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Atlantis Speaks Again M M Maier

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Point-and-click adventure game past LucasArts, 1992

1992 video game

Indiana Jones and the Fate of Atlantis
A drawn image showing the logo of the game and a horned gargoyle head emanating lava from its mouth. Several scenes from the story are superimposed over the drawing: A camel chase, a uniformed Nazi soldier holding the red-headed Sophia Hapgood who wears a glowing amulet, and the main protagonist Indiana Jones with his fedora and bullwhip.

Lead artist William Eaken's embrace artwork depicts the main characters Indiana Jones and Sophia Hapgood.
Developer(s) LucasArts
Publisher(s) LucasArts
Managing director(s) Hal Barwood
Producer(due south) Shelley Day
Designer(southward)
  • Hal Barwood
  • Noah Falstein
Programmer(s)
  • Michael Stemmle
  • Ron Baldwin
  • Tony Hsieh
  • Sean Clark
  • Bret Barrett
Creative person(s) William Fifty. Eaken
Writer(s)
  • Hal Barwood
  • Noah Falstein
Composer(s)
  • Clint Bajakian
  • Peter McConnell
  • Michael Land
Serial Indiana Jones
Engine SCUMM
Platform(s)
  • Amiga
  • DOS
  • Macintosh
  • FM Towns
  • Wii
  • Windows
  • OS X
  • Linux
Release
  • Amiga, DOS, Mac
    • WW: June 1, 1992
  • FM Towns
    • JP: Baronial 27, 1993
  • Wii
    • NA: June 9, 2009
    • Eu: June 12, 2009
    • AU: June 19, 2009
  • Windows, OS X
    • WW: July eight, 2009
  • Linux
    • WW: October 28, 2014
Genre(south) Graphic adventure
Mode(s) Single-player

Indiana Jones and the Fate of Atlantis is a point-and-click risk game developed and published by LucasArts and originally released on June one, 1992 for Amiga, DOS and Macintosh. Almost a year later, it was reissued on CD-ROM as an enhanced "talkie" edition with total voice acting and digitized sound effects. The 7th game to use the script language SCUMM, Fate of Atlantis has the player explore environments and interact with objects and characters past using commands synthetic with predetermined verbs. It features three unique paths to select, influencing story development, gameplay and puzzles. The game used an updated SCUMM engine and required a 286-based PC, although it nonetheless runs as a real-mode DOS awarding. The CD talkie version required EMS memory enabled to load the phonation data.

The plot is set in the Indiana Jones universe and revolves around the eponymous protagonist's global search for the legendary sunken city of Atlantis. Sophia Hapgood, an former co-worker of Indiana Jones who gave up her archaeological career to become a psychic, supports him along the journey. The two partners are pursued by the Nazis who seek to use the ability of Atlantis for warfare, and serve equally the risk's antagonists. The story was written past Hal Barwood and Noah Falstein, the game's designers, who had rejected the original plan to base of operations it on an unused pic script. They came up with the last concept while researching real-world sources for a suitable plot device.

Fate of Atlantis was acclaimed past critics and received several awards for "All-time Run a risk Game of the Year" and "Game of the Year" after its release by several game publications. It became a one thousand thousand-unit seller and is widely regarded as one of the greatest video games of all time.[one] [two] [3] [4] [five] [six] Two concepts for a supposed sequel were conceived, but both projects were eventually canceled due to unforeseen problems during evolution. They were afterward reworked into two split up Nighttime Equus caballus Comics series past Lee Marrs and Elaine Lee, respectively.

In June 2009, the game was released as an unlockable actress of the Wii action game Indiana Jones and the Staff of Kings, and every bit a digitally distributed Steam championship for Microsoft Windows and Bone X on July eight, 2009.

