Labyrinthine Chapter 6

[Christina Smith]

Makesure that you pick up the lantern on the stool inside the cabin - this is an important tool and provides proximity lighting. Its such a useful tool to light up an entire area vs a beam for longer distance. There is also a note on the bench giving you more story arc information about Joan - the note is pictured below.

This is the central area to this chapter. Here is where you will need to bring five (5) tokens hidden throughout the maze and place them in the pedestal to open the gates to Chapter Three. There are two (2) notes and a tape in this area, all pictured below. Make sure you interact and collect those BEFORE pulling the lever.

In this maze you will encounter Clubfoot and the Witch. Each of these monsters have specific mechanics that you will need to work around to gather the five (5) tokens. Check out the monster Wiki pages to learn more about how to avoid and combat both of these creatures.

This is a large open area with a cabin and a scarecrow in the middle of the field. Around the edges are crates and hay bales you can hide behind. Inside the cabin are two (2) notes with have more story information and are pictured below.

You can hear an old music box as you approach the tea party. Make sure you watch the faces as you near the front of the table, they will shift and the music will stop. On the table is the token and a tape for you to listen to concerning Officer Mills.

This is such a fun little mini game to work your mind! Find the chemical table on the side of the greenhouse - there are 4 bottles with chemicals, and several notes around the table. You must mix the chemicals in order to make a poison for the vines growing in the doorway to the greenhouse.

Hit E on each of the bottles in the order on the key. If you mess up and hit a wrong bottle the mixture will evaporate and you will need to restart. Once the mixture is ready you can go to the vines directly to the right and press E to kill them.

Any time you try to activate the wrong pedestal, then entire puzzle will reset. You must go in order, without mistakes, from pedestal one to pedestal eight. Make sure that you are listening for the audio cues of the witch and clubfoot!

Enter the main entrance of the maze. Movement is controlled through WASD and mouse cursor directions. Crouch using Left Control, Jump using Space Bar, and Sprint using Left Shift. You interact with the item by pressing E, then add it to your inventory by pressing F. You can use proximity voice chat by pressing and holding the V button.

At the information station on the left there are two items on the counter for you to grab: the flashlight and a tape recorder. Make sure to grab both! You interact with the item by pressing E then to add to inventory press F.

Glowsticks - Once in your inventory these are infinite, they have a slight drop delay if you try to drop them too quickly. There are four (4) different colors you can choose from (Which is amazing in full party situations). I have all four colors pictured below.

Welcome to the Cryptograph! You must now enter into the unkept maze and find the statues to gather clues to solve the cryptograph. Once you solve the cryptograph then the gates to the right will open to Chapter Two (2) and the next area.

The next landmark is the femur bone and tape. Make sure you pick up and collect the tape - You are now introduced to Officer Mills and his story. Collect more tapes along chapter one and two to learn more about him and his search for his son, Robert.

If you make an immediate left upon passing through the stone pillars with the note, and travel along that path you will run into another bench with a candle and a book. This is the marker that will lead you to the Lights Out Puzzle and ultimately the way back to the cryptograph.

Make sure you wander around the rest of the maze and discover the statues hidden throughout! There is nothing to collect on these statues, but you must see the Letters written on them to figure out the answer to the cryptograph. I HIGHLY suggest writing these letters down for easy recall.

Once the puzzle is solved the gates in the back corner will open and the path back to the cryptograph is now open. Once you've "collected"/seen the evidence on the three(3) statues head out through this exit.

Its time to solve the puzzle! Use the clues around the cryptograph to piece together the answer to the puzzle. You can move dials by hovering over one with your cursor and pressing E until the desired letter is aligned. When the answer is right - the gate to the right will open and you can run through.

As someone who has enjoyed playing this game in pancake mode with friends, we can not wait to get into chapter 6 and complete this so we can start all over again, We are are a group of VR lovers and can not wait to experience this game in a whole new light, although we know what to expect playing in VR brings a whole new host of scares and screams and I for one can not wait for it!

It is very important to understand the anatomical landmark of this approach (Fig. 8.1). There are some well-known triangle and skin incisions related to retrolabyrinthine and translabyrinthine approaches (Fig. 8.1a, b).

