Review by Steerpike
My Words Are Delicious
A couple weeks ago, I waxed glumly cynical in the Thief
Retrospective about my low personal hopes for the third
and probably final installment in the Thief series. Sudden
departures from Ion Storm, obvious tweaks to benefit console players,
and the catastrophic PC release of Deus Ex: Invisible War contributed
to a somewhat doom-laden sense about this game. Truth is, for people
who really love the Thief franchise, there was a lot of emotion
riding on this one. Many gamers worried that we'd get little more
than the same sloppy Xbox port that Invisible War was.
But every now and then, the glass really is half full. Though not
without flaws, Thief: Deadly Shadows is a really good game,
deserving of the Gold Star I'm giving it and a worthy addition to
the Thief universe. The people who worked hard on it for
four years should be proud of what they've accomplished, because
they have produced a game that's not only a triumph in its own right,
but one that is reasonably faithful to the franchise mythology.
This review is for the PC version, andfrom the department
of ironyit's my understanding that the Xbox port is scoring
an average of twenty points lower in most reviews. Given all the
Invisible War hubbub, that's a surprise, though not an unwelcome
one. Being a PC gamer, I'd much rather the Xbox version sucked.
Well, I'd rather neither did, but I'm selfish enough to say "better
you than me" if it has to be one of us.
A warning: Deadly Shadows makes no attempt to fill newcomers
in on the considerable intricacies of the Thief plots and
characters to date. The first two games encompass probably two hundred
pages of fiction, and you'll be expected to know who's who and what's
what. You can still play the game if you don't know who Viktoria
is or what the Mechanist Insurgence was, but it might be somewhat
bewildering. This is probably one of the reasons that the Xbox version
is getting more chilly reviews.
Second Time's the Charm
Deadly Shadows, like Invisible War before it, employs
the mighty Unreal 2.0 Engine, made all the more powerful with the
addition of Havok physics. A casual observer wouldn't see much Unreal
beneath Deadly Shadows or Invisible War; they're not
visually very similar. This is a tenebrous, grimy, and altogether
less vividly day-glo environment than Unreal technology generally
presents. In both of Ion Storm's recent games, heaping ladlefuls
of shader-enhanced lighting and intricate bump maps are added. What's
most impressive is that in the case of Deadly Shadows, the
game not only looks astonishing, it's functional.
I have never seen a game use light the way Deadly Shadows does,
nor have I seen such realistic environments rendered on the fly.
For those who can get it to work well on their systems, this is
an astounding visual experience. While the previous Thief games
depended heavily on a very angular, stylized look, the decision
to abandon that didn't seriously affect the Thief flavor.
From an eye-candy perspective, Deadly Shadows looks like
nothing you have ever seen before.
That said, a quick glance at any gaming forumincluding our
owndemonstrates that for everyone who's got the thing up and
running, someone else has watched in horror as it brought a computer
they consider reasonably powerful mewling to its knees. The minimum
requirements are similar to what most wags anticipate will be
printed on the DOOM 3 box, and some argue that the game can't
be very well optimized if it calls for this much brawn. But they're
If you do meet the requirements, Deadly Shadows is a stable,
admirable performerI get a good framerate and have experienced
only one or two crashes. With Invisible War, even those well
above the recommended specs experienced a frame-a-week snailfest,
and I for one crashed out without warning at least five times an
hour. That's not true here; even with all the graphical frosting
turned on, within-spec gamers should be fine. Plus the game is breathtakingit's
clear where the horsepower requirements go. Only Painkiller looks
better, and the two are so visually different that it's unfair to
compare them. The one gripe about graphics (two gripes) is that
there is visible seaming where some polygons come togetherespecially
on stairs. Also, Radeon owners can expect some blinking shadows
if they're using the Catalyst 4.5 driversthe 4.4s solve the
problem, and no doubt the upcoming 4.6s will do the same. It's not
a dealbreaker either way.
Developers are slowly getting the hang of Havok-enhanced physics,
though they're not quite there yet. In Invisible War, if
you brushed against a chair, it'd go shooting down the hall with
the force of a bullet. In Deadly Shadows, you have to hurl
yourself against a chair to get it to move at all. Perhaps a golden
mean between these two can yet be found; still, Havok is so cool,
and will bring so much to gaming, that minor problems with its implementation
are just that: minor.
