Beyond: Two Souls
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' ' ' `-Â´ `-Â´ `-Â´ `-Â´ '-' `-Â´ S T R A T E G Y G U I D E B Y A B S O L U T E S T E V E SUPERCHEATS GUIDE WITH ADDITIONAL VIDEOS AVAILAVLE AT: http://www.supercheats.com/beyond-two-souls/walkthrough/ Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ ___ _ ___ ___ ___ ___ ___ _ __ | __/_\ / __| __| _ )/ _ \ / _ \| |/ / | _/ _ \ (__| _|| _ \ (_) | (_) | ' < |_/_/ \_\___|___|___/\___/ \___/|_|\_\ facebook.com/absolutesteve Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ ___ ___ ___ _____ _____ ___ ___ | __/ _ \| _ \ __\ \ / / _ \| _ \ \ | _| (_) | / _| \ \/\/ / (_) | / |) | |_| \___/|_|_\___| \_/\_/ \___/|_|_\___/ _________________________________________ (Re-)Birth of the videomovie. We live in technologically interesting times. The creation of truly dynamic, interactive narratives opens up great possibilities in theory, but so far, the practical execution of such stories has a very long road lying in front of it. Beyond: Two Souls is proof that the right balance between gameplay and telling a story has not yet been found. Graphically, Beyond appears to be running on a slightly upgraded version of the engine used for Heavy Rain. It's certainly a pretty looking game with high production costs, but don't expect state of the art visuals when next-gen consoles are just around the corner. The player may also encounter graphical hiccups here and there. Sometimes surfaces of objects look strange when it's clear no ghostly entities have anything to do with it. Overall, however, the game looks fine and there are plenty of special effects that look amazing. It's a little more difficult to come to a judgment story-wise; Beyond has some excellent and moving scenes, but there are also several portions of the game that are relatively dull. The whole story is told in a fragmented way, a narrating technique which in this case appears to have the function of hiding the otherwise simple B-movie plot: You're Jodie, a girl linked to an entity named Aiden who has special powers. Jodie's youth is essentially ruined as she's taken into custody by an agency that wants to study her gift. Jodie is played by Ellen Page, a fine actress, but the real star is Willem Dafoe, who at times manages to convey great surges of emotion over the screen. The dynamical, interactive aspect of Beyond's story is obviously still an interesting approach. There are different endings (although there are somewhat less factors than in either Fahrenheit/Indigo Prophecy or Heavy Rain) and you still get the illusion your daily conversation options actually make a difference during your first playthrough (but then you find out on a second playthrough that many of them actually donât do all that much, some scenes excepted). Unfortunately, Beyond's story also suffers from clichÃ©d narrative choices. There is an 'other world' called the Infraworld, there are evil and good entities, Jodie has a connection to this world whereas others don't. Many supporting characters are shallow and either show unbelievably annoying, immoral behavior or are otherwise pure human beings (although the latter are fairly scarce). There's the 'caring' parent and the 'absent' or 'bad' parent, etcetera. Such stereotypical characters alongside mostly trite ideas about an afterlife â clearly inspired by stale Christian cultural folklore â have become uninteresting not because the otherwise powerful message doesn't come across, but as a result of over-usage in storytelling as a whole. The questions of our time â why we are here, living in a differentiated and strange reality that doesn't a priori give us the answers we're looking for â cannot even be asked in David Cage's paradigm. That personal irritation put aside, it's clear that Beyond has little more than a thinly veiled, typical 'Hollywood blockbuster' story. Unfortunately that's not the worst part; compared to the gameplay, Beyond is actually doing quite well in the department of fiction. The reason being that there hardly IS any gameplay. The only things you can do in the game are: Walk around with the left analog stick, trigger smaller or larger cutscenes with the right analog stick, switch to your ghost Aiden with triangle and float around or 'interact' with objects (mostly making noise or dropping something), take control of people (with extremely limited options; push a nearby switch, kill others, kill self), touch them or kill them. Some scenes allow Jodie to take out others, but there are no real combat or shooting gameplay mechanics other than pushing one or two on-screen button prompts. There are several blue spheres hidden in the game that unlock bonus content, but other than finding those, the linearity of the 'game' is appalling. Then there are the interactive cutscenes in which you have to move the right analog stick in the correct direction, which are easily fulfilled. Even the more 'open' environments are illusory decorations around a straight linear road you'll just have to walk down to reach the next 'interactive' cutscene. Quantic Dream has intentionally given a false impression of the game by showing off mainly those parts in which there is relatively much to do, such as 'sneaking around' or 'fighting' (pushing the right analog stick in the right directions). Everything in the game is scripted, determined; the only amount of freedom you get are some story deviations and choosing to walk half a meter to the left instead of to the right. Hans Zimmer's musical score is what you'd expect from the man; he isn't really capable of creating a bad production, but this time around it sometimes sounds like a recycling of previous work (such as his nonetheless brilliant work for Inception). Thatâs not necessarily a bad thing â the soundtrack does its work and you don't pay attention to the sound effects, which is precisely how their immersive function should work. All in all, Beyond: Two Souls is a rental game that you want to spend a couple of days with to watch (or 'play'). There's little to do when you've seen all the scenes and the 'gameplay' isn't worth revisiting. The 'game' is clearly aimed at a broader audience than just gamers, and the subgenre it creates â an interactive videomovie â isn't likely to be a casual gamer's cup of tea, or at least not until an absolutely amazing story is told by it. _____ _ ___ _ ___ ___ ___ ___ ___ _ _ _____ ___ _ _ _____ ___ |_ _/_\ | _ ) | | __| / _ \| __| / __/ _ \| \| |_ _| __| \| |_ _/ __| | |/ _ \| _ \ |__| _| | (_) | _| | (_| (_) | .` | | | | _|| .` | | | \__ \ |_/_/ \_\___/____|___| \___/|_| \___\___/|_|\_| |_| |___|_|\_| |_| |___/ _________________________________________________________________________[TOC] Use Ctrl+F to find what you're looking for, and copy/paste the brackets . II. WALKTRHOUGH [WLK] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ 2.1 The Experiment .................... [WLK-1] 2.2 The Embassy ....................... [WLK-2] 2.3 The Party ......................... [WLK-3] 2.4 First Interview ................... [WLK-4] 2.5 Welcome To The CIA ................ [WLK-5] 2.6 Hunted ............................ [WLK-6] 2.7 My Imaginary Friend ............... [WLK-7] 2.8 The Condenser ..................... [WLK-8] 2.9 Homeless .......................... [WLK-9] 2.10 First Night ....................... [WLK-10] 2.11 Like Other Girls .................. [WLK-11] 2.12 Alone ............................. [WLK-12] 2.13 Navajo ............................ [WLK-13] 2.14 Separation ........................ [WLK-14] 2.15 The Dinner ........................ [WLK-15] 2.16 Night Session ..................... [WLK-16] 2.17 The Mission ....................... [WLK-17] 2.18 Old Friends/Norah ................. [WLK-18] 2.19 Hauntings ......................... [WLK-19] 2.20 Briefing/Dragon's Hideout ......... [WLK-20] 2.21 Black Sun ......................... [WLK-21] III. TROPHIES [APX] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ ________________________________________________________________________________ ___ ___ _ _ _ _____ ___ ___ _ _ ___ | \ / _ \| \| | /_\_ _|_ _/ _ \| \| / __| | |) | (_) | .` |/ _ \| | | | (_) | .` \__ \ |___/ \___/|_|\_/_/ \_\_| |___\___/|_|\_|___/ ______________________________________________ If you found this guide helpful, feel free to consider one of these options to donate: 1. Paypal donation at: firstname.lastname@example.org Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ 2. Make a purchase at Amazon.com by searching for your item through my referral search box (this grants me 4% profit with no additional costs for you), found at: shillatime.org/amazon Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ Thank you very much for your consideration! ___ ___ ___ _ _ _____ ___ _ _ ___ ___ ___ _ ___ _____ __ | _ \ _ \_ _| \| |_ _|_ _| \| |/ __| | _ \/ _ \| | |_ _/ __\ \ / / | _/ /| || .` | | | | || .` | (_ | | _/ (_) | |__ | | (__ \ V / |_| |_|_\___|_|\_| |_| |___|_|\_|\___| |_| \___/|____|___\___| |_| ______________________________________________________________________ As a recent poll showed, some people still print out FAQs. I hereby kindly request that if you prefer to print out (parts of) this FAQ that you use recycled paper from certified and sustained sources, such as the FSC (Forest Stewardship Council) certification indicates. Obviously we will want to continue enjoying real forests besides digital nature. ___ ___ _ _ _____ ___ ___ _ ___ _ ___ _ ___ ___ ___ ___ / __/ _ \| \| |_ _| _ \/ _ \| | / __| _| |_ | _ ) /_\ / __|_ _/ __/ __| | (_| (_) | .` | | | | / (_) | |__\__ \ |_ _| | _ \/ _ \\__ \| | (__\__ \ \___\___/|_|\_| |_| |_|_\\___/|____|___/ |_| |___/_/ \_\___/___\___|___/ _______________________________________________________________________[BSC] _.ââââââ._ PS3 GAME CONTROLS [BSC-1] _.ââââââ._ | L2 | Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ | R2 | /|âÂ´Â¯Â¯Â¯Â¯Â¯Â¯`â|\ /|âÂ´Â¯Â¯Â¯Â¯Â¯Â¯`â|\ //| L1 |\\______________________________//| R1 |\\ ///'âÂ´Â¯Â¯Â¯Â¯Â¯Â¯`â'â\Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯/â'âÂ´Â¯Â¯Â¯Â¯Â¯Â¯`â'\\\ //' `. S O N Y .Â´ '\\ /' .ââ. ' ' .ââ. '\ / |UP| \ ____ ____ / ( /\ ) \ ( .ââ. \/ .ââ. ) [ SL ] [ ST > ( .ââ. `ââÂ´ .ââ. ) | |LT > < RT| | Â¯Â¯Â¯Â¯ Â¯Â¯Â¯Â¯ | (  ) ( () ) | .( 'ââ' /\ 'ââ' )_ .ââ. _( `ââÂ´ .ââ. `ââÂ´ ). \ |DN| `. ( PS ) .Â´ ( >< ) / Â´ `. 'ââ' .Â´Â¯Â¯`. \ `ââÂ´ / .Â´Â¯Â¯`. `ââÂ´ .Â´ ` | `._ . LA . ) ( . RA . _.Â´ | | Â¯â._____.â. ' L3 ' |__________| ' R3 ' .â._____.âÂ¯ | | /\ `.__.Â´ /Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯\ `.__.Â´ /\ | | / `._ _,Â´ `._ _,Â´ \ | | / Â¯Â¯Â¯Â¯ Â¯Â¯Â¯Â¯ \ | ' .Â´ `. ' \ .Â´ `. / `._ _.Â´ `._ _.Â´ Â¯Â¯Â¯Â¯Â¯ .Â´Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯|Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯`. Â¯Â¯Â¯Â¯Â¯ | UP = UP | /\ = TRIANGLE | | DN = DOWN |  = SQUARE | | LT = LEFT | () = CIRCLE | | RT = RIGHT | >< = CROSS | | | | | L1 = L1 TRIGGER | R1 = R1 TRIGGER | | L2 = L2 TRIGGER | R2 = R2 TRIGGER | | | | | LA = LEFT ANALOG | RA = RIGHT ANALOG | | L3 = L3 (PRESS) | R3 = R3 (PRESS) | | | | | SL = SELECT | ST = START | | | | |Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯| | PS = PLAYSTATION BUTTON | `.____________________________________________.Â´ BASICS Â¯Â¯Â¯Â¯Â¯Â¯ Movement in Beyond is done with the left analog stick. Whenever white dots appear onscreen, move the right analog stick in their direction to interact with the environment. Jodie can switch to her entity Aiden almost at any time if you press triangle. As Aiden you can move around freely and do, well, nothing most of the time. You can sometimes interact with objects by holding L1 plus the analog sticks down. At other times you can take down enemies or control them by respectively pulling the analog sticks towards the middle, or pulling them away from each other. In interactive cutscenes, such as physical combat, you will usually have to use the right analog stick whenever the game slows down. It is important to always watch how JODIE is moving, and in which direction she is moving in. The controls you execute enforce her movement, in other words, if she is moving left, you will have to push the right analog stick to the left, and so on. __ ___ _ _ _______ _ _ ___ ___ _ _ ___ _ _ \ \ / /_\ | | | |/ /_ _| || | _ \/ _ \| | | |/ __| || | \ \/\/ / _ \| |__| ' < | | | __ | / (_) | |_| | (_ | __ | \_/\_/_/ \_\____|_|\_\ |_| |_||_|_|_\\___/ \___/ \___|_||_| ________________________________________________________[WLK] THE EXPERIMENT [WLK-1] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ After the two cutscenes you'll be able to control little Jodie. Get up by pushing the right analog stick up; you can now optionally explore the rooms and do the following whenever you see a white orb. All you need to do is push the right analog stick in the direction of these orbs to interact with the environment. You can grab the doll, sit on the bed, inspect the door on the left leading to the bathroom, inspect the drawings in the other room (hold X), watch a unique cartoon on TV (hold X), or jam on the guitar (move controller down). You can also inspect the monitors in the first hall before opening the door. Exit the rooms and proceed through the hall, making your way to the experiment room. Answer any way you like, then press Triangle to take control of Aiden, a ghost connected to Jodie. You can move freely through walls, so why don't you take a look in the control room? You can 'tap' your friendly experimenters on the back and even take control of the guy in the back (who has an orange aura around him instead of a blue one). Be sure to check underneath the desk in the corner of this monitoring hall for a [BLUE ORB] which unlocks a bonus in the main menu. There are more of these scattered throughout the game. Note: When you're asked to stop (when you're playing as Aiden), do so to gain a trophy ('Obedience'). To continue with the experiment, float inside the other room and look at the card the woman is holding up. Press triangle again