The first issue of Sneaky Bastards: The Stealth Gaming Magazine is now on sale, available to purchase in either .PDF or print editions the magazine features 100 pages of full colour ad-free content on Arkane Studios’ Dishonored. Alongside interviews, a stealth focused review, and critical commentary, the magazine features 48 pages of level design analysis from me on every level in the game and the two Daud focused pieces of DLC (The Knife Of Dunwall and The Brigmore Witches). This analysis takes a similar form to my own Groping The Map content, and that I have already been producing on Thief II: The Metal Age for the Sneaky Bastards website, albeit more focused and condensed to better fit a magazine format.
The Fullbright Company’s Gone Home is a game with a very specific legacy. Beyond simply the referential filing cabinet code, this is a game that strongly evokes the storytelling techniques and style of Looking Glass Studios.
Nearly twenty years ago System Shock was released, allowing players to explore and uncover the fate of Citadel Station and its inhabitant; and witness the birth of the unforgettable SHODAN. At the time convincing interactions between players and human characters was challenging. As a means of sidestepping that problem Citadel Station was depopulated, everybody was either dead or had become horrific monsters incapable of coherent discourse. The events onboard Citadel Station were there to be discovered in what its inhabitants had left behind: scattered audio logs and environmental detritus.
In the intervening years other methods have been used to deal with the challenge of interacting with other characters. In Thief: The Dark Project and its successors the City was inhabited, instead it was the player’s role as a thief that discouraged and limited the means of interacting with those characters. Gone Home revisits the method employed by the original System Shock to overcome this still challenging problem, though the Greenbriar home is simply empty, rather than filled with dead bodies, the result is the same.
The Greenbriar home is littered with environmental details, the story of what has happened to your family in your absence is told through notes written to friends, and the placement of specific objects in specific places. It’s a game about environmental storytelling and narrative archeology. The story of the Greenbriar family is developed using the same tools that you use to explore the history and events on board Citadel Station.
Sam’s journal entries, uncovered gradually and potentially out of chronological sequence are, in functional terms, audio logs. Their placement and that of the other environmental details within the house is a way of matching physical exploration to temporal exploration, each area of the Greenbriar home that is unlocked, moves you forward in time through the events of the last year. The same mapping of chronology to physical space can be seen very clearly in BioShock 2 (a game which the core member of The Fullbright Company worked on, and one that itself is heavily indebted to the storytelling and design techniques of earlier games like System Shock). Each area of BioShock 2 represents a different stage in the life of Eleanor Lamb, from her birth and early childhood (Ryan Amusements) to her time spent under the care of Grace Holloway (Pauper’s Drop), through her time as a Little Sister and her eventually recovery and the experiments that were performed on her as a teenager (Fontaine Futuristics and Outer Persephone).
In both Gone Home and BioShock 2 (and of course the previous System Shock games before them) the further onward the player explores physically the more recent the narrative elements within the environment become, until the final moments where the past and the present meet, and the two strands of the story merge.
Consider System Shock 2, the closing stages sees you explore the biomass of The Many while listening to the breadcrumb trail of audio logs recorded by Doctor Prefontaine; at this late stage the past (as represented by the audio logs and other environmental details) and the present are barely minutes apart, in fact you arrive just moments after the doctor meets his fate as recorded in his final audio log. The same experience occurs in the attic of the Greenbriar house, the past as narrated by Sam and the present as explored by you as her older sister Kaitlin, are barely moments apart until, discovering the final journal entry, the final gap between past and present is closed the two threads knitting together.
That gap, that space around and between that which is known is at the heart of what gives this form of storytelling its power. Gone Home and System Shock, these are games about space; not simply physical spaces, the Greenbriar house and Citadel Station, but the space between, the things not said. The entire story of what happens is never revealed explicitly, instead you discover isolated moments of it in the form of an audio log or a written note, the space between those pieces and the other pieces of narrative you collect is left for you to fill. The order in which you discover each piece is controlled somewhat through gating and the mapping of physical space to temporal chronology however it is never enforced, you might miss a piece of information or discovering it out of order and this will change your understanding of the space formed by these pieces.
It is narrative by suggestion and inference, there are specific points that are defined but the space between them, the context in which these things occurred is for players to determine, and potentially reevaluate as new information is presented. In Gone Home, you can discover letters from your mother Jan to her friend Carol, discussing Ranger Rick who has just been transferred to work with your mother. You never know explicitly what your mother’s feelings are towards Rick though you can infer them from the suggestions of Carol and other things you discover within the environment; like the perfect evaluation Jan gives him along with the recommendation that his temporary transfer be made permanent. The implication that your mother is having an affair with Rick (in intent if not in deed) is clear, however this is a context that is fluid and open to interpretation and reexamination. One of the strongest indications of there being some form of relationship between Rick and your mother is the discovery of a book of Walt Whitman erotic poetry under her side of the bed within is a bookmark with a handwritten note by Rick. In the context in which these pieces of information are first discovered the inference is that Rick has given this book to your mother, however there is nothing to confirm that the message on the bookmark is referring to this book and not another; in fact given subsequent discoveries about the relationship of Rick to his girlfriend, and that of your parents it’s entirely possible, potentially even more likely, that the bookmark was referring to a different book entirely and that the presence of the book of erotic poetry in your parents room has an entirely different connotation.
This recontextualizing of information based on new insights is far from exclusive to Gone Home, though it is another aspect common to games of the Looking Glass Studios legacy. Early in Thief II: The Metal Age Garrett is asked to break into Shoalsgate Station and plant evidence against a member of the City Watch, when Garrett begins to question the task he is “distracted” by a bag of coins. Over the course of this mission things are learnt about Lieutenant Mosley (the woman who will benefit directly from the smearing of her colleague) that suggest she is not the most effective member of the City Watch when it comes to dealing with the Pagans. Only later will you discover that she is herself a Pagan working for the wood nymph Viktoria and though it is never explicitly explained this knowledge recontextualises the visit of Shoalsgate Station almost entirely. The appeal to Garrett’s avarice and hubris to distract him and ensure his cooperation is the same technique employed by Viktoria in Thief: The Dark Project, and every action you took within Shoalsgate has served to get one of her loyalists into a position where they could eventually assassinate Sheriff Truart. New information has recontextualised something that on the surface seemed like a simply case of internal politics and betrayal.
The techniques employed by The Fullbright Company in Gone Home have a long tradition, that can be see not only in games from Looking Glass Studios itself but also those influenced by them. That these techniques can be used to tell the story of both the horrific events of SHODAN’s birth on Citadel Station to the simply and honest tale of a Greenbriar family in mid-90s Portland, speaks to the strength and latent emotive power of these relatively simple techniques. To the potential that exists within those spaces between.
In order to promote my work on Groping The Map: Book 1, I have decided to release a .pdf sample of the first nine pages of the chapter on Nova Prospekt from Half-Life 2. Consider this a “vertical-slice” of the book, as you can see I have made some changes from the traditional format that the articles had when posted directly to this site. I’d greatly appreciate any and all feedback on this sample and please feel free to share this as widely as possible.
In addition to this sample of previously unseen work I have complied the three existing Groping The Map articles into .pdf files for easy distribution, they can be found here, again feel free to share as widely as possible:
Additionally I, along with a collection of other really smart writers have started RunJumpFire. I have a new weekly column there called Design By Example where I analyse one specific game mechanic or mechanism each Wednesday. Currently I have articles up on Deus Ex: Human Revolution and Super Metroid, forthcoming this month are articles on Dishonored and Alpha Protocol, the column archive can be found here.
“Greetings, Garrett! Thou art expected, though not precisely… welcome.”
Coming two thirds of the way through The Metal Age the infiltration of Angelwatch in Life Of The Party would make a fitting location for the finale. Unlike the actual final level the Mechanist tower of Angelwatch was foreshadowed as far back as the second level, Shipping and Receiving, and for The Metal Age to conclude here would not have been inappropriate. This is not the end however and there are still great levels to come before the finale in Soulforge; that doesn’t stop Angelwatch from serving as a conclusion of sorts. The journey from the streets of Dayport to the Mechanist tower is symbolic of the change in the forces of antagonism from Sheriff Truart and his City Watch to Karras and his Mechanists. From this point the final five levels will see a greater focus on Mechanists and their supporters over the citizens of the City; Life Of The Party is the final time in The Metal Age that you will set foot in the City itself.
The story arc that started with Sheriff Truart’s clampdown on the “unlawful” is over, his death at the hands of Viktoria’s agents serving to bring to light the true danger facing the City. The threat once posed by Truart is nothing compared to what Karras has in mind. The shadow of the Mechnists’ plans falls across everything that has come before, yet the true extent of Karras’ machinations is only revealed once you reach Angelwatch.