Through the Looking Glass
Deadly Shadows continues the adventures of Garrett, master
thief and curmudgeon, as he plies his trade in the great mechamystical
expanse of the City. He's approached by the Keepers, who need some
stuff stolen but are far too holier-than-thou to do it themselves.
The Keepers, you may recall, are the watchmen, historians, and
futurologists of the City, lurking in shadows and recording comings
and goings. Garrett himself was trained as one but bolted before
full initiation; it's his Keeper education that fuels his amazing
stealth capability. Keepers are strictly observers and maintain
a policy of noninterference, which to them apparently means that
they interfere all the time in everything.
It would seem that they have stumbled on a threatening prophecy
that warns of an impending Dark Age when all knowledge will be lost.
This divination strongly implies that one individual, who may or
may not be Garrett, will be the catalyst that triggers the end.
More research is required before they can get a final verdictthey're
not able to translate the whole thing when Garrett first hooks up
with themand part of the reason they ask for his help is to
keep an eye on him.
But something is obviously wrong with the Keepers; a few of them
are into something they shouldn't be. And not everyone in the society
likes the idea of employing a dropout who's been as much a thorn
in their side as an ally over the years. Add to that concern the
fact that there's plenty of information that the Keepers would prefer
he never know, information that might be at risk if he is allowed
access to some of their more deeply hidden secrets. As you can imagine,
Garrett somewhat inadvertently learns more about the City's dark
underpinnings and even darker future than he was ever supposed to.
At some point he becomes a liability, as the power struggle within
the Keeper hierarchy threatens not just the organization but the
future of the City itself.
As usual, Garrett wants nothing to do with any it but gets sucked
in despite himself. The Keepers initially lasso him by making an
offer so rare and so unthinkable that he can't refusebut shouldand
he spends the rest of the game tumbling down an increasingly slippery
incline leading straight to the maw of the looming Dark Age.
Garrett's fundamental problem is that he's a great thief but a
lousy money manager. Every dime he makes on a job is spent buying
gear necessary for the next job, so he's always broke, the rent
is always late, and his apartment has as much charm as a toolshed.
When he's hired for special jobs, he never wonders whether his clients
are the sort who can be trusted to pay their bills. His chronically
negative bank balance and confidence in his not-inconsiderable capabilities
occasionally drive him to very ill-advised career decisions. Seems
to me that a few minutes with a Fidelity Investment Planner would
eliminate many of Garrett's frustrations.
The Dark Age problem is the major story thread, and it's very cleverly
written by a team that's been with Thief since early on.
There's a whole mess of parallel bad crap taking place in the City
that Garrett (naturally) winds up involved with: a hideously deranged
serial killer, a ship full of mostly-dead sailors, a haunted orphanage,
and the usual criminal goings-on. Much of that is connected to the
sharp, witty main storyline, and Deadly Shadows is a terrific
narrative experience. This is thanks to both the delicious writing
and the stellar vocal talents of the mostly-returning cast.
The Power of the Dark Side
The ability to switch between first and third person is new to
Deadly Shadows, and some thought it would be a clumsy console-port
hack. Turns out that this feature is gracefully implemented and
actually quite beneficial. There are times when you're positioned
in such a way that going to third person grants you the one thing
that FPS games cannot: peripheral vision. It's a tweak that is quite
welcome, that could have been done very badly but wasn't. Garrett's
body is very much apparent in first person, too. If you look down,
there are his feet. Look left or right, there are his hands. Most
shooters don't bother with this, leading to a strange visual disconnect
from the world and your character.
Thief has always been a very dark game, and Deadly Shadows
continues that tradition. You can certainly crank the brightness
controls, but that kind of ruins the point. Play Deadly Shadows
at night, with all the lights in the room off. If you own a
cat, see if you can recruit its aid in walloping you with heart-stopping
shocks of terror by getting it to leap onto the back of your chair
at the most tense moments.
It's obvious that Deadly Shadows went through a lot of playability
testing, because several tweaks to minimize darkness-related annoyance
are present. The gem that indicates how much light Garrett is standing
in is much more sensitive. The movement of shadows cast by flame
and people is simply stunning (look at the first screenshot over
there), and despite the soft realism of the shadows, it's usually
easy to tell where one ends and begins. Perhaps best of all, when
in third person, Garrett himself gives off just a slight glow, as
though he's bathed in moonlightit's not too exaggerated, and
it helps keep you from losing your protagonist in deep shadow.
