Five Things I Want To See In The Next Splinter Cell Game

I love Splinter Cell. I am a massive fan of James Bond and spy stories in general, so the main crux of Splinter Cell, being a super secret stealthy agent, greatly appeals to me. 

I’ve loved every game in the series, from the hard-as-nails original game to the modern and fluid games like Blacklist. Every game brings something new to the table, with ethical tales of the horrors of war, torture, war profiteering and the US government spying on its own people, with the series rarely dropping into po-faced American jingoism.

There have been recent rumours of a new Splinter Cell game coming in the near future. Indeed, it has been seven years since the last full game, Splinter Cell: Blacklist hit our shelves, with nearly every other game in the Tom Clancy pantheon getting regular updates.

Talking of those other games, Splinter Cell has been keen to get involved, with leading man Sam Fisher featured as a special guest in the most recent Ghost Recon games (Wildlands and Breakpoint), as well as a leaked Splinter Cell-inspired operator for Rainbow Six: Siege. Why would there be all this push for the series if no new game was to be announced?

Well, as a fan who has waited a very long time for a new game, I thought I would have a go at what I would want to see in a new Splinter Cell game.

Play It Again Sam – What I Would Like To See In The Next Splinter Cell Game

1. Sam

An easy one to start with, Sam Fisher needs to be in Splinter Cell. He is the face of the franchise and cannot be allowed to be absent from the game.

There was a big row during the release of the last game, Blacklist, as Michael Ironside, the iconic voice of Sam Fisher, was recast with Eric Johnson. Lots of fans were angry over the change, seeing Sam losing a big part of his character with Ironside being replaced.

Ironside however has voiced Sam during his last two cameos in the Ghost Recon games, so it seems as if Ironside is returning to the role.

This puts Sam in a precarious place though. Sam is fifty-five years old in Blacklist, and in his most recent appearances sees him going grey and wrinkled. Sam is a superman, but his is still only human. I think it would break the laws of physics to see a pensioner taking on heavily-armed militias all around the world.

So there are two compromises; Eric Johnson (or another actor) returns to give us a younger Sam, essentially rebooting the series, or Sam moves into a support role with Ironside voicing him and a new Splinter Cell agent steps into the frame. It looked like in Blacklist they were going to do that with the character of Briggs, but it is unclear what they will do now.

SamFisherWildlands
Sam is getting old. Is it time for him to retire and give his goggles to a protege? (Source: dailytech.page).

2. No Open World

The company in charge of Splinter Cell, Ubisoft, are known for their open worlds. Everything from Assassin’s Creed, The Crew, Far Cry, and other Tom Clancy properties The Division and recently Ghost Recon have all been set in expansive environments, ranging from cities to entire countries.

While Ubisoft would want to get another open world extravaganza out of their properties, it would not work for Splinter Cell.

Splinter Cell is all about sneaking and stealth, unseen and unheard. High-security buildings and compounds are Splinter Cell’s bread and butter, it doesn’t need a whole country to explore.

This quite nicely leads onto my third point…

3. Level Design and Locations

What I also love about Splinter Cell is the…mundanity of the locations. Let me explain. Most spy thrillers and games take place in exotic locations, partly inspired by the ‘travelogue’ aspect of James Bond films. Splinter Cell rejects those ideas.

Locations from the games are noticeably different and much more lifelike. Sure, every now and again you’ll get a standout level such as an oil tanker stuck in frozen waters off the coast of Japan, a high-security bank in Panama, a terrorist-owned villa-turned-fortress in Malta, or the 88-floored Jin Mao Hotel in Shanghai.

But for every mind-blowing location, the others are nice and tame in comparison; office buildings and embassies across the world, a police station in T’blisi , abandoned factories and dockyards in London, a shopping mall in Chicago, and an overnight train heading from Paris to Nice. This is the essence of Splinter Cell, the normal and drab turned into the battleground for tense spy vs. spy standoffs, with the fate of the world hanging in the balance.

When Splinter Cell decides to come out of the shadows, it needs to stick to single levels.

SplinterCellBorderCrossing
Border crossings, embassies, highly populated areas, these are the places where Splinter Cell shines. (Source: splintercellwikia.com)

4. A Blend Of Stealth And Combat (and Player Freedom)

Splinter Cell has always been about sneaking around in the shadows, slipping unnoticed by the guards and enemies, or silently taking them out when nobody is looking.