With Viktoria’s slightly improved Vine Arrows to replace the Rope Arrows Garrett’s inventory is complete liberating the final third of The Metal Age to throw everything it can at him. Life Of The Party feels huge, the size of a level is not always an indicator of its overall quality yet here that scale is used expertly, a careful player can take a hour or more to reach Angelwatch where they will find there is nearly as much space within that single building as in the City streets surrounding it, and then they have to make their way back possibly while harassed by Mechanists.
This is Thief level design at it’s smartest, sprawling environments make for complex problems but by isolating each one within natural and consistent boundaries (household guards are responsible only for their building) it breaks the complex problem into manageable portions that can be dealt with individually. The logical separation of each building means this division of the level into pieces occurs almost invisibly. Form and function in perfect alignment. The discrete problems of the Thieves’ Highway can be dealt with on your own terms whereas inside Angelwatch you will need to be reactive, improvisational. Where the City is constructed from mismatched brick and wood illuminated by easily dowsed torches, Angelwatch is constructed from metal and stone, and lit predominately by electric lights. Wandering NPCs, blind corners and closed doors limit your ability to plan forcing you onto the back foot. A master thief when roaming the City Garrett is but a hunted insect inside Angelwatch.
Standing in the middle of Dayport one of the richest districts of the City, Angelwatch is an imposing statement of the Mechanists’ power and influence. It is also strangely devoid of purpose, six stories high yet with only a small chapel and office providing space of any clear utility Angelwatch is a façade. Too much of the building has been designed with a focus on presenting a particular image of the Mechanists rather than as a building with a function. Too many of the rooms appear designed for guests rather than the Mechanists themselves who have little use for carpeted floors or ballrooms. Compared to the Mechanist Seminary you will have visited earlier Angelwatch is an architectural billboard, a way of showing off the glory and power of the Mechanists while actually revealing very little.
If the level had begun on the rooftops within sight of the Mechanist tower it still would have felt like a complete experience, by extending out the surrounding areas of the Dayport district the impact of that first glimpse of Angelwatch is magnified. Though you will have infiltrated larger buildings over the course of The Metal Age those, like the First City Bank and Trust, were isolated locations divorced from the rest of the City. Dominating a portion of the City, towering over everything around it Angelwatch is large but in comparison to the buildings you will have passed through in order to get here it looks gargantuan.
Levels set in multiple locations, such as the Dayport sections of Life Of The Party can feel of a lower fidelity than those in set within a single specific place. The rooftops are rife with locked doors and inaccessible areas, while within Angelwatch every internal door can be opened, every room explored.
Life Of The Party show the disjointed view of the City as seen by a thief, moving through a few rooms of one building just to get into another, banks and castles and apartment buildings compressed together, rooftops repurposed as shortcuts, windows and skylights used as entrances and exits. None of these buildings are seen in their entirety there is just enough to provide a hint of its purpose. The mundanity of life within the City witnessed through the moving lens of the thief; the journey through Dayport is an impressionistic one, a brief patchwork of sights and sounds that leave the sense of having explored an entire city district. Then, climbing out of the window of one building onto the rooftop of another there it is, Angelwatch: complete, assertive, modern. Like an Art Deco portrait in the middle of a Impressionist landscape this new presence in the City is jarring and impossible not to react to; the Mechanists are here.
Life Of The Party is not the introduction to the Mechanist Order or it’s mysterious leader, it is instead a reframing of the Mechanists from shadowy conspirators operating at the fringes of society to direct antagonists. It could have been made differently, separated from the City the infiltration of Angelwatch would still have made for a strong level, without the Mechanist tower the rooftops of the Thieves’ Highway could easily provide the layout for a myriad other levels; much as the City streets played host to both Ambush! and Trace The Courier earlier in The Metal Age. It could have come at an earlier point, maybe replacing Eavesdropping and seeing Garrett sneak into Angelwatch to overheard Karras’ meeting with Truart in his office. By occurring when it does, in the way it does Life Of The Party achieves with space a statement that would have felt clichéd if put into words. The Mechanist are taking over the City and their ways are not the old ways, now they have arrived nothing will be quite the same again. Only when directly juxtaposed with “normal” City life do the extremes of the Mechanist doctrine become real. A grand edifice looming over the streets and rooftops of Dayport, Angelwatch is for all its imposing visage still strangely artificial, much like the religion of Mechanists it has been created in the image of one being, not the Master Builder who they profess to serve but Father Karras.
NOTE: A comparison of Life Of The Party to the earlier version The Uninvited Guest is forthcoming, though there is no set time frame for that yet.
- Life Of The Party is the work of Designer Emil Pagliarulo.
- Thief II: The Metal Age is the work of Looking Glass Studios (Now closed). It was published by Eidos Interactive, now a subsidiary of Square-Enix.
- Additional material on Thief: The Dark Project, Thief II: The Metal Age and Thief: Deadly Shadows was obtained from Thief: The Dark Wiki.
“These are strange times indeed when the builder’s chosen must cater to the folly of the unworthy.”
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.
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.
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.
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.
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.
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).
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.
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.
In any simulated system there are boundaries, points at which the model being used breaks down, where player behaviour is no longer accounted for. The most obvious of these are the physical boundaries of the game space, the chasm too wide to cross or the wall too high to climb. To a large extent the methods for dealing with these physical boundaries are well developed and understood; though it’s still not uncommon for the occasional invisible wall to appear blocking progress along what looks like a valid route.
Another form of boundary found within the simulated systems of video games are those between supported player actions and unsupported player actions. In his GDC 2004 lecture (.zip file) on the subject Clint Hocking details three ways in which a game can deal with this type of simulation boundary. They can either “extend the design” by adding additional abilities so as to extend the bounds of the simulation further; “support the failure” by allowing the simulation to break but providing alternate means of progress; or “end the game” with a game over screen or a similarly absolute resolution.
Each of these approaches has its benefits and drawbacks, extending the design offers more possibilities to the player but is little more than a way of moving the goal posts. Supporting failure again serves to provide additional possibilities as success at a given task is no longer the only means of progression, unfortunately supporting all failure states can lead to actions feeling like they have no consequence. Ending the game has the benefit of being the clearest means by which to resolve player action at the boundary but it is also the most artificial and heavy handed.
In a recent article on Dishonored, Robert Yang describes a way in which that game deals with a simulation boundary he encountered within the opening moments. My initial reaction to this criticism was that it seemed petty to criticize what is ostensible a tutorial for limiting player agency for the sake of teaching something. This was narrow-minded of me, Robert is raising an interest point about the manner in which Dishonored handles simulation boundaries, and how that compares to the games it is drawing its design influences from. Instead of softly accounting for any errant behaviour and shepherding players back into the supported space Dishonored instead chooses to set a hard boundary identified in some instances by an explicit game over screen. It’s a choice that, as he points out, runs contrary to the approached traditionally adopted by the “immersive sim”. Instead of extending the design or supporting failure as the likes of Deus Ex and System Shock do Dishonored instead resorts of ending the game when certain boundaries are crossed.
The benefit of such an approach is that the feedback is clear and unambiguous: this is an unsupported action, refrain from attempting it again. The same hard boundary can be enforced at many different points at the limits of the simulation, any actions that are unaccounted for can be dealt with in the same absolute fashion. A benefit of this approach is that it avoids one of the problems associated with softer boundaries which is that of repetition of behaviour If I perform an unsupported action once, such as jumping on an NPC’s head, it makes sense for this to elicit a response. Consider the Metro Cops in the opening sections of Half-Life 2. When you throw something at them, or otherwise antagonize them, they will push you back and tell you to stop, if you persist they will draw their stun batons and beat you. That is as far as the simulation allows them to go, you can keep throwing things at their head and keep getting beaten for as long as you like nothing further will happen.
When considering the different ways in which games like Deus Ex, Thief and Dishonored deal with simulation boundaries what stands out is that the times at which these games resort either to hard boundaries, or explicitly limiting player behaviour is when players are required to interact with other characters. It comes as little surprise then that the series that relies most on resolving boundary infractions softly is System Shock, where there are no living characters with whom the player can directly interact.
In Dishonored the approach of presenting a hard boundary is exclusively reserved for dealings with NPC’s, specifically those the game has identified as allies. Dishonored is attempting, by means of hard simulation boundaries, to establish an identity for it’s protagonist Corvo Attano. This is why these boundaries are most obvious in the the prologue section (where Corvo is still the Lord Protector and the Empress is still alive), and in the Hound Pits sections between missions. Certain parts of Corvo’s identity are defined, certain parts are not and the way Corvo treats the people deemed to be his allies is part of the former and something the player has little influence over.