to switch back to Jodie and use the left analog stick to move between cards and select the one you saw. Do this for three cards in total, then start moving objects in the other room, and in Jodie's room when she starts to scream. Everything that has an orb can be interacted with; when you're done, move to the lady and attempt to kill her to end this chapter. THE EMBASSY [WLK-2] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ Answer whatever you like; if you don't answer at all you'll get the shy option automatically (which also cancels the other options). When you gain control there is very little you can do. Talking to Clayton in the middle of the room is a possibility, or you could watch the musicians. To continue head inside the ladies restroom and go inside the toilet in the back. As Aiden, explore the main hall and look for a [BLUE ORB] in the area straight across the large stairs; as you move away from those stairs going straight ahead, it's in the right corner. There are two rewarding ways to do this mission (a third option is also possible which requires you to take hold of a guard, but this does not grant any trophies so it's not advisable). The first option is to head up (as Aiden) and go inside the room with the slightly opened door and fiddle with the monitors. Knock over the guard's coffee or buzz his TV to take another shot at pausing the monitor, then go through the double doors and approach the desk. Hit the switch in one of the drawers and open the safe, then read the book. If you do all this with only Aiden, you'll receive the 'Clean Job' trophy at the end of this chapter. The second option is to take control of the Sheik in the main area. Walk him to his office and unlock the safe, then read the book. This grants you the 'Possesive Spy' trophy. The third option is to take control of the guard upstairs (with the orange aura) and head through the double doors (you can try opening other doors but you can't enter those rooms with the guard). Approach the desk and hit the switch, then attempt to open the safe, which doesn't work, so exit the room with the guard and move out of him. Alternatively you can just find the switch with Aiden. Read the book and note down its contents by holding the correct buttons, then get up afterwards by tapping X. You can clean up Jodie's face at the sink, although it isn't necessary in order to continue. THE PARTY [WLK-3] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ Enter the house and get introduced to the others. When you have to pick some music, walk to the stereo in the corner and make a choice that's cancelled out anyway. When the beers are brought in, choose whatever you like, as your conversation answers do not really have any impact whatsoever. After this, feel free to do several optional things, such as dancing, grabbing/drinking a beer, smoking pot in the kitchen, or (after doing or neglecting these) to continue with the story, sit down on the couch/chairs. Dancing: [All with RIGHT ANALOG STICK] Left, Up-right, Up-left, Up, Down. Again, it doesn't really matter how you converse, but story-wise I would not recommend letting Matt go too far on Jodie. When everyone insists that Jodie shows off her powers, choose whatever you like. If you accept, interact with the others and several objects in the room until you've made your point. No matter what you've chosen, Jodie is put under the stairs. Unlock the door with Aiden, then choose to either leave silently or take revenge. This is a major decision story-wise, and leaves you with two different trophies depending on what you choose: Leave quietly: Bronze Trophy [Cold Blood] Take revenge: Bronze Trophy [Revenge] If you leave, the chapter ends right away. Taking revenge costs a little more effort, but is also more satisfying story-wise. Head back into the living room with Aiden and interact with the objects in the room to seriously scare and even injure your peers. FIRST INTERVIEW [WLK-4] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ As Aiden, interacti with the chair first, then move through the wall on your intial right to reach the hall. You can find a [BLUE ORB] here on the left side, although you can't travel any further than this. Enter Nathan's office by switching back to Jodie. Inside the office there are several optional things you can do, such as grabbing a book on alpha waves from the bookshelves, inspecting the photograph and the Christmas orb on the desk, or checking out Nathan's degrees on the wall. The conversation options (Yes, No, Shrug, Silent) don't matter one bit. The only answers that have a minor gameplay consequence are when you're asked to draw Aiden (you'll have to do so) and whether he can do something (interact with an object in the room). WELCOME TO THE CIA [WLK-5] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ At the training course, simply hold the left stick to move and input the right button commands (tap X, RightStick-up, RightStick-down, tap Triangle, lower the controller). During the close combat training, all you need to know is that the movements all relate to the Right Analog Stick, which you need to move in the direction of which Jodie (not your enemy) is moving. If she moves to the left, move the Right Analog Stick to the left. If she moves down, move the Right Stick down, etc. Be sure to win the fight and take as few hits as possible (less than 5) so you can get a trophy at the end of this chapter. During stealth tactics, hold X to take cover. Whenever targets can be shot, the R1 icon will appear over them; press this button to fire. Move to the next two cover locations and shoot the two targets up ahead. Take cover behind the sand bags in the middle of the room and shoot the target, then peek over (with the Left Analog Stick Up) and jump over with X, then shoot the final target. Solving math has never been so easy! Hold R1 and press RightStick-down, RightStick-left, RightStick-right, RightStick-up. In the next scene, remove the barrels with Aiden's powers. Taking away the lower barrels speeds things up a little. The next fight requires you - again - to move Jodie in the direction she's already prepared to move in, and you do this with the Right Analog Stick: Left, Right, Right, Right, Right, Down, Right, Left, Left The physical training course shouldn't be too hard for you at this point, but be sure to correctly input the button commands; if you (nearly) perfectly complete the course (along with the previous phyical course) you'll get a trophy at the end of this chapter (Perfect Soldier). The yoga and physical training sessions are self-explanatory, but the healing system is new. You'll have to balance the two orbs with Aiden to .. aid Jodie. Let's keep it at that and make no jokes about it whatsoever. Another physical combat session awaits. By now you should've gotten the hang of it; effectively block and attack by moving Jodie further in the direction she's already slowly moving towards. If you win this session (along with the previous