The fifth game in the series, Conviction, turned this on its head and made aggression a core tenant. The next in the series, Blacklist, also followed this push towards combat, but adding back the stealth experience.

While I sometimes like the ability to go full Rambo on enemies, it doesn’t scream Splinter Cell to me. The majority of the game should be stealth, sneaking around in the dark with your night-vision goggles, being a ghost.

However, giving Sam every single ability under the sun is a great way to let players play how they want. Lethal and non-lethal hand-to-hand combat, gadgets to distract, incapacitate and complete objectives, aggressive ways to move forward like breaking open doors, and if needs be, some combat in there as well.

Conviction and Blacklist both implemented an upgrade system where players could choose to customise their equipment. While Conviction was limited to just combat, this made the upgrades skew towards that. In Blacklist, players could choose between stealth-focused and combat-focused upgrades. This would work…until mandatory stealth or combat sections would start, leading to many level restarts on my end.

If players are going to be given freedom of choice, then every situation and level has to be built for it. A great example would be the modern Deus Ex games, where nearly every situation and scenario can be tackled from any and every angle.

SplinterCellCombat
Splinter Cell: Blacklist gave the player the freedom to tackle objectives and missions how they wanted. This needs to continue in the next game. (Source: steamcommunity.com)

5. The Story (And The World Of Spies)

I won’t write a summary or synopsis, but rather a few things that might be cool to see.

The games are set in the modern day, focussing on what could be the next big threat to come along. These have included North Korea, former Soviet states, Indonesian rebels, Iranian hit squads, war profiteers, and traitorous United States officials, as well as the identikit Middle Eastern terrorists that littered shooters for the better part of a decade. While Blacklist was an interesting proposition (former spies becoming turncoats), I wouldn’t mind going in a different direction, namely the Cold War in the 1980s.

The Cold War gives Sam the greatest of stages as a spy. The setting gives the all-American spook some beautiful Communist-controlled nations to visit such as Cuba, Russia, and the best setting for any Cold War spy, Berlin, complete with Wall. The time period also allows Sam to face off against his Soviet counterparts. In Conviction and Blacklist players were introduced to Agent Kestrel of Voron, the Russian equivalent to Sam’s Third Echelon. Having East vs. West as the backdrop allows for tense spy battles as each tries to outwit the other. The 1980s also allows the game to have ‘prototype’ gadgets like the iconic trifocal goggles, OPSAT computer and trusty SC20k rifle. It doesn’t need to be an origin story or Sam’s first mission as a Splinter Cell, but just a retro-fitted adventure.

KestrelArcher
Voron’s Kestrel (L) and 3E’s Archer (R), the two leads of Splinter Cell: Conviction‘s co-op story. These two opposing forces led to an excellent dynamic of trust and mistrust. (Source: pinterest.com)

The stories have always been the usual Clancy fare about rogue nations and terrorist cells, hoping to cause damage to America. Sam works for the NSA, who are specifically based on protecting the United States, whereas the CIA focus their tasks on foreign interests. This has always led Sam and the NSA into morally dark territory, where they are spying on the CIA, FBI, the government, US citizens, and carrying out illegal assassinations (known as the ‘Fifth Freedom’ in-game). That darker edge is always an interesting angle, with Sam not always agreeing with his superiors. Add the murky ethical questions with all the declassified defections, false nuclear alerts and NATO/Warsaw Pact war games from the entire history of the Cold War, it is a great canvas for the game to build on.

Another note to mention, during his excursion in Wildlands, Sam was shipping out on a mission due to an “empty quiver” (codeword for a missing, lost, or stolen nuclear weapon). Could this be the plot of the next SC game? It wouldn’t be first time for a Tom Clancy property; the book The Sum Of All Fears also focuses on a similar premise. Aside from the original Rainbow Six, the games have strayed further from Clancy’s original text. Is this a sign they’ll be making their way back?

Conclusion

In the final cutscene during his mission in Wildlands, Sam remarks that “they don’t make ’em [spies like him] anymore.” It’s a sad remark on the nature of stealth games. Metal Gear Solid has gone the way of the dodo. Thief has slipped back into the shadows.

