1939 - the eve of World War II. Nazi agents are about to get their hands on a weapon more dangerous than the atomic bomb. Only one man can stop them before they unleash the deadly secret that sank Atlantis.

And all he's got is a jar of mayo, a wax cat, a fish on a string, a balloon invoice, a spare plunger, some beads, a few statue parts, some used chewing gum...


What a game this is! Indiana Jones and the Fate of Atlantis, first released in 1992, got a lot of people hooked on the point-and-click-adventure genre — or even on gaming itself. The scenic backgrounds and art style were peerless, the puzzles were thoughtful and challenging, and it still boasts a better narrative than at least two of the films.

The game has been available on Steam since mid-2009, patched for compatibility with modern-day operating systems without the need for utilities like ScummVM[www.scummvm.org] or DOSbox[www.dosbox.com]. I couldn't believe there weren't any guides up on the Steam Community; I think it's about time I fixed that.


This is a complete guide for the game. Every place, Path, puzzle and point are listed here, along with a big helping of bonus material and additional stuff about the making of the game. Because this is a point-and-click adventure, and because most of the satisfaction comes from discovering clever solutions by yourself, the answers to most of the game's puzzles and dilemmas will be spoiler-tagged. For some of the tougher ones, a hint or two will be given right before the solutions, covered by spoiler tags...can you resist the temptation to mouse over them? (Didn't think so...)


First off, I'm going to jump right into the playable intro sequence before explaining the controls and gameplay mechanics. This is because the game's controls are ultra-simplified during that part, and it'll give you a good idea of what to expect from the rest of the game. So let's get right to it!

[This brief sequence serves largely as a clever means to display the opening credits. You should go through it if you've never played the game before, but everyone else can skip it at any time by pressing Escape. Pressing Escape once more during the ensuing cutscene will take Indy right to New York, where the game begins in earnest.]


The game starts you off nice and simple; as I mentioned previously, you don't even need to know most of the controls yet. To move Indy somewhere, just click on the floor and he'll walk there if the way is clear. Move your mouse over various objects. If an item's name appears above the cursor, that means Indy can interact with it; simply click the item, and he'll perform an action automatically. Usually, he'll just say something brief about the object.

We begin with Indy's dramatic (well, for 1992) entrance into a mysterious, artifact-laden room. From his first line of dialogue, it's clear that you're searching for a statue of some kind.

Click around and see what Indy has to say about the objects in the room. To proceed, examine the peculiar statue on the left side of the screen. In the next, examine the rope.

If Indy examines the staircase here, he'll note that it's closed for repairs, so you can't leave the area that way. Look at the "books on statues" at the far left to continue Indy's bad day. In the next room, examine all the cat sculptures on the table for a crazy surprise.

Last room. You can't walk back up the coal chute, and Indy isn't going to leave until he's got the statue, so it'd better be here. Fortunately, it is - in one of the lockers at the back of the room. The statue will always be in the third and final one you open, no matter what. As you'll shortly find, however, Indy's streak of bad luck is only just beginning...

Before you can find the lost city of Atlantis, you should know how to control the game itself.

To access the game's save/load menu, press F1 or F5. To save, click a save slot and type in a name for your game, and hit Enter to finalize the save. If you're saving over a previous spot, just click the file and hit Enter. Be careful if you're saving over an existing file, as there is no prompt to overwrite the save.

Pressing Space, or clicking anywhere outside the window, will pause the game. Pressing Alt+Enter will toggle between windowed mode and fullscreen.

Clicking the game's window icon (while in Windowed mode, of course) will give you a menu with a few options:

• Graphics Smoothing - This option, checked by default, applies a pixel-smoothing filter to the graphics, making things seem a little smoother/curvier instead of pixelated. You can press Alt+S to toggle between the two modes at any time, and see which style you prefer.
  
• Correct Aspect Ratio - If this is unchecked, the graphics will appear to be slightly squished; this is due to the slightly different aspect ratio of the game's source files. This option is also on by default.
  
• Never Switch Resolution - This option, unchecked by default, applies only when the game is running in fullscreen mode. If it is checked, the game will attempt to scale the game up to your current resolution while in fullscreen; otherwise, it will run fullscreen in 640x480. You might check this option if running the game in such a small fullscreen resolution causes problems with anything.

Here's a list of some good controls to remember:

• Esc (or press both left and right mouse buttons at once): Instantly skips a cutscene.
  
• Period key: Skips the current line of dialogue.
  
• F1 or F5: Access the game's Save/Load menu.
  
• F8: Brings up an option to reset the game.
  
• Spacebar (or click outside the game window): Pauses the game.
  
• Plus/Minus keys: Adjusts text speed.
  
• Bracket keys: Adjusts volume.
  
• I - Displays the Indy Quotient (IQ) points screen over the inventory.

Indiana Jones and the Fate of Atlantis is a game where you interact with a series of environments (and the many characters and objects they contain) in order to find the lost city of Atlantis, and - of course - put a stop to the Nazis' diabolical plans in the process. Good stuff.


The game primarily takes place on the Action Screen - that's the big part of the display where all the scenes and characters are shown. You control Indy by constructing actions on the Sentence Line, just below.


You have nine verbs with which to make a sentence, in the lower left. For the vast majority of the game, these verbs are: Give, Open, Close, Pick up, Talk to, Look at, Use, Push, and Pull. (Sometimes, in extremely dark areas, "Look at" will be replaced with "Touch".) If you want to, say, open a door in the game, you would first click "Open", then click the door.

The verbs all have keyboard shortcuts, which I highly recommend using. The keys are the first letter of the verb, with two exceptions: Push is S (think "shove"), and Pull is Y (think "yank").

The game also has a very handy "quick verb" feature. When you move the cursor over an object, one of the nine verbs will be highlighted; simply right-click, and Indy will automatically perform the action with the highlighted verb. For example: upon arriving in New York, you'll start by a ticket booth. Mouse over the ticket taker, and you'll see that "Talk to" is highlighted. Right-clicking on the ticket taker will automatically make Indy talk to her. In some cases, the quick verb for a given object can change if Indy discovers something interesting or useful about it. Always pay attention to which verb is highlighted; it'll save you some time, and it might just nudge you in the right direction.


To the right of the verbs list is your Inventory screen. There's no limit to how many items you can carry; if you have more than ten, you can use the up/down arrows to view the rest. To solve most of the game's puzzles and dilemmas, you'll need to make good use of what's in your inventory. You will predominantly be using items with various objects on the Action Screen, but there will also be a few occasions when you'll need to use one inventory item with another. Experiment intelligently, and the way forward may reveal itself!

Lastly, pressing the I key will replace the Inventory screen with your Indy Quotient ("IQ") display. Your IQ points are a representation of how many things in the game you've seen and done, a system not unlike the achievements and trophies of modern gaming. There are a total of 1,000 points to earn; while many are earned simply by finding a way forward, some of them cover optional tasks which are very difficult. To learn more, and to see a table of all actions and the points they earn you, check out the IQ Points section towards the end of the guide. (Beware, however, as a few action descriptions are somewhat spoilery.)

You'll encounter quite a bit of opposition on your way to Atlantis, and that sometimes means Indy will get into a good old fistfight (If you choose the Fists path, change "sometimes" to "almost always"). This little mini-game is tricky to learn and much trickier to master. Plus, a lost fight is almost always a Game Over. Thus, this part of the game deserves a section all its own.


Each combatant has two bars: a Health bar and a Power bar. Landing a successful punch on your opponent will reduce his health bar by a little or a lot, depending on how full the Power bar was when the blow was thrown (and how effectively your opponent blocked the hit). The Power bar recharges slowly at first, then quickly. Don't ever throw a punch when it's half-full, unless it's enough to end the fight.

Indy can punch high/middle/low, block high/middle/low, or step backwards. The latter action will very briefly make Indy out of reach of an opponent's punch, buying him a little more time to recover punch power (while it does, watch your opponent's arms carefully and be ready to quickly block in that direction). Stepping backwards too many times, however, will make Indy retreat from the fight, which you don't always want. That said, you should definitely bid a hasty retreat if your health bar goes into the red.


One last important note: if fighting's not your thing, you can always sucker punch[en.wikipedia.org] enemies to instantly KO them (press 0 on the keypad). Note that doing so will not earn you any IQ points, if you care about that sort of thing.

There are also two extra-tough enemies on which this move won't work. One is only found on the Fists path, but dealing with the other is mandatory. Thankfully, there exist alternate means for the thinking man (read: the player who doesn't want to reload their save several thousand times) to instantly take both of them out.


There are two ways to control the fighting minigame: the mouse, and the keypad. The latter is strongly recommended, unless you're playing on a machine that doesn't have a keypad.

If you use a mouse, click your enemy high/middle/low to punch him at that height, click Indy high/middle/low to block at that height, and click behind him to step back. It'll require some dexterous clicking to win most fights. The keypad controls are simple enough. From the game's reference card:

• As far as I know, there's no way to sucker punch someone using only mouse controls. (One more reason to use the keypad.)
  
• There is no way to improve Indy's maximum health or punching power at all during the course of the game, no matter how many victories you amass. There are, however, ways to reduce the punch power of certain enemies before before fighting them, if you pick a specific dialogue option beforehand. All of these opportunities will be listed in the walkthrough.
  
• As in real life, you shouldn't pick a fight with someone just seconds after just barely walking away from another one. Indy's health does not instantly refill after a fight; it takes some time to recharge. One area in the Fists path is filled with enemies; unless you plan to sucker punch them all, you'll need to pace yourself.
  
• The fights on the game's Fists path do not follow any particular difficulty curve. The first Fists Path-exclusive fight is a fairly tough one, for example, and one later area is filled with opponents of wildly varying skill levels. Be ready for anything.
  
• No two opponents are completely alike. I don't just mean that in terms of stats, but also their fighting style. You may be able to exploit some enemies by using moves that they aren't prepared to easily counter. Some enemies, for instance, don't block high punches very well. Experiment and you might just be able to turn a difficult fight into an easy one.
  
• If it wasn't obvious enough already: Save before each fight, and save after any that gave you trouble.

Because the Nazis have already made a connection between Indy and Sophia, Indy's first goal is to get to her before they do. She's putting on a big show in New York; unfortunately, the ticket taker isn't about to let anyone else into the sold-out event. You'll have to find another way in.

Head down the street and to the right, going behind the theater. The back door is open, but it's also guarded by Biff, a large doorman whom you'll have to deal with — one way or another — if you try to go in that way. A fire escape ladder further to the right could also be a way in, but several crates block the way, with little room to maneuver them.

There are three ways to get into the theater:

• Get on Biff's good side - Biff is short-tempered and nearly hostile, but it isn't impossible to see eye-to-eye with him. His dialogue quickly reveals that he idolizes Sophia. Tell him that you're a big fan of hers too, that she's really smart, and that one of her biggest talents is making complex information easy to understand. He'll warm up to you and let you backstage.
  
  
• Punch Biff out - Of course, the other way past Biff is to throw insults at him until the two of you get into a fight. This is the only time in the entire game where losing a fight isn't a Game Over; Indy will simply wake up a few minutes later, thankful Biff wasn't a Nazi spy. Remember that you can always sucker punch opponents by pressing 0 on the keypad — just keep in mind you won't earn any Indy Quotient (read: achievement) points for any enemy you use that on.
  
  
• Get to the fire escape - You can bypass Biff entirely this way. If you look carefully at the crates, you'll see that you can make a path to the fire escape with a little rearranging. Specifically: push the first crate that's in your way, continue down the path, and push the next crate in your way to open the path a little more. The first crate is now in the way again, so push it back where it was. Continue down the path, push the second crate again (also returning it back where it was), and the fire escape will now be within reach.

(Note that no matter which way you choose to get into the theater, you'll never encounter Biff again. Yes, even if you unsuccessfully tried to get by him then resorted to using the fire escape. He just sort of...vanishes.)


You're finally backstage, but Sophia's just beginning her presentation. If you try to walk towards her or mess with the levers on the left, you'll be stopped by the stagehand. Talking to him (or trying to walk towards Sophia again) will trigger a cutscene where Sophia describes the marvels of Atlantis, and the mystery that led to it sinking beneath the waves.

Unfortunately, you can't just wait the show out; even if you go to Barnett College and back again (nice try!), Sophia's just going to keep talking and talking. You need to get her attention, but that means finding something to distract the stagehand. Talk to him, and he might reveal to you that reading is one of his hobbies, and that he'd much rather be doing that. You can't give him your old issue of National Archaeology, though; he's long since read through it. You'll need to find something a little more current. To distract him, grab the newspaper on the newsstand outside the theater, and give it to him.

Although the stagehand is distracted, he's still not too far offstage, and he will still catch you if you try to walk to Sophia. Importantly, however, his gaze is now away from the stage's prop machine. The control panel has three levers on it, as well as a small red button on the lower-left corner. If you can figure out how to work the machine, you'll get Sophia's attention for sure; all that's left is a little trial and error. To start the machine, push the left and right levers back, with the middle lever remaining forward. The three lights on the machine will turn green, and the mechanisms will make a little more noise overall. After that, just push the button.

Watch the scenes that unfold. Don't worry about dialogue options here, as they all lead to the same outcome. As with the game's prologue, you can press Escape here to rapidly skip through everything, but I once again recommend watching if it's your first time or two through the game.

