Luckyproduction3

Riddle of the Sphinx

• Riddle Of The Sphinx Game Cheats Free
• Riddle Of The Sphinx Game Cheats 4

Riddle of the Sphinx: An Egyptian Adventure falls in the first class but only after getting past the initial few puzzles. Playing off the infamous and mysterious curses so prevalent in Egyptian lore, the game, in fact, does not involve any mummies but rather a series of ancient tombs and interesting locales.

Riddle Of The Sphinx. Right now we have 2 Cheats, 1 Walkthroughs and etc for this game and every day we increase our collection with new Riddle Of The Sphinx cheats If you can not find the needed cheat in our list, check this page periodically or subscribe for this game's updates! Riddle Of The Sphinx Walkthrough Platform: PC By:Puzzle Master (Randy Taylor Jr.) 1)Hints & Tips 2)Item List 3)Walkthrough - Hints & Tips - 1) Only use this guide if your REALLY stuck 2) Look EVERYWHERE 3) Read EVERYTHING 4) Save your game often 5) Do Not give up 6) There is always a clue to solve the puzzles. Thanks for watching! Please like, comment and subscribe to my channel. ♥ ♥ Twitter: Facebook: http://www.f. There isn't any walkthrough for this game now. If you have a walkthrough you can send it by clicking here. Play Riddle of the Sphinx. Complete walkthrough of the Riddle of the Sphinx adventure game with tips, solutions and maps. Welcome to the Riddle of the Sphinx Walkthrough. All Walkthroughs. For thousands of years the ancient monuments left behind by the Egyptians have intrigued archaeologists and historians. And now, further excavations at the Sphinx have revealed a.

An Egyptian Adventure

Commentary & Walkthrough
by
Soren Andersen

Commentary

The world’s literature throughoutthe ages contains a vast amount of writing on Egypt’s pyramids and theSphinx, from scholarly disser-tations to crackpot assertions and speculation.A few of the more factual of these articles that have been culled fromthe Internet and are appended to the end of this document, mainly becausethey include names that appear in the game’s preamble (not, of course,the fictional Gil Geoffreys) and to actions and journals that areencountered in the game. The timeline that appears in the game’s introductoryvideo is also appended, but keep in mind that it is part of the game andmay be factually tainted for that reason. It is assumed that before beginningthe game you have read the Prologue that appears on pages 3 and 4 of thegame booklet/user manual from the CD jewel case.

The game cursors (there are alot of them), interface, and inventory are described on pages 8-12 of thegame booklet, but some amplification may be helpful: when the hand cursorsappear with a circular arrow superimposed, it means that a VR condition(i.e., continuous panning) will be initiated on the next click, which mayshow a 45º rotated square; hold down the left mouse switch and movethe mouse, whereupon the square becomes a bullseye, and you may begin panningat a speed controlled by the cursor position. There will be small arrowsappearing as well. The bullseye may show without the appearance of thesquare; there is a certain amount of inconsistency in this whole operation.You may have to be in a particular area of the screen for the VR operationto be available. When you pan over a location in which there is an itemor location of interest, a hand appears on the bullseye, and you may stopand click to move forward to explore it. You will quickly get used to this,but the square and bullseye are not described in the booklet...When youwish to retrieve an item from inventory, double click on it...When youstart a return along a passageway or stairway that has taken many clicksto traverse—-there are plenty of these—-carefully move your cursor aroundand you will usually find the arrow indicating that you may warp back inone step to the passage beginning.

The walkthrough that followsdoes not give specific answers to the challenges presented, but it is prettyspecific on how the answers are obtained...You can get killed in a fewof the game situations, but not if you pay close attention to the clues.

Walkthrough

At various times up to aboutthe middle of the twentieth century much excavation was done on the GizaPlateau, including excavation of the body of the sphinx, previously unsuspectedafter long ago being covered by sand over the centuries, which actuallypreserved the soft limestone from the abrasive desert weathering. The gametakes place some years in the future, and prior to this future date, violentsandstorms had again covered much of the excavations, including the sphinxbody so that only the head was visible, and the body had to be uncoveredonce again. Later you will find a journal with more about this. You knowfrom the Prologue in the game booklet that after all this excavation, archeologistGil Geoffreys discovered an ancient scroll purported to reveal the storiedsecret of the Sphinx, and that for translating it and thus learning thedirections to the secret, he has released a curse that has resulted inhis death. Before this happened, his colleagues turned against him, sohe hid the scroll and then sent for you to carry on.

As the game opens you are ina helicopter flying over Gil’s campsite near the Sphinx, and you land thereat a temporary helipad. You will very soon find a map of the area as youinvestigate Gil’s tent, an exploration that is the first order of business,as you need to see what he has left that might be of help in your quest.Leave the helicopter and go to his tent, the farthest one of the group.

Gil’s Sphinx Tent

The tent has been left in somedisarray, not too surprising when one is under a deadly curse. Spilledcoffee, empty food cans, scattered papers. He must have left clues so thatyou can find the hidden scroll. A reasonable place to start searching ishis desk.

There are several items on thedesk that may be examined, but the first thing you notice is a letter warningof a cutoff of expedition funding. Bummer. There is a tape cartridge onwhich is written, presumably by Gil, 'A Message For You, My Old Friend'.Except for recording, the tape player next to it is fully functional, soopen the top and load the cartridge. (You might have to first rewind tapeto be sure it is at the beginning. This also applies to subsequent tapes.)Adjust the volume control, then use the Play button to listen to the tapeand get information from Gil about the curse, the scroll, and his colleagues.Gil's advice: 'Assume nothing, examine everything, and make exhaustivenotes'. When his message is finished, remove the tape and place it backon the desk.

The desk is locked but the deskwriting board may be pulled out, and on it is taped a sheet of paper withthree sets of notations that are probably important. Continue exploring.Gil’s wash stand offers no clues, though the mirror seems focused on thestove. Next to the bed is a stand on which is to be found a candle anda matchbook, below these are four books. One is a book about Egyptian monumentswritten by Gil and bookmarked to pages that you should read and rememberfor later reference. Another book is about many Egyptian hieroglyphicsthat is interesting to scan, the third is a bible that falls open to theBook of Numbers, and the fourth book contains some mathematical observationson a couple of the pyramids; observe the drawing and description of theGreat Pyramid, because you will explore it soon.

Under the pillow on the bed isa sheet of paper. It appears to be blank, so put it back. In the centerof the bed is a box that contains a watch with the crystal broken and thatis stopped at 8:00, Gil’s passport, and his billfold. The latter containsseveral ID cards, the numbers of which you should probably record ('exhaustivenotes'). Behind one card is a scrap of paper on which there are three setsof notations with the same RLR prefaces as those on the desk writing board.Above this notation is the word 'Numbers', and each notation consists oftwo numbers separated by a colon, which you as a scholarly person recognizeas how chapter and verse in the books of the bible are designated. It isno coincidence that the bible fell open to the Book of Numbers, so returnto it and look up the locations indicated, each of which contain some referenceto a particular number, and again should be so noted and correlated.

On the stove is a pot in whichthere is a residue of something that Gil cooked; it has all the appearanceand smell of stew...The large trunk is secured with a combination padlock,and if you look in the trash you will find the packaging in which the lockcame. You can turn the packaging over and read the directions for openingthe padlock, which is the standard method of turning the dial right, left,and right again. Aha!: RLR--you have found two such references: the deskwriting board and the billfold scrap. So you know how to open the lock,what you need the lock combination numbers.

Now pretend that you are tiredand you need sleep as night is falling; click on the pillow to watch itfall. Click on the pillow in the darkness to wake up in the middle of thenight. You need light, so get a match from the matchbook, drag it on thematchbook striking strip, and light the candle. Now if you look at thepaper from under the pillow with the candlelight behind it, you can makeout a doggerel poem by Gil about stewing over a key. You can think furtherabout this in the morning, so click on the pillow to go back to sleep,then click once more on the pillow to wake up in the morning.

The poem intimates that you investigatethe stew on the stove. Light another match and hurry to the stove, clickon the knob to turn on the gas, then light the burner. Look in the potand very shortly a key appears. Turn off the stove, pick up the key andgo to the desk, where you can unlock all four drawers. Put the key backin the pot, as you won’t need it any more.

Now to investigate the desk drawers.In the center drawer you will find two star plots with constellations indicated,and also the annotated site layout diagram referred to above. On the left,the top drawer holds two tapes and an unimportant sketch of two pots, thecenter drawer holds Gil’s scrapbook, the few pages of which you can quicklyread, and in the bottom drawer is another tape.