Hitman is still going strong, but had to go through a whole heap of publisher interference, a radical change of release, and finally developer IO Interactive going independent, all while Hitman 2 was still in development.

Aside from these games, there isn’t a true stealth game left in the market. Sure there are games like Alien: Isolation and Deus Ex which have stealth elements, but they are both influenced by other genres, namely survival and RPG respectively.

With Rainbow Six Siege now entering its fifth year, alongside the release of The Division 2 and Ghost Recon: Breakpoint in 2019, Ubisoft look set on bringing back their Clancy properties.

It took eight years between Rainbow Six: Vegas 2 and Siege. It took five between Ghost Recon: Future Soldier and Wildlands. It has been seven years since Splinter Cell: Blacklist. With all the Clancy properties on the rise (not mention Sam’s appearance), along with no true stealth competitor left in the market, the time is now for Splinter Cell to come back.

 

Photo Banner Source: shopify.com

Why Splinter Cell Conviction’s Non-Canon Ending Is Its Best

I love Splinter Cell and its lead Sam Fisher. I am a Tom Clancy fan and love playing the games bearing his endorsement filled with his pulpy action and ultra-competent badasses.

While Rainbow Six and Ghost Recon have the fun of being a member of an elite squad, Splinter Cell always held more of a draw for me. Perhaps it was because a fan of James Bond, being a lone operative and relying only on your wits and tactics to survive seemed much more thrilling.

While I did enjoy the first four games in the franchise, with Chaos Theory being the best of that set, I am only truly a mega-fan due to the fifth entry, Conviction. This may raise some eyebrows among other SC fans as Conviction is seen as a lesser game for its shift towards action and linearity, but I love Conviction for its story and presentation.

While the narrative is the usual Clancy stuff about secret government conspiracies, industrial espionage, and spy vs. spy standoffs, the story of Conviction is a good deconstruction of the entire series to that point. However, the deconstruction only works if you pick the non-canon ending.

Everybody Walks – How Splinter Cell: Conviction’s Ending Deconstructs The Entire Series

All games have messages. There has been debate recently with games like Modern Warfare (2019) and The Division 2 (another Clancy game), over messages and political leanings in games. Splinter Cell, along with other games in the same stealth genre, are not immune to adding messages and themes in their games.

The Metal Gear Solid series was famously anti-war and dealt with themes of marginalised servicemen and women, the military-industrial complex, and the repercussions of Mutually Assured Destruction.

The earlier Hitman games had subtle hints on the dogmas and doctrines of Catholicism such as original sin, the capacity for God, and absolution (so much that they subtitled the fifth Hitman game Absolution).

Splinter Cell’s overarching theme is family and friendship. From the beginning of the series there has always been a sense of camaraderie, of not just co-workers, but of intimate connections. These can be seen both in the larger frame of the story as well as in individual scenes.

During the first three games Sam has a tendency to crack some jokes and have some light-hearted banter with his handlers over the radio. He argues with Grim over whether lasers or a 90s spy thing or 70s spy thing in Chaos Theory, discusses relationships and religion with Frances in Pandora Tomorrow, or asks a guard he has taken hostage if the coffee machine in the room uses ground or dried beans, again in Chaos Theory.

Michael Ironside Sam
Michael Ironside was the voice of Sam Fisher until Blacklist. He sat down with Ubisoft to flesh out Sam’s character, making him more human and less gung-ho. (Source: YouTube.com)

In terms of the story as a whole, friends and connections to Sam appear in every game. His daughter, Sarah, has been a major figure from the start. Her inclusion gives Sam something to focus on outside of work. In the ending cutscene of the first game when Sam laughs at the news covering up all the spy intrigue, Sarah says she hasn’t heard him laugh like that, “…since the Reagan administration!”

Sarah is also the focal point of the Conviction storyline. Sarah is supposedly killed by a drunk driver at the start of the previous game, Double Agent, but it is revealed her death was faked so an enemy agent couldn’t use her as leverage over Sam. Upon hearing his daughter’s voice for the first time in three years, Sam audibly clams up, stuttering over his words. His reunion with her later in the game has no dialogue, just a look between the two before they embrace.

