Nota bene: This page shall serve as an archive of my personal "walk", nay meanderings, through the Realms of the Haunting. Please be wary that this is not a concise walkthrough in the strict sense of the word, which would strive for comprehensiveness and structural formality, but rather a subjective notebook of sorts, in which I collect in written form my impressions and thoughts about my travels through the various localities of the game.
Let's Walk with Adam through the Realms of the HauntingEdit
During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country; and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. I know not how it was --but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic, sentiment, with which the mind usually receives even the sternest natural images of the desolate or terrible. I looked upon the scene before me --upon the mere house, and the simple landscape features of the domain --upon the bleak walls --upon the vacant eye-like windows --upon a few rank sedges --and upon a few white trunks of decayed trees --with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the reveller upon opium --the bitter lapse into everyday life --the hideous dropping off of the veil. There was an iciness, a sinking, a sickening of the heart --an unredeemed dreariness of thought which no goading of the imagination could torture into aught of the sublime. What was it --I paused to think --what was it that so unnerved me in the contemplation of the House of Usher?
—Edgar Allan Poe, The Fall of the House of Usher, 1839 (excerpt).
Following the untimely death of his father, Adam started to have nightmares of great vividity about a house on the outskirts of a village even before actually setting foot into the mansion in Helston. The house is very strange and seems to have a life of its own. The doors initially bear green, glowing symbols and have no locks, disembodied voices such as the laughter of children resonate through certain parts of the house.
Vestibule and Typewriter RoomEdit
After the doors have slammed shut behind us, effectively trapping us inside the house, we try to familiarize ourselves with our gloomy surroundings. To our considerate bewilderment, the first thing to strike our attention off in the distance is a framed pair of sinister eyes that are quite obviously looking back at us. The doors are covered with a variety of curiously glowing wards. Fortunately, we do not have to fumble about in the dark for too long as we find a Lantern and a Box of Matches placed quite conveniently on a small table to the right side of the main entrance (as seen in , the opening cinematic of the game). On the small side table to the left side of the entrance we spot 1 Magazine of Colt-45 Ammunition and a copy of Thomas Wolfe's Look Homeward, Angel.
Drawn by the rarity of a well-lit room looming in front of us, we proceed through a dark corridor that's lined with windows, and notice with some repulsion the pungent stench that seems to transpire from a Suit of Armour. As we set foot into the afore-mentioned room, a typewriter starts to hammer off of its own accord, even though there's no ink ribbon and some of the keys are missing, leaving a cryptic message and us in a state of perplexity. Apart from that, we pick up a Colt-45, another Magazine, and a Scrapbook containing a Newspaper Cutting on the phenomenon of crop circles.
Two of the four doors at our disposal are warded with white pentagrams, so we proceed through one of the remaining doors that both lead into the same corridor. With agitation we notice some oversized footprints and a dead rat by an open window, and fancy now a good opportunity to jump out but alas, those plans of an early ending to our nightmares have been thwarted by the game's developers, as climbing outside is apparently physically impossible for Adam.
With all the doors in the hallway being sealed for now, our only option is moving up the blue-carpeted staircase in front us, at the very end of which we're somewhat startled to find our despondent self looking back at us. The mirror that's hung up on the wall can actually be considered a clue: turning back down the first flight of steps and entering the corridor to our left, we happen upon the painting of a Sarcophagus, with a candle stick placed on either side. On the opposite side, we've already passed a window with two candle stands that can be lit by using the matches we found in the vestibule. Reproducing, nay mirroring that very procedure on the candles by the painting, we uncover a secret stash containing a brass key which is used to access the nearby Study.
The Study is a room located on the first floor of the Mansion, which can be accessed by following the long corridor from the main hall along the window-side and moving up the first flight of blue-carpeted stairs. It needs a key to open, which can be found behind the painting of a Sarcophagus.
Upon entering the Study for the first time, Adam meets an apparition of his father, put in chains and begging him to free his restless soul. He vaguely talks about a very serious conflict which is about to happen between two adversaries he does not explicitly name, and he also mentions Aelf who he advices his son to find as he will be like a brother to him and provide guidance. Adam's father is, then, seized by four armoured figures and vanishes: .
The Study is habitually furnished with various bookcases, a fireplace and a silver coatscuttle, as well as various seating accomodations placed in front of it. To the left side of the entrance there's a commode, however the drawers are stuck and the canopy has been melted. From the nearby weapon rack we manage to pull out a rusted, but useful Broadsword. In front of the window side we spot a writing table, the bookcase next to it contains a hidden door which leads to the Mausoleum.
Additionally, the room is richly decorated with various thrusting and slashing weapons (some of which Adam identifies as a and a ), coats of arms, three masks, and a number of mostly inconspicuous paintings of people and landscape art, with one notable exception: a painting depicting Florentine, holding a book which Rebecca identifies as his journal.
In the centre of the room lies an intricate rug which according to Rebecca has some sort of device, an icon, woven into it. Judging by the residual, though clearly perceptible power radiating from it, it was supposedly used for magical rituals. This hypothesis is further invigorated by the fact that the rug's weave contains silver and gold, precious metals which were preferably used in the conjuration of demons. We could also argue that the rug has teleportative properties: when using Florentine's Staff on the tower gate in the Observatory, we end up right on the icon of the rug.
Taking a look at the writing table in the back of the room, we find that it has been used recently, with Rebecca commenting how the dust on the desk pad has been disturbed, attesting to somebody else's presence in the house. In addition to 1 Colt-45 Magazine, we collect an assortment of 3 Letters from the table, all pleasantly scented, without address or postage though, sent from a certain R.J. to Claude Florentine.
Next to the desk stands a longcase clock which has stopped at 8 o'clock. The hands don't work anymore but oddly enough, the clock is still ticking. When manually setting the clock to 6 o'clock, it will chime and open/close of its own accord. This can be interpreted as a hint for a puzzle segment which is encountered later on, specifically inside the large floor clock hall just before entering Hawk's Prison.
On the right-hand side of the clock is a sideboard with a grammophone that can be switched on, playing curious sounds of what seems to be a weeping baby as well as a laughing woman and man.
Throughout this room are spread several gold leaf Serpent Statuettes which are part of the puzzle surrounding the Sarcophagus which is set up to the right side of the entrance door. Adam needs to collect all seven of them (some of which can only be found later on) and place them on the circular indentations in front of the Egyptian receptacle. Upon putting the last one in its place, the statuettes will start to glow and the Sarcophagus will open up and reveal a new passage leading to Hawk's Prison.
The Sarcophagus also serves as a teleporter between various locations in the Mansion, provided that Adam is in possession of Florentine's Staff (found in the Observatory). Using the Staff on the left side of the Sarcophagus will get him teleported to the Observatory. Using it on the right side of the Sarcophagus, sends him back to where he meets Aelf for the first time, after having inserted the Shrive into the large door inside the Mausoleum). It's a convenient shortcut, in case you've missed the Serpent Statuette that's hidden in one of the alcoves.
The bookcase opposite the Sarcophagus contains a hidden door which leads to the Mausoleum.
The Mausoleum constitutes the first major dungeon type of area in Realms of the Haunting. It is also setting for several important events: receiving the Marks and the Shrive, and meeting Aelf for the first time who from then on will provide guidance. Adam will also encounter Claude Florentine who he already became acquainted with prior to entering the house, disguised as the priest Elias Camber. After emerging safely from the Mausoleum, Adam will meet Rebecca Trevisard and continue on his journey with her assistance.
Apparently, Florentine attempted to delve into this place as early as 1929, considering the Map that bears his initials. Not having the Marks (and the Shrive), his investigations came to a premature end, as he could neither access the Holy Shrine nor the section beyond the double-winged door that features two knights and the Shrive symbol (illustrated by his despaired "Qu'y a-t-il de l'autre cote [sic] de la Porte?" written at the bottom of the map).
