Thief is often remembered for its genre-defying characteristics, and unified vision for recreating the mundanity of criminal life. However, it strived to explore themes beyond them, where the player character acted more than a mere vessel for wish-fulfillment.

The protagonist, Garrett, is introduced in a short cutscene, where we get to know him as an orphan, who got caught for thievery by a member of The Keepers, an order dedicated to preserving the balance of the world. Striving for such goals comes at a price, as the members of the order aim for emotional detachment, so their “actions can be trusted”. It is with these words, we get to know Garrett, who fell from a place of poverty into a cult that values a common goal above all else, and has no regard for the individual.

Garrett’s lack of personhood didn’t became apparent the instant he left The Keepers, but the cult’s teachings left him deficient in several ways. He couldn’t handle a proper weapon, because he received training in the act of subterfuge, nor was he capable of feeling empathy for others, because the order molded him to be emotionally detached. Garrett was left with little options, as he came from a place of poverty, and only knew how to sneak around, deceive others.

Thievery, Garrett’s choice of occupation, is no coincidence then, as it would allow him to pursue his own interests, the desire that was denied of him while growing up. However, Garrett’s cynical commentary during the act of stealing, and the stark contrast with the simple minded guards reveal the protagonist to be an outcast, someone who thinks he stands above society and normality. Garrett’s contempt and lack of empathy for others, however, stems from a place of vulnerability, as the cult exploited a helpless kid’s vulnerabilities. We, the players experience this vulnerability through Garrett’s physical capabilities, and see them for they are: a weakness, when contrasted with the more able-bodied guards. But when compared to creatures or obstacles that represent forces beyond humanity, they render the protagonist’s selfish worldly interests, and by extension his very being, insignificant.

In Thief: The Dark Project this indestructible force is nature. After indulging in petty theft in the first few missions, Down in the Bonehoard makes a particularly strong contrast with the earlier levels. Unlike the heavily guarded prison complex of the previous level, Down in the Bonehoard took Garrett through an abandoned place, where man left his mark — and is still present — but the buildings have started to erode, making rooms harder to traverse. As well as some of the pathways go through places untouched by people. Animals and other twisted creatures started to retake these areas, where Garrett’s tools are ineffective, or only have a temporary effect: beasts are much harder to take down, while other creatures are oblivious to our presence, reflecting nature’s indifference. These motifs pervade the game, but may be the most apparent in the level called The Sword. In this mission, Garrett is tasked to rob a place that appears to be a mansion, but as we dive deeper, some of the rooms are upside down, and instead of guards, beehives and more animal-like creatures block our way, making the place feel mysterious and unpredictable, just like nature herself.

The sequel, Thief II: The Metal Age follows the events of the first game, and as implied by the subtitle, it is set during a fictional industrial revolution. Unlike The Dark Project, most missions take place in fancy mansions or institutionalized buildings, like warehouses and banks. However, it’s not just people who guard the riches, but robots and other machinery has been tooled to act as security as well. In turn, Garrett had to improve his arsenal by necessity, since his lockpick kit and the handy blackjack would not be enough for the cameras and the tireless metal monstrosities. Gears and other security measures also complicate the usual motions of opening a door, as well as the sheer number of unlabeled keys we need have grown tremendously. What was only present in a prison several years ago, now acts as security in a regular warehouse: in order to open a door, we have to memorize the door code, go to a machinery, type in the code, then head back to the door to claim our prize.

Our interaction with the player character highlights the peculiars of technological advancement. In both games, the mouse scroll functions as an extension for the thief’s hands. The more practice we had, the faster we found the things we needed for the job. However, the extended toolset and the increased number of keys made the motions of going through our belt’s content more time-consuming. I got caught far more often in The Metal Age, as I was fiddling around with my tools, or looking for the correct key. So I had to resort to the otherwise underutilized F-key shortcuts. By doing so, I not only became more effective, but slowly mastered the move of lifting up my fingers — that usually rest in the movement buttons (WASD) –, to reach a bit further. Just as a modern burglar would have, who had to take her hands off from the handle of the blackjack in order to adapt to the technological advancements.

Technology’s influence doesn’t stop there, since in one of the most memorable missions, called Life of the Party, in the host’s absence, the guests are greeted with pre-recorded messages, showing off the technological marvel he possesses. However, once inside, the security bots taint the beauty of the place, while the patrolling machine’s gears disturb the quietude of libraries and rooms filled with lavishly framed paintings, sculptures and art. It really puts what first appeared to be a technological marvel in a different light, as the robots enforcing security isn’t something that can be reasoned with, just as the pre-recorded messages are only a shadow of their master, and mostly act as glorified guide that help navigating the enormous mansion.

The cold functionality of the recordings reflect the cold functionality of the game’s technology in general. They also speak volumes about the host as a person, Karras, The Metal Age’s main antagonist. He’s a mere mortal, driven mad by technology, who promises a better life under the guise of technology. His goal is to assert control over people, and ultimately, to exterminate all life. The Trickster, The Dark Project’s main antagonist by contrast is a god-like creature, with powers beyond human comprehension. He uses, or rather, abuses the forces of nature to impose his will on others.

The antagonists, the space they inhabit and the means utilized by the player to fight them represent those all-consuming forces. Be the final encounter against Karras, which demands lots of preparation from the player character, and takes place at a mechanized cathedral. Or the road leading to The Trickster god, full of bizarre creatures and spiraling paths. Each final mission represent the essence of the all-consuming forces of nature and technology, respectively, where a petty thief acts as a vessel for situating humanity within them.

Garrett, whose circumstances made him a selfish, emotionally detached individual, remained largely indifferent throughout the events of the two games. However, his contempt for other people, and his disregard for their property stems from a place of vulnerability. A sense of feeling that both manifests in his physical capabilities, and permeates his — and by proxy, our — each and every move, heightening the themes each game represent. Be the relentless, ever-consuming force of nature, or the suffocating control of technological advancement.