Sometimes it seems that Garrett wears tap shoes when on a job;
when he walks and runs, he makes so much noise that you have to
wonder whether he might not be better off in just socks. "Creep,"
the third movement mode, is silent but so slow as to be pretty pointless.
And there are bugs in the sound-making system: walk or run and Garrett
makes too much noise, but he makes no noise at any speed when crouched
or carrying a body. I imagine they'll fix this in the patch; with
luck they'll also tweak his movement speed too, though you can do
it yourself by manipulating the default.ini file in the game directory.
I neglected to mention the sound work of Eric Brosius for the first
two Thief games in my retrospective, so his long-overdue
props are given here. Thief has always sported innovative
sound design, from the low, tonal beats that evoke a chilling spectrum
of emotion to the spot-on 3D reverb effects. The ability of ambient
sound to create and manipulate emotion is well-documented, and thanks
to Brosius, Thief is one of the best at controlling the gamer's
state of mind through audio. The one flaw in the 3D sound system
is that in third person, directional sounds come from Garrett's
perspective, not the camera's; thus, if you're looking at Garrett
head on and you hear something on your right, it's on his
left. Sound should always come from the gamer's perspective,
not the avatar's.
The only serious Xbox-related gripe is the addition of loading
zones: most missions are broken into two distinct areas, and various
City neighborhoods are separated in the same way. It's not that
big a deal, as the load times are relatively short, but they're
really not necessary at allnot on the PC, at least. Plenty
of titles *cough*Morrowind*cough*
demonstrate that a PC game's world can be almost criminally big
and require only the most infinitesimal of load times. Stopping
to load a new section is jarring and technically unnecessary on
this platform, and it should have been dispensed with. Like so many
other courtesies to PC gamers, it apparently fell into the "why
bother" box during concurrent development.
The load zones are delineated by a thick portal filled with oozing
blue fog. It's sort of like having a big sign in front of each loading
area that says, hey player up ahead is a loading zone so for
the next thirty seconds please snap out of your immersion and remember
that you're playing a video game. Come on, people, Thief
is about subtlety. No one could think of a less suckerpunchy
way to indicate zone separations?
But more serious than the above is that when you leave a zone,
time in it stops. If someone shoots an arrow at your head and you
hurl yourself into a new zone to evade the hit, congratulations.
When you reenter, even hours later, you'll get hit in the face with
an arrow that waited patiently for your return. This, and the inability
of AIs such as guards to move between zones, damages immersion.
It also damages emergent potential, since it eliminates your ability
to take action in one zone and expect a reaction in another.
"Did Something Just Move over There?"
The game starts you off with a tutorial mission that walks newcomers
through the basics of being the world's greatest thief. I like tutorials,
but I like them skippablenot only is the tutorial in Deadly
Shadows required, it's built right into the game story. It's
just irritating enough to bug those who already know how to play
Deadly Shadows is mission-based, though there's a little
more flexibility in how and when you choose to do missions than
there was in earlier Thiefs. Occasionally you're given a
few at a time, you can begin when you want and can do them in whatever
order you please. The world is persistent, so items you buy or acquire
in one mission remain available in later ones.
I was disappointed to see that the pre-mission cinematics are gone
from this game. There are some narrative cutscenes and short opening
movies that brilliantly evoke the mythology of the Keepers, Hammers,
and Pagans, Thief's major players as they existed in The
Dark Project and The Metal Age, but the collage of Photoshopped
stills accompanied by Garrett's narration that actually define the
objectives and challenges of each mission are gone. I miss those
cutscenes; they were very good, very well written and appealing,
and it sucks that they're out. They're not as hard to produce as
full motion video or rendered cinematics, and they added a lot to
There are more difficulty levels available, and AI ratchets up
considerably at higher difficulties. On the lower settings, guards
will do their job if they see you, or if you leave an obvious clue
like a corpse or a spot of blood. On hard and expert, though, they
will note if a chair has been knocked over, if a light's gone out,
or (God forbid) if some valuable item is missing from its assigned
place. They can be relentless about hunting you down, toorunning
for help and then returning with bow-armed or torch-carrying reinforcements,
poking into corners, and looking for other indications that there's
In the past few days, news of a critical flaw in the difficulty
system has trickled out: regardless of the difficulty setting you
choose prior to a mission, the difficulty is reset to Normal if
you reload your position in-game. In keeping with a long tradition
of Ion Storm technical support, theyve been somewhat ho-hum
about this very significant gameplay bug: their official response
boils down to well patch it if we feel like it.