Stepping through the secret door that's integrated into the bookcase in the Mansion's Study, we're immediately welcomed by 1 minor Yielder, after whose defeat we move down into the stony corridors of the dungeon. A long flight of stairs later, we're surprised to find that the path behind us will collapse, leaving us no choice but to continue onwards through these unhospitable grounds. Adding to our perplexity and misery, there's a basin of seething lava to our left.
It should be noted that, in case we haven't picked up the Colt-45 from the sideboard in the Typewriter Room, we will find another Pistol along with 2 Magazines stashed in a small alcove next to the rubble that's now blocking our way back. On return to the Typewriter Room, the original Colt-45 will still be there.
Moving on, we come across a pool of water from which another minor Yielder spawns. On the floor we spot one more Magazine for our Pistol. Descending another staircase, our attention is drawn to a green pentagram painted on the wall to our right, approaching it triggers a minor Yielder. The room we subsequently come into features a similar occult painting on the floor. Hidden inside some wooden crates we gather two more Magazines, as well as two boxes of Shotgun Shells, picking up the latter will trigger a minor Yielder (accompanied by the sound of disembodied laughter mockingly resonating through the room). To the left of the corridor that we came in through, there's a wooden door with a circular aperture in the middle, allowing us to insert the Metallic Orb found inside a niche close by, along with another Magazine. Treading inside, we're confronted with another minor Yielder. Considering the rather gloomy impression we've gained of the dungeon so far, we can attest a certain cosiness to this room, featuring two rugs (though the colour on the weave is badly faded) and an extinguished fireplace, an armchair and a small table with the Map of the Mausoleum, as well as a small bureau from which we gather 1 Green Vial and a sketch of a peculiar symbol and door. On the left side of the armchair, we discover 4 Magazines and 1 Shotgun Cartridge.
Exiting, we decide to explore the path to our left, crossing a small bridge over a stream of seething lava, and are immediately kettled in by two minor Yielders. Cautiously moving down the subsequent flight of stairs we end up inside a small den, at the far end of which we spot a Shotgun along with 1 Box of Shotgun Shells and 2 Green Vials, guarded by a quartet of minor Yielders. Backtracking up the stairs, we proceed along the second path at our disposal, to the opposite side of the wooden door that required the Metallic Orb to open.
Following along the meandering stairs, we soon make the acquaintance of a new type of enemy, a robot of sorts. After having blown 3 of them to pieces with our newly acquired Winchester M1897 Shotgun, we come into a brighter section filled with several knight statues dating from the Norman period. There's a staircase in front of us, but we decide to take a look at what's beyond the door to our left first.
The chamber we enter is adorned with various religious tapestries and murals, in the rear end we spot a shimmering chest tomb (hearing the same sound that characterises the tower gates) and a pentagrammic drawing on the ceiling above it. In the middle of the room there's a triangular terrace bearing a small red pentagram on the ground and on the ceiling above it.
There are two doors with levers, accessing the first one, we enter a corridor whose stonewalling features more of the green pentagrammic paintings we've already seen at the entrance of the Mausoleum. Crossing another stream of lava and hearing ominous robotic noises from afar, we eventually tread inside a chamber in which we're overwhelmed by a multitude of Robots that will keep regenerating from a flagstone until we press a series of four glowing hand-shaped glyphs in the right order (nota bene that the fourth button will only appear inside a niche after pressing the third one that can be found inside the respawning den). Thankfully, all the remaining cyborgs will collapse once we've pushed the last hand button. Investigating the section by the respawner, we discover a writing on the wall:
the recital of which will convert the regenerator into a teleporter that sends us to a bright chamber filled with various inanimate Robots and more of the Norman knight statues we've already come across. Moving up the staircase in the far end allows us to reaccess the room with the shimmering chest tomb and proceed through the second unexplored door.
Following another dark staircase we come across 5 minor Yielders, patrolling around the slightly labyrinthian corridors. Taking the wooden door in front of us, we enter a room that's barred on one side and filled with numerous wooden crates from which we meticulously gather 4 Magazines and 2 Shotgun Cartridges. On the right side of the bars we discover a lever, pulling it triggers a timed event that leaves us about 15 seconds to rush out of the crate room and follow the path to our left until we reach another wooden door that the lever temporarily opens, allowing us to access a small room in which we're confronted with a minor Yielder. There's water dripping from the ceiling, by the way. To kindle our bemusement even further, we hear the disembodied laughter of an old woman and the beating of a heart that seem to originate from a small drain grate, above which we spot an , the Lever Key. Taking it will spawn another minor Yielder and silence the unnerving laughter, though the pounding will remain. Inside the wooden crates we find some more valuable ammunition, 5 Pistol Magazines and 5 Shotgun Cartridges.
Upon exiting the room, we'll be confronted with 2 Robots, threateningly informing us that "[our] presence violates the pact, as it is written, as it was, so shall it be, for all eternity." After blowing them to pieces, our business down here is finished, hence we return up the stairs and back into the room with the shimmering chest tomb and religious murals, from which we can finally proceed onwards into the large and brightly illuminated chamber in which we would have previously reached an impasse.
Bright Chamber with StatuesEdit
Walking down into the bright chamber we find that the stairs will sink to the ground, effectively trapping us. To the left side there's a lever though, which will raise the staircase again. Taking in our surroundings, we spot a wooden door to our left, behind which we're greeted by another Robot. Moving up a few steps and looking left, our eyes fall on a portcullis that serves as a shortcut back to the room with the shimmering chest tomb and rich religious wall decoration. As we continue to explore the area we've just entered, we spot another wooden door off in the back of the room which bears a passage from the Second Epistle to the Corinthians (King James translation):
And no marvel; for Satan himself is transformed into an angel of light. Therefore it is no great thing if his ministers also be transformed as the ministers of righteousness [...]
The door opens up to a confined room in which we're confronted with another minor Yielder, our reward being another 3 Shotgun Cartridges. A few steps further, we enter through yet another wooden door with a doorknocker, leading us to a crate-filled stash from which we gather more ammunition for our firearms: 3 and 4 Shotgun Cartridges.
Proceeding forward along the only remaining path at our disposal, our attention is soon drawn to a curiously shimmering and humming portal, which we boldly decide to tread through. Our trespassing is acoustically accompanied by a short, solemn, monkish sort of chant. We're considerably impressed by what we find beyond the portal, a sort of gloomy unorthodox chapel with monastic cross vault, illuminated by a viridescent light falling in through the window sides and filled with various chest tombs, the key feature being the peculiar large throne in the far end which appears to be made from bones. Inching forward, we find two more pieces of religious writing, scrawled on either side of the stately seat, which we identify as passages from Hosea 4:6 and Leviticus 26:22 (King James translation):
My people are destroyed for lack of knowledge"
I will also send wild beasts amongst [sic] you"
Backtracking through the portcullis to the bright chamber that's filled with inanimate Robots and Norman knight statues, we decide to explore the far end. Taking the wooden door to our left, we will fall down a hole, taking considerable damage in the process, which can be neutralised by the Red Potion we find down here. Moving on, we have to deal with 3 more minor Yielders and end up in a damp cavern of sorts, whose mossy walls are covered with several untarnished shackles. The rusty portcullis takes some effort (three clicks) to open and leads us to some sort of hideout, featuring a small chair and writing table, from which we gather 2 more Shotgun Cartridges. Continuing upstairs, a stone wall will be lowered, and we find ourselves back in front of the Throne Room.
Holy Shrine with Creator's Staff and ShriveEdit
Backtracking once more to the bright central chamber, we find that the Iron Key we've picked up will allow us to open the door to the right side of the imposing statue in the far end of the chamber, behind which we enter a hallway whose floor is scattered with innumerable bones and whose walls feature Angelic murals. Having three paths at our disposal, taking the left one first will lead us over a small wooden bridge, on which we're confronted with 2 minor Yielders and 1 major Yielder, to a small stash of 2 valuable Red Potions. Backtracking to the entrance of this section, we explore the small room to our right, in which we discover but another chest tomb.