Pull out the desk writing board.The top notation with the circled R says Tape #3 and has four digits ina set of squares. Get this tape from the top left drawer and put it inthe tape player. Be sure the tape is rewound, then set the tape playercounter to zero by clicking on the left end of it. Fast forward so thecounter reads the number of the four digits, or perhaps a little less.Now play the tape and Gil will give you the clue you need to determinethe first number of the trunk padlock by using the corresponding biblequotation. Repeat this operation with the other two tapes and you willhave the padlock combination. Put the tapes back in the drawers.

Using the procedure describedon the back of the padlock packaging, open the padlock. This can be a finickyset of steps. Here is how it is done:

1. Get a closeup of the padlock.
2. Place the cursor on thedial, where it become a hand showing a T.
3. Hold down the left mousebutton and spin the dial to the right(clockwise)a couple times. Release the mouse button, whereupon the hand cursor shows an R.
4. Hold down the mouse buttonand turn the dial clockwise to the first number of the combination. Releasethe button and an L appears on the hand cursor.
5. Hold down the mouse buttonand turn the dial counterclockwise past the first number to the secondone. Release the mouse button and the R reappears on the cursor.
6. Hold down the mouse buttonand turn the dial clockwise directly to the last number. Release the mousebutton.

Unsnap the two hasps and clickon the trunk top to open it. Click on the book inside to get a closeup,then click on it again to open it to find a scroll in the hollowed outpages. Pick up the scroll and examine it. When you put it in inventory,the name that appears for it is Translation Scroll. Take the tape fromthe trunk to the tape player, be sure it is rewound to the beginning, setthe tape counter to zero, and listen to Gil’s halting and none too lucidreading of the scroll. He says that there is something that you 'shoulduse as your first clue'—tableture, it sound like, six of them, and indeedon the right side of the scroll are depicted six headstone style tablets.Gil admits to not having a complete understanding of what the scroll says,and that is indeed reflected in his taped message. The 'Atlantean' writingabout which he speaks is a mystery, as is any connection to Horus the Red,whatever that might mean. Confusing.

The foregoing translation isa ploy by Gil to put off anyone--his colleagues, presumably--who chanceto have found the tape. Fast forward to read 325 on the counter, and listento Gil again. He is now far from being hesitant and confused. He clearlyand authoritatively translates the four lines of hieroglyphics, and saysthe curse points to the tableture on the right side of the scroll, pointingout that some have three scarabs on them and some do not. The tablets aspictured are cursed, avoid them. The Atlantean references in the firstpart of the tape are to be taken seriously.

Sphinx

Well, you’ve found the scrollthat Gil hid, so now explore the Sphinx dig site. Leave the tent, crossthe plank bridge to the front of the sphinx, and go down the ramp betweenthe statue’s front legs to the excavation floor. You could examine thegroups of barrels, but there is nothing to find in these. You could alsowalk all around the excavation, but the quickest way to the tunnel in theside of the Sphinx that is indicated on the site layout diagram is to gounder the plank bridge. On the way you will see on one of bridge supportplanks a construction date. You may as well record this date in line withGil’s dictum of making exhaustive notes. Continue on to the opening inthe side of the Sphinx. Enter and go to the end of the tunnel.

Someone has conveniently leftan operating lantern here, and by its light you can see an enormous portalthat resembles the hexagon at the bottom of the Translation Scroll, exceptthat there is a scarab pictured in the center, and in addition there isa golden circle next to each of the ones at the apexes of the hexagon.You can’t do anything here but observe, and since you have done that youmight as well go back to the helicopter and fly to the Great Pyramid forfurther investigation. When you land, go to the nearby camp.

Great Pyramid base camp

There is not much here: a plankbench over some barrels under a canvas tarp, some boxes, a shovel. On thebench is a water container and a can of gasoline. Check to see if thereis any water by turning the spigot near the bottom of the container. Yup,there is. Water runs into the sand leaving a strange depression. Wastesome more water on the sand. The depression deepens. Run a lot of water,and you uncover a broken container in which there is another scroll. Thisone again shows the hexagon of circles, each circle containing a clearlyvisible icon that has the appearance of Arabic writing, but is probablythe Atlantean symbols to which Gil referred in his reading of the TranslationScroll. There is also the scarab as seen on the portal. Inventory callsthis find a Sacred Scroll.

Behind the camp is a sand rampbetween fences that leads to the pyramid entrance. Proceed up this ramp,and to save yourself a trip back, take the can of gas with you. When youget to the entrance, fill the generator with gas and press the green buttonto start it. Now you have lights for the pyramid corridors. You may wishto consult the Great Pyramid diagram at this point.

After you enter the pyramid andadvance some distance up the passageway your progress will be stopped bya sandslide that completely fills the passage. Go back a couple clicksuntil you achieve VR mode, then look upward and you will find in the roofof the passage another one that leads to the inner chambers. Move alongthis corridor until you come to some ladders and the corridor branches,one branch going straight ahead and the other going upward. Look behindthe ladders to find a grate, which when swung back will reveal a note fromGil with an important message. Then take the upper passage to the King’sChamber, where you will see nothing but an uncovered empty sarcophagus.Return back to the ladders and move through the straight ahead passageto the Queen’s Chamber.

Queen’s Chamber

In this chamber there is a tableon which is some electronic equipment, and to the right are the equipmentcarrying cases. On the table with the equipment is a journal kept by anunnamed member of Gil’s expedition team. The sporadic entries cover severalmonths, and while reading it is somewhat difficult, you really should takethe time to do so. The robot used to explore the shaft (this device iscalled a cheoptronic in the journal) is on the carrying cases, and theopening of the square shaft down which it is to go is in the wall nextto the electronics. The shallow niche mentioned in the journal is in thewall to the left of the square shaft opening.

Pick up the robot unit and placeit in the shaft opening, then get a closeup of the electronics, which hasthree units: a power supply at the top, a control unit with monitor belowit, and a data unit at the bottom. Press the switches to turn the threeunits on. Press the Library 1 switch on the right side of the control unitand you will get the robotic view of the shaft. Systematically press all24 switches on the data unit. Switch #2 gives operating instructions forthe control unit to run the robot, several switches produce remarks fromprevious runs, and many yield blank displays.

You will may well find the operationof the robot to be none too easy, not to say frustrating. In theory youmove the unit forward or backward by grasping the rightmost of the twoswitches on the control unit and dragging it up or down, and the leftmostswitch to jog it loose when it gets stuck on rubble encountered on theshaft floor. Most of the time it rolls right over these pebbles, but occasionallyit does get stuck, particularly at the beginning of the shaft journey.This is a very long shaft and takes a while to traverse; you just haveto keep at it. You can judge your progress by watching the signal strengthlevel as it appears on the data unit panel. It starts at 99 and you willbe near the end when it reads 71. Also, when you near the end of the shaft,the character of the wall changes. (A program glitch may result in themeter resetting; if so, just keep trying. Should you experience a lot oftrouble you may wish to save your game periodically as you move forward.)

When you get to the door at theshaft’s end, you will be asked to enter the 4-digit code that you got fromGil’s note that was behind the grate in the passage by the ladders. Usethe data unit’s keys for this code entry, and the robot’s hydraulics thenpush the door back; the scene shifts to the shallow niche in the Queen’sChamber, where the back recedes and it is no longer shallow. Exploringthis now deep niche you will find an opening near the floor at the back,but do not enter as you do not have all that you need at this time.

As it happens, there have beenother wall movements. Return the King’s Chamber.

King’s Chamber

A stone block behind the sarcophagushas moved inward slightly. Click on it to push it farther in and followthe passage to the real tomb of Cheops. Gold everywhere. Under the footof the structure on which the king’s mummy is resting is another passagewaythat leads to the King’s Gallery, a series of several chambers in whichthere is much to see and

do. When you emerge from thistunnel into the Gallery you will be facing a cobra lamp. Turn left andgo along the Gallery, around the corner to an open archway. Above the archis the representation of a chair, or more likely a throne. Enter.

Throne Chamber

The room you find is rather messy.Your cursor will lead you to a squat vessel in one corner from which youcan remove the cover and pick up an object the inventory calls the HeraldicKey. In another corner is a golden disk on which is formed a maze. Chancesare that this is important. Or not.

There is another room off thisone. Go in there and see the throne that gives the chamber its name. Everwanted to sit on a throne? Click on this one do so. Your weight on thethrone moves a statue in a corner. Enter yet another room behind the statue.In the middle of the floor is a strange appearing device that the inventorysays is the Royal Scope. Spotlighted on the wall is an icon, a rectanglewith six spikes protruding upward. For want of a better appellation, callit a comb. From the way it is displayed, it must very important. Go backthrough the rooms to the Gallery, and on to the next open archway.