ones) with less than 5 hits, you get the Fight Apprentice trophy. The final stealth tactics part is fairly important to do right, since you can score a trophy if you're not seen at all. To pull this off, hold X to move behind the sandbags up ahead and switch to Aiden. Make some noise by hitting the nearby barrels, and switch back to Jodie, who can take out the soldier with Square when he gets close enough. Move further by leaning in and holding cross. When leaning against the yellow container, stealthily take out the guard coming around the corner, then take cover behind the container and the sandbags respectively to take out the next guard The last two guards can be dealt with as follows. Switch to Aiden and dispatch the one standing on top of the container. Make some noise by hitting the nearby barrels to distract the guard and move towards the red flag. Alternatively you can take him out. Depending on how well you performed, you will get the following trophies: Bronze Trophy [Perfect Soldier]: Nearly perfectly complete the physical training courses. Bronze Trophy [Fight Apprentice]: Win the physical combat fights and take less than five hits. Bronze Trophy [Stealth Apprentice]: Don't be seen during the stealth session. HUNTED [WLK-6] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ This chapter has two different courses, one for when you (repeatedly) goof up, and one for when you play along and do everything right. It's advisable to choose one of the two paths so you can do the other on a second playthrough. (In other words, don't decide halfway you want one or the other, because you'll end up with no corresponding trophies). Jodie wakes up in the train. As Aiden, goof around with the nearby objects until the train comes to a halt. Wake Jodie by pushing her bottle, then get up and run away from the agents. Going through the doors is easy, but there may be one confusing instance when Jodie has to jump over an object; push the right analog stick up at that time. When you've reached the other side of the train, open the window - first with Jodie, then with Aiden, and climb up. Note: Right before going through the window is your last opportunity to choose what you want; a 'perfect' run or a 'faulty' run. In a perfect run, climb up and defeat the police officers on top of the train. Avoid the first two cops to also avoid the corresponding fights. The last encounter is mandatory. Remember; Jodie's movement needs enforcement, so move the right analog stick in the direction she is moving. As Aiden, protect Jodie by holding down R1 and the analog sticks. If you get off the train without getting caught, you'll get the 'Catch Me If You Can' trophy at the end of the chapter. If you do get caught, take control of the guard to let Jodie out. Make your way down the woods, avoiding trees (move over fallen trees, underneath tree branches), then wade through the river. Proceed through the forest; the game guides you through with relatively fixed camera angles. When Jodie is attacked by dogs, this is another moment you'll have to choose between a perfect run and a faulty run. For the latter you don't have to do anything. Otherwise, defend yourself from the dogs, then run up to the rocks and climb up. From here, move closer to the road and take control of the police officer near the bike. Step inside the car and distract the guards, then dash for the bike and drive off with it until you reach a roadbloack. Protect Jodie with Aiden's special ability to trigger a scene. In the town, protect Jodie from the incoming soldiers. You can take control of several of them and drive into the weapon store at the end of the street, hurl a grenade at the gas store, destroy the church and the helicopter. Be sure to blast the doors open for Jodie when she asks you to (unless you want to get caught). If you get caught, take control of the guard, knock out the one neary you, then shoot the driver. If this is your third escape, you'll get the 'Houdini' trophy. MY IMAGINARY FRIEND [WLK-7] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ Move Jodie through the house and interact with objects if you wish. Ask for some cookies in the kitchen and have Aiden reach for the jar. Alternatively Aiden can mess with the chairs. Head upstairs and go to your father's office. Before entering you can pick up the phone and play with it. You can annoy your father by entering and interacting with an object in the room as Aiden. Leave and go inside the bedroom. You can knock down the box on top of the closet and channel it to learn more about Jodie's parents. Around this time her mom will ask a favor of her. Head down and enter the garage to fetch the bottle of oil. After this you're allowed to play outside in the backyard. Put on your jacket and shoes and head outside. As Aiden, interact with some of the things in the yard until you hear children playing behind the fence. Be naughty and go out on the streets to play with them by knocking out one of the planks as Aiden. If you want to collect a trophy you'll need to hit the kids with a snowball for a total of three times; this awards the 'My Imaginary Friend' trophy. Strangle the annoying kid and you'll have to go back inside. You'll get to overhead their conversation as Aiden and then go to sleep. THE CONDENSER [WLK-8] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ Get out of the car and enter the building. First explore the area as Aiden; you can find a [BLUE ORB] in the room to the initial upper right; look for the (white) dot. As Jodie, head towards the elevator and take control of Aiden. Go down the shaft and move the object blocking the door. As Jodie, channel the body inside (align the orbs so the stream of energy goes from the body to her head), then ride the elevator down. Head through the door and proceed through the hall, then open the door from the other side as Aiden (hit the switch on the desk). Be sure to also channel the body in this room (channeling the bodies is good for a trophy). There's a third body you can channel in the next room. Move the servers out of the way to reach a ventilation duct; head through. In the next room, channel the body of the scientist in the middle of the area, then bust a table through the glass walls on the left to continue. There are two more bodies to be channeled in this hall. After this, move through the flames as Aiden and hit the fire extinguisher so Jodie can put out the flames in front of her. Proceed through the glass window on the left and approach the scientist. Prepare for a fairly lengthy fight! Again, move Jodie in the direction she's already moving het body in; you're reinforcing her movements. When he's taken care of, go to the other scientist in the room to also channel .. oh. Anyway, continue through the destroyed hall and channel the dead soldier there before moving through the nearby doors (have Aiden help Jodie get through). In the room beyond, prepare for another interactive scene in which you'll have to move Jodie