Proceeding along the central path, we pass by a considerably large water basin and ascend a staircase that leads us to a Holy Shrine. As we slowly advance into the room, observing with a certain awe the imposing white marble statues to either side and slightly infatuated by the profound smell of incense, our attention is drawn to an altar stone placed in front of a large angel statue in the far end of the chamber. Having been branded with the symbol of the Shrive, we're allowed to take the eponymous artefact and the Creator's Staff. After having received the gifts, two of the hitherto inanimate marble statues will turn into Slanders (which is unfortunate as Adam sensed a certain calm around these things).
Meeting Florentine and AelfEdit
after which we'll have to deal with two more minor Yielders, but are eventually allowed to proceed beyond. Nota bene that if we choose to keep silent, we'll be attacked by the two hitherto inanimate Robots placed inside the chamber.
Moving up the stony winding staircase we come into a room quite reminiscent in appearance of the corridor that led us to the Holy Shrine, the walls being adorned with similarly lush murals. Enter Claude Florentine who demands the Shrive from us. In our head, we're quite amused by the prospect of witnessing his hands being burned off but alas, the developers do not allow us to give him the artefact. Denying his request, he summons three Skeletons from the bone-scattered grounds. All available exits will be sealed with red lemniscatic wards which will only disappear after having dealt with our enemies.
Moving along we soon find ourselves in front of a finely worked, double-winged door featuring two knights and the Shrive symbol. Remembering the parchment we've picked up earlier inside the little writing chamber, we decide to insert the eponymous artefact into the designated aperture. The area we enter is filled with various chest tombs placed inside alcoves on either side of the central alley. Meticulously investigating every nook and cranny we're able to gather a whole of 3 Shotgun Cartridges, 2 Pistol Magazines, as well as one more Serpent Statuette stashed next to another Norman knight statue.
Proceeding into the second half of this area, a large basin reveals itself in front of us, filled with shallow water and lined on both sides with pillars and torches, infusing the room with an air of solemnity, an impression that intensifies as our eyes fall on the murals of angels and winged horses adorning some of the walls in the back. Combing the alcoves to the right side of the water basin, we spot , in which we make the acquaintance of Aelf, the knight mentioned by Adam's father during their tête-à-tête in the Study, who will be a valuable guide and confidante from now on. He will kindly provide us with 3 Red Potions, a valuable gift considering the oncoming attack of numerous (respawning) Skeletons.. As we approach the shrine with the marble altar stone in the far end of the chamber, a cutscene will be triggered,
As we make haste to leave this place through the double-winged door, we again notice the sound of a beating heart. Our return back to the Study is further exacerbated by a task force of 2 major Yielders and 2 minor Yielders. Once we reach the collapsed entry to the Mausoleum, we find another small aperture to insert the Shrive into, allowing us to leave this dire place behind. Opening the bookcase, we're finally back in the rare safety of the Study and make the acquaintance of Rebecca Trevisard. If you wish to follow this walkthrough chronologically, please click on the following icon to continue reading about our further exploration of the Mansion in search for a portal to the Tower.
Dormitory, Armoury, GalleryEdit
After safely returning from the Mausoleum, Adam makes the acquaintance of Rebecca Trevisard, a woman he recalls from his dreams.
Now that some of the wards have vanished, we're free to explore more of the house. Exiting the Study and descending the blue-carpeted staircase, we enter the dark corridor to our left, where we happen upon a small room with a peculiar green dome in the centre of it. At present, we lack to make use of it though.
Continuing just a few steps further along the corridor, there's another room to our right, filled with wooden lockers. Next to the entrance, we discover a differently coloured tile on the floor which reveals itself to be a pressure plate that opens a nearby door, containing the considerably useful Map of the labyrinthian Mansion.
Our meanderings eventually lead us to a Dormitory which apparently has not been used and tended to in a while and thus, is filled with a rather unpleasant smell. The floor's creaking noticeably under our weight (random musing: is the Nightingale Floor in Raysiel's Tower an allusion?). Apart from the usual furnishing associated with such a room (an extinguished fireplace, various bedsteads and bedside cabinets, clothes stands and chairs), there's nothing too remarkable about this place, except for a valuable Red Potion up on the mantelpiece and an old chest which upon closer inspection serves to open the stout door with the doorknocker to the right side of it.
Exiting the Dormitory, we take a left turn and happen upon a sword and shield hung up on a wall, which are in surprisingly good condition and radiate a residual trace of power; turning the sword upside down reveals a hidden mechanism which lets us access the adjacent door leading to the Armoury to our right, and another room upfront which contains a curious pedestal of sorts, a so-called tower gate. Approaching it, we hear a whispering voice informing us that "[the] Tower is close traveller. You have no Rite [sic] of Passage. Find the mask... find the mask."
Exiting the room, we decide to explore the afore-mentioned Armoury. By using her pendant, Rebecca will telegraph an external event to Adam, in which we witness Gaul magically warding the front door of the Mansion and leaving an Ace of Spades playing card, on which is written: "Adam, now it begins."
As expected, the room itself is stocked with plenty of shields and both slashing and thrusting weapons (Claymores, Scimitars, Axes, Spears), as well as more of those suits of armour that we've already become familiar with from wandering around the house. Several coats of arms and daggers are hung up on the walls.
Moving further to the back to take a look at the painting of Florentine dressed as a Templar, we're bewildered by the sudden disembodied laughter of children resonating through the room and are subsequently attacked by two skeletons. Our reward in defeating them is a generous stash of six Shotgun Cartridges, as well as an Incomplete Map of the afore-mentioned Tower, hidden up on the bookshelf on the opposite side of the entrance.
Proceeding forward along the dark and stony hallways, we enter the room on the opposite side of the Dormitory exit (curiously, there's water dripping from the ceiling by the door), which reveals itself to be a Gallery of sorts, and find that the windows have been boarded up and Old Knight's Helm placed on the floor in front of a worn-down map of the world, referred to as Realm of Heled. Rebecca has difficulties classifying the helm's period, stating that it's very stylized. Clicking the item inside the inventory triggers a cutscene, , in which we learn more about the decline of the noble Falshire Knights and Aelf. We exit the Gallery through the double-winged door next to the map tapestry and discover the Ace of Spades card that we saw Gaul drop in the Armoury movie clip, down in front of the Mansion's main entrance. On the card is written: "Adam, now it begins.". We're surprised by a minor Yielder attacking us from the dark and eventually stumble upon an
From the Main Hall we revisit the Typewriter Room and are now able to access the door to our right, which was hitherto sealed by a white pentagrammic ward, allowing us to enter a dark room with wooden panelling and rather sparse furnishing, consisting of a bookcase, two chairs and candle sticks, and a small table from which we gratefully take the Map of the Caverns. As soon as we set foot into the room next to the bookcase, a sliver of uncut crystal magically appears in the fireplace and we find that, to our considerable surprise, our hands are not burnt off upon removing it. Other than the smoke-damaged maps of Europe and the world, there's nothing to catch our fancy, so we decide to leave and are immediately surprised by a minor and a major Yielder.
Returning to the Typewriter Room and proceeding forward through the door to the right side of the typewriter sideboard, we can now revisit the room in front of us, the one with the curious green dome in the centre of it. Inserting the green crystal into the small aperture, Adam will be teleported to a place of Egyptian character, the Gnarl's Domain. Passing the Gnarl's test, we receive the masks which are required to travel to the Tower. Hence we head off, passing the Dormitory and the Armoury on our way, and revisit the room with the tower gate. Equipping the Egyptian Masks, we're finally taken to that curious location and make the physical acquaintance of its guardian, Raphael, whose disembodied voice had just beckoned us with the following mantra:
Combine the face with the soul traveller... become as one to walk the Tower.
