One of them does get one of the greatest death scenes in all of gaming, which is great (it involves penguins), but it’s just not as interesting as the detective plot line. Still, Kate never meeting the detective who was supposed to bring her home feels like a missed opportunity for a last minute twist or conflict before the game’s end, and would have probably have been more satisfying than the inclusion of two greedy brothers as the main villains. There’s no real payoff for that particular plot line, though its presence is appreciated as it helps show just how much Kate has grown as a character. It’s focused on the adventure, while the threat of Kate’s old life coming back to haunt her is downplayed. Areas are also typically more condensed or easier to navigate, resulting in a shorter game due to an absence of padding (or at least less padding, thanks to one late game area). Because everything is set-up properly already, there’s no early dragging. Syberia II benefits a lot from being a sequel. It’s so connected to the first title that the DVD compilation even lets you start Syberia II immediately after the final cinema of the first game.
At the same time, Kate is having troubles of her own with Hans fading health, making the trip to the island of mammoths all the more dire.
Since, her employers and family have started to make efforts to track her down and return her home, deciding to make use of a detective. At the end of the first game, Kate joined a found Hans on the remainder of his journey to the mythical island of Syberia, said to be filled with the extinct mammoth species. In becoming its own entry, Syberia II‘s story had to find a new way to continue the new versus old world story of the last game, while also reaching the climax built up from before. Syberia II was originally supposed to be a part of the first game, but was spun off into a sequel due to size issues.
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