Knife Chamber

Over this arch is an image ofa knife or dagger. Enter the chamber and go to the top of the steps inthe room. Remove the cover of the chest and get a golden dagger. Come backdown the steps and examine the vase on the right.

(You can rotate it.) On the bottomis an impression of a tower, and on the side a grid that resembles nothingso much as a star chart. On the other side of the steps is a box in whichyou will find the Yacht Scroll. You might wish to pick up a couple arrowsfrom the vase next to the box. Go back to the Gallery and on to the nextopen archway.

Hat Chamber

Over this arch is an image ofa hat, a dunce cap with a brim. When you enter this chamber you will belooking at a mannequin of a flute player on the other side of the room.Look to the left, where at the foot of a column you will find another vaseon which is a star chart, and on the bottom of this one is a rectanglewith a dome and two rods like antennas. To the right of this vase is somesort of game board; get a closeup of this board and click on one of theyellow bars protruding from it. A drawer will slide out and you can acquirethe Flax Wick Key.

Move around the room lookingat the base of the walls. You will find one more star chart vase, thisone with a cross within a circle on the bottom. Next to it is a vase containingthe Throne Scroll. Elsewhere you will find a long straight horn that isthe Royal Trumpet. In a pot next to the trumpet is the Flautist Scroll.Perhaps this one is immediately significant, considering the presence ofthe flute playing mannequin. When you are behind the this mannequin, notethe pipe that runs up his back. Attached to this pipe is a cylinder fromwhich is hanging a plug on a chain. Click on the plug to put it into thecylinder to close an opening in the pipe.

On opposite sides of the roomare bulging wall panels that show an animal headed figure blowing a trumpedthat is on a stand like the one in front of the mannequin. You can do that.Put the Royal Trumpet in the stand where it points to one of the panels.Click on the trumpet, and when it sounds the panel shatters. Reverse thetrumpet. Click on it and the other panel shatters. In one of the new openingsare some vases with cobras in them. Best to leave cobras alone. Behindthe other shattered panel is what looks to be an athletic punching baghanging from a pipe like that on the mannequin...Aha! On the Flautist Scrollthere are eight of these bags depicted, so click on the bag eight times,forcing air into the pipe. Faintly the sound of a flute is heard. Now goto the room where you saw the cobras to find that they are no longer there,so you can go in and get the Hathor Tablet that is on the far wall. Thistablet is one of the six on the Translation Scroll. 'Tabulations', to useGil’s terminology when reading the scroll.

Go back out to the Gallery andproceed to the right around the corner and on to where there is an archwaywith a door in it. You can come back to this door later when you have moreinformation. Continue along the Gallery around the corner to an open archwaywith an arrow above it.

Arrow Chamber

When you enter this room youshould as usual look around. You will find two more star chart vases, onthe bottom of one a set of three wavy lines and on the other a rectanglewith eight lines projecting from one side and a long and short line fromthe opposite side. Lift the lid of a basket to get the Reed Leaf Key.

In this room are six pillars,each one with a set of doors tied shut. Go to each pillar and use the GoldenDagger to cut the cords holding the doors together. If you can open thedoors after you cut the cord, you need not go to any of the other pillars.When the pillar doors open, enter it and climb the rope. At the top crossthe rope and bone bridge to a room in which there is a firepit and a crossbowmounted on a turntable. The latter is pointed at a bone ladder and twostatues at the far side of a pit, and it is your task to shoot a fieryarrow at the two statues, igniting cords biding their wrists to free them.There is one arrow already lit on the firepot and another one to the side;there is also a broken one that is unusable.

Save your game here, so thatif you miss and use up the two arrows you can restore the game and tryagain. Or perhaps you have a couple arrows from the Knife Chamber in inventory.Put the flaming arrow in the crossbow and aim it by dragging the turntable;when you release the mouse button you also release the arrow. Get the otherarrow, ignite it by passing it over the firepot, and shoot again. Whenyou free the wrists on both statues you also free a covering that comesrolling across the pit. Cross to the bone ladder, climb it, and approachthe two almost identical Anubis Tablets. One is deadly and will end yourgame if you choose it. Check the Translation Scroll to see the one youmust not choose.

Go back down the bone ladderand cross the pit to the base of the crossbow support pillar where youcan pick up the Archway Scroll. Find your way back to the Arrow Chamberand out to the Gallery, then proceed to the right to the next open archwayover which is an image that could conceivably be that of a boat.

Ship Chamber

The first thing you see whenyou enter the Ship Chamber is a model of an Egyptian boat on a displaypedestal in the center of the room. It has four columns on each side, oneof which has fallen. Go around and view the model from the back so thatyou can readily see the arrangement of the steps; note these and the wheelat the rear. The ship may be moved slightly by dragging it with the cursor.

Inside a small covered box youcan get the Sacred Amulet and the Charmer Scroll, which shows a lady holdingthis very same amulet in front of a cobra. There is a standing chest inthe corner of the room from which you may get the Pillar Key. Return tothe Gallery and to the last of the open archways. Over this one is theimage of a vase.

Vase Chamber

On the far side of the room asyou enter is a table on which is a pot with a bright golden cover; movethe cover aside and get the Ahnk Key. Looking around you will find threemore star chart vases. On the bottom of these are a circle with lines acrossit, a circle with a smaller one centered in it, and one with the six-toothedcomb that you saw in the last room of the King’s Chamber. Considering theprominence given to this icon, it would be a good idea to make a copy ofthe star chart on this vase.

Since there are no more openarchways in the gallery, return to the one with the pivoting door. Overthis archway is a figure that strangely resembles a parabolic reflectorwith three energy rays.

Astronomy Chambers

Click on the door for it to pivotopen. When you go through you encounter a series of many stairways leadingupward. This really is a long climb. On the way up you will see in thewall on the right a skinny Egyptian star with a handle behind it and astar opening in the wall below it. The handle wants to move if you clickon it, but it is restrained. Continue upward to the room at the top ofthe stairs, where there are two Horus statues on either side of a grate.Notice that the holes in the grate are star shaped and are on a 10x9 grid,the same as the star fields on the several star chart vases.

To the right is a vase of starson which are the several icons that were found on the bottoms of the starchart vases. Keep selecting stars from the vase until you get one witha comb icon, then put this in the grate where a star should be accordingto the star chart. Do this for all nine stars on the chart. Having donethis correctly, the stars fall away, the grate recedes to form a stairway,and the golden Star Scepter pops out of the wall into the waiting armsof a Horus statue. Get it.

It is dark in the room at thetop of the newly formed stairs. Return down the entrance stairway to thestar in the wall with the handle behind it. Insert the Star Scepter inthe star shaped hole, then click on the handle, which now rotates and thestar becomes a sun. Go back up the stairs to find the dark room is nowlit. Immediately in front of you as you get to the top of the stairs isa handle in the floor; get behind this handle and click on it to move itfrom right to left to move the stairs and reveal another one. Go down thesestairs to get the Astro Scroll. Return to the top and move the lever toits original position. In a corner are two more tablets, one of them nextto a skeleton with a note in its lap stating that the curse is real. Thatis a fair enough warning not to take that tablet. Take the other one andyou have a Thoth Tablet for your tabulation collection.

Following now is an optionaloperation, inasmuch as it does not seem to have any application to findingthe sphinx riddle. It might be of interest to amateur astronomers.

The walls here are sloping, withan opening in all four, below which are identical pedestals and above whichare the heads of different Egyptian gods. Get the King’s Scope from inventoryand put it on one of the pedestals. Look through it and you see cloudlessblue Egyptian sky. Well, it’s daytime. You have been moving around thebed in the center of the room, now get on it and sleep until night falls,as it did in Gil’s Sphinx area tent. Get up during the night and you cansee different star constellations through each of the windows as you movethe scope from pedestal to pedestal. It would be nice if you could notethese in some way. Get back on the bed and return to sleep, and when youarise in the morning leave this room.

Go down the stairs to the Gallery.As you leave the pivoting door you will see an opening ahead at the baseof the wall. Go through that.

Sobek’s Chamber

In this room is another boatmodel, much larger than the one in the Ship Chamber, and instead of columnson the side, there three crocodile god Sobek statues on each side. Gettingcloseups of these statues reveals that they have different color eyes.Front to back on the left the colors are white, green, white, and on theright pink (red), blue, green.

All of the areas behind the King’sChamber have been explored, so now return to the Queen’s Chamber.

Queen’s Chamber

Go to the niche where the backwall receded and go through the opening in the base of the wall to theright.

