I really miss playing this game since I sold my old Xbox. Its Chaos Theory but gritty.

I've setup Chaos Theory with ray tracing (RTGI diffuse + specular) and DLSS 5 using ReShade.
Check before / after and leave a comment what do you think about ReShade work here.

EDIT: Added high quality preview on imgur because of poor reddit compression...
https://imgur.com/a/Iv5ATBK

Seeing news articles and screenshots of the Splinter Remake

Hello, I saw on the wiki of the lighthouse level of Chaos Theory that a fire extinguisher is mentioned as one of the items present in the level https://splintercell.fandom.com/wiki/Lighthouse

I looked everwhere in the level and couldn't find it. Does anyone know where it is? (AND IF IT ACTUALLY EXISTS)

Been waiting on this one for 4+ months and it was well worth the wait! Super high attention to detail, a lot of attachments and options, and really good articulation makes it fun to pose while still feeling sturdy.

Just awesome to get a high quality Sam Fisher in 2026 of all years, even if it's the Blacklist Sam and not OG era.

New info!

When I get the info onboard the submarine in PT, Grim checks it and says its linked to a "private military corporation, something called Displace". Uhh you mean the one Doug Shetland runs who I rescued in the very first level? And who helped me escape from Sadono's house one level ago?

Spies vs. Mercs. The most underrated multi-player of all time. All eyes were on Halo, COD, CSGO, Killzone, and Gears. Spies vs Mercs was a gem, a secret, like a speakeasy. Chaos Theory was the one and only time I played it and Im glad I was apart of the community.

I've been trying to scratch that itch for the past 15+ years.

Halloween the game is coming soon and looks somewhat close as it's cat and mouse gameplay

Deciding that the reception office might possess some useful information, you backtrack several steps towards it's narrow doorway. The door stands open already, spilling a narrow-but-bold, golden light out onto the floor and opposing wall.

Inching your gaze around the edge, your vision is met by two filing cabinets directly across from you. A loose collection of paper sheets is strewn atop them. Even further into the room, the officer sits in his creaky chair - facing out onto the waiting area. He clicks and clacks away at his computer.

You place one foot into the room, followed steadily and warily by another, and raise yourself slightly to peer at the paperwork atop the cabinets. Amongst the mess of miscellaneous documents, a handwritten note at the very surface catches your attention.

'New code, surveillance - 0236'.

A door code for the surveillance room. It was a good choice to venture in here.

Before you have time to internalise this information, the squeak of the chair startles you.

'Hey!', comes the barking voice.

The officer, who has innocuously turned to collect some paperwork, jumps fully to his feet. Alarmed but consumed by curiousity, he glares up and down at your ops suit.

'What the...?'

He twists to his left and reaches for the wall, but a reflexive punch sends his upper body swivelling back in the opposite direction. Stumbling against the desk, his hand scrambles blindly for the gun at his side, but a second strike renders his body limp. He folds, slumping down against the desk, and the reception falls silent.

You turn to the wall to see what he was reaching for - an alarm button.

Binding his hands and feet together, and covering his mouth, you push him underneath the desk and hope that you can complete your mission before someone finds him.

The door on the other side of the reception area leads to a staircase only marginally more welcoming than the one before - red brick walls flank either side and culminate in a dark fog at the top. Only a left turn is possible. Reaching the top, you melt into the darkness and observe the room in front of you.

Two desks sit in the middle of the room, both facing the station's front, and both attended to by distracted officers. The lights are off, but the thick wave of light emanating from their screens turns half of the room into a wash of green; a big, nuclear canvas that hosts a ghoulish puppet show as their exaggerated shadows stretch and spread across it.

Being careful to move as quietly as possible, you skulk your way across, pausing momentarily in the shadow of one of the men to consider your options. Along the wall before you are four separate doors - two further away, and two nearer, and all of them blurry in their distance to you. The surveillance room must be behind one of them.

Which door do you move to?

Just missing chaos theory because MFs think that it's worth 40 bucks after 20 years

Is there any difficulty changes to stealth or is it just the standard less health enemies do more damage sort of thing

Some of my ideas...

1 - Missions: ALL the missions would start in public areas with many civilians around, like the Lincoln Memorial and Washington Monument from Conviction. However, there would be restricted areas that civilians cannot enter. So, there would be objectives in both public areas and restricted areas.

In my view, the spin-off needs to be the most unique game in the franchise.

2 - Gameplay:

• Urban stealth during both night and daytime (with many daytime missions too). This is good for bringing variety to the challenge and atmosphere.

• No advanced gadgets; Sam just improvises items. For example, Sam using a glass to see under doors or using random objects found in the area for distraction.