Know that you stand before the Tower and possess the Right of Passage.
(If you wish to follow this walkthrough chronologically, please click on the icon above to continue reading the segment in which we explore the Tower.)
After our first voyage to the Tower, we end up in the central and largest courtyard of the Mansion: Memory's Garden. The eponymous cutscene, , which is triggered after stepping off the tower gate gives us an impression of cold and sinister desolation: an ominously red moon, skeletons hanging from a leafless tree, and numerous stone statues, some of them headless (potentially "blasted off," according to Rebecca) and others whispering unnerving mantras like "The Marked One approaches", "Will he destroy us or save us?" and "Take us back to the Gardens".
There are two pools of water, out of one of them we fish the Outhouse Key, required to access the small nearby room containing the useful Rune Guide which holds information about the four Realms and their respective symbol, and should thus alleviate our navigation through the Tower.
The parchment scroll is protected by a green ward though, taking it triggers a threatening voice message and the appearance of two duos of both minor and major Yielders outside in the courtyard.
Opposite the outhouse, there's another small and entirely dark room which will only spawn a single minor Yielder upon entering. After dealing with all the creatures, we return to the central tower gate, triggering Chapter V: The Offering.
Chapel and BasementEdit
Returning from our short jog through the Tower and cautiously stepping off the gate, the green ward on the adjacent door will explode, allowing us to proceed forward into the basement of the House. Additionally, a glowing hand symbol has appeared on the wall beside the tower gate, pressing it will lower a plinth in the basement, revealing a demon zone-marker and a bullseye, allowing us to deal with a roaming the area before the Caverns, which is otherwise invincible to our arsenal of mundane and magic weapons.
Descending the small staircase in front of the zone-marker, we're surprised to find a small Chapel to our left. As our attention is drawn to the golden key up on the ceiling, we're attacked by two minor Yielders. After dealing with them, we're free to stand on the indentation in the back of the room and place one of the Serpent Statuettes we've collected so far on the golden floor panel in front of us, revealing a raising altar stone that takes us up to the Tiny Room Key.
Next to the zone-marker, there's a magical rug whose weave incorporates a safety device, standing on it protects us from the imminent attack of the Lopers, presaged by the pair of demolished doors on the floor. There's another zone-marker in the following room, from which three of those monsters will spawn. Equipping our Creator's Staff and luring them back to the first zone-marker, we can safely crush them by shooting at the bullseye from the staircase.
In the following area, we're baffled to see more water dripping from the ceiling and our path impeded by various wooden boxes. Using the key we picked up in the Chapel, we can access a tiny room though. There's a lever for us to pull which will spawn another Loper, a necessary inconvenience as the creature will push aside the crates, allowing us to proceed forward through the hitherto blocked door.
From another small room beyond we gather a welcome stash of 3 Colt-45 Magazines, 2 Shotgun Cartridges and 1 Green Potion, and are surprised by another major Yielder out to harm us. Our travels eventually lead us to a Crypt in which we're contacted by a disembodied voice, asking us to redress the balance, by seeking the holy place: the Chamber of the Soulstone.
The Caverns constitute the interlink between the house and Florentine's Observatory. Before entering the actual dungeon, Adam and Rebecca pass through some sort of Crypt, characterised by a rumbling ambient noise, various chest tombs and incense burners of Persian origin (as identified by Rebecca). Some of the walls feature murals with depictions of angels. Here they are contacted for the first time by the disembodied voice of Hawk who asks them to restore the Balance by seeking the Chamber of the Soulstone.
It's an arduous endeavour as the Caverns are an unsurprisingly dark and inhospitable area, filled with nasty creatures that spawn incessantly and pursue Adam and Rebecca into every nook, making navigation even more difficult. As such, the Map that can be found on the bookshelf in the Mansion's Armoury is a valuable vademecum.
Proceeding downstairs and through a short alley of pillars with runic carvings, we enter the actual Caverns, and are warmly greeted by a disembodied voice saying,
Keeping right we move down a flight of stairs and find ourselves in a basin below the water surface, the investigation of which yields us but a single Blue Crystal (revealing itself to be a useless and treacherous red herring once we meet the guardian of the Caverns).
Returning to the upper section and traversing a small wooden bridge to the opposite side of the Caverns entrance, we pass through a series of hallways whose walls are covered with occult drawings, after which another series of wooden walkways leads us into a strikingly viridescent graveyard of sorts, filled with green crystals, surprisingly untarnished chains dangling from the ceiling, and a group of gravestones and crosses, from the centre of which a Skeleton will arise and attack us. The inscriptions on the stones are hard to make out, eroded from the water in this place. There's a small niche with a pool of corrosive liquid which we should avoid treading into.
Leaving the graveyard we come across another staircase leading down into an area with more corrosive puddles, which yields us but a single Box of Shotgun Shells from a dead corpse (Adam: "Dead by the looks of things." Rebecca: "Nice observation, Doctor Randall."), as well as another deceptive Blue Crystal. Backtracking to the entrance of the Caverns, we'll now take a gander at what amenities the left path has in store for us.
By taking the left path, we come across a "gestating" (using Adam's wording) spot of sorts that's filled with spider webs, where all the Slanderers seem to spawn from (probably constituting the "warren" mentioned in the monsters' welcoming speech), hence we make haste to leave this particular section until we come across a junction.
Path to the Red CrystalEdit
Choosing the left path, a series of wooden walkways and platforms will lead us into a den filled with more nasty Slanders and featuring a magically charged stone plinth with a hand symbol, from which we gather the Red Crystal, the required gem for the Guardian of the Caverns. By backtracking across the bridges, we spot a staircase to our left. Fumbling about in the dark basin, we eventually reach another flight of stairs that lead us back up into a ceremonial chamber, characterised by pillars that bear runic carvings and various candlestands for us to light. Placed on an altar, we gratefully take 1 valuable Red Potion. Drawn by a familiar humming noise, we peek behind the altar and spot a teleporter (along with 2 Magazines for our Colt-45), which serves as a shortcut to a small den, described below, allowing us to quickly proceed to the red Guardian of the Caverns.
Path to the Guardian of the CavernsEdit
Hugging the right wall, we spot a small opening to our right, leading into a small room with another pool of corrosive water and a tower gate (though Rebecca will comment that the design differs), that connects to the afore-mentioned ceremonial chamber. Exiting this little den and following along the path, we cross a series of wooden walkways and discover another Blue Crystal and 3 Shotgun Cartridges in an alcove to our left. Proceeding forward, we eventually reach a Red Effigy, the guardian of the Caverns, inquiring the offering of a benefaction before allowing us to cross the bridge beyond:
- Overboldly calling ourselves master of this place, we'll be attacked by various Slanderers:
- Calling out our name and asking for the right of passage, we have to place the correct gem into the Guardian's claws:
- Offering the Guardian one of the Blue Crystals, the creature will damage us.
- Offering the Red Crystal, the creature will lower the bridge (and disappear in the process), allowing us to enter Florentine's ancient Cottage and Observatory:
Path to the ObservatoryEdit
Alas, our hardships are not over at this point, as crossing the bridge and moving up a series of stairs will lead us to a platforming section, in which we're additionally confronted with an Icon. After successfully manoevring over three moving platforms, we finally reach the entrance to Florentine's ancient Cottage and Observatory. If you wish to follow this walkthrough chronologically, please click on the following icon:
Florentine's Cottage and Observatory is a complex of several rooms which lies beyond the Caverns. Four of Florentine's Journal entries were written here, dating as far back as the year 1330 and hence give us an idea as to how old this place actually is. The walls of three of the rooms have agitated writings on them which are directed at Florentine.
