of the cash register mentions that some money is missing. (Maybe you should be a bit more careful with the combination to your door then?)

There are two letters on the shelf below the cash register. Then one on the left indicates that funding for the lighthouse may be cut off because of the scandal surrounding the supposed haunting. The other letter is from Polly introducing herself and proposing her ghost hunt. Of interest here is that she believes herself to be the reincarnation of James Wolfe; one of the missing lighthouse keepers. Hmmm…

When you are finished with the letters, back out of the closeup. You can look at the trash can on the floor or some post cards and a work schedule on the wall but none of them are of any importance. Back all the way out of the closeups then turn right to face a curtain. Click on the curtain to examine it then click again to move it aside.

Looks like they’ve painted the place since we were here last. Go forward then look down and go forward twice to go down the stairs and into what was once the generator room. Turn to the right to face the former coal room.

The display to the right of the door gives quite a bit of background information so you should probably read it (it is in several sections). Basically it reiterates the mystery of the missing lighthouse staff and the theory that you were responsible for their disappearance. There is also more evidence that Demarion set you up to take the blame for the disappearances. One question remains. Why?

You can go into the coal room if you like but there is nothing to do in there. (You can sit in a chair if you want.) Instead, turn to the right to face the stairs. To the right of the stairs there is an informational sign and a rack of brochures. Click on them for a closeup.

You can click several times on the photo to get a closeup of the old generator room but we aren’t concerned with it right now. Instead, take a brochure from the rack and read through it to learn a few things, mainly that the last few pages were ripped out of Drake’s journal sometime after you read it and that various bronze age artifacts have been found on the island. Hmmm… Interesting.

Put the brochure away then back out of any closeups and turn to the right again. You are now looking at a diorama of Benjamin Parker setting out for Fetch Rock. (It still isn’t a very good likeness.) (Note: The figure in the diorama occasionally moves and every now and then disappears completely. I don’t know if this is supposed to be evidence of the haunting or if it is just that the figure is supposed to be an animatronic.) Below the diorama on the right there is a camouflage-patterned backpack. Click on it for a closeup.

There are two small pockets in the upper part of the backpack (as you are facing it). Click on them for a closeup. Click on the buckle for the left pocket to open it then click on the contents to see Polly’s bus pass. (Hmmm… Apparently since Dark Fall Polly has had an extreme makeover as well as a nervous breakdown.)

Put the pass away then open the right pocket to find a camera. When you click on the camera the first time it will flash. Click it again to turn it over to look at the back. Push the round button near the display to turn it on and see Benjamin Parker’s startled self-portrait. (Heh.) Use the buttons at the top right to scroll through the pictures in the camera’s memory. They are from various locations around the island. A few show Polly and some others show a floating chair (the chair in the former coal room, actually) but none of them are particularly relevant.

Turn off the camera by pushing the round button again then back out of the closeup. Now click on the main compartment of the backpack to reveal a notebook and a tape recorder. Click on the notebook to read it. This is Polly’s journal of her investigation. (The investigation at Dowerton she mentions is the one in Dark Fall . She wonders what went wrong there. Oops. Sorry Polly, that was me.)

Read through the journal. There are several points of note. First, pay attention to what she says about certain items or locations being “triggers” or “hot spots”. Second, note that she attempts to communicate with the ghost at one point by knocking; one knock for yes and two knocks for no. Finally, notice that she apparently saw you and hid, which means she is probably still around the lighthouse somewhere. Of course, she also seems to think that you are a murderer who killed her in a past life. That’s going to make things awkward.

Put the journal away then click on the tape recorder to pick it up. Click on it again to hear one of Polly’s hypnotic regression sessions. It is interesting from a story point of view but otherwise is unimportant so skip it if you want. The main point of it is that there is something living on the island that has been there a long time, that it took Drake and that it is apparently waiting on Polly. And you.

Put the tape recorder away then back out of the closeup to close the backpack. Now click on the envelope you see at the bottom left of the screen. The view will shift to the other side of the bench. Click on the blue folder to open it and retrieve two sheets of paper. One is from Catherine Riley, the lighthouse project manager, accepting Polly’s offer of a ghost hunt. (Also notice that the letter contains the door code, even though Polly said in her journal that Riley didn’t give it to her. Makes you wonder how thorough an investigator Polly is.) The other is a flyer for Hadden Industries latest set of electromagnetic goggles. (You may have previously seen a set of Hadden Industries electromagnetic goggles in, yes, Dark Fall.) I wonder if we can find a set of those? They may come in handy.

Well, let’s go see if we can find Polly. Put everything away and back out of any closeups. Turn right to face an opening then go forward to enter the former storage room and current museum. You can look around at the displays in here if you wish, most of which you probably recognize from your last trip through the lighthouse. None of them are of major importance though.

The layout of the lighthouse hasn’t changed, so head up the stairs to the next level. Where the kitchen used to be there is now another of those diorama displays. Examine it then push the button on the lower right to activate it and see a recreation of the last moments of the lighthouse crew. Somehow I don’t think it happened quite like that.

Back out of the closeup (you don’t have to wait for the presentation to end if you get tired of watching it), turn to the right and climb the stairs to the second level. When you arrive, notice the photograph directly in front of you; the one of a bottle lying on a beach. You should recognize this as being identical to a photograph you saw in the box in the bunkroom back in 1912. Keep this in mind for later.

Turn to the right to see that the bunkroom has apparently been replaced with a snack bar. You can go inside but there doesn’t seem to be any way to turn on the lights and you can’t get very far in the dark. (You hear footsteps when you are in there but that’s about it. The lantern is useless here, of course.) So ignore it, turn to face the stairs and climb on up to the third level.

Once there, turn right to face a door labeled “Staff Only”. Examine the door for a closeup. There is a keypad on the door but we can’t do anything with it. Instead, keep examining the keyhole until someone looks back at you from the other side. Looks like we found Polly!

I found this sequence annoying. You aren’t a ghost; you are actually standing there. There is no reason why you couldn’t simply talk to Polly as opposed to going through the whole “one knock for yes, two knocks for no” routine. It isn’t a limitation of the game engine either since we carried on a conversation earlier with Demarion. The only thing it does is force you to either have read Polly’s journal or otherwise figure out the knock pattern. Yeah, it is possible that Polly thinks you are a ghost (she is wearing her goggles after all) but that doesn’t mean we couldn’t talk to her.

Polly will ask if you are Benjamin Parker. Now, remember how she spoke of using one knock for yes and two knocks for no in her journal? We need to answer her in that manner. Oddly, you don’t single-click for yes and double-click for no. Instead, you click to the left of the keyhole to produce a single knock and to the right of the keyhole to produce a double knock. There is no point in denying who you are so click to the left to indicate yes.

She will then ask if you are planning to do the same thing to her that you did to the lighthouse staff. Well, we didn’t do anything to the lighthouse staff but there is no way to tell her that. Instead, we can only click to the right of the keyhole to indicate no. Polly seems to accept this and makes a comment about two heads being better than one before sliding a piece of paper under the door. Pick it up to see a map of the island with a particular spot indicated. That’s it for Polly, so put the paper away then back out of the closeup. (If you give Polly the wrong response simply examine the keyhole again to start over.)

At any rate, turn left and go forward towards the ladder. Turn to the right and examine the bell. Look behind it to find another of those metal plates. You really don’t need this one though. You can also look at the chair under the bell then look under the chair to find a book of ghost stories, though you can’t read or do anything else with it.

Back out of the closeup, turn back to the left and go forward to the ladder. Examine it a few times to climb onto it then climb up to the lamp chamber. (Note: If you go all the way to the top of the ladder then you can’t get off in the lamp chamber. Go to the top then go back down one step. Now you can turn around and step off the ladder.)

Quite a few things to look at up here but only one of them is important. Turn to the right until you see a device that looks like a small lighthouse lamp. (To the left of a panel with two paintings and a brochure holder.) Click on the device for a closeup.

Notice that there are four sliding buttons on the device. The symbols on the buttons should match those you have been finding on those metal plates scattered around the island. We have found three of the symbols you see here, corresponding to the numbers 1, 2 and 4.

What we need to do is pull the buttons in the order indicated by the numbers corresponding to the symbols. We haven’t found the plate with symbol 3 but it is obviously the symbol here that we don’t recognize. So, number the buttons 1 thru 4 starting on the left. Then, pull buttons 3, 1, 4 and 2. The lamp will spin, music will play and a drawer will open. Click on the drawer to take its contents and look through it. You will find a knob of some kind (which gets added to your inventory) and a photograph of an old-style radio (named “Ralf”). Note the positions of the knobs on the radio. (You don’t need to keep track of the settings, just note that the first knob is horizontal, the second is vertical and the third is diagonal.) When you are done, put the photo away and back out of the closeup.

That’s all you have to do up here though you can look around some more if you like. You can read the brochure in the rack to learn about the paintings up here and to also learn that the puzzle box you just solved was based on an original designed by Andrew Verney (yet another of the ghosts from Dark Fall). You can also look through the binoculars held by the mannequin to see another plate with another symbol but you won’t need it for anything.

We’re completely done with the lighthouse for now. Go all the way back downstairs, through the gift shop and back outside. Follow the steps all the way down to the entrance to the first picnic area (beside the sign), turn right and go forward once, then turn right again and go forward twice more to reach the entrance to the cave again. Don’t go back inside. Instead, go forward four more times to reach the other picnic area; the one we saw from the steps earlier.

Turn right and go forward towards the life rings. Turn left and go forward. Turn to the right. Click on the telescope to examine it then click it again to turn it towards you. Select the coins from your inventory to activate the telescope. Pan to the left or right with your mouse until you are looking at the side of the lighthouse. You should see another metal plate, this one showing the III symbol. (We really didn’t need to come here since we have already solved the puzzle using the symbols but, for completeness sake, this is where you would have found it. Since the only use for the coins is activating the telescope we really didn’t need them either, which is why I said they didn’t matter back at the restrooms.)

When you are done, back out of the closeups and return to the entrance to the picnic area. Turn to face the small building then go forward to it. Hmmm… Looks like some sort of D-Day exhibition. Click on the door to go inside.

Once inside, immediately turn to the left. Examine the seats in front of you for a closeup then examine the dark area behind them. Well, we can’t see anything here so try activating the lantern. This reveals a pair of the electromagnetic goggles hidden behind the chairs. Pick them up to add them to your inventory. (Note: You can’t get the goggles until you have met Polly and gotten the paper with this location marked.)

Your new goggles will periodically flash and make an electronic beep. When this happens it means that there is something hidden in the area. Click on the goggles to reveal the hidden phenomena.

Minor nitpick: The disk drive attached to the laptop is an older-style Zip drive (I have an identical drive myself) but the disk you find is a standard 3 1/2 inch floppy which won’t work in a Zip drive. Oh well, maybe there’s an internal floppy drive in the laptop somewhere.

Back out of the closeups and turn back to the right. Go forward once. There are several things to do here but start by turning to the left. Click on the laptop for a closeup. The laptop has a disk drive connected to it, so select the floppy disk from your inventory to insert it into the drive. A window labeled “EVP/Capture 1″ appears on the laptop. Click the play button to hear some strange sounds. When you are done, back out of the closeup.

Or just ignore the whole thing since it actually has nothing to do with anything, not even story advancement. (Though I assume that the laptop and disk belong to Polly; I can’t imagine it being left here otherwise). How the disk wound up in 1912 is anyone’s guess. (Demarion said he found it; he doesn’t appear to have traveled to 2004 himself.)

At any rate, turn around to face the radio behind you. You can examine the sign above the radio to learn that it is supposedly haunted. (Actually, it is a reproduction of the haunted radio.) Examine the radio itself to get a closeup and discover that one of the knobs is missing. Select the knob from your inventory to replace it. Now, set the knobs to the positions that were in the photograph you found back in the lighthouse. Set the leftmost knob to “01″ (horizontal), the center knob to “C” (vertical) and the rightmost knob to “y” (a 45 degree diagonal).

When you have set all three knobs the EM goggles will beep. Click on them to use them. You should see a set of three numbers appear on the radio; 120, 180 and 020. Write these numbers down. Back out of the closeup to end the goggle effect then back out of the closeup of the radio.

Turn to the right. You should see a display panel containing several photos of World War II era aircraft. You will notice that you can examine the three photos on the leftmost panel more closely. Examine the bottom photo. Your EM goggles will beep again. Activate them to see a ghostly image of a person standing beside the plane and a symbol glowing at the front of the plane. The symbol resembles the letter “Y”, so write a “Y” next to the three numbers you wrote down earlier. Back out of the closeup.

And we’re done here for now. (There is actually something else that we could do here but we need to get something else first so, in the interest of minimizing backtracking, we’re going to skip it for now.) Go forward and out of the building. Once outside, go forward along the path until you are in front of the cave again. (Should be forward five times.) Turn left to face the cave and go forward into it as far as you can. Turn right to face the tunnel and go forward once. Turn completely around.

Once again the goggles will beep. Activate them to see a greenish, glowing symbol appear on the floor of the cave. (The symbol somewhat resembles a letter “F”.) Sketch this symbol as best as you can then back out of the closeup to put the goggles away. Then, go forward, turn left and go forward twice more to leave the cave.

Now, go all the way back into the lighthouse and into the former generator room. (You will have to enter the door code again to get back inside; it’s 5, 5, 8, 2 in case you’ve forgotten.) Once in the generator room, turn around to face the entryway.

