the walkthrough

SECRET OF THE LOST CAVERN
Pursued by a cave lioness, Arok takes refuge in a grotto, where he’s noticed a mark near the
mouth that reminds him of Klem, a painter he once knew.
He’s trapped in the dark little cavern, afraid of being devoured should he leave it.
The first thing he has to do is to light a fire, using dried grass, twigs, and pieces of soft and
hard wood. Once the first three necessary components are gathered together, the hardwood
rubbing against the softwood will set off a spark.
Then Arok discovers that the walls are covered with frescos. When he clicks on a large
colored blazon, he’s thrust back into his memories.
Klem had offered him a small stone, decorated with colored spots. Thanks to the stone, he’s
able to complete the blazon, filling in the missing spaces with pigments he’s found, moistened
by some ice he melts.
The solution of this puzzle leads him even deeper into his memories… Klem had spoken to
him of a passage through the mountain… Maybe he’s not far from it!
But for the moment, Arok is still cornered. He sets some branches on fire and throws them in
front of the wild beast, managing to drive it off long enough for him to recover a stag antler
and his spear.
He also comes upon a fresco depicting three hunters, two of whom are armed with spears,
confronting an enormous bison. The third man is carrying a bizarre object. Arok gives him the
spear of one of the two others, thereby discovering the atlatl, or spearthrower, a very effective
launching weapon, powerful enough to vanquish the bison.
If a spear and a spearthrower can vanquish a bison, they should be able to handle a lioness!
In the depths of the cave, a flat stone with three tools on it is an excellent workspace.
Arok places the antler on it, cuts the three beams with the large piece of flint, crafts a flat
surface with the scraper, and uses the awl to pierce a hole at each end. One of the holes will
be used to wedge the spear, and through the other he ties a strap that will attach the
spearthrower to his wrist. Now he takes it and, after once again staving off the big cat with
flaming branches, he attempts to make his escape, armed with his spearthrower.
Arok misses his target, but the lioness leaves anyway, in search of easier prey.
The coast is clear, and the young man, his head bursting with memories, decides not to return
to his clan, but to set out in search of Klem, in order to become a painter.
Just a few steps from the grotto, he discovers the entrance to another cave. Once again, all is
dark. With flaming branches brought from the first cavern, he lights a fire. The gallery opens
onto four corridors, three marked with a color, black, red, or brown, and one with a mark that
is simply engraved. On the ground, a crosshatch points out the proper route to him. It
resembles the figure on his small stone, except that there are no red, brown, or empty squares.
In addition, it is set in a different direction.
Symbols in the form of arrows trace a path from square to square. Thanks to his stone, Arok
deduces in what order he should investigate the corridors: brown, black, engraved, brown,
black, brown, black, brown, red. But if he’s not to get lost in the labyrinth, he’ll need light, as
well!
The three torches he finds on the ground should be sufficient, if he doesn’t make too many
wrong turns. When he lights the first one at his fire, a torch gauge appears, and dims with
each movement. A, new torch must be placed upon the gauge before the eighth move, to
prevent it from going out.
At the end of the labyrinth, Arok finds himself before a wall covered with painted hands.
Symbols permit rows or columns of hands to pivot. By clicking on one of the first hands, he
can select the starting point for his ascent. To climb the wall, Arok has to arrange the
paintings in order to obtain an alternation of red right hands and black left hands. A left hand
can be neither to the right of a right hand, nor below one (and conversely, a right hand can not
be either to the left of a left hand, nor below one).
When he arrives at the top of the shaft, Arok comes out in a small gallery overlooking a vast
cavern split by two large pools. A bear is hibernating in it and Arok has to throw two bunches
of straw on the ground in order to come down without awakening the animal. In the cavern,
he recuperates a fragment of a wall that will complete a fresco located at the shaft’s exit.
By completing the fresco, Arok activates the painting. It portrays a man and a bear. Like
Arok, the character has to drive off the bear. By arming him with the rocks lying at his feet
and by clicking on the interactive zones of the drawing, the character can throw them.