Indy and Sophia's first stop is a remote dig site in Iceland. There's nothing to do outside the dig site, so head on in. You'll meet Heimdall, who isn't much in the mood for company. Nevertheless, you need information from him, so just go along with his crazy stories until you can get him to point you towards Costa and Sternhart in the Azores and Tikal, respectively. That's all there is to do here, so just get back in the truck. We'll head to Tikal first.


You need to go through the jungle to reach Sternhart. Sophia won't follow you into the wilderness, but don't worry; she'll find her own path and reunite with you soon. A chasm just beyond the small stretch of jungle separates you from your goal. You might be able to cross by climbing the tree...if only there weren't a big hungry anaconda wrapped around it.

To clear the anaconda off the tree, you'll have to lure the jungle rodent to the jungle path that leads to the tree (it's the tallest of the passageways, in the center). If you're in range and use your whip with it, it will go down the path it's currently in front of. You can also get it to move elsewhere simply by walking close to it. Pay attention to how it moves, and you'll have it on the right path before long. After that, just "use" the tree, and Indy will cross the gap — accompanied by the most random use of his theme ever, no less.

You're reunited with Sophia, and there's a rather talkative parrot nearby as well. Attempt to enter the temple or mess with anything on the nearby souvenir stand (note the kerosene lamp on it), and Sternhart will reveal himself. He won't let you into the temple unless you know the name of Plato's Lost Dialogue. The trouble is, Indy truly doesn't know, and no amount of guessing is going to do him any good...

To get inside the temple, admit to Sternhart you don't know the title. The parrot will say "Title!". Go over and talk to it. There are some amusing dialogue options/responses to be explored here, but if you've told Sternhart you don't know the title, the option to say "Title?" to the parrot will open up. The bird, having apparently spent some time with Sternhart, will cheerfully divulge the title to you: "Hermocrates", which will then be an option the next time Sternhart asks you.

Once inside the temple, look at the spiral designs on either side of the big door on the right side of the screen. One of them is a little darker than the others, and Indy will note that it looks like something that can be completely separated from the wall — at least, if not for all the tarnish gumming it up. Some kerosene from the lamp outside would probably do the trick, but Sternhart is incessantly following you everywhere. He won't let you take anything from the souvenir stand unless you can somehow keep him busy. To do so, talk to Sophia and tell her to distract Sternhart for a minute. That'll buy you enough time to go outside and swipe the lamp.

Now you can get the spiral stone. (You'll need to open the kerosene lamp before using it on the spiral design.) Sternhart will be rather annoyed that you took his lamp, but his vexation quickly turns into amazement when the kerosene does its work. After that, simply pick up the spiral design, and it'll go into your inventory. Your next goal is to find a way to use that spiral stone to open up the door. Do so by placing it into the elephant-shaped stone on the left. The spiral design now functions as a switch; simply pull it to open the door.

The not-so-secret-door is now open! Unfortunately, Sternhart takes this opportunity to nab a mysterious stone disk from the tomb, before making his escape through an actually-sort-of-secret door. You can't reopen it and follow him, no matter what you do (not that you likely miss him all that much). Before you leave, however, notice there's something glimmering in the tomb. Pick it up: it's a bead of orichalcum, and it'll come in handy very soon.


Return to the dig site. Poor Heimdall. At least he managed to expose the head of the Atlantean eel statue before the cold claimed him. From the prologue, you should remember that Atlantean objects were powered by orichalcum beads. Use the bead you picked up in Tikal with the statue's exposed mouth to discover that the bronze figurine is actually a heating coil, which promptly melts the remaining ice around it!

Head back to the truck after you pick up the eel statue - we're all done here.

Time at last to meet Heimdall's other lead. Felipe Costa probably knows a thing or two about Plato's Lost Dialogue, but he's quite cranky around Indy. Besides that, he won't divulge such valuable info unless he receives a valuable artifact in return. To get on Costa's good side, have Indy ask Sophia to talk to Costa. You'll take control of Sophia briefly for this part. Have Sophia ask Costa if he wants to do business with Indy. Control Indy again and trade the eel figurine from Iceland to Costa. In return, Costa will tell you the name of the collection in which the Lost Dialogue resides. (The name of the collection is different from game to game.) After Costa returns inside, Indy realizes that Barnett College owns that exact collection, and the two return there at once.

A cutscene will play automatically after this. If you want to see the scene again whenever you want, press F1 at the beginning of it and make a save there.


Following a sarcastic jab of your choice from Indy, Sophia decides to go back across the street to Indy's office, while he searches for the Dialogue. First things first: go follow her to the office, open up the ice box at the bottom right, and grab the jar of old mayonnaise inside. (Oh, don't give him that look, Sophia, we're in an adventure game here.)

The stairway in Barnett is now repaired, but take the other one down to the boiler room first. Pick up the dirty rag in the lower-right, and also a lump of coal from the furnace. Go upstairs to the library and investigate the desk. Indy will note there's some gum stuck to the underside. Yes, you can (and should, believe it or not) pick that up too. You can use it to give yourself enough traction to climb up the coal chute and reach the room above.

From the library, climb up the rope to get to the room above. It's also possible to climb up even higher to the game's very first room, though that's a bit tricky. That totem pole looks like it could serve as a ladder, but unfortunately there's a bit too much friction to move it anywhere. To fix that, use the jar of mayo with the totem pole to make the floor slippery enough to pull it over. Also, yuck.

You now have access to every room where the Dialogue might be. The book is in one of three randomly-chosen places each game. Do some sleuthing and experiment with your inventory, and you should have it before long. (It helps if you remember the name of the collection Costa told you, but it's by no means necessary.)

The three locations are:

• In the library's tipped-over bookshelf: Yes, the one that sent you through the floor/ceiling in the prologue. You can't pick the bookshelf back up, but there are still two ways to get the book. The first is to get a lump of coal from the furnace, climb up the chute using the gum for traction, and throw the coal at one of the books above. You can also get the arrowhead from the totem pole room and wrap the rag around it to make a crude screwdriver. Unscrew all five screws on the bookshelf's back (look for the greyer pixels), then open it up and look inside.
  
• In a dusty old chest: Push the big crate on the left side of the totem pole room to unveil a dusty old chest...which is locked. Climb the totem pole to the room above, open the urn and pick up the ashes to find a dusty old key inside. As you probably figured, this key fits the lock on the chest.
  
• Inside one of the cat figurines: Use the gum to climb up the chute in the boiler room, and try to pick up the cat statues. Most are too heavy to carry, but one of them is made of wax. Open the furnace in the room below and put the wax cat inside.

You'll automatically read the Dialogue when you return to Sophia, but you can go through it right now if you wish. There are five pages to read, bookmarked by paperclips; each holds valuable information about where Atlantis is, how to get into it, and how to unlock its biggest secrets. Much of this information is randomized each game.

(A full transcript of the Lost Dialogue is available in this guide, including all parts that are randomized. If you ever need help solving a dilemma that requires some knowledge contained within the Dialogue, you can refer to that section if you need.)


Go back to Sophia when you're ready.


After looking over the Dialogue, Indy and Sophia eventually make sense of Plato's tenfold error, and correctly deduce that the remains of Atlantis are in the Mediterranean. She also gives us our next two leads: Alain Trottier in Monte Carlo, and Omar al-Jabbar in Algiers.

After that, it's time to pick a Path. The game splits into three different storylines from this point onward until you reach Atlantis:

• The Team Path: Sophia will accompany you on your search for Atlantis. Many situations will rely on Indy and Sophia working together.
  
• The Wits Path: Indy will go it alone, facing quite a few tricky puzzles and scenarios on the way to the Lost City.
  
• The Fists Path: Indy will go it alone, and the road to victory will be paved with many an unconscious Nazi.

I recommend making a permanent save here; this way, after finishing the game on one Path, you can reload this save and instantly begin another one.

Sophia will suggest a Path for you based on how you managed to enter the theater's backstage area in New York: Team if Biff let you in, Fists if you knocked him out then went through the door, or Wits if you ultimately used the fire escape to gain entry. Her suggestion, however, is just that; you can always choose whatever Path you wish, no matter what you've done up until this point.

A long, dusty road from the airport will eventually bring Indy and Sophia to a bustling marketplace in search of Omar Al-Jabbar. There's an apprentice knife-thrower at work here, who's been having trouble getting volunteers in the wake of a recent "accident". Eek.

The grocer near the knife thrower will direct you to Omar's shop - the alley at the far left of the marketplace will take you there. To say the least, Omar is not helpful. He won't even give you his name, much less what you need...not unless you've got a certain locking stone that will open the gates of an Atlantean Lesser Colony. Right now, you don't. Before you go, however, take a look around the shop. Anything catch your eye? Pick up the demonic-looking mask near the center of the screen. You can have it for free; Omar says it's been scaring customers away. Could this possibly help you find a locking stone? Time will tell...


You arrive at a hotel in downtown Monte Carlo in search of Alain Trottier. Sophia's plan, much to Indy's skepticism, is to lure him into a séance, where she'll ask him for the locking stone as a token to set the mood. For now, follow Sophia up to the hotel room; maybe you can come up with a crazy plan of your own. Look for things you can open and pick up: there's a flashlight in the dresser, a bedsheet you can pick up, and a fuse box to turn the lights on and off.

(Side note: turn off the lights and use the flashlight for a funny scene.)

You need to find Trottier. Ask around, and passerby will eventually describe him well enough: he wears a brown suit and has grey hair. (If you still can't figure it out, he's the guy Indy's talking to in the pic.) Have the Talk To command ready, then click Trottier before he walks away.

There are several important aspects of this conversation that need to be covered:

• During the conversation, he'll mention three things offhand: why he decided to take a walk that night, what his greatest fear is, and what his greatest need is. Remember all of those.
  
• You will need to have thoroughly read the Lost Dialogue beforehand. He'll eventually ask you a question about something in it.
  
• He is easily offended, so watch what you say. Introduce yourself as Indiana Jones, and as just a simple professor. No bragging.
  
• Tell him that Sophia wants to read his fortune, and he'll head up. Any other option will make him lose interest.
  
• If you messed up with any of the above, head back to Sophia. She'll tell you to drop Nur-Ab-Sal's name. Do so, and you'll get his attention again.

Once Trottier comes up, Sophia will begin her séance, and Trottier will put the stone disk on the table. This thing needs to be yours when all is said and done, and there are two ways to do it:

• Indy's way: While Sophia's talking with Trottier, use the fuse box to shut off the lights. During this time, use the bedsheet, then use the flashlight (quickly pick them up if you haven't already). Next, use the mask you got in Algiers to complete the costume. Walk out, and Indy will scare Trottier out of the room if you did everything right.
  
• Sophia's way: This is more difficult, and even relies on pure luck at one point, so save beforehand. If you let Sophia do the talking, Trottier will want to make sure Sophia isn't an impostor. He'll ask her why he decided to take a walk that night, what his greatest fear is, and what his greatest need is. And here's the real kicker: Trottier will NOT tell you if you answered any of those questions incorrectly - if you did, his next and final question will be impossible to correctly answer. He'll ask you how many fingers he's holding up behind his back. Reload if you didn't pick the right answer. If none of the answers worked, that means you got at least one of his earlier questions wrong. If you did all that correctly, Trottier will finally believe Sophia's the real deal. Read him his fortune (any answer works here, mercifully), and he'll give you the disk.

You now have a Sunstone! This is the largest of the three stone disks, and it alone is enough to unlock the doors and mechanisms of various Atlantean outposts. Head back to Algiers.


Show the Sunstone to Omar and he'll take you seriously, formally introducing himself and giving you a desert map and his last two camels. With that, Indy and Sophia head out for an intrepid expedition into the desert!


...Or not. Their camels both die a mile into the trip, and Indy and Sophia are forced to retreat to the city, lest they starve out in the middle of nowhere. Time for another approach.

There's a balloon-ride service if you go to the roof on the far-right side of the marketplace. Unfortunately, you'll need a ticket to get in; maybe someone can help you there. To get a balloon pass, talk to the beggar in the streets sitting near the balloon ride. It stands to reason he might have one, but you'll need to give him food before he'll trade. (And no, the used gum from the Barnett College desk won't work, but it does elicit an amusing response.) The nearby grocer doesn't accept anything Indy currently has on him. Go back to Omar, and tell him about your disastrous trip. There's not much more he can do for you, but he does offer to trade you something for the scary mask. One of Omar's items is something the grocer's looking for. Keep trying to trade with the grocer and he'll give you hints about what he wants. You can also relay these hints to Omar to speed things up. Once you finally get what the grocer's looking for, he'll trade you Omar's item for a squab-on-a-stick. Give that to the beggar to get the balloon ticket.

You'll need more than just a ticket, however. The balloon is tethered to the ground with a rope, and Indy doesn't have anything to cut it loose. You'll have to get a knife of some kind. The amateur knife-thrower in the middle of town has some, obviously, but his were a gift from his father. The only way he might even consider giving one to you was if either you or Sophia decided to be his assistant. Indy can volunteer, but the knife-thrower says it has to be a woman (show business and all that), and Sophia is understandably extremely opposed to the idea. You can eventually convince her, but she still gets hesitant when she walks over. When this happens, simply give her a little push. She'll still object, but the knife-thrower eventually makes her go up against the board. Thankfully, he's gotten good enough to perform a successful show, and rids himself of evidence gives Sophia a knife as a souvenir!