Look at the sign to the right of the doorway (the one above the brochure rack). Examine it several times to keep getting further closeups. When the photo of the generator room is filling your screen, the goggles will suddenly beep again. Activate them then click on the photo.

Fetch Rock – 1912 (Again)


Well, this looks familiar! Looks like we’ve found a way back home. (Remember the comment in Polly’s journal about “triggers” and “hot spots”? Apparently we found one.) Unfortunately we can’t head back to Trewarthan to confront Demarion. Still, we’ve gained some new information and we can use it to complete our investigations of the lighthouse here.

Go through the generator and storage rooms and climb the stairs to the first level. When you arrive, examine the books on the right side of the bookcase in front of you for a closeup. (If you find yourself looking at a “Fair Weather Work Box” you are looking at the wrong end of the shelf. Back out of the closeup and click on the other end of the shelf.) Pick up the book labeled “1912″ and open it. The goggles will beep so activate them. Several numbers in the book will be highlighted. There are three rows of numbers; write them down. (If it isn’t clear, the numbers are 160, 140 and 090.) Back out of the closeups.

Now examine the map of Cornwall hanging above the bookcase. The goggles will beep here as well and, when you activate them, you will see an “X” on the map. Write “X” next to this set of numbers. Back out of the closeups turn to face the stairway and climb all the way to the top.

We are now outside of Drake’s room again. We’ll be going in there in a minute but first we’re going to check out the light. Go to the ladder and climb it to the lamp chamber.

When you reach the top of the ladder turn to the left and go forward. Ignore the device in front of you for the moment and turn to the left to face the light itself. Click near the top of the screen to look up at the light. Once again your goggles will beep. Activate them to see a yellow symbol on the light. Sketch this symbol as well as you can. (It looks like a circular “H”.) Back out of the closeup when you are done.

There is nothing else that needs to be done up here but feel free to look around. The device near you is the foghorn and you can blow it if you wish. (Stand in front of it, pull one of the levers then pull the handle hanging from the ceiling.) It doesn’t seem to do anything though. You can also walk out onto the catwalk surrounding the lamp chamber but there really isn’t anything to see out there. When you are done exploring up here, return to the ladder and climb back down.

Once you are off the ladder, turn around and go forward once. Turn left to face the door to Drake’s room and examine the plate. Enter the entry code again (1 – 2 – 1 – 3 – 2 – 4 – 3 – 4) and you will automatically go inside.

Go forward then turn left to face the closet. Open the door, examine the clothes, use the lantern, move the clothes to one side and examine the locked compartment. When we were here before we couldn’t do anything with it but now, thanks to the book in the gift shop, we know the combination is the sum of the birth years of Drake’s children prefixed with the letter “R”.

We found the ages of Drake’s children the last time we were here; William is 18 and Catherine is 24. Since this is 1912, William was born in 1894 and Catherine was born in 1888. Sum these up to get 3782. Enter R3782 as the combination. The locked compartment will open. Examine its contents for a closeup.

Note the picture on the right. Remember how Drake mentioned something about a picture of reeds in his journal? Pick up the picture to examine it more closely. This prompts your goggles to beep once again. As before, activate the goggles then click on the picture to transport yourself to somewhere else.

Bronze Age Camp – 50,000 BC


OK, where the frell are we now! Or, more likely, when are we now? Remember where you are standing; we’ll need to come back to this location later. Your goggles have just beeped again but don’t do anything with them yet.

Instead, turn to the right. It looks like there is something over there so go forward through the reeds until you reach some sort of primitive encampment. This is probably the bronze age camp that we read about in the museum brochure. So we’re still on Fetch Rock, just a long time in the past.

Turn right and go forward. Turn to the left. See the bowl sitting on the rock in front of you? Click on it to examine it then click on the bowl of eggs for a closeup. Your goggles will beep. Click on them to see a blue symbol. Sketch it as best you can then put the goggles away and back out of the closeups.

Now go forward three times. Examine the necklace lying on the rock in front of you. Hmmm… Something looks a bit out of place here, doesn’t it? Back out of the closeups and go forward twice more. Turn to the left. There is a path forward here but it is a bit hard to find (keep your cursor in the lower part of the screen). Find the path and go forward three times then turn completely around.

To the upper right you should see a pile of rocks. Examine them to look up then go forward to climb up to them. Hmmm… There’s something else that is out of place. Examine the rocks and pick up the floppy disk then back all the way out of the closeups.

Go forward. Notice the shaft of sunlight shining down on something just ahead? I wonder if there is something significant up there? May as well find out.

Go forward again and turn left. Well, this looks familiar. Go forward into the cave as far as you can then turn right to face what by now should be a familiar looking tunnel. Go forward into the tunnel until it ends at an intersection. The left path just leads to an empty chamber holding some bowls so turn to the right and go forward until the tunnel opens out into a large chamber.

What is that ? Approach the barrel-like object lying in the middle of the chamber and examine it for a closeup. Click on the object and a panel will open in its side. OK, this definitely doesn’t look like something that belongs in a bronze age tunnel.

Deos? Malakai? What have we found here? Click on the screen to activate it. Hmmm… I wonder what all this means? There is a time code, what seems to be three sets of coordinates and a row of four symbols across the bottom. Now, we have already found two sets of numbers that are probably coordinates and three symbols that look similar to the ones here. It looks like we’re still short the time code, one set of coordinates and one symbol.

You can play around with the settings here if you like but since we don’t have everything we need yet we really can’t accomplish anything. So just back out of the closeups.

When you do, an odd voice will suddenly speak to you. It will address you as “map man” and tell you that you are not yet ready. It then tells you to leave and find what you need to “free” it, ominously adding “in this life, or the next”. Great.

There isn’t anything else we can do here at the moment so just exit back out through the tunnel then leave the cave. Once outside, turn left and go forward then turn right and go forward twice to reach the center of the camp. Turn left. Go forward between the two tents as far as you can then turn left. Again go forward as far as you can then turn right. You should see a structure of some kind ahead of you. Go forward to stand in the middle of a circle of poles.

The goggles will beep several times here but don’t do anything quite yet. Turn to the left then activate the goggles. The number 180 will appear on the poles in front of you. Put the goggles away then turn to the right. Activate them again to see the number 110. Put them away again, turn to the right again then activate them once more. Here you find the number 150.

Back out and turn back to the left. Examine the ground to get a closeup of a stone. Use the goggles a final time to see the letter “Z”. So, our final “coordinate” is Z 180 110 150. Write this down.

And that’s it for here! We could go back to the object in the tunnel but we still need to find the time code and the missing symbol before we can do anything with it. So, back out of any closeups then go all the way back to the reeds where we first arrived in this time. Turn to face the same direction we were facing then. When your goggles beep, activate them then click on the reeds to get transported back to the lighthouse in 1912.

Fetch Rock – 1912 (Briefly)


You are back in Drake’s room and still looking at the picture of the reeds. Click on it without wearing the goggles to put it down then back all the way out of the closeups.

We probably should see what is on this floppy disk we found and the only computer we know of is in the D-Day exhibit in 2004. It looks like we need to find a way to get back there.

Leave Drake’s room and go down one level. Go into the bunkroom. Go forward once then turn to the left to face the shelf. Examine the box labeled FRL to open it.

If you remember from the last time we were here, there are two photographs in the box. You may also remember that I pointed out that one of the photographs on display in the lighthouse museum was identical to a photograph in the box. Look though the photographs in the box until you find the one of the bottle lying on a beach. Your goggles will beep. Activate them then click on the photo.

Lighthouse Museum – 2004 (Briefly)


Well, that was easy! Just go down, leave the lighthouse and go to the D-Day exhibition. (Along the way your goggles will beep when you enter the former storage room; the one now containing all the display cases. You can activate them to see a light display but there doesn’t seem to be any significance to it.) Once inside the exhibition, go to the computer and examine it.

Select the disk you picked up in the bronze age from your inventory to insert it. An image of a robot will appear on the screen. While interesting, the important thing here is not the robot. Instead, look at the color palette to the left. Note that one of the colors is highlighted. Make a note of the highlighted color along with the next few colors on that row. (Purple, green, red, blue, orange.) Back out of the closeup.

OK, time to do what we skipped the last time we were here. Turn back towards the entrance and go forward once. Turn left to face the display panel again. As before, the panel shows several photographs of World War II aircraft and you can examine each of them in more detail.

Examine the middle photo on the right panel. When you do, you will get the now-familiar goggle beep. Activate the goggles and click on the photo.

DEOS Lab – 2090


Well! This is somewhere new! Back out of the closeup. Darn, it looks like there was a party and we missed it. Oh well. Turn to the right then examine the counter for another closeup. Click on the lighted tablet you see to pick it up. Hmmm… A handheld tablet computer. Somehow I don’t think we’re in 2004 anymore.

The computer is currently displaying a recipe for Chicken Chow-Mein (aka “Chicky Chow”). (Chicky Chow also made an appearance in Dark Fall.) Notice that the computer is labeled “DEOS”, the same as the strange object we found in the bronze age. I don’t think that is a coincidence, do you?

Click on the recipe to clear the display. Hmmm… Someone has been keeping notes on this. Read through them. (Click on the “>” symbol at the bottom of the screen to go to the next page.) So, tensions are high and there seems to be some concern about someone named Magnus. Does this sound familiar? Note that the author of these notes seems to think that Magnus is glowing. If you remember, one of the letters back in the lighthouse said the same thing about Drake. Is history repeating itself?

You will also note that whoever wrote the notes is concerned that someone has been interfering with something of theirs and is looking for fingerprints. Just keep that in mind. When you are done, put the datapad down and back out of the closeup.

Turn to the right. You can open the refrigerator in front of you but you can’t take anything out of it so just turn to the right again. Go forward. Looks like it was Ivan’s birthday party. From the number of bottles scattered around, it looks as if everyone here is probably sleeping it off somewhere. What seems to be the control unit for the wall display is lying on the counter here but you can’t do anything with it.

Turn to the right and go forward again. You can examine the microwave in front of you if you want. You can turn it on and if you turn it on at maximum the bowl inside of it will start to steam. You can also look at the fortune cookie fortunes lying on the counter but none of this seems to be significant. Instead, turn to the left. The door will open automatically. Go forward into the corridor.

Turn to the left to face Corbin Hart’s quarters. Push either of the buttons under his picture to open the door then go inside.

There are several things to do here so let’s start by turning to the left. You can examine the desk in front of you if you want. There are several pictures of his children there as well as an MP3 player that has a long, rambling message from them on it but none of it is particularly important.

Turn to the left again. Notice that there are several display shelves to the right of the door. You can examine the contents of any of them but we are only really interested in the sailboard on the middle shelf. Examine it then pick it up. Click on it again to turn it over. There is a key of some kind hidden behind the sail. Take the key to add it to your inventory then put the sailboard back down.

Turn to the left again. Hart’s bunk, covered with items, is to the left. Click on it for a closeup.

Pick up the cylinder near the middle of the bunk. Open it to find a letter from Hart’s wife. She talks about the children having nightmares (if you listened to the children’s message on the MP3 player you already know this) and asks if there is a lighthouse in the area. (Well… not now maybe, but…) She also says that she has sent some pictures that the children have drawn from their nightmares. In passing, she mentions that this is an underwater base. (Interesting.)

When you finish, put the letter and the cylinder away. To the left are the pictures that Hart’s wife mentioned. One shows a barrel-like object falling towards a lighthouse and the other shows what seems to be you (and is actually a better likeness than the one back at the museum) but they contain no new information.

Instead, examine the box behind the football (the only box you can do anything with). There is another letter in the box. Pick it up to read it; it explains a lot of things. Apparently the object we found is a space probe designated “Malakai”. It also appears that Malakai may have contained an artificial intelligence. At any rate, Hart is the project manager and was responsible for its programming. The probe vanished shortly after it was launched and no one knows what has happened to it. Hart says that the probe contained something he calls a “Matter Manipulation System” and indicates that it could be used to generate power. Finally, he also mentions an initiation sequence and says that only he and Malakai know what it is but that he is destroying his copies of it.

So, it would appear that the numbers and symbols we have been finding are parts of Malakai’s initiation sequence and that it is probably Malakai itself that has been placing them for us to find. It also appears as if Malakai has been responsible for the strange events that have been occurring around the lighthouse.

The letter also mentions some of the problems around the facility but there is nothing really new there (except for the fact that Magnus started acting strange after he was working on an elevator and that someone named Mitsuyo is looking for something called a “Xilight”.) When you are finished with the letter, back out of the closeup and turn to the right. Click on the button to the right of the door to open it then return to the hallway.

Directly across the hall is Magnus Griel’s room but we can’t get into it. He was apparently “removed”. So turn to the left and go forward.

To the left is Vimel Dahiya’s room. You can go inside and look around if you wish but there is nothing of importance there. (It looks as if he has been searching for information on the Fetch Rock lighthouse but you can’t read it.) So, turn to the right to face Ivan Krozt’s room. Click on the buttons under his picture to open the door then go inside.

This is another room with quite a few things to look at. Start by turning to the right. There are several posters on the wall, including one for “The Dowerton Experiment” which is identified as a “New Adventure Game”. (Heh. I wonder if it features Polly? Yes, it’s another Dark Fall reference.) To the left there is what looks like a concert poster hanging over a bunk. Click on it for a closeup.