in the right directions. It's fairly short, fortunately. In the icy hallway, make your way to the other end. Great.. you need a keycard and it's on a body at the far end inside the nearby room. It's always the last body, isn't it? Another interactive scene triggers. After this you'll have to take out the dead scientists one by one with Aiden, which is child's play, really. The hall is empty; in the next room, head over to the controls and flick the switch. Go through the door after that and prepare for the final battle of this chapter. As you climb up the ladder, Jodie is attacked by the entities. It's important to know how to deal with the entities, and there are two different scenarios. In the first scenario an entity is holding on to Jodie. These are destroyed by holding both analog sticks towards each other (all while holding R1, of course). The other scenario concerns entities flying around or entities very close to Aiden. These are destroyed by pulling the sticks down and releasing them; they can thus be defeated very quickly. Proceed over the catwalk, avoid the incoming entity attack - otherwise fight them off - and climb the ladder. Proceed over the catwalk and over the railing, where you'll have to fight off more entities. Another fight ensues on the crane; keep pushing onward after this and leap over the two gaps at the end of the catwalk to end the chapter. HOMELESS [WLK-9] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ Walk down the street and make a phone call, then continue a little further until Jodie collapses. Keep the entities off Jodie, then move closer to the bum and interact with one of the objects (the shopping cart); turn around and remove the entities from Jodie again, then interact with with the guy. Again, turn around and remove the entities. Then, after moving a third object (the garbage container), the homeless guy gets the hint and spots Jodie. When you wake up, converse with Stan to learn more about the other three people; Walter the bum, Jimmy the junkie and Tuesday the pregnant girl. Check them out and head outside; to your immediate left lies a [BLUE ORB] if you enter Aiden's perspective. It's next to the blue crate. You can pick up a picture of Stan's wife lying close to Stan. Near the exit, grab the knife and either put it away again or cut yourself with it. Also inspect the exit near Stan's camp for a short scene. After all this, head outside and walk to the street. Stan will come along since the party is in dire need of some cash. Follow Stan and sit down, then complain about your situation and move again. A little further down the street, sit down again and write whatever you like on the board. After this, get up and extract money from the nearby ATM by using Aiden - take the money if you want the trophy 'Money to Eat'. Return to Stan to trigger a scene, after which you'll have to fight some ridiculously amoral kids. After scaring them off you'll join the others again. Walk up to them and converse any way you like. Now be sure to speak with Tuesday to tell her the baby is alright, and also heal Jimmy (move the orbs towards the three green bulbs on his body) and channel Stan. If you do these things you'll receive the 'Miracles' trophy at the end of the chapter. After another scene you'll wake up; follow Stan to the supermarket and head inside with Aiden. Open the door from inside by hitting the shutter panel and then opening the doors. Wait with going inside as Jodie; surely the store has an alarm, right? Hit the camera atatched to the ceiling, not too far away from the door to disable the alarm. Doing this nets you the 'Smart Thief' trophy at the end of this chapter. Follow your friends to the end of the street and go inside the abandoned building around the corner. If you manage to lose sight of the others, follow their footprints. Head upstairs and act as a midwife; this is easier than it sounds! (At least it is in the game!) When you wake up after the scenes, quickly go to the adjacent room and wake up Stan. In the hall, switch to Aiden and unlock the door of the nearby room to free Walter. Head upstairs and open the door at the end of the hall with Aiden. Jimmy is inside be he's too afraid too jump (why doesn't he give it a.. SHOT?) so you'll have to take control of him as Aiden to make him do it. Climb through the window and make your way to the other room to find Tuesday and her baby - swing through the window first. Unlock the door with Aiden and make a shield to walk to the other side of the adjacent room, then knock through the weakened wall with Aiden. Afterwards head all the way upstairs, perform well in the interactive scene and use Aiden's shield to jump down. You'll be in a purgatory-like 'environment' after this, in which not much can be done. After reaching the light, move towards the TV twice, and then move towards Aiden in order to wake up. Try to go to the hall to trigger a scene. Simply climb through the window to end the chapter after this. FIRST NIGHT [WLK-10] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ First of all, switch to Aiden and enter the hall in which Cole is monitoring Jodie. Near the cabinet at the end of this hall, close to Cole, you can find a [BLUE ORB]. Grab your clothes and change in the bathroom, then lie down on bed until Jodie realizes she's forgotten about Mr. Bunny Gruff! Fetch him from the pink suitcase on the chair in the living room, then go back to bed. Jodie needs a bedtime story from Aiden, so fiddle with the flashlight to create Mr. Elephant on the ceiling. (Ah! Aiden's TRUE form revealed!) Check out the other room and hall after this, then check back on Jodie. What the!? Entities!? Quickly interact with the environment of Cole to make him wake up, then protect Jodie from the entities. Again, there are two types here; those that hold Jodie (defeat them by holding the analog sticks towards each other) and those that freely roam about the room (destroy them by pulling the analog sticks down and releasing them). LIKE OTHER GIRLS [WLK-11] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ Walk around your apartment and sit on your bed, sob in your pillow, grab your guitar in the living room (near the mirrored glass) and jam on it. Move to the corner of the living room (near the TV) to try and reason (or get angry) with Cole. Alas, to no positive effect. Try knocking on the door, making clear you want out, then switch to Aiden and smash up the apartment. It doesn't really make a difference, so you'll have to reach for more desperate measures; take hold of Cole and let Jodie out. Make your way to the end of the hall and go through the double doors with Cole's pass. You'll be stopped in your tracks just before you can go out. It's possible to skip a whole portion of this chapter by NOT letting Cole 'speak'. You'll then be sent back to your room. Otherwise, make him 'speak' to go outside. The latter also allows you to get the 'Together Forever' trophy, so it's worth your while. You'll also be able to