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Indiana Jones and the Fate of Atlantis is a point-and-click adventure game by LucasArts originally released in 1992. Almost a year later, it was reissued on.
I have all the entrance stones, and I reached the model city room in the Knossos Labyrinth, but I cannot for the life of me get through the Worldstone puzzle. It says in the Lost Dialogue, 'with only a waning moon to protect the city from grim night.'
Obviously, it means align the waning moon above the city. I tried various sunstone combinations with that, and NOTHING works! I've even tried aligning the sunstone to what it previously was at the Labyrinth entrance, and that doesn't work either. Do the symbols have to be aligned with the horns for it to work, or is it different?Could it possibly be a bug with ScummVM?I know I've beaten this game before on the Nintendo Wii version, so I wonder if it's a PC issue.
The Dialogue entries are somewhat unhelpful when it comes to the Worldstone in Crete - sometimes the alignment is all made directly under the horns, sometimes one of the elements actually needs to be completely opposite the horns. Basically your clue means that the City and Waning Moon should indeed both be somewhere under the horns but then the rest is guesswork. It's pretty quick to spin the stones in modern versions of the game, so just keep trying all the combinations where the City and Waning Moon are somewhere beneath the horns and eventually you'll get the answer. PizzaHolic01: NOW, I got it to work, after much guess work and experimenting with other versions of the particular LDoP clue. Look closely at the image I provided.
The combination is wrong under the horns, but it is correct when it is pointing right. How does that make any sense?
I remember reading one post by a player saying that sometimes the discs had to be rotated 90 degrees. Would you mind posting a screenshot of the Lost Dialogue page as well?
Perhaps there is a missing clue (or maybe it's just an annoying bug/oversight).Edit: I have another idea. Sometimes some pictograms have to be aligned in a position different than the horns. Was there any mention of the setting sun in the Dialogue? If you place the setting sun aligned with the horns, then the night in the solar disc falls on 3 o'clock, so 'with only a waning moon to protect the city from grim night' would mean that the waning moon and the city need to point to 3 o'clock as well. The full text of Plato's Dialogue or a screenshot would be helpful. PizzaHolic01: NOW, I got it to work, after much guess work and experimenting with other versions of the particular LDoP clue. Look closely at the image I provided.
The combination is wrong under the horns, but it is correct when it is pointing right. How does that make any sense? Yes, of course it does.Each clue needs to be added on to the previous ones, and there is only one way to use those three clues in sequence, no trial-and-error needed.If your screen capture shows the combination that finally worked, then the clues you had were:'. if sunset made the tall horns red.' For the Sunstone'. with the sun dying as a new moon is born.' For the Moonstoneand like you already said, '.
with only a waning moon to protect the city from grim night.' For the Worldstone-A bit on the rationale behind the clues:The Sunstone clue simply tells you very clearly which symbol to align with the horns.
There are four possible clues.The Moonstone clue tells you which symbol from it to align with one of the Sunstone symbols. There are four possible clues. Two mention the full moon and two the new moon.The Worldstone clue tells you which symbol from it to align with either one of the Moonstone symbols or one of the Sunstone symbols. There are eight possible clues, but after setting the previous two stones correctly, there are four sets of two of these clues that represent the same final position of the three stones each.None of the symbols mentioned in the second or third clues need to be aligned to the horns. If they are, it's by pure chance.Of the possible total of 128 combinations of clues (for 64 stones positions), not few will result on the symbols mentioned in the clues to be aligned with the horns in some way. ElEvEn11: (.) It should be clear from the rest of the topic here that each run of the game has its own combination of clues.
Did you read my post?You need to position the stones according to the clues given in your in-game copy of TLDoP. And when using the three stones, all three clues must be followed.If you already opened the doors corresponding to the 1 and 2 stones combinations, opening the one for the 3 stones combination should be really easy, even if you don't understand the third clue.
Written by TBDIndiana Jones Journal Entry #4: I'd previously used my ship rib to expose a mural of Atlantis' Greater Colony. This time I used my rib to dig for hidden Atlantean treasure and expose two secret doors. I love my trusty ship rib. Oh, and Sophia helped too.Sophia Hapgood Journal Entry #2: Using our archaeology skills we found an Atlantean moonstone and entered the Greater Colony, which also seemed to be the basis for the story of the Minotaur in the Labyrinth. I made Indy admit that Nur-Ab-Sal was a mighty king and single-handedly found the map room. Oh, and Indy helped too.When we last met our heroes Indy and Sophia, we had gotten ourselves an Atlantean Sunstone that, together with a Moonstone, would give us entry into Atlantis' Greater Colony, and we found evidence that the greater colony might be in Crete. When I move the view to where Sophia is standing, she waves like a tacky tourist.
I don't know why, but I found this funny.When I centred the view onto the left horn, the game left the transit interface and I saw a black and white line draw itself, while an X moved across the screen following it. I assume this is Indy's mind translating what the transit told him. I try doing the same with the right horn, but it doesn't work. I do some more rubble examining and find that another rubble pile contains a bull's tail statue. I use the transit again, this time with the right horn to match the mural, and after the same animation with the line and the X, I've found the point where the two lines converge.X never, ever marks the spot. We enter the Colony, and Indy finally admits that the legend of Atlantis might be real if the legend of a labyrinth under Knossos is also true.In the first room, there are three Greek God statue heads on a stone platform.
