1/26/2024 0 Comments Fragment 3![]() You do not need to complete a run to bring your Sunface Fragments back to the Helios. Once you pick up a Sunface Fragment, you won’t drop it when you die. You can collect all three of each act’s Sunface Fragments in one run, all three separately, or some combination. Use the same machine to return to Act 2 once you have all the Act 1 Sunface Fragments. However, the Fragments seem to appear in specific rooms within each biome, so we can show you what to look for.įor the Act 1 Biomes - Overgrown Ruins, Crimson Wastes, and Derelict Citadel - you’ll need to use the time travel machine in the Helios’ Armory to go back to Act 1. ![]() ![]() Because the map shifts every run, we can’t tell you exactly where to go to find each Sunface Fragment. These items are often deep into a biome, so you’ll need to explore every area. Finding all six of the Sunface Fragments will give you a key, which you’ll need to unlock the secret ending.Įach biome has its own Sunface Fragment. Returnal has six biomes - three in Act 1, and three in Act 2 - and six Sunface Fragments to find. Nothing changes in Act 3 of Returnal, but you’ll be able to find six new objects that lead to the game’s secret ending: the Sunface Fragments. When you wake back up on the surface, you’ll be in Act 3. You should get the trophy for finishing Act 2 (although ours was bugged and didn’t appear until the second time we killed Ophion). Walk to the end of the path, and you’ll wake back up outside the Helios. You’ll find a small sedan with its headlights on. Follow its carcass down the hole and walk forward. Defeat the giant, tentacled monster, and it will slink into its hole on the ocean floor. Once you’ve found the Delphic Visor, deep in the Abyssal Scar, you’ll be able to face Ophion, Returnal’s final boss. Image: Housemarque/Sony Interactive Entertainment via Polygon In this Returnal guide, we’ll show you how to unlock Returnal’s secret ending to finish off Act 3. Returnal’s secretive nature also applies to its ending. Published in The Tate Gallery Report 1970–1972, London 1972.Returnal is mysterious, often obscuring things from its players. This suite was published by the Robert Fraser Gallery and printed at the Kelpra Studio in an edition of 75. She wrote in the catalogue that in this study she was ‘keeping each alternative vertical straight-the others more in a series of related curves’. In ‘Drawing Towards Painting-2’ (Arts Council touring exhibition 1967–8) Riley exhibited a study which was a preparatory work for both ‘Descending’1965–6, and for P07106. The fragment is closest to ‘Fall’ 1963, but it also approximates to ‘Polarity’ 1964, ‘Crest’ 1964 and ‘Current’ 1964. P07105 seems to relate to a group of paintings in which Riley was considering the tensions found in the tight and loose undulations of lines. In selecting perspex as the ground Riley was clearly interested in setting a dense black image upon an intensely white and brilliant surface. (She was at this period working almost exclusively in black and white). The title ‘Fragments’ is significant in that most of the prints consist of images which the artist arrived at through making studies for paintings. Lit: Maurice de Sausmarez, Bridget Riley, 1970, repr. Purchased from the Rowan Gallery (Gytha Trust) 1970.
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