Groping The Map: Life Of The Party, Part 8.

 “These are strange times indeed when the builder’s chosen must cater to the folly of the unworthy.”

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The eerie chanting audible below is much clearer on the sixth floor, it seems to be emanating from the fountain or possibly something within.

Annotated Walkthrough, 7:

After avoiding any wandering guests on the stairs the sixth floor landing offers some shadows in which to wait before you enter the ballroom. The door is unlocked and the light illuminating the area immediately beyond is easily extinguished by the switch beside. Vilnia, commander of the Mechanist guards within Angelwatch, can be found talking to one of her men in the southeastern corner of the ballroom. They are standing close enough to the eleva
tor that despite it being possible to reach the sixth floor using it, remaining undetected presents a significant challenge.

Largely empty of people, the party having clearly broken up some time ago, the majority of the sixth floor is in darkness, the few pools of light from the overhead lights easily avoided. The ballroom floor  is composed of tiles of what looks like marble or some other hard stone. Garrett’s footwear will make crossing it stealthily a laborious process, fortunately there are large wooden tiles edging the marble around the perimeter of the room. Providing a nice aesthetic contrast to the black and while stone tiles the wood is soft enough to reduce the sound of your movements, enabling you to circle the room without drawing unwanted attention.

A large fountain dominates the centre of the room, providing a thematically consistent means of  breaking up sight lines. If you choose to brave the tile floor there are a few piles of coins to be recovered from the water at the base of the fountain, possibly at some point during the night’s festivities somebody mistook it for a wishing well.

Moving left from the doorway the wooden tiles run the length of the north wall, staying on them will take you past an arrangement of empty chairs toward a pair of guests. They are standing near what would be the eastern fireplace, all but one of the chimneys on this floor being closed off and hung with Mechanist banners instead. A woman and a man, the latter has a coin purse on his belt though, as somebody has pushed a chair against the wall near them, in order to acquire it you will need to risk moving across the marble floor; this is the type of situation were a Moss Arrows would be perfect though the one hundred gold coins in his purse might not be worth expending resources to obtain.

Near the opposite wall, on the far side of the fountain, a Mechanist worker bot sits watching over a selection of instruments. Of the three only the harp can be interacted with, though Garrett isn’t exactly blessed with musical talent. The flute and horn arranged next to the harp can neither be played nor stolen which does bring up the question of why the Worker Bot chose this place to sit? If it had been one of the Servants standing in its place the knowledge that they were once people would have given this little tableaux an extra layer of melancholy.

South of the instruments the gramophone on this floor can be found in its customary position on a table beneath a portrait of Karras. This is the final recording in the sequence of six though it is unlikely to be the sixth recording you will have found. Starting with an audible record scratch the message goes on to explain how the Servants that have been gifted to each of the guests will have arrived at their properties by the time those guests return. Karras also explains that occasionally the Servants will need to return for “small adjustments” and will do so at the signal from the “guiding beacon”. These are aspects of their construction and design that will prove to hold great importance for the conclusion of The Metal Age.

Approaching the gramophone will likely trigger a conversation between Vilnia and her subordinate. He is distinctly unimpressed with the manner in which Karras is treating the nobles of the City, people he deems “unworthy”. Vilnia is quick to reassures him, reminding him of Karras’ ability to control the Servants at his whim and making the first mention of “rust gas” and referring to the Servants as “weapons”. This is the most explicit acknowledgement yet that the Servants are a vital part of the Mechanist leaders plans.

Once their conversation has been concluded Vilnia will head towards the stairs and the fifth floor, if you intercept her on the way you can steal a key from her which will make gaining entry to Karras’ office easier. Given that the conversation between her and her fellow Mechanist can trigger when you are close to the gramophone one way to avoid the recording  drowning our their conversation is to allow the latter to initiate and then return to the landing. From here you can remain in darkness and still hear what is being discussed. Vilnia will pass through this area on her way downstairs and can easily be relieved of her possessions, once this has been done you can return to the gramophone to listen to Karras’ recording, before following her down to the fifth floor.

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Securing the key to Karras’ office from Vilnia will make things easier when you reach the fifth floor. Allowing Vilnia to remain conscious after you’ve secured the key is optional.

The fifth floor is the busiest of any within Angelwatch, it is also the most self contained with a kitchen, dining room and private bed chambers, along with his office. The fifth floor appears to contain everything Karras might need to maintain his position as head of the Mechanists without ever leaving Angelwatch. With the Mechanist founder absent those left on the fifth floor are primarily guests who have yet to retire for the night, along with a trio of guards. Two of the latter follow strict routes which can be observed and predicted the third stands immobile outside Karras’ office. The guest are prone to wander at a whim and care must be taken to avoid running into them accidentally.