Splinter Cell Sarah
During Conviction we see Sam and Sarah before he lost her, strengthening the bond between the two. (Source: splinter cell.wikia.com).

During the events of Pandora Tomorrow, the second game, Sam saves an old army buddy, Douglas Shetland, from a guerrilla camp. In the sequel, Chaos Theory, Shetland is a valuable asset to Sam, helping with logistics and even offering him a job at his mercenary company if Sam wanted to leave the spy work behind. However, Shetland had been using his contacts to fuel a war between the United States, Japan, Korea, and China, and Sam confronts him at the end of the game. Sam and Shetland level their weapons at each other as Shetland starts to monologue about his reasoning. He ends with, “You wouldn’t shoot an old friend…” Sam can either shoot him, or if Shetland goes to shoot, Sam ducks and stabs Shetland with his knife, before pushing him off the roof they were on. Sam replies, “You’re right Doug, I wouldn’t shoot an old friend.”

During Double Agent, Sam has conflicting allegiances between the NSA and the terrorist group John Brown’s Army (JBA). He obviously doesn’t align with the JBA, but does emotionally connect with Enrica, the weapons expert of the JBA. The two become romantically involved and plan to run away together by the end of the game. Enrica is killed by another Splinter Cell just before the finale. Sam murders the Splinter Cell in a fit of rage before fleeing.

Another major event that happens in Double Agent is the death of Irving Lambert, Sam’s boss and friend. Lambert is taken hostage by the JBA, and Sam is forced to either shoot him or blow his cover. It is confirmed in Conviction that Sam did in fact shoot Lambert. When the scene is referenced in Conviction, the narrator, Victor Coste, says, “Lambert died that day by Sam’s hand. And so did Sam.”

Victor Coste is another of Sam’s army buddies and tells the story of Conviction via flashbacks. During the Gulf War Coste saved Sam after enemy forces captured the latter. Upon saving Sam, Coste chuckles, “You don’t leave a brother behind Sam. You don’t leave family.” Another theme present in Conviction is paranoia, with the voice of Sam, Michael Ironside stating in an interview, “Sam doesn’t trust anyone…” (1:31). His former handler, Grim, has seemingly become a turncoat, both helping and hindering Sam. It is seen through flash-forwards that she shoots Sam and captures him for the bad guy, Tom Reed.

Splinter Cell Grim Airfield
When Sam meets Grim face-to-face after she had him captured and tortured, his trust in her has already started to crack. (Source: steamcommunity.com).

Grim holds Sarah hostage and forces Sam back into duty if he wants to see her again. During the climax of the game Grim reveals that it was Lambert who faked Sarah’s death to make sure Sam couldn’t be compromised. She plays Sam a recording Lambert made before he died, explaining his motives and saying how he, “…lied to his [my] best friend.” Grim follows up by saying that she never held Sarah hostage, “That was just a bluff to get you in the game and for whatever its worth…I’m sorry.”

And we finally get to the ending of Conviction. After killing all the remaining Splinter Cells and saving the President, Sam has the traitorous head of the NSA, Tom Reed, at gunpoint. There are two options; kill him dead or spare him. Killing him is the canonical ending. Sam has been ‘activated’ again by the events of the game and is back to being a spy. In the final custscene of the game he breaks Coste out of the prison cell that he has been telling his story from (with Coste repeating his line about being ‘brothers’).

In the non-canon ending, Grim shoots Reed. The game ends with the following conversation.

Sam: You didn’t have to do that.

Grim: I disagree.

Sam: There was a time where you wouldn’t have said that.

Grim: Things change Sam.

Sam: Yeah, things change. Remember what you told me Anna, when this was over? Everybody walks. I’m walking.

Grim: You can’t. There is too much left to do.

Sam: Ask Lambert. I’ve done too much already.

Grim: Sam, please. I don’t know who else I can trust.

Sam: Trust? Funny you should say that. Goodbye Grim.

Throughout the entire series of Splinter Cell, Sam has always had his morals. Even when friends have become enemies, such as Shetland, he has always rationalised killing them, seeing them as bad guys.

