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"Tom Clancy's Splinter Cell Stealth Action Redefined" faz exatamente oque diz

Tom Clancy’s Splinter Cell é um jogo feito para aquele cara que quando era criança se esgueirava pela casa com a luz apagada, esperando nos lugares mais escuros e sabendo todas as superfícies onde seus passos não fariam barulho no azulejo, sou eu, eu sou esse cara.

Splinter Cell tem um Stealth único, diferente na sua própria forma, ele é mais realista que os demais (tão realista quanto pode ser, pelo menos) e até um pouco tático, em nenhum outro jogo luz e sombras foi tão importante quanto aqui, as fases são claustrofóbicas com poucas chances de se livrar do inimigo, com você muitas vezes tendo que passar por entre eles na escuridão, essa imaginação de se esconder a plena vista é oque alimenta a gameplay de momento a momento, e o que o torna singular.

A história de Splinter é muito complicada e, ao mesmo tempo, tem pouca exposição, se você tentar entender algo além do quadro geral ficará confuso num conflito internacional político que envolve países demais, super armas nucleares e personagens secundários rasos, exceto por Sam Fisher e Lambert, mesmo tendo pouco tempo de fala se comparado a jogos futuros, Michael Ironside casou perfeitamente com Sam e o tornou icônico a primeiro momento, é uma daquelas atuações insubstituíveis, ele é para Sam Fisher oque James McCaffrey é para Max Payne.

As fases de Splinter Cell oferecem muitos momentos memoráveis, em uma fase você estará atravessando um pátio militar usando seus óculos de visão térmica para ver minas terrestres, no outro estará invadindo a sede da CIA para sequestrar um espião inimigo, porém, as fases são bastante lineares, oferecendo sempre uma única forma de atravessar o ambiente, também faltou mais variedade de locais, tirando alguns que se destacam como a refinaria de óleo e a embaixada chinesa há muitos cenários com escritórios que acabam se tornando difíceis de diferenciar, oque está a mostra é bom, mas podia ser bem melhor, ainda mais se comparado a jogos futuros.

Por causa dessa linearidade, o jogo acaba se apoiando bastante em tentativa e erro, esse tipo de coisa está presente em quase todo jogo Stealth, mas aqui a frustração pode ser demais até para fãs do gênero.

Como se passaram 22 anos desde que lançou, Splinter Cell hoje em dia é bastante datado, modelos de personagem são pouco detalhados e as fases falham em mascarar as limitações da época, porém, há vários detalhes que ainda impressionam, as sombras do jogo são exemplares até hoje, além de ter um sistema de som muito elogiado, os desenvolvedores tentaram adicionar muita interatividade em várias salas, Metal Gear Solid 2 podia ter cubos de gelo que derretiam em tempo real, mas Splinter Cell tinha aquários de peixe que, quando atirados, sugam a água pelo buraco de bala até que o nível da água estabilize.

Mesmo tendo vários problemas, era bom ter jogos inteiramente dedicados ao Stealth para se jogar, e é interessante ver como a franquia começou, alguns jogos do gênero podem ser melhores e mais inovadores, mas nenhum era como Splinter Cell, por isso digo que o subtítulo do jogo faz oque diz, a Ubisoft criou um novo estilo de Stealth, mais realista e com mais ênfase em luz e sombra, ele redefiniu o que era Stealth em 2002 e o que ele poderia ser.

Hoje em dia, stealth é apenas um elemento de vários jogos AAA, é raro ter jogos focados em querer passar despercebido ao invés de atirar neles, por isso é tão importante reconhecer as qualidades de Splinter Cell, quando você está colado na parede com apenas o suficiente de sombra para te esconder e há um guarda a um suspiro de distância, rezando para ele não te perceber, o jogo consegue criar um suspense que não se encontra em nenhum lugar a não ser talvez, em jogos de terror.

Splinter Cell pode dever sua existência a Metal Gear Solid, mas isso não o torna menos original.

O BOM
• Sombras e luz impressionantes para época
• Movimentação e mobilidade com profundidade
• Várias situações memoráveis e desafiadoras
• Personagem principal marcante


O RUIM
• Muita linearidade
• Datado em algumas áreas
• História desnecessariamente complicada
• Seções de combate obrigatórias

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"Tom Clancy's Splinter Cell Stealth Action Redefined" does exactly what it says.

Tom Clancy's Splinter Cell is a game made for the guy who, as a kid, would sneak around the house with the lights off, waiting in the darkest places, knowing all the surfaces where his footsteps wouldn't make a sound on the tiles, that's me, I'm that guy.