To get rid of the animal, Arok has to cast his rocks twice at a ramp a little above the bear, in
order to draw it into the tunnel, then quickly at a stalactite followed by a stalagmite that is
holding back a pile of rocks. The rocks crash free, blocking the entrance to the tunnel. The
fresco freezes. Arok hears an enormous commotion. The sleeping bear has disappeared, and
in its place lies a mound of rocks and earth.
Arok’s route is now open, but he still has to find a way to cross the pools.
On a new workspace; using a piece of leather that he pierces with two holes, and two cords,
he makes a slingshot.
The rocks that crashed down in the landslide will be his projectiles. He knocks down four big
stalactites, which land in the pool and form a sort of suspended road.
Here, too, he needs light. On the ground, he finds an aurochs horn that he can use to carry
embers from the fire near the shaft, in order to make a new fire between the two pools.
Arok finds a branch on the ground, sets it afire, and uses it to light the oil lamps just in front
of him.
But each time he lights one, the ones next to it, above it or below it, change: if they are lit,
they go out, and the opposite. However, he has to make sure they are all alight, if he is to be
able to work on the fresco of the stags, which has just been revealed by the light of the fire.
Arok is going to try to cross the last pool thanks to the fresco of the stags, carried across on
their galloping cavalcade.
To do so, he has to make sure all the stags have the same color (brown, yellow, or red) and are
in the right position: the stags coming out of the water must have their front hooves raised, the
stags that are re-descending must be leaning forward, and those on the ground must have all
four hooves firmly planted on the ground.
When he activates the animation, thanks to a symbol representing a double arrow, Arok sees a
stag cross the pool, assuming successively all the poses figuring on the wall.
But if Arok’s to be carried by the animal, he also has to match the color and the position of
the character that represents him in the fresco, so that the character is able to grab hold of the
passing deer.
Once on the other side of the second pool, Arok discovers a lush valley.
He’s famished, and using a stick, a bone point, and a strap, which he sets one after the other
on a large flat stone, crafts a harpoon,. But as he’s not speedy enough to catch a fish, he builds
a dam with four rocks, placing the two largest at the bottom of the stream, in order to slow
down the salmon that are swimming upstream. This way he’s easily able to harpoon one!
When he returns to the area of the construction zone, he meets a flintknapper, who gives him
a recipient and some marcasite. With branches, some tinder, and the marcasite, which he
strikes with a flint, Arok lights a fire.
With the help of a branch, he maneuvers three little stones and a big rock into the fire. Once
the rocks are hot, he removes them from the fire and places the salmon on the biggest, first
grilling one side, then the other. He hands it to the flintknapper, with whom he is sharing his
meal. Then, after burning himself, Arok uses a wooden spatula to pick up the small hot
stones. He drops them into the recipient, which he’s filled at the river, to heat the water. He
then adds the camomile he gathered nearby.
After eating, Arok learns how to knap flint. Graok sets out three tools and three pieces of flint
for him. The young man must select the right stone and the proper tools to prepare a core.
By giving three blows with the stone hammer and two blows with a bone striker on the
second piece of flint, Arok manages to fashion a proper core, from which the flintknapper
crafts a superb blade that he offers to the young man.
He also gives him a musical stone and a bone mallet, which, when associated with other
stones the player finds, will form a lithophone.
In order to find the way to the cliff dwelling he’s noticed above the valley, Arok must animate
a fresco depicting two bison, by playing a short sequence of four notes. Using the bone
fragment the flintknapper gave him, he first strikes the fourth stone from the left, then the
third, the fifth, and finally, the first. If he plays the right sequence, all the signs become red
and the two bison draw apart, revealing a new set of signs, identical to the set signaling the
entrance to the dwelling.
Once he arrives at the top of the cliff, Arok discovers that the shelter is nearly deserted. The
only person in residence is a girl, Tika, who, when he introduces himself, acquaints Arok with
a strange custom.
He must relate his journey, by setting in order symbols that represent parts of his story.
