Deadbolt strips stealth down to the essentials and I can't stop playing it.
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It's always interesting to see old genres learn new tricks. Stealth -- with all its methodical manoeuvring and frantic flights -- might seem like an odd fit for Valve and HTC's only slightly mobile virtual reality face squid, but that's just forced the folks behind Budget Cuts to get creative.
Thomas Was Alone, Mike Bithell's charming 2010 platformer about the inner lives of hopping geometric shapes, was an experiment in the power of storytelling to triumph over abstraction. Volume, Bithell's new game, is also a successful experiment in abstraction, although the narrative is realistic, or realistic science fiction. This time, it's the interactions that are stripped to their essences.
The mission seems to be going well enough; it's been tough, but you've persevered, making your way through some tense situations by avoiding the gaze of patrolling guards. You've just infiltrated the enemy base -- now it's time to assassinate someone. You're hiding, maybe in the bushes or around a corner, and wham, some guard spots you. Alarms sound, the world begins to move in slow motion, and an alert pops up on screen.