Splinter Cell has a unique stealth system, different in its own way, it's more realistic than the others (as realistic as it can be, anyway) and even a little tactical, in no other game has light and shadow been as important as it is here, the stages are claustrophobic with few chances to get rid of the enemy, you often have to pass between them in the dark. This idea of hiding in plain sight is what makes the game so unique from moment to moment.

Splinter's story is very complicated and at the same time has little exposition, if you try to understand anything beyond the big picture you'll get lost in an international political conflict that involves too many countries, super nuclear weapons and shallow secondary characters, except for Sam Fisher and Lambert, even if he has little speaking time compared to future games, Michael Ironside married Sam perfectly and made him iconic at first, it's one of those irreplaceable performances, he is to Sam Fisher what James McCaffrey is to Max Payne.

The campaign offers many memorable moments, in one stage you'll be crossing a military courtyard using your thermal goggles to see landmines, in another you'll be breaking into CIA headquarters to kidnap an enemy spy, but the stages are fairly linear, and there's also a lack of variety in the locations, Apart from a few that stand out, such as the oil refinery and the Chinese embassy, there are many scenarios with offices that end up being difficult to distinguish from one another. What's on show is good, but it could be much better, even more so when compared to future games.

Because of this linearity, the game ends up relying a lot on trial and error, something that is present in almost every stealth game, but here the frustration can be too much even for fans of the genre.

Twenty-two years on from its original release, Splinter Cell has become a bit dated, with character models lacking detail and stages that fail to hide the limitations of the time, but there are some details that still stand out, and the game's shadows remain exemplary to this day. Metal Gear Solid 2 could have ice cubes that melted in real time, but Splinter Cell had fish tanks that, when shot, sucked water through the bullet hole until the water level stabilised.

Even though it had a lot of problems, it was good to have games that were entirely dedicated to stealth, and it's interesting to see how the franchise started, some games in the genre may be better and more innovative, but none were like Splinter Cell, that's why I say the subtitle of the game does what it says, Ubisoft created a new style of stealth, more replayable.

Even though it had a lot of problems, it was good to have games that were entirely dedicated to stealth, and it's interesting to see how the franchise started, some games in the genre may be better and more innovative, but none were like Splinter Cell, that's why I say the subtitle of the game does what it says, Ubisoft created a new style of stealth, more realistic and with more emphasis on light and shadow, it redefined what stealth was in 2002 and what it could be.

Nowadays, stealth is just one element of many AAA games, it's rare to have games that focus on trying to go unnoticed rather than shooting at you, which is why it's so important to recognise Splinter Cell's qualities. When you're pinned to a wall, with just enough shadow to hide you, and a guard a breath away, praying he doesn't notice you, the game manages to create a tension that you don't find anywhere else, except perhaps in horror games.

Splinter may owe its existence to Metal Gear Solid, but that doesn't make it any less original.

THE GOOD
- Impressive shadows and lighting for the time.
- Movement and mobility with depth
- Several memorable and challenging situations
- Outstanding main character


THE BAD
- Too much linearity
- Dated in some areas
- Unnecessarily complicated story
- Obligatory combat sections

Literally, the first videogame game I ever played (if not counting Flash games). I remember stealing the CD from my cousin's house back in 2010. Had a blast playing it didn't even know that there is a virus installed too. My mom let me use the PC for only Friday and Saturday after that lol and most of the time there used to be load-shedding.

But still, the game was very impactful to me and made me love the stealth genre and video games. Sam is very cool and I used to do basic stuff stealthily like when opening doors and walking trying to replicate him just to get comments like "Wow didn't even realize you were here" from my family.

Post-9/11 tech thriller atmosphere on the max, the dynamic shadows and nighttime visuals still look cool and moody to this day. Gameplay-wise however its clearly a very rough sketch of what its sequels managed to improve on, the stealth is functional, but the controls are wonky, the combat is dogshit, the detection system is brutally unforgiving at times and your fingers will be on the F5 key non-stop. Lots of trial-and-error in this one as well as some truly nonsense mission design that will make for hair loss.

This game is a flawed masterpiece, but when i say flawed, i mean really really flawed, janky controls, weird game design (bouncing between being completely cryptic and being completely idiotic), bugs, specially with guard detection, etc. The only thing preventing this game from being unplayable sometimes is the fact that the pc version has quicksaves.

Now to the good part, the atmosphere of this game is insane, and so are the options of how you can solve the game's challenges, several very interesting espionage weaponry and tools, but it doesn't help when the game design is commonly flawed, like when they force you into an action scene in a damn stealth game. But now that i'm writing that, i don't remember feeling the same way while playing metal gear, i guess it's because in this game, the weapons are designed to be used in stealth, so they are garbage in action moments, what creates a frustration that didn't come while playing other similar games.