find a blue orb to unlock another bonus. Get in the car's trunk and drive away, then walk Cole into the forest. Enter the bar with Jodie and go to the toilet for a short scene. Switch to Aiden and look in the men's restroom for a [BLUE ORB]. Sit down at one of the tables and converse however you wish, then start a game of pool with the guys. Of course things go wrong, so as Aiden interact with the objects in the bar. When they try to escape you can either choose to wait (and let them escape) or to kill them all (the latter is required in an 'evil playthrough' for the trophy 'Uncontrollable'). ALONE [WLK-12] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ In this short scene you basically only have the option to either leave Philip alone or to strangle him, which respectivle award the 'Sorry' and 'Not My Father' trophies, so a second playthrough is required. NAVAJO [WLK-13] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ Keep walking down the road and make some attempts at hitchhiking until Jodie sits down on a large rock. When she reaches the farm, enter the house on the left. Sit down at the table and have some dinner; converse any way you like, then follow Jay to your room. Undress and put on your pajamas. When Jodie wakes up in the middle of the night, try to leave the room, then walk to the corner and inspect the bowl of water and the ash on the ground. Go back to sleep by holding R1 and L1 for quite a few seconds. In the morning head to the living room and drink some coffee, then go outside and help with all sorts of tasks. Get some water from the pump and bring this to the sheep, then get a stack of hay from the barn (use Aiden to speed this up - you don't even need to climb the ladder). At lunch, converse however you wish. Afterwards head over to Jay and approach the horse slowly; whenever it rears, stop your movement and wait for it to calm down, then slowly proceed. Switch to Aiden and move Ashkii to the enclosure. After this take a shower behind the barn. Full nakie time? Nope! When everyone's done dining, go outside and prepare for another interactive cutscene in which you'll have to dodge objects and the storm entity's attacks. If you take only 2 hits (or less) you'll later receive the 'Not Just Stand' trophy at the end of the chapter, so do your best! The next day follow Jay. Riding Ashkii is simply; R2 speeds up travel. When you reach the sheep, tell Jay the truth (it seems natural if you want to start at least one romance, which is part of a trophy). After this, ride Ashkii to the windmill and have Aiden fix it. Walk towards the small building covered with earth nearby and go inside. Inspect the necklace and head outside; be sure to avoid the horse in the interactive moment (move left). Travel to the rocky hills in the distant after this and go through/underneath them. Follow the road to soon reach some ruins. Switch to Aiden and look for objects to channel (such as a sword or gun); after finding two of them, continue down the road until you reach the tree from your dreams (Jodie will mention something about it so you'll know you've found it). Switch to Aiden and interact with the ground to make Jodie dig up artefacts from the Navajo. Ride back to the ranch (the storm is already appearing near it). Head back inside and channel the medallion while paying close attention to the pattern drawn in the sand; you'll soon need to redraw this. Back outside, collect the wood, gasoline and a stick, then draw the correct pattern in the sand (it's the 'man' figure with five lines/ends). Use Aiden as fifth soul, then kick the entity back to the other realm. After this, follow Jay and stand next to him and Cory to bury their loved ones. Be sure to collect a nearby [BLUE ORB] after this near the rocks on the left side of the area. You'll also need to climb the rocky mountain to enter a cave before which you saw a Navajo ghost standing. Be sure to kiss Jay at the end of the chapter to ensure the 'Never Alone' trophy. SEPARATION [WLK-14] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ Select any of the three objects you want to know more about and channel it; the others will have to wait for another playthrough. After this walk around the room, drink some water and talk to Cole. When Nathan returns, converse any way you like (I'd tell that douche to go fuck himself, personally; also, how unbelievably unrealistic is this scene anyway? Like *anyone* would respond like that in a first conversation). In Jodies room grab your stuff; Mr. Rabbit, a picture of Nathan and Cole, some clothes, some things from the bathroom, a picture from your parents (near the kitchen) and lastly a painting on the board near the entrance. THE DINNER [WLK-15] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ There are essentially two ways to play this chapter. The first option is easiest as you would just be lazy and don't pay much attention to whatever Ryan may think of you. The second option is harder because you'll want to impress Ryan and thus have to do quite a bit of work first. Both options (at least, the right configurations of them) grant you a trophy. You'll get an additional trophy if you 'sleep with' (shag) Ryan. The easy option is to order a pizza, wearing something casual and just go watch some television. The harder option requires you to clean the apartment (that means videogames, books, laundry, trash), cook a meal (Asian Beef works fine), take a shower, get dressed (wear the elegant dress) and put on some music (next to the TV; how about romantic?). When Jodie thinks Ryan is early, open the door but do NOT go outside; it's Aiden playing games and otherwise you'd lose some valuable time. NIGHT SESSION [WLK-16] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ Walk around the room and look at the drawing board, then speak to Nathan and fetch the book in the other room. Switch to Aiden to collect the [BLUE ORB] in the corner of this room. Inspect the book and return to Nathan. THE MISSION [WLK-17] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ After several scenes you'll be dropped off by a helicopter. You've learned more than enough by now to know how to take out enemies. Getting to your objective (first a hotel, then an abanondoned church) without getting seen is good for a trophy, so be sure to carefully follow the below instructions. Move behind the concrete blocks but wait with moving towards the last set until the nearby guard is walking away from you. From that position, take him out. Move closer to the nearby stairs and switch to Aiden, taking out the guard upstairs. Move through the building (and either fall down or make your way to the other side normally), then at the square, move Aiden closer to the hotel in the distance to spot it for Jodie. Make your way through the street by going right. When moving from wall to wall, Jodie will automatically lie down as she gets to the wall near the group of soldiers. Hide behind the concrete roadblocks and strangle the guard as he