Dishonored‘s design metaphor (that of being a supernatural assassin) doesn’t effectively account for Corvo having allies. As an assassin he only really has targets, and characters or objects that are preventing him from reaching those targets. Though appropriate fictionally even the notion of a non-lethal means of dealing with his targets starts to push at the bounds of that design metaphor. In the missions themselves where there are no explicit allies the approach Dishonored takes to simulation boundaries is to support failure. One of the side effects of which, as Clint Hocking describes, is that this serves to makes the game easier, there is almost always an alternate means of performing a required tasks or reaching a specific objective.
Corvo, and by extension the player, is assumed to be acting in the interests of the Loyalists even if they are not shared interests. This leads to the perception that the only meaningful actions are those related to people you are not required to be nice to, these are the only ones where player actions remain largely unrestricted and thus have direct consequences. In Dishonored the way you treat your “friends” is largely irrelevant. You are only judged by how you choose to treat people you don’t need to treat well.
For all that has changed in game design in the thirteen years since System Shock 2, games like it are still using conceptually similar means of dealing with living characters. These hard boundaries and limits on player agency are inelegant and often binary solutions that are jarring when set beside the softer less absolute means by which other forms of player behaviour are handled.
“To serve the nobility is the highest privilege in life of course but slavery is just so… distasteful.”
Annotated Walkthrough, 6:
Without the option to read the books sitting upon the shelves there is little to determine if the library of Angelwatch was created to serve a functional purpose or whether it exists merely as ornamentation for visitors. At least one Mechanist appears interested in reading the collected works, he might just be easily distracted but the Mechanists have already shown themselves to be more professional than the household guards regularly encountered throughout the City.
Regardless of his motivations the single Mechanist on this floor is easily avoided. Entering the library from the third floor the more obviously safe route lies to the west keeping to the shadows against the wall and away from the Mechanist. Staying in darkness and moving pass the bookcases in the southwestern corner of the Library will lead you to the foot of the stairs and your means of access to the fourth floor. Despite the shadows it is sensible to move slowly through this part of the library as a Worker Bot can frequently be encountered amongst the shelves at the bottom of the stairs. Detectable by the mutterings it makes to itself the Worker Bot is a smaller companion to the Combat Bot. Unarmed and blind until they have heard a noise Worker Bots will immediately flee to sound the alarm upon confirmation of a threat. Fortunately there is not always enough space for the Bot to maneuver through this part of the Library and it can frequently be found stuck on the geometry, and is thus easily avoided. When it is not getting stuck the Bot walks a patrol that in general takes it through the third floor, down the stairs to the second floor and back again. When and where its patrol crosses paths with that of other wandering NPCs will determine where it is likely to get stuck on walls and steps. The jostling two NPCs partake in when attempting to move through the same narrow space can often be enough to nudge the Worker Bot into a position from which it cannot free itself. Unfortunately when it is stuck in such a way it cannot be deactivated with a Water Arrow to the boiler, it will also still react to noise and if it detects anything the change of AI state has the effect of breaking its paralysis and it will merrily stomp away to raise the alarm.
Carved from stone, and partially illuminated, the stairs to the second floor of the library, (the fourth floor of Angelwatch) don’t immediately present the most inviting route, thankfully there are other options. As with any hard surface, Moss Arrows or moving slowing will enable you to reach the floor above undetected, though looking up presents additional possibilities. Paneled in wood the library ceiling is a perfect target for a Vine Arrow, or two, bringing the walls of the upper level within reach.
The next gramophone recording can be found on a table against the west wall, along with yet another portrait of Karras. By this stage you’d be forgiven for sensing a degree of narcissism from the head of the Mechanists. It’s possible, and likely, those portraits were hung exclusively for the night’s festivities yet they do seem to have been given just as much prominence as any of the many religious icons on display inside Angelwatch. It doesn’t seem like happenstance that there is a portrait of Karras hanging in the Mechanist Chapel, the Library and as the first thing visitors will seen upon entering the main concourse. Karras’ elevation of himself to a position of equality with the Master Builder is a theme that will become more noticeable in subsequent levels as the Mechanists take on the role of primary antagonist over the now deceased Sherrif Truart.
The bookcase adjacent to the gramophone table will allow you to initiate the recording while remaining hidden from the noblewoman and her strange companion; and as with the other recordings neither of them react to it starting again apparently of its own accord. The fourth recording you will have heard, this is actually the second recording of six and will shed some light on the “Servants” Karras mentioned in the recording found in the Chapel on the second floor. While describing the various tasks the Servants are suited for there is a noteworthy pause before the final task “gardening”, at this stage it is meaningless and may well go unnoticed. Only in the final few levels of the game will the relevance of his pause become significant. It is also not the only time the Servants ability to serve as gardeners will be referenced during your visit to Angelwatch.
Scant feet from where you are standing the noblewoman’s strange companion is one of the very Servants Karras is referring to, Servants he has provided as a gift to his guests the very richest citizens in the City.
These Servants lie at the heart of Karras’ grand plan, and his apparently generous act of gifting them to the noble houses of the City is merely a means of ensuring they have access to the extensive gardens likely kept by the City’s richest. Installed within the body of each Servant is a device called The Cultivator which, when triggered by a signal from Karras, will emit a substance known variously as either Rust Gas, Necrotic Mutox or The Breath of The Builder. This substance consumes all organic matter it comes into contact with creating a rust like compound and more of itself. By seeding these Servants within the large gardens of the City Karras hopes to start a chain reaction that will produce a cloud large enough to destroy all organic life, thereby converting the City into the Builder’s Paradise.
Events witnessed by Garrett within Angelwatch foreshadow a plot reveal that will not occur for a further four levels.
Even without this foreknowledge the Servants themselves are unsettling, having already listened to the recording in the Chapel you will know that they are not entirely mechanical in nature and were once members of society, those deemed troublemakers and vagabonds but still, humans not machines and certainly not whatever they are now. When they speak the dual nature of the Servants is unmistakable, there are clearly two separate voices, two distinct identities existing under that single immobile mask. A subdued voice, often of a girl or young man can be heard begging for help, for forgiveness, this entreaty is then echoed by a second more composed, more artificial voice. Whether the first voice is meant to indicate that something of what the Servants once were remains, or whether it is simply a remnant, a ghost, is not clear though the second voice clearly belongs to the dominant identity as this is the one that takes over when the Servant becomes suspicious or alerted.
Exit from the library can be found in the northern wall, almost directly above the door on the floor below. This door opens onto a brightly lit corridor running east to west. The library side of the doorway is in shadow though not enough to entirely conceal you from the noblewoman and her companion so it may be necessary to make a decision between potentially arousing their suspicion or moving through before you are certain of the safety of such an act. Of course, there is always the option to lean into the door and listen for the footsteps of any NPCs that might be moving around this corner of Angelwatch’s fourth floor.
Having already encountered one on the floor below, and considering the party supposed to be taking place tonight, it should come as little surprise that there are more civilians on this floor, and they are move active. In fact there are more people on this floor than on any of the those you will have previously visited.
In the wall opposite a door opens onto a room containing the western fireplace. Its carpeted floor and the shadows cast by the fireplace make this a good place to pause for a moment, especially if you have timed your exit from the library badly and nearly walked into either one or both of the patrolling guards on this floor.
Opening the door will have triggered a conversation between the two nobles standing to the north of the fireplace, though the dialogue has been written as if you have interrupted them mid-conversation. What initially sounds like a conversation about the morality of creating such Servants, quickly goes awry as whatever compassion Margaret may have is quickly eroded by Christopher, and the thought that the Servants might make good gardeners.
When the conversation is concluded the woman will leave via the door to the north and proceed up the main staircase to the sixth floor. It is possible that the man will also leave, though this is a much less frequent occurrence, one I’ve been unable to recreate. This scenario is seen on several occasions throughout Thief. Once triggered two or more NPCs will engage in a scripted conversation, their discussion including some information useful to the completion of your current objectives, or simply providing some contextual grounding to events, upon conclusion one or more of them will begin moving. Keeping these NPCs in a fixed position until their conversation is triggered means that whatever they have to say is less likely to be missed by the player, this is particularly useful if they are discussing events relevant to the current level, as is often the case. Additionally it encourages patience in players who do trigger these conversations as moving away before they are completed will limited their knowledge of where the NPCs elect to go afterward. As with any scripted event foreknowledge can be used to exploit this behaviour, which is a form of player behaviour few games have attempted to compensate for.
Aligned east to west the main corridor on this floor runs the width of the building, and depending on the timing of their patrol routes can be patrolled by either one or both of the Mechanist guards on this floor.
