Tom Clancy's Splinter Cell: Chaos Theory

Content review for this game:
Pertaining to the ESRB rating.


Full content re-review coming soon...

Content sum up: This was the first Splinter Cell to receive an "M" for mature rating. So overall, it's a more intense game than the previous two in the series, and does have a couple of intense (and somewhat graphic) scenes that earn its Mature rating. So, I recommend this game for ages 14+.


Blood: There's no bloodshed when you or an enemy is shot or stabbed. But there is a moderate amount of static, pre-existing blood on floors and walls in a few areas, and bodies do linger. There is no option to turn blood off.


Specific scenes of blood (& gore):

(The ESRB didn't mention there is mild reference to gore)

  • About 1/4 through the first level, you overhear the enemy torturing a man with electrocution. At first you only hear his screams but soon hear them conversing while torturing him. It goes along the lines of: Enemy 1: "Don't you think he's had enough?" Enemy 2: "He's had enough when he can talk!" Enemy 1: "But he hasn't been able to speak for an hour!" Enemy 2: "He could be faking it!?" (You hear him torture him more) Enemy 1: "Stop it! His brain is a lump of coal!" The first man then says something about needing to get another battery to replenish a supply of electricity, but they both see smoke pouring from the victim's ears, and find him dead. The second decides to test it by shocking it more, prompting the first to say he's going to be sick as he leaves. When you enter, you see the body's hands tied to a pipe, with it's legs submersed in a bloodied bathtub.
  • While you search for evidence, a contact calls and tells you about the "Bosnian Barber," who killed multiple people by scalping them alive—this is not seen.
  • At the end, while you're pursuing a main villian on the last level, you approach his office in time to see him plunge a knife into his stomach (no blood or gore) in an attempt to save himself the trouble of going to prison, and for his "honor." You then enter the office and save him by pulling out the knife (which you hear and see—still no blood/gore), so that he can answer for his crimes.

Strong language: There are three or under uses of d*mn, hell and Jesus and one use of bastard and God. Other than the main script, enemies utter, "D*mn it/sh*t! - What was that!?" and "What the hell!?" or when you are detected, "I'll find him d*mn it!" If enemies are grabbed, they'll utter, "Oh! God!" Your character infrequently says d*mn if he misses a shot, and if an enemy finds you, he'll open fire and infrequently spout, "Take that you SoB!" There is no option to turn language off.


Violence: The game revolves around stealth, meaning the idea's to not get caught. In fact many missions don't let you kill anyone; if you do, it's an automatic fail, resulting in you having to restart from the last checkpoint, and other than a few key moments, the majority of the missions encourage you to knock enemies out, not kill them. This is further encouraged by you being given little lethal ammo, and instead, especially in later missions, given non-lethal ammo. Weapons are also very touchy and will usually get you killed if you try to run n' gun your way through. This does have the addition of a combat knife, giving you a choice to choke/knock enemies unconscious or kill them, which will have your character stab or slash them in the stomach, throat, back, snap their necks, or in some instances, throw them over ledges; but in most instances, you almost always have a choice not to perform these lethal actions.


Specific scenes of violence:

  • There are a few times where you have no choice but to kill enemies, examples: one objective is to kill the man that was responsible for torturing the man in the first level, and near the end you're forced to kill one of the main villian. There's also a few key throughout areas where you have to kill the normal enemies.
  • In a later objective, you have to destroy a crashed American fighter jet, so that the enemy can't retrive intel from it; upon reaching the crash site, you find that the two American pilots are alive, but not conscious. Saving them was not part of the plan, so you have the choice of dragging them to a safe distance from the blast, or letting them die. Saving them is quite a bit more troublesome.

Content review posted: 03/2008


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