Go on the balloon ride and cut the rope. It's time at last to find that dig site...

Now that you've got a balloon, it's time to find the dig site for real. There are only two things you can do to control the balloon: Vent hydrogen and Drop ballast. The former will make the balloon descend and change your direction counterclockwise; the latter will make the balloon ascend and change your direction clockwise. If you want to land somewhere, just rapidly vent hydrogen when you're directly above your destination.

The desert beyond Algiers is a 3x3-screen area containing a variety of nomad camps. Land in them and show your map to the people there; they'll tell you about where the dig site (the "X") is. Here's how to interpret what they say:

• If it's "considerably" in one direction, that means it's two screens away.
  
• If they simply say, "to the south" (for example), that means it's just one screen south.
  
• If any nomad says "you are very close to the site", then it's on the same screen.

A red X should appear in the desert when the latter dialogue is triggered. Approach it to trigger a scene.



A Nazi gunman attacks the balloon and sends it plummeting helplessly toward the dig site. His demise is about as karmic as it gets, but now the two of you are stuck here for the time being. At the very least, there aren't any other enemies around. Presently, however, Sophia follows a message from Nur-Ab-Sal right into a pit from which she won't easily be able to escape. Head on down into the site itself.

It's dark down here. Notice that the "Look at" command is now "Touch". Use this new command to feel around the room, and Indy will try to make sense of things. That "sharp wooden thing" to the left of the entrance is a ship rib. You can, and should, pick this up. Feel around for a hose and clay jar, and pick those up too.

You might also notice a generator here; unfortunately, it's out of gas. You will need to get this generator running again if you want to rescue Sophia and proceed. The truck up top probably still has some gas - do you think you can retrieve some with what you can find in the room?

To siphon some gas from the truck and into the generator, open the truck's gas tank and use the hose with it, then use the clay jar with the end of the hose. Feel around the generator for a metal cap - that's the gas intake pipe, so open it. Use the gas-filled jar with the pipe, then find and press the generator's button to turn it on. Finally, the lights are on. One other thing of note here: there's a small wooden peg on a nearby table. Pick that up if you haven't already.

Have a look around the room. Of particular interest on the right side of the screen is a large crumbling wall, in front of what appears to be some kind of mural. You'll need to remove all that rock that's caked on first, though. To do that, use the ship rib with the wall. This won't be the first time you use it for that purpose, believe me. You'll uncover the mural...but it has an odd hole in the middle. Put the wooden peg in the hole, then place the Sunstone on the peg.

You'll need to set the Sunstone to the right combination here. Go to the third paperclipped page of the Lost Dialogue to see how. (If you need specific help, check out the Lost Dialogue transcript section near the end of the guide, where all the solutions are provided.) Once you've aligned the proper symbol with the horns, a door will open up. It's Sophia - and she's got a distributor cap. That could be just the thing to get the truck running again!

Take a look under the truck's hood. The spark plugs go in first, then the distributor cap on top of them. However, one spark plug isn't enough to get the truck moving; you'll need to find a second one. Specifically: the one in the generator. Turn it off, open its side door, and take out the plug. Put the plug in the truck, then put the distributor cap over both plugs.



Head off the docks and onto the island proper, where you'll come across some ruins with a spindle out front. The Sunstone fits on the spindle, but it alone won't open the doors. The reason why can be found in the Lost Dialogue; Crete is the site of the Greater Colony, and thus you'll also need a Moonstone. Head to the path on the far left side of the area to go to another abandoned dig site.



There are a lot of small rooms to enter here. Before you do anything, however, head up onto the bridge, go all the way left, and pick up the surveyor's transit.

Most of the rooms have nothing but pottery and/or rubble in them. One room, however, contains a mural depicting a line emerging from both a bull's head and its tail. These lines converge on a single spot. The horns in the middle of the mural represent the big horns in the middle of the site. All you have to do now is find the statues of the bull's head and tail, which are randomly placed each game. Simply push the various stones dotted around the excavation until you uncover them both.

To find the Moonstone, place the transit on the bull's head and use the controls until the crosshairs are over the left horn. (Click anywhere on the main screen to exit the interface.) Indy should say "I see the left horn" when you leave the screen; if not, fine-tune the crosshair's position until he does. An imaginary line will extend from the statue. Go to the tail statue and align the transit with the right horn to make another imaginary line, as well as an "X marks the spot" where the two lines intersected. Use the ship rib with the X to uncover the stone.


Place the Sunstone on the pedestal near where you arrived in Crete, and place the Moonstone on the Sunstone. The Sunstone should be positioned exactly as it was back at the dig site; the Moonstone needs to be placed so that it matches with whatever description the Dialogue gives on the third paperclipped page. (The descriptions should be clear enough, but once again, the Lost Dialogue transcript section is there if you get stuck.)

If you wish, make a small note of the correct combo. You'll have to use the stones quite a few more times, and it'll make things much easier when the Worldstone is thrown into the mix. Be sure to pick both stones up before entering!

Make a save here. You're heading into the Labyrinth of Knossos, and one of the first things you'll have to do to proceed is to lock yourself inside...

The Labyrinth is aptly named, but the final locking stone is likely here, and there's no getting into Atlantis without it. There are three busts in the first room. You'll need all of them, but the door closes if all three are picked up. To get all three past the gate [WARNING: you will not be able to leave that way after doing so], pick up two of the busts, then go past the gate into the next room and use your whip on the third.

You'll now need to find another way out of here. There are a lot of dead ends in this place (the room on the far left is an example). Explore around until you find a similar mechanism and gate as the one you encountered at the entrance. You'll need to place the three busts on the platform to open the gate, of course, but first: from that room, see the two doors in the back? Enter the left one to come across a big minotaur statue, as well as a platform in the middle. If Indy and Sophia both stand on it, the elevator will descend.

Pick up the Worldstone and Sternhart's staff. Poor guy. Even worse news for him: there was a way back up all this time. To get back to the room above, investigate the waterfall; Indy will find the elevator's counterweight and chain. Simply climb it to get back up. To be able to get back down, you'll need some extra weight on the platform, and the busts won't cut it. The solution is to use your whip with the big minotaur head. Indy will now be able to ride the platform down whenever he steps on it. Don't go back yet, though: you have some unfinished business.

Return to the room with the gate and pedestal, and place all three busts on the platform to open the gate. In this new area, take the upper path to eventually find a room with a gold box. Unfortunately, there's a big elevator shaft preventing you from reaching it, and the elevator is stuck. To get the elevator working and get to the box, use Sternhart's staff to free the chock. Now the counterweight can move. Take the path to the lower room to find a big statue head. Shove the staff into the statue's mouth, and the elevator will ascend.

Head back to Sophia. The room north of Sternhart contains a big gate, as well as a hole above. The hole's too high up for one person to reach, so you'll have to boost Sophia up. She'll need to be convinced, though. Emphasize to her that this is the only way to proceed, and eventually she'll agree to it and find a pulley on the other side that opens the gate.

The path beyond the gate goes around in circles. That's...rather suspicious, to say the least. There's got to be some sort of secret passage, but there's nothing to investigate on any of the walls. Remember that you've got that amber fish on a string; it detects the nearest source of orichalcum, and there might just be some nearby. There's a problem, though: if you use it, it'll point at Indy (as it's detecting the orichalcum beads he has in his pockets). To prevent that, have a look at the gold box; Indy notes that it's lead-lined. Open the box, put all the beads in, then close the box.

Another dilemma: now the amber fish points at Sophia's necklace. You'll have to convince her to put it in the box as well, and she doesn't want to part with it. Once again, you need to make it clear to her that doing so is the only way they'll avoid sharing Sternhart's fate. Use the amber fish in each of the four rooms beyond the gate; one random room will make the fish point to the back. Use the ship rib on the wall to find the secret passage, as well as a single orichalcum bead just beyond.


Indy and Sophia will presently walk into a giant room, complete with a stone scale model of Atlantis. In the center is a spindle - you know what that means. Whip out the Lost Dialogue and pay attention to the description of the Worldstone alignment on the third paperclipped page. There are at least eight possible phrases here, all of them documented in the Lost Dialogue Transcript section. When you get it right, the map of Atlantis will move around for a while, and one of the room's three doors will open. (Different doors open on different Paths.)


...Unfortunately, going through this door yields quite a nasty surprise.


Kerner has Sophia, and he's got you at a dead end, at gunpoint, demanding the locking stones. You have no choice: you must give all of them to him. Anything less and he will shoot you, leading to the very first possible death you can have on the Team path (see the "All Game Over Messages" section for the rest!). Comply and Kerner will spare you, at the cost of trapping you in the room. You can't do anything at all to re-open the door: better hope you can make another way out. To escape, use the ship rib with the rock wall at the right side of the room. (I told you that thing was going to be repeatedly useful...)

Indy is outside again, and not a moment too soon. There's a Nazi U-boat docked just outside, with Sophia, Kerner and Ubermann on board. Hurry over to the conning tower and open up the hatch, where the sub's frail 60-year-old captain will emerge. Most dialogue options here will result in Indy punching him out, but choosing the "sub captain or merely sub-human?" option will put you right into the fistfight minigame with him; you can knock him out with a single punch.

Once you've dealt with the captain and climbed in, the sub will leave Crete and dive under the ocean. Not much farther now...

The U-boat is headed into the depths of the Mediterranean, straight for Atlantis. The locking stones are securely stored away somewhere, and Sophia is being held captive. Indy needs to turn this situation around quickly, but he'll need to be very careful: the sub is crawling with Kerner's men.

Fortunately, Indy disposed of the sub's captain just before the sub dove into the water, and the crew are none the wiser. You can use the intercom to order most of them around (the one who's guarding Sophia will stay put, no matter what). Order them to the stern or bow. Do NOT order them midship, as that's directly below you. If that happens and you climb down, Indy will be sleeping with the fishes.

The sub's mostly clear now. With the crew all in one place, however, you're going to have to steer the sub to Atlantis yourself. Start by pulling the lever to your left...which will promptly break off. Oops. Hopefully there's a replacement somewhere.

You can head down from the conning tower once you've ordered the crew out of the way. You can also see Sophia on the bottom deck below you. For now, head left into the galley. Pick up some of the bread and cold cuts; if you like, you can make them into a sandwich (and even eat it by "using" it).

Pick up that green porcelain mug as well; it's on the rightmost part of the shelf between all the loaves of cold cuts. It's very easy to miss, and you're going to need it soon...

Head to the bottom deck via a nearby trap door. Get to the wall behind Sophia and talk to her. Tell her to distract the guard, and that you've got a plan. Head back above deck, down the ladder to Sophia, and walk up to the guard. You need to clue Sophia in to knock the guard out using that bucket by her feet. Any of the first three options will do just that, but do NOT select the one about selling leather jackets - it's Game Over if you do.

Sophia will stay behind, in case her captor wakes up. In the room just to your right, you can hear Kerner and Ubermann discussing their approach to Atlantis. During this conversation, Kerner reassures Ubermann that the locking stones are being stored in the captain's lockbox in the room to their right, so go there and investigate.

You won't be able to open the box the usual way. If you look at the box, Indy remarks that it doesn't seem all that secure. You can't break open the walls, as you'd run the risk of Kerner hearing you. There's got to be something you can use to quietly get to the safe's contents...

The solution is to dissolve one of the walls. Go back to the lower deck of the ship to the left of Sophia's room, and you'll find that one of the sub's batteries is leaking acid. The porcelain mug can safely contain the acid, so Use it with the acid to fill it. Then simply use the acid-filled mug with the safe.

The safe is open! There's also a tiny key in here; might as well take that too.




Sophia is no longer captive, and the locking stones are yours once again. The sub is getting close to the Atlantis airlock, however; with the crew all in one place, you're going to have to steer the sub into the airlock yourself,.

There are four different controls you need to accomplish this. Once you push each one of them, your viewpoint will change to the Mediterranean sea floor, where you'll be able to control the sub. It's important to note that, in order for a control to appear on the panel, you must first activate it (by using/pushing/pulling it) in addition to repairing or unlocking it. You'll want to back out of the sub-steering screen until you've done this with all four controls if you want to maneuver the unwieldy submarine into the airlock. That will be covered shortly. For now, here's a rundown on all four controls. From left to right:

• Depth control lever - Found in the conning tower, this raises, lowers, or keeps steady the depth of the sub. This is the control whose lever broke off earlier, so you'll have to find a replacement for it before you can use it again. To do so, pick up the plunger in the room just left of where Sophia's being held. The handle of the plunger fits perfectly in the slot.
  
• Steering Wheel - Found in the room where the guard is holding Sophia; you'll have to take care of him before it can be used. This controls how far away the submarine is from your viewpoint. Use this control to position the sub with the distance of the airlock to the camera. The wheel is locked at first, however. To unlock it, use the tiny key that's inside the safe with the locking stones.
  
• Reverse Switch - Located just left of the galley and left of the speed lever, this toggles the sub's engines into reverse, or back to normal. This control does not need to be repaired or unlocked, but it will only work if the sub is at a complete stop.
  
• Speed Lever - Located just left of the galley and right of the reverse switch, this controls the speed of the sub. If the lever's all the way down, the sub will remain stationary in the water. I don't recommend you have this lever any more than halfway up, unless you want to get to the other side of the seafloor area in a hurry.

