Re: Labyrinth Sophia2
Genciana Haggins
The first two of these answers need no introduction as they have become canonical holy texts in the annals of adventure game history. Lost, however, is Indiana Jones and the Fate of Atlantis, a game I think deserves more credit for setting gold standards and pushing the envelope of the genre. If you want a game that perfectly encapsulates why LucasArts was the doyenne of the genre for as long as they were, Indiana Jones and the Fate of Atlantis is "Exhibit A." Its production values are astounding, with an awe-inspiring kaleidoscope of vastly differing locations. Its writing is impeccable, with the interplay between Sophia and Indiana Jones being perpetually entertaining. Finally, the different modes of play add to its replayability. Overall, I think you could argue that it is one of the greatest adventure games ever made and that few people talk about it today is a shame.
I have said this before, but during the "Golden Age of Adventure Games," I was on the side of Sierra Online. When the company self-imploded, I switched to Euro-style adventure games (i.e., Syberia and The Longest Journey). I am NOT YOUR GUY if you want me to talk positively about Full Throttle or Zak McKracken. However, Fate of Atlantis was the one LucasArts adventure game that always worked for me. Its action-oriented subject matter maintained my interest more than their goofier titles, and its intuition-based puzzles were more up my alley. Likewise, during its second act, the three diverging paths were a structure I desperately wanted more developers to use. It's such a great idea that I am still surprised even LucasArts didn't repeat it more often.
However, no game is perfect, and those imperfections are why I will be looking at Fate of Atlantis. Regardless of which route you select, there are some real "clunkers" in this game, but that's to be expected with a title as ambitious and in-depth as Fate of Atlantis. Because of the game's unusual middle act, in which the player picks between one of three possible playstyles (i.e., Wits, Team, and Fists), I'm going to split this blog into two parts. Today, I will examine the game's first act, including the Prologue, and the entirety of the Wits Path during Act II. Next time, I will examine the Team Path and Act III. If you have any comments about how I have structured these blogs, feel free to share them in the comments as with longer adventure games like The Longest Journey or Syberia, the concept of trying the examine all of those games in a single post seems like a fool's errand. However, before we jump into the puzzles found in the game's first act, let's address the one bit of housekeeping some of you are likely asking right now.
Fuck Fists Path! Seriously, ask any fan of this game which path you should tackle first, and while there is a split between those that prefer Wits or Team, everyone agrees that Fists Path is the worst way to play this game. At times, the game utilizes a pseudo-fighting game engine wherein you need to be able to observe cues from your opponent to block high, medium, or low attacks and then counter with the appropriate flurry of offensive moves. Due to the character's highly pixelated nature and the fast pace of the combat, this is a tall order. As a result, most players either wail away on the three attack buttons or use the "sucker punch" mechanic. I'm glad the sucker punch exists, but with the Fists Path, if you are relying on it, you do have to question if you are better off playing the other two paths. Additionally, the Fists Path is downright mean at times. For example, if anyone reading this blog has beaten Arnold or Fritz "legitimately," I bow before your presence because I am not worthy. More importantly, the difficulty curve for the fights on Fists Path is non-existent. Your first fight after Act I is one of the harder ones you will experience in the entire game, and it is followed by a battle with a goober that goes down after three hits!
Finally, I do not think the Fists Path does much to differentiate itself from the other two playthroughs. Team Path provides a superior storytelling experience with witty banter between Sophia and Indy. Alternatively, the puzzles for Wits Path are some of the most cleverly designed in the game. Additionally, because you do not need to interact with the co-operative or fighting mechanics, it is a far more meditative and relaxing experience. I would even hazard to say it is the best-paced version of the game. Sure, there are puzzles at the Labyrinth of Knossos after you go Fists when the trio of Nazis confronts you, but I'm not counting them. Those puzzles are not there as the intended route for players to use. Those puzzles are there for players that made the mistake of picking Fists and did not realize what that meant. Similarly, I would contend that going the mental route at Knossos is not the intent most have when they are presented with an "action-packed" version of Fate of Atlantis. When people first heard of Fists Path, they wanted to have their version of the fistfight with the muscly Nazi pilot during Raiders of the Lost Ark, and when they got to the labyrinth, they were disappointed when they discovered that was not the case.