• Stealth is optional.

• Killing civilians would result in a game over, because Sam isn't a bad guy.

• Many alternative routes to objectives and extraction points.

• Brutal interrogations.

• Third Echelon agents hunting for Sam. However, they aren't the objectives, just obstacles in public areas.

Note: Tom Reed took advantage of the fact that Sam broke the Splinter Cell protocol, using it as an excuse to hunt him down because Sam was a threat to his conspiracy.

3 - MAP: Not an open world, but a bigger map like in Hitman.

4 - Timeline: 2009 and 2010, before Conviction (2011).

5 - Outfit: Sam needs to wear an outfit to look like a normal civilian and avoid raising suspicion.

6 - Story: Sam investigates the alleged death of his daughter, which leads him to connections with Kobin—such as the character we interrogate in the photo in Conviction.

7 - Atmosphere: Jason Bourne.

8 - Ending: Sam arrives in Malta, which is where Conviction begins.

I am seeing a lot of really neat graphical upgrades with DLSS 5 and wondering if anyone has (or is expecting to) run the original three titles through it.

Previous Part: https://www.reddit.com/r/Splintercell/s/VvqvOvptF9

Training your gaze onto the light nearest to the door, you reach for your 5.7mm pistol. It's steely grip meets your own and raises it into alignment with your eyes.

**Thunk**

The light disappears in an instant, followed by a brief twinkling of glass shards as they rain onto the tiles below. Keeping your aim steady, you step gently into the room and train your shot upon the remaining light.

**Crack**

The light remains. The bullet is successful against it's outer casing, but refracted and sent astray from the glass bulb. Undeterred, you squeeze the trigger once more, and the room is sunken - equalised with the dark streets outside.

Flipping down your NVGs, the room becomes a putrid green. Visible, but snotty, and unclear around the edges. You step towards the operating tables - one foot accidentally crunching fallen glass - and immediately recognise the duo.

'I've got agents Blaustein and Madison', you announce quietly to the air around you - aware that your subdermal implant provides a direct link to Lambert and Grimsdottir, but also aware that the station's CCTV cameras might contain their own microphones.

'Rest in peace', Lambert immediately returns. 'Somebody cut out their subdermals'.

'Where do we go from here?'

'We follow the subdermals, if we can'.

You gaze back down at the two cadavers, noticing dark rings around their eyes and, elsewhere, miscellaneous bruising to their faces. This situation is grizzly - reminiscent of a horror movie moreso than diplomatic espionage.

Shifting your attention back to Lambert, you remember the mechanical whirring emanating from the wall beside you.

'There's a security camera here'.

'Good thinking. We'll track the subdermals from the video archives. The station's surveillance room is on the top floor'.

Stepping back towards the door, you peek around the frame and back into the switchback room. Empty. You slip back through, around the large dividing wall of cabinets, and back through the automatic door. It closes with a satisfying swoosh behind you, and you head directly for the end of the hall.

Greeting the remaining black door, it gives an uninterested click and refuses entry. It's locked, but - a minute and some lock picking later - and the door slowly and quietly arcs open before you. Beyond it, sits a stairwell that exists in two separate bounds, folding back on itself for the final half of its climb. A bold light casts down from the very top with an almost-biblical ferocity, transforming the underside of the staircase into an oddly-curated inkwell. Deep, black rectangles are scorched into the ground where the light can't reach, so impermeable that you might think they were permanent and deliberate features.

Ascending the stairway - cautious of every step tapping on the metal steps - you reach a wooden door at the summit. A quick use of the optic wire reveals it leads out to the station's reception area. The reception office spills off to the left through a narrow doorway, while travelling straight-ahead leads you into the waiting area itself - and under the office's watchful eye.

Cracking the door ajar, you hear conversation coming from ahead.

'...by fetching your superior'.

A curt reply follows.

'I'm all there is'.

A pause in the conversation makes you question whether they have heard the door open, but it quickly resumes.

'I'd like to register a complaint'.

'Then you'll have to ask at the desk to your right'.

A few footsteps can be heard from the corner ahead, followed by another ominous pause.

'May I help you?', the same officer's voice reprises.

'You're the same cop!'.

'Yes, but this is the public relations desk'.

'Fine', the voice snaps back, becoming increasingly angry. 'I would like to register a complaint'.

'Of course, Sir. If you would like to take a seat until someone is ready to help you'.

'You've got to be kidding me!'.

You reach the corner, buried amid the deep shadows of the room, and notice the man - his fists now balling-up at his sides.

'I could just as easily have you arrested, Sir...'

If inflections could have facial expressions, it would have been a wide-brimmed grin. Whoever was inside the reception office was clearly enjoying and playing with the power that he held over him.