The male mechanist patrols between the fourth floor landing and the elevator at the end of the main corridor, while his female companion walks a route that overlaps with his, taking her from the northeastern tower to the landing and back. Overlapping patrol routes are common in the more challenging areas of Thief, they have the benefit of appearing to be more secure while in fact providing an easily readable security loophole for players to exploit. Two guards patrolling through the same space creates a redundancy, they can no longer be guarding multiple places at once. When they are both in one area the rest of their patrol route will be left unprotected, and when they both leave that area they will not return until they have completed their patrol. If you think back to the main rooms on the previous two floors they were both at a point where the patrols of multiple NPCs overlapped. On the second floor the entrance to the Chapel was a point where the patrols of the Combat Bot and the Mechanist guard overlapped, while the third floor gallery marked a point on the patrol route of both Mechanist Guards on that floor. When both NPCs are in the same room, it presents a challenge but observation of their movements will allow you to find a point in time at which neither of them are in that room and it becomes all but unguarded, a perfect security loophole. This is one of the core principles of level design for stealth games the creation of spaces that appear secure but on examination prove to be terrible examples of security.
East of the library the main corridor is joined by parallel corridor leading to the fourth floor landing. A small metal machine sits quietly in the centre of a darkened alcove to the east. This is one of several areas like this on the fourth floor that several little function beyond being places in which to hide either yourself or the bodies of guards you may have killed or otherwise incapacitated. The position of this alcove makes it a superb position from which to observe the patrol routes of the Mechanists on this floor or from which to ambush the male guard as he rounds the corner on his way to the fourth floor landing.
Unlike the previous floors the main corridors here lead directly onto the landing and the wandering civilians that are a frequent hazard throughout Angelwatch’s upper stories. Fortunately the shadows cast by the lights inset into the walls extend further across the width of the corridor than the similar ones on the third floor. Not only does this allow a cautious player to traverse the length of the corridor undetected, even by a guard bare feet away, it also allows them to open the door in the western wall without revealing their presence. The reaction provoked by a door apparently opening of its own volition is inconsistent but usually the most you will need to deal with is a single reaction line from any NPCs that observe it.
The landing of the fourth floor can easily be one of the busiest areas in the whole of Angelwatch. Triggered upon reaching the third floor landing a young man walks an extended route which may take him from the second floor and the bedroom in the south centre of this floor and back again. At the same time, and triggered by reaching the fourth floor landing itself, a woman in a red dress walks between the library and the second floor There is also the possibility that there will be a third Mechanist Guard on patrol, his route occasionally taking him between the library and the northwestern tower. It can be difficult to ascertain the exact routes these NPCs take as they are extended, include numerous pauses and might in fact change over time. The relative unpredictability of their movements means making assumptions about who will be in a particular area at a given time can prove dangerous. It’s not uncommon for these wandering NPCs to come across hastily stashed bodies, either dead or unconscious, and sound the alarm. As with most hazards in Thief the only consistent solutions are direct intervention, which often leads to an escalation of problems and might not even be viable, or excessive caution. (Note: I studied the patrol routes for these three NPCs and the Worker Bot over the course of hours and I’m was still not convinced I could say for certain what their exact patrol routes were. It was only later that I found out that there are no fixed paths for these particular NPCs they are meant to be unpredictable.)
To the east the balcony extends out over the atrium, opening as it does directly onto the landing, and with a Crossbow Mechanist standing watching on the southern balcony the acrobatic route to the other side of the atrium is less useful it may have been on the third floor.
The optimal time to traverse the main corridor is when the both Mechanists are in the corridor leading to the fourth floor landing, it’s a trivial task to wait in the alcove at the south end of the corridor until it’s time to move. If you decide not to wait there are still ways of avoiding detection. Half way down the length of the corridor an archway to the north opens onto the first of two small rooms which eventually connect to the southern balcony, where the Crossbow Mechanist will be standing with her back to you.
On the opposite side of the corridor an unlocked doorway opens into an empty carpeted room. Directly in front of you is the fireplace against the southern wall, while flanking you on either side a single beds with expensive blue chests at their feet. Both locked these chests contain a health potion and a small stack of gold coins. With the door closed behind you this is a relatively safe room, but leaving it can be a problem if you don’t take the time to find out the position of the guards in the corridor beyond; possibly either through listening at the door or by using a Scouting Orb.
Through the archway a small closet to the east serves as a good place from which to observe this stretch of the main corridor. At the same time its darkened interior, door and position off any patrol routes make it a great place to hide the bodies of dead or incapacitated NPCs.
Faint chanting or choral music can be heard through a further archway to the north, beyond two angel statues stand in alcoves flanking the doorway to the southern balcony. Bathed in light from above the sound seems to emanate from the statues themselves. Whether it is actually chanting or the noise of wind moving through myriad pipes and ducts above is difficult to make out. Directly above is the office of Karras himself where the noise is hard to make out if it is present at all, but on the level above a large fountain dominates the ballroom on the sixth floor where the sound is as strong as it is here. It’s possible ducts connect from the roof of Angelwatch to here and the sound is simply the wind moving through them, or that music is being piped in as part of some religious display, either way the sound is difficult to make out and unsettling for it.
The sound is similar to the industrial droning that can be heard throughout Thief and with no discernible source it can be difficult to ascertain why the sound exists at all. One effect it does have however subtle, is to make the statues and the area around them uncomfortable as if there’s more than simply the sound that is unexplainable.
The patrol routes of the two Mechanist guards diverge at the end of the main corridor just north of the the elevator shaft. As on most other floors the area directly ahead of it is well illuminated with electric lamps, though there are shadows at the end of the main corridor that provide enough concealment to wait out its arrival if you opt to use it.
Following the patrol route of the female Mechanist leads into the northwestern tower with its guest bedrooms, all of which are currently unoccupied. Before reaching them you need to pass the fireplace set into the eastern wall, in the shadows to the south of which is an entry point into the air ducts.
Entering or exiting the ducts on the fourth floor presents the greatest risk, the means of access is scant feet away from an area patrolled by two Mechanists and there is neither a door nor walls to obscure the sound of your footsteps on the metal plating. In an emergency, or when you have already been detected, this still provide a good means of escape from Angelwatch, though there is a more dramatic means of escape just around the corner.
Much like it does on the third floor, the corridor leading into the northeastern tower makes a pair of sharp turns, first to the west and then back to the north where a doorway leads onto the atrium balcony; best avoided if you’ve not dealt with the Mechanict Crossbow guard as the it provides little in the way of concealment. A closed door to the north opens into a modestly furnished bedroom. There’s little of interest within beyond a small coin purse that one of Karras’ guests has apparently left on the table.
Opposite the entrance to the balcony the corridor continues again to the east, before turning north when it runs alongside the external wall, doorways to the west led into a pair of bedrooms, again modestly furnished compared to the likes of Lady Louisa’s suite. The first of these rooms contains a locked blue chest holding the paltry sum of five gold coins, less even that can be obtained from the purse on the table in the other bedroom.
Where the corridor meets the eastern wall of Angelwatch a window has been opened, looking out as it does over a number of deserted buildings this window is not notable for the view; though it does offer a better look at the fate of the drunkard’s companion who you may have spotted earlier. Beyond the window a narrow a ledge runs along the side of the building to a point above the original hatch through which you entered.
Extending out from the wall, atop an angled metal platform, is the giant angel statue that you will have first seen when approaching Angelwatch. With no Slowfall Potions anywhere in the level (Likely to prevent players attempting to reach the streets of Dayport), the drop to the metal below is fatal. It isn’t be until Thief: Deadly Shadows that players have the option of creating their own means of cushioning their falls; shooting a Water Arrow into a patch of Moss causes the Moss to rapidly expand creating a soft carpet which mitigates falling damage. Fortunately there are still options, the metal side of the platform on which the angel stands is made up of a metal grating, into which Vine Arrows will gain purchase. The ability to hold fast on this surface is the single difference between Vine Arrows and the Rope Arrows you will have come across in prior levels. By shooting a Vine Arrow into the grating and taking a leap of faith from the ledge, you can jump the gap, grab onto the Vine and descent it safely to the ground. It’s even possible to perform the same action in reverse, by using the Vine Arrow to climb onto the platform before leaping across to the ledge. Doing so is difficult to and will almost certainly result in you taking damage as you land on the ledge.
It’s likely this is the first example of a grated surface you will have come across in this level so its connection to Vine Arrows might not be obvious, this and the risky acrobatics involved make it doubtful that this will be the primary means of entering Angelwatch for most players.
Back through the window it’s time to continue upwards. Instead of heading straight to the fifth floor we will instead use the main stairs to ascend to the sixth, as visiting the floors in this order provides some benefits that will make things easier when we reach Karras’ office.
“Take some time to appreciate our gallery…”
Annotated Walkthrough, 5:
Mounting the stairs of Angelwatch is an ascent into light. Climbing out of the basement like claustrophobia of the second floor the gas lamps are replaced with electric lights, the bare brickwork hidden behind paint and paper while small balconies, extending into the incongruously well lit atrium, face a large window looking out across Dayport. Initially this change in atmosphere is not apparent, a dimly lit hallway leads from the landing to the rest of the floor. South of the landing this hallway makes two right angled turns in quick succession. Turning first to the east the hallway connects to a balconies, then turns back to the south and continues past a number of doorways to terminate at the door to a small broom closet.