Prologue - 1/10 - To start things off, Indiana Jones needs to explore a series of artifact-laden rooms to find a specific relic. This sequence is a fun tutorial. I would even go so far as to call it one of the best video game tutorials ever made. All you need to do is move Indy from one corner of the screen to the next and click on objects related to the story. Despite this simple premise, it serves as an excellent introduction to the theme and tone of the adventure you are about to experience. It is impossible to fail, and a creative way for the game to deliver its intro credits.
Getting Into The Theater - 1/10 - After uncovering a Nazi plot for world domination, Indiana Jones needs to talk to a mystic named Sophia Hapgood. However, Sophia is currently in the middle of a presentation in a fully-booked theater guarded by a gentleman named Biff. Overall, ANOTHER excellent tutorial, but this time on the SCUMM verb parser and the dialogue and combat mechanics. I like how this represents the three "paths" even before presenting them. You can fight Biff, appease him, or completely cut him out of your playthrough. My only issue is the Wits Path route involving the boxes that cover the fire escape. Sometimes it is hard to tell which boxes you need to move. The puzzle itself is almost too simple as the boxes, and the feedback you get when you push them isn't great. You select them once to move them out of your way and make them go back by clicking them a second time.
Distracting the Stagehand to Get to Sophia - 2/10 - After entering the theater, Indy finds Sophia in the middle of her presentation. If he wants to grab her attention, he'll need to interrupt her. This puzzle is a slight step up from the previous puzzles because it takes a while before the stagehand tells you that he likes to read, and you need to remember that there is a newspaper stand outside the theater. There's a bit of a red herring as the game starts you with a magazine which the stagehand doesn't want. Also, there's a bit of trial and error with the levers when deploying the dummy. It's still fun and nothing too hard.
Getting Through the Jungle - 3/10 - The ancient city of Tikal is the first destination for Sophia and Indy's investigation of Atlantis. However, it appears that a jungle stands before them and the Aztec pyramids. Indy goes it alone and needs to interact with various forms of wildlife to make it to the other end. It's one of the goofier parts of the game, but I still enjoyed it. Needing to use the whip on the capybara is a bit on the fussy side, and the range on the whip isn't as forgiving as you'd like. Also, the looping jungle entrances are annoying the first time you play the game. There's also a general lack of signposting for the snake and moving a rodent towards it. However, it's another introductory puzzle that effectively sets the game's tone, and the payoff at the end always has me in fits.
Getting Sternhart To Let You Into The Temple - 1/10 - While at Tikal, you encounter a Dr. Sternhart who claims to know information about Atlantis that will assist Sophia and Indy. However, before he divulges this information, he needs Indiana Jones to respond to a question correctly. Because you can exhaust all of your dialogue options and get the prompt to solve this puzzle, I think it is the most straightforward puzzle at Tikal. Also, after you wrap up your first talk with Sternhart, a parrot makes its presence very much known. The only annoying bit is if you decide to play around with Sternhart and select the joke options. He leaves after every incorrect response rather than continue to stay and let you exhaust all of your options.
Opening The Tomb In Tikal - 4/10 - After Sternhart allows Indy and Sophia into the pyramid, the team must explore an inner chamber for clues. The player needs to look at a panel and pinpoint a part that seems out of place. The first issue is noticing that there's one spiral design darker than the rest. Likewise, using the kerosine lamp to loosen the spiral from the wall is a bit of a leap. I like Sophia being a distraction. However, if you hadn't spawned Sternhart by interacting with his store, you might have forgotten there was a store in the first place. This is also where the verbs start to feel like there's overlap. For example, you get the kerosine out of the lamp by using "open" instead of "use," and you need to "pull" the lever rather than "use" it. Finally, it took me a quick minute to remember that you need to pull the spiral from the wall as it isn't clear that it is an object when you first look at it.
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