Gameplay [edit]

Fate of Atlantis is based on the SCUMM story arrangement past Ron Gilbert, Aric Wilmunder, Brad P. Taylor, and Vince Lee,[7] thus employing similar gameplay to other point-and-click adventures developed by LucasArts in the 1980s and 1990s.[8] The player explores the game's static environments while interacting with sprite-based characters and objects; they may use the pointer to construct and give commands with a number of predetermined verbs such as "Pick upwardly", "Utilize" and "Talk to".[9] Conversations with non-playable characters unfold in a series of selectable questions and answers.[10]

Early on, the role player is given the choice between iii different game modes, each with unique cutscenes, puzzles to solve and locations to visit: the Team Path, the Wits Path, and the Fists Path.[11] In the Team Path, protagonist Indiana Jones is joined by his partner Sophia Hapgood who will provide support throughout the game.[11] The Wits Path features an abundance of complex puzzles, while the Fists Path focuses heavily on action sequences and fist fighting, the latter of which is completely optional in the other two modes.[eleven] Singular for LucasArts titles, it is possible for the player graphic symbol to die at certain points in the game, though dangerous situations were designed to be easily recognizable.[12] A score system, the Indy Quotient Points, keeps track of the puzzles solved, the obstacles overcome and the of import objects found.[12]

Plot [edit]

The story of Fate of Atlantis is set in 1939, on the eve of World War II.[13] At the asking of a visitor named Mr. Smith, archaeology professor and adventurer Indiana Jones tries to find a modest statue in the archives of his workplace Barnett College. After Indy retrieves the horned figurine, Smith uses a key to open information technology,[14] revealing a sparkling metal bead inside. Smith then pulls out a gun and escapes with the ii artifacts, but loses his coat in the process. The identity menu inside reveals "Smith" to be Klaus Kerner, a Nazi amanuensis.[fifteen] Besides inside the coat is an old magazine containing an commodity most an expedition on which Jones collaborated with a immature adult female named Sophia Hapgood, who has since given upwardly archaeology to become a psychic.[16]

Fearing that she might be Kerner's next target, Indy travels to New York City to warn her and to notice out more nigh the mysterious statue.[17] In that location, he interrupts her lecture on the civilization and downfall of Atlantis,[xviii] and the two return to Sophia's apartment. They notice that Kerner ransacked her office in search of Atlantean artifacts, just Sophia says that she keeps her near valuable particular, her necklace, with her.[xix] She owns another of the shiny beads, now identified as the mystical metallic orichalcum, and places it in the medallion's mouth, invoking the spirit of the Atlantean king Nur-Ab-Sal.[xx] She explains that a Nazi scientist, Dr. Hans Ubermann, is searching for the ability of Atlantis to use it as an energy source for warfare.[21]

A video game screenshot showing the two protagonists in the middle of a crowded marketplace. The lower part of the image shows a variety of objects on the right side and a number of verbs such as "Pick up", "Use" and "Talk to" on the left side. The mouse cursor is pointing at Sophia, making the current command "Talk to Sophia".

Indiana and Sophia in an Algerian marketplace. Below the scene the game displays the core of the SCUMM system, the verbs and objects that the thespian may construct commands with.

Sophia then gets a telepathic bulletin from Nur-Ab-Sal, instructing them to find the Lost Dialogue of Plato, the Hermocrates, a volume that volition guide them to the metropolis.[22] After gathering information, Indy and Sophia eventually find it in a collection of Barnett College.[23] Correcting Plato'south "tenfold fault", a mistranslation from Egyptian to Greek, the document pinpoints the location of Atlantis in the Mediterranean, 300 miles from the Kingdom of Hellenic republic, instead of 3000 every bit mentioned in the dialogue Critias.[24] [25] Information technology likewise says that in order to gain access to the Lost Urban center and its colonies, three special engraved stones are required.[26] At this point, the player has to choose between the Team, Wits, or Fists path, which influences the mode the stones are acquired. In all three paths, Jones meets an artifact dealer in Monte Carlo, ventures to an archaeological dig in Algiers, explores an Atlantean labyrinth in Knossos on Crete, and Sophia gets captured by the Nazis. Other locations include the remains of a small Atlantean colony on Thera,[27] a hydrogen balloon and a Nazi submarine.