Once you have all four controls working, it's time to get into the airlock, the location of which is randomized each game. (The image at the top of this subsection shows you all the possible locations.)

The submarine will have to be at a very specific distance from the camera (your viewpoint of the seafloor during this sequence) in order to successfully dock. Unless you're lucky enough to get the extremely-close airlock at the lower left, you probably won't get this right on your first try. Just keep at it, take it slowly (as there's no time limit), and focus on one control at a time; eventually, you'll get the sub to a point where you can simply use the depth and speed controls to successfully dock.

Read through Plato's Lost Dialogue if you haven't already. There will be a quiz shortly...

You're looking for a man named Alain Trottier here. Ask around about what he looks like; eventually some people will tell you that he has grey hair and a brown suit. Talk to him and introduce yourself as Dr. Indiana Jones, and as a simple professor. If you bring up Atlantis, he'll ask you a question about Plato's Lost Dialogue. Answer it right and he'll give you his business card. This could be of use to Sophia's other contact; time to head to Algiers.


There are quite a few people out walking the hot marketplace streets. Omar's shop should be around here somewhere. Walk around and you'll eventually see a back alley on the far-left of the market. Take it and you'll find the shop...but Omar's not here. Instead, you'll find his servant, Paul. You could have him arrange a meeting with Omar, but he's not going to do that for just anyone. Fortunately, you've got Trottier's business card. Give that to him and he'll take you a bit more seriously - enough to go to Omar.

Once he returns, however, he'll tell you Omar doesn't want to have anything to do with you. This is bad; you need Omar's help, whether he's willing to give it to you or not. Paul will, fortunately, go see Omar again if you ask him. Perhaps this time you could follow him into the streets, and see where he—



—goes?

Paul quickly becomes one with the bustling crowds out here. If you have a decent eye, you can follow him to Omar - he's a slightly bigger and darker dot than the others. If you're having trouble, though, there's another way. You'll quickly notice there's a moving red dot on the map that stands out very well...Enter the marketplace when it does to see that the dot is a jovial man in a bright red fez. Talk to him and keep bringing up the fez. Tell him it's "better than a sharp stick in the eye" and that it's festive. He'll give you the fez, that you might better join in the fez-tivities (his pun, not mine). Give the fez to Paul; he'll ask why he should wear it. The reason is random from game to game.

Omar is none too pleased to see Indy at his doorstep. He sends Paul to notify the authorities, and refuses to help Indy. Talking to him makes it fairly obvious he sided with Kerner a long time ago, giving the Nazis info about the location of an Atlantean outpost buried somewhere in the desert. There are several things in Omar's house that could be of use here, but you're going to have to deal with Omar first, by locking him in his closet. Simply move into his closet; Omar will run in with you and tell you to leave his things alone. Then just step out and close the closet door.

Take a look around. That hanging cloth is actually a map; to obtain it, pick up the bamboo pole in the foreground and use it with the map to get to it. Before leaving on Omar's camel, pick up the two statues on the left side of the screen.


You've got a map to the dig site, but it's useless without some further help from the nomads that populate the desert's various camps and oases. Give them your map and they'll help tell you where the map's X is. If they say the X is "considerably" in one direction, that means it's two screens away; if they simply name a direction, it's one. If they say "you are very close to the site", it's on the current screen - a red X will appear on the map when you know the dig site's location.

Along the way, you'll be hounded by various "officers". They're easy to evade, but they'll send you back to the city gates if you don't bribe them (with one of Omar's statues).




The dig site is fortunately abandoned. Your camel, however, abandons you too, and the truck doesn't work. For now, head out of the sun inside the dig site. It's dark down here; you'll have to feel your way around. There are lots of things to pick up. Feel around for, and pick up: a ship rib (the "sharp wood thing" near the entrance), a hose (the "long, tubular thing" near the bottom of the screen, below the entrance), and a clay jar (the "clay thing" to the lower-right of the entrance).

Feel around to the lower-left of the entrance; there's a generator here, but it's out of gas. The truck outside probably has some left; the trick is finding a way to siphon it out. To do so, head out to the truck, open its gas tank, use the hose with it, and use the clay jar with the other end of the hose. Pick up both the jar and hose afterwards. Back in the dark, feel around for the generator's gas cap (the "metal cap"), open it up, fill it with the gas, and turn it on by pressing the "metal thing".

With the lights back on, turn your attention to the painting on the left side of the screen. It looks like two figures holding something - possibly a stone disk, as Indy notes. Below them is a chest-like object that almost looks like it could be a secret compartment. To proceed, push the circular object on the wall. It's actually a button to open the stash below. The opening contains a statue that resembles the one Kerner swiped in the prologue. Use your orichalcum bead in this statue's mouth as well, and it'll power up. You can probably use this to get the truck's engine running again, but you'll need another spark plug as well. Open the generator's side door, turn the generator off, and pick up the spark plug. Up top, put this second spark plug in place and use the statue with the truck's engine.

Open the truck's driver-side door and read the telegram on the seat. Uh-oh. Looks like you weren't the only one looking for Trottier. Time to head back to Monte Carlo.


Find Trottier again. You can try to warn him, but he won't believe he's in any danger. After three attempts by Indy, the Nazis will find and kidnap him. Indy says a classic line, and the chase is on!



The Nazis will drive around in circles a lot here in an attempt to lose you. Your objective is to ram into them a few times until they crash. Just click on the road to move there. Stay relatively close to the car, and eventually you'll ram them enough to cause a wreck.

Trottier survived the crash, fortunately. Better still, he's quite a bit more grateful to Indy now that he's seen the reality of the matter. He reveals that an entrance to Atlantis is at Thera, and that his Sunstone can be used to open the way. Unfortunately, he tossed the stone into a random street drain during the chase. He writes the street's location down on a telegram before entrusting the stone to Indy.

The streets of Monte Carlo have complex names, but they're also in alphabetical order, both from left to right and from bottom to top. Once you've found the right street, have Indy open the drain (or both, if there are two).

Talk to the port authority; eventually he'll reveal that there won't be any way off the island for at least a week. Oops. Might as well explore the island and see if there's any truth to Trottier's theory. Walk to the path on the far left of the screen to leave the area.

In the distance, there's a gap, notch, and cleft in the mountains. Two of them are (randomly, of course) dead ends, but one of them contains another dig site. Before heading in, have a look at the crate. It's empty, but closing it will reveal an invoice for a balloon bladder still attached to the lid. Pick it up; that could be your ticket off the island.

Go inside the dig site and head into the adjacent room. There's a door here, but it appears whatever it led to was walled off long ago. Close the door and you'll see a secret compartment open just to the right. There's a spindle just inside it, meaning it's time to use that Sunstone. (Check the third paper-clipped age of the Dialogue to find the correct combo for the stone; if you need further help, look at the Lost Dialogue section towards the end of the guide.) Set the stone to the right combo and you'll hear a click. Open the door again and you'll see there's now a stone tablet with ancient writing on it. Indy can't decipher it, but maybe there's someone who can - go ahead and pick up the tablet. Be sure to retrieve the Sunstone afterwards, obviously.

During the events above, the entrance will cave in. There are some tools in the crates, including a folding military entrenching tool. To use it, first you'll have to unfold (open) it. Unexpectedly, there's a letter from Sophia inside...the Nazis have taken her into their custody. Use the entrenching tool on the caved-in entrance to escape.

You need to get off this island, and you can't exactly wait a week for transportation. Bring the balloon bladder invoice to the port authority and the balloon bladder will be yours. It's in the crate just to the right of the pier - open it and pick up the balloon. You'll need a basket as well. There's a huge one outside one of the stalls, but it doesn't belong to you. To get it, give the carved sign to the port authority in exchange for the balloon. As it happens, he can translate the symbols for you, which will reveal to you that Crete is another way to Atlantis. Now you just need to make a balloon. To do so, pick up the nearby fish net, use that with the balloon bladder, and use the balloon/net combo with the basket. To inflate the balloon, go back to the dig site. See that natural gas fissure? You need something to connect the balloon rig to the vent. Use the hose from the dig site with the rig, then use the rig with the vent.

You're now over the ocean. Kerner and the U-boat can't be far behind; you need to catch up with him while you can. The balloon has two controls: vent hydrogen and drop ballast. The former will make you descend and turn you 45 degrees counterclockwise; the latter will make you ascend and turn you 45 degrees clockwise. It's probably better to try it for yourself. Once you find the sub, get relatively close above it, then vent hydrogen like crazy.




Indy manages to land the balloon alongside the submarine, and gets a new set of clothes in the process. The U-boat is on its way to Crete, where its crew will find the underwater entrance to Atlantis shortly after. Seems like Kerner's always one step ahead of you...now it's your turn to pull a fast one on him, by stealing the keys to the Greater Colony.

Go into the conning tower and continue climbing down. Talk to the guard standing by the lockers, who says he's been guarding a "rock" for much longer than a normal shift. He's probably really hungry by now. To get rid of him and into the locker, make a sandwich using the cold cuts and bread in the galley, then eat it in front of the guard.

Inside the locker is a Moonstone, which is required (along with your Sunstone) to enter the Greater Colony on Crete. There's also some torpedo instructions underneath the stone; pick those up too. Not long after you do that, however, Indy will realize the sub is now headed for Crete. Watch the scenes that follow.


Kerner's none too happy about the theft of the Moonstone. While he and Ubermann explore Crete for a way into Atlantis, he's ordered the sub locked down; if you attempt to escape via the hatch, an armed guard will either order you back inside or kill you, depending on whether you're wearing your disguise. You've got to find another way out.

Come to think of it, you did pick up a pamphlet telling you how to use the torpedo system. Might as well try that; there aren't really many other ways off a submarine. Going all the way to the aft torpedo bay, however, reveals another obstacle; there's an officer reprimanding two crew members. Besides that, the sub is being patrolled by half its crew.

The torpedo tubes in the bow, meanwhile, don't work. A nearby sailor explains the wires are crossed, and they could easily start a fire if tampered with. That would make for a good distraction. The torpedo tube's control panel is too difficult for Indy to figure out on his own, so use the torpedo instructions with the panel. When the torpedo tube is ready to fire, push the lever.

Hmm...close, but no cigar. The wires did make some sparks, but not quite enough to start a fire. You'll need an extra catalyst - look around the sub for something that would definitely help out. Specifically, pick up the oily rag located in the aft torpedo bay, and drape that over the wires. Pushing the lever after that will cause a fire and distract the sub's crew.

You can now (and will automatically later, if you don't) change back into Indy's regular attire. Attempting to leave the sub through the hatch after doing so will result in the one and only death you can die on the Wits path.

The aft torpedo tube bay is now clear. Use the torpedo instructions with this control panel as well to get everything ready. Now you need to pull the lever from inside the tube. If you could tie a string to the lever, that might work, but Indy's not about to give up his whip to do that. Once again, look around for something you can use. You won't have to look far. To launch yourself from the sub, grab the clothesline in the room adjacent to the torpedo bay, tie it to the torpedo tube's lever, climb inside the tube and pick up the other end of the clothesline, close the tube's door, and pull the clothesline.

Head south from the docks away from the sub to find a pedestal. You'll need to place both the Sunstone and the Moonstone, in that order, on it. The third paperclipped page of the Lost Dialogue explains why (Crete is the site of the Greater Colony), and it also tells you the correct combo for the Moonstone - which, again, is random each game. The Sunstone should be set to the same configuration as the one you used in the Theran dig site.

The tablet you found in Thera clearly mentions that Crete contains a road of some kind to Atlantis. The many Atlantean symbols and stonework scattered around the Labyrinth indicate that you are indeed getting closer. The trick is finding a way there - and it won't be easy. The old passages have not improved with time, and they've already claimed the life of someone you've met before...


You begin in a room with three busts on a scale-like platform. If you pick up all three of them, the gate will close. The problem is, you'll need all three on the other side to be able to open a gate later on, and you don't have anything nearly heavy enough to weigh the platform down in their place. To get all three busts on the other side of the gate, pick up two of the busts, then go through the door and use your whip with the third head in the adjacent room. This will effectively lock you inside, but there's no other way to proceed.

As befitting a labyrinth, there are a lot of dead ends here. Head through the circular passage in the top-center, then into the one on the left. As you may have guessed, the platform in this room is where the three busts go. You can put them there if you want, but for now head into the left door at the top of the stairs; it's the door just adjacent to the one you entered from. You should now be in a room with a big minotaur statue. Note that the floor below it dips slightly when you walk on it. If the platform had some extra weight, you might be able to ride it down to wherever it goes. To do so, use your whip with the minotaur head. Head to the base of the statue to ride the elevator down.

Read Sternhart's note if you wish, but be sure to pick up the Worldstone he swiped from you, as well as his staff, comb and scarf. Respect for the dead be damned; you need to find a way up again if you want to avoid sharing his fate. Search around the room and you'll find an unconventional way back. Specifically, examine the nearby waterfall - there's a chain there that holds the elevator's counterweight. Simply "use" the chain to go back up. Carefully make your way back to the door on your left without stepping on the platform.