Opening onto rooms and hallways on three sides of the atrium the balconies provide a shortcut across this floor. It might be worth using some Moss Arrows on each of them as the patrol paths of the two Mechanists guards pass close to the entrance to each balcony. In additional, though she is concealed from this position, a Mechanist crossbow guard stands watch on the north facing balcony of the floor above.
To the north a large window looks out over Dayport, there’s not a great deal to see through this window, the large Angel statue obscuring any real view of the city beyond, regardless this single element helps to sell the idea that Angelwatch exists within the larger context of Dayport and the City itself. This is a marked contrast to the way locations are treated in other Thief II levels. First City Bank and Trust for example, is supposedly within the city limits yet it is presented as an entirely isolated construction with no connection to the streets and buildings that apparently neighbour it. The use of a series of city hubs in Thief: Deadly Shadows goes some way toward mitigating this sense of isolation. Locations are accessed directly from the streets of the city, yet the discrete mission based structure of Thief means this is something that cannot be entirely avoided.
Patrolled by a pair of Mechanist guards Angelwatch’s third floor has little in the way of functional territory beyond providing access to one of the recording devices you will need to find. It exists because in a building such as Angelwatch it should exist, it marks a transition between the austere functionality of the previous floor and the ostentation of the upper storeys; more formal than the proceeding floor it is still less luxuriant than those above it. Much like the second floor the predominate colour throughout is grey, though here it is lightened by off white trim, and patterned wallpaper.
Turning south before your reach the balcony you will pass underneath a metal lintel supported by two beams. Visible throughout Angelwatch they serve the logical purpose of providing structural support while the shadows cast from them are deep enough to provide concealment in what are otherwise well lit corridors. On the upper floors these are covered with wooden paneling to conceal the metalwork within though their dual function remains.
The electric light inset into the east wall illuminates the doorway opposite while the shadow cast by the lip of its recess creates a patch of darkness at the base of the wall. Parts of this hallway are patrolled by both the Mechanists guards on this floor and if you wish to explore the room to the west you will need to leave the shadows to do so. The potential risk and reward dynamic created by this use of lighting seems wasted here. The room to the west holds nothing of interest, and its position on the illuminated side of the hallway means there is little benefit to using it to observe the guards’ patrol routes; this task can be performed just as easily from the safety of the shadows along the opposing wall.
This room does contain one object of note, within is the fireplace in the middle of the western wall, a simple element that can help you orientate yourself within Angelwatch.
Further south the next doorway opens to the east directly onto the gallery where another gramophone can be seen, once again on a table beneath a portrait of Karras. This area is referred to by Karras in the recording as the “gallery” though other than his own portrait and a statue of an angel the only objet d’art visible are a variety of cogs and gears. The implication is far from subtle, the Mechanist view of art and culture is myopic to say the least.
Entering from the western hallway, there is another entrance to the gallery on the wall opposite though this one is not directly in line, being instead a few feet further toward the south wall. In the middle of that curving wall a closed door leads into a further room. A female Mechanist guard patrols between this room and the entrance to the Library in the southwestern corner of this floor. The path of her companion also takes him through this room as he patrols between the third floor landing and the bedrooms in the northeastern tower. Next to the gramophone, in the north wall, a fourth doorway leads onto the balcony which looks out directly on to the large atrium window.
With four different entry points, metal flooring and lighting provided solely by electric lamps hanging from the roof, the gallery is immediately readable as a dangerous location. You need to listen to the gramophone recording, but how are you to go about it? The lights cannot be doused so there will be few places of darkness to hide in if the guards enter. The metal flooring will give you away if you move any faster than a crawl, noise that will alert the previously mentioned Crossbow guard currently hidden from view on the balcony above.
Again the options are manifold and depend on both your own preferences and the current difficulty level. With a few exceptions for specific level scenarios Thief II makes no explicit requirement that you maintain a low profile on any of its three difficulty settings, Normal, Hard or Expert. It is possible to directly confront guards and civilians regardless of the difficult selected however on Hard you will fail the mission if you kill any civillians, Expert adds the additional condition that you kill no human enemies of any kind. Though these restrictions limit some of the options available, the tools at your disposal can be used to deal with non-player character in non-lethal ways, either through distraction or incapacitation. Incongruously it is possible get away with indirectly killing NPCs even on Expert difficulty, within your inventory are Frogbeast Eggs, the creatures that hatch from which are effectively organic land mines that explode on contact with a NPC. Two Frogbeasts are enough to kill a Mechanist guard and any fatalities caused by them are not attributed to you therefore circumventing the restrictions of Hard and Expert.
Along with these limits on lethality, scaled increases in the quantity of loot required, and minor changes to the layout of each level, there is one other major change that occurs between Normal, Hard and Expert. Using a system influenced by GoldenEye 007 on the Nintendo 64, each mission requires the completion of certain objectives and as the difficulty increases the number and complexity of these objectives expands. Often completing these additional objectives will require exploration of more of the level, leading to more encounters and potentially requiring the expenditure of more resources. Unlike the other levels in Thief II changing the difficulty for Life Of The Party does not change the number of mission objectives, though the higher loot requirements and the restrictions on killing remain.
Moving slowly and keeping the metal column in the centre of the room between you and any patrolling Mechanists will allow you to move through the gallery without drawing attention to yourself. Once again any NPCs within the level seem oblivious to the gramophone starting to play.
You can reach the balcony adjoining the gallery by jumping from either of the other balconies on this floor, or by descending a Vine Arrow from above if you are visiting the floors in a different order. This balcony provides little in the way of concealment, so if there are still Mechanists on patrol it would be advisable to stand back from the doorway once you have activated the recording, or find some other hiding place within audible range to partake Karras’ discourse on the beneficial nature of a “joyful spirit”. His proclamations on the power of aesthetic beauty finishes with a vague reference to the trustworthiness of the servants which he has gifted to each of his visitors.
South of the gallery is a carpeted room, where a woman in a red dress stands admiring the fireplace positioned in the middle of the south wall. There is nothing of value in this room, though it does mark a point on the patrol route of the female Mechanist guarding this floor. The carpeted floor allows you to move quickly without being detected, making this an ideal position to ambush her. The doorway to the east leads, via a short hallway, to the elevator.
North of the elevator, inside a small room behind a closed door, is the third floor access to the ducts that run through the eastern wall. Directly to the north of this room, the hallway passes the fireplace on the east wall. Flanking this fireplace are two windows each recessed approximately two feet. Only textures these windows provide no view onto the City itself however the shadow formed in the corner of their recesses is enough to hide in. To the north of the fireplace the shadows surrounding the window are much deeper and extend further into the hallway, though reaching them from here will require moving through the section of hallway directly illuminated by the fireplace.
Past the fireplace the hallway makes a series of sharp turns to the west and then back to the north as it moves into the northeastern tower. The physical structure of Angelwatch is such that from the second floor two towers rise in the northwestern and northeastern corners flanking the atrium window and the Angel statue. These towers are only separated for two storeys after which the floor extends out again allowing the fifth and sixth stories to occupy a greater floor space than those immediately below.
While the northwestern tower is given over to the stairwell its counterpart is dedicated mainly to providing bedrooms, most of which are empty. The rooms on this floor are simply furnished and the initial assumption is that they are for what servants are needed to keep Angelwatch operating, of course this is unlikely as Karras’ has his own very specific servants who have little need for sleep. The other possibility is that these rooms are either for Karras’ less prestigious guests or the retinue of those guests who have their own rooms on the floor above.
This point where the corridor opens slightly, a doorway to the west leading onto the atrium balcony, marks one of the end points of the male Mechanist guard. His patrol takes him from the third floor landing in the northwestern tower through the gallery to here then back again. From the opposing balcony it is possible to watch him reach this point and begin his return journey, the opportunity can then be taken to jump across the balconies from one side of the atrium to the other and get behind him.
Of the two bedrooms in this tower the one to the north which opens onto a well illuminated section of hallway is empty, while the room to the east with its door shrouded in shadow is occupied by a single female civilian. Another smart design decision, the placement of shadows around this eastern door allows you to observe the room beyond without having to reveal yourself until you choose to. Though with both doors closed the occupancy of each of the two rooms is initially unknown, the room to the north presenting the more risky proposition.