The individual scenarios converge at this point as Indiana makes his fashion to the underwater entrance of Atlantis near Thera and starts to explore the Lost City. He figures out how to use diverse Atlantean devices and even produce orichalcum beads. With this knowledge he saves Sophia from a prison house, and they make their manner to the heart of Atlantis, where her medallion guides them to the domicile of Nur-Ab-Sal. The spirit of the Atlantean male monarch takes full possession of Sophia[28] and it is simply by a pull a fast one on that Indy rids her of the necklace and destroys it, thus freeing her. Meanwhile, they detect grotesquely deformed bones all over the place. They advance further and eventually reach a large colossus the inhabitants of the city congenital trying to transform themselves into gods. They had hoped using ten orichalcum beads at a time would enable them to command the water with the powers they gained, keeping the sea level downwardly to prevent an impending catastrophe.[29]

Unknowingly, Indiana starts the machine, upon which Kerner, Ubermann, and Nazi troops invade the identify and announce their intention to use the machine to become gods. The machine was responsible for creating the mutated skeletons seen earlier, but the Nazis believe that it will piece of work on them due to their "Aryan" qualities. Kerner insists to step onto the platform first, challenge himself to be nearly suitable for godhood. Subsequently Jones mentions Plato's tenfold error, Kerner decides to use one bead instead of ten. He is turned into a horribly plain-featured and horned creature, and jumps into the surrounding lava.[29] Indiana is forced to step on the platform next but threatens Ubermann with eternal damnation once he is a god. Fearing his wrath, Ubermann uses the machine on himself, feeding it 1 hundred beads. He is turned into a light-green ethereal beingness, simply his grade becomes unstable and he flies apart with an agonized scream.

Two alternative bad endings meet ane of the protagonists undergo the 2d transformation if Indiana could not convince Ubermann to use the machine instead, or if Sophia was not freed from her prison and Nur-Ab-Sal'southward influence. In the happy ending, Atlantis succumbs to the eruption of the however agile volcano equally the duo flees from the city. The final scene depicts Indiana kissing Sophia on peak of the escape submarine, to comfort himself for the lack of evidence for their discovery.[30]

Development [edit]

A photograph of a Caucasian senior wearing glasses.

A photograph of a middle-aged Caucasian man.

Former moving-picture show writer and producer Hal Barwood (left) served as the project leader, designed the game and was the principal creator of the storyline and the script; Co-designer Noah Falstein (right) helped write the story and conceived the idea of the three different paths.

At the time a sequel to Indiana Jones and the Last Crusade: The Graphic Adventure was decided, most of the staff of Lucasfilm Games was occupied with other projects such equally The Secret of Monkey Island and The Dig.[31] [32] Designer Hal Barwood had simply created 2 reckoner games on his ain before, but was put in charge of the projection because of his experience every bit a producer and author of characteristic films.[31] [32] The company originally wanted him to create a game based on Indiana Jones and the Monkey Male monarch/Garden of Life, a rejected script written by Chris Columbus for the tertiary picture show[32] that would take seen Indiana looking for Chinese artifacts in Africa.[32] [33] However, after reading the script Barwood decided that the idea was substandard, and requested to create an original story for the game instead.[32] Along with co-worker Noah Falstein, he visited the library of George Lucas' workplace Skywalker Ranch to look for possible plot devices.[32] They eventually decided upon Atlantis when they looked at a diagram in "some cheap coffee-table volume on the world'south unsolved mysteries", which depicted the metropolis as built in three concentric circles.[32] Falstein and Barwood originally considered the mythical sword Excalibur equally the story's plot device, only the idea was scrapped because it wouldn't have easily given Indiana Jones a reason to go anywhere except England.[34]

Writing the story involved extensive research on a plethora of pseudo-scientific books.[35] Inspiration for the mythology in the game, such as the description of the metropolis and the appearance of the metal orichalcum, was primarily drawn from Plato's dialogues Timaeus and Critias, and from Ignatius Loyola Donnelly's book Atlantis: The Antediluvian World that revived involvement in the myth during the nineteenth century.[31] The magical properties of orichalcum and the Atlantean applied science depicted in the game were partly adopted from Russian spiritualist Helena Blavatsky'southward publications on the force vril.[31] The giant colossus producing gods was based on a power-concentrating device called "firestone", formerly described by American psychic Edgar Cayce.[31]