If you haven't done so yet, place the three busts on the shelf to open the door. In the room beyond, take the upper passage and you'll eventually find a room with a gold box on the other end of what appears to be another elevator shaft. Notice there's a wedge (chock) holding the counterweight in place. If you want that gold box (and you do), you'll need to free the counterweight by using Sternhart's staff with the chock.

Head back two rooms, and this time take the lower passage. This leads to the bottom of the elevator shaft, where the platform currently rests. There's a big statue head right by it with an open mouth - it must be the key to operating the elevator. To ride it up, use Sternhart's staff with the statue's mouth. There are two more orichalcum beads underneath the box, which Indy also picks up.

Go through the door in the back, behind the gold box. There's a "microtaur" machine here, though Indy will note that a part seems to be missing if you investigate the machine's hatch. Fortunately, you have everything you need to get the microtaur running again: place the statue into the hatch, then place an orichalcum bead in the statue's mouth.

The microtaur will dig a hole through the wall. Follow it to find the labyrinth's "map room", a big hall with a scale model of Atlantis. There's a spindle in the center, which will require all three locking stones. Open the Lost Dialogue up to its ever-useful third paperclipped page to find out how to align the Worldstone. (The Sunstone and Moonstone should be aligned exactly the same way as you did to enter the Labyrinth.) If you got it right, the whole map will come alive, a little statue will rotate around the miniature city...and most importantly, a door will open.



There has to be more to this short passage beyond the map room door. Maybe Sternhart's things could help out. Think especially about why he took a wool scarf and a comb into a place like this - it wasn't because he liked following the latest archaeological fashion trends. Using the two together will charge the comb with static electricity, but that alone won't get you anywhere. Try combining the comb with something else in your inventory. Specifically, tie the clothesline to it to make a crude detector device. The comb appears to be pointing towards sources of orichalcum - namely, Indy, because he still has some beads on him. The comb isn't going to be particularly helpful unless you find some way to hide them from the detector. To do so, put the beads in the gold box, then close it.

Note that you'll have to recharge the comb with the scarf every time you want to use it. Give it another go and it'll point towards the dead-end room (or simply down, if that's where you currently are). Investigate the bones in the dead end to find two more beads, which Indy will also conceal. Charge up the comb once more in the waterfall room and use it. The comb will now point towards the back wall, which Indy notes is crumbling a little. There must be something here; to reveal it, use your ship rib with the wall.

The secret passage leads to a room with an Atlantean subway car. There's also an orichalcum bead on the floor, which you should pick up. The subway track is far too long to walk down, but the car will take you right to Atlantis if you can get it working. That, fortunately, is a simple matter. Use an orichalcum bead in the car's mouth and you'll be on your way.


The subway car eventually crashes into a mysterious dark room. After stumbling out of the wreck, Indy quickly realizes he's in some kind of airlock, deep below sea level but with sufficient pressure to prevent any flooding. There's only one place he could be...

Read up on Plato's Lost Dialogue if you haven't done so. There will be a quiz shortly...

You're looking for a man named Alain Trottier. Ask around and you should quickly get a decent description of what he looks like: he wears a brown suit and has grey hair. Talk to him once you've spotted him. Be humble; Trottier won't deal with you if you aren't. Ask about Atlantis, and he'll ask you a question to "prove you're worth dealing with".

You'll get Trottier's business card if you answered correctly. That's all you need to do here!


Omar al-Jabbar's shop is around here...somewhere. You'll find it on the far left side of the market, down the alleyway. The shop is currently only being tended by Omar's assistant, a man in a red fez called Paul Abdul. (Go ahead and make whatever jokes you need to about that.)

You can arrange a meeting with Omar, but Paul won't take you seriously unless you show him you're really into dealing with Atlantean artifacts. Give him Trottier's business card and he'll head off to Omar's house, telling you to wait for his return. When he does come back, however, he'll tell you Omar still doesn't want to see you. You really need to see him, though - perhaps you should try a more devious approach. Talk to Paul and arrange another meeting, but tail him this time. Follow him into the the city streets once he exits the market; that red fez of his will make him easy to spot. Stay as close as you can to him at all times; he won't spot you no matter what.

Uh-oh. Seems the Nazis are a few steps ahead of both Indy and Omar. You can't sneak up behind Horst, as a noisy floorboard will give you away. Time for the first of many fights on this path. Save beforehand; Horst is fairly tough, and - again - it's Game Over if you lose. Don't be afraid to run (or sucker punch him if you aren't a completionist).

You're now alone in Omar's house while he and Paul alert the authorities. Before you can make your escape, you need to find that map he mentioned. Take a look around, and Indy will presently notice that one of the clothes hanging from the ceiling isn't laundry at all. Now you just need to find some way to get it down. To do so, grab the bamboo stick from the pot in the foreground, and use it with the map.

The map is unfortunately rather vague, but it's better than nothing. Use the camel to head out into the desert.


Watch out for enemies here. If one catches up to you, you'll have to fight him. (Those looking to maximize their IQ points, however, should beat at least one in a fair fight.)

There are nomad outposts scattered across the desert: at least one in each screen, other than the one with Algiers in the upper-left. Hurry to one of them as fast as you can. Once you're there, show your map to one of the locals, who will be happy to point you in the right direction. If he says the X is "to the east" (for example), then the dig site is one screen east. If he says the X is "considerably" in one direction, that means it's two screens away. When you find a nomad that tells you "you are very close to this site", a red X will appear on the desert map. Head to it.


The dig site looks abandoned, but a few steps in the wrong direction will quickly prove otherwise. Someone is shooting at Indy from that observation balloon to the left. Not good. You're going to have to find some cover - hopefully the dig itself is abandoned. Climb down the ladder in the middle of the site to head in; you'll have to approach the ladder from the right side.

Once you're inside, you won't be able to get back up the ladder. The gunman has you pinned down here in this dark room. Note that "Look at" has been replaced by "Touch" here. Feel around the site to see if Indy can identify anything. Of particular note is the "metal thing" at the bottom of the screen - it's a portable generator, which is hooked up to some lights. To turn it on, feel around the generator for a "little metal thing", which is the generator's on/off switch. Then simply push the switch to turn the lights on.

Look at the painting to your left. The round shape the two figures are tossing around looks suspicious to Indy. There's more to this painting than it seems. Specifically, that round object is a button. Push it to open up a secret compartment. There's a Sunstone inside!

This Sunstone is one of the three stone disks you need to obtain. As the Lost Dialogue will tell you, it alone is enough to open doors at various outposts, and you're standing in one right now.

First, though: some item collection. Pick up the objects you see on the table: the wooden peg and the clay jar (with a bead of orichalcum inside!). There's a crumbling wall to the right. Something's definitely behind it, but you'll need to remove the rock first, by picking up the ship rib near the entrance, then using it on the wall. The mural is a map of Crete with a hole in the middle. Indy will note there's a space for the Sunstone on the mural, but nothing to hold it in place - use the peg with the mural, then use the Sunstone with the peg.

Looking at the Sunstone now will show you a closeup. You need to correctly align one of the stone's symbols with the horns engraved at the top-center of the screen. The third paper-clipped page of the Lost Dialogue will tell you the right combination. Hit the peg in the center once you think you've gotten it right; if you were, another door will open nearby. Pick up the Sunstone and head through it.

You are quickly confronted by Rolf, the Nazi who was shooting at you earlier. You need to deal with him, but he's got a gun pointed at you and won't let you move. You need to disarm him first, by using your whip with him. (Note: believe it or not, there is a time limit here, though an extremely lenient one. If you don't disarm him within 15 minutes, Rolf will shoot Indy.) Punch him out, and then it's off to Crete!

You can't use the truck, but have Indy look at the ladder to the left - it leads to the observation balloon. The balloon controls are quite simple: vent hydrogen to descend, and drop the balloon's ballast to ascend. (Be aware that both of these actions will also alter the direction you go in, and that your speed is dependent upon your altitude.) To proceed, just move north over the ocean and off the map.

The balloon has carried Indy to Crete, and it isn't going any farther. There's a pedestal to the far right of the area, but setting just the Sunstone won't get you anywhere. Because Crete is the site of the Greater Colony, you'll also need to find and correctly set a Moonstone as well. The path to the left of the area near the balloon will take you to yet another dig site. (This one really is abandoned, promise.)




There's a Moonstone buried somewhere in this area, and you're going to have to solve quite a puzzle to get to it. Before you do anything, however, go up onto the bridge and head all the way to the bottom-left of the area, where a surveyor's transit rests on some flat rubble. Pick up the transit and head back to where you entered the area.

The next step is to search the rooms for clues. Most rooms only have empty pots in them (if that), but one particular room has an unusual mural. A bull's head and tail are at the bottom, and a pair of horns are in the middle. Straight lines are drawn from the head and tail through the left and right horns, respectively, converging on an upper figure which suspiciously resembles a stone disk...

Exit the room. By now you might have noticed there are quite a few stones around the area that you can interact with. Try pushing as many as you can find; most of them won't move, but two of them will reveal the statues of a bull's head and tail! The huge horn-shaped structure in the middle of the site is a dead ringer for the horns in the mural — can you figure out the rest?



To get the Moonstone, put the transit on the bull's head statue and use the transit. Line up your view with the left horn, then exit the transit view. Indy should say he sees the horn; if he doesn't, go back and fine-tune your view using the two smaller buttons. Once the left horn is correctly identified through the transit, an imaginary dotted line will be drawn over the site. Set up the transit on the tail statue, and repeat the process with the right horn. Another line will be drawn, but this one will stop where the two lines meet. Use your ship rib on this spot to dig up the Moonstone.


Head back to the pedestal. It's on the right side of the screen where Indy first landed on the island, near the docks. Place the Sunstone on it, then the Moonstone. The Sunstone should be set exactly the same way it was in Algiers. Remember to look at the third paperclipped page of the Lost Dialogue to see which way to set the Moonstone. Refer to the Lost Dialogue section if you're having trouble with either.

A door opens in the nearby ruins once you get it right...and out comes trouble. Klaus isn't too hard to beat in a fair fight, but the sucker-punch option is always there if you need it.


You would be wise to suspect Klaus was not alone in this foreboding maze. Many of Kerner's men are holed up deeper inside. You won't get to them for a while, but when you do, it's going to be fight after fight. If you're not one for sucker-punching, good luck. This section of the guide will cover everything in the labyrinth before that part.

There are three busts of various gods sitting on a scale-like device. You'll need all three for a section later on, but the door closes if you pick up the third. To proceed into the Labyrinth with all three in your possession, pick up two of the busts, head into the next room, and use your whip with the bust on the other side. Be warned: this will lock you inside, and the only other way out is through a lot of Nazis. First things first, though...

There are quite a few dead ends in this place. Head through the circular passage in the top-center, then into the one on the left. As you might suspect, this is the scale where the three busts go. You can put them there if you want, but for now head into the left door at the top of the stairs; it's the door just adjacent to the one you entered from. You should be in a room with a big minotaur statue. Note that the floor below it dips slightly when you walk on it. If the platform had some extra weight, you might be able to ride it down to wherever it goes. To do so, use your whip with the minotaur head.

Ride the platform down. Poor Sternhart. You can read his note if you wish, but be sure to pick up his walking staff - it'll be useful shortly. You'll need to find a way back up, unless you want to end up like him. Do so by examining the nearby waterfall - there's a chain there that holds the elevator's counterweight. Simply use the chain (right click!) to go back up. Go back through the door on the left; be careful not to step on the platform and ride back down in the process!

If you haven't done so already, place all three busts on the shelf to open the door. In the following room, take the upper passage and you'll eventually find a room with a gold box on the other end of what appears to be another elevator shaft. Notice there's a wedge (a "chock") holding the counterweight in place. If you want that gold box — and you do — you'll need to free the counterweight by using Sternhart's staff with the chock.

Head back two rooms, and this time take the lower passage. This leads to the bottom of the elevator shaft, where the platform currently rests. There's a big statue head right by it with an open mouth; it might be the key to operating the elevator. To ride it up, use Sternhart's staff with the statue's mouth. There's another orichalcum bead underneath the box, which Indy also picks up.

Retrace your steps back to the big minotaur statue; this time, enter the door on the right side of the room (again, be careful not to ride the elevator - though if you do, climbing the chain once more will put you on the right side of the room). The middle door of the room beyond is blocked by a stone slab. If you try to push it, Indy will remark that the slab is very heavy, but the area through that door is the only way into the section ahead. The solution is very simple: just keep pushing the stone slab. It'll move a tiny bit more each time until it finally falls over on the fourth try.

The room beyond is...a dead end? Well, not quite. Take a look around and see if there's a way to cross. Specifically, there's a stone outcropping just above and to the right of the middle door. If you look at it, Indy will wonder if it's mounted securely. Time to find out. To cross to the other side, use your whip with the stone outcropping.

The area beyond is packed with Kerner's men. You're on the Fists path, so you know what that means. The next section will cover this second, and very different, half of the Labyrinth.

Head through the middle door first. There are two Nazis talking down the hall. Move a few steps forward and one of them, Hans, will investigate. Watch out if you decide to fight him legitimately; he's got about twice Indy's health and can match him in punching power (less so if you use the "tour group" line beforehand). There's an easier way to get rid of Hans without fighting him, though: hide behind the stone slab before he walks into the room, then push it over onto him when he's right behind it.

