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Syberia: The World Before
While also not ideal, you also have three profiles. All the auto save games are saved to profile 1. So if you run into a really glitchy situation, I guess you could save the game to profile 2, and replay it until you got the right result, and then reopen the game in Profile 1, and play the correct solution. I’ve not tried this so I don’t know if it works.
For whom the games toll,
they toll for thee.
For the left side if you concentrate on the separate sections I think it’s just the top one that has the smudge on the reference? Whatever I found the puzzle much easier than how it initially presents.
It’s imo basically a red herring of a puzzle.
Just go back to Dana and look at the arrangement. You don’t need that paper at all, technically ^^;
I played the game in two sittings with quite a few weeks gap between them with that puzzle falling into the first sitting.
So I didn’t immediately remember that eventually I thought to switch between Dana & Kate which is the easier way to go so yes, I would agree with that.
What a mess of a story.
I think I’m near the end and am inclined to agree.
Most of the game the plot seemed to be going somewhere, albeit very slowly. Then we have the inevitable gun shootout where hundreds of rounds of ammo are exchanged between the resistance and the “Shadow” with maybe 2 or 3 casualties. Then suddenly the war’s over and for the wrap-up Dana is chatting with all these characters as if we’re supposed to know them intimately, while we’ve barely seen or heard from them for the whole game.
Anyone explain this? I was thinking Benoît Sokal’s death had something to do with it.
AKA Charo
I’m a bit baffled as to why it might be thought that replaying a game you’ve just finished or one you’re in the process of playing is pointless to nominate & vote for in a CPT?
A lot of players participate in CPTs of games they’ve already played so……….?
Yes, there’s umpteen pages on a thread but for the most part they consist of overall impressions of the game rather than shared thoughts about details that can only come from focusing on parts in a CPT.
As for the “mess of a story” I know I didn’t play a different game so not sure what you mean? The goal for me I thought was to track down the girl who was the spitting image of Kate so the story in that respect I found well thought out.
Anyone explain this? I was thinking Benoît Sokal’s death had something to do with it.
Maybe who knows, but first Syberia like ending feels forced this time and makes obvious that Kate needs a guru.
“Going on means going far - Going far means returning”
What a mess of a story.
I think I’m near the end and am inclined to agree.
Most of the game the plot seemed to be going somewhere, albeit very slowly. Then we have the inevitable gun shootout where hundreds of rounds of ammo are exchanged between the resistance and the “Shadow” with maybe 2 or 3 casualties. Then suddenly the war’s over and for the wrap-up Dana is chatting with all these characters as if we’re supposed to know them intimately, while we’ve barely seen or heard from them for the whole game.
Anyone explain this? I was thinking Benoît Sokal’s death had something to do with it.
The focus was on how it effected Dana as a character so we go to the next pivotal character moment. It would actually be a mess if they wasted time elaborating on a nearly identical alt history version of WWII once all the characters are no longer involved. The war is a backdrop for the personal mystery of who Dana was and what happened in her life. So it was the right choice to go to the next big moment in Dana’s life.
The conversations at the end are fine, these are majority optional conversations with side-characters. And you don’t need an abundance of screen time with a side character, I remembered their significance from the pivotal scenes just fine. It’s a nice touch that Dana would share an exchange with the person who almost got Leon killed, and the person allowed them to live. And in the case of Leni’s dad, his absence for most of the game is the most significant aspect of his character at that point.
They seemed pretty important to me:
Hoss was largely responsible for killing Dana’s parents.
Sauer saved Leon’s life and got his letter to Dana.
Gustav is Leni’s father and was responsible for the attack on the refuge.
But mostly the scene is about the last time Leni saw Dana in person. All the flashbacks are either narrated by someone or come from a letter or document, so they do bounce around in time. I thought that was fine, and I was quite moved by the story in the end.
Gustav is Leni’s father and was responsible for the attack on the refuge.end.
Leni was. And can I just say that the first time she appeared in the past, jealous of Dana/Leon, I immediately predicted that that would happen?
