The Immortals of Terra: A Perry Rhodan Adventure Walkthrough by Peter Olafson

When he’s dead, leave the
room. You’ll hear slavering sounds from the next room. Hamilton’s
corpse is falling prey to the organ hunters who killed him. Return
to the cell and you’ll find the body gone. Take the circuit board
(similar to your "permit") that they left behind. This is
the second component for the damaged panel back beside the tunnel
mouth. And, to no purpose (beyond disrespect for the dearly departed),
have a pee in the toilet, if you like.

Back in the hall, continue
to the right. Ahead of you, you’ll see an odd apparatus under a beam
of light. Activate it to learn something’s been wrenched out of a
bracket. It’s not a great leap to replace that something with something
else that’s involved with light–the implants you received from Krems–and
they do the job brilliantly, focusing the light from above into a
tight beam that passes into a tunnel off to the right. Let’s see where
it goes.

Where it goes is a giant
pipeline stretching off into the distance. At the far end, you’ll
emerge onto a platform in an open space with a "bizarre structure"
off to the right. Look at the structure. It has no visible means of
support, and all the bridges to it have been removed. "Either
nobody is supposed to get in there, or nobody is supposed to get out,"
says Perry.

But the structure is not
entirely isolated. It is connected to its surroundings by a range
of cables–one of them within reach at the far end of the platform.
Turns out the transport frame you swiped from the museum fits neatly
over the wire. Can the child seat be connected to the frame? Well,
you can try–but it’s not going to work until you give the seat a
going-over with the odd tool from the washroom locker. Then use the
modified seat on the frame, activate the seat and you’re there.

Something nasty happened
here–a terrible odor wafts up from the grate–but it’ll take a little
while yet before you sort out the details. For now, enter the door
to the right and grab the communications unit off the console and
the circuit board from just above the skull and crossbones on the
left wall. This is the third component for the panel back at the tunnel
mouth.

That’s all you can do right
now. There are a couple of press-able buttons on the console, but
they don’t work for want of power. Nor does the left exit. Approach
it and you’ll hear more slavering noises, suggesting organ hunters
are waiting for you in the darkness beyond.

You’ll need to shed some
light on the issue first. Perhaps you’ve already guessed how. The
beam that passes through the giant golf ball on a tripod outside the
control room can apparently be re-directed with a handle just below
the sphere. But though this clearly can be operated by hand, the designers
aren’t letting you mess with it just yet.

So make yourself scarce
and ride the chair lift back to the platform. Retrace your steps down
the pipeline, through the prison and across the narrow bridge to the
broken panel. First use the odd tool on the panel to clean things
up a bit, then put your "admission permit," Hamilton’s circuit
board and the circuit board from the control room in place (the order
doesn’t matter) and finally click on the panel to turn it on.

Now, what exactly did you
turn on? Presumably the controls back in the surveillance center.
So it’s back to the chair lift for one last trip.

In the control room, you’ll
find the power’s on again–a couple of distorted video screens are
running on the back wall–and the two buttons are now working. They
summon video logs left by the commander of the garrison. (Either button’ll
do; the logs are the same either way.) This station seems to have
been the site of the Arkonide soldiers’ last stand. First, a pathogen
is reported loose among prisoners working in the mines. It seems to
turn them into ravenous, zombie-like monsters. Then the lower levels
come under quarantine. Soldiers go missing. Contact is lost with the
outpost’s home base. An expedition to the surface discovers the troops
have been sealed inside the mine. The pathogen spreads to the soldiers.
The zombies cut the base’s power. And then they’re coming, and it
all ends in a puff of smoke.

Drums, drums in the deep.

As mentioned earlier, if
you’re to progress beyond the surveillance center, you’ll have to
find a way to get some light into the next room. Your miner’s lamp
is gone–spent in your exchange with Hamilton–but the beam of light
that you focused with Krems’s implants can now be re-directed. Get
back to that bright "golf ball" outside. Activate the handle
just below the sphere. Do it again. The beam now descends through
the grate into the room with the terrible smell. I’m a bit unclear
how this lower-level room relates to the left exit from the upper-level
control room, but it’s apparently enough. When you re-enter the left
side of the control room, you’ll find the slavering sounds are gone.
The light has somehow scared the organ hunters away.

Use the left exit. In the
middle of the bridge beyond, someone begins speaking–much in the
fashion of the disjointed warnings you received from the kiosks in
the Solar Residence. It happens again on the next screen and again
on the one after that.

You’ve found Quotter Batt.
This is the way he talks–like a sentient computer that writes MadLibs
free-verse poetry on the side. Your challenge in this next sequence
is to extract meaningful messages from his ravings.

When the poetry reading
ends (only temporarily), you’ll find yourself in a high-ceilinged
chamber. An indistinct figure hangs from a crane above you, many wires
running from its body. This is Batt himself.

You can’t move. All you
can do here is talk. So talk to him. Ask first about Kato. The response
is a kind of rambling amalgam of what Kato is and things he’s said.
At the end, Batt shifts gears.