Start by examining the copy of “Sci-Fi Fan” magazine lying on the bunk. ( Sapphire and Steel ? Wow, I didn’t know anyone remembered that one besides me.) Click on it to move it to one side then pick up the remote control device lying underneath it. Back out of the closeup.

You can look at the other items on the bunk if you want. There is another MP3 player lying on the pillow and you can listen to a few songs on it. (The names of the groups are all names of computers from movies or games.) There are also some pictures on the wall. Finally, look at the dates on the concert poster to discover that we seem to be somewhere in the year 2090. (I wonder if we can pick up some good stock tips?)

Back out of the closeup. Now examine the desk to the left. Does that robot look familiar? Examine it for a closeup then select the remote control device you just found from your inventory. Remember the image we saw on the computer and the order of the colors in the palette? Press the buttons on the remote in the order from the palette; purple, green, red, blue then orange. The robot will move and project a beam of light. In a few moments the view will shift to show a purple symbol of some kind. Sketch this symbol as best as you can then back out of the closeup.

That’s all of the symbols so we just have the time code to go! We’re done in here. Turn to face the door and push the button to the left of it to open it. Return to the hallway and turn right. Go forward. To the left is Maria Ortega’s room but for some reason we can’t get in there. Mitsuyo Taku’s room is to the right but we don’t need to do anything with it right now.

Go forward again and turn right. Click on the panel in front of you to activate it. Ah, so “DEOS” stands for “Deep Exploration of Space”. You can read about the various space probes that DEOS has launched by clicking on the images across the top of the screen but the only one of real importance is the rightmost one; Malakai. Read about it to find out more about its mission, the “Matter Manipulation System” and “The Keeper”. Notice that the Keeper was supposed to return the probe to its point and time of origin in the event of a system failure. Well, it looks like it got the location right but not the time part.

When you are done, turn back to the left and go forward again. This takes you to a four-way intersection. There is a storage room to the left but we’re going to ignore it for now. The corridor in front of you leads to the transmat (matter transmitter) room. The pictures on the walls show the various probes that DEOS has launched; the picture of Malakai has been scribbled out. There is really nothing down there we need to see though so we’ll skip it for the moment too.

For now, just turn to the right and go forward as far as you can then turn to the left. (You can examine the panel on the left wall but it doesn’t do anything.) Go forward through the doors and into the medical bay.

Keep going forward to the end of the corridor then turn left. Go forward once then turn left again. Examine the curtains on the right for a closeup then click on them to open them. When your goggles beep, activate them. A time code will appear on the bed; write it down then back out of the closeups.

You can look around the rest of the medical bay if you like (there are some strange x-rays on the wall and a cigarette butt oddly floating in a jar of formaldehyde) but there is nothing else of major interest or importance here. In fact, we now have everything we need. So, make your way back to the kitchen (where you first appeared here) and examine the birthday card with the Spitfire on it. When your goggles beep, activate them and click on the card to return to 2004.

Now, at this point you have a choice. We have everything we need to finish the game right now. But, you may have noticed that you still have several empty slots in your inventory and that we never used the key we took from Hart’s quarters. There is also a part of the game that we haven’t seen yet, some of which is interesting, that isn’t necessary to complete the game. So, if you just want to finish the game, skip on ahead; we’ll catch up later. The rest of you, follow me.

Lighthouse Museum – 2004 (Just Passing Through)


You are currently in the D-Day exhibition and in a closeup of a photo of a spitfire. Back out of the closeup, leave the building and return to the old generator room inside the lighthouse (the one with the diorama of Benjamin Parker setting out for Fetch Rock). Turn to face the photo of the old generator room on the wall and zoom in on it until your goggles beep. Click on the photo to be transported back to 1912.

Fetch Rock – 1912 (Just Passing Through)


Go forward and turn left to face the generator then go forward and around it. As before, turn on the lantern then turn left. Go forward to the generator controls except, instead of turning to face them, turn right. Another beep from the goggles. Activate them then click the wall in front of you. There will be a brief energy display along the wall but not much else will seem to happen. Hmmm… Put the goggles away then back out of what is now a closeup.

DEOS Lab – 2090 (Optional)


Hey, where did everything go? Apparently we are somewhen else again. Neither the generator nor the diorama are here and it looks like the lighthouse has collapsed around us. Most of the entrances are blocked by debris at any rate. So, turn to the right (the only opening available to us) and go forward. Turn to the left.

Well, it looks like the stairway is blocked by rocks too. But, there is an opening leading under the stairs. Go forward and into the opening. Turn right and go forward again. Turn back to the left. There is a dark opening between two rocks ahead of you. Go forward as far as you can.

You are now completely in the dark and your lantern won’t work. If you stay in here for a while, you will occasionally hear children’s voices. They are somewhat disturbing but otherwise harmless. Just ignore them and turn to the right. Go forward into the red-lit opening.

Go forward a second time (the path is a bit to the right of center screen) then turn to the right twice. Ah, apparently we’re back in the DEOS facility again. The hole in the wall is where you just came from. Click on the hole for a closeup then click on the box to the right of the hole for a second closeup. The box contains what seem to be explosives of some sort. Pick up one of them. Click on any number on the keypad to start a “countdown”. Click “*” to stop it. There doesn’t seem to be much we can do with these so just back out of the closeups then turn to the right again.

Go forward twice. Hmmm… Think that sign is telling us something? Turn to the left then examine the bottom of the screen. Looks like a long ways down. Apparently this is the elevator shaft that Magnus was working in. Back out of the closeup then turn to the right twice.

Examine the ladder to climb onto it. You can’t go up so descend the ladder until you reach the bottom and step off of it. Turn to the right twice then go forward.

There are several things we can look at here. Start by examining the green box on the right. Open it and take the tool you find inside. (You can also see Magnus’ id card here.) Back out of the closeup. There is a datapad sitting near the yellow box on the left. You can pick it up and turn it on but it doesn’t do anything.

So, instead, examine the opening at the bottom of the screen. Go forward to drop down into the elevator. Turn to the left then go forward into what looks like a maintenance tunnel. There are a number of containers scattered around but you can’t do anything with any of them.

Go forward again then turn to the right. Examine the datapad you see lying on the container. Look at the id to see that it belongs to Maria Ortega. Put the id down then pick up the datapad. Click on it to turn it on then click on it again to activate it. Read through it to find out about the last few days in the facility. Yeah, it looks like things didn’t go too well… Put the datapad back down then back out of the closeup.

Turn back to the left then continue down the corridor until you reach the door. Don’t worry too much about the radiation symbol on the door (Benjamin Parker probably doesn’t know what it means anyway). Click on the door to open it then go through it. Go forward again.

You will be stopped by several vents of gas from overhead. When they stop, turn to the right. Notice that you can go forward into the left alcove. Do so then turn completely around. Ummm… What was that? I don’t know, but I’m glad it didn’t see us. Go forward out of the alcove then turn back to the right. Go forward. Open the doors and go through them.

Lots of interesting looking things in here; too bad you can’t examine any of them. Go forward three times. The doors in front of you are locked and you can’t get through them so instead turn to the right. Examine the bottom of the screen then examine the grille there for a closeup. Use the tool you picked up earlier to burn off the bolts holding the grille shut. Click on the grille to open it then go forward into it.

Ducts. Why are there always ducts? It’s dark so activate your lantern (oh now it works) and go forward until you reach an intersection. If you go to the right you will quickly reach a dead end (where someone has apparently been throwing hypodermic needles into the shaft). There is a grille there where it looks as if someone may have been spying on someone else (it sounds like the grille may look out into a shower but it isn’t clear). It doesn’t seem to be important however.

So, turn to the left and go forward. Follow the shaft until it reaches its end at another grille. Push the grille open from the inside and go through it and out. (The shaft turns several times but there are no branches so you can’t get lost.)

You are now in the storage room, the one I pointed out to you earlier and said to ignore for the moment. Turn to the right and go forward. Turn left and go forward again then turn back to the right. Click on the doors to open them then go forward and through them. Go forward one more time to reach the four-way intersection. (There is a machine in the storage room that we have ignored for the moment. Don’t worry, we’ll get back to it.)

Just for the sake of being complete, let’s go check out the transmat room. Turn left and go forward. (Check out the pictures on the wall here if you want.) Click on the doors to open them then go forward twice. Turn to the left. Select the key you got from Hart’s room to use it on this panel and unlock the doors. They will open and you will automatically turn to face them and go forwards through them.

Go forward again then turn to the right. Examine the monitor in front of you. Does the pattern on the screen look somewhat familiar? It’s the same light pattern you saw when you entered the tunnel back in 1912 and got transported to 2004 the first time. Beyond that there is nothing down here of any significance.

Back out of the closeup and turn right. Go forward to the doors and click on them. They will open and you will automatically go through. Repeat with the next set of doors. Go forward one more time to reach the four-way intersection again.

Now, go forward twice then turn to the left to face Mitsoyu Taku’s room. Click the button under her picture to open the doors. Go inside.

Turn to the right. You can examine Mitsoyu’s toiletries if you want but we are more interested in examining the bunk to the lower left. (If you find yourself looking at a poster, back out of the closeup and try again.) You can’t do anything with the floppy disks (in 2090?) or CDs but pick up one of the plastic rectangles from the box sitting on the bunk. Back out of the closeup.

Turn to the left and examine the bunk again. Pick up the datapad and click on the screen to clear it. Read through the notes there. (As before, hit “>” to go to the next page.) Apparently someone has been in Mitsoyu’s room and she wants a fingerprint to find out who it is. Note the code for the “Xilight” (391865) then back out of the closeup.

You can examine the table beside the bed to see an ashtray but this apparently doesn’t have any importance (except to possibly indicate that the cigarette butt we found in the medical bay was Mitsoyu’s). Back out of the closeups. There is more to do in here but we need to get something else first. So, turn around and click on the button to the left of the door to open it. Go through the door and into the corridor.

Turn right and go forward twice then turn left and go forward. Click on the door to the storage room to open it then go inside. Go forward once more then turn right to face the machine we skipped earlier. Click on the machine for a closeup. Enter the code for the Xilight (391865). After a few seconds one will appear in the output hopper. Pick it up and back out of the closeup.

Time to play CSI: DEOS Lab . Leave the storage room and go to the kitchen. When you enter, turn to the right and go forward then turn back to the left and go forward again. Examine the counter in front of you. Use the Xilight then pick up the sake cup. Ah, a fingerprint. Use the plastic rectangle to collect the fingerprint. Now return to Mitsoyu’s room.

After entering, examine the desk to the left for a closeup then examine the device on the left. This is a scanner; use the fingerprint to insert it. The fingerprint will be scanned and your view will shift to show the main monitor. Use the left and right arrows at the lower left to page through the database until you find a match. It’s Magnus. (Is anyone surprised? Me neither.) The odd voice you heard before will return and make some vague threats towards you but nothing else comes out of this.

And that’s it for the optional side branch. Time to go and meet up with everyone else. So, return to the kitchen and to the birthday card, examine it, activate your goggles then click on it to travel back to 2004.

Lighthouse Museum – 2004 (Last Time)


Back out of the closeup and leave the exhibition. Now, if there is anything else you wanted to do around here you need to do it now; we won’t be coming back. There really isn’t anything left to do, unless you wanted to wander through the museum and read the various displays. When you are ready, go to the old generator room, turn to face the photo on the wall and zoom in on it. Activate the goggles and click on the photo to return home to 1912.

Fetch Rock – 1912 (Last time, for now)


There is nothing left to do here either. Just go upstairs to Drake’s room, open the safe and examine the picture of the reeds. Use the goggles and click on the picture to travel back to the Bronze Age.

Bronze Age Camp – 50,000 BC


And it all comes down to this. Go through the village to the cave then go on into the tunnel and the side chamber where Malakai is lying. Examine Malakai and open the panel on its side. Examine it for a closeup.

Now, simply set all of the controls to the values we have found. (Click on the symbol to the left of each set of entries to cycle through the options until the correct one comes up.) Set the date and time at the top to 00:05 on 20/04/90. Set the X coordinates to 160, 140, 090, the Y coordinates to 120, 180, 020 and the Z coordinates to 180, 110, 150.

The symbols at the bottom are a bit trickier. Remember the drawing we found in Drake’s room, the one with the four colored boxes? This shows the correct ordering for the symbols. The colors were purple, green, yellow and blue, so set the first box to the purple symbol we found in 2090, the second to the green symbol we found in 2004, the third to the yellow symbol from 1912 and the last box to the blue symbol from the Bronze Age. (Click on the symbols to cycle through them.)

Your settings should match those in the image shown here. When you are set, click the arrows at the bottom of the display. Malakai will speak to you and thank you. It says that it will be returning to its own time and that all of its actions are forgiven. The probe will activate and start to rise slowly into the air, rotating as it does. The rotating probe will suddenly change into the rotating lighthouse beacon as you find yourself returned to your own time. Malakai has returned home and the hauntings on Fetch Rock have vanished as if they had never occurred. Which, of course, they never did. Now.

And, that’s it; you’ve completed Lights Out . Hope you’ve enjoyed the tour.

Final Thoughts


Lights Out is the sequel to Dark Fall, which I consider to be one of the best adventures I have played in a long time. Because of this I had very high hopes for Lights Out so it is perhaps inevitable that I was somewhat disappointed. Don’t misunderstand, Lights Out is still a very good game; I just don’t think it holds up as well as its predecessor.

