Syberia II

The Good
* Much more exciting storyline than the first

• Improved visuals
  
  The Bad
  * Frustrating puzzles

• Environments lack variety compared to the first game.

• May be too far-out for some
  
  The Bottom Line
  Syberia II was released in 2004, 2 years after its predecessor. Originally planned to be a part of the first game, the story was eventually split into two installments. As a result of this, Syberia II picks up exactly where the original left off.

  After the events of the first game, Kate Walker, Oscar, and Hans Voralberg are traveling on the clockwork train towards the farthest reaches of Siberia in the hopes of finding Syberia (no, that’s not a typo), an island which is said to contain the last living population of wooly mammoths. After stopping in the last village in Siberia, Hans falls sick to an illness, and things just go from bad to insane from there on out. Meanwhile, Kate’s law firm have hired a detective to follow Kate into Siberia in the hopes of bringing her back to New York.

  Compared to the first game, which was much more subdued and mysterious, Syberia II is far more action-packed and episodic. There are a lot of coincidences which take place over the course of the game, bumbling villains, daring escapes, noble sacrifices, absurd deaths, and even a dash of the supernatural. Personally, I think this is a much-needed change, but it also highlights the fact that this story was really split into two games. If Syberia was all buildup, then Syberia II is the payoff. At the same time, though, this approach will understandably turn off some fans of the first Syberia. That game was unusually grounded and subtle in its implementation of fantasy elements, and arguably more mature in its themes. By contrast, some of the things that happen during Syberia II require some extremely high suspension of disbelief. Imagine watching a Hollywood blockbuster sequel to a small independent film and you have a sense of just how big of a shift this is in tone.

  It’s also a far harder game than the first one. The developers seriously cranked up the difficulty compared to the original game, and I think they might have went too far in some regards. A number of the puzzles suffer from poor visual design. There were a few times where it was impossible to accurately read a necessary clue for solving a puzzle. Some objects are so hard to see because they blend in so well with the backgrounds. The puzzles themselves seem to rely more on moon logic compared to the original game. Unlike the first game, the interactive objects aren’t highlighted, adding to the frustration. On top of that, some of the devices you have to manipulate in Syberia II are much more difficult to operate in general.

  The worst offender is the size of some of the areas which separate the puzzles, which means minutes, potentially hours, of slow, aimless wandering until you either find what you’re looking for or just look at a walkthrough. I might have criticized the lacking puzzle difficulty in the original Syberia, but Syberia II only reinforces Microids’ decision to make the puzzles in that game so easy. When you’re on the edge of your seat waiting for the next story beat, the last thing you want to do is to get stuck on a puzzle about overcoming an arbitrary obstacle.

  With the exception of the final section, the entire game takes place in an icy landscape, so the variety that was present in the first Syberia isn’t here. Nevertheless, this is undeniably a better-looking game than the first, and it ultimately ends up being a worthy tradeoff from scope to detail. The backgrounds are more alive, and there is a greater use of lighting and particle effects. Even the quality of the FMV’s has been punched up a notch. However, the 3D character animations look a bit jerky at times, and seem to get choppy whenever text appears on-screen, though this could be an issue with the Mac port. Overall, though, it’s hard not to be impressed with the improvements in the visuals between the two games.

  If you played the first game, then Syberia II is essential. If you’re getting into the series for the first time, this isn’t where you want to start. That being said, I could understand why some will prefer the first game. The difficulty is cranked up far too much and the story is much more cartoonish and unbelievable. I personally enjoyed this crazy ride from beginning to end, even if the puzzles were extremely frustrating at times.

The Good
Just about everything I liked about the original Syberia, technically. It's the same interface (some people might dislike this, as there's no improvement on either the interface or the graphics, but Syberia I was so outstanding there really was no need). Also, this game starts right where Syberia I ends (it ended in a cliffhanger, of course), so the sense of closure is nice.

The Bad
The storyline took a step back from the moody, melancholy first part and attempted (not entirely successfully) to add humor to the game. Unfortunately, as much as I like humorous adventure games (Monkey Island, etc.), this is NOT what made Syberia great and it seems out of place. Hans Voralberg was a great mystical character in part 1, and over here he's a drooling retard. The two recurring villains look like they jumped right out of 101 Dalmatians or something. Could have done without it.

The Bottom Line
Buy Syberia I. No question about it. You'd want to play the game in the chronologically correct order anyways. If you like Syberia I, then go get Syberia II, because it's essentially the same game and continues the storyline, so you'll like it also. But as a standalone game it's nowhere near as good - if you play part II while never having played part I I doubt you'd enjoy it half as much.

Either way, a welcome addition to any adventure gamers' library, for sure.