I don’t think the story was too great and I agree that moments like
the shootout where nobody really hits anything and you previously see dozens of grenades strewn around yet nobody throws any until “Superhero” gets in there ...
... were unnecessary. There’s a few of those “Hollywood-blunders”, of putting some style over substance, and in my opinion they shouldn’t have done that.
But I also don’t agree that the story was any sort of “mess”. It’s quite straight-forward, using standard tropes for this sort of narrative ^^;
I played the game in two sittings with quite a few weeks gap between them with that puzzle falling into the first sitting.
So I didn’t immediately remember that eventually I thought to switch between Dana & Kate which is the easier way to go so yes, I would agree with that.
I had to take a break from the game. I’m back at the woodwind puzzle. I think I correctly finished to right side puzzle, although the game gives you no hint that you have done so. Will start to work on the left side later tonight. I did switch back and forth between Kate and Dana. Drew a sketch of the puzzles. The left puzzle was skewed a little to the left, so I’m not sure if I got all the details. We’ll see.
For whom the games toll,
they toll for thee.
I had to take a break from the game. I’m back at the woodwind puzzle. I think I correctly finished to right side puzzle, although the game gives you no hint that you have done so. Will start to work on the left side later tonight. I did switch back and forth between Kate and Dana. Drew a sketch of the puzzles. The left puzzle was skewed a little to the left, so I’m not sure if I got all the details. We’ll see.
You don’t need to switch back and forth between though,just choose the paper in docs puts
solution on woodwind.
“Going on means going far - Going far means returning”
Sometimes things are easy. Sometimes, not so much. I am finally done with the woodwind puzzle. I am sure that it took me a good 2-plus hours. I tried everything I could think of. Obviously there is the piece of paper with the diagram with parts obscured with grease. There is the switching back and forth between Kate and Dana. There were hand-drawn diagrams I did from the Dana view and, finally there were printed copies of screen-shots that, for the most part turned out to be too dark to be usable. But it’s over and I’m glad to be done with it.
Side note: I think I solved the right side in about 15 minutes. It was the left side that killed me.
Second side note: I was wrong. While the game does not overtly tell you if your solution is right, it does tell you. If you think you have the correct solution, click on the “play” button in the center. The video will either nod up/down or left/right on each side of the puzzle. Up/down means you’re good to go. Left/right means there is more work to do.
I’ve arrived at the Bridge of Mists, and am taking a breather. a search for No. 20 can wait until later.
For whom the games toll,
they toll for thee.
iirc Kate also comments differently depending on what you got right and wrong, so long as it’s an entire side (as in one comment for all wrong, one comment for right side wrong, one comment for left side wrong, one comment for all correct).
I’ve just finished playing an episode as Leon. That was a surprise.
Solving the trunk puzzle in Dana’s room was a bit frustrating. Every time I thought I had the puzzle solved correctly, Kate would tell me I was wrong, and I had all the tools I needed. If I did, I didn’t see them or understand the meaning of them. The answer for me was brute force. Three of the five dials have the same image in multiple positions. So I left the single images as fixed positions and the just did permutations with the other three until the lock opened. Don’t know what logic I missed, but don’t care since my method worked.
Left the game with Dana writing in her diary. Will see what happens tomorrow.
For whom the games toll,
they toll for thee.
Made quite a bit of progress today. Or I think I did. I went from Dana writing in her diary to Dana arriving in London. There was a lot of revelation in between. Some surprising. Some expected. And some quite emotional. No need to expand further. Those who have played, and/or are playing the game know what I mean.
I’m a little over 13 hours into the game. Which means nothing. Just how long it has taken me to get to where I am.
Two minor troubling things:
1. When Junta and Kate were riding the tram I had the opportunity to ask her some questions, but chose the “cut to the chase” option. I regret that now since it’s apparent I can’t go back. Was that a mistake I should avoid making in the future?
2. While I was in the cemetery I noticed some serious lag time between clicking the cursor on a spot and Kate actually moving to it. I chalked it up to the graphics being particularly complex in some of those scenes. Wonder if anyone else ran into that same problem.
For whom the games toll,
they toll for thee.
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