With new knowledge of this artifact being Fez ’s version of a Rosetta Stone, we can translate each symbol into one of the twenty-six Latin characters which make up the English language.Īt this moment, Fez reveals a vast new possibility space for players to explore. Close inspection of the purple stone here reveals that the foreign characters are spaced according to this pangram-three symbols for “the”, five symbols for “quick”, five more for “brown”, etc. Here, Fez briefly steps forward unto our dimension, directly referencing the classic pangram “the quick brown fox jumps over the lazy dog”-a brief, simple sentence that contains every letter of the English alphabet. Much later in the game, she finds a monument prominently featuring the foreign text, and in front of it a brown fox repeatedly jumping back and forth over a dog. Upon first glance, these appear to be nothing more than obtuse glyphs, there for no reason other than flavorful world-building, but as she meets certain characters from outside of the game’s first locale, she finds that some of the folks in other worlds speak a foreign language not visually dissimilar in text form to these markings. Īs the player makes her way through the game for the first time, collecting fragments which make up larger yellow cubes and keys to unlock treasure chests and doors to vibrant new worlds, she may notice several peculiar markings on certain walls, buildings, and stone formations. Abbott’s Flatland: A Romance of Many Dimensions. Released in April 2012, the game stars Gomez, an explorer who finds that the world he lives in has not two dimensions as he and the rest of his plane of existence were brought up to believe, but in fact three, lightly echoing the narrative setup for Edwin A. Polytron Corporation’s Fez owes much to 2001.
Clarke would later work to build a catalog of space-lore with the sequel novels, explaining away the origin of these colorless artifacts with tales of a race of aliens dedicated to bringing life and understanding of the universe to its denizens how ironic, then, that Kubrick’s ardent stance of abstract interpretation of the unknown over concrete detail would prove the more compelling. To this day, the monolith continues to inspire debate as to its significance in the wider thematic scope of the work. Chiefly remembered amongst its peculiarities is the black monolith, a three-dimensional orthotope which towers above the primates and space engineers who stumble upon it. Nearly fifty years following its release, Stanley Kubrick’s science-fiction opus 2001: A Space Odyssey remains a film shrouded in mystery.
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