I didnt notice this bug during the course of my play, but
I must admit that in retrospect it explains occasional schizophrenic
behavior on the part of game AIs. Despite my references to patchable
stuff throughout this review, gamers should be aware that given
whats going on in Austin theres a chance that this and
other bugs will never be fixed, and that Xbox players are almost
certainly out of luck barring a major product recall.
Patience and great care are necessary for success in Deadly
Shadows, but the levels and AI are designed well enough that
you're never bored by the waiting. There is ample space in which
to hide, and guards are not super-sentientthey will give up
eventually even if you're spotted with your hand in the cookie jar.
And you always have the choice of fighting your way out of a situation
if you don't feel like melting into the shadows or hiding in a broom
Surprisingly, Eidosthe publisherhas indicated that
Deadly Shadows can be a much more violent, guns-blazing sort
of game than its predecessors. Garrett, they claim, actually has
a chance of fighting his way out of a tight spot in this sequel
... but I don't see how. If anything, combat seems more difficult
in this than the previous installments. This game is high stealth
through and through. If you wish to kill as Garrett, you'd better
be sure that your enemy doesn't see you comingas in the earlier
games, an attack from the darkness will kill an unsuspecting opponent
with one strike.
You Blew It, Baby
One of the major preview points of Deadly Shadows was the
promise of a true, living City to explore. It should have been the
most compelling, unique, emergent aspect of this ambitious new game.
A huge City of pockets just crying out to be picked, of homes and
businesses begging to be plundered, with an active nightlife and
completely realized underworld. Alas, what should have been the
most thrilling aspect of the game is in fact the one most desperately
botched: the rest of Deadly Shadows is a solid nine out of
ten. The City is a two.
It has been made very clear through two previous games that the
City is an enormous place: a great, sprawling entity with a dark
urban consciousness, packed with districts, neighborhoods, and landmarks.
The City in Deadly Shadows is tinysmaller overall than
a single City level from The Metal Age. Worse, most of the
buildings are not accessible. Only a handful of structures can actually
be broken into or entered. The rest have doors that won't open.
City size is one of the biggest failures on the part of this game.
It should have been massive, full of people and activities, with
every single building mapped and filled with objects. And
lest anyone go squawking that such a thing would be technically
nightmarish, allow me to bring up Morrowind again. The technology
does exist, it's existed for years, and because it's not implemented
here, the City is a clunky between-mission irritant, rather than
a portion of the game that players will linger in and enjoy.
It's a devastating visual miss as well. Buildings are squat and
ugly. Majestic places like the Hammerite Cathedral that should reach
triumphantly for the heavens instead crouch and brood. Little touches
like gardens are either nonexistent or crammed into areas the size
of a residential bathroom. Ugly 2D sprites are employed for shrubs
and trees. And if you're hoping for a recreation of the joyously
giddy, vertigo-inducing Thieves Highway from The Metal Age, forget
itnot only are Garrett's scaling abilities impeded by climbing
tools of truly soul-crushing crapitude, but what should be an awesome,
sweeping, stone sky-field rooftop vista of a nightmare urban sprawl
is instead a tiny, grubby drearville of planking and cobbles.
From an artistic standpoint, stubby architecture and no roofscape
are nothing compared to the next crime: the bewildering shortage
of the hideous technology that was the basis of the City's unique
and redolent fiction. In the earlier games, it was packed with towering
mechanisms whispering of the City's unnatural symbiosis of magic
and technology, all roaring and rumbling and belching smoke. It
was a grotesque manifestation of industrial madness. Streetlights
didn't glow; they sprayed fountains of sparks into the air. Huge
boilers that never seemed to do anything but boil crouched behind
garden walls. Copper tines hurled fingers of blue electricity back
and forth. Piping, ductwork, meters, and ticking gauges were everywhere.
You couldn't go two feet without encountering a bizarre iron monstrosity
born straight of Tesla's worst nightmares. In Deadly Shadows,
the City looks utterly generic. It would fit into any bland
medieval fantasy game, with just the odd pipe or electric lamp to
imply the mechanism-gone-wrong that made it such a creative jewel.
