The Longest Journey: Chapter 1, Part 2!
TOLD YOU I'D HAVE IT UP TODAY. TOLD YOU.
Another adventurous adventure in the world of Venice, Newport, with our heroine, April Ryan. WHO'S EXCITED? I KNOW I AM!
Once again, various conversations have been omitted because of time/screencapping/laziness/size constraints. I'M SO SORRY. Maybe once I'm done, I'll go back and capture the stuff I missed. JUST FOR YOU GUYZ.
Prologue: A Lion is in the Streets
Chapter One: Penumbra - Part One, Part Two (you are here)
Last time we checked in, April had examined her room, called a guy an asshole, and chatted with her hedonistic, lesbian landlady. Oh, and stolen a matchbook. And regained a gold ring. Now it's time to go outside!
This is just outside your apartment building, the Border House. Pretty, innit?
I could make some sort of comment about the future and how it all relates to April, but I'm not entirely sure what I could say that wouldn't spoil the future of the game for ya'll.
Cortez is going to become very important very quickly. I suggest you remember him.
He speaks with a Spanish accent and interjects random Spanish into his dialogue. As I took German in high school, I have no idea wtf he's saying when he does that. Most of the time, anyway. Also, he sounds quite old. THIS MIGHT BE IMPORTANT but it might not. I dunno, up to you.
Is he hitting on her? I think he's hitting on her.
I think that's a matter of opinion, Cortez. I, for one, have no desire to watch movies that are in black and white, as my general experience with them has been as a member and leader of the Bad Movie Club.
You don't have to say this. You can also say "Hot and sunny, like this one." and he'll basically react the same way. Or you can just be all "Uh gtfo I have to go" if you're mean.
Her body language just screams "Bitch, please." And for such crappy graphics, that's an achievement.
We always have a destiny, don't we? I'm strongly reminded of that line from The Road to El Dorado: "If I believed in fate and destiny, I wouldn't be playing with loaded dice!"
Don't those have a name? Like, day terrors or something?
You start talking to a girl you're barely acquaintances with and tell her things about her personal life that you absolutely should not know, and you expected her to react with something other than shock, horror, and probably a boatload of anger? This ain't Squeenix here. Heroes don't always accept their destiny with serene, dignified confidence.
On occasion, when you complete a section of the storyline that's important, April will update her diary with what's happened. You can reach it through the main menu. Sometimes, it'll help point you in the right direction; other times, it's just entertaining, because it's even more insight into April's inner workings.
Humorous interlude.
Look, a mysterious machine! LET'S EXAMINE IT.
April basically sums up everything you've ever thought about when dealing with an absurdly complex piece of machinery in any game ever.
By using your gold ring with the ripped cables in the upper right-hand corner, you bring the machine back to life. Frankenstein jokes, anyone?
We can interact with it via the daggerlike-tooltip, which means we can probably take it. And if it can be taken, you want to take it. NOW.
BLAST AND DAMN. We'll have to find some way to lower the pressure and turn off the water so that we can steal that clamp. Why do we want the clamp? Well, to be honest, we don't need it until chapter 2, but this is another one of my Get It Now, Save Time Later schemes.
Time for a puzzle! See the glowing lights and the two switches in the bottom right-hand corner of the screen? In order to use the valve and wheel on the left side of the screen, you have to line up all the little line-dealies. I'm not sure if you have to line them up in a specific direction, but it's easiest to do it horizontally, and that's always worked for me. Because I'm lazy, I looked up the solution. It's LRRLLRLLL, with L being Left Switch (actually on the right, wtf) and R being Right Switch (actually on the left).
HOORAY SUCCESS. Now we can turn the little valve on the oxygen tank-like thing and the wheel.
Watch as the pressure magically goes down!
If you don't take it back yourself, April takes it. That ring follows you throughout the whole damn game, and you use it exactly twice.
Another flawless cutscene-render-to-normal-render, showing you where April lives. It's, uh, interesting. Very industrial.
The park, just before you reach April's studio.
And I'm sure the trains are just fabulous at night.
This is VAVA, the Venice Academy for the Visual Arts. It's April's college-school-thingy. University, that's the right word for it.
For entertainment purposes, see two of what can be read on the board:
lulz. Okay, time to go inside and DO SOME WORK.
I looked through the credits, to see if this was actually a nod to someone in the production crew. But there's not a single Olaf on the production team, so I guess they just picked the most stereotypical name even the Norweigans could come up with and went with that. Now then, because it's a given, let's examine the garbage can. There's something in it, after all.
I get it. You're being sarcastic.
This is the studio. I think April and Emma share it, because that holographic sculpture thingy is Emma's. April's a painter (SO TRADITIONAL!).
How does that stop you from being jealous?
I was hoping for something wittier, like ... I don't know. Something wittier.
