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Shadow of Doubt: Definitive Edition WIP TG FM

AI Battle/Battle Arena/Combat Assassination Beasts Cave/Natural Tunnels City Daylight Dock/Harbour/Port/Ship Escape Forced Ghosting Hammerite Hardest Horror Jail/Prison Lost Civilizations Mansion/Estate Mazes Mines/Man-made Tunnel Most Absorbing/Keep Busy Phobic (Spiders/Heights) Pirates Puzzle Relic/Artifact/Talisman Ruins Sewer Temples Thieves Highway/Rooftop Tombs/Catacombs/Crypts Undead

The outline and story of the campaign has been elaborated upon. Much thought has been given to the connection between missions and movements of the campaign. I’ve attempted to have each mission pla... Read more

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UPDATE Sept. 21, 2024:    
Each and every mission will be optimized, improved and highly modified. The story will be different as well. I'm basically using my old maps for a more "mature" take on a FM campaign.
UPDATE June 12, 2021:    

Shadow of Doubt

My work on Shadow of Doubt fan mission campaign only recently gained momentum at the moment of the outbreak of the COVID pandemic, in March 2020. Hence, I’ve managed to significantly advance in most chapters of the campaign until my focus changed to “Goblin Den” in March 2021 (as mentioned above).

Other than extending and optimizing brushwork, object and AI placement, the campaign as a whole has been presenting a specific set of challenges. Here are a few examples:

Firstly, the outdoor areas of “Tears of Blood” and “All Astir” have been greatly expanded upon, and “line of sight” limitations have been remedied thanks to artifices with object placement.

Secondly, cellcount was a big issue in missions such as “The Undercroft”, and “All Astir”, but are being remedied, following what was mentioned above.

Thirdly, some missions, namely “All Astir”, require a significant quantity of custom objects (ex: custom objects pertaining to a XVII century shipyard). As I personally do not have much experience creating custom objects with software such as Blender — much less importing them into the Dark Engine — I’ve been relying on the generous contributions of some very talented DromEders and community members, namely Firemage, Nicked, R Soul (and others) to provide some complex models necessary to each specific mission. Perhaps I’ll find the time to learn how to create and import my own custom objects some day, but until then I rely on the voluntary contributions of other authors.

Fourthly, “Broadsword of Sheol” presented a different set of challenges, related not to brush or cell count but to the object limitations inherent to of Thief 1. Because of the large amount of composite “Flame” objects (each having several SFX associated to them), the maximum object count was quickly reached before the mission was complete. However, with the help of veteran DromEders Vfig and Vegetables, a custom dynamic and reusable Money Tree system has been devised to spawn and unspawn certain objects according to their radial distance from the player, thus providing almost infinite object placement throughout the mission. This is possibly one of my proudest scripting achievements, and hopefully will not only benefit “Broadswoard of Sheol” but other missions as well.

Aside from the technical aspects of DromEding, the outline and story of the campaign has been elaborated upon. Much thought has been given to the connection between missions and movements of the campaign. I’ve attempted to have each mission play a significant role in advancing the plot, much like in the original Thief games. I’ve worked on giving each chapter a distinctive feel, without compromising the global integrity of the campaign. For example, I’ve taken extensive notes from Herman Melville‘s Moby Dick and Billy Bud, Sailor, as well as other significant sources such as Patrick O’Brian‘s Master and Commander, in order to attempt to capture the spirit, culture and particular vernacular of maritime settings. Similarly, other themes have been exploited in the other missions of the campaign. Following is the current mission list for the campaign, with some information on the setting of each chapter:

  1. White Lies: set in a wealthy but corrupted surgeon’s country estate during winter, shortly after the events of Thief: the Dark Projcet.
  2. Nightcrawler: set in the mysterious castle of foreign nobility.
  3. Walking the Edge: set in the City, on the fringe of two districts of very different social class.
  4. Tears of Blood: set in a Hammerite seminary, as well as the small village around it.
  5. Tuttocomb’s Tomb: set in an “archeological” site uncovering traces of the familiar but ancient precursor civilization.
  6. The Undercroft: set in the arcane domain of a sibylline wizard.
  7. All Astir: set in the City’s docks.
  8. Broadsword of Sheol: set in a forgotten tomb of an recondite civilization.
  9. Loss and Bereavement (working title): to be announced.
Check out original thread here!
info NOTES:     Read more on Shadow of Doubt fan project blog here: https://shadowofdoubtcampaign.wordpress.com/2021/06/12/ge...

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The outline and story of the campaign has been elaborated upon. Much thought has been given to the connection between missions and movements of the campaign. I’ve attempted to have each mission play a significant role in advancing the plot, much like in the original Thief games. I’ve worked on giving each chapter a distinctive feel, without compromising the global integrity of the campaign. For example, I’ve taken extensive notes from Herman Melville‘s Moby Dick and Billy Bud, Sailor, as well as other significant sources such as Patrick O’Brian‘s Master and Commander, in order to attempt to capture the spirit, culture and particular vernacular of maritime settings. Similarly, other themes have been exploited in the other missions of the campaign.


Campaign details

1. White Lies

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2. Nightcrawler

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3. Walking the Edge

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4. Tears of Blood

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5. Tuttocomb’s Tomb

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6. The Undercroft

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7. All Astir

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8. Broadsword of Sheol

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9. Loss and Bereavement (working title)

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