After he’s put the eleven signs in chronological order, he has to associate each of them with
an object that he either finds in the dwelling or has in his possession, and which illustrates that
particular stage of his journey. So he places, in order, a stag antler, a bone engraved with a
lion, his little painted stone, his spearthrower, a stick with a hole in it, engraved with a bear, a
rock with a hand painted on it, a tablet bearing the drawing of a deer, his harpoon, an
engraving of a fish, his knife, and the figurine of a woman.
When he finishes his tale, he can finally question Tika about Klem, but she remains evasive,
and entrusts Arok with a new mission: to restore a fresco located in the ceremonial hall of the
dwelling. To reach it, Arok has to clear the entrance, which is blocked by megaceros antlers.
He next must seek the broken tablets, which served as models for the painting, according to
Tika. Within the hall, he finds a large slab set upon some rocks. By pouring on two rocks to
the right and the left of the slab, a little animal fat that he finds in the shelter at the edge of a
dry spring, he’s able to slide the slab away and discover the fragments of the tablets.
He now must reassemble two tablets, one of which is pierced, by moving the fragments to
their assigned place or into an empty slot.
Arok then heats resin he found in the ceremonial hall by placing it on a shoulder blade near
the fire, where fish are being smoked. He uses the melted resin to glue the tablets that he can
now take or turn over.
Looking at the fresco he has to restore through the hole in one of the tablets, Arok
understands that he must paint a stag. Thanks to Tika’s directions, he begins by cleaning the
wall with a piece of hide he’s moistened in the spring, which has begun to flow again. At this
point, he learns that Tika is none other than the daughter of Klem, whom she’ll bring Arok to
meet as soon as he’s restored the Great Stag.
With the wall now clean, he can begin to paint, using the damp hide that he’s dunked in black
pigment he finds near the tablets. A mere three swipes with his pad enable him to complete
the stag, but the signs must still be drawn.
Tika then asks him to go and bring back a reed from the river’s edge.
Arok brings it back, and while she fashions it into a blowgun, he makes a waterskin, from a
skin, a bladder, and a vertebra, sewing it together with an eyed needle and a thread. When he
returns to the ceremonial hall with his waterskin, Tika gives him the blowgun, which, used
with some black pigment, will enable him to complete the series of thirteen dots that have to
appear beneath the stag. Tika than gives him back his knife, with which he finishes engraving
a rectangle, the last touch in the fresco.
The stag begins moving and Tika, delighted, pulls Arok to the water’s edge, where they have
to find a way to cross.
Using an axe the flintknapper had offered him; Arok succeeds in chopping down a tree, which
serves as a bridge for them when it falls across the water.
By the time they get to the other side, night has fallen. Tika points out to Arok the path to
follow in order to find Klem, and she leaves in search of plants. She asks Arok to pick some
mint and juniper berries that he’ll find on the path to the cave.
In front of the white grotto where Klem is working, Arok meets a painter who forbids him to
enter so long as he’s not made up a palette.
So Arok has to make a palette by setting on a piece of bark the following: his blowgun, his
painting pad, a brush he fashions with some hairs, a short stick, and a little tie, some
powdered yellow ochre, powdered black pigment, and red ochre, which he prepares by
heating a block of yellow ochre, then grinding it. He then has to moisten his pigments with
the water that flows down the walls of the cave. With his palette complete, he can at last enter
the Great Hall of the Bulls, where he finds Klem.
After a warm reunion, Arok must get down to work. As he doesn’t know where to start, he
asks the painter for help. The latter agrees, on the condition that Arok bring back his bullroarer, which he’s misplaced. At the mouth of the cave, Arok comes upon Tika, who, after
recuperating the plants she needs, points out a tall tree in which he’ll surely find the bullroarer.
When Arok nears the tree, he is cornered by a pack of wolves.
He scampers up the tree, aided by a pile of five rocks he assembles, taking care to set each
rock upon a larger one. He finds the bull-roarer hidden in the branches, as well as some
chestnuts that he’ll throw at the wolves to try to scare them off.
