Got My Damned Eye Back Not all games from the 90s and early 2000s age gracefully, and stealth games—the few there are from that time—are even more prone to spontaneous combustion. Shooting someone with a gun? Yeah, that'll function more or less the same way it did 30 years ago, but enemy AI? All that sneaking? That's a couple of mechanics whose gears couldn't be happier to rust away. Now, Thief was smart enough to bring enough water arrows to fend off that spontaneous combustion, but that doesn't help with all the rust. At the very least, there is a fix you'll have to download to get the game running on anything that isn't the lowest imaginable resolution. Aside from that, there's an over-abundance of fan-made improvements and QoL additions, but nothing else that should be necessary. What you're getting into here isn't just any stealth game—you're booting up the first one to use light and sound as game mechanics, the first one to utilise a first-person perspective, arguably the oldest immersive sim to still look like a video game. Its age shows, but while some textures might look a tad too abstract to the modern eye, Thief was a trend setter, and remains an exceptionally well-realised creative vision. For one, stealth actually works, and is quite precise, thanks to a little gem next to your health bar that tells you how exposed to light you are at any moment. There are rules to learn, however, if you want to be good at it. The year was 1998, so dynamic lighting wasn't quite a thing yet. For Thief , this means that light sources and shadows are mapped directly to the textures, and how visible you are is predetermined based on where you're standing rather than the gem reacting to your environment. It rids the game of those "How the hell did he see me?" moments in favour of less frequent and notably less frustrating "How the hell can he see me?" moments, since total darkness in one area may not count as total total darkness in another. This also works the other way around, to your advantage, so you could be more hidden than it'd make sense. But what can't be seen could still maybe be heard, so you'll have to be mindful not to make too much noise even when you stick to the shadows. What kind of surface are you walking on, how fast are you moving, are you clumsily bumping into walls and barrels or dropping items? Enemies are naturally noisy, so keeping track of the soundscape isn't just an added challenge but a useful tool that can help with avoiding incoming patrols. It's deep sound design and It all plays a part in the game's stealth system, even when parts of it are quite compressed and unevenly balanced. Doesn't help that the ambient effects that the game heavily relies on for its atmosphere use the same volume slider as the music and the cutscenes, so be prepared to get jumpscared every time your ears get blasted with some industrial rock, recorded and compressed for a game that had to fit on a CD. Speaking of immersive sims, Thief might not have spells and abilities to learn or diverging build paths, but you can approach situations in different ways based on the equipment you're using, mostly deciding which path through the level you'll take. It's still a stealth game, one in which combat is strongly discouraged; it can be cheesed, maybe even "mastered", but is still quite unresponsive, even if sword fights are surprisingly tense. You've got directional attacks, reactive parries, your weapon can even clash with the enemy's if you both attack at the same time, yet it all feels more sluggish than it needs to. Your weapon doesn't always reach as far as you'd think and small inconsistencies in the terrain can turn into insurmountable mountains when you're wielding a sword. Dynamic lighting may have been in its infancy, but dynamic invisible walls were a well established feature. Thus, fighting more than one enemy will always be a challenge unless you have an ace up your sleeve or a quick escape route. The AI, as predictable as it is, can turn up the heat even further with some neat tactics—some more legitimate than others. They love fighting in groups as much as they love attacking while a part of their model clips through you. The level design is what brings all these aspects together. For starters, there's a lot of environmental storytelling happening, backed up by some terrific art design. It's a steampunk/fantasy setting, yet the cold medieval architecture makes it look and feel very grounded and gritty. The supernatural elements pop out and the technology carries with it an equal air of otherworldliness. The levels are also generously sized and rather open, making searching for that optimal route a fun challenge in and of itself, and not just when you're looking for secrets and loot to sell in between missions for more gear. Enemies will usually patrol cramped, well-lit corridors, making navigation and staying undetected all the more challenging, with combat an even more uphill battle should you fail. Still, you'll get better, get used to the game's way of visually guiding you, and make that journey to becoming a master thief and growing more adept at getting around these mansions, tombs, and catacombs. With this newfound agility and perceptiveness, suddenly, old levels start feeling fresh again on a potential replay, as new secrets and bits of storytelling crop up. Higher difficulties even have an extra objective or two for you to complete, which loops back around to encouraging more exploration, which loops back around to discovering even more neat things, and so on. I think that's why it has aged so well—everything in it is built around this concept of exploring large, creatively designed environments. The combat, your goals, even the story the game has to tell—the level design somehow has a hand in it all. Of course, it's not all great—there's a couple of dull stinkers in the otherwise excelled batch of missions, or ones that push you towards combat a bit too much. Regardless, everything you want to do in Thief , you have to ask yourself what's around you first; and that makes for one strong creative vision that shines through even 25 years later, through all the technical limitations and the jank.
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