After successfully manoeuvring over the moving platforms, a stone portal will automatically open in front of us, leading to a dark area that's olfactorily characterized by the foul stench of somebody having died in there. It's a point of no return as the section behind us will collapse, leaving a wall of rubble. Rebecca senses a Power at work, but she can't quite place the source of it, advising us to be careful. And infact, as our attention is drawn closer to the Breastplate in the back, an Urge will spawn from the pentagrammic zone-marker sneakily placed in front of it. Picking up the afore-mentioned piece of armour triggers a cutscene, , in which we meet Aelf again, telling us that his Cuirass "will prove sovereign against both spear and dagger; against the ungodly, it will shield the heart and ward the soul." After he vanishes, we're confronted with two minor Yielders and another Urge, after which we gladly take the two potions Aelf left for us.
Moving up the staircase, we eventually reach Florentine's ancient Cottage. Throughout this whole place we can hear the sound of rain.
The first room we enter supposedly was used as a pantry of sorts. More water dripping from the ceiling, various empty crates, and a wall of cryptic text. The light's still working in here. Leaving through one of the two doors at our disposal, we enter a red-carpeted corridor with a lot of empty frames and are welcomed by a new type of enemy, a so-called Feint, wielding various blade weapons and having the convenient flaw of being very noisy. From another crate we pick up 2 magazines of Colt-45 ammunition.
The next room we enter was apparently used as a Study. The blood-red wallpaper has a rather unsettling appearance, and on one of the walls we find more of that puzzling and agitated writing. From the small bureau by the second entrance, we gather an exquisitely worked magnifying glass and a sketch of a sword, with an ink smudge on the pummel. On the writing table we find a Map of the Raquia Maze, which will prove quite useful to us once we set foot into the Realm of Spirit, Raquia. A habit we've become quite familiar with by now is to check the headpiece of bookcases, and in this case are rewarded with another red potion. Other than the painting of Florentine depicted as a sorceror with a peculiar staff, giving us another taste of his latent narcissism, there's nothing left to attract our attention, hence we make off through the afore-mentioned second door at our disposal, leading us straight into Florentine's old Bedchamber.
Some of the green wallpaper has been ripped off in favour of adding more agitated writing, Adam wonders what could have burnt this into the wall with such precision. Under the filthy bed we discover the staff we've seen just before on the painting of Florentine. It's a rather ornate walking stick with an impressive green jewel and gold worked into the head-piece, reminding Adam of the necklace he saw around his father's neck. According to Rebecca's musings, it seems to be magically charged in some way, potentially related to movement, though the use could be limited. As a matter of fact, Florentine's Staff can be primarily used as a device to travel between various parts in the Mansion. Using it on the left side of the Sarcophagus in the Study, will get us teleported back to the Observatory. Using the Staff on the right side of the Sarcophagus, will conveniently send us back to to the Mausoleum where we met Aelf for the first time (a useful shortcut in case we forgot to pick up the Serpent Statuette that's hidden in one of the alcoves).
Inside an old suitcase we find 1 green and 1 red potion. Nothing too particular about this room, other than an empty bookcase, dead planters, and to the right side of the bed a large wooden wardrobe with empty closets and coat hangers, in which we spot a small door, for which we'll have to acquire a key first. One of the doors at our disposal leads us to a dysfunctional tower gate and a lot of dead rats scattered all over it. Taking the other remaining exit, we find ourselves back in the red-carpeted corridor, and proceed straight forward through another door leading into a dark room in which we're confronted with another Urge. There are two more green potions for us to take from the otherwise empty crates.
Having explored all the rooms at our disposal, it's time to move up the red-carpeted staircase leading to a large empty room that's mainly characterised by the unnerving flickering lights and the quartet of Urges out to obliterate us. After dealing with them, we eventually reach the actual Observatory, with another Feint to welcome us.
Switching on the light, our attention is drawn to the writing table in the centre, with an overturned chair beside it. In addition to an inkwell and a quill with golden nib, we collect a Sketch of , as well as a Starchart with particular emphasis on Venus. Rebecca mentions the planet's cognomen "Morning Star" and goes on to explain that the planet marks Lucifer in the sky. Elaborating on the word's etymology, "Lucifer" (from the Latin lux, gen. lucis, "light", and ferre, "to bear, bring") can be translated as "Light-bearer" . In Christian theology, the term's "Lucifer" has come to be associated with Satan as the fallen "son of the dawn". In the latter passage the title of "Morning Star" is given to the tyrannous Babylonian king, who the prophet says is destined to fall. This passage was later applied to the prince of the demons, and so the name "Lucifer" came to be used for Satan, and was popularized in works such as Dante's Inferno and Milton's Paradise Lost, while one of the greatest influence (at least on English speakers) certainly has been its use in the King James Version of the Bible (more modern English versions translate the term as "Morning Star" or "Day Star"). The word "Lucifer" has also frequently been used by early Latin writers such as Cicero, Pliny the Elder, Vergil, and Statius.
On the writing table we also find the first part of Florentine's leather-bound and embossed Journal. Following Rebecca's advise to go through it thoroughly and systemically yields us a silver key that's been hidden between the pages, which will allow us to open the small locked door on the large wardrobe we've previously inspected in Florentine's old Bedchamber. The first book's main subjects are the Gardeners (Raphael, the Tower's guide, being one of them), the "One Power", as well as the Temple of the Morning Star (the Order established by Florentine). After taking a look at the various telescopes and the star chamber, we thus head off back to the afore-mentioned bedroom and find the last required Serpent Statuette. Backtracking all the way back to the dark chamber in which we picked up Aelf's Breastplate, we happen upon a small wooden door, behind which we find a brightly illuminated tower gate and a spot to use Florentine's Staff, conveniently teleporting us to the Study and initiating Chapter VII: Beyond the Gate. If you wish to follow this walkthrough chronologically, please click on the mask icon to continue reading the segment in which we place the Serpent Statuettes and explore what's beyond the Sarcophagus.
Hawk's Prison is an area which can be accessed after having acquired and placed all seven Serpent Statuettes in front of the Sarcophagus inside the Study. The Egyptian receptacle will open up and reveal a brick-built corridor leading to a spacious circular hall whose floor is covered with a large clock. If we think back to our first examination of the Study, we remember that the grandfather clock would chime and open up at six o'clock. Hence we reproduce this particular time setting by using the two levers that can be found when ascending the small staircase on one side of the room. This will open up the portal on the opposite side. NB: falsely configuring the clock will spawn a major Yielder.
Further examining the clock hall, we notice the pronounced smell of sulphur, like something's been burning. Our attention is then grabbed by the magnificent murals, depicting various knights who protect themselves from fire-breathing dragons by using their shields. It's a valuable hint which prompts us to equip the Dragon Shield before we proceed on our way, as the door that opened up after setting the clock will shoot fire balls at us. When examining the trap beforehand, Adam will actually comment on the black colour around the dragon's mouth from which the fire balls will originate. As an additional bit of help implemented by the developers, the following voice message will be triggered after having set the correct time:
Proceeding through a corridor lined with marble walls, the smell of sulphur intensifies and we soon find ourselves confronted with a new type of enemy, a duo of green creatures with two heads, one of which roams around a glowing fountain of magical water on either side of the corridor, in the vicinity of which we discover two silver goblets with aquatic detail.
Rebecca: There's a great power here Adam. Present... in the mosaic. It's focused... like an occult Seal.
We eventually come into a large chamber, characterised by the pools of lava seething underneath the narrow pathway. Stepping onto the large mosaic of a chained angel in the centre, we're once again contacted by the disembodied voice of Hawk who had already beseeched us inside the crypt preceding the Caverns:
In order to free him, we must locate the Key of Tears, so named for the grief and desolation it symbolizes. He asks us to go to the Tower and walk with the spirits (an implication for our next destination: Raquia, which is also referred to as the Realm of Spirit).