Once Barwood and Falstein completed the crude outline of the story, Barwood wrote the bodily script,[36] and the team began to conceive the puzzles and to pattern the environments.[31] The Atlantean artifacts and architecture devised by lead artist William Eaken were made to resemble those of the Minoan civilization, while the game in turn implies that the Minoans were inspired by Atlantis.[37] [38] Barwood intended for the Atlantean art to have an "alien" feel to it, with the machines seemingly operating on equally yet unknown physics rather than on magic.[38] The backgrounds were outset pencil sketched, given a layer of basic color and so converted and touched up with 256-colors.[39] Mostly they were mouse-drawn with Deluxe Paint, though roughly ten pct were paintings scanned at the end of the development wheel.[37] As a result of regular design changes, the images frequently had to be revised by the artists.[38] Character animations were fully rotoscoped with video footage of Steve Purcell for Indiana'due south and Collette Michaud for Sophia'south motions.[32] The main art team that consisted of Eaken, James Dollar and Avril Harrison was sometimes consulted past Barwood to assist out with the more graphical puzzles in the game, such as a broken robot in Atlantis.[37] [38]

The addition of three unlike paths was suggested by Falstein and added about 6 more than months of evolution time, mainly considering of all the extra dialogue that had to be implemented for the interaction between Indiana and Sophia.[32] Altogether, the game took around two years to stop, starting in early on 1990,[32] and lasting upwards to the floppy disk release in June 1992.[xl] The only aspect Barwood was not involved in at all was the production of voices for the enhanced "talkie" edition released on CD-ROM in May 1993, which was instead handled by Tamlynn Barra.[32] [41] The voice-over recordings for the approximately 8000 lines of dialogue took almost four weeks, and were washed with actors from the American Federation of Television and Radio Artists. Harrison Ford was non available to record Indiana Jones'south voice, so a substitute actor Doug Lee was used.[42] Victor Entertainment published the game for FM Towns in August 1993. The "talkie" version was after included as an extra game mode in the Wii version of the 2009 activeness game Indiana Jones and the Staff of Kings,[43] and distributed via the digital content delivery software Steam as a port for Windows XP, Windows Vista and Mac Bone X in July 8 that same year. The versions on the Wii and bachelor on Steam have improved MIDI versions of the soundtrack, along with both voices and text.[44] [45] On Oct 28, 2014, Lucasfilm released the game for Linux as a drove of Disney classics, including Sam & Max Hitting the Route on GOG platform.[46]

The package illustration for Fate of Atlantis was inspired by the Indiana Jones movie posters of Drew Struzan.[37] Information technology was drawn by Eaken within three days, post-obit disagreements with the marketing section and an external art director over which concept to utilise.[32] [37] [38] Clint Bajakian, Peter McConnell and Michael Country created the soundtrack for the game, arranging John Williams' main theme "The Raiders March" for a diversity of compositions.[7] The DOS version uses sequenced music played back by either an internal speaker, the FM synthesis of an AdLib or Sound Equalizer audio carte, or the sample-based synthesis of a Roland MT-32 audio module.[47] During development of the game, William Messner-Loebs and Dan Barry wrote a Nighttime Horse Comics series based on Barwood'southward and Falstein's story, so titled Indiana Jones and the Keys to Atlantis.[48] In an interview, Eaken mentioned hr-long meetings of the evolution squad trying to come up with a better title than Fate of Atlantis, though the staff members could never think of 1 and always ended up with names such as "Indiana Jones Does Atlantis".[37] [38] The terminal title was Barwood's idea, who first had to convince the company'due south management and the marketing team not to simply call the game "Indy's Next Adventure".[32]

LucasArts developed a port of the enhanced edition for the Sega CD,[49] but the release was eventually canceled because The Surreptitious of Monkey Island failed to exist much of a commercial success on the platform.[50] The arcade-style game Indiana Jones and the Fate of Atlantis: The Action Game designed by Attention to Detail was released almost simultaneously with its adventure analogue, and loosely follows its plot.[51]

Reception [edit]