CD3

When you emerge from the tunnelyou will have before you a large stone block in which an illumination fireis burning. Continue to the left of this block and you will pass througha doorway over which there is a circular maze image and you will come tothe statue of a pharaoh holding a large lollipop. Take the lollipop, turnaround, and go to the doorway, on the right side of which is a fod intowhich you can insert the lollipop handle; pull it down and chains willslowly raise a stone slab almost to the top of the doorway, closing youin this small room. Lift the lollipop and the stone goes back down. Theredoesn’t seem to be much point to this room, no reason to shut yourselfinto it. Go back out to the stone with the fire.

Proceed along the passage tothe right of the burning block, past a statue of a seated pharaoh, thenpast two statues of seated pharaohs, all the way to the end of the corridorwhere it is blocked by a very black door, again with a circular maze imageover it. Turn around and start to go back. On the right is a doorway overwhich is the maze image and which is blocked by a stone slab held by chainsjust as when you raised the slab at the lollipop room. This should setyou thinking. Return to the lollipop room. Go inside and throw the lollipopswitch, then quickly step back out through the doorway before the slowlymoving slab can go up. Return once more to end of the passageway to findthat the slab on the door has now gone down.

Enter the room. There you willfind a wheel with a snake wrapped around it and attached to a shaft. Ininventory it is called a Cobra Wheel. As you turn to leave, on a stoneabove and to the left you will see a drawing. Examination shows it to bea rather simple maze, though in fact it is not quite so simple when youhave to refer to it later. Leave this room and go back up the passagewayto the two seated pharaoh statues, who are facing an open doorway. Go throughthis doorway almost to the end, then go right between a pair of large flutedpillars and down some steep steps. Turn left and go along a hallway andinto a really immense room.

Harp Chamber

At the far side of the room agolden snake is coiled around a large pillar. Go up the ramp at the snake’stail, then follow the terrace to the right until you come to a buildingwith a conical roof with a scarab on it. Inside is a small golden harpon a pedestal. Click on the harp, it will rotate noisily, then wait a bitwhile you hear discordant harp notes. Return to the snake.

Walk upward along the snake along way, then up a ladder to a area in which are five harpist mannequins.Get closeups of the bottoms of each of the harps and you will find thaton each one a different string tensioning key is missing. You should havegathered five keys while touring the King’s Gallery, so now proceed toplace one in each harp. When you have completed doing this, go back downthe snake; as you move down look around this large room to observe theoutstanding graphics. At the bottom go again to the building with the harpon the pedestal. Click again on the harp and once more it rotates noisily,after which the notes you hear are no longer discordant. The harp popsoff the pedestal and falls to the floor. Pick it up and you will find youhave a Gold Harp Key. Return to the two seated pharaoh statues.

Rotating Maze

Go left down the passageway towardthe blocked end. Just before you get to it there is a pink and yellow stonenext to the illuminating fire. Though there is nothing to indicate thatyou should do this, click the Cobra Wheel on this stone, and the wheelthen becomes affixed to the stone. Now click once on the Cobra Wheel toturn it, and with much rumbling the very black door swings aside to bereplaced by an open passage. This is the entrance to the maze that yousaw depicted on the stone near the ceiling of the adjacent room. Examinationof the maze diagram will show that the two outer circles are very closetogether; the diagram can not indicate this, but the disk formed by innerone of these two represents a turntable, and you have just rotated thereal one when you rotated the cobra wheel. The entrance that is now beforeyou is at the bottom of the diagram, which also shows an exit oppositeat the top, and another a little to the right of the bottom entrance. Thediagram as shown does not represent the rotating maze position that nowexists. Right now the turntable has stopped so that you may enter and goaround to the right and exit at the top. Do that.

Go forward until you are in VRmode at the near end of a long room with many gold columns and a long pitin the center. (This VR mode point is sort of a position reference withinthis room.)

For a pointless exercise, turnleft and move toward the wall where the program turns you right and youcan go forward to an ornate table. Click on the table top to have the dooropen to show an arrangement whereby if you drag a knob at the edge of asun it changes to a star and a block moves to reveal a hand drawn starunderneath. That’s about it, so go back to the entrance VR mode.

Go down the length of the otherside of the room to where two statues are holding a rather large metalcontainer, funnel shaped at the bottom and ending in a lever. Get closeand you will see a cuspidor on the floor below. Click on the lever andsand runs into the cuspidor. (It’s really not a cuspidor, but that is whatit resembles.)

Return to the VR mode referenceat your entry and go to the central pit. At the bottom of a set of stairsyou can see a large yellow figured dome. At the head of the stairs is apillar that looks like the one from which the Gold Harp Key popped off.Click the Harp Key on the pillar and it becomes affixed and rotates asnoisily as before, whereupon the dome opens like a flower, and four statuesholding a palanquin rise from it. There is an empty basket in front ofthe palanquin. You can sit in the palanquin, but again that’s about it.Return through the maze to the Cobra Wheel.

Click on the Cobra Wheel. Itturns and so does the maze turntable, which results in its being in theposition shown in the ceiling maze diagram. Examining the diagram revealsthat it now has nothing but dead ends. You may enter and verify this, butthat is rather pointless. Click on the Cobra Wheel again to rotate themaze so that you may go through it to the other exit, the one just to theright of the entrance, which you should now do. This leads through a shortpassage to an underground room. Before you on a pedestal is a dipper, whichinventory calls a Sacred Cull(?).On the floor in a corner in a fetal positionis a skeleton from which you can pick up the Flume Scroll. Return throughthe maze to the Cobra Wheel.

Click on the Cobra Wheel to rotatethe maze yet again. It has reversed itself from the first position so thatyou can now again go through to the palanquin room, you just go aroundin the oppositely curving walk as you do it. Go to the sand dispenser,put the Sacred Cull on the cuspidor, and click on the lever to get a cullfulof sand. Take the sand down in the pit and empty it in the basket in frontof the palanquin. Do this a tedious five more times. (The warp speed functioncan help here.) After the sixth cullful the program places you on the palanquinand you ride down a very deep shaft. When you finally stop, move forwardthrough a pivoting door to a cavern in which there is a mosaic cobra. Thecobra is coiled around an opening covered by a locked grate.

Maze

You are at the beginning of anothermaze. It is diagrammed by the images over the doors in the passageway whereyou used the Cobra Wheel and on the golden disk found in the Throne Chamberof the King’s Gallery, but none of these diagrams are in good enough conditionto provide the detail needed to guide yourself through. It is not so complicateda maze that you cannot make it through by trial and error. In the mazeare several images of several gods to serve as reference points. However,here is a detailed set of steps to get you through to the Sacred Pool:

1. From the cobra go either left orright until Anubis (Jackal God) appears through opening in the inner wall.
2. Approach Anubis.
3. Go right, passing Hathor (HornedCow God) on the left, until Anubis again appears through an opening inthe inner wall on the left.
4. Approach Anubis.
5. Go right. Keep going as the passagejogs and you get turned around. Continue moving forward, now curving tothe right, until Horus (Falcon God) appears on the right. Turn toward Horusto face him head on.
6. Approach Horus.
7. Pass Horus on the right and moveuntil you face Anubis head on.
8. Approach Anubis. View turns leftfacing wall.
9. Turn right to face Anubis again.
10. Click on Anubis. You can now seethe Hippopotamus God past Anubis.
11. Move forward toward HippopotamusGod and down passage past him to Anubis.
12. Click on Anubis, then go past himon his right.
13. Continue along passage, passingHorus on the right.
14. The next opening in the wall onthe left will be to the Sacred Pool. The opening just beyond on the rightis to a six column valve apparatus as is seen on the Flume Scroll.

Now turn your attention to thevalve apparatus and perceive what happens when you click and hold the topcontrol on any of the valve apparatus columns. Observe that after a briefpause the dark red area rises from the bottom and gets smaller, leavinga pink area behind. A column of five balls is revealed which also riseas long as you hold the control. The reverse occurs when you click andhold the bottom control. Go to the Sacred Pool.

Sacred Pool

Around the pool are six statuesof Anubis. Go to one of them and click on it, and it will roll back inits enclosure. Get a closeup of the revealed base, where you will see around cover, to the right of which are five small black disks in a backgroundof red and white that you will find varies as you move from statue to statue.The cover shows an icon that is also seen at the top of one of the columnson the Flume Scroll and also on the valve apparatus. You must note thenumber of small disks in the red area that is associated with each icon.Click on the cover and it will turn and rise. Go to all six Anubis statuesand raise the covers, and when you have done this to the sixth one youwill hear the water draining from the pool.

Go to the room where the valveapparatus is located. In each column use the upper and lower controls tomove the balls so that they are divided between the white and pink halvesas are the black circles at the base of the Anubis statues divided betweenthe red and white sections,
matching the icon on the Anubiscover with that on the top of the valve columns. Back to the pool.