Head down the hallway to find Franz. (Say "Other foreign advisor?" to lower his punch power a little.) Once you deal with him, head past him to come to a room with four more doors. The two leftmost will take you to a room with Otto, an easy fight (ask him why he isn't at his post to make it even easier). The third of the fourth doors will lead you to Karl (an easy fight), and Kurt (a fighter with about the same stats as Indy - call him a patsy to lower his speed and power). If you manage to take them out, the room beyond Kurt is right above Anton, a tough fighter that you will have to get past. He can be sucker-punched, but there's a better way to take him down. To effortlessly take Anton out, push the big stalactite above him.

You'll hear yodeling in the room past Anton. That's Arnold. He likes to sing. He can also kill you with two full punches. If he decides to fight you, RUN. He will utterly flatten you if you try to fight back, and he's one of only two enemies in the entire game that can't be sucker-punched. It is possible to beat him in a fight, but expect to reload your save many, many times. Fortunately, there's another way. The room next to him contains a big boulder at the top of a slope. Indy can't push it without some extra leverage, though. To flatten Arnold with the boulder, use the ship rib with the boulder. The boulder will roll right into the doorway you came in from, so you'll have to retreat from Arnold. Pick up the stalactite that you used to take out Anton (if not, go up to the stalactite past Karl and Kurt, and push it down), and use it on the boulder from the other side.

Whichever way you used to dispose of Arnold, look at him afterwards to search him. He has a couple of orichalcum beads, and...an amber fish on a string? If you use the amber fish, it'll point towards Indy. (Read the Lost Dialogue's fourth paper-clipped page to see why: amber is an orichalcum detector.) Unfortunately, it's only detecting Indy's orichalcum beads, making it rather useless right now. There's a way to hide your beads from the detector, though: put the beads in the gold box, then close it. Now use the amber fish. If it doesn't point anywhere, retrace your steps. You may have to use the amber fish in quite a few rooms you were in before; in particular, try it in the rooms Anton and Otto were in. When the fish points downward, yell "Hey, down there!" into the big pit. It's Sophia! The Nazis apparently left her down there, but her necklace had enough orichalcum residue for the detector to pick up. Get Sophia out of the pit by using your whip with it. Not as good as a rope, but it gets the job done regardless.



Sophia has the Worldstone with her, which she gives to you. The room Arnold was guarding will require you to use it. Head over there and place all three stones on the central pedestal. Read up, as always, on the third paperclipped page of the Lost Dialogue to see how the Worldstone should be aligned (naturally, the Sunstone and Moonstone should be set exactly the same way as before, when you first opened the Labyrinth). Get it right, and a door will open to the Labyrinth's exit - and a stone column pointing the way to your last stop before Atlantis.



The captain of the salvage boat is willing to take you into the sea above the Lost City, but there are two problems. One: you need to figure out exactly where that is, so you can give the captain directions. Two: the captain's only diving suit is punctured, and needs repair before Indy can use it to reach the bottom of the sea. We'll begin with the latter problem. You won't find what you need to repair the suit here at the docks, so have Indy leave the area to the left.

Sophia won't follow Indy into the wilderness, but that's all right - you won't be gone long. There is a gap, a notch, and a cleft in the mountains ahead. One of these passages (it's random every game) will take you to the remnants of a small dig site. There's a truck parked here with a bad tire, as well as a tire repair kit. That could be just the thing. Pick it up and head back to the docks.

Your other task was to find out where to direct the boat. The answer to this requires a little thinking, but is fairly simple. The ever-useful third page of the Lost Dialogue will tell you most of what you need. Read the part about Atlantis founding two colonies, and remember three things:

• Thera was the Lesser Colony of Atlantis (Crete was the Greater), so you need only pay attention to that number.
  
• Because of Plato's tenfold translation error, you'll need to divide his numbers by 10 in order to get a valid location.
  
• The book lists the direction from Atlantis to its Colonies, so you'll have to reverse the direction specified.

As an example: if the Lost Dialogue says the Lesser Colony was 260 miles northwest of Atlantis, then you should tell the captain to go 26 miles southeast.


Open up the big storage locker, and use the tire repair kit with the punctured diving suit inside. It works well enough; now it just needs some air. Use the air hose with the suit to connect the two, then use the air compressor switch (it won't work if you simply try to use the compressor itself) to start filling up the suit. Once that's done, simply use the suit to put it on. Indy can't move too well in the diving suit, so you'll now briefly control Sophia. All she needs to do is use the boat's hook with Indy to lower him into the water.

...And right on cue, here comes Kerner's sub. Doesn't help that the salvage boat captain has been working with him the whole time. Whoops. Kerner captures Sophia and severs Indy's air hose, dropping him helplessly to the sea floor.



You have three minutes to find the entrance to Atlantis before Indy runs out of air. There are seven caves to try: a group of three to the right, three in the middle, and a single one far to the left. Fortunately, Indy can walk along the sea floor at a fairly decent pace; you'll more than likely spend around thirty seconds to a minute looking, depending on how lucky you are.


Thankful to be out of the wet suit at last, Indy finds himself in a dark room - an airlock with enough pressure to keep the Mediterranean from flooding the place. He'll soon find it's hardly Atlantis's only surprise...

This first room is very dark; you'll have to feel your way around again, just like at the dig site. You can't get to the right side of the room - it's elevated quite a bit relative to where you are. Feel around for a "wooden thing" below the airlock's entrance. When you find it, Indy will note that it's a ladder. Pick it up and use it on the rubble to reach the elevated area. Feel around up here to find a metal box. If you open it, you'll find a metal rod inside it. To restore light to the area, feed the wand an orichalcum bead.

There's a spindle on the bottom of the bull statue to the right of the door. Because this is Atlantis, you're obviously going to need all three locking stones. You may be surprised to find, however, that the usual combination won't work. What gives?

Take another look at the third page of the Lost Dialogue. It's helped Indy so many times before - and as it happens, it has one last cryptic piece of information for you. The last sentence on the page tells you that the final entrance to the city (and, yep, that's this one) "yielded only to contrary minds". What sort of combination would best reflect that?

To access Atlantis, set the locking stones to the usual combination, but align them with the bottom instead of the top (i.e., turn them all around 180 degrees). The mouth of the statue will then open; feed it an orichalcum bead to open the doors.

Be sure to pick up the ladder once you're done! You'll need it for two other things later.


This is the largest of the three rings that make up Atlantis, spanning four screens (which I'll refer to as "quadrants"). Nazi guards are patrolling the area; if you run into one, you'll have the option to fight or flee. It's recommended to fight at least one; the first guard you fight will have some rations on him, which can be useful shortly. For those looking to max out their playthrough score, you'll need to win a fair fight against one guard in each quadrant.

Notice the slightly-darker areas on the map, as well as anything else marked with a "?" when you mouse over them. Some of these rooms are just that: empty and unremarkable. Many of them, however, contain grates that link - randomly, of course - to other rooms. Go into every room, and through every grate, to see where you end up; there's a section of rooms in the northeast quadrant that can't be accessed any other way.

Here's a list of major rooms you should find in the Outer Ring, as well as what you can do in them:

• The Machine Room - A big room containing a large pyramid-like machine. It isn't operational at the moment, but fixing it is a relatively simple matter once you've searched around for some equipment. To repair the machine, use the bronze spoked wheel, found in one of the rooms (usually, it's one of the rooms you can only access by crawling through the various grate tunnels), on the empty spot to the right of the big statue. You can manufacture some more orichalcum beads here by pouring a cup of lava into the machine's topmost funnel. This isn't just for show, either - you will have to do this at least once to have enough beads to complete the game's remaining puzzles. For most players trying to figure things out on their own, I recommend making at least two batches.
  
  
• The Crab Room - A large cast of crabs have made their home in the little pool in the center of this room. You can even catch one, by placing some bait in a rib cage (obtained from a skeleton in one of the "?" locations on the subway encircling the Outer Ring). The guards' rations, the bread/cold cuts/sandwich from the submarine, and even the chewing gum from Barnett College will all work as bait - you can even use more than one if you're looking to clear your inventory a little. After that, just use the baited cage with the pool, and pick it back up again once you hear the sound of the cage closing.
  
  
• The Lava Room - A side room containing an imposing lava-spewing statue, which flows into a secondary pool. One statue head appears to be missing. If you have the stone cup (see Statue Room, below) as well as the statue head (found in another random room), you can fill the cup with lava by placing it on the pedestal, then placing the statue head in the slot beneath the big fountain. Trying to collect lava using the clay jar or porcelain mug will destroy them.
  
  
• The Statue Room - A chasm separates you from a statue holding a cup. To cross the chasm, use your ladder with it. (You did pick it back up after using it to climb to the airlock exit, right?)
  
  
• The Sentry Room - This room separates you from getting to the prison and the Middle Ring (how the Nazis got past it remains something of a mystery). You'll need to clear the water before you can open the doors. To do that, find an eel figurine in a random room (you might have to go through a grate to reach it). Once in the sentry room, feed the eel statue a bead.
  
  
• The Dungeon - Sophia's being held here, and her guard, Fritz, is an extraordinarily tough opponent. Fortunately, there's an easier way to take care of him: explore the vents in the various rooms until you come to the one that puts you right by the prison's statue. Feed the statue an orichalcum bead to kill Fritz. (You need to activate the statue anyway, even if you were crazy enough to fight Fritz and win, as you need one of the gears inside its remains.)

You can't free Sophia just yet. If you pick up the heavy cage door, Sophia will be too afraid to go out from under it. You'll need to find something further within Atlantis to brace the door. Right now you have no choice but to leave her. Whether or not you come back later to save her is your choice, and will affect the game's ending.


Before proceeding into the canals, make sure you have the following:

• Lots of orichalcum beads. You will need to make at least one batch in the Machine Room to have enough. See the section above if you need help doing that.
  
• A bronze spoked wheel. This is also necessary to make orichalcum - make sure you retrieve it from the Machine Room's mechanism once you're done!
  
• A bronze gear. This is found in a random room, hanging in the upper-left corner by a bunch of robot parts. Very easy to miss.
  
• A robot part. This is found in the Dungeon. Activate the sentry robot and pick up the part from the rubble.
  
• A trapped crab. See the Crab Room listing up above for details.

There's a huge octopus between you and the crab-like raft on the other side of the canal. You'll need to get rid of him somehow. To do that, throw the trapped crab into the canal.

You can now swim to the raft. It doesn't seem to be working...or is it simply out of power? To get it running again, put an orichalcum bead into its mouth. Now you just need to find a way to get those gates open. If you look closely, you can see there are spindles below the lights above each gate. All you need to do here is to use one of your locking stones with the gate - no combination is needed. The canal is comprised of six segments; the further you are from this room, the smaller the required stone must be. Thus: if you want to open all six gates, just go in either direction and use the Sunstone, Moonstone, Worldstone, Worldstone, Moonstone, and Sunstone.

While you're traveling down the canal, you should eventually come to a screen with a staircase on the right side. Go up there to find a room with a crescent-shaped gear. Pick this up too. You may have noticed it's in some sort of cupboard. Close it and look at it to find a rather interesting pattern, which I've screencapped here. Pay close attention to it.

There's an archway at the far end of the canal. Go through to find a room with a closed door, and a big robot on the right. The robot was clearly once used to get the door open, but it's in bad shape right now. Get up to the robot's breastplate by using your ladder (you do still have that, right?), and open it up.

As the design in the center of the cupboard instructed, place the bronze wheel onto the center four pegs, then place the robot part on top of it. The four crescent moons on the cupboard symbolize the crescent-shaped gear, which can be placed on either the left two or right two pegs to move the robot's left or right arm, respectively. Because the robot's left arm can no longer move, you will need to place the crescent-shaped gear on the rightmost two pegs.

You have two components remaining: the small bronze gear and your orichalcum beads.

(I highly advise making a save here; it's possible to easily run through your remaining stock of beads if you don't know what you're doing, and it's a long way back to the Machine Room...)

Your goal here is to open the door using the only arm of the robot that still works. Naturally, this isn't the arm that would normally open the door, so you'll have to get creative. There's a sturdy chain on a nearby pillar, but it isn't quite long enough to connect the two arms together...yet. To open the door, use the chain with the robot's working arm. Move the arm forward by placing the small bronze gear onto the upper-left peg, then feeding an orichalcum bead into the center component. The arm will move forward, giving the chain just enough slack for Indy to attach it to the immobile arm. Once both arms are connected with the chain, place the bronze gear on the lower-left peg and feed the robot one more bead.

The door comes crashing down after this. Without spoiling too much, I will tell you that it is now possible to rescue Sophia (and thus get the better ending). To free her, check the ground in this room to find a hinge pin from the destroyed door. Head back to Sophia and give her the pin through the cell door. Open the cell's grate, and tell her you've got a plan: to brace the door with the pin. Be sure to retrieve the pin afterwards by opening the cage door a little.

The remainder of the walkthrough will assume that you freed Sophia.

If you look at Sophia's necklace, you'll notice its eyes are slowly pulsing with an ominous yellow glow. As you head through the canals together and past the door at the far end, she will start acting very strangely, occasionally speaking in a voice that clearly isn't hers. She walks away on her own, though probably not of her own will. Go down the hall, and "Sophia" will beckon you through the door. On the other side, things take a turn for the scary.



