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I have often read about
some particular game, book or film and it was said that it’s creation
was “a labor of love”. I believe that this is true about
Syberia . And if that is so, then this review is an unabashed
love song. I suppose this passionate opening suspends all objectivity,
a cardinal sin for a reviewer, so be it. For there are always those
experiences that even in the most critical and objective light are
beautiful and worthy of our unqualified admiration.

As a bit of pre-history
to this article, I have a long held appreciation for Benoit Sokal
and his work. Before his days with the well-known Microids game Amerzone,
he has been an amazing artist of vision in the field of illustrated
adult books and art. When he graced Microids with his artistry for
Amerzone – I was happy and indeed found much to like about the game.

Then came the whispers
of something new. A name sprinted around the web circles – Syberia.
I am not sure exactly why, but at the very first tantalizing hints
of this new project – something stirred and I had a thought that this
would be something truly different. As time passed and early screen
shots and more tangible evidence surfaced about this game – those
stirrings gelled into a secret certainty. By the time release was
imminent – I was convinced Syberia would be more than a new
adventure game – it would be THE game. Perhaps even more – a perfect
blend of interactive art and creative vision.

Then the box arrived on
my doorstep. I realized that through some kismet of the mails, I was
one of the very first to get this game in my hands. I had earlier
decided against playing the demo for this game – first: I needed no
inducement to get it – and secondly, I wanted nothing to detract from
my first impressions. I was now thrilled at that decision, because
after I had installed and loaded Syberia. Within seconds I
was transported far beyond my desk top and keyboard.

As the opening cut scene
passed across my screen and the beautiful musical score became a permanent
part of my musical memory, I knew that I had never been so right in
trusting a preconception. For once, my expectations about a game had
not only been reached, but surpassed. In fact after experiencing Syberia
I now know how far I could have let my expectations truly go and still
find them transcended.

The characters were instantly
sympathetic: Momo, a child, – perhaps not quite right according to
the society we endure – but somehow also above all that we see and
hear; Oscar – who throughout this game grows in our heart as a trusted
companion and tin man to be loved. Then there is the aging Russian
star, beautiful and heart breaking in her pain and isolation. Kate
our heroine; harassed and harried by the voices of her life – while
silently awakening within herself a spark of a dream for something
more.

This is the true brilliance
of Sokal and this tale. We can easily identify with Kate Walker. She
is an attorney, bright and socially adept. She has an ambitious fiancee,
a socially alert mother and the right sort of friends. As Kate moves
into a world of wonder and distance from her old life, the calls from
this life intrude with greater frequency and increasing annoyance.
Here is Kate in a faraway place with mastodons and marvels – while
her friend prattles on about Bloomingdales and Kate’s fiancee fusses
like an old woman because she is hindering his plans for a successful
dinner party and business deal. Kate and we as the player revel in
her new found heart, spirit and capacity for love as the game unfolds.
I found myself wishing with all my heart that I too could be traveling
into a world of ice and magic rather than face even one more troubling
phone call or e-mail.

The specifics of the game
will be discussed I am sure in abundant detail in many reviews and
board discussions. And I will confess right now – I am not going to
discuss the OS of my PC or the details of game settings. There will
be plenty of places and reviews that will tell you all that and more.
Because as I told you in the beginning this is a love song not a shopping
list. Suffice it to say, the graphics are flawless. There is seemingly
no detail too small to be overlooked. As you leave your hotel for
the first time – the rain has stopped. As you glance at a lamp-post
– a single drop of rain left over from the storm slides off the lamp
and falls heavily to the wet street. Birds cantilever against the
sky and trill happily. Walk slowly to a bridge and pause to admire
the water shimmering below. The music is perfect, rousing and soaring
where it needs be, dark and moody when the scene and environment have
shifted gears. Even now – it is hard to get the music from my mind.
Many parts of this game are in short – haunting and the musical overlay
plays a major part in that.

The interface could not
be easier. Here is return to the simplicity of nothing but the mouse.
Double click to run or a single one to walk through a scene. The cursor
will let you know if there is something to pick up, to use or a dialogue
to be had. The length is purely up to you. You can ask all that you
see or go for the simple question that you know must apply. I happen
to enjoy well-crafted lines and in fact revisited some of my favorite
exchanges after completing Syberia. There is a particular poignancy
to Kate’s last exchange with Oscar, her automaton companion. Although
it has nothing much to do with any perceivable goal – this should
not be missed. Much of the charm of these lines has everything to
do with the voice talent employed. It is the nuances and intonations
with which Oscar says this piece that hits the heart – not the words
themselves. Which if read coldly would signify little. Whether it
be a beautiful and aged opera singer, a madman, Momo, Kate Walker,
beloved Oscar or ultimately the cause of this journey Hans Varlburgh
himself – the voice talent in Syberia is wonderful.

There are puzzles as it
were or perhaps challenges would be more accurate. Locked doors must
be opened. Rusted machines must find new life and be started. I did
not see any that were superfluous, not logical to the environment
or unfaithful to the story. In fact there are many objects and wonders
that even with the best efforts are beyond help. But they are still
a marvel to regard and consider. In fact one of the best parts of
this whole experience was the rarity in which I found myself stuck
or without some sense of what needed to be done. If I did find myself
wandering aimlessly – it was always because I missed something that
a more careful eye and slower pace would have seen. I recommend making
this game an experience rather than a challenge or a project. I think
that if this is played with a clock and a dedication for “beating
the game” you will surely miss much wonder, enjoyment and perhaps
even the point of the story. For this is indeed a tale of the journey
being the message rather than the destination.

This game’s message was
hard to face at times and most of all distressing to finish. I knew
even as I started and made my way through this story that I would
miss this game much. So I played with anticipation and also the conscious
regret that this would at some point be over and the story told. In
fact – I played the ending more than a couple of times – and it is
achingly beautiful. I have revisited my favorite scenes and conversations
too. I will miss the music as the game unfolded and the opening load
screen as I started up Syberia each day. I can only wait in
wonder for Syberia 2 and the rest of this amazing journey of
heart and soul.

So ends this love song
and ode to a great game, an amazing vision and perhaps greater still
the beauty of the human heart and spirit. For this game tells us that
beauty is more than youth and physical grace. It is in fact to be
found in the ageless depth of a human soul coupled with the deep capacity
for love and wonder in us all.