After all that he has seen over the narrative of Conviction and the revelations of Grim and Lambert, he is an old and broken man. He may have got his daughter back, but he has lost everything else. And when Grim tries to reconcile and make it just like the ‘good old days’ Sam snubs her. It makes total sense that he would walk just like he did after Lambert’s death.

Splinter Cell Grim
Throughout the game Grim is constantly switching sides, leaving Sam never knowing if he can truly trust her. (Source: steamcommunity.com)

While I enjoy the sequel, Blacklist, I feel that the original run of Splinter Cell should have ended here with Sam coming to terms with his former allies and retiring into the sunset. Blacklist could have been a reboot as they changed the entire principal cast, with a new voice for Sam and Grim (as well as not having Sam Fisher, who is pushing fifty-four in Conviction, still be a spy).

By the time of Conviction we see those friends and relationships finally break down and rot, held together by only lies and deceit. It is a beautiful melancholic arc that punctuates the end of not just Michael Ironside’s last performance as Sam Fisher, but the last performances of the original voices of Grim and Lambert, Claudia Besso and Don Jordan respectively.

So while it was good to see Sam back in action both in Blacklist and more recently in Ghost Recon: Wildlands, it is here where Sam’s story came to a fitting end. When Sam leaves the Oval Office, he has nothing but Sarah. After years of field work where he would never get the recognition for his sacrifices, losing friends and lovers, until he can longer trust those he never thought would betray him, he still has a reason to go on.

It is the best ending the man could hope for despite the circumstances and one of my favourite narrative conclusions.

 

Banner Photo Source: moddb.com

Another Top Five Dialogue Scenes In Gaming

After my first post on my top dialogues in gaming I got thinking about other games that I thought had great dialogue sequences. I started to move away from just my favourite scenes instead looking at the different ways that dialogue is used.

I still like all of the scenes that are listed below, but I’ve tried to pick some dialogues that are special in the ways that they use character interaction especially those that work within adaptations or use factors outside of a simple back-and-forth.

So, let’s skip this preamble and jump right in, this is Another Top Five Dialogue Scenes In Gaming.

  1. Lara Croft and Pierre Dupont meet in Tomb Raider Anniversary

Tomb Raider Anniversary is a remake of the first Tomb Raider game. With a fantastic blueprint to work from in terms of level design, the creators, Crystal Dynamics, decided to focus on updating the story and fleshing out the characters who were mere cardboard cutouts in the first game.

While at this point we’ve already had a few verbal sparring matches with the morally-grey mercenary Larson, it’s Lara Croft’s interaction with fellow treasure hunter Pierre Dupont that takes the number five spot.

In the original game Pierre wasn’t much of a character. He would turn up during points of the Greece section of the game and shoot at Lara before running off and vanishing into thin air as soon he was out of line of sight.

Here in TRA we see two people who seem to have prior knowledge of each other. This can be seen by the fact that they are both on first name terms with each other, discussing each other’s personal philosophy that informs how they go about their work. This adds up to create a backstory for these two characters that will probably never see a gaming screen (although Pierre and Larson did come back for Tomb Raider Chronicles which was set before TR1). This gives all the characters a few different shades and facets rather than just “bad guy” and “good girl”.

The way that the cutscene plays also informs us about Pierre as a character. We only see his character model once during the sequence, instead following his voice as it reverberates around the room. This was meant to be a callback to his vanishing act from TR1, (1:50) but I read it as Pierre toying with Lara and messing with her head since she can’t find him.

When we finally see Pierre, he is in the shadows hidden from Lara and pointing both of his guns at her. He has a clear shot, ready to kill her, but backs off and disappears. This adds another layer to his character; he likes a challenge rather than eliminating his competition.

This continues through the game, as we hear his voice throughout the next levels, taunting us and finally ambushing us at the end, where once again, he and Lara’s conflicting worldviews clash.

All this makes him a much more interesting character rather than a simple shoot-first character like he was in the original.

(Cutscene starts at 10:32)

 

  1. The Confrontations with Red Grant in From Russia With Love

This one is quite different as it is an adaptation/remake of a film, but the subtle changes make it a good one to look at.