There are a couple of things that weakened the game for me. The biggest problem that I see is that it is possible to bypass so much of the game. You don’t need to find the coins in the bathroom to solve the puzzle in the lighthouse. Finding the key in Hart’s quarters only lets you into the transmat room, which contains nothing of real interest or importance. The disk you pick up at the start of the game, despite the fact that the game will not let you continue without it, turns out to be completely meaningless. Then there is the whole section of the DEOS lab that you never have to enter and the whole fingerprint subplot that never seems to amount to anything.

Plus, two of the puzzles that you do have to solve have almost the same solution. In Drake’s room you find the drawing with the four colored squares. This is the ordering for the symbols for Malakai’s initiation sequence; purple, green, yellow, blue.

Later you find the toy robot in Ivan’s quarters. The sequence for activating it is found in the color palette on the disk from the bronze age; purple, green, red, blue, orange.

Notice that the three common colors occur in the same positions in both sequences. I actually solved the robot using the first sequence before I ever even visited the Bronze Age. I assumed that the drawing from Drake’s room somehow contained the correct solution. Since there was no yellow on the robot’s controller, I tried entering purple, green, orange, blue then (since I had it left) red. When that didn’t work I tried purple, green, red, blue then orange. This is, of course, the correct sequence. I never realized that I had not “correctly” solved the puzzle until much later when (after I had finished the game) I was replaying it and looking for the one inventory item I had never found. (Note that this, combined with the uselessness of the other disk, means you really never have to interact with the computer in 2004 at all!)

Leaving the puzzles, I found the plot somewhat weaker this time as well. It was never totally clear to me what exactly was supposed to be going on. The situation, as I understand it, is this.

In 2090, the DEOS project launches the Malakai probe. The probe is equipped with various devices, such as a matter transmitter and a dark matter manipulator, as well as an artificial intelligence (Malakai). There is also something called the “Keeper” which is supposed to monitor the artificial intelligence and prevent it from running amok. The Keeper is also supposed to cause the probe to return to its place and time of origin in the event of a failure.

Something goes wrong with the probe and it somehow winds up thousands of years in the past and in the Bronze Age (though still at the correct location). At this point things get fuzzy. Either Malakai has overridden the Keeper or the Keeper has shut down Malakai. Either way, it appears that the probe is trying to get home.

To do this, it needs its initiation sequence. Somehow the elements of this sequence have been scattered through time. The probe needs someone to visit the various times and locations and collect the elements. It uses its matter transmitter and dark matter manipulator to “recruit” individuals to perform this task. This is apparently how you get involved.

However, this doesn’t explain what happened to the lighthouse or DEOS personnel or to Drake and Magnus in particular. (Why were they glowing? What did that mean?) It also doesn’t explain exactly what Demarion was up to or why he would try to blame the lighthouse keepers disappearances on you. Plus, at several points it seems as if something is trying to frighten you away from your task, which makes no sense if the probe is behind the “hauntings” and is wanting you to help it!

Finally, just a personal opinion on the plot. I think the game would have been better if the main character had been Polly instead of Benjamin Parker. I question if someone from 1912 would be able to use the computers and other devices in 2004 and 2090 whereas Polly, being from the same time as the player, would have the same ability that we do. Say, start the game with her arrival on Fetch Rock and have her start by having to find her equipment (which was shipped earlier or something). Her initial thought could be that it was the ghost of Benjamin Parker haunting the island and it is only after she meets him (probably in 1912) that she learns that there may be something else going on.

As it is we simply destroyed another of Polly’s investigations. (Poor Polly, every haunting she tries to investigate gets eliminated just as she gets started. No wonder she had a nervous breakdown.)


None of this should be taken to mean that Lights Out is a bad game; it is actually a fairly good one and is definitely worth playing.

Dark Fall: The Journal

Categories: Walkthroughs
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Published on: August 8, 2011

A Few Notes on Navigation

Dark Fall’s interface should be obvious but there are a few minor quirks with it. The main issue is that the cursor sometimes takes a few moments to change shape when it passes over a hotspot on the screen. So, you may sometimes miss a path or an item of interest because the cursor failed to change when you passed it over the location in question. I was stuck for quite a while in the game because I missed a key item and I suspect the cursor was the problem. So, if the cursor doesn’t seem to be behaving the way I say it should, just move it around a bit.

The Story So Far…

On the evening of April 29 you receive a late-night phone call from your brother; an architect currently involved in a renovation project for an old, abandoned hotel and train station. It seems the hotel is supposedly haunted; there are even a couple of “ghost hunters” there.

Well, now the ghost hunters have gone missing and it appears that your brother may be the next to disappear. So, you catch the next train to Dowerton to find out what you can.

Walkthrough
The Station Platform


If you follow the story, you will learn that quite a few people have disappeared in and around the hotel over the years, including seven people who vanished on the night of April 29, 1947. For reference, here are the important people to keep track of for the story.


Thomas Callum – The son of a local farmer, he was romantically involved with Betty Penfold. Was secretly staying in room 1D.

George Crabtree – The owner of the hotel. Amateur photographer and ghost hunter. Lived in room 3B, had a studio in 3F and a darkroom in the cellar.

Pete Crowhurst – Your brother. He was an architect surveying the site for a planned renovation. He was not staying in the hotel; instead he had set up his base of operations in the waiting room of the train station.

Nigel Danvers – One of the ghost hunters. He and his partner, Polly White, have set up their equipment in room 2D.

Matilda Fly – London actress, vacationing after a rather disastrous play. Stayed in room 2B.

Gloria Grable – Socialite who arrived in somewhat mysterious circumstances. That’s her car in the barn. Stayed in room 1E.

Arther Johnston – A local artist and friend of George Crabtree, he was killed in WWII. He had a studio in room 3A.

Betty Penfold – The daughter of Edith Penfold, she did various chores around the hotel and was also an accomplished musician. Was carrying on a secret relationship with Thomas Callum. Lived in room 3D.

Edith Penfold – Proprietress of the hotel. Lived in room 3E.

Timothy Pike – A young boy who vanished somewhere near the station.

Andrew Verney – An astronomer. Apparently lived in room 2E.

Polly White – The other ghost hunter. She and Nigel Danvers are working on their final project for a degree in “Alternative Sciences”.

After the opening cinematic ends you find yourself standing in the train tunnel. (How did we wind up in the middle of the tunnel? Odd place for the train to drop us off.) Anyway, someone has fortunately met us here so listen to what Timothy has to say then follow his directions down the tunnel. Don’t bother trying to find him; he isn’t quite there it seems. There is a newspaper lying on the ground about halfway down the tunnel and if you stop to read it you will get your first introduction to the mystery of the hotel. Just keep heading down the tunnel until you reach the station.

When you reach the station, turn right and go forward onto the platform. (Timothy continues to prompt you along the way through here.) Go forward again and turn right. Click on the door of the building in front of you to open it and go inside.

Once inside, click on the light you can see dimly in the upper-left part of the screen to turn it on. Click on the panels in the back to open them then click both switches to turn on the power. Turn around and click on the doorknob to exit the power shed.

Timothy will talk to you a bit more then leave. You are now on your own. (You can visit Timothy again and talk to him if you wish; he can give hints on how to solve several of the puzzles in the game if you get completely lost.)

Anyway, to the right there are a pair of restrooms. You can look around them if you like but there really isn’t any need to do so. (There is a piece of information available in one but we’ll see it again later so it isn’t essential to get now.) Instead, turn left and go forward to get back to the platform then turn right and go forward to get to the entrance to the station. Turn right and click on the door handle to go inside.

Turn to the right. There is a machine in front of you to the right, next to the stairs. Click on it for a closeup then click on the handle. It will dispense some coins. Click on them to add them to your inventory then back out of the closeup.

Now, ahead and to your left you should see a doorway. Click on it to go into the station office.

Straight in front of you is a desk. Click on it for a closeup and read the letter to see that the station has been abandoned. There is nothing else to see here so back out of the closeup. You can also look at the map of the rail system above the desk and a chalkboard on the wall to the right of it but neither are of any real interest.

Turn to the right to face a set of filing pigeonholes. Read the note attached to the wall to the left of the pigeonholes to see that the station has indeed been shut down. Click on the various documents in the pigeonholes to pick up some random bits of information about the last days of the station. About the only thing of interest is a mention of a missing boy named Timothy Pike. (Hmmm… I think we’ve found him.)

When you have finished reading through the memos, click on the lantern you should see sitting on top of the pigeonholes to pick it up and add it to your inventory. Then turn to the right and go forward to exit the office.

Turn to the right, go forward, then turn left. You should see a couple of pay phones in front of you. Click on the left phone for a closeup then click on the handset to pick it up. Select the coins from your inventory to activate the phone. Listen for a bit and eventually Nigel, one of the ghost hunters, will come on the phone. He rambles a bit but eventually tells you that he left a key in a silver teapot, but he can’t remember where. Ah well, I guess being dead can play tricks with your memory…

Hang up the phone, back out of the closeup and turn left. Go forward then turn right to face the waiting room. Click on the doorknob to go inside.

Straight in front of you is a fireplace. To the left of it there is an object on the ground and, if you examine it, you will find your brother’s (broken) cell phone. I guess that explains why he didn’t return any calls. Back out of the closeup, turn right to face a table then click on it for a closeup.

There are several items on the table and you can examine them if you wish but the only one of real interest is your brother’s PDA. Click on it to pick it up then click on the bottom right button to turn it on. Read through the files (the icon that looks like a sheet of paper in the middle) and e-mails (the filing cabinet icon). Most of the files give background information on the story but one of them gives an important bit of information. Read the fifth file item (click on the sheet of paper icon then the “5″ at the top). This entry will tell you that your brother’s theodolite started acting strange when he pointed it at position 271 x 632. He will also mention an odd word which seems to have popped into his head at that time; “KARS”. Remember this word.

Read the rest of the files and e-mails if you wish then turn off the PDA (click on “quit”), put it down (click anywhere else on the table) then back out of the closeup. Turn right to face the door again and click on the knob to exit.

Back in the foyer, go forward to the stairs and up them. Turn right. The piece of paper on the ground in front of you is from Timothy and you can read it if you wish. Timothy hangs out on the bridge here (this “corridor” is a pedestrian bridge over the train tracks) and functions as an in-game hint system. If you go to a room where you are stuck then come straight to the bridge, Timothy will give you some hints on how to continue. Or, you could just keep reading this walkthru.

Anyway, go forward across the bridge, turn right then go down the steps to the train platform. Go forward again. You should see an electronic device to your right; this is the theodolite your brother mentioned. Click on it for a closeup then push the power switch to turn it on.

Theodolite

Now, use the +/- X and Y buttons to point the device at the coordinates you got earlier (271 x 632). When you get close (it doesn’t have to be exact) the screen will fill with static and an odd symbol will fade in and out. Note the symbol then turn the device off and back out of the closeup.

Go forward again. The stairs ahead of you lead into the hotel. We’ll be going there later so we’ll ignore it for now. Instead, turn to the left. Move the cursor around a bit and you should be able to find a path leading through the trees and into the woods (through the break in the fence). Follow this path. Go forward a second time then turn left and go forward to the front of a barn. Turn right to face the barn then click on the door to enter.

You can’t do much in the barn at first since it is dark so click on the lantern in your inventory. Go forward towards the car you see in the background then go forward again to walk around the car.

Turn left to face the car then examine the lower part of it to get a closeup of a hatch on the floor. Click on the hatch to open it and descend.

This next bit is somewhat tricky since you can only see by the light of your lantern. Go forward twice, turn left then go forward again. If you look around you should see a carved column and several rock pedestals. You can place your lantern on one of the pedestals (it’s to the right; click on it) and the room will be illuminated.

Notice the column in the background with various symbols on it and the one in the foreground with a row of holes carved in it. Examine the first hole on the top and you should get a closeup of a single symbol. Write down this symbol.

Now, look through all of the holes, starting at the topmost one, and write down the symbol you see through each hole. One of the symbols should look familiar; it is the same as the one you saw on the survey device. Since the word KARS is connected with this symbol, write that word down next to it.

Pick up the lantern again, turn around and find your way back to the barn. Back out of the closeup of the trap door then turn left to face the front of the barn.

You should be able to see a ladder and the barn door. Go towards the ladder and climb it. Turn right and click on the box on the table for a closeup. Click on the screwdriver in the box to examine it then click on it again to pick it up.

Back out of the closeup, turn right to face the ladder then go down. Turn around until you are facing the doors again and click on them to leave the barn. Make your way back through the woods until you reach the platform again. Turn right to face the pedestrian bridge. Go forward and through the bridge until you are back in the station foyer. Turn left to face the door then click on it to exit to the platform.

Turn right and go forward. You are now in front of the waiting room but this door is nailed shut. Go forward again to reach the hotel. Turn right to face the hotel door and click on the doorknob to enter. (The door is labeled “Buffet”. You can click on the window of the door to peek in before you go inside if you want.)

The Hotel – Ground Floor


You are now in the hotel buffet. (No, really.) You can examine a few of the tables here to get a closeup of some candles but you can’t do anything with them so just ignore them. Go forward once and turn left. Click on the shelves in front of you for a closeup then click on the device there to pick it up. This is an electromagnetic scanner which supposedly lets you know if there is a ghost in the area. I never found it to be of any particular use so just click the green button to “minimize” it to a fairly unobtrusive line on your screen.