There is ample history of the City to build plenty of great stuff.
We're not short on landmarks mentioned or visited in the prior Thief
games. Yet where is the Haunted Zone? Where are the Bear Pits?
Where's the marketplace through which Garrett shadowed a renegade,
undercover-Pagan constable The Metal Age, or the network
of storm sewers from The Dark Project? Where are homes we
recognize, the mansions of Bafford and Constantine, or the walled
compound inside which thief lord Ramirez lurks? Where is the entrance
to the Lost City, the Mages College, the casino fronting for the
Downwind Guild, the Necromancer's Tower? There is nary a hint of
these in this game, and as such the City has lost much of its consistency
and become something quite frankly pedestrian, dull, and utterly
disconnected from Thief mythology.
And those are just the problems with how it looks.
Everyone on the City Watch knows Garrett and will attack him on
sight, an addition almost as outrageous as the decision to make
the City the size of a Micronesian fishing village. You have to
be as stealthy when running errands in the City as you do when robbing
a house. It's absurd to imagine that Garrett has to creep through
the shadows every time he wants to buy a gallon of milk. If the
guards attacked only when they saw you commit a crime, or when someone
reported the same to them, that'd be fine. Since they seem to know
him so well, one wonders why it hasn't yet occurred to them to crash
into his home and arrest the man during the day, when he sleeps.
If Garrett is such a great thief, how is it that everyone seems
to know what he does for a living?
Citizens and guards move and behave like special-ed flunkouts.
The people of the City walk in tiny, predetermined paths, making
at most an oval or figure eight. Why on earth couldn't they have
more freedom to ramble? To leave work and visit a tavern for a drink,
to go home or out to some gathering? With the exception of scripted
events, people never deviate from their flight plan. It made me
want to run down the streets screaming, "Where is everybody,"
surrounded as I was by mindless Stepford automatons that would blithely
walk off a cliff if one got in their way.
The enormity of the ball-dropping committed by the designers in
the matter of the City is less that it's grating and bland; it's
how good it could have been. All I can think is how much
more incredible this game would have been with a Vice City or
Morrowind-type environment where the place really was your
oyster, where you would want to spend hours dawdling between missions
doing whatever you liked. As it is, it's your rancid and undercooked
mussel, and you will run, not walk, to get your errands wrapped
up so you can move on.
The City may be a monumental disappointment, but thankfully the
missions are not. Each one is well and carefully crafted, with stern
attention to detail and realism. They're all very well-designed
and each has a unique flavor and environmentthe so-scary-you'll-scream
"Shalebridge Cradle" is a favorite of mine, though the
sweeping interiors of St. Edgar's Cathedral and the looming statuary
of the Keeper Compound are equally breathtaking. Mostnot all,
but mosttake a good hour and a half to complete.
There's a nice mixture of the natural and the un-, too. You'll
explore your share of haunted locales and hide, trembling, from
your share of repellent monstrosities (though, sadly, none of my
beloved Burricks). But there is also ample opportunity to go for
the pure stealth appeal of robbing a house filled only with regular
old people. It's very well balanced on this score.
Because the light and physics in Deadly Shadows are so drastically
more advanced than those in the earlier Thief games, even
veterans will find that there's a learning curve: Garrett casts
a shadow now, and you've got to wrangle it. You must be aware of
all the light sources around you, because what looks like a puddle
of concealing darkness from one angle may be perfectly illuminated
from anotherand even darkness is only helpful if you've got
that peripatetic shadow of yours corralled.
Most of Garrett's equipment is back. He's switched from a sword
to a dagger, which makes sense given his penchant for tight spaces;
the rope arrows have been replaced by moronic and awkward "climbing
gloves" that work as though a preschooler designed them. They'd
have been a fine replacement if, I don't know, they had worked
in any but the most limited and controlled environments, but
they don't. You can't round corners, cross material changes in stone
walls, even clamber over the tiniest of lips. Frankly, the climbing
gloves and the City are the only true and utter failures in the
gamebut they are failures of crushing and ridiculous atrociousness,
bad enough to seriously taint what could have otherwise been a lasting
Some tools have been given a needed polish: moss arrows distribute
a lot more moss that's a lot easier to see; Noisemakers, which I
could never get working in the other games, work fine in this one.