This northern bedroom is unoccupied and contains nothing of value. Despite their silver appearance the hand mirror and hair brush on the table do not constitute loot, though like all similar items in Thief you will need to pick them up before you can be certain whether they are valuable or not. Thief: Deadly Shadows would later implement a “loot glint” system to alleviate this issue with everything that was worth stealing signified by a glint. This single addition also has a number of useful secondary affects. By ensuring that all loot glinted it allows the game to reuse the same models for items like goblets and candlesticks while attaching a loot glint to only specific instances of each model as required. Allowing items to glint from a distance also enables their use as a means of drawing the attention of players to areas of the level they might not realise are accessible; if something is glinting on a distance balcony then there must be a way to reach that balcony. One of the downside to this loot glint is that by clearly indicating items of value it removes the sense of self discovery that comes from exploring a space at your own pace and developing a mental model of which items were likely to be worth stealing are which are merely props.
This problem isn’t present in the eastern bedroom, the bright blue and gold chest on the far side of the room obviously contains something of value, one hundred and twenty gold coins in fact. Avoiding detection by the woman standing at the foot of the bed seems like a challenge and it can be unless you are willing to take advantage of one of the quirks of the perception model used for NPCs in Thief.
As always there are a number of ways to draw her out of the bedroom or otherwise distract and dispatch her; Noisemaker Arrows or the application of a judiciously placed Broadhead. If you want to stay unobserved you can do so by sticking close to the wall of the room and moving around behind her, then over the bed to reach the chest. Of the various factors that make Garrett less visible one of them is keeping close to the wall and in this instance the benefit provided by doing so is enough to avoid detection.
Unsurprisingly the chest is locked, it will take both lockpicks in order to open it. Picking locks in Thief requires nothing more than the use one or both of Garrett’s lockpicks, Triangle tooth or Square tooth, and time. Audio feedback is provided by either a continuous clicking to signify unlocking, or a single duller click to indicate failure. Some of the more complex locks will require a change of lockpicks, possibly multiple times, until the lock has been completely picked. The status of a locked door or chest can be seen from the position of the handle, when it is pointing toward the floor the item is unlocked. For a locked door the handle is usually at the horizontal position, how much the handle will move with each second of picking is not consistent so there is no way to judge the relative difficulty of a pick before you start it. Fortunately it is possible to abandon a pick half way and resume at a later point if you are at risk of detection.
With the northeastern tower explored it’s time to move up to the fourth floor and from here there are multiple ways of doing so. There are the three obvious methods, the elevator and ducts can be found in the southeastern corner, while returning to the northwestern tower will allow you to mount the stairs to the fourth floor landing. In the southwestern corner of this floor, on the other side of the gallery is a door we have not yet explored. Beyond is the library of Angelwatch which occupies this corner of both the third and fourth floors, a set of stairs connecting them. There is even a fifth way to reach the fourth floor though it requires some skill, a Vine Arrow shot into the roof beams at the top of the atrium will allow you to climb from the balconies on this floor to those on the floor above. This is not necessarily an obvious route and it is not without risks, the Mechanist crossbow guard on the fourth floor balcony who will spot you should you attempt this route. With the tools at your disposal, Flashbombs and Noisemaker Arrows particularly, there are ways to distract her for long enough to reach the fourth floor balcony and find a hiding spot.
We will avoid the more challenging means of reaching the fourth floor and instead, because it is still part of the third floor and has yet to be explored, return through the gallery to the Angelwatch library.
“The front doors are locked. Looks like Karras wants a captive audience.”
Annotated Walkthrough, 4:
Your entry to Angelwatch is through a hatch on the eastern side of the second floor. The air ducts you find yourself in branch after several feet where a ladder provides access to the higher floors. The safest way forward for the moment is to continue ahead until you reach the end of the ducts, in a small room in the southeastern corner of the second floor.
Directly ahead a note pinned to the wall provides information on the security arrangements for the evenings proceedings. Usefully the note reveals that the “watchers” (Mechanist security cameras) have been disabled to prevent the guests from “causing any mishaps”. It’s still possible to spot the mechanical faces of the Watchers at various points throughout the level though they are now inert and blind; this knowledge is unlikely to make you feel entirely comfortable around them however given how often they have been a problem in previous levels.
Footsteps can be heard beyond the door to this room, and it’s worth leaning into the door to better hear the movement on the other side. There is only a single Mechanist guard on patrol on this floor however her path takes her right up to this door, so stepping out without first being sure of her location is risky.
To your right when exiting this first room is the mechanical elevator that serves all floors of Angelwatch. The noise created when in motion, and your footsteps upon it’s metal surface, are both loud enough to alert nearby guards so care will be needed if you intend to make use of it. Fortunately it’s possible to navigate Angelwatch without making use of this elevator at all.
Descending toward the first (ground) floor the overwhelming initial impression is that of size. Several times higher than the upper stories, the walls of the main concourse reach nearly a third of the way up the interior of Angelwatch. The space beneath dominated by massive support structures made from what appears to be granite or some other igneous rock.
The floor below is bathed in light from what at first glance appears to be a giant skylight, however the fact you have come from the floor above, and that it’s still dark outside, mean this cannot be an actual skylight but is instead a powerful light source made to look like one. Set against a rich terracotta wall vertical gold strips accentuate the sensation of height and together with the exposed support beams and faux-skylight they exude a sense of power and industry. The Mechanists are almost Randian in their aesthetics, their architecture, their art, all are designed around a single purpose to make manifest a philosophy, and idea. In this case that of Karras and the Master Builder.
Once on the floor the intersecting shadows casts by the support beams provide an array of hiding places that can be used to avoid discovery by the patrolling Mechanist Combat Bot. Approximately five to six feet tall these steam powered contraptions stand on two large legs, a manipulable claw attached to their left side serves as an arm while a cannon makes them a formidable threat even at range. Unlike the metal Watchers, the glowing left eye of the Combat Bot does not change colour, so their current alert state will need to be determined by studying their behaviour and vocalisations. On the rear of the Combat Bot, red against the bronze and bottle green surface is the boiler that powers it. Due to a minor design flaw this boiler can be shut down if it gets too wet, and a single Water Arrow is enough to stop the Combat Bot in its tracks, while a second Water Arrow will disable it completely. There are other ways of disabling or the Combat Bots though they are either noisy, or require the expenditure of resources that are better used elsewhere; a single Gas Arrow can disable a Combat Bot but such a use would be a waste of such a rare item.
Arranged at the south end of the main concourse facing a portrait of Karras, are three rows of stone pews. In front of them stands a small pedestal, made from the same material as the support beams, upon which a gramophone has been placed. Listening to the gramophone recording initiates a change in your Mission Objectives for this level. Karras is not in attendance this evening, his work taking precedence, instead he has recorded six audio messages for those invited to this “fine and festive evening”. In order to understand Karras’ plans, a least those he is willing to divulge to the City’s nobility, you will need to locate and listen to all six gramophone recordings.
The presentation of the gramophone recording is an example of the attention to detail that is common throughout Thief but especially in regards to its audio design. Distorted by constant hisses and a variety of pops and crackles the recording starts with a faltering Karras unsure if his new device is even working. Throughout you can easily pick up the sounds of movement as he shifts in his chair and rearranges himself.
To the north through a doorway beneath a large rotating cog the roof rises further still. Several floors above a large window provides light for this demi-atrium, though at the moment this space is somewhat unbelievably illuminated by a single lamp hanging from the roof beams high above. Balconies on the third and fourth floor extend out from three sides, facing the atrium window, and overlooking the gear pattern created by the floor tiles below.
Following the patrol route of the Combat Bot north a hallway connects the concourse to the front entrance which is guarded by a solitary Mechanist. A pair of Watchers can be seen attached to the roof of this hallway, one facing the main concourse, the other the front doors; as expected they have been deactivated for tonight’s proceedings. Alcoves along this hallway will allow you to avoid the Combat Bot however the Mechanist guard won’t move from his position unless provoked. On tables flanking the front door are two statues, they only provide fifteen gold each so it might not be worth attempting to acquire them. However this guard, like all others, cannot operate elevators so he will be unable to pursue you further than the first floor or alert any of his companions to your presence should you be detected.
So far you should have only have crossed paths with two Mechanist guards within Angelwatch, the female guard patrolling the second floor and this male guard inside the front doors. Though it is not uncommon for there to be guards of both genders in Thief II, (in fact the first guard you come across is female) the ratio is rarely one to one, guard forces are predominately male. This isn’t the case with the Mechanists, it is not uncommon to encounter more female than male guards in a given area. For example the commander of the Mechanist forces in Angelwatch, ‘Friend’ Vilnia, is a woman as are approximately half of those on patrol within. The Mechanists also seem more racially diverse than other groups within the city, the majority of those on patrol inside Anglwatch have noticeable darker skin tones than the guards on patrol in Dayport. Racial and sexual politics rarely get a mention in Thief and despite most named characters being male there are various examples of women in positions of power and authority within the nobility and the various factions, none of which are ever remarked upon as anything out of the ordinary.