The Good

This is the second part of my lengthy rant that started with the first Syberia; as the games belong next to each other back-to-back, and are, in fact, one game split in two, this review probably won't make sense without the first one. Syberia II doesn't, in any case.

The good, then. It's still jaw-droppingly beautiful. Perhaps even more so than the first game. This time, Kate's journey finally takes her to Siberia, and the freezing, snowbound environments are stunning. It's a 5/5 for graphics again.

I was also very pleased to see some of the most obviously broken aspects of Syberia were corrected in the sequel: the number of empty screens was cut to a bare minimum (for most of the game, anyway; sadly, a major location in the final act brings the issue back with a vengeance and considerable amount of pixel hunting ensues) and population was added to the backgrounds, making towns at the outskirts of civilization surprisingly much more alive than all of the European locations of Syberia combined. These people can't be talked to, yet help tremendously in making the setting much more lively. The result is that the game world is much easier and friendlier to navigate. The dialogue system was also reworked, now giving different dialogue options for different characters, as it should be.

Unfortunately, the rest of it is the same as before, if not worse; and the changes themselves are flawed.

The story continues directly where Syberia left off and is just as bland as before. This time, a new plot element was added: cuts to the New York office of Kate's employers who are trying to track her down in the frozen wastes. In a perfect illustration of how misguided the storyline is, they have absolutely no reason whatsoever for doing that. It's a replacement for Kate's (also ultimately purposeless, but at least realistic) calls from home in the first game, but it doesn't work at all. Two villains were also added to the storyline, but they are so incongruous with the rest of it the less said about them the better (not to mention the sequence where Kate, usually unwilling to perform any physically demanding task such as jumping, suddenly turns into Spider-Man). At least there is a better ending this time, though not a satisfactory one by a long shot.

And talking about writing - I have said the dialogue system has been reworked, but somehow, it apparently hasn't occurred to anyone that it might be a good idea to keep track of what has already been said or done. Kate is perfectly willing to ask how to perform something she has already done, and people will keep offering exactly the same information in several conversation topics, not remembering anything at all; even more than in Syberia, they all sound like broken robots. Ugly and artificial.

There is, however, one aspect of Syberia II that takes all that was wrong with the first game and just runs with it. I have called the puzzle design of Syberia atrocious; in Syberia II, it's well beyond that. More often than not, the things Kate does in this game are completely arbitrary, and done just because that's what adventurers do, apparently; strangely enough, when combined with the already mentioned removal of empty screens, these arbitrary puzzles are all the more obvious and I often felt like I were playing with a walkthrough at hand - it's perfectly clear what you are supposed to do, it just takes a lot of time. But still, if you put yourselves in Kate's shoes, and think within the game world, it makes no sense whatsoever. There's a puzzle where your heroine defaces a church mural, with absolutely no indication, literally none, that there is something hidden beneath it; in the end, there is, of course - church murals just always seem to work that way, don't they? There's also a bear who will only eat a certain kind of salmon, and a ton of other examples that are actually hilarious, when you think about them. There's also a lot of mechanical, Myst-like puzzles, way more than in Syberia, but a notable percentage of them don't seem to follow any sort of internal logic; just clicking madly usually solves them. However, there is also one devious puzzle, quite different from the rest, which can't be solved unless you happen to remember a certain fact your eccentric old companion had murmured once or twice in his sleep. If you paid little attention to his ramblings, tough luck. Bad, bad design.

To stress my point, let me quote an example of what has to be one of the most horrible "do as the designer says" puzzles ever conceived: there's a pilot hanging by a parachute from a tall tree in the snowbound Siberia, just out of reach, he's asleep and wearing headphones, so he can't hear the shouts trying to wake him up. Kate, being an Adventure Game Heroine, promptly searches the wreckage of his plane and starts randomly flipping switches in the cockpit (and I swear there is absolutely no method to this) to find out the frequency the pilot is tuned to; luckily, there is a radio tower nearby (the chances of that, eh?) she can then use to transmit a wakeup call. And throughout the whole effort, it apparently never occurs to her to throw a bloody snowball at him. Too simple, I suppose. And all this is done to find a faster method of transportation than going on foot to a train that is some 2 kilometres away; the method the awakened pilot suggests has all the advantages of being dramatic, really fast, impractical and seriously life-threatening. Oh well.

And there are penguins at the North Pole. Which is, admittedly, petty criticism for a game where huge herds of mammoths roam, but it's still pretty weird.

All in all, Benoît Sokal (by now, his name is the very first thing one sees in the game after the company logo fades away; subtle) should stick to what he does best: drawing. When the tedium of Syberia is removed, as is the case in most of Syberia II, the faults are all the more apparent. As the first one, it's a horribly designed, poorly written game.

But it still is gorgeous.