Well, i guess the fact that i even finished the game means it was a worthwhile game, even if very frustrating sometimes.

A solid stealth game for the time, but it's rough to play these days.

The atmosphere and lighting hold up better than everything else. This game still looks great for its age thanks to superb lighting.

The light and darkness mechanics are excellent to this day and I wish more stealth games copied them, but sometimes it can be a little finicky as you're often not hidden unless you're in total darkness. Enemy AI is extremely jumpy and often just moving a tiny fraction too fast, or not being in a perfect shadow, will result in an immediate alert. There is no moment of leeway between being seen by an enemy and the alarm being triggered, and enemies can go from unaware to whipping around and blasting your ass instantly.

The alarm system works really weirdly in this game, which is an absolute headache if you don't know about it before you start playing. You have to hide bodies perfectly or reaching checkpoints will trigger the alarm, even if realistically nobody would see the bodies. And three alarms will fail the mission.

The shooting in this game made me want to tear my hair out. It's horribly inaccurate on purpose. You can line up a perfect shot at a light and still miss and alert all the enemies nearby. I get that the game wants to discourage shooting your way through the levels, but it ends up completely blowing stealth and it's not the player's fault. Every time this happened I had zero shame reloading saves until trying to simply eliminate a light source didn't get me screwed by bullets exiting my gun sideways.

It seems that Ubisoft wasn't entirely confident in the stealth gameplay as the game includes some forced action and shootout sequences, which are definitely the worst part because the shooting mechanics are intentionally designed to make shooting difficult. The game shoots itself in the foot there.

This game was a promising start to the series, but its flaws are very noticeable, especially so many years later. Frankly without quick saves this game would suck because of the twitchy AI and unpredictable bullet trajectory. If you're really interested in the history of stealth games and you want to play through all of them, this game is worth a look. But if you're not a huge fan of the Splinter Cell series or playing through every stealth game out there, I suggest skipping to Chaos Theory.

Admirable, to a fault. Be highly wary of this: Painstakingly TOUGH detection minefields only achievable through heavy trial-and-error. F5 will be your greatest savior. Makes sneaking in Metal Gear feel like a walk in the park since SC trusts you to cross Fisher through strictly narrow hallways crammed with guards performing little to no-killing. A lot of the challenge comes by design flaws: Guards taking tricky, random turnarounds and horrid gunplay- Drunken accuracy that misdirects your shots ensuring one way to make hell rain all over you. That being said, the burdensome challenge is somewhat adorable for early blueprints of TPS stealth. A quasi-parkour mobility, lock-picking minigame tension and technological lookouts. It's a neat trendsetter of techno-noir. You're gonna shoot more lightbulbs than henchmen, and questioning guards in the dark provokes a badass cold-war dream come true. Charmingly pioneer, whilst feeling truly veteran in back-breaking difficulty even at it's easiest.

As a stealth system, it's much less uncomfortable than the one in both Metal Gears released for the PS2, but that's pretty much where its novelty ends. Way too straightforward and rigid for its own good, it stays more or less static for the whole playthrough and never escalates, with just a few set pieces where the game asks you to do different stuff. Gimmicky set pieces. It is also heavily reliant on trial and error. You act the same way at the end as you did at the start. A really, really narrow and straight hallway with nothing else to do. There isn't much else to say honestly, as it lacks any ambition whatsoever.

The story is as basic and post-9/11 as you can get. Terrorist threats, bombs, espionage, conspiracies. Pretty standard stuff. Still, it kept me engaged to binge it in like four days, but had it been a film, it would perfectly be the kind of movie you could find zapping on TV after dinner. The kind of movie you watch out of boredom and forget about it in a week. Using the darkness to your advantage is a neat idea, you make a lot of use of the couple of functions the goggles have and the gameplay never stops, which emphasizes the immersion, a necessary thing for a game like this, and the devs don't waste the opportunity to make some fun situations, but those are the only interesting things the game has going for it. One of the most aggressively average games ever made.

This game is jankier than I remember. It's got good aspects to it but its certainly weak compared to some of the later games. Much like the Hitman games, you can see a clear concept here that isn't quite realized. The platforming is broken as hell and there's moments here that force you into combat and it's quite rough.

The story of Splinter Cell is something I care so little for as well. It's never well written, I'm basically only here for the gameplay lol.

This game sucks to play on PC, it took me atleast 30 minutes to get this in a playable state.

Anyway, all in all. I don't think I recommend it? It's not very fun, but it's still impressive and unique for the time. Though, I think stealth involving usage of shadows was perfected in the Thief games.