Back out of any closeups then turn right. Click on the door in front of you to enter the hotel lobby. When you enter you will probably hear the phone ringing. Ignore it. (You can answer it if you wish but it doesn’t seem to have any importance. Sometimes you will hear a voice telling you to leave, other times you will hear random sounds and still others you will hear things like a time announcement. It seems to be random and easily ignored, even if you want to pick up on the story along the way.)

Go forward twice then turn left to face a desk. Click on the desk for a closeup. Answer the annoying ringing phone if you want.

Open the desk drawer. Click on the book near the center of the drawer to discover that it is a book about floods. Click through it until you get to a page with a note stuck in it. Click on the note to read it. Hmmm… Seems the police were interested in that car back in the barn. I wonder why?

Click through the rest of the book to put it back into the drawer. Now, click on what looks like an ad for flour in the right part of the drawer. It will slide to one side, revealing a card beneath it. Click on the card to examine it. Note the pattern you see. This is actually the combination for the safe you may have noticed earlier. Each set of dots represents a number from one to five, indicating how to open the safe. Note the ordering of the numbers then put everything back, close the drawer and back out of the closeup. (After you do, click on the calendar above the desk to note that April apparently only had 29 days back in 1947. Who knew?)

Turn to the left. There is a switchbox in front of you that you can examine if you wish but it doesn’t seem to have any function. Instead, go forward then turn completely around. Click on the safe for a closeup. See the cross-shaped slot with the lever in it? Click in the slot in the order indicated on the card from the desk to open the safe. (That’s left, top, middle, very bottom, right.) The safe will open. Click on the top shelf inside the safe to pick up the bar key. You can’t do anything with anything else in the safe so back out of the closeup. (If you make a mistake while entering the combination, back out of the closeup then examine the safe again to reset it.)

You should see another set of pigeonholes on the left. Click on the various documents in the holes to read them; this will give you some idea of who was staying in which room. Note that Matilda Fly and Gloria Grable had arranged a meeting of some type, George Crabtree had something planned and that someone has apparently been sneaking around the hotel.

Turn to the left and click on the blotter on the front desk for a closeup. Observe the pattern of ink spots on the blotter. Now, drag a sheet of paper from the left of the blotter onto the blotter itself. Click on the pen to the right of the blotter and a pattern of numbers will appear on the paper. (I’m not sure if we supposedly just took a rubbing of the numbers from the blotter or if one of the ghosts wrote the numbers. I assume it was a rubbing but…)

Now, drag the paper around a bit until some of the numbers line up with the cluster of ink spots near the center of the blotter. (The “2″ near the bottom of the sheet should line up with the bottommost spot; other numbers should line up with the rest, starting with a “1″ and the spot above and to the right of the “2″.) Sketch the arrangement of the spots, numbers and lines connecting them then back out of the closeup.

Turn to the left and click on the letter sitting on the desk to read it. Hmmm… Wonder where everyone went? Notice that George never came back from whatever it was he was planning; that probably isn’t a good sign. Put the letter away then go forward. Turn to the right to face the stairs. Now, there is more we can do down here but for efficiency’s sake we are going to start at the top of the hotel and work our way down; this lets us find most of the clues and solutions in the proper order. We’ll get back here eventually so don’t worry. But, for now, click on the stairs to climb partway up then click on them again to get the rest of the way to the first floor. (For those of you in the US who just got confused, in many parts of the world the “first” floor of a building is called the “ground” floor and the one above it is the first floor.)

Once on the first floor, click forward once then turn right to face the stairs again. Click on the stairs to climb to the second floor. When we arrive, go forward then wait for the spooky scene to finish. (As Count Floyd would say… “Ooooh… Scary!”)

When the scene is over, turn to the right and climb the stairs to the third floor. Go forward then click on the doorknob to open the door ahead of you. Go forward three times then turn right and click on the door to your left to enter the storeroom.

Click near the top of the ladder ahead of you to look up then climb the stairs to the attic. Whew! Now we can get started!

Hotel – The Attic


Go forward then turn to the right. Click on the valve to turn on the water heater. (Look in the small window on the side of the tank (lower right part of the screen) to make sure the heating unit is on. If a gas flame isn’t visible, click on the valve again then check again.) Now turn back to the right, go forward, then turn left. Examine the controls on the heater. Turn the valve under the first dial, wait until the needle on the dial enters the red zone, then push the lever to the left of the dials. This turns on the hot water to the first floor bathroom; we’ll be visiting it later.

Back out of the closeup, turn left twice then go forward. Turn right, go forward then turn right again. Examine the suitcase on the floor. Select the screwdriver from your inventory to insert it in the lock of the suitcase.

You now need to pick the lock of the suitcase using the screwdriver. Click above, below, left or right of the screwdriver to move it around. I never found anything to indicate how this should be done but trial-and-error eventually gave me left, right, left, right, down. The suitcase opens. Examine the contents and click on the book to pick it up. (The book is War of the Worlds.) You should see some pages sticking out the side of the book; click on them to read them.

What you find is a letter from George Crabtree that he apparently wrote shortly before meeting his fate. From the tone, it sounds like something Very Bad™ has happened. Looks like its up to us now.

When you finish reading the letter you will find a piece of paper with a symbol on it. You should recognize the symbol as one of the ones you saw on the stone column under the barn. You also get a note saying that the “lyric” for this symbol is “OLIVIAK”. Write that word next to the symbol on your list.

Close the suitcase and back out of the closeup. Turn right, go forward, turn left, go forward and examine the ladder. Go “forward” to climb back down to the storeroom.

(There is a Ouija board at the other end of the attic which we have bypassed. You can use it to talk to one of the ghosts in the hotel if you wish but it has nothing of importance to relate. If you want to see it, turn completely around when you get out of the closeup with the suitcase, go forward then turn left. Watch the “orb” fly by and light the candle. Click on the Ouija board for a closeup. Type in your questions and click “Say” to ask them and watch the answer. Be sure to say “goodbye” when you leave.)

Hotel – Third Floor


Once down, turn to the right twice then go forward. There are several notes stuck to the wall here. Click on the one on the left to read a note from Betty to her mother. Note Betty’s concern about someone in the hotel and pay particular attention to Betty’s complaint about her mother playing her music too loud. (Well, that’s different.) Look at the other notes if you want and you can look at a box of junk on the floor as well, though none of these are of real importance.

Back out of any closeups and turn to the right. You should see a teapot sitting on a shelf. Click on it twice, once for a closeup of the teapot then again for a view of the inside. Click on the key you see inside to pick it up; this is the key Nigel mentioned on the phone. Click on it again to add it to your inventory then back all of the way out of the closeups.

Go right, forward and right then click on the door to leave the storeroom. Turn right and click on the door to your right to enter the third floor bathroom.

Once inside, turn to the right twice to turn completely around. Notice the mirror; you can turn it to the left or right by clicking on its left or right sides. Turn it to the left until you see one of the lights reflected in the mirror. Now, turn to the left yourself. The light reflected on the wall should reveal several numbers. Click on the numbers for a closeup and write them down. When you have done so, back out of the closeup, turn back to the right and leave the bathroom.

Go forward once along the hallway and turn right. Click on the doorknob to enter room 3E; Edith Penfold’s room.

There are several things you can do here but only a few are important. First, click on the desk for a closeup then click on the drawer of the desk to open it. Now, click on the purplish book on the right of the drawer to pick it up. Click on the book to open it.

The book is a photo album. Click through it and read the notes to discover that Edith’s last vacation with her husband, Frank (who is apparently dead), was in Hastings. Close the book and the drawer then back out of the closeup and turn to the right.

Click on the top of the wardrobe for a closeup then click on the record album there to pick it up. Click on it again to turn it over. Notice that the second song on the album is “On Hastings Pier”. Put the album back down then back out of the closeup.

Now click on the phonograph. Click on the handle at the bottom to wind the phonograph up then click on the lower left switch to turn it on. Remember how the note we read from Betty complained of Edith playing her music too loud? Drag the switch on the right to the far right.

Finally, play the second song on the album by clicking on the second track. (Start with your cursor outside of the record and move it inward. Click when it changes to the pointing finger for the second time.) Now, back out of the closeup and turn to the left. You should see a picture fall from the wall. Click where the picture fell to examine it.

When you get the closeup, click on the picture to slide the back to one side. There are two pieces of paper hidden inside. One is another of those symbols from the column. The other is a letter from George to Edith. The letter explains a bit more of what is going on. It seems that George and his friend Arther (who is now dead, btw) accidentally disturbed something they shouldn’t have and have released something “evil”. The symbols and the words that go with them are somehow related to what they found and may be a means of destroying it. He tells Edith to keep the symbol and word safe and to not open the door to anyone.

The word for this symbol is “IXIAM” so write that one down on your list.

Back out of the closeups (and watch the picture magically return to the wall) then turn around and exit the room. The door across the hall is locked and we can’t get into it quite yet so instead turn to the right and go forward. There, turn to the right again and click on the doorknob to enter a sitting room.

There isn’t anything here that directly relates to solving the game but it does contain some story information. Click on the table you see in front of you then click on the book Ghosts, Myths & Legends of the Southwest. Click through it to read the story of Tom Oliver, a soldier who vanished during the British Civil War. You should realize that he vanished in what is now the hotel and, if you played with the Ouija board in the attic, you may have even spoken to him.

Back out of the closeup then turn to the right. Straight in front of you is a radio that you can tune around a bit though the music selection is somewhat limited. To the right there is a newspaper lying on a table. You can read it to find out more about the disappearance of Timothy Pike, who we have already met.

When you are done, turn to face the door and click on it to return to the hallway. Click on the doorknob of the door in front of you to enter room 3D; Betty Penfold’s room.

Once inside, turn to the left and go forward. Click on the trumpet you see in the lower center part of the screen for a closeup. There is what seems to be a piece of paper wrapped around it just ahead of the valves. Click on the trumpet a few times to rotate it until you can click on the paper. Note the five notes that Betty has circled. Write down the notes. (If you can’t read music and don’t want to copy the musical scale, the notes are G-G-A-B-C.) Back out of the closeup.

Now, click on the dresser for another closeup. Click on the metronome on the left. When it starts clicking, a letter will fade into view on the dresser. This is a letter from Betty to Thomas, who was apparently secretly staying elsewhere in the hotel. For some reason Betty and Thomas are trying to keep their relationship secret. It is implied that her mother may not approve of their being together but it really isn’t clear what is going on. Back out of the closeup when you are finished with the letter.

Turn to the left (you can examine the sheet music for “On Hastings Pier” on the wall here if you want) then turn left again. Go forward to the other end of the room then turn right and click on the doorknob to exit the room.

Turn left and click on the doorknob. The door will open and you will automatically go through. Turn to the right and click on the doorknob to enter room 3A; Arther Johnston’s studio.

There are quite a few things to do here but not all of them are relevant to the plot. You can examine just about everything in front of you if you want though none of it is necessary. (The man in the portrait seems to be George Crabtree, btw.) Instead, turn to the right to examine the back of the room. Click on the table to the left for a closeup. Click on the painting near the middle of the table. It will slide to one side revealing a sheet of paper. Click on the paper to pick it up and add it to your inventory.

Back out of the closeup then turn right to face the doorway. You should see a small stove to the left of the door. Click on the cups below the stove ( not on the stove itself) to get a closeup of the cabinet on which the stove is sitting. Click on the handle to open the cabinet.

There are a couple of things of interest here. First, click on the bottles on the top shelf to get a closeup of “Arther’s Magic Lemon Ink”. Back out of this closeup then click on the piece of paper you see under the pot on the middle shelf.

ZIGSVI. R GSRMP RG DLFOW YV DRHV GL DIRGV LFI IVXLIWH ZMW WIZDRMTH FHRMT BLFI RMERHRYOV RMP.
R WL MLG DZMG GSV LGSVIH GL PMLD LU LFI KOZMH QFHG BVG…
BLFIH GEORGE

ARTHER. I THINK IT WOULD BE WISE TO WRITE OUR RECORDS AND DRAWINGS USING YOUR INVISIBLE INK.
I DO NOT WANT THE OTHERS TO KNOW OF OUR PLANS JUST YET…
YOURS GEORGE

This is a note but it is in code. There is a (minor) hint to breaking the code elsewhere but it really isn’t that difficult.

Start by assuming this is a note to someone. (A good guess, given that it is signed “George”.) Now, assume the first word is the person to whom the note is addressed. This is six letters with the second and last letter the same. Now, we just saw a bottle labeled “Arther’s Magic Lemon Ink”. Arther is six letters with the second and last letter the same. So, assume Z=A, I=R, G=T, S=H and V=E. Substitute these letters into the note. From there it should be quite easy to proceed. It should quickly become obvious that the code is a simple substitution cipher where A=Z, B=Y, C=x, D=W and so on all the way back to Z=A.

The note says that George is worried that the “others” might find out what they are doing and suggests writing their records in invisible ink; presumably the “magic lemon ink” we just saw.

As some of you may already know, lemon juice can actually be used as invisible ink. Messages written in lemon juice can be made visible by applying heat. So, let’s try that.

Put the note away (if you haven’t already) then close the cabinet door by clicking on the handle. Click on the valve you should see to the right of the cabinet to turn on the gas then back out of the closeup.

Betty: tyma

Fly: morcana

Grable: frenic

Edith: ixiam

Now, zoom in on the stove itself. Click on the dial under the empty burner then click on the button to the left to ignite it. Finally, select the piece of paper you just got from your inventory to hold it to the flames. Sure enough, a hidden message appears. Write down what you see then click on the paper to put it away again. Click on the dial to turn off the stove then back out of the closeup. We’re done here so click on the doorknob to return to the hallway.