comes closer. Move to the right side and hide behind the roadblocks at the corner, then switch to Aiden and take control of one of the guards up ahead to waste both of them. Proceed by going right around the corner, moving from roadblock to roadblock until you reach the hotel. Go inside, switch to Aiden and take out the remaining guard, then head upstairs and channel all objects to figure out where to go next. Jump down at the railing to proceed. At the corner on the right side of the street, dispatch the guard, then move from roadblock to roadblock to reach the ladder. As you climb up the second roof, quickly approach the guard to take him out. (Yes, he will always move away from you as you climb up; it's fully scripted. It's also arbitrary when Aiden can and cannot strangle or take control of enemies, but whatever.) Continue over the roofs until you reach the destroyed part of this building and the Square button prompt will come up. Press it, and hey, turns out there was a guard down below that you just happened to take out with the random pressing of the square button. Proceed in the direction the game points you, with a sole guard standing in a destroyed building. Sneak inside and switch to Aiden to take him out. Move to the left and proceed by going from cover position to cover position; the guard at the intersection hears something, so quickly switch to Aiden and make some noise by hitting the nearby barrel in the right corner. This allows you to take out the guard as Jodie. The left street only leads back to the group of soldiers near a jeep, so head down the other side and use Aiden to kill one of the guards; the other one will mysteriously vanish. After this, head down the street by going right and take control of one of the guards to dispatch them both. Approach the square and enter the building after the short scene. Inside, channel all objects and the dead body, then head for the abandoned church. You'll hear a child when you reach the other side; approach the sound to trigger a scene. Several soldiers show up afterwards. Shoot the one on your right, then switch to Aiden and destroy the small wall behind which one of them is hiding (straight ahead). The soldier on the left can be strangled. Take control of the one near the car to dispatch the last two (you'll have to move closer first, though). A final interactive cutscene takes place after this, which is fairly lengthy. After this it's INSTANT DAYLIGHT TIME! Yeah, that's how that works in the world, you know. 30 second sunrise. You'll need to follow Salim; he knows the way to the tower. It's a fairly straightforward walk and you'll reach a ladder soon enough (Aiden will have to shield Jodie and Salim from the crossfire here). Make your way over the roofs and control the guard near the pickup to kill the others. Drive through the streets while staying low, and hit the gas when you're stopped; an interactive combat scene will take place after this. There's not much to say about it other than a descriptive "defeat the bastards trying to kill you", so we'll leave it at that. You'll reach the tower shortly after this, since all you need to do at this point is make your way through the block. You'll encounter a guard which is easily taken out. When you've reached your destination, go through the hole in the nearby building and stand against the wall, then switch to Aiden. First of all, check the second floor of the building to find a [BLUE ORB]. Kill the soldier outside, on the far left, who's standing behind a pickup. Take control of the unarmed guard (the other who's near the gate, isn't granted access). Walk him to the dead guard and pick up his weapon, then head inside the building and do what you 'have' to do. Kick in the door for Jodie so she can confirm everything. Create a shield when necessary. Afterwards, go back outside and make your way in the direction the game automatically steers you, which is across the street and into a building. As Aiden, kick down the ladder at the hole in the roof and climb upstairs to finish the chapter. OLD FRIENDS/NORAH [WLK-18] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ During the 'Old Friends' scene, converse however you wish. The Norah part is clearly much longer. To get inside the hospital, first ask the employee behind the desk, then take control of him with Aiden and hit the elevator switch. To get past the guard, hit the switch. Hmm, since it isn't working, first distract the guard by interacting with objects and the electricity box. To get past the next door, again interact with objects. Be sure to hit the final chairs and table against the glass so the employee wakes up. As het gets closer, take control of him and open the door. Grab his keycard (on top of the card reader next to the door) and continue. You can hit the cameras with Aiden; in any case be certain to pay a visit to room 38 (with a humming man inside) to collect the [BLUE ORB] with Aiden. Norah is in room 43. To keep spoilers to a minimum, this guide doesn't describe anything regarding the next scenes, but they are very easily accomplished either way. The final option is up to you. Just keep in mind that it affects a trophy with regards to how many characters you have kept alive. HAUNTINGS [WLK-19] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ In this short chapter, get out of bed and follow the ghost through the halls until you reach an office. Here, do some channeling work to trigger a scene. BRIEFING/DRAGON'S HIDEOUT [WLK-20] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ During the briefing, converse in any way you like. The mission itself is quite long. In the icy village, use Aiden to spot a house on the far left side of the area, where the crew can set up camp. Have Aiden help with the fire, then speak with Ryan and head outside to make a golden ice cone for him. Go to the end of the village and enter the hangar with Aiden. Take control of one of the soldiers and kill the other one near the submarine. The third one will come look automatically, so get rid of him too. Use the soldier to open the hangar. After this, go to the submarine and think of a silly, professional plan. Steer the submarine to the base without hitting and rock walls. During the interrogation you'll have to decide whether or not you want to talk. Talking and not talking are both worth a trophy, so you'll need to replay the chapter either way. Get out of the sub and walk towards the soldiers to see how you got captured in the first place. As Aiden, make your way to the end of the orange hall and enter the armory on the left; kill the guard here. The enter the control room and try to interfere with the controls; this doesn't work, so take control of him again and fetch a weapon from the armory, then go back to the control room to kill them and disable the forcefield. After this, all you have to do is follow the purple line connecting you to Jodie. Heal her and Ryan, then collect the explosives from the interrogation room (kill the