Well, let's get to work. Grab the paintbrush and palatte, use them with the canvas, and watch a very brief cutscene of April At Work!
That sure was fun.
ohai emma
NOT FROM MY MOTHER. NOT FROM MY MOTHER.
What
Strangely enough, this comes up a lot.
Because guys with accents are automatically hotter than guys without accents. I can live by that.
Nightmares and dreams become critically important in this game. You'll see why in chapter 2.
And sometimes a banana is a euphemism. *shot*
My dreams are never logical. I have an entire tag on my livejournal dedicated to the dreams I have. They make zero sense. None. Ever.
One must always reaffirm the major details, after all.
Mothers do tend to do that, yes.
We have such wonderful friends.
All right! Lunchtime. My favorite.
Cleaning up, doo dee doo doo.
WOAAAAAHHH
No, no it wasn't. In today's terms, we would call that a "wtf D:" moment.
Because every college town has a slick little cafe like that. Hey, mine does. Except they mostly serve coffee.
Star Wars reference. I'm not surprised.
That door is important. I'm just saying now.
Inside the cafe is our good friend Charlie. He lives in the same apartment building as us and is April's only real romantic interest. But since neither of them ever acts on that, it doesn't really count.
Well, we did come here for lunch. Let's eat some!
Om nom nom
New inventory item ahoy! Let's talk to Charlie now that we've been karmaically punished for our theft.
See? Totally romantically interested. Totally.
I don't know why, but that just sounds suspicious to me.
Nooooooooooo reeeeeeeeeallyyyyyy.
Sometimes, the game will actually make a noise alerting you to an important fact or something. It does it right now. Note To Self: examine poster by the jukebox. V. important.
I didn't think you visualized dreams in therapy. Maybe talked about them, but not visualized. Then again, this is DA FUUUTUUUURE, so I could be wrong.
I missed a few screenshots here - when you say goodbye to Charlie, he reminds you that you're supposed to get paid, and to remind Stan, the boss, about it. This is important because we like money. And so does April.
The rest of the cafe. On the right: our boss. On the middle and left: Emma and Marcus. But our interest right now is in the jukebox, and more specifically, the poster next to it.
Where, indeed. Say, that looks like a ticket down there.
Yoink!
I don't, either. Well, unless it's to something I don't want to go see.
OKAY KIDS, let's end here for today. Now we've obtained a creepy message and have a ticket to go somewhere, and have solved a puzzle! Aren't we clever? Look forward to the next part of The Longest Journey, which I will endeavor to have up some time tomorrow! :D
Another adventurous adventure in the world of Venice, Newport, with our heroine, April Ryan. WHO'S EXCITED? I KNOW I AM!
Once again, various conversations have been omitted because of time/screencapping/laziness/size constraints. I'M SO SORRY. Maybe once I'm done, I'll go back and capture the stuff I missed. JUST FOR YOU GUYZ.
Prologue: A Lion is in the Streets
Chapter One: Penumbra - Part One, Part Two (you are here)
Last time we checked in, April had examined her room, called a guy an asshole, and chatted with her hedonistic, lesbian landlady. Oh, and stolen a matchbook. And regained a gold ring. Now it's time to go outside!
This is just outside your apartment building, the Border House. Pretty, innit?
I could make some sort of comment about the future and how it all relates to April, but I'm not entirely sure what I could say that wouldn't spoil the future of the game for ya'll.
Cortez is going to become very important very quickly. I suggest you remember him.
He speaks with a Spanish accent and interjects random Spanish into his dialogue. As I took German in high school, I have no idea wtf he's saying when he does that. Most of the time, anyway. Also, he sounds quite old. THIS MIGHT BE IMPORTANT but it might not. I dunno, up to you.
Is he hitting on her? I think he's hitting on her.
I think that's a matter of opinion, Cortez. I, for one, have no desire to watch movies that are in black and white, as my general experience with them has been as a member and leader of the Bad Movie Club.
You don't have to say this. You can also say "Hot and sunny, like this one." and he'll basically react the same way. Or you can just be all "Uh gtfo I have to go" if you're mean.
Her body language just screams "Bitch, please." And for such crappy graphics, that's an achievement.
We always have a destiny, don't we? I'm strongly reminded of that line from The Road to El Dorado: "If I believed in fate and destiny, I wouldn't be playing with loaded dice!"
Don't those have a name? Like, day terrors or something?
You start talking to a girl you're barely acquaintances with and tell her things about her personal life that you absolutely should not know, and you expected her to react with something other than shock, horror, and probably a boatload of anger? This ain't Squeenix here. Heroes don't always accept their destiny with serene, dignified confidence.
On occasion, when you complete a section of the storyline that's important, April will update her diary with what's happened. You can reach it through the main menu. Sometimes, it'll help point you in the right direction; other times, it's just entertaining, because it's even more insight into April's inner workings.
Humorous interlude.
