![]() It was very strange to replay Syberia, having surprisingly good memory of what happens in the game despite not seeing it for almost 20 years. ![]() While I have played both Syberia and its sequel when they were new, and did enjoy them (the original more than the second game), I haven’t replayed them ever since until now. And also started a short, but pretty decent run of adventure titles made by Microïds that ended around the time of the Sinking Island. And to be absolutely frank, Syberia itself often times felt like it didn’t really know how to approach the genre either, yet it so elegantly stumbled through its beautiful locations with its wonderful magic realist story that it pretty soon became a critical darling at least in some circles. But otherwise, it felt as if nobody really knew at the time what to do with the genre and how to approach it. It wasn’t like the genre didn’t have any recent fantastic examples, The Longest Journey being from a few years before. Twenty years ago in 2002 when Syberia was released, the point and click adventures were on a decline. It happened all too often that we found ourselves hunting for an object only to, hours later, accidentally unlock the item after a seemingly unnecessary conversation.O tempora is a series of retrospective posts where I play games from ages before to see if they stood the test of time. ![]() What's worse is the fact that you sometimes have to speak to an individual one or more times before you can interact with key objects, so even if you're dead sure what is needed to solve a puzzle, and you stand right in front of the object, you can't simply pick it up and progress the story until you've spoken to the right person once or, at times, even several times. The environments are far too "open" to primarily focus on finding items, and it's easy to overlook the things needed to progress the narrative. Most of your time is spent finding the various pieces of the puzzles, not actually solving them, which is frustrating. This fact became clear only partway into the game, but when it did it was made painfully clear. For starters, there are not nearly enough puzzles. That said, there are a number of problems that we need to address. The plot is interesting enough to keep one immersed and the various puzzles are wonderfully nostalgic and challenging. It seems as though the Russian military has assumed control over the facility, and Kate Walker quickly becomes a target. Unfortunately, but hardly to anyone's surprise, she's not exactly in your typical hospital. The players first objective is then to exit the room, sort out a prosthesis for Kurk, and head for greener pastures on an ostrich. After all, this one-legged patient is the chosen leader and his one calling in life is to lead his people and the snow ostriches to new pastures. Kurk must, however, reunite with his people who are waiting in a nearby village as soon as possible. He introduces himself as Kurk, leader of his people, and he's feeling alright given the circumstances. One of the Youkols who rescued Miss Walker is sitting next to her, strapped down into a wheelchair that seems to have been taken straight out of Hostel, with a recently amputated leg. After a short introduction sequence explains that Kate Walker was saved from a sure death by Youkols, you wake up in a hospital bed in what seems more like a torture chamber than a place of healing. Many Syberia fans felt the second game left a lot of questions unanswered and you won't find many of those answers in Syberia 2. ![]() Syberia 3 starts off after Hans Vogelberg's goodbye from the back of a mammoth and the death of tinman Oscar.
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