soldier inside with Aiden). Make your way through the (red) main hall until you reach a large room with a pool to dive in the ocean. Suit up and dive down the water to plant the explosives. First head down the linear path until you reach the condenser devices. Plant the explosives on each one of them, then head back to the path (which you can find by looking for the lights in the distance). An interactive scene starts, which continues when you get back to the base. Afterwards, the scene extends as you exit the base by running through the halls. When you've reached the sub, more scenes play and you'll only have to swim to the surface. Feel free to converse with Ryan in any way you wish. BLACK SUN [WLK-21] Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ Walk up to Ryan and converse however you wish, then follow Cole to Nathan's new office. He's one of the higher ups now. Converse however you wish and help him with his request, then answer sympathetically. Walk back to the elevator and another scene plays. To free Jodie you'll have to interact with objects around Cole and Ryan (after waiting for a bit and trying to remove the infusion). You'll then have to guide them towards Jodie through a chain of interactions with objects that point them in the right direction. When they're stopped by a guard, distract him and enter Cole's name into the system, then continue until you've reached Jodie. (Her position is - obviously - always known to you since you can just follow the purple string.) After this all hell breaks loose. Follow Cole and Clayton until you get to put on the portable containment field belts (one of the neater special effects in the game). In the next hall, move from cover to cover position, and at the last small cover position, hide from the entity before dashing to the elevator. Run to Cole afterwards and heal him. Afterwards you'll have to make your way to the Black Sun, where at the end, you'll meet Nathan. I have not yet tested all possible combinations of answers yet, so I don't know all the possible outcomes (feel free to mail them all in), but you may want to replay the chapter anyway for different outcomes. As you push onward, another interactive scene takes place, which extends in the final few steps towards the Black Sun. You'll then have to make the decision: Life or Beyond. Either choice is worth a trophy (and if you failed to save every possible character, going to the Beyond also grants you another trophy). If you have saved Tip: You can re-play the prologue several times to choose different endings. This is advisable before starting a completely new game. _____ ___ ___ ___ _ _ ___ ___ ___ |_ _| _ \/ _ \| _ \ || |_ _| __/ __| | | | / (_) | _/ __ || || _|\__ \ |_| |_|_\\___/|_| |_||_|___|___|___/ Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯[APX] .âââââââââââââââââââââ.âââââ.ââââââââââââââââââââââââââââââââââââââââââââââââââ. |NAME: |TYPE:|DESCRIPTION/REQUIREMENT: | |âââââââââââââââââââââ|âââââ|ââââââââââââââââââââââââââââââââââââââââââââââââââ| |Somebody Else? | B |Played as Aiden for the first time. | |Obedience | B |Stopped the experiment voluntarily. | |Teammates | B |Did 3 mischievous things with Jodie and Aiden. | |Entities Apprentice | B |Vanquished the entities with Aiden. | |Sorry | B |Forgave Jodie's father. | |Not My Father | B |Choked Philip with Aiden. | |Revenge | B |Taught 3 or more of the teens a lesson, or | | | |started the house fire, with Aiden. | |Cold Blood | B |Did not impress or scare the teens with Aiden. | |Together Forever | B |Protected Jodie from her attackers. | |Portal Shutdown | B |Successfully shut down the condenser portal. | |Channeling Master | B |Channeled all dead bodies in the condenser | | | |compound. | |Perfect Soldier | B |Completed most of the physical training | | | |successfully. | |Fight Apprentice | B |Won every fight whilst taking less than 5 hits. | |Stealth Apprentice | B |Completed all stealth training without being | | | |spotted. | |Clean Job | B |Shut down the monitor and finished the mission | | | |using only Aiden. | |Possessive Spy | B |Finished the mission using only the Sheik. | |Perfect Lover | B |Cooked a meal, cleaned the apartment, took a | | | |shower, wore the elegant dress and put on some | | | |music. | |Casual Girl | B |Ordered a pizza, watched some TV and wore | | | |something casual. | |In Love with Ryan | B |Slept with Ryan. | |Stealth Master | B |Made it to the cathedral without being spotted. | |Catch Me if You Can | B |Escaped the train without being arrested. | |Aiden's Apocalypse | B |Destroyed the gas station, the church, the gun | | | |store and the helicopter. | |Houdini | B |Got arrested three times and escaped each time. | |Money to Eat | B |Earned enough money to have some chocolate during | | | |dinner. | |Smart Thief | B |Deactivated the supermarket's camera. | |Miracles | B |Looked after Tuesday's baby, healed Jimmy and | | | |channeled Stan. | |Medicine Girl | B |Successfully performed the entire ritual. | |Not Just Stand | B |Ran from the sandstorm and took less than 3 hits. | |Eye for an Eye | B |Didn't speak during the interrogation. | |Agent 894732 | B |Told the truth during the interrogation. | |Almost Too Easy | B |Went to the containment shield with the General. | |Chose Afterlife | B |Entered the Infraworld. | |Chose Life | B |Stayed in reality. | |Convince Dawkins | B |Helped Dawkins see the truth. | |Black Sun Down | B |Deactivated the Black Sun. | |Two Souls | B |Launched a scene in Duo mode. | |The End | S |One possible reality has been uncovered... | |Uncontrollable | S |Took every opportunity to be evil as Aiden. | |Never Alone | S |Started at least one romance. | |Entities Master | S |Was victorious in every battle with the evil | | | |entities. | |A Better World | S |Let every possible character die and chose to go | | | |with them to the Infraworld. | |Explorer | S |Found all the bonuses. | |Together Till the End| G |Finished the game in Duo mode. | |All Endings | G |Saw all endings. | |Saved All | G |Saved every character that could be saved. | |Beyond: Two Souls | P |Collected all trophies! | |Master | | | 'âââââââââââââââââââââ'âââââ'ââââââââââââââââââââââââââââââââââââââââââââââââââ' __ _____ ___ ___ ___ ___ _ _ _ _ ___ ___ _____ ___ _____ __ \ \ / / __| _ \/ __|_ _/ _ \| \| | | || |_ _/ __|_ _/ _ \| _ \ \ / / \ V /| _|| /\__ \| | (_) | .` | | __ || |\__ \ | || (_) | /\ V / _ \_/ |___|_|_\|___/___\___/|_|\_| |_||_|___|___/ |_| \___/|_|_\ |_| ( ) |/ [VCC] ___ ___ ___ ___ ___ _____ ___ ___ ___ _____ _____ ___ ___ _ _ _____ / __| _ \ __| \_ _|_ _/ __| / __/ _ \| _ \ \ / / _ \_ _/ __| || |_ _| | (__| / _|| |) | | | | \__ \ _ | (_| (_) | _/\ V /| /| | (_ | __ | | | \___|_|_\___|___/___| |_| |___/ ( ) \___\___/|_| |_| |_|_\___\___|_||_| |_| |/ Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ VERSION HISTORY Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯Â¯ 08 Oct. 2013 - [v1.00] - Walkthrough complete. 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