Indiana Jones and the Fate of Atlantis received "universal acclaim" from critics. According to Rogue Leaders: The Story of LucasArts, Fate of Atlantis was "a commercial hit."[66] Noah Falstein reported that it was LucasArts' all-time most successful risk title past 2009, at which point its lifetime sales had surpassed 1 1000000 units. He recalled that the game'south player audition was thirty% female, a higher figure than most LucasArts titles had achieved earlier its release.[67]

Reviewers from Game Informer, Figurer Game Review, Games Mag and Game Players Magazine named Fate of Atlantis the "Best Adventure Game of the Yr", and it was afterward labeled a "archetype" by IGN.[68] [32] [69] Patricia Hartley and Kirk Lesser of Dragon called it "terrific" and "thought-provoking". They lauded the "Team, Wits, Fists" system for increasing the game's replay value, merely believed that the Squad choice was the best. The reviewers summarized it as a "must-buy".[58] Lim Choon Wee of the New Straits Times praised the game's graphics and arcade-mode sequences. About the quondam, he wrote, "The attending to item is excellent, with great colours and vivid sprite animation." He echoed Hartley's and Lesser's opinion that "Team" was the best mode of the game. Wee ended his review by calling Fate of Atlantis "a brilliant game, fifty-fifty beating Secret of Monkey Island 2."[70]

Charles Ardai of Computer Gaming Globe in September 1992 praised its setting for containing the "right combination of gravity, silliness, 18-carat scholarship and mystical mumbo-jumbo", and called it a "strong enough storyline to agree its own next to any of the Indy films." He highly praised the game'southward Team, Wits, Fists system, nigh which he wrote, "Never before has a game paid this much attention to what the role player wants." He as well enjoyed its graphics and varied locales. Although he cited the pixelated grapheme sprites and lack of voice interim every bit low points, Ardai summarized Fate of Atlantis as an "exuberant, funny, well-crafted and clever game" that bettered its predecessor, The Last Crusade.[71] QuestBusters too praised the game, stating that it "is not just the best adventure ever done past LucasArts ... but is as well probably the nicest graphic adventure ever ... just about perfect in all areas". The reviewer wrote "Atlantis shines in 256 colors" and that "the musicians and sound effects specialists deserve a tip of the hat", stating that the audio "completes the consequence of playing a motion picture". He described the puzzles every bit quite creative and certainly fair" and liked the multiple solutions. The reviewer ended that the game was "a must-buy for all adventurers" and "gets my vote ... for 'All-time Quest of the Twelvemonth'", tied with Ultima Underworld, "both of which redefine the state-of-the-art in their corresponding genres".[72]

The following yr, Ardai stated that "Dissimilar many recent CD-ROM upgrades, which take been embarrassing and amateurish", the CD-ROM version "has the postage stamp of quality all over it", with the added dialogue and sound effects "like taking a silent picture and turning it into a talkie ... It's hard to go back to reading text off a monitor after experiencing a game like this". He concluded that "LucasArts has done an impeccable job ... a must-run across".[73] In April 1994 the mag said that "the deejay version of Atlantis is fun, simply in many ways, it's merely another take a chance game", but speech communication made the CD version "a fine approximation of an Indiana Jones film, with you as the principal character", concluding "If you want a skillful reason to purchase a CD-ROM, expect no further".[74] Andy Nuttal of Amiga Format wrote, "The puzzles are very well idea-out, with some exquisite, subtle elements that requite you a real kick when y'all solve them." He noted that the game is "littered with elements that are genuinely funny". His sole complaint was about the game's linearity compared to Monkey Island 2; but he finished by saying, "It'due south a pocket-sized point, anyway, and information technology shouldn't put you lot off buying what is 1 of the best Amiga adventures e'er."[55] In 2008, Retro Gamer magazine praised it every bit "a masterful piece of storytelling, and a spellbinding adventure".[32]