You can use the elevator to return to the upper floors or alternatively you can climb one of the sloping support beams and use a ladder in the northwestern corner of the room to reach the second floor. It may be necessary to wait on the ladder before ascending as the room above is patrolled not only by the lone Mechanist guard on this floor but also another Combat Bot.
This room is illuminated by a fireplace directly ahead of you as your climb up from the first floor. Positioned approximately twenty feet from the southern wall of Angelwatch this fireplace is set against the western exterior wall and as you ascend through the upper floors you will find a similar fireplace in the same position on each floor. This is paired with an identical fireplace in the same position along the eastern wall. From the third floor upward there is another fireplace set into the middle of the southern wall. On this floor that fireplace, if it existed, would be in the centre of the chapel; a wall that in a Christian church would be referred to as the “east wall” regardless of the actual facing of the building.
Subtle architectural touches like this help reinforce that Angelwatch is confined within the boundaries defined by its external walls, walls that you were able to see from the rooftops of Dayport. This is true of all buildings within Thief, with no loading between locations few tricks are available to make interior locations take up more space than that provided within their external walls. What makes Angelwatch unique in this regard is that during your approach you will have had the opportunity to see the building from at least three sides, western, southern and eastern, in that order.
After the relative freedom of the Thieves’ Highway the interior of Angelwatch can feel claustrophobic and constricting. There are fewer opportunities for you to gain an advantage by positioning yourself above the world, the majority of encounters play out on the same horizontal place; Angelwatch has literally leveled the playing field. Exploring a hostile environment recovering information from audio recording and notes left behind, there is a vaguely System Shock feel to the exploration of Angelwatch.
Angelwatch’s second floor is given over to the practicalities of maintaining a large Mechanist presence within the City. Electrical generators vie for space with sleeping quarters while a small chapel provides for the spiritual well being of those living and working within; the second gramophone recording is located within this chapel.
The Combat Bot follows a simple route from the northern entrance to the chapel, past the stairway in the northwestern corner, around the access ladder to the first floor and back again. This overlaps with the final part of the female Mechanist’s patrol route from the lift. Returning from the foot of the stairs her path takes her through the centre of the chapel where a solitary Mechanist priest stands vigil; this is your first encounter with a Mechanist priest.
To the left, through a room containing what appear to be some form of generators or capacitors, the southwestern corner of this floor is taken up by a barracks. Entirely empty, at the foot of each two level bunk is a footlocker. None of which contain anything useful, most are empty and the single locked footlocker only contains a Mechanist hammer.
Accessible from either the north or the east, the chapel is the functional and logical focus of the second floor. Following the Combat Bot in its patrol will take you to the main entrance, three rows of benches are arranged on either side of a metal plated aisle leading to a simple altar; the two gold candles atop which would make a tempting target for any self respecting thief. His back to you the Mechanist priest goes about his business.
A portrait of Karras hangs against the eastern wall above another gramophone. Despite its position on the second floor this is not the second recording in the sequence of six. The tour through Angelwatch narrated by Karras takes the guests through all six floors of the building but in a non sequential order. There is no requirement to listen to each of the recordings in order but you will need to mentally reassemble the correct sequence if you are to understand the extent of Karras’ plans. This is a similar situation provided by the audio logs in a game like System Shock or BioShock, piecing together contextually connected audio logs into a meaningful order is a second order mechanic in such games. It is made a little easier in this regard by the inclusion of a “Recording x of x” that proceeds each of Karras’ recordings.
Care will need to be taken when approaching the gramophone. The benches are too close to the eastern wall for you to pass them that way. A Moss Arrow can soften your footfalls on the metal aisle or if your timing is good you can creep down it while the Mechanist guard and Combat Bot are at the furthest extremes of their patrol paths. With only two humans on this floor it’s easy to isolate and deal with them, and a pair of Water Arrows will deal with the Combat Bot. If you don’t feel comfortable getting within range, it’s best to avoid the Mechanist Priest if possible. Despite lacking obvious armaments they are able to conjure and launch flaming gears. These magical projectiles are slow moving and easy to dodge but will inflict heavy damage if they strike you.
Maybe the Mechanists are used to their equipment malfunctioning and starting itself at random, or maybe the constant drone of steam powered machines has made them all deaf, but initiating the recording doesn’t even elicit a response from the Mechanist Priest standing a few feet away.
Karras’ message provides little information but the undertones are unpleasant, he talks about metal servants and how the souls behind the masks were “lost and unproductive” exactly who or what these servants are will become clear in time.
Opposite the gramophone, on the western wall a heavily locked door leads to a small ante room, the key to this door can be found hanging from the belt of the Mechanist Priest. Like most keys you find in Thief it is unlabeled, however it’s a logical assumption to make that it would unlock the storage room for the chapel. Within a Scouting Orb can be recovered from amidst the various mechanist devices on the shelf, while a locked safe below contains a pair of golden chalices.
The door in the northern wall of this storage room opens up into a small annex off the chapel, this area is on the patrol route of the female Mechanist guard and provides patches of darkness in which to wait and allow her to pass by. West from here leads back into the chapel while east takes you to the hallway containing the elevator and access to the air ducts. To your north the eastern fireplace extends into the hallway and a door at the far end that opens into another barracks room in the northeastern corner.
Just before you reach this door a side passage branches off to the west, your left as you approach. This narrow passage runs behind the wall and exits directly north of the main chapel entrance. It isn’t on the patrol routes of either the Combat Bot or Mechanist guard, and provides a handy shortcut from the chapel to the relative safety of the northeastern barracks.
Unlike the barracks in the southwestern corner the footlockers here contain a number of useful items to restock your inventory: Broadhead Arrows and a Mine.
Off this barracks to the east is the room of Vilnia, the commander of the Mechanists forces in Angelwatch. Upon her table is a note from Karras himself listing the final locations of each of the “voice machines”. It ends with a cryptic reference to an additional machine for “our special guest”, the relevance of this will become clear in due course, though it would not be difficult to make an educated guess as to who this guest might be. Even if you haven’t found and activated the first of the gramophone recorders reading this note will have no affect on your original objective, as the importance of these voice recorders is unclear until listen to one of them and realise Karras is not in attendance at Angelwatch this evening.
The Vilnia’s footlocker holds a small Mechanist statue, it’s not worth a great deal but it would still be a waste to leave it behind.
A second door leads off the barracks to the north into a store room dominated by a large wooden shelving unit. Past this room, through a door in it’s eastern wall is another small storage area. Below a pair of wine racks a locked cabinet can be picked, stored inside are a pair of golden chalices and two bottles of fine wine.
With this floor now fully explored it’s time to head up to the third floor, there are three methods of doing so at this point. Directly south of this barracks is the elevator and access to the ducts running through the eastern wall. The elevator provides the most directly route but it creates a lot of noise while in operation and the areas in front of the shaft on each floor are usually the most well illuminated and patrolled. Climbing through the ducts is a more subtle approach but they are entirely made of metal and this can also create a lot of noise. Fortunately on the third floor the air ducts open into a small room that is not on the patrol route of any guard.
The third means of reaching the higher floors is to move back to the northwestern corner and ascend the main staircase. Against the outer wall there are shadows that will provide concealment however this stairway is occasionally used by civilians and Mechanist Worker Bots, smaller companions to the Combat Bots, so care will still need to be taken if you choose this route.
For the purposes of this series I’m going to take this final route and reach the third floor by way of the main stairs.
“No need for alarm ladies, just passing through.”
Annotated Walkthrough, 3:
From the roof outside Sir Cullen’s Keep there is still some distance to go before reaching the Mechanist tower at the heart of Dayport. From here at least two buildings need to be traversed before you can gain entry to Angelwatch itself, the Dayport Trader’s Bank occupying the upper floors of a building to the east, and beyond that the suite of Lady Louisa. There are additionally a number of diversions that if explored can help replenish your potentially dwindling inventory.
Directly north a narrow beam crosses The Baron’s Way and is you means of entry to Castle Carlysle. Despite being a physical dead end there is a greenhouse within the confines of the castle that contains a valuable stockpile of equipment include a rare Gas Arrow, that provides a means of subduing multiple guards from a distance. This is protected by Longdaddy, the affectionately named spider who appears to have been adopted as a pet and “gardener’s assistant” by Anna the horticulturalist responsible for the greenhouse.
If you purchased one of the hints available at the start of the level you will know that within the castle walls lies the Carlysle Armoury. Nothing comes for free however, and if you are to redistribute the weapons and items within you will need to use a Vine Arrow to gain access to the open window overlooking this rooftop. A single guard patrols inside, and if you have acquired the Sunburst device from the Astronomer’s room you can detonate it, with a Fire Arrow, to blast through the door. A more subtle manner of entry can be achieved if you have already located the key from Carlysle room inside Angelwatch. Once the door has been bypassed you can stock up on Broadhead Arrows, alongside acquiring a number of rare Fire and Noisemaker Arrows.
