Worse still, the gameplay feels incredibly dated – this is like an adventure game right out of the ‘90s in the worst possible ways, full of moon logic and clunky interfaces. They add nothing but tedium, and completely ruin the story’s pacing by forcing you into bouts of meaningless running around. Puzzles are a staple of adventure games, but the best games have well-designed puzzles that enhance the story in Syberia 3, it feels like the whole game was made as a purely narrative game, and then puzzles thrown in haphazardly at the end to make the game more “gamey”. The other problem is that the story’s pacing is frequently thrown out the window in order to shoehorn in unnecessary “gameplay”. In a game as dialogue-heavy as this, acting should be one of the highest priorities, but in Syberia 3 it feels like an afterthought. Sharon Mann reprises her role as Kate, and does her typically great job, but every other performance, from key characters to minor acquaintances, sounds completely phoned in – there’s no emotion whatsoever, and delivery is stilted and awkward. The biggest offender here is the voice acting. Unfortunately, the game undermines its own story at every turn, turning something that should be quite engrossing into an ordeal to slog through. The Youkol people have their enemies, though, as does Kate, and when they catch up with the pilgrimage, things take a turn for the worse, opening the door for a tale of intrigue, as the old world collides with the new and different ideologies collide. The Youkol are a people with close ties to snow ostriches, and live their lives by following the birds’ migration patterns, wherever they go.
#SYBERIA 3 PC GAME REVIEW SERIES#
After being stranded and saved by the nomadic Youkol people, series protagonist Kate Walker decides to assist them. Notwithstanding how heavily it depends on the previous games, Syberia 3 tells an fairly interesting story. After so many years, and with Syberia 3 being the first game in the series to release on consoles, this was a great opportunity to introduce new players.
Even a simple text-based summary, like Syberia II had for Syberia, would have gone a long way. I can’t even imagine what it’d be like for a someone entirely new. It’s been a long time since I played the earlier games and my memory of details is fuzzy, which was enough for Syberia 3 to leave me completely lost before long. Syberia 3 picks up not long after the end of Syberia II, without so much any sort of recap of the previous two games. Put bluntly, this game is no good, whether you’re an old Syberia fan looking for closure, or a newcomer looking to dive into this once-great series. It feels like it was made out of strained obligation to the series and fans, rather than a genuine desire to finish the story that Microids started 15 years ago. Sadly, Syberia 3 wears the scars of its troubled development on its sleeve. Finally, in April this year, the third (and final?) game saw its long-awaited release. It then got delayed, and delayed again, and again. Syberia 2, with its tease of an ending, came out in 2004 there was no word on the next chapter until 2009. Then fans waited for the concluding chapter. The series was always envisioned as a trilogy, a fact driven home by the major cliffhanger ending to Syberia II. Long before the resurgence of adventure games that we’ve seen in the last 5-odd years, here was a pair of games that combined that old point-and-click cell with graphics that were state-of-the-art (for their time), excellent voice acting, and a captivating story. In the early 2000s, French developer Microids released Syberia and Syberia II to much acclaim.
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