From the landing a series of right angled turns block the majority of the fifth floor from view, the patrol of one of the Mechanists on this floor will take him right out onto the landing though the shadows against the western wall of the corridor provide enough concealment to avoid detection.

Along with being the busiest Angelwatch’s fifth floor is also its most spatially complex unlike the floors below,  where space is taken up by the large central atrium, the rooms and corridors of the fifth floor fill all the available space. Though many of the rooms on this floor can be entered through multiple doors, they all open onto one of the long, regularly patrolled corridors. The presence of mobile NPCs either in the corridors or the rooms themselves encourage observation and a slower pace; such a methodical approach to exploration will be rewarded as alongside the Objectives you will need to complete on this floor, there are more secrets to be found here than in all the other floors of Angelwatch combined.

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From the fifth floor landing there are three right angled turns before you can even see the main corridor of the fifth floor. Rounding each corner provides an increasingly more complete view of the space ahead.

The hallway from the landing ends in a ‘H’ shaped junction, a closed door blocks the way ahead while a short corridor leads further into the fifth floor; before branching into two further corridors leading to the east and the north.

Through the door to the east is a roughly ‘L’ shaped room within which Vilnia can be found if you have followed her down from the sixth floor. Though this room is lit with electric lights mounted on the walls the NPCs that reside within (a male noble and potentially Vilnia) stand with their backs to the room. This space is on the route of a wandering noble woman in a red dress and at the Mechanist who patrols out onto the landing, fortunately the carpeted floor will allow you to rapidly move to avoid their detection should any of the doors open unexpectedly.

The door immediately to the south opens onto the main east to west corridor of the fifth floor opposite the locked and guarded door to Karras’ office. Unless you plan to deal with the Mechanist guard directly it’s better to avoid entering the corridor through this door. Beyond the door a noble man stands in front of a small table, upon which are two golden cups that he will remain oblivious to the sudden disappearance of; he is equally nonplussed by the separation of him from his purse and the fifteen gold coins it contains.

Beyond him an interior wall extends into the room narrowing it just before it extends out to the northern wall; a second table is positioned below a window in the exterior wall. The journal on the table details the names of those in attendance. Interestingly, despite their protestations to the contrary, the Rothchilds were in fact invited though for whatever reason the invitation never arrived. Also invited were a number of other nobles whose names may be familiar, including Lord Bafford first encountered in the opening level of Thief: The Dark Project. One name that will not be familiar, at least not yet, is that of Lord Gervaisius; this Mechanist support will become more important as events unfold leading to a series of visits to his home.

Opposite this table, in the corner created by the space taken out of the room, a door to the south opens onto a small darkened area at the end of the main corridor. The dining room is through a set of double doors to the east, while the kitchen can be accessed by the door on the far side of the corridor. Despite being passed through by both a metal Servant and the wandering noble woman, this space is dark enough to remain concealed provided you don’t block their path. This darkness at the end of the main corridor will allow you to observe the door to Karras’ office and the guard standing outside; from here a Gas Arrow can swiftly render him unconscious, alternatively a Noisemaker or other thrown object can be employed to draw him away from his position. Care should be taken with the latter tactic as sometimes the Mechanist will not correctly reset to his previous alertness state once he returns to his position outside Karras’ office and this can make it much more challenging to leave the office without being detected.

Through the double doors to the east the dining room is now empty, within a gramophone has been placed at the head of the table. Karras is clearly still having problems with the technology as the recording skips several times before beginning properly. The fourth in the sequence of six this recording see Karras become explicit about the origins of the metal Servants he has gifted to his guests, their transformation was not a matter of choice; his nasal tones showing rare emotion as he describes their former lives, the idea of such an “useless” existence disgusts him.

One of the Servants, this one noticeably smaller in stature than the others you may have encountered, walks between this room and the kitchen to the south. Nothing is made of the different size of this Servant though given their origins it is plausible that not all of the Servants were adults when they were mutilated.

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Karras has no compunctions about discussing potentially disturbing topics while others eat. The truth of their origins casts a sinister light on the much smaller framed Servant who walks a route between the dining room and the kitchen.

The eastern fireplace is open on the fifth floor its fire providing the main illumination and presumably primary heat source for the kitchen. Just inside the door a fully grown Servant stands with his back to the door, easily avoided, he will search for you if you make a noise within the kitchen. A hole in the floor directly to the south of the fireplace connects to the vents that run throughout the building making this both a potential entry point onto the fifth floor and a means of rapid egress once your Objectives have been completed.