Returning to the south side of The Baron’s Way there is a skylight on the roof outside Sir Cullen’s Keep. The stacks of coins visible on the table below are inviting. As the most obvious display of wealth in the whole of Dayport, it might just be a little too inviting. The civilian servant standing by the table presents little threat, judicious use of Vine Arrows would allow you to grab the gold without even touching the floor.
What’s not visible from this rooftop is the doorway behind the servant, and the guard waiting in the room beyond. Exploration will provide an alternate means of entry into that very room, and this one encounter is an example of Thief level design in microcosm: the obvious route if rife with concealed dangers, exploration is power.
Moving through a room to the east, you can drop down onto the window ledge outside the Dayport Trader’s Bank, or double back along the south side of The Baron’s Way to find the alternate route into the room beneath the skylight.
Much smaller than the First City Bank and Trust that you will have previously infiltrated the Dayport Trader’s Bank occupies only a single floor of one of the buildings surmounting The Baron’s Way. If you’ve taken them up on their offer one of your informants will have provided information about a certain Valencia and the stash of uncut diamonds he’s entrusted to the bank.
There are only two guards on duty within the bank, with only one patrolling the interior, while the other remains stationed on a balcony on the far side of the building overlooking Grandmauden Road. The marble floors throughout do little to mask your footsteps and will make it difficult to approach the patrolling guard without being heard, though they also make it a lot easier to hear where he is and avoid him if necessary. Despite being internally consistent the idea that solid marble or metal plate floors would be louder to walk across than gravel or dirt is initially counter-intuitive. It makes sense from the perspective of the affluent buildings presenting more problems for stealthy navigation but it does bring up the question of whether Garrett’s chosen footwear is a pair of hobnailed boots.
The patrolling guard’s route through the bank makes it easy to bypass him.
Valencia’s diamonds can be found inside a safe in the main room of the bank, a safe that can only be unlocked by finding the switch inside the office of the Supervisor, Mr. J. B. Tuttleshank. From the art on his walls Tuttleshank is a Hammerite, or at least a supporter. This, combined with the bank’s location on the top floor of an obviously prestigious building might go some way to explaining the lack of Mechanist security devices. All that’s necessary to uncover the switch to open the safe is to first pick the lock on the small panel beside Tuttleshank’s desk.
Moving east, a set of double doors open onto a balcony overlooking the intersection of The Baron’s Way and Grandmauden Road. To the south is a rooftop leading back to the Shemenov Estate, while the path to Angelwatch lies to the north through Lady Louisa’s Suite.
At this point The Baron’s Way runs east to west through Dayport while Grandmauden Road runs north to south. Two guards stand watch over the point at which they cross in the heart of one of the wealthiest districts of the The City. Both archers the first guard is on the balcony ahead of your while his companion is stationed on another balcony on the far side of Grandmauden Road. The positioning of these two guards is such that they can both, under certain circumstances, observe movement on the opposing balcony. There is a qualifier as it’s possible to incapacitate the guard on the balcony of the Dayport Trader’s Bank without alerting the other provided you do so quietly. The best option to remain undetected is to stay in the shadows provided by the canopy above, however doing this while avoiding the attention of the bank guard himself will require either extremely cautious movement or the use of Moss Arrows to deaden your footfalls.
Across the roof to the north, an open window ahead leads to the suites of the Lady Louisa who is currently being entertained within Angelwatch.
Through the open window of the building to the east a hooded figure can be seen moving; a Keeper. It’s difficult to tell but it’s possible this Keeper is in fact the same one you saw at the start of the level, certain events that occur in Thief: Deadly Shadows serve to explain how he might have been able to get here ahead of you; this would also explain his otherwise inexplicable disappearance if you attempt to follow him. Through manipulation of the semi-sentient Glyphs the Keepers can gain access to various hidden passages that exist throughout the city. A note, decorated with the keyhole symbol of the Keepers, has been left on the desk inside the room and it is addressed to Garrett himself:
We hope the information we have provided you thus far has been useful. You do well to seek information at Angelwatch. But beware! All is not as it seems at the Mechanist tower, and Karras is more aware of your actions than you may think. Still, there are ways to outwit him.
Despite you having walked away from them when they first warned of the threat besieging the city the Keepers have clearly been monitoring your efforts. It is likely they know much more than they let on, or at least believe they do, but their dedication to maintaining the balance limits the information they are willing to divulge. It’s worth considering that despite their unwillingness to act directly everything they have told you is accurate, including this missive. That does not mean they are unwilling to provide more material support, in the hallway adjacent to this room an unlit torch can be tilted to open a hidden equipment cache. From this secret compartment you can recover a pair of Noisemaker Arrows along with a Gas Mine and an Invisibility Potion, the last of these makes little sense within the context of the game as it has previously been established that the Keepers can effectively hide in plain sight provided they “do not wish to be seen”. To complain too much would be foolhardy, as the functional usefulness of temporary invisibility should be obvious.
Climbing through the window into Lady Louisa’s Suite first appearances indicate this could be a difficult room to traverse. However Garrett’s blase attitude is a good indication that first appearances are not necessarily to be trusted. Well lit and with too much furniture for rapid movement it should be difficult to get past Lady Louisa’s two female servants without being detected, especially as one is looking out the window you will need to exit from. This assessment is not inaccurate, it is challenging to move through these suites undetected, however the need to avoid detection is not as high here as in other parts of the level. There are no guards within earshot so even if you alert one or both of the servants they have no means by which to impede your progress and their cries of distress cannot be heard by anybody else.
The intricate purple wallpaper, and abundance of gold framed portraits mark out Lady Louisa as one of the City’s richer residents, even in as illustrious a location as Dayport her ostentatious wealth is notable. A total of 200 in gold, split between a vase and a coin purse, can be found within the single room of hers you pass through. This is more unsecured gold in a single location than anywhere else in Dayport. It may be enough to enable you to complete one of your Mission Objectives before you even reach Angelwatch.
Through the window on the far side of Lady Louisa’s Suite your view of the way forward is obstructed by the upper floors of a large brick building. A ledge allows you to continue around the building in either direction. Rounding the corner you are presented with your first glimpse of Angelwatch.
So far Life Of The Party has inverted the traditional Thief II relationship between you, as Garrett, and the spaces you explore. For the majority of the game the buildings you need to infiltrate have been singular constructs, intricate continuous spaces enclosed within what can often feel like vaguely arbitrary boundaries. For the beginning Life Of The Party apparently throws off these prior restrictions, the level ahead of you is a sprawl of discrete encounters, fragments of buildings passed through in seconds never to be visited again. The boundaries are still present but their presentation is more organic, a gap between two buildings too wide to jump across, a castle wall impossible to climb, a guarded road with no bridging structures. This change is liberating, and then Angelwatch spoils everything. Even from your position several stories above the streets the Mechanist tower looms above you dominating the skyline; it’s sheer bulk physically intimidating.
Everything to this point has merely served as introduction, scene setting, to help sell the size of Angelwatch in comparison to the rest of Dayport. Angelwatch is too big for the City it’s presence an intrusion; the Mechanists are starting to take over, soon their technology will have reached every corner, converted it, consumed it. The Mechanists are coming and Angelwatch is merely their vanguard.
In terms of it’s spatial footprint Angelwatch is smaller than a lot of the buildings you will have explored prior to this point, however in context it feels larger. Those other structures existed isolated from the rest of the City making it difficult to accurately judge their scale, Angelwatch stands in the centre of one of the City’s richest districts, and its size in relation to the buildings surrounding it is remarkable.
Before the final ascent to Angelwatch there’s one more occupied rooftop to traverse.
Obviously bored by his current assignment it seems Benny has been at the wine again. Even in his drunken state this guard can cause problems, his detection range appears significantly reduced so you can easily make it to the ladder to your east without being spotted. It can be worth the risk to move a little closer as Benny didn’t start the night drinking alone and the fate of his companion can be seen by looking over the edge of the roof. Whether he slipped in his drunken state and fell to his death, or whether there is a more malicious reason for his demise it’s clear than Benny will have some explaining to do once he sobers up.
To the north the density and fidelity of the buildings is markedly reduced, a sensible optimisation given that it’s impossible to progress further in this direction. Hopefully at this stage your attention is reserved exclusively for the vast bulk of Angelwatch looming above, so this clear level boundary is not as distracting as it could have be.
A small hatch on the eastern side opens onto a series of connected air ducts running through the walls of Angelwatch. From here it’s possible to access all but the first (ground) and sixth floors, care will need to be taken when dismounting the ladders within this ducts as if you fall you are liable to create a lot of noise on the metal floors. This will be most important when reaching the fourth floor as air ducts here open directly onto a well patrolled hallway.