From Russia With Love came out during a period in the James Bond series between Pierce Brosnan being let go and Daniel Craig being signed on to play 007. EA wanted to keep making James Bond games so got Sean Connery to come back to play the iconic spy and took one of his films, From Russia With Love (an odd choice due to the film not being action heavy like Goldfinger or Thunderball) and adapted it to a game.

While the game takes several liberties with the original story it also remakes scenes shot-for-shot, word-for-word. The scene I’ve chosen is a mixture between the two.

The two characters, Red Grant (the bad guy pretending to be an MI6 agent) and James Bond meet on a smoky Turkish train platform, each providing their part of the secret code to each other to identify themselves. Red Grant is rather jovial, coming across as naive as he plays sidekick to Bond.

But as soon as they get to the dining car, Grant’s jovialness twists on a dime. His smile becomes a frown. His light-hearted phrase, “old man” takes on a sarcastic touch. Bond catches on when Grant orders red wine with their grilled sole (which adds to a funny line later when Grant hits Bond over the head with a bottle and says “There’s your white wine, old man!”). After pulling into the train station, Grant and Bond trade words lifted straight from the film. It is a cool scene, seeing dialogue that was originally in a tense interrogation repurposed as the start of an action sequence.

The connections made through Bond and Grant’s dialogue adds to up to their final confrontation at the very end of the game. After destroying the multi-appendage contraption that Grant is piloting, Bond finds him lying on the floor, defeated. Bond levels his gun and Grant starts to mock him.

“Are you going to shoot me in cold blood, old man? You don’t have the guts. It’s not the ‘English’ way. It’s just like red wine with fish.”

The way Grant delivers the line is perfect. The sneering disapproval of ‘English’, the reoccurrence of “old man” as an insult, and the final hint of their previous encounter with the mention of red wine and fish. Grant and the organisation Octopus set up the murder of Bond in the story because they misread the “British mentality”, which is stated at the beginning of the game (and the film). That’s why is hits much harder when Bond blows Grant away before he even finishes the word ‘fish’.

Bond’s final line of “That was for Kerim” also adds a somber tone to proceedings. Throughout the game, Kerim Bey has been by your side, helping you out along the way. Grant kills Kerim just before you meet in the dining car, and we see no hint of emotion from Bond when he first learns of Kerim’s death during gameplay.

Adding it here adds a nice little pathos to the end of the game and cements the fact that these two characters had a friendship rather than Kerim being just a helpful NPC.

(19:29-21:58 and 29:13)

 

  1. Sam Fisher in Ghost Recon Wildlands

I put another Splinter Cell moment on my first list because the writing in Splinter Cell is top notch and Sam Fisher is one of the best-written characters in the entirety of gaming. Michael Ironside, the original voice of Sam Fisher, worked with the developers to create a more three-dimensional character, giving Sam not just a great voice but something more on a deeper level.

Ironside explains that originally Sam was going to be a G.I. Joe-esque, two-dimensional, flat, gung-ho type character. Ironside wasn’t interested in playing a character like that. He saw Fisher as, “…a weapon that the government has used too many times.” (0:52). The character is not a gruff, macho one-man army (who do have their place in gaming), Fisher is instead imbued with cynicism, dark humour and genuine moments of tenderness (such as when Sam is asked to tap phone lines for his former field handler Frances Coen, he says, “For Frances…of course I can” (2:30)).

But the moment I want to talk about it the character’s most recent appearance, as an NPC in the game Ghost Recon Wildlands. The Ghosts help Fisher with a mission (again voiced by Ironside rather than Eric Johnson, who took over for Splinter Cell Blacklist), before they help extract him and bring him back to their field handler, Karen.

The two characters of them have some nice banter (with Sam calling her Linda, to which she replies that she’s “Karen nowadays”). Karen notices that Sam has gotten old and he responds, “I’ve heard they don’t make them [spies] like me anymore” (14:44) before mentioning one guy that used to be like him. Most fans got a kick out of the scene because Fisher starts to describe Solid Snake. Karen cuts him off with, “I heard he finally retired.” (15:04).

Whether this was a reference to David Hayder being passed over for Keifer Sutherland or a wider swipe at Metal Gear Solid being shut down by Konami, Sam replies with a quiet, “Then it’s only me.” (15:09).