The door across the hall from you is George Crabtree’s room but we are missing several pieces of information that we need for it right now; we’ll be back to it a bit later. However, we do now have what we need to get into the locked room we skipped earlier. Turn left and click on the door knob to open the door. Go forward twice then turn right to face the door.

This door is locked. The key is in the door but it is on the inside. (So… How did the occupant get out?) Fortunately, we can get it.

Click on the lower part of the door for a closeup. Select the sheet of paper from your inventory. This slides the paper under the door. Next, select the screwdriver. The screwdriver is inserted into the keyhole, pushing the key on the other side out and causing it to fall onto the paper. Click on the paper to pull it out from under the door. Click on both the key and the paper to pick them up. Back out of the closeup and select the key from your inventory to open the door.

There is a lot of information in here. Start by going forward and turning to the left to face the desk. Click on the desk for a closeup. You should see a number of letters and clippings and a journal. Click on all of them to read them, especially the journal; it will explain most of what is going on.

In short, George Crabtree and his friend Arther Johnson were attempting to find out what happened to Tom Oliver, the missing soldier you read about in the book in the next room. Instead, they found a secret chamber below the hotel. There, they somehow released something; an evil entity that George refers to as the “Dark Fall”. Arther also found a sheet of vellum with twelve symbols on it that George later tore into sections and distributed among the hotel staff and guests. These are the symbols you have been finding. They learn that the symbols, which George calls “lyrics”, are key to destroying the entity.

Arther is killed in the war and George is left to carry on. He leaves to face his “Nemesis” and, apparently, never returns. All indication is that he failed.

There are several items to note in the journal. First, George mentions several “trials” and says that he hid the solution to one trial in a blanket. Note the order of the blocks in the drawing. He also says that one of the lyrics has been destroyed but that he knows of a way to find it again. Note the drawing on the page. As a side note, notice that several of the notes on the desk state that George is suspicious of Gloria Grable.

In the desk drawer there is a letter from an archaeological society hidden among several photographs but it doesn’t appear as if they ever became involved in the hotel. When you have finished reading all of the information here back out of the closeup.

Above the desk are several pictures that you can examine. If you do, you can click on the one on the left to look behind it, revealing the last few letters from Arther to George. You can read them if you wish. You can also check out George’s reading selections on the shelf to the right. When you are done with the desk, back out of any closeups then turn around to face the table behind you.

There are several things on this table; a “magic lantern” (an old-style slide projector) on the left, a box in the middle and several sheets of paper on the right. Start by clicking on the sheets of paper. Here you should find a photograph and a drawing of the monolith you found under the barn. The drawing shows the order in which you should have written the symbols from the monolith. You should also see a slide index; just remember it is here for now. Back out of the closeup.

Now, click on the box to open it then click on the switch to the left of the box to turn on the magic lantern. Click on one of the slides in the box to insert it into the lantern; the slide will be projected on the far wall. (Remove the slide from the projector by clicking on its edge where it sticks out the side of the magic lantern.) Look at all of the slides.

When you insert slide number 5 (top slide in the right compartment) notice the figure in the lower-left corner of the slide. He seems to be holding something. Click on him for a closeup. The item he is holding is showing one of the symbols from your list! Click on the papers for a closeup again then click on the slide index to discover that slide 5 is entitled “Mortym”. Write “MORTYM” next to the symbol on your list then back all the way out of the closeups. Turn off the projector by clicking on the switch (the slide gets put away automatically) then turn to the right.

Notice the trash can sitting beside the door. Click on it for a closeup then click inside of it several times until you see a number of scraps of paper. Drag them around with your mouse and assemble them like a jigsaw puzzle to reveal a note apparently written by George Crabtree. It seems that George released the entity from its confinement because he somehow thought that it could return Arther from the dead. Apparently, it didn’t. (Why does it never occur to anyone that whoever imprisoned these eldrich beings deep underground probably had a good reason for doing so?)

(There seem to be some inconsistencies in the story’s timeline. George Crabtree (and everyone else in the hotel) disappeared on the night of April 29, 1947. Arther Johnson died in December of 1944; over two years earlier. But the note in Arther’s room referenced Matilda Fly and Gloria Grable, neither of whom were in the hotel more than a few days and indications are that when George tore the paper with the symbols into pieces he gave one to Arther as well as the others. It is also unclear if George and Arther released the Dark Fall together or if George did it alone later. It is possible that George is not completely stable and is referring to Arther as if he was still around even after his death, which would explain some of the notes. Still, I found it a bit confusing.)

Back out of the closeup, go forward, turn left then go forward again. Click on the device in the corner for a closeup. This is a kinescope; an old-style movie projector. Click on the power switch to turn it on.

The “films” for the kinescope are the four black cylinders sitting in the box to the right. Click on one of them to insert it into the kinescope. Click on the crank to start the kinescope running then click on the eyepieces to view the film.

There are four films. Two are of “Possible Hauntings” and show orbs zipping around the hotel. One is a “Study of Local Trees”.

The fourth is titled “Trial 2 – Elements”. It shows, in order, a fire, lightning, clouds and the ocean. If you remember, George mentioned trials in his journal so note the four elements and their order.

When you are done, turn off the kinescope, back out of the closeup then exit the room. We’re done on this floor for now so go all the way back down the hallway and descend to the second floor.

Hotel – Second Floor


When you arrive on the second floor you are looking at room 2A so click the doorknob to enter. The first thing you should see inside is a pair of scissors stuck in the wall. No, I don’t know why. Turn to the right to face the room.

You can examine the empty wardrobe to the left but it seems to have no importance. Instead, examine the table to the right, between the two bed frames. There are two pieces of paper on the table, click on both of them to read them. One is a advertisement for the hotel dining room. Note the pattern on the table in the picture (and note that the dining room was designed by Arther Johnston). The other paper is a order ticket or bill from the dining room. Note that the order is for table 2.

(There is a Bible on the lower shelf on the table. You can pick it up but there doesn’t seem to be anything you can do with it. It looks like there is something stuck inside the bible but I was never able to pull it out or determine what it was. It doesn’t appear to have any importance.)

When you are done, back out of any closeup then turn to face the door. Click on the doorknob to return to the hallway then click on the doorknob of the door in front of you to enter room 2B.

This was Matilda Fly’s room. There are a couple of things to do here. First, turn to the left. Click on the table to the left to get a closeup and examine a flyer and program for the play “The Two Faced Bride of Bodmin Moor”. Matilda herself will talk to you when examine them, saying that it was “one of her best”.

Back out of the closeup and click on the table to the right of the bed. Click on the drawer to open it. There are a number of newspaper clippings inside that you can read. Well, based on the reviews, if “The Two Faced Bride of Bodmin Moor” was one of Matilda Fly’s best then I certainly wouldn’t have wanted to see one of her worst!

If you read through the clippings you will note that one of them also contains a story about a female bank robber known as “Slyfox”. Hmmm… Interesting.

Close the drawer when you are done with the clippings. (There is a book on a lower shelf that you can pick up but you can’t seem to do anything with it.) Back out of the closeups and turn to the right. Click on the desk for a closeup then click on the letters lying there. (Matilda pops in again to accuse you of being nosy; she’s fairly talkative for someone who is dead…) It seems that Matilda found something in the clippings quite interesting and seems to think that she will be returning home quite wealthy. Hmmm…

The letter also says that George Crabtree gave her a strange piece of paper and that she has hidden it somewhere in the room. That sounds like another of the symbols we have been looking for so let’s see if we can find it.

Click on the clock sitting on the desk for a second closeup. Matilda the talkative ghost will observe that it is a strange clock because it has buttons on it. Sure enough, there are four buttons on the base of the clock. If you click on them (starting on the left) you will notice that the third button makes a different noise from the rest.

Click on the third button then click on the first, second and fourth (in that order). This time all of them should make the different sound and a drawer should pop out of the side of the clock. Click on it to examine its contents and you should see another of the symbols.

OK, we have a symbol but we don’t have the word to go with it. Or, do we? Remember the paper written in invisible ink? On it, the word next to Fly’s name is “MORCANA”. So, write that word next to this new symbol on your list. Back out of the closeups, turn around and return to the hallway.

Turn to the right and go forward then turn left to face room 2C. Click the doorknob to go inside.

Inside, turn to the right. Click on the wardrobe on the left for a closeup then click on the door handle to open it. Click on the object you see inside for a closeup.

This is a box with an odd design on the top. If you click the various parts of the design you will notice that you can interact with them. The design may look familiar; it is the same pattern as the pattern of ink spots on the blotter down in the lobby.

Remember the sheet of paper with numbers that we moved over the inkblots? Click on the design elements on the box in the order indicated by the numbers and ink spots. In order, click on the upper-right disc, the bottom disc, the upper-left disc, the top-left dot, the top-right dot, the bottom-left dot and the bottom-right dot. The box should open. (If you make a mistake, as usual you can back out of the closeup then re-enter it to reset the puzzle.)

Inside you will find another symbol and a letter containing another word; “LUSSA”. Write the word next the correct symbol on your list. The letter is obviously from George Crabtree and talks about how the symbols have been hidden and how they are a means of “entrapment”. It also mentions how Arther has hidden some of the words “beyond the visible” and “exposed by flame”. This is a hint as to how to find the words that were written in invisible ink but we’ve already solved that part.

Close the box, back out of the closeup, close the doors then back out again. To the right of the wardrobe there is a table and sometimes there is a grey hat sitting there. Other times the table is empty. You can examine the hat when it is there but I never determined anything of importance about it or even if there is any pattern to its appearing or disappearing. At any rate, we are done in here so turn to face the doorway. You can turn the lights in this room on or off by clicking on the switch but I never discovered any reason for doing that either. Return to the hallway.

The next room is 2D which is where Nigel and Polly have set up their ghost hunting equipment. Unfortunately, the door is locked. Fortunately, we have the key. Select the key you recovered from the teapot from your inventory to open the door and go inside.

There is a lot to do in this room so let’s get started. First, click on the bulletin board above the table in front of you. Here you will find a note from your brother, several photos of Nigel and Polly (and a possible ghost!), a map of the area and takeout menus for three food places. Remember this for now but if you want to save a bit of time you might want to go ahead and write down the phone numbers for all three places. (The phone numbers are the chain of eleven digits that start with 01622.)

Back out of this closeup then click on the table itself. The only thing of interest here is the tape recorder. Click on it to pick it up then click on the top button to listen to a message from Polly. She tells you several pieces of information, including the fact that Nigel is gone and that they found something but think they have managed to seal it up. She says that they found something using the “Fermi Scanner” and that she has hidden the settings in the upstairs bathroom. (Those are the numbers we revealed by moving the mirror around.) She encourages you to read her journal before she leaves, apparently to meet her fate. When the message ends click on the recorder to put it back down then back out of the closeup.

Now, turn left to face the far end of the room and go forward. I know you are anxious to try out the two computers in front of you but there are a few things we should do first.

Turn to the right then click on the bulletin board for a closeup. There is a lot of information here. Examine the picture on the top left. Here we have another of the symbols and its corresponding word; “LARSUS”. Write down the word next to its symbol. (This symbol is actually in one of the bathrooms back down on the platform, the ones I told you to ignore at the very start. You can easily see the symbol there but finding the word is a slight find-the-hotspot hunt and it is much easier to just wait and get it here since you have to come here anyway.)

The note on the top right is a list of those people who vanished on April 29, 1947. The note below it gives all the locations where Nigel and Polly have set up their cameras. Note Nigel’s mention of a password and how it is “the only thing I like on that menu”. Remember this.

Look at the rest of the bulletin board items if you wish then back out of the closeup and turn back to the left. (If you didn’t write down the phone numbers from the takeout menus you should go get them now then return to this location.) Click on the pizza box sitting to the left of the computer terminals for a closeup. There is a cell phone sitting next to the box. Click on it to pick it up.

Now, call the three restaurants. Carolina Chicken demands to know why you haven’t paid for your last order so you just hang up on them. Shimla Tandoori is closed.

When you call the Dragon Inn you get an automated system that asks if you want to repeat your last order. Indicate that you do and you will be told that they are repeating your order for “number 15″ before telling you that they are closed too. Hang up, then go examine the menus again. You will find that item 15 on the Dragon Inn menu is “chicky chow”. (Yum-yum!) Write this down then return to the computer terminals again.

Click on the left terminal first. There is a tremendous amount of information on this computer and if you are interested in the story then you should take the time to read all of it. Information on Nigel and Polly’s investigations, background information on the people who disappeared, photos and sound recordings… a total treasure trove. All of it is interesting but if you just want to get on with the game there are only a few bits that are necessary and they can all be accessed through the “Web Browser”. (That’s the second icon from the bottom on the left-hand side toolbar; what kind of operating system are they running here anyway?)

The only web sites you can get to are the ones in the “Recent” list. If you can’t read music or don’t know the piano then you should select the “www.learn_piano.co.uk” entry. This will tell you how to read the music you found in Betty’s room upstairs and how to play it on the piano. If you want to play with the Ouija board in the attic you should select the “www.ghosthunters.netz” site, click on the “In Focus” button then on “Polly’s Ouija Tips”.

There is a fourth “Recent” site that only appears if you first go to the “www.20thCenturyMysteries.com” site. When you do, a “www.the_seeker.pagan.org” site appears on the list. It doesn’t seem to have any additional relevant information though. (The “20th Century Mysteries” site itself has a short article on the disappearance of Matilda Fly.)

