![]() ![]() It’s easier to tell whether you’re hidden in the shadows when you can tell where they begin, end, and bleed into the often deadly light. The HD re-release adds a crisp, defined look to what were once muddy shapes and textures, which actually assists the player with accurately navigating each space. Like a Tom Clancy novel.įrom a visual standpoint, Chaos Theory is crushing it. Like a good, inoffensive political spy thriller. A lot of this buildup is pulpy, yes, but in a charming way. It makes for a smarter story, whose buildup and climax feels like it has been quietly increasing for several games. ![]() It’s clear that the people that wrote this game played the first two, and actually cared about them. Some of the tech that you – the player – directly interacted with in previous titles comes back into play, propelling the story in a meaningful way. It integrates pieces of the previous two entries into the latest installment, but without the insufferable, forced, wink-wink-look-we’re-being-self-referential-love-us song and dance that so many video games pull. If you enjoy games like Uncharted for the well-written character moments that snuggle within the bombast, then I urge you to pick up this title.Ĭhaos Theory also delivers on a broader note with its narrative. As such, I wanted to drive home how much this contributed to my enjoyment of the game. Normally, I wouldn’t dedicate 500-ish words to the dialogue in a game – let alone 250 – but I truly believe that Chaos Theory has some of my favorite character-driven moments in my recent play history. Perhaps playing so many video games has made me lower my standards, but I really appreciate it when every bit of dialogue has been put through the ringer so that I don’t feel uncomfortable when a respectable voice actor forces themselves to choke out a schlocky, awkward line. It’s witty, serious, or informative when it needs to be, and every sentence manages to feel organic. If it’s not quite clear yet, the takeaway here is that I’m a huge fan of the moment-to-moment writing in this game. I like to experiment, so I got to experience many conversations that took place when I did – or did not – trigger certain events, but these player-predictive nougats appeared with enough frequency that I’m almost positive that there’s still dialogue that I missed. Do you know what I love? Games that have the confidence in themselves to put in content – and this is good, capital-K Kontent – that some players will flat-out never see. The narrative Powers That B also execute rather well on delivering dialogic rewards that anticipate the player’s actions, á la GTA or Max Payne. It’s an often relieving touch that helps relax a game that so relentlessly demands the utmost attention from the player. Somehow, the writers gave these folks a legitimate work relationship within the insane confines of what they all actually do in this fictional world. ![]() These characters they also get annoyed with each other. The character dialogue in this game legitimately cracked me up. Sam Fisher and his handlers only crack jokes from the safety of the shadows, and always nail them. Actually, it’s one of my favorite parts of the game. The writing is one of the strong points of the game. Ideally, you are – as the game is fond of reminding you – “a ghost’s shadow.” As part of the super-duper-secret intelligence organization, Third Echelon, you are sent out on sensitive missions to sneak behind and around many men in camo army fatigues, complete your objective, and scoot out as though you were never there to begin with. You are Sam Fisher, voiced by the honey-whiskey-and-nails vocal chords resting within Michael Ironside’s talented throat. Hey here’s that Splinter Cell: Chaos Theory review in 2015 that everybody’s been clamoring for. ![]()
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