Look, a mysterious machine! LET'S EXAMINE IT.
April basically sums up everything you've ever thought about when dealing with an absurdly complex piece of machinery in any game ever.
By using your gold ring with the ripped cables in the upper right-hand corner, you bring the machine back to life. Frankenstein jokes, anyone?
We can interact with it via the daggerlike-tooltip, which means we can probably take it. And if it can be taken, you want to take it. NOW.
BLAST AND DAMN. We'll have to find some way to lower the pressure and turn off the water so that we can steal that clamp. Why do we want the clamp? Well, to be honest, we don't need it until chapter 2, but this is another one of my Get It Now, Save Time Later schemes.
Time for a puzzle! See the glowing lights and the two switches in the bottom right-hand corner of the screen? In order to use the valve and wheel on the left side of the screen, you have to line up all the little line-dealies. I'm not sure if you have to line them up in a specific direction, but it's easiest to do it horizontally, and that's always worked for me. Because I'm lazy, I looked up the solution. It's LRRLLRLLL, with L being Left Switch (actually on the right, wtf) and R being Right Switch (actually on the left).
HOORAY SUCCESS. Now we can turn the little valve on the oxygen tank-like thing and the wheel.
Watch as the pressure magically goes down!
If you don't take it back yourself, April takes it. That ring follows you throughout the whole damn game, and you use it exactly twice.
Another flawless cutscene-render-to-normal-render, showing you where April lives. It's, uh, interesting. Very industrial.
The park, just before you reach April's studio.
And I'm sure the trains are just fabulous at night.
This is VAVA, the Venice Academy for the Visual Arts. It's April's college-school-thingy. University, that's the right word for it.
For entertainment purposes, see two of what can be read on the board:
lulz. Okay, time to go inside and DO SOME WORK.
I looked through the credits, to see if this was actually a nod to someone in the production crew. But there's not a single Olaf on the production team, so I guess they just picked the most stereotypical name even the Norweigans could come up with and went with that. Now then, because it's a given, let's examine the garbage can. There's something in it, after all.
I get it. You're being sarcastic.
This is the studio. I think April and Emma share it, because that holographic sculpture thingy is Emma's. April's a painter (SO TRADITIONAL!).
How does that stop you from being jealous?
I was hoping for something wittier, like ... I don't know. Something wittier.
Well, let's get to work. Grab the paintbrush and palatte, use them with the canvas, and watch a very brief cutscene of April At Work!
That sure was fun.
ohai emma
NOT FROM MY MOTHER. NOT FROM MY MOTHER.
What
Strangely enough, this comes up a lot.
Because guys with accents are automatically hotter than guys without accents. I can live by that.
Nightmares and dreams become critically important in this game. You'll see why in chapter 2.
And sometimes a banana is a euphemism. *shot*
My dreams are never logical. I have an entire tag on my livejournal dedicated to the dreams I have. They make zero sense. None. Ever.
One must always reaffirm the major details, after all.
Mothers do tend to do that, yes.
We have such wonderful friends.
All right! Lunchtime. My favorite.
Cleaning up, doo dee doo doo.
WOAAAAAHHH
No, no it wasn't. In today's terms, we would call that a "wtf D:" moment.
Because every college town has a slick little cafe like that. Hey, mine does. Except they mostly serve coffee.
Star Wars reference. I'm not surprised.
That door is important. I'm just saying now.
Inside the cafe is our good friend Charlie. He lives in the same apartment building as us and is April's only real romantic interest. But since neither of them ever acts on that, it doesn't really count.
Well, we did come here for lunch. Let's eat some!
Om nom nom
New inventory item ahoy! Let's talk to Charlie now that we've been karmaically punished for our theft.
See? Totally romantically interested. Totally.
I don't know why, but that just sounds suspicious to me.
Nooooooooooo reeeeeeeeeallyyyyyy.
Sometimes, the game will actually make a noise alerting you to an important fact or something. It does it right now. Note To Self: examine poster by the jukebox. V. important.
I didn't think you visualized dreams in therapy. Maybe talked about them, but not visualized. Then again, this is DA FUUUTUUUURE, so I could be wrong.
I missed a few screenshots here - when you say goodbye to Charlie, he reminds you that you're supposed to get paid, and to remind Stan, the boss, about it. This is important because we like money. And so does April.
The rest of the cafe. On the right: our boss. On the middle and left: Emma and Marcus. But our interest right now is in the jukebox, and more specifically, the poster next to it.
Where, indeed. Say, that looks like a ticket down there.
Yoink!
I don't, either. Well, unless it's to something I don't want to go see.
OKAY KIDS, let's end here for today. Now we've obtained a creepy message and have a ticket to go somewhere, and have solved a puzzle! Aren't we clever? Look forward to the next part of The Longest Journey, which I will endeavor to have up some time tomorrow! :D