"They left a sign,"
he says. "Just one sign." You’ll be given a choice of six
similar symbols and must select the correct one to continue.

Is this the "they"
and "them" you’ve heard about persistently in the upper
city? Can’t be. Your best info is that Batt himself runs the place,
so that wouldn’t make sense.

"They" are the
Illochim. What’s the sign of the Illochim? You’ve probably seen this
insignia–it is featured prominently in the ad for Mondra’s museum
exhibit–but it may not have registered with you yet. Check Mondra’s
notebook. On the seventh page, opposite the page tagged "Kari,"
you’ll see a drawing of the supran lens. At its center is an emblem
like the one in the bottom left corner, so select that one.

Batt then asks, "what
does a person need, what is my ultimate happiness?" Again, you
have six choices: "power," "trust," "fame,"
"love," "truth" and "meaning."

This is tough one to parse.
The answer is not written down. Logically, it could be any of those
offered, but for the fact that Batt goes on to imply this happiness
is experienced "being to being." Thus the answer must be
limited to something that can exist between two people: "love"
or "trust." And note that Batt mentions that he "was
a child," which puts the emphasis on the special relationship
between a child and a parent. Part of that is love, naturally, but
the "ultimate happiness" has to be "trust."

Here Batt offers a somewhat
less chaotic statement. It seems to be about a creation of Mondra’s–"words
not to hear, sign not to grasp, not to see"–and it ends revealingly
with, "you carry with you, give it to me."

Batt wants Mondra’s notes.
She didn’t write them on computer, but in her own hand–complete with
fat exclamation points–and Batt, a supreme hacker who can’t take
direct action in the real world, hasn’t been able to snag them. Use
Mondra’s notebook on Batt and Perry will lay this out for you–attaching
his own proposed quid pro quo at the end.

But how to actually make
this proposal to Batt? Additional attempts to give the notebook to
Batt are met with the same spiel from Perry.

Really, you don’t have
much stuff left to drag around the screen, and you can strike this
bargain by exclusion. Try offering the two physical objects you know
Batt doesn’t want: the communications unit and the voice simulator.
He’ll say "no" to them with surprising directness and then
you can offer the notebook again and Perry states his terms explicitly.
Batt agrees without expressly saying so. He takes the book–I suppose
he lowers a hook or something–and Perry moves automatically down
the tunnel ahead of him.

"Now, to discover
the source," says Batt.

At tunnel’s end end, you’ll
find a dimension gate–essentially a heavy-duty, long-distance version
of the teleporters that have been zapping your atoms around since
the beginning of the game.

This is evidently what
Hamilton alluded to earlier. It’s never made clear exactly how this
gate is responsible for the epidemic in Gom Callaedus, but can assume
that a life lived in close proximity to such a primal force can’t
be a healthy one. Walk into the shimmering circle at its end and you’ll
reappear beside a similar gate on the asteroid Betha in the distant
Stellar Ocean of Jamondi.

Betha

Climb the path for a little
homage to the movie "Alien" and then drop down into the
canyon beyond. Make your way into the lighted underbelly of a cargo
ship (where you’ll see on the left that the drill parts have been
unloaded) and use the exit at the right rear to reach a little installation.
It’s unguarded, and you’ll have the run of the place.

That’s Mondra over on the
left. Look at her twice–she’s alive but in stasis within a living
crystal–and check out the gadget at the right rear. It’s a hypercom
communications terminal. You’ll have to boost its signal to contact
Bully, so use the communication unit you found in the mines on the
terminal.

And there’s your pal. He’s
followed you to Gom Calladedus but can’t trace your encrypted signal
to locate the asteroid. You’ll have to send him more information about
your location.

The data he needs is all
the way back at the now-deactivated dimension gate. Return there and
look at any of the three nearest stones around the gate to write the
ancient symbols inscribed there to your inventory. (The far stone,
in the lower left corner, gives you a little background on this place.)
Then return to the hypercom and use the symbols on the terminal. Bully
complains about the age of the language, and Perry impresses upon
him the need to get someone to translate it. Switch then to a brief
cut scene–more like an audio clip, actually–that indicates Kato
and his sidekicks are boarding the alien ship. Perry doesn’t know
what they’re about yet, but it can’t be good. Can you somehow throw
them off?

Yes. Remember: Kato thinks
Aimo Martel is dead. But you still have Martel’s voice on the voice
simulator. Use it on the hypercom terminal and Perry somehow cobbles
together a message to make Martel sound not only vigorously alive,
but in-bound and righteously pissed off. Kato immediately backs off
from whatever he was planning.

But now you have a whole
other problem. Use the hypercom terminal again. You’ll detect Quotter
Batt beaming data to the Illochim ship. Perry doesn’t say why. Check
your journal to learn he’s trying to contact these creatures to gain
access to their technology. "He wants … not Kato … I’ve got
to stop it!" says Perry.

Use the nearby teleporter
to beam to the super drill’s control room. The drill’s already doing
its thing–boring through the side of the Illochim ship. Look at it
and Perry gets an idea: Use the drill to set off an explosion of the
noxous gases within the craft.