In a large hall filled with the skeletons of horribly mutilated men, Nur-Ab-Sal speaks through Sophia, welcoming you to his "humble abode". Talking to him (them?) won't get you anywhere, though it can give you some clues - namely, that Sophia's necklace is acting as the catalyst for her possession. Sure enough, looking at it will reveal the eyes are now pulsing red.

It's possible to leave Sophia here, although that will also result in a bad ending later on. You can save her, but first you've got to get rid of that necklace. To free Sophia of her possession, look at the necklace and feed it an orichalcum bead. The necklace will contort into a more sinister face and become extremely hot. Sophia will hold it up in pain, but Nur-Ab-Sal still won't let her release it. Before it cools off, use your gold box with it to be rid of the Atlantean god-king for good. Afterwards, be sure to search around the room for anything that might be useful. The remainder of the walkthrough will assume that you once again freed Sophia.

Head further down the hall. It seems this gigantic machine is the only way to get into the Inner Ring, so you'd better find out how to get it working. You can power it up by placing an orichalcum bead in the "mouth" on the control panel, but you'll need to do more than that. There are three lever slots left of the mouth, and all the levers are missing. There are two objects you can use as levers, both found nearby. They are the hinge pin, found in the wreckage of the door the robot tore down, and a scepter found at the far-left end of the room where Sophia was possessed.

Now that you have the levers, you need to know the correct way to position them. The controls for the machine are very close to it. There's one diagram just outside the room, and another to the left of the machine on the floor. The former diagram shows you how to start the machine; the latter will instruct the machine to dig through to the inner ring. Each diagram is a 3x3 grid representing the three lever slots; the two bigger dots show you the correct placement for each lever.

Memorize the pattern outside the room first, then climb up and set the two levers to the pattern. Now make a mental note of the diagram on the floor. When you're ready, feed an orichalcum bead into the mouth of the machine. During the ride, match the levers to the floor pattern to make the machine bore through to the innermost section of Atlantis.

On the other side of the wall, the machine falls a mile below into an immense pool of lava. Indy and Sophia thankfully jumped off at the last second, but they are still far from safe. Their greatest challenge awaits in the fiery heart of Atlantis, a place where man once attempted to ascend to the realm of gods...


A large maze of doors and passages spans the perimeter of the ring. The maze can be frustrating, so if you're not one for trial and error, refer to the map below to make your way through the maze. (Click it for a larger version if you need to.) While doing so, keep an eye out for anything that looks like it might be important to remember later on...



As you can see, there are a lot of dead-ends and one-way drops; four of them even lead to the same door. The numbers on the map above show the correct sequence of doors to enter to solve the maze. (To go from door 6 to 7, use the staircase to the right; the map is a panorama that loops around on itself.)


Save once you've reached the end of the maze - this next part is very dangerous, even for experienced players. The only way forward is to cross a series of lava tiles. There are a few rules to this puzzle:

• You can only move to one tile at a time, and only one person can cross at a time.
  
• Every time you move to a new tile to the right, one tile immediately ahead of you will fall into the lava. No tiles disappear if you move to the left, with the exception of the rule below.
  
• Random tiles fall into the lava by themselves over time. If you take too long, you won't be able to get back to safety. Seriously, SAVE before doing this.
  
• Sophia will make all of this look easy once you cross.

After untold centuries and the disaster that sunk the city, the imposing machine at the very center of Atlantis is still active, replete with lights and mechanisms that lend it a menacing beauty.

If you have not yet rescued Sophia (from either the dungeon or her possession), this is your last chance to go back and do those things. It's quite a hike from here, but you still haven't passed the point of no return...

Ready to go? Head on inside. Save your game if you haven't - as your intuition might tell you, you're about to enter an extremely perilous situation, one befitting the climax of any good Indiana Jones story.



The room at the heart of Atlantis is eerily quiet. There's a spindle for the locking stones near the center, so go ahead and set all three on the pedestal one last time. You'll quickly find, however, that the usual combination doesn't work, nor does the "contrary" combo you used to get into the Outer Ring.

There's a cryptic hint in the Lost Dialogue that could help you out. Go to the final paperclipped page, which is almost entirely dedicated to the place you're in right now. Specifically, take a look at the sentence that describes how this machine was used "at times when the celestial spheres were well-aligned". The phrase "celestial spheres" surely refers to the three locking stones. It stands to reason that a machine this big and important would have some sort of special combination...

To correctly set the locking stones and activate the Colossus, align the stones to the huge pattern that was engraved on the walls of the Inner Ring's door maze. This pattern is randomized each game, and tells you where to align the Noon Sun, Full Moon, and Volcano. (You can see an example above, on the right side of the door maze map.) If you didn't see the pattern, or forgot it, you'll have to re-cross the lava tiles and backtrack through the door maze a bit to get to a position where the pattern is visible again.


As the machine hums to life, Kerner and Ubermann make themselves known, along with several armed guards. The Nazis have been manufacturing enough orichalcum to send the Third Reich to victory in the coming war - and not, as Indy suspects, by using the metal to create bombs. They will use the Colossus to transform into gods, and use their unstoppable power to rule the entire world forever after.

It quickly becomes clear, however, that Ubermann doesn't have plans for godhood for anyone but himself. (He doesn't think Kerner is "prepared" for it, but it's heavily implied he wants to rule unchallenged.) Kerner will shortly object to this for similar reasons as Ubermann - he walks onto the central platform and demands Ubermann activate the machine. Before he can, Indy interrupts and reminds Kerner about Plato's tenfold error. Instead of ten beads, Kerner orders Ubermann to use only one.

The machine starts, and it's revealed to work almost exactly as you thought. The machine transfigures Kerner into an impish horned creature. Horrified with his new self, Kerner jumps off into the lava below...and then Ubermann orders Indy onto the platform.


This last section is a dialogue with Ubermann. Be warned that many choices here will result in Ubermann activating the machine on Indy, which is Game Over no matter the outcome. The key to the conversation is to never tell Ubermann (or even imply to him) how many beads he should feed into the machine, or that they should just get it all over with. It's okay to bring up Plato's tenfold error again to stall for time, but never give him a number or consent to activating the machine. Eventually, a conversation option will turn up.

Tell him: "For your sake, I hope this doesn't work."

He'll ask you why not.

Say: "Once I'm a god, I'm sending you straight to hell."

Losing patience, he protests he's offering you immortality.

Lastly: "Ever hear the term 'angry god'? Wait 'till you see me!"




At this, Ubermann considers the possibility that Jones has been playing him, so that he'll intentionally go first. Afraid of what Indy might do to the Nazis should he become a god, Ubermann orders Indy off the platform, throws one hundred beads into the machine and steps into the center. The colossus transforms him into a glowing horned specter, which flies around the room uncontrollably before exploding in a shriek of agony.

The energy used in transforming Ubermann triggers a violent chain reaction; the whole place is coming apart. Indy (and Sophia, if she was rescued) narrowly escape the final destruction of the Lost City, and pilot the Nazis' U-boat out of the airlock just before a volcanic eruption annihilates the whole place, piercing the surface of the Mediterranean...and sinking beneath it just as quickly, with the sun not far behind.



Congratulations on beating the game! If this is your first or second time through, try going down a Path you haven't experienced yet!

What follows is a list of all actions in the game that give you IQ points, as well as the number of points they give you. (See the final IQ points section for a list of totals across all acts.)

Minimum possible IQ: 70
Maximum possible IQ: 94
Total IQ: 100
Notes:

• For max IQ, deal with Biff (either way), then use the fire escape for a total of 12 points.
• Also for max IQ: do every action possible in Barnett College, even if you already have the Dialogue.

Minimum possible IQ: 234
Maximum possible IQ: 241
Total IQ: 250
Notes:

• Remember that there are two ways to get the Sunstone from Trottier on this path. Indy's way is easier and yields more points, but completionists are going to want to do it Sophia's way as well, which can be tricky. Make a save before his questions!
  
• For those doing minimum IQ runs: don't forget to suckerpunch the U-boat captain. Most people just throw one punch and move on.

Minimum possible IQ: 232
Maximum possible IQ: 247
Total IQ: 256
Notes:

• This path yields the highest IQ, though only by a little. To max out, get the red fez and follow Paul to Omar without giving it to him. Remember to bribe one guard in the desert before reaching the dig site (you can use the fez for this!). Also, use the ship rib to expose the crumbling wall, even though there's nothing there on this path.

Minimum possible IQ: 172 (206 without sucker-punching anyone)
Maximum possible IQ: 230
Total IQ: 256
Notes:

• You can obtain IQ points by both winning fights and finding ways to bypass the extremely difficult ones. Perhaps ironically, the latter yields more points. If you're going for the big 1000, though, be prepared to see the Game Over screen a lot. As difficult as Hans and Anton can be, they're just warmups for Arnold, who can take out more than half your health in one punch.

Minimum possible IQ: 254
Maximum possible IQ: 293
Total IQ: 300
Notes:

• Quite a few points can be missed here. Remember that for max IQ, you have to fight one guard in each of the four quadrants of the Outer Ring. And obviously, don't forget to free Sophia (both from prison and from Nur-Ab-Sal).
  
• If you want everything, you're going to have to beat Fritz in a fight, which is next to impossible. Don't let his low punch power fool you - it recharges very quickly, and he throws punches like crazy. Most people resorted to editing the game files just to be able to beat him. All that for 7 measly IQ points. Apparently, the game thinks putting a plunger into a lever slot is harder than knocking out an Olympic boxing champion.

Minimum possible IQ: 496 (536 without sucker-punching anyone)
Maximum possible IQ: 634
Total IQ: 1,000
Notes:

• The lowest amount of points you can get in a single playthrough is 496, by choosing the Fists path and sucker-punching everyone that it'll work on. Fortunately, this still doesn't mean you have to fight Arnold, as crushing him with the boulder is worth one point less than beating him in a fair fight. Similar deal with Fritz: you need the gear from the prison room statue, so you're forced to have the statue trample him anyway. Also, don't rescue Sophia or do any other optional task, obviously. (What, you expected a good ending on a minimum-IQ playthrough?!)
  
• The highest amount of points you can get in a single playthrough is 634. Do so by dealing with Biff, then using the fire escape anyway. Do everything you can in Barnett College, even if you've already found the Dialogue. Go on the Wits path, as that gives you the most points overall. Obtain the fez in Algiers, and follow Paul to Omar without giving it to him. Bribe a guard on the way to the dig site, use the ship rib on the site's crumbling wall, and get the best ending.

This is a transcript of the five paperclipped pages from Plato's Lost Dialogue, the Hermocrates. When you access the book from your inventory, it is always opened to the first paperclipped page ("Paperclip 1"), the clip in the top-left corner closest to the book's spine. The clips, and their sections, are arranged in clockwise order from there.


[This section is Sternhart's intro to the text, explaining where he found it and why he doubts it will find as much success as Plato's other Dialogues. He also mentions the randomly-chosen name of the collection he sent the book to.]


~THE HERMOCRATES~

Now at last I have Plato's Lost Dialogue translated entirely. The Greek original is lost, so I've used the Arabic text I found in an Italian monastery years ago and always thought was a hoax.

Now I wonder...could this remarkable book hold the secret to long-lost Atlantis? Probably not. No one will publish it, that's certain. The fear of ridicule is too great.

To be safe, I've sent a copy to [Ashkenazy / Dunlop / Pearce / Sprague / Ward].

- Charles Sternhart
London, 1922



[This section describes Plato's tenfold error that complicated the search for Atlantis. Here, Socrates corrects this error by rationalizing that Atlantis would only be only 300 miles away, rather than some immense distance beyond the reach of civilization.]


HERMOCRATES: In shame I hereby do recant the time and place whereof Critias spoke. In rendering Egyptian into Greek he made a tenfold error. Instead of lying 3,000 miles hence, Atlantis may well have been 30,000 miles away. Or perhaps it was less than 300 miles from our own shores. Likewise, it may be that the Lost Kingdom held sway as many as 100,000 years ago, or as few as 1,000.

SOCRATES: If a kingdom arose on Earth beyond anywhere men might travel, then we would never hear of it. We ought to accept the lesser figure.



[This important section describes the colonies of Atlantis, and their distance from the city itself, which you will use on the Fists Path to direct the salvage boat captain. The distances are randomized each game, and are also subject to Plato's tenfold error. More prominently, however, this page describes the locking stones and their correct combinations, which are also random every time. All known texts and solutions are provided.]


...so glorious Atlantis founded two colonies, the Lesser ??0 miles [north/northeast/northwest] of the City and the Greater ??0 miles away [south/southeast/southwest].

Gates of the kingdom opened only with the aid of special stones.

At many outposts, a Sunstone sufficed...

• ...if the morning light warmed the tall horns.
  [Align the Rising Sun at the top.]
  
• ...if hot sunlight bathed the tall horns.
  [Align the Noon Sun at the top.]
  
• ...if sunset made the tall horns red.
  [Align the Setting Sun at the top.]
  
• ...if darkness concealed the tall horns.
  [Align Darkness at the top.]

At the Greater Colony, a Moonstone was also needed...

• ...with pale dawn to shred the darkest night.
  [Align the New Moon with the Rising Sun.]
  
• ...with the noon sun riding above the full moon.
  [Align the Full Moon with the Noon Sun.]
  
• ...with the sun dying as a new moon is born.
  [Align the New Moon with the Setting Sun.]
  