When you have finished with this terminal, close any applications you are in then exit by clicking the Omega icon in the upper left. Now select the right terminal. Enter “chicky chow” for the password. After a few seconds you will get a display showing all of the feeds from the cameras that Nigel and Polly have set up around the hotel.

Look through all of the cameras if you want (click on the small images on the top of the display to select a camera; some of them are interesting if nothing else) but the only one of major importance is the very last one on the far right. This is the “Fermi Scanner” that Polly mentioned on the tape recording.

Note the four entry fields. Set the values to the numbers we found in the third floor bathroom; alpha 00:20, beta 00:90, particle 00:05 and density 00:40. When you get close the scanner will “zoom” in on an area, report that there is an opening behind it and suggest a manual investigation. We’ll get there in a bit; right now you just need to remember that the scanner is in the cellar.

We’re about done with this room. Exit the screen then log out of the computer. Back out of the closeup and turn to the left. Here are the boxes that all of the equipment came in. (There is a packing list on the top of one of the boxes if you are curious as to what all is here.) Look at the far right of the screen, between the boxes and the wall. Examine the object there. This is a set of electromagnetic goggles that will let you see things you ordinarily couldn’t. Click on them to add them to your inventory.

Now that you have the goggles you will occasionally hear a voice whisper “Here” whenever you enter an area or turn to face a new direction. When you hear this it means that there is something in the area that can be revealed by the goggles. Select them from your inventory to see what is there.

Back out of any closeups then turn to the left to get your first demonstration of this. Select the goggles and pan them around the screen to read a message that has be left for you by… something. (There are quite a few of these messages floating around. I thought the X-Files poster was a nice touch, btw…)

We’re done with this room so go ahead and exit. Once you are back in the hallway turn to the right and go forward. Turn left to face room 2E and click on the doorknob to enter Andrew Verney’s room.

Directly in front of you near the bottom of the screen you should see two boxes. Click on them for a closeup then click on the reddish book in the left box to pick it up. You should see Sights of the Northern Hemisphere by Andrew Verney (Second Edition). Click on the book to read the flyleaf where we learn that Verney’s real occupation is designing board games and puzzle boxes. Guess we know where that strange box in 2C came from. Click on the book to close it then click outside the book to put it down.

You can look at the blue book as well if you want but you can’t read it.

Now, click on the right box for another closeup. You should see a number of paper scraps lying on the bottom. You can drag these around with your mouse to attempt to assemble them like a jigsaw puzzle. If you do, you can see they are where Verney was attempting to solve the code in which George Crabtree apparently wrote several of his notes. We’ve already solved it but this would have given us some help if we had been really stuck.

Back out of both closeups then turn around and exit the room. There is more to do here but we need to do something else first. Don’t worry; we’ll be right back.

For now, enter room 2F across the hall. Turn to the left then examine the old chest of drawers in the back. Examine them a second time to see a digital camera sitting on the floor. Click on it for yet another closeup then click on the camera to pick it up. Click on the green button to turn it on. Click on the up or down arrows to scroll through the pictures. (Clicking anywhere else on the camera puts it back down.) There is nothing special about the pictures except a few of them show some statues that we haven’t seen yet.

When you are done, put the camera down and back out of all the closeups. There is nothing else to do here so just back out of all the closeups then leave the room. Once back in the hallway, turn to the right and go forward then turn to the left.

Click on the telescope to examine it then click on the eyepiece to look through it. You can pan the view around and look at various star patterns. As you do, a voice (presumably the ghost of Andrew Verney) will point out the constellations as you pass over them. Keep looking around until you find one that causes Verney to comment “Brighter than the rest… I don’t recognize it at all!” Note the shape of this particular constellation then back out of the closeups. (Note: Verney won’t say anything unless you have been in his room and read his book to learn of his interest in astronomy.)

While we are here we may as well check the bathroom. Click on the door to the right of the telescope to enter. There, click beneath the sink to get a closeup of a box. Click on the box to open it. Click on it again to get a closeup of its contents.

If you look carefully, you should see something stuck to the underside of the lid. Click on it to examine it. You should see what looks like half of a photograph showing some runes on a table. The runes are labeled “sandstone” and “wood”. Note their locations relative to the markings on the table then click on the photo to put it back down and back out of the closeups.

Turn to the right. Click on the old-style hot water heater at the end of the tub for a closeup then click on the grille to open it. Click on the papers you see inside to find a note from Gloria Grable to Matilda Fly. It seems as if Grable and Fly had completed some sort of transaction that Grable wished to keep secret. Note that George Crabtree apparently gave Grable a symbol as well. When you have finished with the note click on the grille to close it again then back out of the closeup. Turn right to face the door then click on the knob to exit.

There is a storeroom off to our left but it has nothing of interest to us. (There is a “broken” slot machine in there that occasionally produces slips of paper containing various quotes in response to pulls of its lever but none of them seem to have any relevance to the game or story.) So, go forward and turn right then re-enter room 2E.

Inside, turn to the right and go forward. There are quite a few things in this area but let’s start by clicking on the wardrobe to the right. Click on the large, dark-blue cylinder sitting in the corner to reveal a star chart. Examine the constellations on it and find the same one you found while looking through the telescope; the one Verney didn’t recognize. It’s the one at the bottom left labeled “Raka”. Remember this word. Click on the star chart to put it back down.

Now, click on the brown piece of paper to pick it up then click on it again to read it. Note the pattern of dots and the numbers beneath them. Click on the paper again to put it back down.

You can look at the other star charts here if you like but none of them are particularly relevant. When you are done, exit the closeup.

Click on the drawer cabinet in front of you (not the box on top of the cabinet). Click on the drawers to open and close them. In the third drawer you should find a book; click on it to pick it up. This is Mapping an Alternative Sky, also by Andrew Verney. Click on it to read it.

The first pages contain lists of constellations and numbers. Look up Raka, the constellation we just found, and note the numbers associated with it; 12/534/76. Write these down.

Now, click through the rest of the book to read it. Note that Verney is very excited to find a new constellation and also that George Crabtree has given him a coded note and a symbol as well. You also learn that Verney didn’t believe in ghosts. I wonder if he does now?

When you are done with the book click outside of it to put it back down then close the drawer and back out of the closeup.

Andrew
TFZIW GSV HPRM DRGS BLFI ORUV!
R PMLD R HLFMW ORPV Z NZWNZM. VWRGS RH UVVORMT RMXORMVW GL KSLMV GSV KLORXV… BLF NFHG GIFHG NV. GSVIV RH Z TIVZH VERO DRGS FH SVIV RM GSV SLGVO. NB IVHVZIXS RH TLRMT DVOO. R QFHG MVVW GRNV.
Your trusting friend, G.C.
P.S. WL MLG LKVM BLFI WLLI GSRH MRTSG GL ZMBLMV.

Andrew
GUARD THE SKIN WITH YOUR LIFE!
I KNOW I SOUND LIKE A MADMAN. EDITH IS FEELING INCLINED TO PHONE THE POLICE… YOU MUST TRUST ME. THERE IS A GREAT EVIL WITH US HERE IN THE HOTEL. MY RESEARCH IS GOING WELL. I JUST NEED TIME.
Your trusting friend, G.C.
P.S. DO NOT OPEN YOUR DOOR THIS NIGHT TO ANYONE.

Click on the box on the top of the cabinet for another closeup. Click on the note under the box to read it; this is the coded note from George Crabtree that Verney mentioned. Verney never solved the code but fortunately we already have. Once again we learn that there is something evil loose in the hotel and the symbols are somehow important.

Click on the note to put it away. Now look at the box. Notice the row of buttons along the bottom? You should realize that the arrangement of buttons looks like the drawing we found in the bottom of the wardrobe, which should also look strangely similar to the lists of numbers associated with the constellations in Verney’s notebook.

Number the buttons from 1 to 7 starting on the left. Now, remember the numbers associated with Raka; Verney’s new constellation? Push buttons 1, 2, 5, 3, 4, 7 and 6. The box should open, revealing a piece of paper containing another symbol. Notice how much this symbol resembles the constellation Raka? Label this symbol “RAKA” on your list.

And we’re done for here. Back out of any closeups and exit the room. Once in the hallway, turn right then go forward all the way down the hallway and down the stairs to the first floor.

Hotel – First Floor


When you arrive you should be facing room 1A, which is partially opened. Enter it then turn to the right. You should hear the whispering “here” voice. Select the goggles from your inventory and look around the room. You should see a bed against the right wall with an oddly decorated bedspread. You have probably noticed a few symbols similar to those on the bedspread scattered about.

If you remember George Crabtree’s journal, he said that he had hidden the solution to the first “Trial” in a bedspread. Click on the bed for a closer look. Note that the bedspread is divided into four parts; each part a different color. Note the colors of each part in the order in which they were numbered in the journal; Green, Blue, Purple and Red. Back out of the closeup and turn to the right (which automatically puts away the goggles) then go forward to return to the hallway.

There is nothing in the room in front of you except for some graffiti on the wall (copies of some symbols you have probably already seen and the phrase “leave me alone” written backwards) so we’re going to ignore it. (There was a photo of the graffiti on one of the bulletin boards in Nigel and Polly’s room, making this the second room you can skip completely because of their photos.) Turn to the left and go forward. The room to your left is also completely ignorable. (You can use the goggles to see some more old beds but that’s about it.) Instead, turn to the right and click on the doorknob to enter. This is room 1D where Thomas Callum was secretly staying.

Directly in front of you is a desk. Click on it for a closeup. Examine the letter to read a note Thomas had apparently written for Betty; looks like he never got to deliver it. If you click on the “Death” tarot card lying on the desk it will briefly turn into a joker.

Back out of the closeup and turn to the left. You can examine the lamp lying on the floor but that’s about it. There is nothing else in this room so just return to the hall.

Turn right, go forward then turn left to face room 1E. Click on the doorknob to enter.

Directly in front of you there is a painting on the wall. Click on it to examine it then select the lantern from your inventory to illuminate it. You will hear Gloria Grable complain a bit. The painting doesn’t seem to have any significance though.

Back out of the closeup and turn to the right. You will hear the “here” voice so select the goggles. The entire room is suddenly illuminated with the greenish “goggle vision” and a swarm of orbs will fly from a point on the floor. Click on that point to examine it then click on the floorboard. It will move to one side. Click in the opening to examine its contents.

The opening is mostly full of money though we are more interested in the two pieces of paper on the right. One is another symbol while the other is yet another note from George Crabtree, this one to Gloria Grable. The note contains the word “FRENIC” so write that next to the latest symbol on your list. (We also saw the word FRENIC associated with Gloria Grable on the list of names written in invisible ink.)

Back out of the closeup, click on the floorboard to put it back in place, then back out of any remaining closeups. The “goggle vision” effect will end.

(In case it has not become obvious, “Gloria Grable” is also the bank robber known as “Slyfox” (who you learned about from the newspaper clipping in Matilda Fly’s room). Fly had apparently figured out who Grable really was and was blackmailing her. When you activate the goggles in this room you can actually talk to Grable. Well, her ghost anyway. Type in your questions and click on the “Say” button at the bottom of the screen. She really doesn’t have that much to say though. Be sure to talk to her before examining the floorboard because the goggle effect ends when you exit the closeup.)

At any rate, we are done here. Return to the hallway. The door in front of us leads to room 1E but it contains nothing of importance. (There is another of Nigel and Polly’s cameras in there and a thermometer in a drawer. The thermometer changes temperatures from time to time but that’s about it.) Instead, turn to the left and go forward. Examine the portrait in front of you to learn that it is Henry V. (Odd decorating scheme in this hotel…) Back out of the closeup.

Turn left again. The door directly in front of you leads back to the station platform. Remember, back where we left the platform and went into the woods, there was a flight of stairs that I said led into the hotel? This is where it leads. We have no need to go back out there so instead click on the door in the right wall to go into the first floor bathroom.

Directly in front of you is a sink. Click on it for a closeup. Click on the right faucet to turn it on. Now, wait several seconds. After a bit, hot water will start running into the sink. Condensation will form on the mirror, revealing a symbol and another word; MALUS. Write this word next to the symbol on your list.

Turn around and exit the bathroom. There is another storeroom to our left but there is literally nothing of interest or importance inside. We’re done on this floor but we still have that one room we skipped up on the third floor and we now have everything we need for it.

Go forward three times then turn left to face the stairs. Go forward to climb to the second floor. Go forward once and turn right to face the next set of stairs. Go forward to climb to the third floor.

Hotel – Third Floor (Again)


Go forward once again and turn right to face room 3B; George Crabtree’s room. Click on the knob to enter.

On the shelf in front of you there are two books on alchemy; you can read them if you want but really aren’t necessary. Instead, turn to the right.

There are several points of interest here but start by clicking on the right bedpost on the foot of the bed. When you get the closeup, click on the knob on the top of the post; it will unscrew and reveal a hidden note. Click on it to read George Crabtree’s last words before he set out to face the entity.

When you are done, back out of the closeup and click on the bedside table near the center of the screen. You can’t do anything with the books on the top but you should see a box sitting on a lower shelf. Click on it for a closeup.

This is another puzzle box, this one with three portraits on it. You should recognize the portraits as being the same as those at the end of the hallway on each floor.

You may (or may not) recognize the first portrait as that of Henry VIII. Click on the number below the portrait until VIII is showing. The second portrait you should recognize from the first floor hallway as being of Henry V. Click on the number below this portrait until it reads V. Leave the third portrait showing I. The box should open.