As I pick up each one, the door closes slightly. If I pick up the third it closes completely, so I put the third head back on the platform and enter the door. After entering I can still see the statue from the other side, so I'm guessing that will be useful info later.Chekhov's Zeus head? This doesn't help me pass over the shaft, but in a different, lower room, I find the bottom of the shaft next to a giant statue head. I shove Sternhart's staff into the statue's mouth, which causes the platform to rise, allowing me to take the item that was on the other side of the shaft. It was a small lead-lined box with two orichalcum beads underneath it.
I take them all.During all this exploring, I've been randomly using my amber fish-on-a-string which Sophia had found in the Algiers dig site. When I use it it swings around in a circle and Indy says, “It's not pointing anywhere”, but now when I use the fish instead of spinning it points straight at me.Fish don't have hands – how can it point? Plato's Lost Dialogue mentions that amber is a means of finding orichalcum.
The amber fish-on-a-string is an orichalcum detector and now that I have two beads it points at me.I quickly figure out that if I put the beads in the lead-lined box and close it, the fish goes back to not pointing anywhere. It appears my amber fish has the same weakness as Superman's X-ray vision.I'd also been noticing that whenever I used the fish while I'm with Sophia it points at her necklace. I had the idea of putting her necklace in the box so I went back to her and tried to do so.But IT BELONGS IN A MUSEUM!
And this is where I was stuck. I had no idea what to do next. I kept exploring for a while using the fish in random places but couldn't find anything.My next step would be to do what I'd been avoiding – make a map. I thought I'd been to every room in the labyrinth but as I hadn't been mapping it I could have missed a room. I also thought that perhaps I needed to use my orichalcum detecting amber fish in every single room in hopes that one of them contained something I couldn't find with my eyes alone.Before doing all that, I thought I'd have one more try getting Sophia to allow me to put her necklace in my box – I figured Sternhart must have known what he was writing about when he mentioned that an orichalcum detector would have helped him from where he was. I HAVE an orichalcum detector, but when I'm in the areas Sternhart could reach, it kept pointing at Sophia's chest.It didn't work.
I tried talking to her in case there was some way to convince her. Eventually I had to give up and resign myself to brute forcing a solution.
Before leaving I let Sophia know it was hopelessIf there's any way you can help us Sophia, NOW is the time to speak up. Either way, the sailors are no longer in my way so I can go down. If I try to get down to where Sophia is, she calls my name in surprise, which makes the guard look in my direction. I quickly go back up, and she says it was just her imagination. If I go down again, Sophia doesn't give me away, but the guard hears the noise I make instead.With nothing else to do here, I go aft (left) which takes me to a galley.
I take some meat and bread and make a submarine sandwich. Moving further along are a few more submarine controls and a torpedo. There's also a bunch of wires, but Indy won't touch them.Aw, they've named their torpedo. The safe also contains a small key that unlocks a wheel near Sophia. I can push the wheel, which shows me a new screen with the wheel and the submarine. I can control the direction of the sub with the wheel. After unsuccessfully navigating for a while, I check out the other controls I'd found.
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Attempting to move each one puts another control up on that screen so I check them all out. The lever on the conning tower doesn't work, and I for once discovered that a ship rib can't do everything when I couldn't use the ship rib with the broken lever. I could use a plunger, though, so I did that. Now I had all controls working I could control the sub and try to get it into Atlantis.The controls are a bit fiddly and it took me 5 minutes to manouevre into the hole. It felt like longer.
My thoughts:The submarine controls are terrible, not sure how much are detailed in the manual, but basically one lever controls forward or reverse but only works if the sub is stopped, other changes speed, another one for altitude, and the last one makes the sub rotate 180 degrees, the issue here, is that the rotate lever also controls the forward/backward movement at the same time as rotating. This is super confusing, so for example, if you want to move towards the screen, you need to rotate the wheel left/right/left/right. To go backwards, exactly the opposite right/left/right/left, etc. Why did they insist on integrating more than one movement axis per control, is beyond my understanding of basic usability.About the 3 doors on the maze, well, I wont tell you why exactly there are 3, but remember that you have 3 different alternative paths =DThe ship rib item is weird. Indy uses it to dig everything that he stumbles upon.
I wonder why didnt they just put a shovel or a hand shovel, since thats the obvious use of the ship rib. I suggest to use the verb 'to shiprib' from now on.