The ladder down to the bottomof the empty pool is between the two animal horns or tusks at the pooledge. Climb down to the bottom, go to the center of the pool and look around.Opposite the ladder that you just came down is a shorter one below a fairlylarge hole in the pool wall, and around the wall are six grates with disksabove each that show the six by now familiar new icons. Go to these inturn and click on the disks and the grates will open, provided you haveproperly set the disks in the valve apparatus columns. Behind each grateis a very long passage leading to an ornate room in which are unwrappedmummified bodies. VR mode lets you look around these rooms if you wish,but what you need to find in each case is a chest flanked by two kneelinggods. Click on the chest cover and it moves aside so that you can get ashiny golden object that looks like a torch, but inventory calls it a key,after which you can leave the room. When you leave each of the six rooms,as you get between the railings at the head of the entry stairs, find thewarp speed cursor that will take you directly to the pool.

When you have gathered six keys,those for Easter Island, Bermuda, Giza, Stonehenge, Atlantis,andMayan Pyramid, you have completed your mission for this area and itis time to head back. To avoid the maze, go to the hole halfway up thewall of the pool, enter it and follow the tunnel to a ladder, at the topof which is a grate locked in place by a pin. Click on the pin to openthe grate and climb out next to the mosaic cobra. Go back to the palanquinand click on the rod supporting the basket. The basket empties and theprogram again puts you in the palanquin for the long ride up to the roomat the top. Leave the palanquin and go through the rotating maze, pastthe Cobra Wheel, past the two seated pharaohs, to the single seated pharaoh.Click on this statue and it slides aside to reveal an entrance to a sandcovered passageway that in turn takes you to a ladder in a vertical passageway.Go down the ladder and you will enter a large chamber in which is a pharaoh’sfunerary ship, the model of which and its surroundings you saw in the King’sGallery Ship Chamber.

Funerary Boat Chamber

Go down the stairs to the floorof the chamber, where you will be at the stern of the ship. Go along eitherside of the boat toward the front. There is an alcove between the two ropesrunning along the floor. Enter this alcove, where there is a vase in acorner. Knock it over and when it breaks you can get the Vase Bolt. Whilein the alcove, look at the figure of Sobek, the crocodile god, in the stonearch and observe that several of the arch stones are depressed.

Crocodile Cavern

In the far corner under the stairsyou will see some cobwebs. Go through the cobwebs and you will find a stonearch in which is a statue of the crocodile god. Again referring to theArchway Scroll, click in numerical sequence on the stones that you havenoted as having been depressed in the alcove arch. The statue will rotateand you must quickly hop onto the turning base to get through.

Proceed along this rough caveuntil you come to a stream with three crocodiles swimming back and forthin it. To get across, step on one of them (the middle one is fastest),and keep going until you get to a bone pile in which there are a pair oftablets. Consult the Translation Scroll to determine which of the two isdeadly, then choose the other, and you will have a Sobek Tablet for yourtabulation collection. Return to the Funerary Ship Chamber.

Funerary Boat Chamber

You will have noted that eachof the pillars on the sides of the rooms have rungs on them. When you climbthese pillars you will see Sobek heads with colored eyes, and by draggingthe levers you can rotate the tops of the pillars to change eye colors.Sobek’s Chamber in the King’s Gallery in which there was a ship model hadSobek statues with different eye colors, so your assignment is to set theseon the columns in the same pattern. Sobek’s Chamber had three statues ona side, here there are four columns on a side. Refer to the Yacht Scrolland you will see that six of the eight columns have Sobek silhouettes onthem, these are the ones to use in setting the eye colors.

When you have this task done,go up the steps at the bow end of the chamber to the wheel at the top andget a closeup of the hub on the right. There is a hole where you can insertthe Vase Bolt to lock the wheel hub to the axle. Then click on the wheel,twice if you need to, to draw the ship toward you, just as happens withthe Ship Chamber model. Now when you go to the stern of the ship you willsee that a hole in the floor has been uncovered. Down you go.

Watery Passages

At the bottom of the steps isanother rough cavern that leads to a pool. Once more, down you go. Whenyou dive into the pool, go down two strokes, then go right to an underwateropening and keep going until you surface, where you find that there areonly two openings in the cavern wall that surrounds you. The one to theleft leads to a dead end, so take the one to the right. Move along thiscavern about 13 clicks until you change to VR mode. You now have aheadof you three choices to proceed. Save your game here should you wish tomake a new start. The cavern on the left leads to the Cobra Shrine, theone in the center leads to the Temple of Ra, and the one on the right isthe River of Death. The latter leads to items and information you willneed, so go that way.

River of Death

After a lengthy swim, or waterywalk, you will come to a bank that you cannot climb, but if you move thecursor to the left where it becomes the bent finger reverse and then click,there appears a bank that you can get up, and which leads to a triangularshaped cave. Enter, take a deep breath and hold it, for you must swim underwater for several clicks until you come to a ladder and can climb out.

VR mode lets you look around.You are in a cave with a hole in the roof and a wall with several hand-and footholds. A short distance away is a briefcase; go to it. Next toit is a pickax for you to pick up. Inside the briefcase is a journal keptby another if Gil’s colleagues. Read it, for it is very informative. Gilwas correct when he told you on his introductory tape that he thought hewas overheard. This fellow evidently went through the King’s Gallery wherehe found and left the Sacred Amulet and the Charmer Scroll, since he describesthem and indicates how to use the amulet. Another thing—-he writes of wadingthese rivers rather than swimming. And now you have yet another name forthe tablets: Tabulator. Look around and you will find his remains and thetablet with which he was working, according to his journal; it is quiteobvious that you should find the other one about which he has written.The cursor leads you to the wall with the handholds; climb it and get Horus’Tablet. Climb back down and return through the underwater cave and theRiver of Death to where the three river caverns join.

Cobra Shrine

Traverse the leftmost of thethree river caverns until your way is blocked by a white wall covered byhieroglyphics and with a hole in the center. This clearly must be whatGil’s now dead colleague wrote about, and the hole he made. Use the pickaxtwice on the hole and much of the wall falls away. A cobra rises readyto attack. Quickly go to inventory, get the Sacred Amulet, and click iton the cobra, which then sinks away. Enter the shrine and go up to thelarge cobra statue, then turn and face outward. Very carefully search inthe shadows to the left of the railing and you will find another pair oftablets (the cursor does not change). Refer once more to the TranslationScroll to determine which of the two not to choose. Inventory does notidentify this tablet, but from the notes of Gil’s late colleague that youjust read it must be the Meretsinger Tablet. You now have the six tabletureclues about which Gil spoke when reading the Translation Scroll. Returnto where the three river caverns join.

The Temple of Ra

Proceed through the center ofthe three river caverns, and after much wading the temple appears on theother side of an entrance pool. You have to go through this pool rightup to where you are stopped by a wall, then go either left or right upa ramp to VR mode. Double back so that you can go through the big arch,where in the distance across a lake you can see four very large seatedstatues carved from a lakeshore cliff. These statues bear a curious resemblanceto the four statues of Ramses II by the Nile at Abu Simbel, even to thefallen head from one of them. In order to get to them, clearly you willhave to go around the lake, so turn left and start walking.

After a while you will come toa stone arch behind which is a walkway leading to another arch and eventuallyto a very yellow pyramid. Moving the cursor over the window in the doorof this building brings up several different icons, and if you click onthem they become fixed. You can walk around this pyramid and on three sidesthere are toeholds so that you can climb to the top. If you do this, youcan see large raised rotatable disks covered with hieroglyphics, and abovethem are cobras on different colored spheres. However, there is no wayto get past this pyramid and continue along the lake shore to the statues.Going left from the temple was the wrong choice, so head back. After youleave the steps down from the yellow pyramid, examine the bases of thetrees as you go back, because in the sand at one of them you will finda sphere that the inventory calls a Scarab Weight.

When you get back to the Templeof Ra continue straight ahead to go around the lake in the other direction.After about a dozen clicks you will have passed several groups of treesand will be in VR mode next to a small temple arch in the water to yourleft. Cross the stones to reach this structure and go up to the top, whereyou will find three umbrella shaped orange objects on a stone scarab. Clickon each of them

and the shuttered tops fold asideto show flattened hemispheres of different colors. Note these colors. Returnback down from the arch and continue your walk around the lake. As youpass in the shadow of the pointed rock ahead, watch for and pick up anotherScarab Weight in the sand on the right.

Cliff Statues

Eventually you will reach thestatues, where there will be a ramp leading up to them from the shore.Go past this ramp to other side of the fallen statue head, then turn backand go to the head’s ear, from which you can pluck another Scarab Weight.Return to the ramp that you passed and go up it into the alcove where youwill find Ra’s Scroll in the sand. Scrutinize this scroll.