Playing this game was so frustrating and I actually rushed trough the whole thing because this game didn’t age well. Lots of bugs, the voice acting is corny and annoying. And for some reason every time you shot something you gotta shoot it multiple times because for some reason Sam Fisher can’t aim for shit. The forced loud moments are horrendous to play trough and some levels are harder than they should. But I gotta say that the graphics looks very aesthetic and looks amazing for a game this old. The characters however is another story. The gameplay itself is also very enjoyable when the game actually feels fair and not too difficult.

Splinter Cell é surpreendentemente um absurdo de jogo do começo ao fim, e que tranquilamente consegue competir e superar tecnicamente muitos jogos dos dias atuais.

Eu acho que o primeiro ponto que salta aos olhos logo de cara nesse jogo são seus gráficos. As texturas de altíssima qualidade e - esse que me fez babar o jogo inteiro - aliada a luz dinâmica dos cenários, tornam esse jogo lindo aos olhos até os dias de hoje. A iluminação é pra mim o principal ponto disso, e é simplesmente hipnotizante! Seja as luminárias pendentes que se movimentam de forma realista ao levarem um tiro, seja pelos raios de luz dinâmicos através de persianas e/ou galhos de árvore, tudo relacionado a iluminação é tão realista até para os dias de hoje que a todo momento que eu parava pra reparar nisso, eu só conseguia me perguntar “como a ubisoft conseguiu chegar nesse nível de qualidade técnica logo no início dos anos 2000?”. Nos momentos em que os inimigos trazem luminárias em suas cabeças, esse elemento também se ressalta de forma impressionante. A movimentação do espectro da luz e dos raios da mesma são simplesmente muito bem feitos e fidedignos com a realidade.
A direção de arte, num geral, é espetacular com suas cenas cinematográficas, principalmente que esta traz takes e elementos de obras do cinema relacionadas ao gênero de espionagem e ação da época como Duro de Matar, Missão: Impossível e até Bourne (esse último lançado poucos meses antes desse jogo). Não só isso, mas em muitas fases, graças a escolhas de composição e posicionamento de luz a direção de arte salta de ser simplesmente impressionante pra um patamar quase que pornográfico de tão hipnotizante.
em sua gameplay ele carrega muito dessa veia. No nível normal ela apresenta um desafio na medida certa (pra mim) para um jogo focado no stealth, nem muito fácil mas longe de ser um passeio no parque. Eu encaro que certos elementos da gameplay (como certos equipamentos) estão ali só pra preencher linguiça e que não precisavam existir, pois são completamente inúteis na maior parte do tempo. Mas eu entendo que eles quiseram utilizar de traços de immersive sims da época (a franquia Thief sendo a mais evidente aqui) pra se diferenciar e dar mais complexidade a esse aspecto em relação a franquia em que eles assumidamente queriam bater de frente, MGS.
Como deu pra ver, o jogo se pauta muito no realismo, e a movimentação dos personagens é outro ponto que carrega muito esse toque em sua veia.. Claro que isso tem um pouco mais de limitação de sua época (principalmente em relação aos pontos gráficos aqui citados), mas nada que reduza a qualidade desse quesito. A Ubisoft conseguiu fazer de forma brilhante com que a movimentação do Sam Fisher seja extremamente dinâmica aqui. Seja em momentos em que o protagonista esteja carregando peso (como um corpo), seja pela chuva sob o mesmo e o cenário de algumas missões, seja pela física das roupas e cortinas do cenário ou por simplesmente existirem cacos de vidro no chão, tanto o Sam Fisher quanto o cenário reagem super bem ao que está acontecendo na gameplay e de forma altamente realista.
Outro ponto relacionado a gameplay vem da parte sonora. Os passos aqui são elementos fundamentais para a experiência de se esconder de um inimigo, ao ponto de ter toda uma parte do tutorial relacionado a isso. Não só isso, mas a parte musical também é muito boa. Pra mim a trilha desse jogo consegue dar a nota necessária de filme de espionagem com um tom militar, levando a imersão a um nível muito alto. Ao longo do jogo, esta se repete um pouco acima do que se espera mas ainda assim é muito boa pra compor tanto os cenários quanto a gameplay.

