So we exit the tower through its main door, which we can open with the recently acquired card 4, and head back to the Zanzibar building's fourth floor. About all we can do is look for them in the one place we haven't yet fully explored: Floor 4 of the southern base. We're given no indication as to where these restrooms might me. Therein is our clue: She's the only woman in a fortress where there aren't supposed to be any so we might be able to locate here if we set up an ambush in a place "that only a woman would go," like, say, "a ladies' restroom." Madnar says that she stole an enemy uniform and has been using it to blend in. She's not carrying a transceiver, so we'll have to physically track her down. He recommends that we contact Gustava, the STB agent who's been protecting him apparently she'll be able to understand Marv. So we call Madnar, hoping that he can translate but alas-he only knows Russian and English. Unfortunately, though, Marv only speaks Czech and Slovakian, so we can't understand a word he's saying. So if we turn it upside down and disregard the end letters, we get "14051," which is obviously a transceiver code. Though, it doesn't take us (or "those of us who have been playing games for 30-plus years") long to realize that we're probably reading it upside down (not that we needed him to, but Miller implies as much, noting that the lower-case h points to it being a "digital number"). The message says "Help! WIS OhIO." Taken as it is, the message doesn't seem to mean anything. Well, it just so happens that B2 rations contain potatoes! If we equip one and approach the pigeon while it's grounded, it'll allow us to grab hold of it and take possession of the paper that contains the doctor's message. However, they're notorious gluttons and will stick around if they pick up the scent of grain products-like beans or potatoes, which we can use as bait. There's no obvious solution, so we have no choice but to contact Johan Jacobsen, the animal expert our new friend explains to us that the bird in question is a "wood pigeon," a species that is very sensitive to noise and flees when something gets too close. The only problem is that we're not able to catch the pigeon no matter our angle of approach or how much force we use it just keeps flying away, onto the adjacent screens. A single plastic explosive will do the trick.Īnd there, on the roof, we find the carrier pigeon, from which we're meant to receive Marv's message. Holly calls us and says that there's a door blocking the way to the roof it's right in front of us, she says, though it's painted shut, so we need to bomb our way through it. Though, there doesn't appear to be an accessible roof. It leads us outside, onto a stairwell, climbing which carries us up to the the top floor. When the Red Blaster has fallen, the door in the southwest will open up on its own. If your movements are fluid, and you don't hesitate before tossing, he won't be able to touch you. You'll have an easy time of it if you stick to the room on the right and quickly alternate between between the two parallel vertical pathways. Since he's always in motion, there's an element of timing involved essentially you have to lead your tosses. We can do so by giving him a taste of his own medicine-by throwing grenades at him. It's a good idea to clear away as many wires as you can before engaging Red Blaster. On the screen to the left, we have to watch out for those suddenly-springing pit traps, which kill us instantly. Stretching between most of these passages are obstructive wires, through which we can break by pressing up against them for three seconds though, we can't linger in place for too long, since Red Blaster is constantly gravitating toward our current position. We can dodge them by moving about the passages of the two-screened battle arena. and painful."Īs soon as the dialogue exchange comes to an end, he begins to bombard us with grenades. "My grenades will see to it that your death is slow. The voice belongs to the Red Blaster, who enters the scene-crawling along the top of the northern wall, as though he were Spider-Man-and identifies himself as the one who set the trap. The voice of an unseen figure confirms that our observation is correct. Upon stepping out of the elevator, we sense that we've walked into a trap.
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