In 1992 Computer Gaming Earth named Fate of Atlantis as 1 of the year'south four best adventure games.[ane] It was nominated for an award at the 1993 Game Developers Conference.[75] In 1994, PC Gamer The states named the CD-ROM version of Fate of Atlantis as the 38th best computer game ever. The editors wrote that the floppy release was "a terrific game", simply that the CD-ROM edition improved upon it by "set[ting] a new manufacture standard for voice acting."[2] That aforementioned year, PC Gamer UK named it the 13th best computer game of all time. The editors called it "a sumptuous feast for adventure and Indy fans alike."[6] In 1996, Computer Gaming Earth alleged Indiana Jones and the Fate of Atlantis the 93rd-best computer game ever released.[5] In 2011, Chance Gamers named Fate of Atlantis the 11th-best chance game ever released.[3]

In 1998, PC Gamer declared it the 41st-all-time computer game ever released, and the editors called it "a milestone achievement for LucasArts, this genre's greatest exponent, and it remains required playing for adventurers everywhere".[iv]

Historical inaccuracies [edit]

  • The passage in Algiers is depicted as if Algeria was already a state as we know information technology today, and Indiana Jones even mentions dinars as the currency. In fact, until 1962, Algeria was a office of France (not considered as a colony by and so) and the currency was the Franc Algérien (Algerian Franc) until 1964.

Legacy [edit]

Afterwards the release of the game, a story for a supposed successor in the adventure genre was conceived by Joe Pinney, Hal Barwood, Bill Stoneham, and Aric Wilmunder.[76] Titled Indiana Jones and the Iron Phoenix, information technology was ready afterwards World War 2 and featured Nazis seeking refuge in Bolivia, trying to resurrect Adolf Hitler with the philosopher'southward stone.[35] The game was in development for 15 months before information technology was showcased at the European Calculator Trade Show.[35]

However, when the German language coordinators discovered how extensively the game dealt with Neo-Nazism, they informed LucasArts nearly the difficulty of marketing the game in their country.[77] Equally Germany was an important overseas market for gamble games, LucasArts feared that the lower revenues would not compensate development costs, and subsequently canceled the game.[77] The plot was later adapted into a four-part Night Horse Comics series past Lee Marrs,[76] published monthly from Dec 1994 to March 1995.[78] [79] In an interview, Barwood commented that the development team should have thought near the story more thoroughly beforehand, calling it insensitive and not regretting the cancellation of the championship.[77]

Another follow-upwardly game called Indiana Jones and the Spear of Destiny was planned, which revolved effectually the Spear of Longinus.[77] Evolution was outsourced to a small studio, but eventually stopped as LucasArts did non have experience with the supervision of external teams.[77] Elaine Lee loosely reworked the story into another four-part comic book series, released from April to July 1995.[80] [81]

References [edit]

