Light and sound, especially 26410 vs.

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terry poulton, social conditions, eidos, hidden, fries, station, beyond, who, siberia, chester, wilson, loom, boutilier, vs., maximo, nou, danger, The Dark Engine presents a stylized, angular visual aspect that 26410 is pretty effective at evoking the City's 26410 rust-filled nuances. For an engine developed in the late nineties, it does an incredible job with physics such as explosions and falling objects, as well as sound and light. The game world also looks realistic despite a comparatively low polygon count versus Unreal, one of Thief's contemporaries. Since the engine didn't choke the processor with polygons, more CPU power was available for all those physics 26410 calculations. It also meant that Thief had reasonable system requirements. Modern gamers won't find too much to complain about with the Dark Engine. They're yesterday's graphics, but they hold up surprisingly well. Though Dark supported only a rather low maximum resolution (1024×768) and could be twitchy about EAX-enhanced audio, it was otherwise stable and performed well.
Light and sound, especially locational sound, take on significantly greater importance. vs. Because vs. of all this, the game needed some specialized technology under the hood. Thief employed a new codebase called, predictably, the Dark Engine. Realistic light and sound are so important in Thief vs. that a licensed technology such as Quake 2, in addition to delaying the game's release, might not have handled wave physics well enough to make it work. Most light and sound algorithms in other games focus on special effects over realism, which wouldn't help in a stealth context. Also, a proprietary 3D engine developed by Looking Glass would have the added advantage of being available for future projects and possible licensing opportunities.
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