To either side of the room we find an oddly designed metal door featuring the depiction of a fish with an aperture on its mouth. Equipping the Chalice and splashing some of the magical water gathered from the fountain, we're able to open it.
The door to the left side of the entrance contains Aelf's Dagger, after picking it up we meet Aelf again, who informs us that we hereby found one of his most treasured possessions, explaining that it's both a dedicated weapon and a key, the device to enter the Realm of Raquia, as such constituting a prerequisite for finding the above-mentioned Key of Tears:
Our leaving of this place is impeded by the appearance of nasty Belial, dressed in a doctor's attire, who demands the Shrive from us. In order to hold the artefact, he puts on a set of gloves made from skin he apparently ripped off of the hands of someone who had the same marks as Adam. Fortunately, by giving the new blade weapon we've just acquired a shot, we're able to put him to flight for the time being, burning half of his face off in the process. Our exploration of this place ends for now, as we initiate Chapter VIII: Mark of the Beast and return to the Study in search of a portal to Raquia. On our way back we're attacked by a task force of 3 Shadows and 3 Icons out to foil our plans.
Pentacle Room, Refectory, Second Major Courtyard (Portcullis) Edit
After our unpleasant first encounter with Doctor Belial beyond the Sarcophagus, we're confronted with a task force of 3 Shadows and 3 Icons out to foil our plans of searching for a portal to Raquia and subsequently the Key of Tears. Eventually we find ourselves back in the rare safety provided by the Study walls, allowing us to take a breather. Having gathered new courage, we cautiously leave and are immediately attacked by two major Yielders.
As our meanderings lead us back to the Mansion's vestibule, the green ward on the door in front of us will explode and trigger the appearance of 1 Shadow. Following along the unlit corridor now open for exploration, we make out various worn-down tapestries with axes adorning the wooden panelling, and eventually reach a dark room whose walls are characterised by numerous empty frames and blood splattered all over them. On the floor we spot a laboriously executed painting displaying occult iconography, which will spawn a major Yielder upon closer inspection. Lighting all the five candles that are placed around it, we summon a necessary evil whose defeat will yield us a small Quartz Idol holding a book; the statuette will serve as a key and allow us to access two specific locations later on: Florentine's Library and the Temple of the Morning Star (subsequently leading us to the Realm of Raquia).
The pentacle room leaves us with two more doors to explore, and it should be noted that the House will become considerably more labyrinthian at this point.
From the entrance we originally came into as our point of reference, we decide to take the door to our left first and set foot into a room with a wooden staircase that leads up to a boarded-up door, next to which we discover a small locker, containing 1 ever-welcome Green Potion and 2 Shotgun Cartridges.
Returning to the pentacle room, we open the second door at our disposal. Progressing straight forward through another door, we move up a small stony staircase that's covered with countless dead rats and discover with some frustration another dysfunctional and blood-smeared tower gate. Remembering Raphael's words, we speculate that the gate's connection to the Tower must have been corrupted by the Ire:
Leaving this room and taking a right turn, we eventually reach the Mansion's Refectory, decorated with the usual assortment of objects we've already encountered in other parts of the Mansion, namely various Coats of Arms, Daggers, and Suits of Armour. There's a small stash of 4 Colt-45 Magazines in the back of the room, as well as 2 Green Potions and 1 Red Potion placed on the sprawling dining table in between several candelabra. Picking up the latter triggers a duo of major Yielders.
Leaving the Refectory through the second door at hand, we find ourselves at a junction: by keeping to the left, we find a small locker next to an otherwise blocked staircase, from which we gather a Die (that's obviously been placed there with no pun intended), and 1 Shotgun Cartridge.
Backtracking to the afore-mentioned junction after the Refectory, another door leads us through a number of wooden and stony corridors, allowing us to access a spacious courtyard whose main feature appears to be the imposing portcullis that we spot off in the distance. Walking down the stairs to take a closer look, we find that the gate's been chained shut and enchanted with an extra-strong spell. To the right side, stashed in between several dead rats, there's another Green Potion. To the left side of the portcullis, a door opens up to a room that's again characterised by a foul stench, probably originating from the various skeletons scattered across the lowered floor. Before we have time to investigate any further, we're attacked by a Spite, a creature that will burst into numerous green spheres upon defeat. To the opposite side of the entrance, we discover a new weapon, the Flintlock, reminiscent of 19th century grenade launchers. Taking it immediately triggers 2 Shadows, and another trio of them as we return to the courtyard.
Moving up the second staircase at our disposal, we happen upon yet another dysfunctional tower gate. Proceeding straight forward we eventually reach Florentine's Library, which requires the Quartz Statuette to enter. Initiation of Chapter VII: By the Seven be Bound.
The Library of Claude Florentine is a room that becomes accessible after having acquired the small Quartz Idol from inside the room with the occult floor painting. The Library is protected by a security spirit, a disembodied guard inquiring a code: Library Guard
Welcome, Master Florentine. I trust you are well. And what will it be today Sir? Unfortunately I was not able to locate the book yoou asked me to find. Shall I procure a cup of Darjeeling for you Sir? Some Brandy perhaps? Are you looking for anything in particular Sir? What do you intend to do with Hawk Sir? Raysiel sent another Emissary this morning. The Urges still report the intruders are within the grounds. Are there any special orders you wish for me to pass onto them? Belial was by last even Sir. The Ward held as usual. Master Florentine. Forgive me, but does something trouble you? Your reticence is unusual. The Dodger is close Master Florentine. Your scout reports antoher attempt to leave the Tower. Sir, please forgive me, but due to your lack of response your instructions require me to ask of you the library code. I'm sure you understand. Sir, please forgive me again, but further to my request, you have failed to procure the library code. Under your instructions, I must ask you one further time. Failure to reply will result in the instigation of your security measure. Failure to reply. Intruder in Library.
As the library code is unbeknownst to us, we're immediately attacked by a trio of major Yielders, one inside the actual room and two more outside in the stony corridor preceeding the Library. Defeating them allows us to take a closer look at our surroundings which turn out to be largely unremarkable, as the bookshelves are almost entirely relieved of their contents. Adorning one of the walls, there's a smoke-damaged map of Europe and a tapestry depicting a hand tightly gripped around a green orb.
- a Complete Map of the Tower
- a hand-written text relating somebody's journey to Raquia, Arqua and Sheol
- a text on Raquia and Raysiel
- a parchment on historical and legendary Cornwall.
Leaving the Library (and picking up the Quartz Statuette again), the security spirit kindly bids us farewell and we continue back along the corridor, taking the door to our right, which opens up to a small courtyard, filled with more of the whispering statues that we've already familiarised ourselves with during our exploration of Memory's Garden. As our attention is drawn to the tower gate placed in an alcove, a cutscene is triggered, in which Adam and Rebecca witness the, thankfully short-lived, appearance of the Dodger. Rebecca suggests a causality between the creature and the destruction of the tower gate:
Leaving the courtyard, we decide to walk down the staircase to our right, with more water trickling down upon our heads, and are soon confronted with another major Yielder. Keeping right we discover a door with another lock to use the small Quartz Idol on, triggering the appearance of a minor Yielder in the process. Progressing straight forward our investigation ends prematurely in front of a , situated on the left side of the small courtyard we've just been in.
Walking back we decide to explore what's beyond the door to our right, opening up to a series of somewhat labyrinthian, stony hallways. With a certain apprehension, we decide to follow the trail of dead rats distinguishing one of the paths at hand. Eventually we reach a bright room with a pool of water on the ground, and proceed up a small flight of stairs, with locker rooms on either side. The metal door in front of us leads us to the Temple of the Morning Star.