You can also employ Garrett's mechanical eye to zoom in and out
in a delightful sepia-toned effect. Flash grenades deafen as well
as blind but are no longer a free pass to knock out a guard. Oil
flasks, which can be used to trip up pursuers or start small fires,
are also a welcome new addition.
The lockpicking is the most significant change to the world. In
the old games, it was just a matter of switching between the two
tools and holding the mouse button down. In Deadly Shadows, it's
set up kind of like a puzzle, but a simple one. It's very well tuned
and designed for a specific purpose: you want some suspense if someone
is approaching as you're desperately trying to pick a complicated
lock. And it works quite well.
"Loot glint" is the slight but obvious sparkle given
off by valuables in the game, and it's a new addition to Deadly
Shadows. It's in there because you can pick up plenty of mundane
objects, and the designers decided that it was necessary to add
some visual clue to call out items of value. At times it's unintentionally
comical: watching fat people in the City with glowing ears and pockets
and wrists is a little absurd. It can be helpful, though, especially
when you're trying to meet a mission objective for loot and you're
running out of places to look. There are so many worthless knickknacks
that you'd be picking up and tossing away a lot of plates and candlesticks
before you find an expensive one. The ability to turn loot glint
off, however, is not presentpurists are clamoring for it,
so I hope we'll see this functionality in the patch.
This Just In
Deadly Shadows, despite two major flaws, is a great game.
For those of us who expected the worst, our gameplay fears were
unfounded and our consternation ill-advised. This is a meticulously
crafted and largely solid gaming experience, and one that doesn't
do anything to shame the revered Thief franchise. Missions,
story, acting, graphics, sound, physics, engine, stability: all
are a solid thumbs up. The climbing gloves are clumsy and so incompetently
designed that they should have been left out; but it's the City
that is the real disappointment, and oh, what a disappointment it
is. Were it what it should have been, this might have been one for
the history books. They came that close to the rank of near-perfect,
and tripped a few yards before a finish line only a few dozen games
Good as it is, I do not think that Deadly Shadows will become
another Dark Project, played again and again long after its
technology is long in the tooth. For the most part, I think gamers
will play through Deadly Shadows and then, possibly, revisit
it just once down the road, when they're waxing nostalgic about
Garrett and his travails.
I have to wrap this review up with a somewhat bizarre piece of
news. Deadly Shadows crept onto shelves nationwide scant
hours before some very strange rumors began seeping out of Ion Storm.
I mentioned in the retrospective that Randy Smith, the project lead,
had left the company under odd circumstances about two months ago.
Last week, the rumor mill began churning out stories of massive
layoffs at Ion Stormto the tune of thirty-plus peopleone
day after Deadly Shadows was released. It even looks like
the venerated game designer Warren Spector is among the unemployed,
though stories conflict as to whether he was shown the door or found
his own way.
None of thisnothingis confirmed; Eidos is insisting
that it's all a big rumor. But there is staggering circumstantial
evidence for all of it: the layoffs, Spector's departure, even the
rumors that the studio will adopt a new name and devote itself entirely
to console development or, some have implied, shut down altogether.
What this means to the future of Thief I do not know. They've
always said that this is the last Thief game, a fact made
manifest by the ending, but it's getting good reviews and selling
pretty wellwhich can change things dramatically. Eidos, not
Ion Storm, owns the rights to Thief. In fact, it's been suggested
to me that Eidos was actually only interested in those rights when
it made the failed last-ditch attempt to bail out franchise creator
Looking Glass Studios in 2000.
Ion Storm, I think, is finished regardless. We may have to endure
an extended death rattle, but the studio was doomed from the start
and it has apparently run out of grace. Failing a clue to what the
future holds, I'll just thank everyone on the team for an imperfect
but proud and fitting close to a genuinely magical series of gamesgames
that will always glitter in the hearts of their devotees as the
a lantern bearer of the profound and the powerful.
Developer: Ion Storm
Release Date: May 2004
Four Fat Chicks Links
Windows 2000/XP (95/98/ME/NT not supported)
P4 1.5 GHz or equivalent
256 MB RAM
64 MB video card, Direct3D 9.0, and Pixel Shader 1.1
DirectSound 9 compatible sound card
3 GB free hard disk space
4X CD or DVD drive (DVD required for European versions)
Keyboard and mouse
Where to Find It
Prices/links current as of 06/08/04
Links provided for informational purposes only.
FFC makes no warranty with regard to any transaction entered into
by any party(ies).