The Temple of Ra

Go through the arch to VR modeat the entrance pool, then go all the way along the right side of the pool.Turn right to see a statue with colored geometric markings on its torsoand left leg. As usual, make a note of these markings.

Turn around and go down the stepsat the far end of the room. This brings you out into an open area and intoVR mode. Go left and look down, where you can see the entrance pool. Turnaround and you will see suspended by chains a disk like those on the sidesof the yellow pyramid. Continue on through the doorway and up the stepsinto another long narrow room and that has at the far end one more statuewith torso and leg markings to note.

Proceed down the steps underthe statue and you will come upon what might best be called a Blue Balance.There are three rods on this device, each with a Scarab Weight on one end;you must add the Scarab Weights that you have collected to the other endsin order to balance the rods. Now recall the geometric markings that youhave seen on the three statues: set the top ball of the balance so thatthe geometric and color code coincides with that statue in which the blackcircle on the leg is on top. Then taking into account the position of theblack leg circles, do the same operation for the other two balls on thebalance, and if done correctly the chains in back will move with much rumbling.Return to the open area where you could see the entrance pool. Lookingclosely at it now, you will see four icon patterns that you should note,and perhaps recognize from your earlier visit to the yellow pyramid. Thatis where you should now go.

Go up to the door of the pyramidand set the icon patterns on the window to match the ones on the entrancepool. When you do this, the door will fall inward. Go inside and look around.It appears that that is all you can do, so go back outside and considerthe only other adjustment possibility that you have previously found thatyou could make: the three disks on the pyramid sides...Now you have a matchingexercise to do. Recall the colors, left to right, of the shuttered hemisphereson top of the scarab arch at the end of the lake. Recall also, left toright, the icons in the circles on the top of the giant statue. Look atRa’s Scroll and locate these icons, even though they are reversed, in thetwo columns on the left, then pick out the corresponding glyphs in thetwo columns on the right. You can now associate a glyph with a color.

The cobras that are on threesides of the pyramid near the top are resting on spheres of the three differentcolors. The glyphs are on the moveable disks below the cobras, so rotatethe disks to match the glyph with the color. There is, however, a rathersubtle catch to this operation. As has been remarked, the icons on Ra’sscroll are reversed from those in the statue circles, and therefore youneed to set under the cobra the glyph on the disk that is opposite yourchosen one. This is not very difficult to figure out, and as you climbback down you can see the bottom edge of the disk and you can tell if youdid it right. When you have set the three correctly you will hear a coupleof sharp cracks.

Reenter the pyramid. The formerlysmooth slanting areas on each side of the three pharaoh statues now havetablet shaped depressions in them. Proceed to put the six tablets thatyou have collected into the depressions; when the god glyph on the chosentablet matches the one on the column above, a scroll pops out of the holein the hemisphere, and you will soon have the Giza Complex, Bermuda,Stonehenge, Easter Island, Mayan Pyramid, and Atlantian Scrolls,each with an Atlantean script icon matching those on the hexagon in theSacred Scroll, and therefore you can associate the six keys that you gotfrom the crypts around the Sacred Pool with each of the red circles onthe Sacred Scroll hexagon.

You are finished with your missionat the Temple of Ra. Find your way back through the waterways to the FuneraryBoat Chamber and to the Queen’s Chamber. The warp arrow should help.

__________________________________________________________________________________

CD2

Go to the Great Pyramid entrance,where the generator has been running all this time on a gallon of gasoline(turn it off if you wish), and get in the helicopter. Fly to the sphinxsite and go to the tunnel entrance in the side of the sphinx body. Enterand approach the blue hexagonal portal. Referring now to the Sacred Scrolland the identified red circles, put the keys in the yellow receptaclesby the circles.

With all six keys in their properplaces, the portal rolls aside and you can see a golden winged box, butas you move toward it a star viewer drops down in front of you. (Saveyour game here.) There are six lenses in this unit, and placingthe cursor (not clicking) on each results in a different star field appearing.You must select from these the one that matches one of the two you foundin Gil’s desk at the beginning of the game, then click on that lens. Ifyou have read the accompanying articles on the pyramid builders you willhave noted their strong interest in the Orion constellation. Choosing awrong lens brings the familiar death’s head, choosing the correct one allowsyou to move to the box, which turns out to be the Ark of the Covenant,and brings up the culmination of the game. It is hoped that you will beable to understand what is said in the long concluding lecture.

Notes

There are some things that youencounter in this game that simply must be accepted, though one wondersabout them. A universal one that is standard with almost all Adventuregames is the inventory: where do you keep these items and how do you carrythem with you? After a number of games one does not think about this oddityany more. A few others:

• The Pyramids and Sphinx have beenone of the world’s most popular tourists sites for ages, yet you see noneof these nor any evidence that there have been any; the entire Giza plateauis deserted.
• When you get past the King’s andQueen’s chambers in the pyramid there is nothing to gain in the speculationof what might be the source of the fuel and oxygen for the myriad torchesand other illuminating fires that continuously burn to supply illumination,and presumably have done so thoughout the ages.
• The pharaohs must have had someadvanced technology lost over the ages that produced the scope used toobserve the stars, as well as the mechanisms for the many massive movementsencountered.
• You walk across a lot of sand, whyare there no footprints?

CHRONOLOGY

The chronology listed hereis that shown in the game introduction.

10,500 B.C.

As the last ice age ends, a riddlebegins. Heavy rains pour down on the lush Sahara region, creating idealconditions for a new civilization.

circa 2,500 B.C.

The Great Pyramid is built forPharaoh Cheops (Khufu). Over 2,300,000 stones used, weighing over 6.5 milliontons… The last of the 'Seven Wonders of the Ancient World'. The Great Sphinxis fashioned in the likeness of Chepren (Khafre). Like his father Cheops,he builds an equally impressive pyramid, guarded by the 'Father of Terror',the Great Sphinx.

circa 820 A.D.

Treasure seeking Caliph Al Mamounburrows into the great pyramid. The secret entrance is still hidden forcinghim into dig through stones. Eventually breaking through the wall of asecret passageway.

1940 A.D.

Psychic Edgar Cayce predictsa chamber under the Sphinx paws. Cayce also claims the Hall of Recordsis near the Sphinx… All of which he predicts will happen at the end ofthe 20th century.

1986 A.D.

French architects drill holesinto west wall of the Queen’s chamber… The test reveals a large cavityfilled with unusually fine sand… Their work is suspended.

1987 A.D.

Secret passage is discoveredin Sphinx... Only a 20th century newspaper and shoes are found.

1988 A.D.

Professor Yoshimura discoversnew chamber in Great Pyramid. Shortly after, the Egyptians terminate Yoshimura’swork.

1991 A.D.

Seismology reveals chambers andtunnels under the Sphinx… Geologist Dr. Schoch finds Sphinx is rain erodedand much older. Just as these discoveries mount, West’s work is terminated.

March 22, 1993 A.D.

Rudolph Gantenbrink discoverssecret 'door' in Great Pyramid. Using robot 'Upuaut II', the door is found200 feet up an airshaft. He is banned from opening the door and continuinghis work.

2001 A.D.

The Great Pyramid is intermittentlyclosed and access is limited. The Sphinx and enclosure are off limits -rapidly deteriorating. No further work has been permitted with any of thediscoveries.

Present

Violent sandstorms have onceagain concealed most of the Sphinx. Geoffreys discovers new hidden chamberswithin Great Pyramid and a newly revealed tunnel leading into and underSphinx. Pyramidologist flock to touch pyramid walls and meditate… UFOlogistsare linked via satellite transmissions, awaiting the return. Pagan ritualscan be seen on the outskirts of the desert at night and religious groupsare claiming it prophetical…

It is time.

Internet Information

There are a plethoraof articles on the sphinx and the pyramids on the Internet. Excerpts froma few of these have been selected as being of interest to a person playingRiddle of the Sphinx.

It represents a couchant lionwith the head of a king, wearing a false beard and the traditional Nemeshead-dress. The image represented by the Sphinx is generally accepted asChephren, son of King Cheops, builder of the Great Pyramids at Giza. Mostscholars believe that it dates back to about 2500BC, the time of the FourthDynasty.

The giant statue represents Chephrenas Horus presenting offerings to Ra, the sun god, in the temple courtyardof the Sphinx. Although in common usage, Sphinx is a Greek word,and was not originally used as a name for the statue. In the New Kingdom,around 1550BC, it was known as Hor-em-akht, 'Horus in the Horizon'or Bw-Hol, 'Place of Horus'.