The beauty of this line is that it has so many different layers. The initial reaction is one of smug superiority; after many years of the two competing franchises Sam Fisher has outlived his greatest rival. But then it’s a sad dawning. Sam’s line of “they don’t make them like me anymore” has extra metatextual meaning; they don’t make spy/stealth games like Splinter Cell or Metal Gear Solid anymore.

Looking at it from a character perspective, what has Sam got? He’s outlived every other rival, and what does he have to show for it? He’s pushing sixty, in a job that he will never get any recognition or respect for, all of his friends have either betrayed him or died, he’s lost countless lovers, and he hardly knows his only daughter.

It’s a sad realisation and as Sam thinks through his place in the world, Karen snaps him out of his pondering, saying that he has a new mission and he’s shipping out in one hour. This adds even greater sadness to the scene and character. Just as he looks at his life from a different perspective and starts to have doubts, he gets pulled back in.

(Cutscene starts at 14:44).

 

  1. The Cristina Memories from Assassin’s Creed Brotherhood

I am not a fan of Assassin’s Creed Brotherhood. I feel that it was a step down from Assassin’s Creed II and negates the entire downer ending of that game (although Revelations did bring it back round for the finale).

The only thing that kept me remotely interested in the game were the Cristina Memories. Cristina Vespucci was a minor character in the opening of Assassin’s Creed II and is one of Ezio’s many conquests throughout the game. She’s rather important because they are childhood sweethearts. It is safe to assume they were each other’s first relationship. While we hardly see any of that in AC2, their relationship is explored during the “Cristina Memories”, little vignettes of their relationship in Brotherhood.

These scenes are interesting because we get to see what being an Assassin does to a relationship. All of Ezio’s other ladies; Caterina Sforza, Rosa The Thief, Lucrezia Borgia, countless courtesans, they are all mainly one-offs or “distractions”, sex just for the hell of it. Cristina is so much more, and it can be seen during the dialogue.

Their first meeting is beautifully awkward with Cristina initially being dismissive but then intrigued by her would-be suitor (with his plea for a “second chance” to woo her (1:12)). The second memory has so much in what isn’t said. When Ezio asks Cristina to come with him, she simply says, “I want to…but I can’t…my family,” (9:55) reflecting Cristina’s conflicting priorities between her life and her love for Ezio.

My favourites of the Cristina Memories are the third and fourth. In the third scene Ezio returns to his belle only to find she is betrothed. His previous playful banter with Cristina is diminished as he learns that while he has been gallivanting around Tuscany sticking Templars and collecting feathers, Cristina has been living her life in quiet desperation. She has had to move on with her life while he is still chasing people that took away his former happy existence.

While Ezio has had to mature beyond his years to care for his mother and sister, but when he sees Cristina again he regresses back to being 17 years of age and hoping that pure love she had for him hasn’t waned. It hasn’t, but he sees that his life isn’t compatible with hers, and his final line of, “He’ll make a good husband, I made sure of it,” (13:55) is gently tender yet painful as he must accept that she can’t wait for him forever.

The fourth scene is especially heart wrenching, as Ezio tries to recapture that spark of what should have been, if only the couple had time and history had been different. When the two meet in a dark Venetian alley Cristina is understandably pissed at him. He pretended to be her husband and he says he, “…was afraid that you [she] wouldn’t come if I [he] just asked.” (17:00). Cristina confirms this, and it’s here that we see the pain of loving and losing someone.

Cristina stills loves Ezio, but she had to change. He was forever teasing her, reappearing every few years, tempting her with a life and a love that was true and innocent, but with him racing off faster than he arrived, leaving her alone again. And she couldn’t do it anymore.

She loves him too much, and to paraprhase a line from Professor Layton and the Unwound Future (and another great romance scene), “ she doesn’t want to say goodbye again. She can’t, she won’t.” (1:00). Because it hurts her every time when he leaves. She tells him that she loved him but she has to end their connection. He had his “second chance” and she leaves, telling him to never find her again.

For the finale we see that Cristina still carried a torch for Ezio after all the time spent apart, hoping that one day he might return to her. She whispers, “I wish we could have had a second chance,” before passing away in Ezio’s arms.

What hurts more is that Ezio never truly recovered. Despite having endless flings and floozies throughout the subsequent games, no one ever comes close to Cristina until Sofia Sartor arrives, when Ezio is well into his fifties.