But how? Perry won’t touch
either of the two control consoles here. They’re too complicated.
Never mind that in about fivbe minutes, they won’t be. We’ll have
to leave the idea behind for the moment.

Only one way to go: Press
down the hallway into the body of the Illochim ship. You’ll find some
spooky aliens in hibernation here … and indication of a light source.
Implication: The Illochim aren’t dead. They are just sleeping. What
would happen were they to awaken? Read your journal. Perry sees in
this yet another threat.

Follow the path left and
then forward from the entrance and you’ll find yourself face to face
with a giant sleeping Illochim. Walk toward the tube. The perspective
shifts and you’ll recognize the location: This is where Kato and his
henchman were walking when your voice simulator threw an imaginary
wrench into their plans. You may recall seeing something shattered
on the ground then. It’s still here: a broken supran lens. Click on
the Illochim and learn it has an impression of a supran lens on its
head. A receiver, perhaps? This device is somehow basic to the race’s
existence.

You may have lost that
lens, but you still have the Frequency Spectroscopy … and, in all
honesty, you’re about out of objects to combine. Put ’em together
and, from a position at the base of the hibernation tube, use the
voice simulator on the Illochim.

But I gotta ask: Why is
Perry trying to talk to the Illochim? What about letting sleeping
dragon-like alien monsters lie and all that? It seems to us that,
with no fewer than three people trying to contact the Illochim, they’re
more likely than ever to awaken.

In any case, you’ll get
a decided reaction–a surge of light and sound–and not just from
the ship’s sleeping inhabitants. After the voice simulator’s third
use, Kato and henchmen Nar-Khol and E-Frain turn up.

They do not try to kill
you. Rather, Kato complains how hard it is to find good help. And,
like every insecure master villain, he makes you an offer. With his
help, and the data you could glean from the Illochim, you could rule
the galaxy.

Joining him is not an option.
Running away is not an option. (Or rather, not just yet. Your path
is blocked.) And you can’t talk Kato out of his plans.

But you can distract your
enemies. Use the voice simulator on the base of Illochim one last
time. In the ensuing blast of light, the melonhead blocking your path
panics and steps aside, and you can retreat safely to the drill control
room. (What kind of enemy is this, anyway? You escape and Kato directs
snarky remarks to your back?)

Here, irrespective or previous
comments to the contrary, you must use the two control consoles in
tandem to overload the drill. I’ll explain how it all works, but don’t
be intimidated by the puzzle’s seeming complexity. Once you see the
big picture, it’s pretty easy. It’s just a matter understanding the
mechanism.

Each terminal has controls
for four of the drill’s functions all initially set at the median.
Importantly, the two terminals are co-dependent. That is, changes
in a function on one terminal create answering changes in a function
on the other and usually not in the corresponding column, proportion
or direction.

Here’s a list of these
interrelationships.

A change on the left terminal
…

… in the leftmost column
creates a corresponding change in the rightmost column on the right
terminal.

… in the second column
from the left creates a corresponding change in the opposite direction
in the leftmost column on the right terminal.

… in the second column
from the right creates a doubled change in the same column on the
right terminal.

… in the rightmost column
create a doubled change in the opposite direction in the second column
from the left on the right terminal.

A change on the right terminal
…

… in the leftmost column
creates a corresponding change in the second column from the left
on the left terminal.

… in the second column
from the left creates a doubled change in the rightmost column on
the left terminal.

… in the second column
from the right creates a doubled change in the opposite direction
in the corresponding column on the left terminal.

… in the rightmost column
creates an corresponding change in the opposite direction in the leftmost
column of the left terminal.

On top of this, there’s
a safety mechanism. You can bump up any given function by no more
than four clicks (two clicks for functions with a doubling effect)
above the starting median. But if a column on either terminal is bumped
up five clicks to the maximum or the four controls on either terminal
exceed a cumulative 10 bumps above the median the safety kicks in
and restores the starting settings.

To overload the drill,
you have to adjust the terminals to bring the output from each to
exactly 10 bumps above the median. Bump up the leftmost column on
the left terminal up by four clicks. (Each terminal is now four above
the median.) Bump up the second column from the right on the left
terminal up by two clicks. (The left console is now six above the
median, the right one eight.) Bump up the second column from the left
on the right terminal by two clicks. (Now they’re both at 10.)

Once you hit this target,
an alarm goes off and a package of protective clothing appears beside
the left-hand terminal in the manner of oxygen masks on airplanes.
You can’t open it. You are not meant to open it. You’re meant to use
it as a weapon. Grab it and bash either of the terminals. Down it
goes, and with it the safety mechanism. Use the surviving terminal
and turn all four of its functions up to maximum. The overload starts
to build.

That’s the game. You’ll
automatically use the teleporter and answer Bully’s hypercom message
on your way out. Bully blasts off from the asteroid just in time.
Everything blows up. Aboard Bully’s ship, a robot cuts Mondra out
of her crystal.

And Quotter Batt, launching
himself into the cosmos as pure energy, gets the last word.

But without captions. I
barely understood a thing.