There can be no doubt that theSphinx once had a beard. Pieces of it were found between the Sphinx's pawsby the archaeologist Caviglia in 1816, but these fragments representedonly about 15% of the original beard. Graphic reconstructions were attempted,but the work proved difficult with so little of the beard available asa basis. Egyptologists also had difficulty in dating the beard to the Oldor New Kingdom, and attempts at restoration were abandoned, particularlyas the beardless Sphinx was already famous worldwide. Caviglia thereforedonated some of the fragments to the Cairo Museum; others can now be seenin the British Museum in London.

Enigmas and stories connectedwith the Sphinx are numerous. One such apocryphal tale has it that a recordof the lost city of Atlantis lies somewhere under the Sphinx's paws, whileothers believe in the story of a huge temple beneath the Sphinx itself.Both of these are -- sadly -- untrue.

During the past two centuriesmany have come to study and excavate the monument. These include Frenchscholars accompanying Napoleon's army in 1798, Caviglia in 1816, H. Vysein 1840, Mariette in 1853, Kamal and Daressy in 1909 and Baraize in 1926.It was Baraize who first began restoration work, by renovating the headusing cement, and clearing the sand completely around the Sphinx.

The most recent period of restorationbegan in 1953, continuing until the present day. The cement which had beenused in earlier attempts at restoration was now found to be causing problems.The statue is mostly constructed of porous limestone, which allows thepassage of air. Because cement is non-porous and rigid, changes in thebasic proportions of the statue were found to be occurring.

Another problem is caused bythe rising water table, which evaporates, leaving salts behind. These saltsreact with the limestone, causing it to become powdery and to crumble.Pollution from the nearby city of Cairo, together with heat, wind, sand,and humidity are all agents in the monument's slow process of disintegration.

The true origin and purpose ofthe Sphinx remains a mystery, and it is perhaps a puzzle which will neverbe fully solved. Despite its fundamental enigma, the image of the Sphinxremains in the mind of history as the keystone of ancient Egyptian civilizationand a part of its religious beliefs. Thus, the smile on the face of theSphinx is eternal.

Information on the Great Pyramidand the Sphinx

by Graham Hancock

The 'Door' in the Great Pyramid

In March 1993, a small 'door'made of marble or limestone with two copper handles fixed on it was discoveredby a mechanized robot (Upuaut II, 'The opener of the way' in ancient Egyptian)at the end of a long narrow shaft (8 x 8 inches and 200 feet long). Sincethen the discoverer, robotics engineer Rudolf Gantenbrink from Munich,has been banned from resuming the exploration and opening the door. Theofficial reason given by the Egyptian Antiquities Authorities (known asthe Supreme Council of Antiquities -- SCA) was that Gantenbrink leakedthe news of the discovery to the British Press in April 1993 and thus,apparently, broke a 'rule' of archaeology. The Director of the German ArchaeologicalInstitute in Cairo, Dr. Rainer Stadelmann, sided with the Egyptians andcondemned Gantenbrink for his press action. Dr. Stadelmann was adamantabout the non-importance of the find. 'This is not a door; there is nothingbehind it.' The President of the Supreme Council for Antiquities, Dr. MuhamadBakr, went as far as claiming a 'hoax'. 'The orifice of the shaft is toosmall for the robot to go through,' and he accused the 'German scientist'of not having the correct 'approvals' from the SCA to carry out the exploration.Dr. Bakr fired the Chief Inspector of the Giza Pyramid Plateau, Dr. ZahiHawass, although the official reason given was that a valuable ancient'statue' under the custody of Hawass was stolen from Giza.

Three months later, in June 1993,Dr. Bakr himself was fired and replaced by Dr. Nur El Din. Amid accusationsof malpractice and fraud, Dr. Bakr spoke of a 'mafia' which had been involvedwith the Pyramids for 'the last twenty years.' Refusing to give names,Dr. Bakr said, 'I wanted the whole matter investigated by the prosecutionauthorities, but my request was refused.'

Tunnels and Chambers Under the Great Sphinx

I. In a series of expeditionsbetween 1991 and 1993 led by John Anthony West, an independent Egyptologist,scientific investigators conducted geological and seismic surveys aroundthe Great Sphinx of Egypt. The chief geologist was Dr. Robert Schoch, Professorof Geology at Boston University, and the chief seismologist was ThomasDobecki, from the highly respected Houston consulting firm, McBride-Ratclif& Associates

II. The team's conclusions wereas follows:
A. Geology, The pattern of erosionon the Sphinx indicates that it was carved at the end of the last Ice Age,when heavy rains fell on the eastern Sahara -- perhaps more than 12,000years ago. This contrasts starkly with the 'orthodox' Egyptological datingfor the Sphinx of around 4,500 years ago.

B. Seismography. The seismicsurvey indicated the existence of several unexplored tunnels and cavitiesin the bedrock beneath the Sphinx, including a large rectangular chamberat a depth of some 25 feet beneath the monuments front paws.

III. In 1993, John West and histeam were physically expelled from the site by Dr. Zahi Hawass then (andnow) the Egyptian government's Chief Inspector of Antiquities for the Pyramidsand Sphinx. He appeared to be angered by the suggestion that the Sphinxmight be far older than the civilization of Egypt itself -- and thus thework of a lost civilization -- and was particularly incensed by an NBCtelevision film that was made about the team's work. This film linked theSphinx to Atlantis and suggested that the chamber beneath the paws mightcontain the legendary 'Hall of Records' of Atlantis. Hawass called theseclaims 'Amer- ican hallucinations. There is no scientific basis for anyof this. We have older monuments in the same area. They definitely weren'tbuilt by men from Atlantis. It's nonsense and we won't allow our monumentsto be exploited for personal enrichment. The Sphinx is the soul of Egypt.'

IV. An article in the Egyptianpress responding to the NBC film quoted Dr. Hawass on his further reasonsfor expelling John West and his team from the Sphinx enclosure: 'I havefound that their work is carried out by installing endoscopes in the Sphinxbody and shooting film for all phases of the work in a propagandistic butnot scientific manner. I therefore suspended the work of this unscientificmission and made a report which was presented to the permanent commissionwho rejected the mission's work in the future.'

V. The NBC film was producedby a certain Boris Said and partially financed by investments from themembers of the Association for Research and Enlightenment. The ARE, headquarteredin Virginia Beach in the USA, is a multimillion dollar organization thatexists to promulgate the teachings and prophecies of an American psychic,Edgar Cayce, who died in 1947. Prominent amongst Cayce's pronouncementswere many statements to the effect that the Sphinx had been built in 10,500BCE by the survivors of the lost civilization of Atlantis and that thesurvivors had concealed beneath it a 'Hall of Records' containing all thewisdom of their lost civilization and the true history of the human race.Cayce prophesied that this Hall of Records would be rediscovered and openedbetween 1996 and 1998. He connected the opening to second coming of Christ.

VI. In 1995, John West and ProfessorRobert Schoch of Boston University put in an application to the Egyptianauthorities to resume their research. Their application was ignored.

VII. In April 1996, the Egyptianauthorities granted a one-year license to a new team to conduct surveysaround the Sphinx. This team, which claims academic sponsorship from FloridaState University, is largely financed through the Schor Foundation of NewYork -- by Dr. Joseph Schor, an American multimillionaire. Dr. Schor isa life member of the ARE and wrote on 24th May 1994 of his great personalinterest in corroborating 'the Cayce records which indicated that the culturewhich led to the building of the Pyramids dates to 10,400 BCE.' He alsostated his wish 'to further delineate that civilization.'

VIII. On April 11th, 1996 Dr.Schor stated of his current project at the Sphinx, 'We do not work forthe Edgar Cayce Group. The major purpose of the Schor Foundation and FloridaState University is to aid in the preservation and restoration of the Pyramidsand Sphinx. In addition, we are surveying the underground of the Giza Plateauto find faults and chasms that might collapse. This will increase the safetyof the plateau.'

IX. Also financed by Dr. Schoris a short video film shot at the end of 1995 by Boris Said and producedin early 1996. The film opens with Dr. Zahi Hawass scrambling into a tunnelleading under the Sphinx. When he reaches the bottom, he turns to facethe camera and whispers to the viewer, 'Even Indiana Jones would neverdream to be here. Can you believe it? We are now inside the Sphinx in thistunnel. This tunnel has never been opened before. No one really knows what'sinside this tunnel. But we are going to open it for the first time.' Incommentary, the film's narrator goes on to state, 'Edgar Cayce, America'sfamous Sleeping Prophet, predicted that a chamber would be discoveredbeneath the Sphinx -- a chamber containing the recorded history of humancivilization. For the first time, we'll show you what lies beneath thisgreat statue -- a chamber which will be opened tonight, live, for our televisioncameras.'