The Temple of the Morning Star refers to both the Templar Order founded by Claude Florentine as well as its conventicle which is located in the basement of the Mansion. The tower gate leading to the Realm of Raquia can be found here.
By the seven be bound, by the seven to come... the power of one, thy will be done.
After the cutscene, we're free to take in our surroundings, which are quite reminscent of Hawk's Prison. On the floor we spot another demon zone-marker and summoning sign that's thankfully inactive for now, as well as several polygonal indentations with fire glyphs in the centre, to keep the flames going. It's interesting to note that we'll come across an exact reproduction of these fire pits in one of the rooms in Raysiel's Tower.
Expanding upon the fire theme, the Temple is filled with numerous torches which, according to Rebecca's musings, are of a magical nature and might have been lit for years. As we investigate the weird carvings on the altar stone, Rebecca suggests that they might not be carvings after all, commenting that the carvings seem to be moving. The three green crystals (from which we're allowed to take one) feel odd to the touch, Rebecca senses a particularly strong power emanating from them.
As we move up the small flight of stairs in front us, we're overwhelmed by the heat originating from the imposing basin of seething lava beneath our feet. As we approach the altar in the backside of the chamber, our attention falls on the impressive large tapestry depicting Lucifer.
Turning around, we notice a lever on the backside of the afore-mentioned altar that opens a nearby door, behind which lies the tower gate that will lead us to the Realm of Raquia. If you wish to follow this walkthrough chronologically, please click on the following icon to continue reading about our search for the portal to Raquia in the Tower.
Return to Hawk's PrisonEdit
After safely returning from Raquia and finally in possession of the Key of Tears, we make haste to free Hawk from inside his prison. Back inside the Temple of the Morning Star, there's 1 Shadow and 1 Loper out to thwart our plans, as well as another Spite attacking us inside the bright room with the pool of water. Backtracking the path that's covered with dead rats, we're now being confronted with 4 of those noisy Feints attempting to cut us into bite-sized pieces. After safely emerging from these labyrinthian hallways, we take the door to our right (the one that originally required the small Quartz Idol to open), and follow along the path to our right, passing a pair of candelabra for us to shed some light on the dark stonewalling that a few steps further will segue into a wooden corridor which eventually leads us back to the Gallery and subsequently, the Mansion's Vestibule. The Study's only a stone's throw away from here. Hopping down the hole by the Sarcophagus and following along the straightforward path, we eventually reach Hawk's Prison and insert the Key of Tears into the peculiar lock in the rear part of the seething chamber. The central mosaic will break, allowing us to finally meet Hawk in person. After our lengthy conversation with him, in which he discloses a multitude of valuable information to us, we're allowed to move up the ethereal staircase that will lead us to the old vicarage of Adam's father and the church he used to practice at.
As soon as we step off the tower gate, we're welcomed by a quartet of Belial's Shadows. After having dealt with them, we have some time to take in our surroundings; there's something considerably unnerving about the Vicarage, an aura of ominous gloom, its bleak façade being overgrown with ivy, the vacant eye-like windows emanating a sense of inhospitality.
Approaching the edifice through the front yard that's girded by a low wooden fence, we spot a red lemniscatic ward on the double-winged main door which explodes of its own accord as we move closer to it, allowing us to cautiously tread into the edifice. The programmers generously placed the trigger for the explosion considerably far from the entrance as a kind warning sign, to make us aware of the fact that, from now on, it may be unwise to approach the warded doors inside the house without caution.
We've actually seen a demonstration of the sealing process as telegraphed by Rebecca in an early cutscene:
In this particular movie clip, we witness Gaul lighting a match and performing a specific hand motion, creating a red lemniscatic ward on the main entrance of a house (probably the Mansion in this case, which is why we cannot leave it).
Next to the Vicarage entrance we notice a small wooden cabinet containing a Magical Torch which is necessary to render the green lemniscatic wards visible. Hidden under the well-used door mat we find Belial's magical wand, used to dispel said wards. It's important to always have the torch equipped while exploring the house and to shoot at the doors from afar, to avoid taking considerable damage.
The door to the left of the entrance remains locked to us for now, so we'll proceed to investigate the room to the right for now, which was apparently used for dining purposes but is entirely empty now, safe for an extinguished fireplace, empty picture frames and a red carpet showing considerable signs of wear. The wallpaper is ripped off at certain parts, appearing to us as a first indication of the acts of vandalism that Charles' house must have suffered from, considering its present state of dilapidation. There are two adjacent green wards for us to dispel, the right door leads to a dark cubby with a ceiling-high mirror on one side and various kinds of waste (bones, blood) scattered and spilled all over the floor.
The second revealed door leads us the kitchen of the Vicarage, with a surprisingly spotless old gas cooker on the right side. The humming from the refrigerator tempts us to take a closer look at it. We're inclined to call bug hunters as the appliance is covered with grime, but eventually we summon up the courage to open it, yielding us a which apparently used to be tagged at some point. All things considered, we could almost attest a subtle humour to the fact that the clock has stopped working at 6 o'clock. Yearning for some fresh air, we decide to leave through the door next to the refrigerator and find ourselves spoilt for choice between two more doors.
Taking the right one leads us to a dominantly blue entertainment room of sorts with a desk and various kinds of multimedia equipment, such as a hi-fi system with a CD in it and most perplexingly, a TV set which displays scenes of Realms of the Haunting, specifically Adam's return from the Gnarl after failing his test, and secondly the first visit to Hawk's Prison where Adam and Rebecca are telepathically contacted by the disembodied voice of Hawk. The room's walls are scratched with occult and astronomical drawings and the windows have been bricked-up. Next to the hi-fi system is a locked door which will later on lead us to the afore-mentioned room to the left of the Vicarage entrance, once we've acquired the necessary Key.
Note: I'm afraid I'm too dense to comprehend Adam's and Rebecca's comment on the painting of a music band:
- Adam: What the Hell?
- Rebecca: Future sight. It's the only possible answer.
ETA: I was considerably relieved to find out I was apparently not the only person to wonder about this particular subject, as somebody kindly dared to open a discussion thread on the game's GOG message board.
Apparently, the painting in ROTH has been inspired by a Radiohead poster. Kudos to GOG forum user frostcircus for the enlightenment!
We decide to leave this room through the door we originally came in through, switching off the TV while we're at it, saving some electricity to silence our economical self, and proceed through the door that's just ahead of us. A short corridor and a staircase later, we've reached the basement of the house and are immediately attacked by three major Yielders.
There's a single candle for us to shed some meagre light, revealing an ornately crafted large door with a floral design and a lock mechanism built into it. The basement is generously stocked with wine racks and beer kegs, and at this point in our adventures we could certainly use a fine drop.
Fumbling about in the dark, with no illumination to be had from the numerous, but burnt down candle stands, we happen upon an incarcerated green creature which, luckily for us, is warded by a red pentagram drawn on the floor in front of it.
The magical torch reveals a green ward to the left side of the cell, leading us to a laboratory of sorts. Rebecca senses something of a very concentrated magical quality, and stashed on a spot to the left side of the entrance we find the source of that aura, the peculiarly shaped Tree Key, which will open the similarly remarkable large door we've passed by moments ago.
The room is well-equipped with chemical devices, , and bookshelves, but none of them seem to reveal any hidden passages like in the Study. There's a general state of disarray in here, with papers strewn about and piles of books placed upon the floor, more beer kegs, and a blue rug with a pentagram design. Inspecting the experimenting tables eventually rewards us with a valuable green potion among the chemical apparatuses, though.
Tree of LifeEdit
Now that we're in possession of the curious Tree Key, we can finally take a look at what's behind the florally designed door we've passed by during our exploration of the vicarage basement. We enter a short corridor and walk through of the shimmering gates that we've familiarized ourselves with when wandering the Tower. The passage ends in front of an image of the ancient Tree of Life, with three small lights flickering in its crown. We will visit this very place later on, as the tree is actually located inside the white tower on the Island of Threads. For now though, there's nothing left for us to do in the basement, so it's time to proceed upstairs to the top floor of the vicarage.