  1. ^ a b "CGW Salutes The Games of the Year". Computer Gaming Globe. Nov 1992. p. 110. Retrieved four July 2014.
  2. ^ a b Staff (August 1994). "PC Gamer Summit 40: The Best Games of All Time". PC Gamer US (3): 32–42.
  3. ^ a b AG Staff (December thirty, 2011). "Top 100 All-Fourth dimension Run a risk Games". Hazard Gamers. Archived from the original on June 4, 2012. Retrieved January 23, 2020.
  4. ^ a b The PC Gamer Editors (October 1998). "The 50 All-time Games Ever". PC Gamer Usa. 5 (10): 86, 87, 89, ninety, 92, 98, 101, 102, 109, 110, 113, 114, 117, 118, 125, 126, 129, 130.
  5. ^ a b Staff (November 1996). "150 Best (and 50 Worst) Games of All Fourth dimension". Figurer Gaming World. No. 148. pp. 63–65, 68, 72, 74, 76, 78, fourscore, 84, 88, 90, 94, 98.
  6. ^ a b Staff (April 1994). "The PC Gamer Top l PC Games of All Fourth dimension". PC Gamer U.k.. No. 5. pp. 43–56.
  7. ^ a b LucasArts Entertainment Visitor LLC (June 1992). Indiana Jones and the Fate of Atlantis. LucasArts Entertainment Company LLC. Scene: staff credits.
  8. ^ Shepard, Mark (1992). Indiana Jones and the Fate of Atlantis Manual. LucasArts Entertainment Company LLC. p. 14.
  9. ^ Shepard, Marker (1992). Indiana Jones and the Fate of Atlantis Transmission. LucasArts Entertainment Company LLC. p. 3.
  10. ^ Shepard, Mark (1992). Indiana Jones and the Fate of Atlantis Manual. LucasArts Entertainment Company LLC. p. 7.
  11. ^ a b c Shepard, Marker (1992). Indiana Jones and the Fate of Atlantis Manual. LucasArts Amusement Company LLC. p. half-dozen.
  12. ^ a b Shepard, Marking (1992). Indiana Jones and the Fate of Atlantis Transmission. LucasArts Entertainment Company LLC. p. 11.
  13. ^ Indiana Jones and the Fate of Atlantis back embrace. LucasArts Entertainment Company LLC. June 1992.
  14. ^ LucasArts Amusement Visitor LLC (June 1992). Indiana Jones and the Fate of Atlantis. LucasArts Amusement Company LLC. Klaus Kerner: ...did you observe a lock to lucifer my key?
  15. ^ LucasArts Entertainment Company LLC (June 1992). Indiana Jones and the Fate of Atlantis. LucasArts Entertainment Company LLC. Indiana Jones: Klaus Kerner, huh? Marcus Brody: Good Lord, Indy, the man's some sort of agent from the 3rd Reich. What does a SPY want with a PHONY STATUE?
  16. ^ LucasArts Entertainment Company LLC (June 1992). Indiana Jones and the Fate of Atlantis. LucasArts Amusement Visitor LLC. Marcus Brody: Look what else our friend was conveying, an old copy of National Archaeology, and in that location you are in Iceland. Indiana Jones: Yes...field supervisor for the Jastro expedition, my start real chore. Marcus Brody: Who's the woman? Indiana Jones: Sophia Hapgood. She was my assistant, a spoiled rich kid from Boston rebelling against her family unit. Marcus Brody: Where is she now? Indiana Jones: She gave up archaeology to become a PSYCHIC.
  17. ^ LucasArts Entertainment Company LLC (June 1992). Indiana Jones and the Fate of Atlantis. LucasArts Entertainment Company LLC. Marcus Brody: Indy, Kerner found YOU, what if he finds HER? We should WARN the woman. Indiana Jones: You're right. I want to know more near that statue!
  18. ^ LucasArts Entertainment Company LLC (June 1992). Indiana Jones and the Fate of Atlantis. LucasArts Entertainment Visitor LLC. Sophia Hapgood: Here, my friends, is ATLANTIS equally it might take appeared in its heyday...glorious...prosperous...socially and technically advanced beyond our wildest dreams! [...] Nonetheless information technology happened, on that fateful twenty-four hours when proud Atlantis sank below the waves...or possibly it was a volcanic eruption, and SOMETHING remains fifty-fifty now.
  19. ^ LucasArts Entertainment Company LLC (June 1992). Indiana Jones and the Fate of Atlantis. LucasArts Amusement Company LLC. Sophia Hapgood: Kerner missed the grand prize... Indiana Jones: What? Sophia Hapgood: ...my necklace.
  20. ^ LucasArts Entertainment Visitor LLC (June 1992). Indiana Jones and the Fate of Atlantis. LucasArts Amusement Company LLC. Sophia Hapgood: Watch closely. The bead is made of ORICHALCUM, the mystery metal start mentioned by Plato. At present I'll identify it in the medallion's oral fissure. Did you encounter that? Indiana Jones: Yep. Creepy. Is your electric pecker paid up? Sophia Hapgood: That was Nur-Ab-Sal. His spirit is close!
