Welcome to Dev Game Club, where this week we continue our series on Tom Clancy's Splinter Cell: Chaos Theory. We talk about the game's tone, the depth of mechanics and their uses, the spaces, and the use of fidelity. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary.

Sections played: Up through Displace

Issues covered: a wry tone, avoiding technobabble, countering drama with comedy, who various characters are talking to, layering in narrative, setting games in real places, consumer cultures, global customer bases, stepping over a line, getting some Sam time, delivering a variety of types of experience through a game mechanic, detecting player stories, guards becoming keys, different ways to tackle bank lasers, infinitely recursive stacks and punch cards, talking to the old guy, the many uses of a sticky camera, using quick save as a gadget, fire and alt-fire, load-outs, multiplayer asymmetry, pacing of play, whether every role was equally fun to play, office buildings, nuanced level design, a long way around to a briefcase (aka a not-so-brief-case), a high quality bar, cloth sims, high fidelity shadows, integrating new technical features into gameplay, physically-based rendering, making artistic and design choices that support the design.

Games, people, and influences mentioned or discussed: William Shakespeare, Hamlet, Metal Gear Solid (series), Hitman (series), Thief (series), Ghost Recon (series), James Franco, Jonah Hill, The Interview, Jack-Ax (series), Sony, Bourne (series), Grand Theft Auto (series), Far Cry (series), Marvel Cinematic Universe, Assassin's Creed (series), America's Army, Evolve, Dead by Daylight, Interstate '76, Xbox, PlayStation, Unreal, Clint Hocking, Harley Baldwin, Kirk Hamilton, Aaron Evers, Mark Garcia. Next time: Finish the game?

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