And in a similar way he originally doesn’t want to get Sofia tangled up in his messed up life and endless struggle against the Templars, but she stays anyway. In a letter to his sister Claudia, Ezio says, “When Cristina died, something withered in me,” (15:55) showing that even with time, some wounds never truly heal.

 

  1. Elena and Nathan and “Are you Happy?” in Uncharted 4.

I know I mentioned in my first post that the Grosvenor McCaffrey interview in L.A. Noire is my favourite dialogue in all of gaming, but this one takes a close second.

After Uncharted 3 many people thought the series was over. Most games go for trilogies rather than quadrilogies, but Naughty Dog came back to tell one last hurrah.

The scene in Uncharted 4 shows life in the Drake household now that the two treasure hunters have “settled down”. Elena still has a little bit of adventure, travelling all around the world for travel magazines, while Nathan is relegated to menial cleaning jobs.

The two eat dinner and Nathan starts to zone out while Elena goes on about her current assignment. She can tell that he is dissatisfied with his job, but even when she tries to push him in a direction that would make him happy, he refuses.

Elena goes to wash up but Nathan says he wants to do it. He says he’ll play her for it on her “TV game thing” (a lovely jaunt through Naughty Dog’s Crash Banidcoot). One short game session later Nathan has lost and Elena starts to sweetly trash talk him, “You can give it another shot. C’mon double or nothing, my car could really use a good cleaning…there’s this mode called “easy mode”, I just switch it. It’s way easier on easy mode.” (12:37).

The two start to bicker like the cute married couple they are until Nate snaps and grabs Elena, tickling her into submission on the couch. The two stop and stare lovingly into each other’s eyes, until Elena says one of my favourite lines in all of gaming,

“Hey, are you happy?”

Nate’s unsteady reply of, “Yeah…course,” says so much about the two’s relationship, of settling down and moving away from hopes and dreams so they could have a shot at a safer and normal life.

The scene ends beautifully too with Nate asking, “You?” Elena puts on a mock thinking face and says “Um,” before the two laugh and kiss.

I would call the scene verisimilitudinous, but that would be a disservice to the scene, because it isn’t a simulation of the real, it is real. I’ve had this conversation in real life and similar ones like it as I assume many other people have. This isn’t just a sweet scene with some heartfelt emotion and some beautifully understated lines, this is a perfect representation of real life with all of its mundanity and shows of affection. And that’s why it tops my list as one of the best dialogue scenes in all of gaming.

(Start at 5:49).

 

Conclusion

Rounding out the list are some honourable mentions as well as a few single lines not from dialogues that I like. In terms of dialogues pretty much all of 2008’s Prince Of Persia  is excellent with the main characters of the Prince and Elika seamlessly morphing from vaguely antagonistic to potential lovers over time (and all in optional dialogue, which is interesting).

In the Hitman series Agent 47 and Diana Burnwood’s interactions are fascinating dialogues mainly because of their working relationship. Diana is the only person that is “close” to 47, and even then he doesn’t see her face whenever they are together. Like the Prince and Elika their relationship has changed as the games have gone on, developing as the stories have got more intricate and personal.

For single lines (disqualified from the numbered entries because I wanted more than one character in the scene), the Max Payne series always has good lines. While I and my housemates have fun shouting lines from Max Payne 3  at each other (especially the over-the-top ones where Max’s voice cracks), my favourite line from the series is the last line of Max Payne 2;

“I had a dream of my wife. She was dead, but it was all right.”

That line sums up the pain of Max and his redemption over the first two games, quietly bringing the second chapter of his life to a close.

And lastly a funny one (warning, phonetically-spelt swear words ahead). From Rainbow Six Siege, the SAS Operator Thatcher has a hatred of all electrical gadgets, listing them, “GPS Satelittes, Unmanned drones…” and my favourite, “…fookin lazeh soights…” (as it is phonetically pronounced). The delivery of the line sealed my appreciation of it, and much like Max Payne 3, this line became a staple of my university house, with much hilarity ensuing when a barely audible “fookin lazeh soights” would be heard when passing each other on the stairs.

 

Photo Banner Source: gamesradar.com.