Splinter Cell Chaos Theory AKA the Greatest Stealth Game Ever Made ⚠️ Please note: This review is only half. The continuation is in the comments below as I wasn’t aware of the characters limit (yes, I’m stupid) From all of the dozen of games I played over the years, only a few resonated with me and got stuck lingering in my head. Upon hearing the end credits music and seeing all of the talented names who made this masterpiece, I knew that it too just got a place on my list of games I won’t forget. Context To understand why Chaos Theory is so special, you need to understand the making of this game and the team behind it. The original Splinter Cell game that came out in 2002 for the original Xbox was called “stealth action redefined” and indeed it redefined the stealth genre. With a burning passion, Ubisoft Montreal cooked a game so atmospheric with its music and visuals, but most importantly so ahead of its time with revolutionary stealth gameplay mechanics, where the gameplay loop was revolved around both the sound you make and the dynamic light of the environment. It was one hell of a game. Sure… it had its drawbacks such as the janky platforming or the forced action sequences. Nevertheless, it sold well enough to convince Ubisoft to greenlight not just one, but two new mainline games. The second game in the series (Pandora Tomorrow) was developed and released two years after the first one by a different studio. Ubisoft Shanghai took the first game and built on what was already good. As much as I adore Pandora Tomorrow and find it a bit underrated, it just wasn’t a better game than the original overall (it’s pretty close though). Meanwhile the original developers (Ubisoft Montreal) were quietly cooking the masterpiece that is Chaos Theory. Gameplay & Level Design Compared to the previous titles, every single aspect in this game was cranked up to eleven, and the most refined one is gameplay. The gameplay is just ridiculously fun. Right from the start, you’re given multiple ways to tackle obstacles and enemies. You can distract enemies or remain unseen by using environmental lights, either by shooting the light source or using your laser to disable it for a few seconds, letting you slip right past them without them ever knowing you’re there. Or you can use the sticky camera to lead them away, or even shoot gas at their face to get them out of the way. This scenario only shows three of your gadgets, and you have many more. Each one of your gadgets has at least one or two different uses. Combine that with the cool moves that Sam can perform from grabbing and climbing ledges, holding along pipes (which you can take down an enemy while Sam’s legs facing up like Spider-Man), sticking to walls with your back, hanging up with your legs wide open, and sliding down passing a whole levels with zip lines. All these endless possibilities are not useless, and you constantly find new ways because of one thing, level design. The level design and mapping of the levels is genuinely great. The moment you start a level you instantly see multiple routes you can go with, and a lot of the time there are unique sequences for each route itself. If one is a straight up obvious entrance like a door for example, it will be more guarded with soldiers and cameras in a lit area. You can go there by cutting the power supply temporarily, or take a not so obvious route like going to the roof and climbing down. This is just one little decision you unconsciously make within a few seconds. And each time, the game responds with something you can find or do. I don’t remember a single place where I went for it only to not find anything. Although something I noticed (which is my biggest complaint of the game) is that the good, memorable levels are in the first half of the game. While the second half is not bad, it’s obviously worse than the first. I played the game about a week before writing this and I still remember every room on the bank level, yet I forget most of the late levels. I especially remember the bank level, as it was the highlight of the game for me. All of these elements perfectly blend together to create the best moment to moment stealth gameplay I have ever seen. Sound Design & Music Sound design can single-handedly BREAK or MAKE immersion, and it’s here where Chaos Theory thrives. My ears tickle every time I hear “tck… tck… click,” that soft metallic lock-picking sound scratches an itch in my brain I never knew I had. And there’s the iconic night-vision sound that you hear at least 3 times every 5 minutes or so throughout the whole game, somehow it’s satisfying each and every time, and it never gets old, that should tell you something. On top of that, the random fans or generators you find which directly affect gameplay, they can cover your footsteps sound so you can move faster without the enemy noticing you. Your footsteps sound will vary not just by your speed, but based on the kind of floor surfaces as well. Recklessly walk on a hard metal floor and you will get caught, but walk on a soft mattress on the other hand, and you officially have a footsteps silencer. The knife material cutting sound, the hacking sound, and so many others to name. I can go on and on forever. But you know what sounds even better? The insane music. It absolutely had no right to be that good, but it did. I can’t talk about the music without mentioning the composer of the game, Amon Tobin. In no world would Chaos Theory have been this good without this guy. I’m not exaggerating when I say his music elevated the game to a level of perfection. He took the dark vibe of the game and twisted it with his own jazzy, smooth style, only to channel it straight to my soul. It also achieved something I find rare in spy themed music. It made me feel like an actual spy without it being generic spy music. I don’t know how to describe it, you just have to listen to it. It never fully fades away, and it’s always present, quietly fading in and out. While it doesn’t take over the gameplay, once it’s gone you instantly realize something is missing. Also, every level has its own track, and each track has four different layers stacked on top of each other depending on the enemy’s state. As enemies notice something, hearing your footsteps, or when you straight up get caught, more layers fade in, which is absolutely genius. Basically, sounds in general are one of, if not the strongest element in the game, which is wild considering every aspect of this game is as good as it gets. Writing & Characters I didn’t care about the story when I played the first two games, all I needed was the objective of the level with few dialogues between Sam and Lambert, and that was more than enough for me. As I lost interest with the story after seeing how the game handled the storytelling. Not saying it was bad by any means, it just wasn’t the reason I continued playing the series. As Chaos Theory’s story goes, I didn’t care either, if I’m being honest, but it was way better than the first two games. Every plot has enough building with it being grounded with the world rules. But what I was most pleasantly impressed with the writing is the character dynamics and their dialogues. Unlike the previous games, all the characters have a... character, funny enough. Especially Grimsdottir, her relationship with Sam was so wholesome.
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