On the southern wall of the kitchen a door opens into another corridor that runs the width of the building behind Karras’ office, from his private chambers in the southwestern corner to the elevator in the southeastern. Beside this door a note has been affixed to the wall, this is a duplicate on the second floor detailing the deactivation of the mechanical security devices and the placement of a guard outside Karras’ office.

The southern corridor can also be reached from the store room off the kitchen, the darkness within making this a good place from which to observe the movements of the noble woman and the Mechanist guard who regularly move through this area. The space between the southern fireplace and the elevator is well lit with a clear line of sight along it’s length. Though there is a dark area around the kitchen door than can be hidden in while waiting for the elevator to arrive attempting to reach the fifth floor using it  means gambling that neither the Mechanist nor noble woman are anywhere along the corridor.

Further along the corridor to the west, opposite the southern fireplace a door opens into a small and apparently empty closet. If you look between the interior door frame and the wall you will be able to spot a switch that once pull opens a concealed panel in the back wall of the closet, the wall shared with Karras’ office. Inside this secret compartment are the controls for the Wall Safe Alarm, switching this off will prevent the alarm from triggering when you use the safe in Karras’ office making the escape from Angelwatch easier.

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The chest at the foot of the bed contains only a metal mace, it seems Karras has little regard for worldly possessions.

In the southwestern corner are two rooms with unusual layouts; the smaller bedroom appears to have been created by taking an irregular shape out of the larger study. Spartanly furnished but with distinctively patterned walls these two rooms are clearly for somebody important, and with Vilnia having her own chambers on the second floor it seems likely that these are the private chambers of Karras himself.

The doors to both these rooms are locked, the key hanging from the belt of the Mechanist who patrols this part of the fifth floor; he will use it to open the door to the study and make a brief survey of the room before returning to his patrol. You can use this opportunity to sneak in behind him and should you get trapped on the wrong side of the locked door there is another key on the study floor beneath the desk.

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Opening the safe in Karras’ study will trigger the appearance of this golden cherub like creature. It’s reaction to you is dramatic and though it will run off it doesn’t raise the alarm or attract any attention to your presence.

There is a locked safe in the rear portion of the study, and within is the latest draft of The New Scripture of the Master Builder, rewritten from its original form as a Hammerite religious text this updated scripture details Karras’ plans imbuing them with divine guidance. This latest draft deals specifically with the Servants and their deployment across the City as instruments of the Builder’s Plan.

Returning to the corridor, two more doorways can be found to the north, each of which opens onto a bedroom. The first is dark, its inhabitant asleep, the key on top of the shelves beside the bed provides a clue as to who this guest is, Lord Carlysle. The inhabitant of the second room is still awake and can be found standing in front of the western fireplace; as he is known to be in attendance this has been presumed by some to be Lord Bafford himself though there is little evidence to support this (personally I like to think it is him).

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As on the floors below the lighting creates a diagonal pattern of light across the floor, allowing you to move from one side to the other while remaining concealed. Entering Lord Bafford’s room will require you to risk being seen however.

Between the two guest bedrooms on the opposite side of the corridor is an alcove within which stands a statue, a closer look at the head of which will reveal one of its eyes to be a button. When pressed this button will unlock and open a secret compartment opposite Lord Carlysle’s bedroom inside are a Gas Arrow and a Mine alongside a pair of potions; if you have failed to deactivate the alarm in Karras’ office these may come in useful during your escape.

With your other Objectives complete it’s now time to enter Karras’ office and locate whatever you can relating to the ‘Cetus Project’. Observation and timing will allow you to avoid everybody but the static guard outside, and if you have obtained the key from Vilnia the locked office doors should present no problem. As well as the expected desk Karras’ office contains yet another gramophone, once you listen to it you will understand exactly who the “special guest” mentioned in the note to Vilnia was; Karras has been expecting you.

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Karras may have predicted Garrett’s arrival yet he remains confident in the ability of his security devices and Mechanists to ensure his “departure”.

Behind Karras desk is a picture of an island dominated by a lighthouse. The only painting within all of Angelwatch not of Karras himself it immediately draws, the eye the blue of the water contrasting sharply with the browns of the wall. A switch on the underside of the desk will slide this picture aside to reveal a wall safe and the plans for the ‘Cetus Amicus’. These plans list the location of the project as Markham’s Isle and it’s possible this is the island in the picture. If you have not located or disabled the Wall Safe Alarm operating the button under the desk will trigger alarms throughout the building. Along with making escape from Angelwatch difficult triggering this alarm will also result in a number of Mechanist guards waiting for you on the rooftops beyond, including a Crossbow guard outside the vent access hatch.

In order to finish the level you will need to return to the bell tower where you started, the quickest way is via the Shemenov Estate, especially if you have already dealt with the guards within. With the knowledge of Karras’ plans in hand its now time to do something about them.

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