Example of use: Indy shipribbed the entire wall.I love how Indy is an archeologist, so they had to include some obscure archeology instrument (the transit). The lines that are shot when used, make a very weird sound, and seems too surreal to the game interface, but still, once you understand its purpose it's great that you can shiprib the floor to find the disc.There's an obvious pun with the submarine sandwich (hint, you are in a submarine). This is obviously a missing in translation pun in other languages.The zigzag path on the map with the sub, I think it's the nazis trying to find the entrance to Atlantis in a semi random pattern.The get Sophia to climb into the hole puzzle, you can actually solve it by implying that she's fat also, not just calling her fat, but something along the line of 'I don't think you can fit in', and that works. Indy is a pig.The amber fish on a string seems like an item from Monkey Island (chicken with a pulley in the middle?), it seems completely out of place, and I wonder why they didn't do something a little less weird.Also, welcome to dying. In case anyone else is wondering, after the kill screen the game resets itself back to the LucasArts logo screen. Fortunately you can save mid dialog, or anywhere, and all deaths are very obvious.
I mean, you just said to Kerner you'll have to kill me to get the stones. This is not a Sierra game where you just step on a pixel, and says 'you slided on a banana peel, you break your neck, restart or quit'.I have no idea what's going on with the Klick noise, the game that popularized using the K was Mortal Kombat, but was released in 1993 (an anagram of 1939, the year ingame!)One thing that I'd love to read in your playthroughs, is your impression of the OST. I know every note, and even learn to play on piano some of them.Good work as always, enjoy my favorite path, the WITS one. Re: sub controls - the manual does detail all the controls, and it IS a bit complicated for a small sequence. I agree that the turning lever makes it confusing but it's not so much two controls in one but the sub having a wide turning radius. The reversing direction of the sub after stopping I only found accidentally - if I'd checked the manual section I might have found it on purpose.More good info there - thanks.
Hopefully I get more chances to 'shiprib' before the game ends.With Kerner's death, I also get another chance to back out so I have to tell him to kill me twice before he'll do it!Yeah, I haven't mentioned music yet. I've found it appropriately atmospheric so far, but I'm not a big music head so I've been neglecting mentioning it in my posts.
I'll pay special attention to it in a future post - possibly the next one. Speaking of music, there's some extensive use of leitmotifs and their transformations in the OST - no big surprise as one of the composers, Michael Land, is a huge Wagner fan. Some of the variations are very clever and subtle.Aside from the more obvious reoccuring themes (Raider's March, Nazi theme, Danger theme) there are also:. A theme associated with archaeology and finding Atlantean artefacts. Probably the clearest instance of it can be in the Atlantean colony music, but it additionally appears in varyingly subtle forms elsewhere such as when, and it's also in the. More chromatic and fragmented versions appear later in Atlantis itself, (uggcf://lbhgh.or/pGgP4vVs76p), rfcrpvnyyl jura qrnyvat jvgu gur vafgehzragf hfrq gb znxr bevpunyphz (ynin ebbz naq bepunyphz znpuvar ebbz).
Sophia's theme, which can be heard and when Indy talks about her. Also, uggcf://lbhgh.or/3uqgwOExo58?g=59f. A proud but tragic theme associated with Atlantis itself. The clearest version is when, but it also appears in altered form when, and later arne gur raq va gur ynin znmr, abg gbb sne njnl sebz gur tbqubbq znpuvar gung jnf gur ernfba Ngynagvf fnax. IQ point wise. Lbh zvffrq gur bayl bgure nygreangr fbyhgvba bhgfvqr gur Gebggvre fghss va gur ragver Grnz cngu, naq vg oneryl rira pbhagf nf 'nygreangr': Jura lbh pbasebag gur fhoznevar pncgnva, lbh pna hfr gur zber vafhygvat qvnybthr bcgvbaf gb fgneg na npghny svtug jvgu uvz. Ur'f gur rnfvrfg rarzl va gur ragver tnzr naq jvyy tb qbja va n fvatyr uvg, ohg svtugvat uvz yvxr guvf vafgrnq bs ehaavat njnl naq univat Vaql nhgbzngvpnyyl svtug uvz va n phgfprar pbhagf nf na nygreangr fbyhgvba.
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Vg'f jbegu guerr cbvagf nf bccbfrq gb gur bar lbh trg sbe ehaavat njnl, fb lbhe pheerag fpber pbhyq'ir orra n ovg uvture gbb. If you're at the place I ended up in this post, the instructions might not be as simple as the others.I wouldn't be surprised if the instructions are randomised so your solution might be different to mine. Here's how I worked it out with some ROT13'ed hints.1. Ernq gur Ybfg Qvnybthr vafgehpgvbaf pnershyyl2.
Abgr jung vg fnlf nobhg svany ragel3. Rfcrpvnyyl gur cneg nobhg 'pbagenel zvaqf'4. V gevrq qbvat gur bccbfvgr bs nyy gur fgrcf, ohg gung qvqa'g jbex.5. Qb gur svefg fgrc onpxjneqf, sbe rknzcyr V arrqrq gb chg gur frggvat fha haqre gur ubeaf vafgrnq bs gur evfvat fha6. V pbhyq npghnyyl sbyybj gur erfg bs gur vafgehpgvbaf nf jevggra7. Na nygreangvir pbhyq or gb frg rirelguvat hc nf gur Qvnybthr vafgehpgf, gura erirefr rnpu fgbar.
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