X. Dr. Schor has stated thatthis video is not a promotional venture aimed at hooking a major US networkto televise a live opening of a chamber under the Sphinx. He insists, 'Itwas made to test script and equipment and was made in November 1995, whichwas many months before we received approval for our expedition. We haveabandoned its use.'

XI. On April 14, 1996 Dr. ZahiHawass announced in the Egyptian press that there were secret tunnels underthe Sphinx and around the Pyramids and stated his belief that these tunnelswould prove to 'carry many secrets of the building of the Pyramids.'

The Sphinx

The Sphinx, unlike the Pyramids,is carved out of the living rock. It is 241 feet (73.5 meters) long andin parts is 65 feet (20 meters) high. It faces due east, towards the equinox.It has been suggested that it was built around the same time as the constructionof the Pyramid of Khafre [Chephren; c.2555-2532 B.C.E.] (the pyramid tothe left of the sphinx), but recent findings by John Anthony West suggestthat there are water erosions unlike any other marks found on other Gizamonuments. Unlike sand and wind erosions, which produce horizontal marks,West found that the erosion marks on the Sphinx were vertical...like thoseassociated by water, but unlike the sand and wind marks which can be explainedthanks to the destructive forces of the Sahara, where did the water marksoriginate?

Well we know that Egyptologist'sbelieved that the Sphinx was built in 2500 BC in the time of the pharaohChephren (or Khafre), so why are there no inscriptions that identifyKhafre with the Sphinx? Surely a great monument having to be painstakinglycarved out of solid rock would have been celebrated but there is not eventhe slightest of mention regarding it's construction.

Dr. Robert Schoch, a geologistand professor from Boston University decided he would examine the new findingsand come up with his own answers. He agreed with West's conclusion regardingthe water erosion, but remarked that if it were due to the torrential rainspouring down on Egypt's monuments at that time, why are there no otherwater erosions found in Egypt to validate his theory? Surely there wasn'tjust a cloud raining down on the Sphinx?

Again Egyptologist's dismissedSchoch's theory, saying that the great rain storms that once happened overEgypt had stopped long before the Sphinx was built. Then in stepped RobertBuvaul with his own theory behind the Sphinx's true age, I will let himin his own words explain his theory:

In 1989 I published a paper in the Oxford Journal, Discussions InEgyptology (vol. 13), in which I demonstrated that the three Great Pyramidsand their relative position to the Nile created on the ground a sort of3-D 'hologram' of the three stars of Orion's belt and their relative positionto the Milky Way. To support this contention, I brought into evidence theinclined shafts in the Great Pyramid which were aimed at the south meridiantowards these group of stars as well as written evidence from the PyramidTexts that identified the afterlife destiny of the pyramid-kings with Orion.

Later, in my book The Orion Mystery (Heinemann-Mandarin), I alsodemonstrated that the best fit for the Giza Pyramids/Nile pattern withthe Orion's belt/Milky Way pattern occurred when the sky was pushed backin time (i.e. precessed) to the epoch of 10,500 BC. There were good reasonsfor doing so.

The ancient Egyptians, for example, constantly refer to a remotegolden age they called Zep Tepi, 'The First Time' of Osiris, which theybelieved had long predated the Pyramid Age. Osiris was Orion, and the GreatPyramid had a shaft directed to Orion at the meridian. To me, this 'silent'astro-architectural language seemed to be spelling out 'here is Osirisin the sky when these pyramids were built, yet know, too, that his originsare rooted in the First Time.: But The 'First Time' of what? How couldthe stars of Orion have a 'First Time'?

Well, they can. And they do. Provided, of course, that you can readthrough the allegorical 'language' of the ancients via the symbolic architectureand the related Pyramid Texts. Allegory, to put it in another way, is the'Q-Basics' of the master astronomers who designed the Giza complex. Whenthe stars of Orion are observed at the meridian in the precise manner thatthe ancient Egyptian astronomers did over many centuries, they could nothelp noting that these stars crossed the south meridian at different altitudesat different epochs. This is, of course, due to the phenomenon of Precession(see The Orion Mystery, appendices 1 and 2). In short, the stars of Orioncan be said to have a starting point or 'beginning' at the nadir of theirprecessional cycle. Simple calculations show that this occurred in 10,500BC. Could the ancient astronomers of the Pyramid Age have used their veryclever 'silent language' combined with Precession to freeze the 'FirstTime' of Osiris - somewhat like the gifted architects of a gothic cathedralfroze in its allegorical stonework the 'time of Christ'?

In the summer of 1993 Graham Hancock and I got together to investigatethis issue further. Graham was quick to realize the important implicationsthis approach could have on the Sphinx problem. He had a hunch that thecurious harking back to the epoch of 10,500 BC by the pyramid buildersof Giza was an invitation by them to consider the actual age of the Sphinx.If this hypothesis was correct, then the Sphinx must be an 'original' time-markerof that remote epoch using an obvious celestial tag valid for 10,500 BC.But which tag? What could the Sphinx be representing that was in the sky?Could this have something to do with the due east direction of its gazetowards the horizon?

In his ground-breaking book Fingerprints of the Gods (Heinemann-Mandarin),Hancock pointed out that the 'First Time' date of 10,500 BC also denotedthe beginning or 'First Time' of the Age of Leo. This was when the 'lion'constellation would have risen heliacally (at dawn before the sun) on theday of the spring (vernal) equinox. This event brought the celestial lionto rest due east, thus in perfect alignment with the Sphinx. The Sphinx,in other words, was made to look at his own image in the horizon - andconsequently at his own 'time'. Hancock pointed out that 10,500 BC wasno random date. It very precisely denoted another beginning, that of Orion-Osirisdefined on the ground with the pattern and alignments of the nearby Pyramids.Here, then, were not just the Pyramids but also the Sphinx luring us tothe same date of 10,500 BC. But were we dealing with a 'coincidence' —albeitan astonishing one— or was all this part of a deliberate long term schemeset by the ancients? Could it be possible that some blueprint was put intomotion in 10,500 BC with the making of the Sphinx then to be completedmuch later by the builders of the Pyramids? Was there evidence of a continuouspresence here at Giza through the ages of some master 'astronomers' whocould have been responsible to see this scheme through?

Riddle Of The Sphinx Game Cheats Free

If so, who were they? Where had they come from? Why here at Giza?Graham and I have spent the last two years researching this fascinatingissue. We believe that what we have uncovered will change the perceptionsof what Giza was (and still is) forever. The full results of our investigation,as you might have guessed, are laid out in our new book, Keeper of Genesis,available now at a discount through AA&ES. Suffice at this stage tosay that author Colin Wilson, who gave the book an early review, thinksit's 'a much more satisfying tour de force' than Fingerprints of the Godsor The Orion Mystery.

So has Robert Buvaul got a 'goodcase'? Many people seem to validate his theory, but maybe we will nevertruly understand the reasons behind these great monuments. We can onlylisten to the theories behind the mystery and come to our own conclusions.Until we are given unquestionable proof there will always be people wantingto knock others idea's, but please keep an open mind to all possibilities,and try to enjoy the experience.

SPHINX RESTORATION FINALE...

President Mubarak unveiled therenovated Sphinx, whose $2.5 million (U.S.) makeover took 10 years to finish.The greatest challenge facing the Sphinx's modern-day restorers was undoingthe damage caused by previous restorations. Buried in sand and protectedfrom the elements since the Middle Ages, the Sphinx was fully uncoveredin the 1920s only to be patched with cement which leached salt throughthe structure, weakening it. After stones fell off a hind paw in the 1980s,more cement and stones were added, broadening the body by as much as ninefeet in some places and ruining the lion's contour. Current efforts beganafter a boulder fell off the deteriorating Sphinx's right shoulder in 1988.Workmen used photographs from the 1850s and a color-coded, stone-by-stoneblueprint of the Sphinx. Each damaged stone removed was measured, weighed,and sketched. Each new stone was hand-cut and placed with a mortar of limeand sand. Stones as heavy as 1320 pounds were installed. The project didnot restore the Sphinx's beard, parts of which are in the British and Egyptianmuseums. Nor will he again have a nose, which has been missing since the14th century. (May 26, 1998, compiled from a variety of news articles).

Riddle Of The Sphinx Game Cheats 4

NEW ROBOT TO EXPLORE GANTENBRINK'S 'DOOR'...

Zahi Hawass was quotedas saying that it is likely that the Great Pyramid still does have an undiscoveredchamber -- referring to the 'door' discovered by Rudolf Gantenbrink inMarch, 1993, with the Upuaut2 robot. Dr. Hawass said a new robot is beingreadied to continue the job started a few years ago by Gantenbrink. We'llsee. (November 5, 1998, in the Egyptian daily, 'Al-Ahram')