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Then again, it took me a ridiculous amount of time to just -ask- someone to pull the knife out of the table for me, so I'm bad at obvious apparently
I guess a lot depends on when you get the according items, like in my apple/worm example. In the case of the horse, I also got the sugar cube before running into the horse puzzle, so it was easy for me. I don't know what would have happened if Ihadn't yet though. On the other hand, I overlooked the horse for a longer time when I was searching for animal hair. I realize now that the musician in the inn says something about his horse, but that didn't cause me to check the alley, and I only noticed the horse droppings outside the alley *after* I had finally found the horse, so I actually missed those two clues ...
Oops, forgot to add that I finally just looked up the solution on these forums. I'm so glad I did! The story was too good to waste another day trying to find the final piece of that puzzle.
Did you notice that on examining them, Thomasina spells out the directions they're currently facing? Much easier than just relying on the visuals (which could be a bit odd at times). I only found out by accident though. For some reason, I did only examine one of them at first and then skipped the rest, thinking I already knew everything I needed to know, until my finger on RMB twitched over them or something.
Game's very easy in general, mostly because there aren't that many interactable objects and spots, meaning I blundered into some solutions to puzzles that might otherwise have been clever. I did, for instance, put the worm in the apple to see if it would let me do it and then much later gave the apple to the girl, not expecting the result that I got.
Same.
It actually had very little to do with musicality or listening though, you just needed to compare the positions of the notes with the strings. So more a matter of counting.
Yeah, I'm pretty sure there's something off with that puzzle. I am working on a walkthrough for the game and it seems pretty clear that one of the statues is visually correct at the outset, but the game doesn't seem to register it as facing the correct direction unless you literally spin it around 360 degrees. But it looks the same at the end point after doing it. I think most people more or less brute force that one and eventually get it.
You're right. I read a lot of consternation about that puzzle in reviews, etc. but I ended up being pretty shocked by how obvious the visual signposting was. Granted, it's possible that simply by being aware that the puzzle existed in advance and that there was a visual cue for it probably made it easier for me by the time I got there.
I suppose it's also somewhat true that although you don't need a de facto music background to solve that possible, it definitely helps. Some people might not interpret the "sheet music" above the door as being what it is, if they have never seen sheet music before. But I think most people have at least seen sheet music even if they can't really read it.
What did surprise me is that I couldn't make any musical sense out of the noises the cats were making, and I am not tone deaf by any means. I never have any trouble with tone puzzles in general, but I literally could not distinguish any relationship between the sounds the fiddle made and the screeching the cats were doing. It makes me wonder if the puzzle was intended to be solved entirely by the visual signpost.
For me personally, I didn't get truly stuck too often, but I have a tendency especially as I've gotten older to get impatient with a lack of progress, and that was especially true in this game because the story and characters were so fascinating that I was just dying to see where it was all going.
Definitely the worst moment I had was when I hit a brick wall because once I had gotten to Panswyck Manor for the first time, I only talked to Ms. Fenchurch twice before giving up and going elsewhere. I had no idea what I was missing, and only when I watched a YouTube video did I finally notice my mistake, which is hilarious because I ALWAYS exhaust dialogue in Point and Click games; it's like the cardinal rule, and somehow I let her irascibility dissuade me from talking to her a third time.
In retrospect it was funny, but it really does seem a bit harsh for the game to literally give you no indication. I could understand if you didn't bother talking to Fenchurch at all, but if you've talked to her twice it feels like it would only be fair if Panswyck jumped out from the bushes when you tried to leave the area. Especially considering it in light of the revelation in Arthur's confession that Panswyck was eager to straightforwardly confront Thomasina with the proposition and it was Shoulder who convinced him to string her along with the breadcrumb trail.
I wondered the same and came to the conclusion that maybe it's just a clue to think about "music", then remember the sheets. At least that's how it worked for me. If it's actually possible to solve the puzzle without the sheet, just by listening to the cat "music", I wouldn't have been able to do it.
The final sequence of puzzles in the barrow was no problem for me (everything you need to know is in the journal). But there was one thing that took me a while to figure out. But I blame the fact that I played during daylight. After putting the coins in the vessel and unlocking the hole with the moon tile, I didn't realise the second rod I needed was also in the hole. I even checked the hole several times but I guess my monitor was too dark and I just didn't see it.
I didn't get stuck there, but I have to admit I solved it only by trial and error, without understanding the puzzle. I now know the solution, but I guess at the time I was distracted by thinking it had something to do with the Greek letters described in the father's journal (which were actually for one of the following puzzles).