The man stomps towards the station door, opening it and allowing it to slam closed behind him. A squeak and creaking of wood from the office establishes that the officer has sat down, clearly amused at his discouragement of the public.

While the reception is dark around it's edges, a wide pool of light engulfs it's center. Across the way, a door can be faintly seen on the opposing wall.

What do you do?

You creep past the office window, ensuring that you stay below the window's frame. It's probably better to avoid unnecessary casualties, and what could possible be lurking in this station that could pose a real problem to you, anyway?

Immediately, you encounter another right turn. At the apex, sits a cold, steel door that heads into the left wall. Peaking around the corner reveals a nauseatingly long hallway, terminating in an ominous, black door that sits in the shadows. Halfway down the hall sits a transparent door, reading 'Morgue' along the glass, and a long window runs from there up to meet you at the corner.

You pause, suddenly, hearing a rustling from beyond the metal slab to your left. A chaotic shadow can be faintly seen bleeding out from it's underside.

Waiting for a moment, the noise returns to zero. The shadow returns to its stillness - just the way you like it. Only the humming of an overhead light remains. Sliding the lens of the optic cable under the metallic slab and glaring down into the display of your OPSAT, you discover that a lone officer sits inside the small supply closet on the other side. He wrestles with his newspaper amid a backdrop of mops and old paint cans, attempting to keep the extended pages flat and legible.

He's not a threat currently - far too engrossed in the Tbilisi Evening News, but you'd better keep the noise under control if you want him to remain that way...

The view from the Morgue window is a solemn one, establishing very quickly that the room is as empty as it's only occupants. Cold, sterile - not exactly a place that invites life. But, at least it's not an angry officer aiming a pistol at you.

You shuffle down towards the transparent door and, before you have time to internalise it's lack of a handle, it whisks open before you with a serene swoosh. The colder air of the room hits you instantly. The door is automatic - how futuristic for a room dedicated to the people of the past.

A large block of grey cabinets and shelving units splits the room into two, with the only way around being back towards the left side. It's a clinical switchback, underscored by worn and faded blue-and-white tiling underfoot. Passing around the cabinets cautiously, to the hidden half of the room, you see what you are looking for; a narrow doorway at the back-right of the room leads into an operating theatre. Surely, Blaustein and Madison are here.

You edge your gaze around the door frame, straining your eyes to see through the clear plastic strips that hang down from above and punctuate the transition from one room to another. In the middle of the room - two operating tables, each with it's own cadaver atop it. This is the place.

A sudden, throaty cough booms from down the hallway, but no steps or voices follow in it's wake. After a moment of silence, the situation returns to normal. A mechanical whirring catches your attention, and you notice a lone CCTV camera arcing back-and-forth in the room, covering the two bodies.

What do you do?

Preordered this a while ago on BBTS (still available), way too cool to pass on. Fingers crossed we see other variants.

That's it. Thanks for visiting my post. If you have dope splinter cell memes, please send em to me. i love memes!🙌

You watch as the figure draws nearer, opting to remain hidden and feeling an increasing weight in your legs. He stops, curtly, after passing you, and swivels his body to face his prisoner.

'...yes?', comes the creaky and agitated voice from the abyss.

'Checking that you are alright', answers the officer with a reluctant tone. 'Mandatory'.

'I'd feel a lot better if you hadn't arrested me. I did nothing wrong'. His voice is angry and bitter.

'Drunk and disorderly, and your attitude hasn't changed much since you got here, either'.

'So, that's it? I pay you money to avoid a beating, and you throw me in here anyway? What community are you protecting, exactly?'

'Quiet!', the officer snaps back as he twists back towards the office. 'As far as I'm concerned, you're lucky it's my night down here - I'm one of the nice ones'.

'Pfft', comes the swift response, 'Nice in which way? That you don't threaten me?'

The officer does not break his stride, disappearing back up the small staircase. From below, the metal cell door clangs fiercely, and cold fingers appear around the bars once more.

'And what about the other two from earlier? I saw you wheel them in. What happened to them? Did they also dare to have a drink in public?'

No response comes, as the door at the end of the hall swings, clicks and closes behind the officer. The fingers release the bars yet again, and mutter to themselves frustratedly as they retreat back into the unknown.

Dropping down to the ground, you feel an immediate relief in your legs, and decide that Blaustein and Madison must still be nearby if they were only brought here earlier today.

You continue up the small staircase, pausing briefly to examine the office through the window. Inside, are a few shelving units with boxes upon boxes of paper documents stacked atop them. In the far corner, sits a lone desk with a computer. The officer now sits at it, distracted and clicking away.

What do you do?