Inside there is a note from George Crabtree. He is upset because one of the symbols has been destroyed. But, he thinks there is a way he can see the symbol again.

There is also part of a photograph inside the box. This is the other half of the photo you found in the second floor bathroom. Again, note the positions of the symbols in the photograph. When you are done, back out of the closeup.

Finally, click on the low table you see in the lower-left corner of the screen. When you get the closeup, you should recognize the table and the items on it as being the ones from the torn photograph.

We need to reproduce the arrangement of the tokens as shown in the photograph. Each token is placed on the chalk lines at a point where the lines cross each other. You can drag the tokens around with your mouse. Place the wood token (the large, brown one) to the right of the bowl and just above the center. Place the chalk token (the white one) below the bowl and just to the left of the center.

The bronze token (the smallest, yellowish one) goes to the right of the bowl and just below the center. Finally, place the sandstone token (the remaining, yellow token) above the bowl and to the left of the center. Remember, the tokens must be placed at the points where the chalk lines cross each other. (Actually, the sandstone token seems to go a bit to the left of the crossing.) If you have placed everything correctly then the tokens will fade out and a stream of words will cross the bowl. You will see one of the symbols followed by its name; “OLKAS”. Write this name down next to its symbol.

We have now found 11 symbols and their corresponding words; there is only one symbol that we have as of yet not found the “lyric” for. And, we actually don’t need to find it. Remember the list of names and words written in invisible ink? The word next to Betty’s name was “Tyma”. We haven’t found Betty’s symbol yet but since there is only one symbol left on our list with no lyric attached that must be it. Write “TYMA” next to the last remaining symbol.

Are we done? Not quite but it is pretty much all downhill from here. Back out of any closeups, leave the room and go all the way down to the ground floor again.

Hotel – Ground Floor (Again)


Ignore the annoying phone, go all the way down the steps and turn completely around. Go forward and to the right of the steps (not up the stairs again) then turn to the right. Ahead of you on the left is the door to the bar. We really don’t need to go in there; it’s where you find Betty’s symbol and we just figured that one out on our own. But, for completeness sake, we’ll go get it anyway. (If you don’t care, feel free to skip ahead.)

The door is locked so select the bar key from your inventory to open the door. Once inside, go forward, turn right then go forward again. Turn to your left and examine the piano. Examine it again for a closeup of the keyboard.

Remember the sequence of five notes we got from Betty’s room? We need to play them on the piano. One of the web sites we looked at on Polly’s computer told us how to play them but if you don’t remember, start by running your cursor over the keyboard. You will notice that there are only seven keys you can actually interact with. (The cursor may appear as the pointing finger on others but there are only seven that you can actually press.) Number these 1 thru 7 (starting on the left) then press keys 2 – 2 – 3 – 4 – 5. You will automatically leave the closeup and a piece of paper will appear on the piano. Click on it for a closeup of Betty’s symbol. From the invisible ink note we know that Betty’s symbol is named “TYMA” so write that down next to her symbol on your list.

Click on the symbol to put it away. Back out of any closeups then turn left. Go forward, left and forward again to reach the door. Click on it to return to the hallway. (There are a couple of places in the bar where the “here” voice shows up so feel free to look around inside before you leave. There is a copy of “The Ballad of Tom Oliver” on the wall of one room too.)

Back in the lobby, there are a pair of restrooms to your left. There is nothing of major importance in either but the women’s room contains one of the best “jump” moments in the entire game so feel free to check it out. (Look around for a flickering light and watch the shadows carefully.) For now though, turn to the right. Straight in front of you there is a hard-to-see door under the stairs that leads to the cellar. We aren’t going there quite yet but remember where it is; I’ll be telling you to come back here in a moment. Instead, turn to the right again, go forward then turn left to face the door into the kitchen. Click on the doorknob to go inside.

There are all kinds of things to look at in the kitchen but most of them are irrelevant. Turn to your left and examine the table. Click on the Complaints Book to see a picture of Edith drawn by Arther. (Wonder what his complaint was?) Back out of the closeup and turn back to the right.

Go forward. Examine the shelves to the right. Examine the top shelf (the one with the two boxes labeled “OXO”. Click on the note between the two OXO boxes to read it. The front page isn’t important but click on it again to flip it over and read a request to burn the complaints from “that actress”; presumably Matilda Fly. Back out of the closeup.

Well, where would you burn something in a kitchen? Turn to the right to face the stove. Click on the bottom portion of the stove for a closeup. There are two “drawers” on the bottom of the stove; one on the left and one on the right. Pull out the left drawer and read the paper scrap you find there. Then, pull out the right drawer and read the scrap there. (You have to close one drawer before you can open the other.) Hmmm… It seems Matilda Fly was sitting at table 1 but didn’t like it. She was moved to table 3 but had problems with it as well, causing her to eventually be moved to table 4. Note that table 1 is near the doors, table 3 has a flickering lamp and table 4 is near a window. Close the drawers and back out of the closeup.

Turn around and go through the door in front of you into the dining room. It is not immediately obvious but your goal in here is to determine the number of each table and to match that with the pattern on the table top.

Start by examining the table in front of you. Remember the advertisement we found in room 2A, the one for the hotel restaurant? The pattern on the table in the ad matches the table in front of us. The bill we found with the ad indicated that it was for table 2 so sketch the pattern on this table as well as you can and label it “2″.

Turn to the right and go forward. In front of us is a window so one of the two tables next to us must be table 4. Turn to the left.

Well, this table is labeled and it isn’t 4. This is table 3. (Look under the table and click on the lamp there to see it flicker, confirming that this is table 3.) Sketch the pattern on this table and label it “3″.

Now turn around. This must be table 4. Sketch this pattern and label it accordingly. Also, notice that the “here” voice has shown up again. Select your goggles to hear Matilda Fly and “Gloria Grable” making their deal. (And I usually don’t say anything about the voice actors in adventure games, but that had to be one of the worst reads I have ever heard. No wonder “The Two Faced Bride of Bodmin Moor” got the reviews it did…)

Turn to the right and go forward twice. We are now near the doors and between tables 1 and 5. It should be obvious but table 1 is to our right and table 5 to our left. Examine each table and sketch the pattern on each. (One of Nigel and Polly’s cameras is sitting on table 1.) When you are done, make your way back out of the dining room and through the kitchen to the lobby again and go face the door into the cellar (the door under the stairs I pointed out earlier). Click on the door to enter.

Hotel – Cellar


Turn to the left and go forward. In front of you is a door but it is locked and we don’t have a key. (There is also an axe in front of you that you can examine. Why are there always axes in haunted buildings?) Turn to the right and go forward then turn completely around.

Notice the odd panel in front of you? The symbols on the panel should look familiar; they are the patterns from the tables in the dining room. To open that locked door, you need to select the patterns from the tables in order. You should have these (you just sketched them, after all).

Number the buttons from 1 to 6 starting at the top. Click on patterns 3 – 2 – 5 – 1 – 4 (which matches tables one thru five). Go forward, turn right and click on the doorknob. The door should open and you should find yourself in George Crabtree’s darkroom.

There are a couple of things of interest in here but the only essential item is directly in front of you. Click on the base of the shelves in front of you for a closeup then click on the cabinet doors to open them. Click on the item inside the cabinet to add it to your inventory. Click on the doors to close them again then back out of the closeup.

Now, turn to the right. In front of you is a work table and you can click several parts of it for closeups. The interesting part is to the left where you can examine several pictures that George Crabtree took of some of the hauntings in the hotel and a note from Nigel discussing them. When you are done looking at the pictures, back out of any closeups, turn to the right and click on the doorknob to return to the cellar.

Go forward twice and turn to the left. In front of you is another of Nigel and Polly’s camera setups. This is the one with the Fermi scanner attached; the one that showed a hollow space when you entered the proper values on the computer in their room. Click on the wooden debris the camera is aimed towards to move it to one side, revealing an opening. (If you had not set the scanner properly from the computer then you would not have been able to move the wood.) Click on the revealed opening to enter it.

It’s dark so select the lantern from your inventory to turn it on. Examine the markings on the wall that are revealed by the lantern for a closeup. You should recognize the cornerstone dated 1318 from the sketch in George Crabtree’s journal. Notice the socket to the right of the date. Select the T-shaped object you just got from the darkroom from your inventory to insert it into the socket. Click on it to cause one of the foundation stones to move aside, revealing another opening. Take a deep breath and enter the opening.

Ancient Temple


Well… As the saying goes, we aren’t in Kansas anymore! Look around if you like to see the various symbols that you have become familiar with glowing in various places on the wall, but our priority is to get to the other end of the tunnel. Try to go forward and you will find your way blocked by a set of glowing symbols. This is the first of the “trials” mentioned by George in his journal. Fortunately, he had solved the trial and left the solution hidden in the pattern on a blanket.

Remember the bedspread we saw using the goggles in Room 1A? It contained four blocks of color; green, blue, purple and red. Click on the symbols in front of you in that order. That’s the bottom, right, left and top symbols. You will hear voices naming the symbols in an unknown language as you click on them. When you have clicked on all four symbols, they vanish. Go forward down the tunnel.

If you try to go forward a second time, another set of symbols appears and blocks your way. This is the second trial. George left us the solution to this one too, on one of his kinescope rolls in room 3F. That kinescope showed four “elements” in order; fire, lightning, sky and water.

Make sure you have your sound turned on and the volume up at this point. If you click on each of the symbols you will hear a sound associated with each of the four “elements” above; the crackling of a fire, a burst of thunder and so on. Click on each of the symbols in the order of the elements from the kinescope. That’s the top, left, right and bottom symbols. The symbols vanish allowing you to go forward again.

On the ground in front of you there are several objects. Click on them for a closeup. Click on the book to read it. This is George Crabtree’s final journal. Apparently this is where he fell; his task unfinished. So, it’s up to us to finish what he started; to destroy the Dark Fall and free the spirits of those it has kept captive for so long.

Back out of the closeup and attempt to go forward. Another set of symbols appear, this time containing five symbols. This is the final trial. Click on each of the symbols to hear a sound. Unfortunately, George apparently never passed this trial and so didn’t leave us the solution. So, we’ll have to figure this one out on our own.

Turn to the left. Notice the spot on the wall that is glowing? Click on that spot. Watch the display and listen to the sounds that are made. They should remind you of the sounds the symbols made when you clicked on them.

You need to click on the symbols to recreate the sounds you just heard. Turn back to the right and click on the symbols in the order top, bottom-left, bottom-right, center and left. The symbols disappear and you can go forward again. This takes you to the end of the tunnel. This is the last chance you will have to save your game so do so before going through the archway in front of you and into the temple proper.

This is it. Look around if you like but we are really here for only one reason; to put the Dark Fall to rest. Finish looking around and turn to face the “well” in the center of the chamber. Notice that your “Say” bar has become active.

We now need to say the twelve “lyrics” in the proper order. Type in each word from your list and click on “Say”. You should have the list but if you don’t the lyrics and their order are LUSSA, KARS, OLIVIAK, FRENIC, MORCANA, TYMA, MALUS, LARSUS, OLKAS, MORTYM, IXIAM and RAKA. (Notice that you have to delete each word after you say it before you can type in the next.)

As you enter each word you hear voices repeat it. After the twelfth word, the energy display above the “well” stops, as does the energy flow from each of the statues. The statues slump then disappear. Orbs shoot from the well and voices echo around the chamber as they fly through an opening in the roof to freedom.

The final orb stops to talk to you. It is Timothy Pike, who thanks you for what you have done and tells you that he is going home. Well, not home, but “you know what I mean”. He then mentions your brother and makes the odd comment that things didn’t have to turn out the way they did. “You’ll see what I mean” he says, before flying off through the opening. Surprisingly, you find yourself flying through the opening moments later.

You then hear the original call for help from your brother again. As he speaks, you see the evidence of the haunting vanishing. Photos of ghosts change to show ordinary, empty rooms. Newspaper clippings of disappearances vanish. Even the framed “Ballad of Tom Oliver” from the wall of the bar fades away. Your brother loses his train of thought and, strangely, can’t remember why he called you. Obviously, it wasn’t very important. His job is going well and, after promising you a drink when he gets back, he hangs up. The Dark Fall is gone and, with it, all evidence that it had ever existed.

And so, the world is saved once again! Roll the credits.

Final Thoughts


Dark Fall is one of the best horror-themed adventure games I have played in a long time. The atmosphere and theme are excellent and there are several really good “jump” moments in the game. But, I have one or two nagging questions.

First, I am not totally sure of what the ending means. The implication is that everything has gone back to how it would have been if the Dark Fall had never been freed. Unfortunately it isn’t clear as to why this would have happened. Still, that is the only explanation I can come up with for why the photos and other evidence changed or vanished at the end.

I am also uncertain as to what the status of the player was supposed to be. From your initial appearance in the train tunnel to the ending it is not exactly clear what is supposed to be going on. Is the player dead too? The fact that you “fly” off through the opening with the other freed spirits would imply this, along with that odd start location in the train tunnel and things like the fact that you never see yourself in any of the mirrors in the game. (Didn’t catch that, did you?) On the other hand, you also pick up various items, carry them around and use them. So, who knows?

None of this should detract from the game though. Dark Fall is still a great fun game. Hope you enjoyed your tour.

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Welcome , today is Saturday, April 19, 2014