Take Action: The cursor will turn into half a magnifying glass when you have the option of taking some action or using an inventory item. The opening of Syberia: The World Before feels slow, and it takes some time before you start to take an interest in what is going on. Much of the gameplay also feels sluggish, especially in walking and jogging around the streets, with certain conversations chugging along rather than offering anything of interest. As Kate arrives in Vaghen and visits a nearby refuge, it started to become a lot more interesting, and it helps that the visuals are stunning. The way you switch between the timelines is done well, and as the story progresses, both characters are given enough depth for you to care deeply about both of them. The game follows two timeframes with two characters: Dana Roze, a young pianist in the small fictional Central European country of Osterthal (resembling a mix of Austria, the Czech Republic and Switzerland) in the 1930s and Kate Walker, the protagonist of Syberia series, who is now imprisoned in a salt mine in the fictional Eastern European region of Taiga in early 2000s. Dana graduates from her conservatory by performing the local anthem dedicated to the city of Vaghen, where the fascist Brown Shadow faction (an analogue to National Socialists) have begun to persecute the ethnic minorities and force them into ghettoes. I fell in love with this game right away. That's important to note, because when The World Before was first announced, I was skeptical, as I suspect many Syberia fans were. That’s because the ill-fated third game in the series had left such a poor taste in my mouth, to the point where I almost wished the franchise would end there. Then Microids released the playable prologue for Kate's fourth adventure, and while it was still rough around the edges at that point, it hinted at enough possibilities that I became cautiously optimistic. Having now completed the full game, I feel confident in saying this is the game fans have been waiting for since the Syberia series began. As a poignant reflection on Kate's growth as a character, however, it will best be appreciated by longtime fans.

But that’s the nature of the beast, and won’t deter genre fans, while any dropped story beats are made up for by the overall rhythm of a compelling plot. And ultimately, the game’s heart is there, not in its machines but in those human stories, in Dana and especially in Kate. It’s her curiosity and longing for meaning that drives this series, and precisely what we need for a good adventure. The World Before allows her to shine, and long may she continue. The game's story does touch on issues surrounding WWII, specifically the rise of the National Socialist Party (Nazi) (although not mentioned in game but are known as The Brown Shadow). I say this because if you are sensitive to historical themes of Nazi/Jewish (Vaghens) occupation and the persecution, then I am letting you know now so please bear this in mind. There is no graphic or insensitive content in the game or walkthrough but the references are clearly obvious. The Budapest Film Symphony, led by the internationally acclaimed composer Inon Zur (Prince of Persia, Dragon Age, Fallout…) created a sublime score, and interpreted meaningful themes for the characters and locations throughout the game Hey GoldenSun, thank you so much for this amazing guide! While following it, I noticed a few things:What surprised me the most was just how heartbreaking Dana Roze’s story was. It’s delicately handled and beautifully told, and throughout Syberia: The World Before, you switch between 2005 and 1937, getting to play through memories of Roze’s story as Kate tried to find out more about her. She was dealing with the threat of the Brown Shadow, essentially the Nazis, and the impending Second World War. There’re seldom references to Dana being Jewish, but rather Vageran, yet it’s basically the same thing. It’s baffling just why this blatant omission exists, especially as the Brown Shadow sounds more like a nasty mess left in your underpants than a fascist and dangerous power. Glowing Gold Ring: The cursor will be a gold ring when you are telling Kate to walk about. It will start to glow when you have the option of changing scene. Syberia: The World Before is a graphic adventure video game developed and published by Microids and the fourth installment in the Syberia series. The game is dedicated to the memory of creator Benoît Sokal, who died during development in 2021.

As ever, you accompany perennial protagonist Kate Walker, now an investigative drifter who stumbles into intrigue and turns it into obsession. In this case, in the process of escaping enslavement in a Russian salt mine (where she ended up after the events of Syberia 3) and learning of the death of her mother, she finds an old painting of a girl who looks quite a lot like her. For our anchorless hero that poses a question which can’t be left hanging. I’m also not sure why the lore needs to offer up an alternate version of the World War 2, where Hitler and the Nazis are replaced by a fascist organisation called the Brown Shadow, which sounds like an unpleasant Marvel supervillain, and the main victims of their persecution are referred to as Vagerans instead of Jews (although one note explains that the Vagerans are Jewish). It all feels a little too vague, as you hear talk of “nasty times” and “people like us” rather than historical specifics. Syberia: The World Before was announced by Microïds on August 19, 2019, by which time it had already been in development for a year. [3] The game was released for Windows via Steam, Epic Games Store, and GOG.com on March 18, 2022. PlayStation 5 and Xbox Series X/S versions were released in November, 15 2022 while Nintendo Switch, PlayStation 4, and Xbox One ports are set to launch sometime in 2023. [4] Plot [ edit ] It’s a shame then that some of the narrative’s power is sapped by underwhelming production values and some clumsy delivery. Visually Vaghen’s scenery is evocative, reflecting the town’s evolution through good times and bad, and its population look convincing enough when they’re standing still. The animation and the way they interact with objects is less able to maintain the pretence, however. It’s not quite true to say that sometimes it’s hard to tell the humans from the automatons, but there is a certain puppet-like stiffness and weightlessness about their movements. Immerse yourself in the story, original puzzles, and mysteries of the fabulous adventure of an unforgettable heroine.In fact, one of the qualities I like most in The World Before is that it doesn’t feel a need to hurry to hold your attention. It’s willing to linger on views, expressions, thoughts as Kate zig-zags across the postcard town on quietly efficient automated trams, pondering her life and Dana’s. Moments set aside for optional ‘introspection’, meanwhile, aren’t merely a convenience to recap events with internal monologue, but punctuation points that create space for events to breathe.