Using his slingshot, he shoots at the animals, which will finally leave. Arok can then rejoin
the others and give the bull-roarer to the painter, who heartily thanks him, offering him a
figurine of a bull. Arok places it in the Great Hall of the Bulls, near a mound with oil lamps
on it. A shadow then takes shape on the wall, outlining the drawing he has to paint. Now he
just has to find a way to reach the wall. The painter gives him the idea: there are dead trees
outside. Arok cuts one down, trims it, and builds a scaffold that will enable him to work on
the wall.
Once up on the scaffold, Arok has to paint one of the big black animals that gave their name
to the Great Hall of the Bulls.
To do so, he has to draw the outline of the animal with a black brush, then fill in the inner
areas with the blowgun.
When the bull is finished, it starts moving, revealing another animal behind it.
But Klem feels that the walls are still too empty. Using his musical stones, along with two
other stones found on the scaffolding in the Painted Gallery. Arok animates the animal’s
hooves. To make it move forward, he has to begin by the front right hoof of the bull, then the
right rear hoof, followed by the front left hoof and the rear left hoof.
When the sequence is played, another bull appears, which takes a few steps forward and
stops. Arok repeats the same procedure and thereby yet another animal is revealed. The great
bulls of Lascaux are all there, but Arok still has work to do.
A strange painting attracts his attention. Klem explains that this is the prime spirit of the
grotto. It’s incomplete, and Arok must finish it.
By clicking on it, Arok reveals a grill which outlines a series of boxes. Some of them contain
black lines, and others, red lines. Clicking on one of them reveals yet another drawing, the
reverse side of the box. Pressing the red buttons located at the intersections of the boxes, the
visible drawings of the four surrounding boxes turn in a clockwise direction. The hidden
boxes, on the other hand, don’t move. Arok has to successfully recreate the black drawing of
the famous unicorn of Lascaux, without allowing any red box to show through.
When finished, the prime spirit begins to move, awakening three small deer a little further
away on the wall, which Arok must color.
To reach them, he will reuse his scaffold, placing it on the other side, between the two large
aurochs that are face to face.
He must then figure out what colors and tools to use. The antlers and outlines of the two
animals the farthest to the left are painted with a red brush, and their bodies will be done in
orange with the blowgun.
The antlers and the outline of the stag on the lower right must be executed in black, using a
crayon or a brush. His head must be black and the rest of his body, yellow, painted with the
blowgun.
The three painted stags rear up. Klem, delighted, congratulates Arok and asks him to go get
his ceremonial outfit, as well as a particularly beautiful oil lamp, hidden behind the other
entrance to the cave.
To accomplish this, Arok will have to clear the way to this entrance, by rotating and sliding
the sticks that block it.
When the entrance to the shaft is half-opened, Arok can recover the objects Klem wants and
return to the Great Hall of the Bulls, where Klem, Lharik, and Tika are waiting for him.
He places the headdress and the lamp on the ground. Using some animal fat and a juniper
twig, he prepares the oil lamp, which he lights with a twig he finds behind him. To ensure
that the flame doesn’t go out, Arok must be very careful, moving quite slowly, the burning
twig in his hand.
When everything is ready, Klem invites Arok to partake of Tika’s concoction, then asks him
to make the spirits of the grotto dance, using his musical stones and those of Trajarh, which
are set before him. Every one of Trajarh’s stones has a different drawing.
Arok must first determine a connection, an echo, between the two sets of stones. By striking
first his own stones, then those on the ground, he gradually manages to pinpoint the identical
notes.
Each time he is successful, a drawing similar to the one on Trajarh’s stone appears on one of
his own.
Once all of his own stones are decorated with a sign, he can begin to play the final sequence,
the one that will bring the cave to life. This composition is dictated by Trajarh’s stones and
the drawings on the hide on the ground. Arok has to play on his own stones the series of notes
indicated by the drawings, while respecting the rhythm suggested by the echo of the stones,
leaving a silence at the two spots where a space occurs between the signs.
The melody then resounds in the cave, sweeping up the spirits of the walls in a frenetic dance!