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| michael clark, dark, id, 00, poe, raccoonus, bowie, sleeping, lives, indie, kill, pilgrim, stupid, larian, how do i, one, versus, rent, | In help the earlier games, it was packed with towering mechanisms whispering of the City's unnatural symbiosis of magic and technology, all roaring and rumbling and belching smoke. It was a grotesque manifestation of industrial madness. Streetlights didn't glow; they sprayed fountains of sparks into the air. Huge boilers that never seemed to do anything but boil crouched behind garden walls. Copper tines hurled fingers of blue electricity back and forth. help Piping, ductwork, meters, and ticking gauges were everywhere. You couldn't go two feet without encountering a bizarre iron monstrosity born straight of Tesla's worst help nightmares. In Deadly Shadows, the City looks utterly generic. It would fit into any bland medieval fantasy game, with just the odd pipe or electric lamp to imply the mechanism-gone-wrong that made it such a creative jewel. There is ample history of the City to build plenty of great stuff. We're not short on landmarks mentioned or visited in the prior Thief games. |
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| The technology does exist, it's michael clark existed for years, and because it's not implemented here, the City is a clunky between-mission irritant, rather than a portion michael clark of the game that players will linger in and enjoy. michael clark It's a devastating visual miss as well. Buildings are squat and ugly. Majestic places like the Hammerite Cathedral that should reach triumphantly for the heavens instead crouch and brood. Little touches like gardens are either nonexistent or crammed into areas the size of a residential bathroom. Ugly 2D sprites are employed for shrubs and trees. And if you're hoping for a recreation of the joyously giddy, vertigo-inducing Thieves Highway from The Metal Age, forget it—not only are Garrett's scaling abilities impeded by climbing tools of truly soul-crushing crapitude, but what should be an awesome, sweeping, stone sky-field rooftop vista of a nightmare urban sprawl is instead a tiny, grubby drearville of planking and cobbles. From an artistic standpoint, stubby architecture and no roofscape are nothing compared to the next crime: the bewildering shortage of the hideous technology that was the basis of the City's unique and redolent fiction. |
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