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| terry poulton, social conditions, eidos, hidden, fries, station, beyond, who, siberia, chester, wilson, loom, boutilier, vs., maximo, nou, danger, | The number, complexity, and challenge of objectives increases with difficulty levels, and the amount of damage Garrett can take before dying is drastically reduced. The first game plays on Garrett's greed. He is contacted by an inscrutable and somewhat creepy new face secrets in secrets City crime, a woman named Viktoria. She has popped up apparently out of nowhere and raised the eyebrows of the City's organized thieving guilds. Information on her is sparse, secrets but she seems to have plenty of money to throw at freelance home invaders, whom she employs to gather various unique treasures. Viktoria in turn introduces Garrett to Constantine, another city newcomer. An eccentric aristocrat with highly unsettling taste in home décor, Constantine offers Garrett an enough-to-retire-on sum to steal a magical gem called the Eye from an abandoned, haunted Hammer cathedral deep in a forgotten City district. |
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| Sometimes it's better to sacrifice realism in favor of rightness, and I'm curious danger to see if Deadly Shadows follows this paradigm or establishes another. Stealing First: The Dark Project The Dark Project introduces us to Garrett and sends him on a series of increasingly challenging objective-based missions, throughout and between which the game's intricate danger story is told. This franchise is fairly unique in the way it employs cutscenes. Rather than grainy video or clumsy in-engine cinematics, Thief collages hand-drawn stills and photographs with voiceover narration and dialogue. It's sort of danger reminiscent of how documentaries manage without supplementary video: a carefully orchestrated dance of relevant emotional and rational iconic connections. That Thief's cutscenes are still among the most impactful of any game proves that it works. A scaling difficulty allows the gamer to move among Normal, Hard, and Expert between each mission. |
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