There are no spoilers in this review.
This article was originally published on Gamer7.com which is now defunct. The date of the first publishing is unknown, but it is sometime after May 2005.
The Tom Clancy’s Splinter Cell series goes from strength to strength, with last installment Pandora Tomorrow being hailed for its gorgeous graphics, compelling gameplay and fine co-op/multiplayer mode. If you haven’t finished PT yet though, I suggest you get moving - because the next chapter, Chaos Theory, is here, and is an experience you’ll not forget in a hurry.
As before, the series’ hero Sam Fisher is a US ’Third Echelon’ agent; a mysterious operative who doesn’t “exist” otherwise. In Chaos Theory, it’s out with the ‘terrorism’ storylines that dominated previous episodes, and in with a new threat. The nations of Japan, North Korea and China are on the verge of war, following Japan’s creation of its ‘Intelligence Self Defense Force’. The two Communist nations have formed a blockade across the Korean Strait, yet Japan stands firmly by its ISDF (claiming information warfare strikes by other nations are responsible for its crumbling economy). Suffice to say, Chaos Theory’s storyline rivals any of Tom Clancy’s own written novels, full of action and plot twists that provide a thrilling experience. And it’s through the missions themselves (not the dull briefings) that the story is best told.
The game’s single player mode is made up of ten missions, with multiple difficulty settings - though how you complete these missions is less linear than in previous Splinter Cell titles: There are several different ways of finishing each mission, based around a range of objectives; primary, secondary and opportunity. Primary objectives are the ones you really need to worry about, while Secondary and Opportunity are not required, but help tally up you rating at the end of each stage. Ten missions may not seem like much at first, but Chaos Theory’s missions are substantially larger and better designed than those in its predecessors, and replay value is high, as you’ll want to try beating each mission using as many different methods as possible.
At the start of each mission, you get to select your equipment and weapons (or you can let the game automatically grant you the optimum arsenal for each mission). Chaos Theory’s weapons are seriously impressive: Your new combat knife allows you to grab enemies at knifepoint and, from there, either choke them to unconsciousness or strike their back with your knee causing instant death (!). Your knife also allows you to perform quick kills, by stabbing the stomach or slashing the throat (though you don’t have to kill; you can knock your enemies unconscious with a punch or palm-smash). Melee attacks are certainly easier in this game than before, meaning it’s possible to get by without your gun, thus avoiding alerting enemies in the area. And the knife has other uses besides attacking; it can be used to slice open tents and vents, and breaking locks.
Other weapons receive upgrades too; your SC-20K gets a sniper attachment; combine this with thermal imaging and you’re almost unstoppable from a (long) distance. The shotgun attachment is great fun, offering one-hit kills, though it does feel like it goes against what Splinter Cell is all about: Stealth. Your pistol gets a neat secondary function called the OCP: Shoot it at an electronic device to temporarily turn it off: For example, shoot at a light, to give yourself valuable time to sneak around in the dark.
Sam’s gadgets are also much improved; a brilliant new addition for example is a ‘noise meter’, which compares the noises Sam makes to those of the current environment. The environment itself generally plays a bigger part too; you can turn on sprinkler systems, or hack electronic doors (which is a nice, if occasionally confusing, mini-game).
Splinter Cell long-timers will be relieved to find that the enemy AI in Chaos Theory is much kinder. In Pandora Tomorrow, the slightest mistake would trigger an alarm, sending enemies rushing in. Chaos Theory gives Sam a little more leeway, with a ‘leveled alert’ system similar to that of Metal Gear Solid. Guards’ suspicions can be aroused, setting them on the lookout without alerting everyone in the area, and Sam can quickly hide to evade their searches. Enemies are certainly more thorough in their investigations now, though; they’ll notice broken glass or random items left scattered, so Sam needs to be careful, taking time to learn their routines and get his timing right so he can sneak past without getting spotted.
There are four co-op missions, and these are very large and detailed, with designs specifically geared towards teamplay. You and your fellow players can use each other to boost over walls, act as human ladders - and there’s even a strange torpedo-like move that enables you to launch one another into enemies or over gaps. It plays smoothly, but is not flawless; the lack of co-op maps means that if you get lost, it’s very hard to find your comrades again - so prepare to waste plenty of time wandering aimlessly. And only four co-op missions is a little miserly, though perhaps Ubisoft will offer further co-op missions for downloading.
Versus mode expands upon the innovative, entertaining formula seen in Pandora Tomorrow; it’s the usual two Third Echelon spies up against a pair of mercenaries - though this time, the mercenaries have gas-masks to protect from smoke grenades, and a ‘Berserk’ mode, them lets them perform a swift, brutal attack on a nearby spy. Mercenaries are armed to the teeth with assault rifles and shotguns, whilst spies have a range of non-lethal items.
There are eleven maps; five are which are revamped arenas from Pandora Tomorrow. The maps in general are larger than before, and each is littered with switches and vent shafts to be used to your advantage. There are three different Versus modes, all of which feel perfectly suited to these maps: Story mode sees the two spies seeking specific objectives, defended by the mercenaries; Disc Hunt mode means what is says - seeking out and collecting ‘discs’; and Deathmatch is a traditional team versus team kill-fest. Team-mates can exchange equipment and heal one another, as well as performing the ‘co-op’ moves (mentioned above), whilst another odd aspect is the ability to ‘trash talk’ your opponent before taking them out. The high quality of the graphics and sound is maintained in all the multiplayer modes, and Pandora Tomorrow veterans will certainly feel right at home with Chaos Theory’s versus play.
Realism has always been a big factor in Splinter Cell, and as such everything you see and hear in Chaos Theory is intended to be as authentic and realistic as possible. Character models and environments are highly detailed, and the stunning lighting and environmental effects adds to the atmosphere, as do the fluid and believable character animations. The console versions (particularly Xbox) are impressively comparable to the PC version, with rag-doll physics are excellent bump-mapping enhancing the cinematic experience.
The sound is of equally fine quality, with even the slightest sound wonderfully realized; from wind and rain to the chatter of birds, snapping of twigs and quietest human whispers… Background music is sparse, reserved mainly for combat, but the overall Amon Tobin soundtrack fits the game’s pace and atmosphere perfectly.
(Verdict:) Chaos Theory is a truly stunning package; arguably the best stealth game yet seen, redefining the series, and upping the benchmark for the genre. The single-player mode is captivating and engrossing, and is paired with an exciting and varied range of multiplayer modes. A few minor problems can’t mar the overall experience, and the presentation is testament to just how much work has gone into it.
Rating: A
This post is tagged games, review, splinter cell, xbox
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