The retrolabyrinthine approach exposes the posterior fossa dura between sigmoid sinus, posterior semicircular canal, jugular bulb, and superior petrosal sinus. Retrolabyrinthine access to the cerebellopontine angle (CPA) with hearing preservation can be accomplished; however, exposure is generally limited. The most frequent indication for an isolated retrolabyrinthine approach is selective vestibular nerve section. More frequently the retrolabyrinthine approach is combined with cutting temporal bone and splitting tentorium to expose lateral pons and basilar artery from the confluence of the vertebral arteries to the dorsum sellae (the combined petrosal approach).

The head is held with lateral position, facing away from the surgeon. A postauricular incision through the galea is made, one inch behind the postauricular crease. The incision extends from the mastoid tip and curves forward to end just above the pinna (or midpoint of supramastoid crest) (Fig. 8.1d left).

The scalp is elevated by sharply dissecting the subgaleal connective tissue which spans the galea and the underlying pericranium. The pericranium is contiguous with the temporalis fascia above and the fascia overlying the sternocleidomastoid muscle below. A second incision is made in this deep layer composed of temporalis fascia and muscle, periosteum, and sternocleidomastoid fascia to fashion a musculofascial flap that is important in obtaining a water tight, cosmetic closure. The two flaps are elevated anteriorly to reveal posterior edge of external auditory canal, spine of Henle, and root of zygoma posterior point. Large blunt scalp hooks are used to reflect these flaps. The bony landmarks which should be visualized at this point are the root of zygoma posterior point, the spine of Henle, the squamosal suture, the asterion, the supramastoid or temporal crest, the mastoid tip, and the digastric groove (Fig. 8.1c, d right).

The bone cortex is removed within the boundaries of these lines, working anterior to posterior and superior to inferior. After drilling the cortical bone, air cells are encountered. Posteriorly, over sigmoid sinus, the bone will remain compact. In order to provide maximum exposure, wide cortical removal with cauterization should be performed prior to deeper penetration. Gentle, brushlike strokes with the drill will reveal the compact bone of the sigmoid sinus. Bone removal proceeds, 1 cm behind the sigmoid, maintaining a uniform depth as the sigmoid is exposed. When the sigmoid has been skeletonized, the mastoid air cells are drilled away to expose the temporal base dura (temporal tegmen) (Fig. 8.2b).

At this stage certain goals of bone removal should have been achieved, such as exposure of sigmoid sinus and jugular bulb. Exposure of presigmoid dura and middle fossa dura defines the lateral bony labyrinth, clearly visualizing the lateral semicircular canal (LSC) and posterior semicircular canals (PSC) and skeletonizing fallopian canal and exposing the entire facial nerve (Fig. 8.2h).

The lateral and posterior semicircular canals (PSC) are first opened with the drill. The amputated, or anterior, end of LSC is carefully removed, bearing in mind close relationship of tympanic portion of facial nerve. Preservation of anterior wall of LSC will protect tympanic segment of VII nerve. Removal of superior segment of the posterior semicircular canal will expose the common crus which it shares with the SSC. The SSC is also opened by drilling superiorly and anteriorly. The amputated, or inferior, limb of the PSC is followed until the vestibule. Drilling in this area, lateral and inferior to the vestibule, will expose the vestibular aqueduct as it courses laterally toward the endolymphatic sac. The vestibule is now opened by continuing to remove the bone, following the common crus (Fig. 8.3a, b).

The wall of the vestibule which separates it from the internal auditory canal is only one very thin layer of the bone. The compact bone surrounding the internal auditory canal is identified by drilling along the canal at its superior and inferior edge. It is important in terms of maximizing the exposure, to remove the bone around the canal such that greater than one-half of the circumference of the canal is skeletonized. It is important to remove the bone superiorly and inferiorly so that the anterior-most extent of the canal is accessible. Bone removal inferior to the canal will in some cases expose the cochlear canaliculus which communicates with the CSF and perilymphatic spaces.

The wound is closed in the following manner. The incus is removed, and a piece of temporalis muscle is harvested and placed carefully through the epitympanum occluding the origin of the Eustachian tube. The removal of the incus and obliteration of the Eustachian tube entrance by the muscle reduces the possibility of CSF leakage. The dural incision is closed up to the canal, and carpets of autologous (abdominal) fat are positioned in the gaps of the dura so as to seal the CSF space. The previously fashioned musculofascial flap is closed tightly over the adipose graft, and the skin cut is closed in two layers.

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