  21. ^ LucasArts Entertainment Visitor LLC (June 1992). Indiana Jones and the Fate of Atlantis. LucasArts Entertainment Company LLC. Sophia Hapgood: Listen to this... "Germans merits victory in worldwide race to boom the uranium atom. Master scientist Dr. Hans Ubermann announces plan to harness new sources of free energy for the 3rd Reich." Indiana Jones: Then? Practical results are years away. Sophia Hapgood: Of form they are. That's why they're looking for the POWER OF ATLANTIS.
  22. ^ LucasArts Entertainment Visitor LLC (June 1992). Indiana Jones and the Fate of Atlantis. LucasArts Entertainment Company LLC. Sophia Hapgood: Shhhh! ...I'g getting something! Nur-Ab-Sal SPEAKS...he bids us find the...what...a book...aye...the LOST DIALOGUE OF PLATO!
  23. ^ LucasArts Entertainment Company LLC (June 1992). Indiana Jones and the Fate of Atlantis. LucasArts Amusement Company LLC. Indiana Jones: I believe BARNETT COLLEGE owns the Ashkenazy/Dunlop/Pearce/Sprague/Ward drove.
  24. ^ LucasArts Amusement Visitor LLC (June 1992). Indiana Jones and the Fate of Atlantis. LucasArts Entertainment Company LLC. Hermocrates: In shame I hereby recant the time and place whereof Critias spoke. In rendering Egyptian into Greek he fabricated a tenfold mistake. Instead of lying three,000 miles hence, Atlantis may well have been 30,000 miles away. Or perchance it was less than 300 miles from our own shores.
  25. ^ LucasArts Entertainment Visitor LLC (June 1992). Indiana Jones and the Fate of Atlantis. LucasArts Entertainment Visitor LLC. Indiana Jones: Didn't you notice Plato's tenfold numbering fault? Sophia Hapgood: So he got his dates mixed upward, why is that so important? Indiana Jones: Plato'due south fault means distances could ALSO be incorrect. Sophia Hapgood: So what if they are? Indiana Jones: If Plato is correct, Atlantis is in the MEDITERRANEAN. Sophia Hapgood: You hateful-- 300 miles from Hellenic republic instead of 3,000. Indiana Jones: Yeah! The cradle of culture. Sophia Hapgood: Yous could exist right. He once told me he came from the middle of the world. That's what "Mediterranean" means!
  26. ^ LucasArts Amusement Company LLC (June 1992). Indiana Jones and the Fate of Atlantis. LucasArts Amusement Company LLC. Hermocrates: Gates of the kingdom opened merely with the assistance of special stones. At many outposts, a Sunstone sufficed [...] At the Greater Colony a Moonstone was as well needed [...] To approach Atlantis itself a Worldstone was required also [...]
  27. ^ LucasArts Amusement Company LLC (June 1992). Indiana Jones and the Fate of Atlantis. LucasArts Entertainment Company LLC. Alain Trottier: More important, I know where to find an archway to the Lost Metropolis itself. [...] It'south on the island of Thera, South of Hellenic republic. [...] You've read almost the Lesser Colony in Plato's Lost Dialogue, have you not? [...] Of grade. I'm convinced Thera is the Bottom Colony and I believe it's the manner in.
  28. ^ LucasArts Entertainment Visitor LLC (June 1992). Indiana Jones and the Fate of Atlantis. LucasArts Entertainment Company LLC. Nur-Ab-Sal: The adult female that WAS is now THE KING THAT SHALL Always Be! Address me accordingly, please.
  29. ^ a b LucasArts Entertainment Company LLC (June 1992). Indiana Jones and the Fate of Atlantis. LucasArts Amusement Company LLC. Hermocrates: ...as the waters rose around their urban center, the Kings of Atlantis, ane after another, sought to hold off fate. Knowing mortal men would never rule the ocean, they planned a huge colossus, which by utilize of orichalcum, ten beads at a fourth dimension, would make them like the gods themselves. Nur-Ab-Sal was one such king. He it was, say the wise men of Egypt, who commencement put men in the colossus, making many freaks of nature at times when the celestial spheres were well aligned.
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External links [edit]

  • Indiana Jones and the Fate of Atlantis at MobyGames
  • Indiana Jones and the Fate of Atlantis can be played for gratis in the browser at the Net Archive
  • Annal of Indiana Jones and the Iron Phoenix blueprint documents from Aric Wilmunder - Design document, Bandage, Room Blueprint one, 2, and iii

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Source: https://en.wikipedia.org/wiki/Indiana_Jones_and_the_Fate_of_Atlantis

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