Pra ser sincero, esse jogo tem pouquíssimos defeitos. Eu acho sim que a gameplay se perde um pouco quando o jogo tenta se enveredar mais pra ação e quase abandonando o stealth em certos momentos pós missão 2. Outro ponto que eu particularmente não gosto, é que alguns inimigos são altamente influenciados por RNG (ou seja, têm comportamentos aleatórios). Isso acontece mais quando se chama atenção deles… E ok, traz um grau de os personagens estarem vivos e não serem simplesmente NPCs, mas eu não curto muito, principalmente porque existem muitos inimigos nas fases, o que torna os seus erros um pouco maçantes.
Talvez o que mais me incomode seja a baixíssima precisão da mira. O retículo além de ser extremamente sensível é totalmente impreciso, exigindo (muitas vezes) no mínimo 2 tiros pra acertar um alvo (já que é comum o primeiro tiro simplesmente desviar do alvo, mesmo com a mira estabilizada).
No final, esses pontos não são nada que estraguem a experiência geral.

Particularmente eu detesto quando os jogos tentam ser hiper realistas, pois isto tira a dinamicidade do controle que é algo que eu prefiro sempre ter ao meu alcance. Mas Splinter Cell utiliza isso de forma brilhante, se encaixando como uma luva em sua gameplay cadenciada e que preza pela calma e lentidão do jogador. O jogo constrói com pouco e com extrema qualidade uma atmosfera de suspense e tensão que, ao meu ver, é obrigatória no meio stealth.
No final, Splinter Cell é um jogo muito à frente do seu tempo. A qualidade técnica aqui traga é invejável pra muitos jogos AAA atuais e consegue dar um tapa na cara dos mesmos. É sem sombra de dúvidas um dos melhores de seu gênero, porém, está longe de ser um jogo pra se recomendar pra alguém que queira conhecer e entrar para o gênero stealth, contudo para alguém já inserido no meio e que por algum motivo nunca teve oportunidade de jogar (eu a um mês atrás ksksks), vai ter aqui um prato cheio de excelentes desafios, mesmo depois de mais de 20 anos de seu lançamento.

Splinter Cell is the first outing for Sam Fisher, a laughably gruff spy and his manly mission to scare the Russians and Chinese. Unfortunately this first entry has not aged too well - it's playable albeit underbaked, overwritten, and frustrating to get through.

The story is a dry NSA fan fic about Sam being a bad ass and saving the world with an 'ends justify the means' approach. This time it's the Georgians working with the Russians... but also the Chinese and the CIA? I don't know but then Sam doesn't follow the plot either, he just always knows what the next thing to do is. Sam also doesn't get much characterisation beyond 'cold badass' and has some rough scenes like being unable to comfort a dying man and interrupting his daughter's call to toss the phone and dive out of a plane. The VA (Michael Ironside) talking about Sam's emotional depth is genuinely laughable (the healing moans are also not appreciated Michael).

Gameplay meanwhile is VERY linear and I don't think the series found its feet here. Levels are built around stealth and platforming sections each with their own issues. The designer just wants you to play levels in one very specific way but sadly the mechanics are not well tuned. The 'grab an enemy' prompts don't always show (leading to instant deaths), light levels are hilariously unclear on the PS2 version, and aim is terrible! Even when a lightbulb is inches from you it can take 3+ shots to hit.

Platforming meanwhile is mechanically fine but it really highlights the terrible level design. Nothing is way pointed, highlighted, or even hinted as being interactive and many times stuff that is normally scenery suddenly becomes interactive. They introduce and remove situational mechanics at random without explaining them like the rappelling sections and lots of reoccurring mechanics are only explained in missable data files like how the auto-turrets work - a boon if you know, but frustrating if you're not aware. It will also switch from stealth to action scenes without telling you, so it's unclear when you alerted guards or if it's suddenly a set piece.

Overall this game is a rough start to the franchise, I've not touched the other games yet but apparently they do get better. There is of course the idea of a decent game in here it's just buried beneath a boring story, unlikable characters, inconsistent mechanics, and slow gameplay. I'd say this one is only worth it for the fans and new players can probably skip it without missing anything substantial.

as many people have mentioned, pc version requires a fuckton of tinkering to get working, even if you purchase it on steam, which is quite unfortunate.
for the first playthrough i left this game quite disappointed with how linear and rough it gets, rooms more often then not only have one way to solve them, the game will force you into combat despite having a combat system purposefully build badly to force you to avoid it, so i ended up not liking it much.
then i played it again recently, not trying to play perfectly and just going half life on this bad boy, only to find out how JANK this is, try it, you can easily get out of bounds using the double jump and almost skip some rough areas, quickly crouching is as fast as running and does not make any noise, this game is jank enough that you can break it quite easily and have fun with bending the rules to your liking, fuck it, just shoot everyone, but make sure to hide the bodies in the dark, and thats only for a few selected missions, why even go through the trouble of hitting good scores ? you unlock NOTHING to do it, so just break this game up