Can you believe Thief is 24 years old? Let's reflect on its innovations.
A ghost wanders the flooded wine cellar of the abandoned Hammerite cathedral, speaking backwards and spitting skulls. Haunts patrol the altar above, rattling their chains. When they give chase, they do so at breakneck speed, as if played back at double-speed on a VHS. Strange laughter seeps between their bleached teeth as they swing their swords, two or three times a second.
“The thing we were keenly aware of was that this was going to be the first stealth game that was really going to rely on audio cues,” Looking Glass sound designer Eric Brosius recalled in a 2011 interview with MIT’s GAMBIT Game Lab. As such, your best bet is to keep your ears open for the sound of a sellsword clearing his throat, or a pious Hammerite humming a hymn as they potter about the temple. That way, you can create a mental map of the patrols you ought to be avoiding, or interrupting with a blackjack to the back of the head. Because just as you’re gathering visual and aural information on your environment, your enemies are doing the same. They are submarine-killers out to sink your vulnerable vessel.
“You’re playing this essentially voyeuristic role,” project lead Greg LoPiccolo told MIT GAMBIT in 2011. “We were going up against Doom, which was ‘boom, boom, boom’ all the time. Could we make a game where you would be entertained by just standing for a minute someplace and doing nothing? Just watching some dude walk around a corner and [wondering] how long will it be before he comes back the other way? There was not a foregone conclusion that that was going to work when we started.
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