• ...with darkest night healed by the full moon.
  [Align the Full Moon with Darkness.]

To approach Atlantis itself, a Worldstone was required as well...

• ...with the rising sun breaking night's grip above the fiery peak.
  [Align the Volcano with the Rising Sun.]
  
• ...with a waxing moon the sky's only reply to the fires below.
  [Align the Volcano with the Waxing Moon.]
  
• ...with a glorious sun blazing alone upon the western shore.
  [Align the Western Sea with the Noon Sun.]
  
• ...with darkest night soon to rule the western sea.
  [Align the Western Sea with the Setting Sun.]
  
• ...with darkness ruling the old city without challenge.
  [Align the City with Darkness.]
  
• ...with the moon, full of beauty unrivaled, lighting the city.
  [Align the City with the Full Moon.]
  
• ...with only a waning moon to protect the city from grim night.
  [Align the City with the Waning Moon.]
  
• ...with the the dying orbs plummeting into the eastern sea.
  [Align the Eastern Sea with the Setting Sun.]

Final entrance yielded only to contrary minds. [To access Atlantis's Outer Ring, align the stones to the correct combination, but turn them all upside down (180 degrees) before pressing the spindle.]



[This page describes the Atlantean practice of making orichalcum beads, and reveals that devices made of amber can detect the metal.]



...and it is said that dwellers in Atlantis had no horses nor any need of them.

Orichalcum, the metal that glittered like fire, this they had instead. They cast it into shiny beads and used them as we do minted coins, paying statues to do their work as if by magic.

When their colonies were failing, wise men carved strange devices out of amber to search for the metal, but only proud Atlantis ever yielded a supply.

SOCRATES: You have called the kingdom wealthy, but surely this is absurd.



[This ominous page serves as a partial insight into both the fall of Atlantis and the workings of the machine through which the Atlantean kings thought they might achieve godhood.]


...as the waters rose around their city, the Kings of Atlantis, one after another, sought to hold off fate.

Knowing mortal men would never rule the sea, they planned a huge colossus, which by use of orichalcum, ten beads at a time, would make them like the gods themselves.

Nur-Ab-Sal was one such king. He it was, say the wise men of Egypt, who first put men in the colossus, making many freaks of nature at times when the celestial spheres were well aligned. [The colossus will only function when the locking stones are set to a special combination shown on the walls of the lava pit maze.]

SOCRATES: This I doubt. We are hearing a child's tale.

Indy's quest to stop the Nazis and their plans for Atlantis is a dangerous one, and it might not always end well. If that happens, you'll be presented with a Game Over screen. Here, a message in the upper left will be displayed, telling you what happened shortly after. Your IQ points for the current playthrough, as well as your total IQ points, are also displayed here. After that, you'll be kicked back to the title screen. (Fortunately, you have been saving often and in multiple slots...right?)

As you probably expect, quite a few of the death messages are grim and gruesome. Some, however, might surprise you. For instance, what if Indy's death actually prevented the Nazis from finding Atlantis in the first place, or caused them some other inadvertent harm? Some of the death messages are brief explorations on that, instead of telling you Indy's fate outright.

Still other messages are legitimately funny (as is usually the case with old-school adventure games[tvtropes.org]). Perhaps your killer died a much more pathetic death shortly afterward? It's certainly possible. If you died by losing a very easy fight, or simply by displaying an extraordinary lack of common sense, a decidedly tongue-in-cheek message just might be in store for you.

On to the list!




[There are no possible deaths before the game splits up into the Paths. Even if you lose the fight against Biff, Indy will just wake up a few minutes later, thankful his opponent wasn't a Nazi spy. Incidentally, this is the only fight in the game that isn't a Game Over if you lose. Save often during the Fists path!]



Location: Labyrinth
Requirement: Refuse to give Kerner the stone disks, and call his bluff when he threatens to shoot you.
Death Message: With the stone disks in his possession, Kerner discovered Atlantis and drowned.

Location: Crete - Docked Submarine
Requirement: Intentionally lose the fight against the submarine captain. It only takes a single punch to KO him, and a lot of punches for him to KO you (plus there's no way to lose any health beforehand), so this has to be done on purpose.
Death Message: Indy's failure to subdue a sixty-year-old U-Boat captain allowed the Nazis to conquer the world.

Location: Submarine
Requirement: Order the sub's crew right below you using the control tower's intercom, then climb down. "Uh-oh", indeed.
Death Message: Because the sailors proved to be reasonably alert, Indy soon found himself in deep, deep water.

Location: Submarine
Requirement: Instead of cluing Sophia in to bash the guard over the head with a bucket, tell him you're "selling these fine leather jackets" (an Easter Egg-like line from several other LucasArts games).
Death Message: Unfortunately, Sophia's guard knew a wise guy when he met one.




Location: Submarine
Requirement: After Kerner orders his men to shoot anyone suspicious who comes out of the sub's hatch, go to the head after making the distraction, change back into Indy's regular clothes, and exit the submarine via the hatch.
Death Message: Kerner recovered the stone disks and blew himself up tinkering with the orichalcum he found in Atlantis.




Location: Algiers - Omar's House
Requirement: Get knocked out by Horst.
Death Message: Indy's savage beating convinced Omar to cooperate with the Nazis. Later he traded Indy's whip for a clay pot.

Location: Algiers - Desert
Requirement: Get knocked out by a guard on the way to the dig site.
Death Message: After losing the fight, Indy was devoured by vultures and scorpions.

Location: Algiers - Dig Site
Requirement: Fail to disarm Rolf while he has you at gunpoint. (Time limit: 15 minutes.)
Death Message: Indy's overly reckless behavior won Rolf a medal for bravery.

Location: Algiers - Dig Site
Requirement: Get knocked out by Rolf.
Death Message: Rolf was easily fooled, but not so easily felled.

Location: Crete - Docks
Requirement: Get knocked out by Klaus.
Death Message: Klaus dragged Indy into the Labyrinth, where someday someone will find the bones.

Location: Labyrinth
Requirement: Get knocked out by Hans.
Death Message: Hans turned Indy over to Kerner and was decorated for valor. Indy was shot on the spot.

Location: Labyrinth
Requirement: Get knocked out by Franz.
Death Message: Taking revenge for Hans, Franz hurled Indy into a bottomless pit, where his remains remain to this day.

Location: Labyrinth
Requirement: Get knocked out by Otto.
Death Message: Otto tried to hurl Indy into a bottomless pit, but tripped and fell in himself. No one knows what happened to Indy.

Location: Labyrinth
Requirement: Get knocked out by Karl.
Death Message: Karl summoned his superiors, who shot Indy on sight.

Location: Labyrinth
Requirement: Get knocked out by Kurt.
Death Message: Kurt summoned his superiors, who interrogated Indy, then tortured and shot him. But they never did find Atlantis.

Location: Labyrinth
Requirement: Get knocked out by Anton.
Death Message: After flattening Indy, Anton received a field promotion. Later, he led the charge on Stalingrad.

Location: Labyrinth
Requirement: Get knocked out by Arnold.
Death Message: After flattening Indy, Arnold went on to become a world-famous opera singer.

Location: Mediterranean - Sea Floor
Requirement: Fail to find and enter the Atlantis airlock after Kerner cuts off Indy's air supply. (Time limit: 3 minutes.)
Death Message: Unfortunately, Indy couldn't hold his breath as long as Guybrush Threepwood[en.wikipedia.org].




Location: Outer Ring (any quadrant)
Requirement: Lose a fight against any of the patrolling guards.
Death Message: Indy discovered Atlantis, but the Nazis won the race to unearth its secrets.

Location: Outer Ring - Dungeon
Requirement: Lose the fight against Fritz.
Death Message: After defeating Indy, Fritz boxed his way to a gold medal in the 1948 Olympic Games.

Location: Inner Ring - Lava Maze
Requirement: Fall into the lava in the lava tiles puzzle.
Death Message: Indy was swallowed up just moments before discovering the final secret of Atlantis.

Location: Inner Ring - The Colossus
Requirement: Fail to convince Ubermann to test the god machine on himself first.
Death Message: After Indy's fatal transformation, Atlantis shook itself to pieces, sealing its secrets and the Nazis in molten lava.



The game's files also contain an unused message, which was too amusing not to post:
Suddenly, Indy forgot everything he knew about handling a bullwhip and flogged himself to death.

• Look at the bulletin board just inside Barnett College, and Indy will read a random note. One of them says "Edward Teller: Phone Home", a reference to E.T.: The Extra-Terrestrial. Look at the shelves in Indy's office a few times and Indy will eventually comment on a stack of letters from the school's principal to his dad, which all begin with "Regarding Henry" (the name of a 1991 film starring Harrison Ford).
  
• Team Path: In Algiers, Omar will give you quite a few phony items that might interest the local grocer. The first of these is a baseball he claims is signed by Lou Gehrig. If Indy looks at it, he'll realize that it's actually signed by "someone named Ron Gilbert", the game designer behind several classic LucasArts adventure games like Maniac Mansion.
  
• Team Path: In the Monte Carlo hotel room, turn of the lights and use the flashlight. One of Indy's skillful shadow puppets is Max from the Sam & Max series.
  
• Wits Path: After the Monte Carlo chase, Indy needs to find a certain street where Trottier threw the Sunstone. Translating the street names form French will reveal several references. The "Boulevard des Guerres des Etoiles" (Star Wars Boulevard) is one example; another is the "Avenue des Troi Bois" (Three Wood Avenue; "three wood" is a reference to Guybrush Threepwood, the protagonist of the Monkey Island games).
  
• Wits Path: Examine one of the statues from Omar's house, and Indy will say "It's the stuff dreams are made of!". The line is a reference to a very similar one from the 1941 film, The Maltese Falcon.
  
• Team or Wits Path: Make a sandwich on the submarine and look at it before taking a bite from it. Indy will say it's a "sandwich worthy of Dagwood Bumstead", the main character from the Blondie comic strip known for his elaborate sandwiches.
  
• Several rooms in the Labyrinth contain the LucasArts logo engraved on various stones.
  
• Before picking up the stone cup in Atlantis, have Indy look at it once he crosses the pit. He'll say "Surely this is NOT the cup of a carpenter," referencing a climactic scene from Indiana Jones and the Last Crusade.
  
• Indy will dismiss the two digging machine instructions as "Atlantean graffiti" and "more Atlantean graffiti" - a reference to American Graffiti (a 1973 George Lucas film starring Harrison Ford), and its sequel, More American Graffiti.

• If you try to pull the elephant nose to close the tomb in Tikal, Indy will claim the nose won't budge. However, if you instruct him to close the tomb directly, he'll do so by walking over to the elephant nose and pulling it down, closing the tomb.
  
• Talking to the parrot in Tikal after finding the orichalcum bead will unlock a new dialogue option with him: "Orichalcum?". He'll shout back "The power of Atlantis!". If you go back to Tikal after thawing out the eel sculpture in Iceland and use the same line on the parrot again, he'll shout "Grave robbers! Grave robbers!"
  
• In the Labyrinth on the Fists path, knock out Hans in a place where the stone slab won't touch him if it was knocked over, and have Indy look at him. He'll say "He's unconscious." Push the stone slab over, and look at Hans once more; Indy will say "He's unconscious...or dead." A similar thing can happen with Anton - even if the stalactite lands a mile away from him, his status will change to dead once Indy dislodges it from the ceiling.
  
• After rescuing Sophia from the Labyrinth in the Fists path, go to the exit room with her, then head back inside. Indy will be alone again, as Sophia refuses to go back in there. Head back to the pit in which the Nazis imprisoned her and use the amber fish while your orichalcum beads are in the gold box; the fish will still point towards towards the pit.
  
• It's quite easy to glitch your way past the Sentry Room in Atlantis. Exit the room normally, then quickly click several times in the northwest area of the screen during the transition to the Outer Ring map. Indy should walk to the other side if you clicked at the right time/place. (Hey, if Fritz and Sophia can magically bypass the gate, you should be able to as well. Fair's fair...)
  
• In Atlantis's Middle Ring, Indy will note that the giant digging machine looks like a big version of the Microtaur, regardless of what Path he was on before (the Microtaur only shows up in the Wits path).

• Would you believe there's a fan novelization of Fate of Atlantis, and that it's actually quite good? Check it out here[www.lucasforums.com].
  
• For quite a bit more info on the game itself, check out its entries on Wikipedia[en.wikipedia.org], the Indiana Jones WIki[indianajones.wikia.com], and TVtropes[tvtropes.org].
  
• AmberFishArts[www.amberfisharts.com] - The homepage detailing work on Indiana Jones and the Fate of Atlantis 2, a fanmade sequel aiming to look and sound like a lost-lost official sequel, 320x200 resolution and all. The project is unfortunately on "indefinite hiatus" as of February 2013. Similar original projects, such as Raiders of the Seven Cities of Gold[raidersofthesevencities.com], are also in development.

• LucasArts and Lucasfilm, Ltd., particularly Hal Barwood and Noah Falstein, for an amazing Indiana Jones story. Over twenty years later, Fate of Atlantis is still the point-and-click adventure to beat.
  
• Judith Lucero, whose hint book for the game nudged me in the right direction all those years ago (and provided all the IQ point values for me today).
  
• All the fansites, walkthroughs, and tribute pages from the far corners of the 'net
  
• You, for reading this guide!