Ascending the staircase opposite the main entrance of the Vicarage and following along the corridor, we happen upon a door with a red ward to our left which leads to the first of two bedrooms. This one's in a really bad state, the wallpaper's ripped off, and the bed is unmade and dirty, the carpet is extremely worn. There's another extinguished fireplace, with a vase of long-dead roses on top of it, and another empty image frame. Next to it, we find a standard-fitting wardrobe with claw marks all over it, opening it reveals a green ward for us to dispel, leading us to a dressing room with a coat stand, a small but locked cabinet to our right and another warded door in front of us. We'll need to return here, once we're in possession of the required Key.
Leaving the bedroom, we proceed along the corridor, gratefully taking advantage of the light switch along the way, and happen upon another warded door to our left which opens to an unremarkable room whose sole feature appears to be a small radiator and another warded door. We enter to find a bathroom, with a large, ceiling-high mirror to our right, and an assortment of sanitary appliances in unsurprisingly objectionable state to our left. It's with a certain relief to note that nobody's decided to hide a key in the toilet. Opposite the bathroom entrance, there's another ward for us to dispel, and using the unnamed Key we found inside the refrigerator we're able to enter the second bedroom of the house, characterized by occultly scribbled walls. With some surprise, we notice the vase of fresh roses on the mantelpiece. The bed is in a much better condition than the one we've seen already, too. Three major Yielders will spawn once we inch forward into the centre of the room, their defeat will yield us the Cupboard Key , used for opening the little cabinet inside the walk-in closet with the coat stand, where the Key to open the door left of the main entrance is being stored.
Returning to the ground floor, we're finally able to access the door left of the main entrance. Two major Yielders will be triggered when approaching the centre of the room, but once they've been dealt with, we're free to take three books from the shelf, namely the second part of Florentine's Journal, a copy of an Edgar Allan Poe anthology, named after one of his short-stories, The Pit and the Pendulum, and a copy of The Anatomy of Christ. According to Rebecca's musings, the latter book apparently belongs to someone other than Adam's father, judging by the aura it's emanating. Taking a closer look at Florentine's diary, we find another Key hidden between the pages, which will let us access the belfry of St. Michael's.
The Church of St. Michael is an edifice situated opposite the Vicarage of Charles Randall and can be accessed after having freed Hawk with the Key of Tears. Please note that access to all segments of the church can only be gained after having fully explored the Vicarage.
Stepping off the tower gate, we're immediately greeted by a quartet of Belial's Shadows. Once they've been dealt with, we can take a first cautious look at the church. Startling our unsuspecting selves, there's a Spite dropping from the canopy, his demise will yield us a Coin that we need to put into the collection box by the entrance. Apparently, the church is suffering from signs of dilapidation, especially the roof is in danger of collapsing. A desperate attestation to this, there's a church fund pamphlet asking for donations required for its restoration. On the opposite side of it, we find a stoup containing some Holy Water (†).
Stepping inside the actual building, we notice puddles of rainwater on the floor, giving us an indication of the roof's meagre state. As our gaze is wandering over the interiour though, we find that the stained glass windows are a marvel to behold and the alley of lit candle stands leading to the chancel manage to uphold a vestigial aura of solemnity despite the general dilapidation.
To the left side of the double-winged main doors of the church, there's the panelled entrance to the locked Belfry: the required Key can be found, hidden between the pages of Florentine's second Journal, inside the room left of the Vicarage entrance.
Moving up the Belfry, we gather a delicate jewelled Tiara from a small table that's covered with knife or claw marks, placed next to the unattended bell rope. Another flight of stairs later, we find a plain iron key without markings.
Returning downstairs, we proceed along the pews further into the Nave. Passing by the Altar with two candles and a cross, we find ourselves drawn to the mesmerizing stained glass window in front of us, which depicts the scene of Saint Michael as he's casting a demon out of Heaven. A cutscene will be triggered, Glass Memories, in which Adam and Rebecca witness the descent of two Feathers, one red and one green, the decision between the two will be of a later relevance. From the Pulpit we gather someone's handwritten Notebook, containing thoughts on the archangels Raphael and Michael.
To the left side of the Chancel, there's a small room that's partitioned from the rest of the church by an extravagant, finely worked wooden screen, which can be opened with the Key we picked up inside the Belfry, revealing itself to be a Lady Chapel.
On the Communion Table we spot a Madonna statuette. Upon closer inspection we find there's a ring of discoloration around the Madonna's head, prompting us to place the jewelled Tiara on it. The wooden base of the statuette features a small indentation and two engraved feathers. Brooding, our attention is drawn to a mural that's covering one of the room's walls, depicting a gate and two angels (one with green wings), giving us the sought-after clue as to which feather to insert. Nota bene that mistakenly choosing the red feather will spawn two major Yielders. As we put the green feather into the small aperture, the mural will open, acoustically accompanied by a short monastic sort of chant, and reveal a casket that contains Aelf's Helm. In the following cutscene, , we once again meet our valued confidante Aelf, informing us that his helm serves as our passport to the Realm of Divinity, Arqua, where we shall find the notorious Sword of the Dragon, Eternity. He kindly leaves us with 2 Red Potions.
As our business in the Church is finished now, we step on the tower gate and make haste to reach our next destination, Arqua. If you wish to follow this walkthrough chronologically, please click on the following icon to continue reading about our search of the portal to Arqua inside the Tower.
After having solved the riddle in Arqua and on returning back to Heled through the Tower, precisely shortly after having stepped on the Heled mantle stone, Adam and Rebecca encounter Belial and several of his minions who drag along Adam's father. As Adam attempts to attack Belial he is immediately seized and imprisoned in a cell in Belial's prison which is situated beyond a graveyard lying on the backside of the mansion. The graveyard itself leads off into a maze which harbours a tower gate to Sheol.
- ↑ Hint courtesy of Disthron
- ↑ 2 Corinthians 11:14-15
- ↑ Hosea 4:6
- ↑ Leviticus 26:22
- ↑ Texture, as found in the ROTH/M/ADEMO.DAS folder: "SLANDERI.ng:saying nasty things..BMP" and "SLAN_C.Bluey grey gargoyle with wings.BMP"
- ↑ This area is referred to as "ancient cottage" in the official solution by Interplay, the game's publisher: "The key opens a door across the corridor from the Shrine. Through this door you will find a lever. This moves a series of crates to reveal the next point of egress, a hidden doorway leading down into the caverns - which leads to Florentine's ancient cottage and observatory. Collect the hidden ammo behind the door."
- ↑ The Wall of Writing texture for this specific room is named "PANRIT.pantry writing.bmp"
- ↑ The Wall of Writing texture for this specific room is named "PANRIT2.study writing.bmp"
- ↑ Isaiah 14:12
- ↑ De Natura Deorum 2, 20, 53
- ↑ Natural History 2, 36
- ↑ Georgics 3:324-325
- ↑ Thebaid (Latin poem) 2, 134-150
- ↑ Texture "POOLWA1.marble wall with lite.bmp" as found in folder ROTH/M/DEMO.DAS
- ↑ As referred to in the texture desccription.
- ↑ According to the description of the wallpaper texture: "DIRMWA1.dining room wall.bmp"
- ↑ One of the wall textures, which we can access with the help of the XWE Editor, is called "SLIKWA5.wall and mondrian().bmp".
- ↑ Book title according to ROTH texture description: "AOCHRIST.anatomy of christ.bmp"
- ↑ Rebecca: "This book's personal to someone. The aura surrounding it speaks to me of someone other than your father."
- ↑ Texture description (DEMO1.DAS): CSCREEN2.screen to lady chapel.BMP