The Stealth Game

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aeros320

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Dec 25, 2008
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ZP is always complaining about games that start out stealthy, and then switch to a run and gun for the "big finale." What I'm wondering is why developers aren't creative enough to figure out a game that could have an ending that's stealthy and epic. For instance, the very last mission could be on a volcano where they were going to launch a nuke out of, so you have to sneak through the huge base, kidnap the leader, change the coordinates of the nuke, strap him to the bomb, and send him soaring into the air. This would all be stealthy and an epic finish. Sorry, I know that was a long opening, but I'm confused as to why developers switch to a different play style at the end. What are your thoughts?
 

SharPhoe

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Feb 28, 2009
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Probably because they think that everyone expects an ending to be big, flashy, and dangerous. As in their minds, there's only one way to do that.
 

Cpt_Oblivious

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Jan 7, 2009
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Because they're unimaginative and they think 'splosions are the grreatest thing since sliced xbox.
 

Davey Woo

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Because it's not a very climactic game if you can run up to the main evil guy at the end and stab him in the back like every other sod before him.
 

BolognaBaloney

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Mar 17, 2009
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Davey Woo said:
Because it's not a very climactic game if you can run up to the main evil guy at the end and stab him in the back like every other sod before him.
Bingo, this pretty much sums it up perfectly.
 

k3v1n

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NoMoreSanity said:
Davey Woo said:
Because it's not a very climactic game if you can run up to the main evil guy at the end and stab him in the back like every other sod before him.
It can be if done correctly. Like sniping your final target and than escaping while trying to outrun the heavily armed local forces, which culminates in you escaping in a jet with tons of soldiers on board. As the soldiers question the passengers, you have to make sure no one gets out alive. Which leads to an emotional moment of whether or not to kill a child whos mother you just killed right in front of him.
so, so emotive *sniff**cries*
 

Arrers

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Mar 4, 2009
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Davey Woo said:
Because it's not a very climactic game if you can run up to the main evil guy at the end and stab him in the back like every other sod before him.
This. But they must be a better way, right?
 

AtLeastImNotFrench

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Mar 20, 2009
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A bit off-topic, but who else thinks that WH:40k could be more fleshed out? I know theres a space marine game in the works, but what about a vindicare assassin game? One of the coolest standalone units in the 40k universe could easily be the protaganist of a good stealth game.

OT: Devs usually don't want to leave gamers with an anti-climax, as it can lead to players being disappionted by the ending if they enjoyed the story (i.e. Fable 2).
 

jimduckie

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i hate being stealthy anyway , if ya can't shoot out all the lights, disable cameras etc and the enemy being deaf dumb and blind there is no point if at the end you are to be rambo ,
 

Flying-Emu

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Really, the only games that I consider to be "stealth" games are Thief I and II. I mean, Splinter Cell has elements of stealth, but if you can manage to kill most foes instead of avoiding them... it's less stealth, and more "This game has an option for stealth-based gameplay."

Just saying. The climax doesn't matter if the game doesn't even follow it's own genre.
 

Triskavanski

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Dec 5, 2008
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Well on stealth games..

I've been playing No one lives for ever and a few other "stealth" based games. This is somethings I've discovered..

Spontaneous awareness - This is when the enemy for some unexplained reason suddenly gets it in his tiny head that "Hey there is spy here!" And i mean there is absolutly NO reason for him too.

Example would be IGI, where you climb all over a building. I jump down to a place i originally wasn't suppose to go, compleatly out of sight of anyone and pretty far away too. Some jackass suddenly goes ACK HANS! SPIES! runs out and pelts me full of ak 47 ammo faster than you can say bobs your uncle.

The kicker is the second part

Inexplicable Obliviousness - This is where you are in a position that the guard should have spotted you, but for absolutely no reason doesn't.

Lets go back to that IGI scene. If you go the right way, you have a guard poking at a soda machine. You can shoot his sorry ass up... But low and behold there is another guard (The one who suddenly becomes aware of you if you try to go around the other way..) STARING at the now dead guard.

Oh but the moment your big toe pokes out the door you had to open to shoot the soda guard, the other guard becomes aware of you and fills you full of lead.


In NOLF this becomes a bit of a problem. Because you have a coin that is suppose to distract the guards in true spy thriller movie design. So you throw it. The guard MAY make a noise wondering what it is, but then just sit there instead of investigating. Resulting in the scene where you have to shoot the shit out of him now.
 

Avatar Roku

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Flying-Emu said:
Really, the only games that I consider to be "stealth" games are Thief I and II. I mean, Splinter Cell has elements of stealth, but if you can manage to kill most foes instead of avoiding them... it's less stealth, and more "This game has an option for stealth-based gameplay."

Just saying. The climax doesn't matter if the game doesn't even follow it's own genre.
Many missions will end if you kill anyone, every mission will end if you kill more than one civilian (first one's a warning), and some parts of missions will lead to a failure if anyone is even suspicious of you.

Anyway, since I'm already on the subject of Splinter Cell, it's had some good climaxes, which were usually spread over the last 2 missions. Most of them can be beaten Rambo, but it's by far the least efficient, and often most difficult (although the stealth way is usually hard too) way. For Example:
First, the hardest level in the game, the Abbatoir, has you fighting off a wave of enemies who have come to kill the hostages. They're led by Vyasheslav Grinko, and the mission automatically ends when he dies. You can A)Fight them off traditionally and get overwhelmed, B)Set some traps and reprogram turrets, then fight them off, a way in which it is possible to win, but difficult, or C) set traps, sneak to the front, and snipe Grink, difficult to time (as you have to move fast enough that the hostages don't die, but slow enough that you aren't found), but by far the most effective.

The last mission of the game, the Georgian Presidential Palace, is much less infuriating, but just as climactic. Taking the story elements out of it, you end up finding the Big Bad himself, Kombayn Nikoladze, standing conveniently by the safe you have to force him to open. Once you do, a Georgian Spec Ops team comes down, takes Nikoladze, and a few hold you at gunpoint. When they begin to ask questions, Lambert informs Sam that he's arranging a blackout. When that happens, Sam is able to disappear (although you can fight if you really want to, but they're tough). Once you get out of that room, you need to be invisible. You need to get to a balcony with a good vantage point into Nikoladze's office, and if you're spotted...well, he won't be in his office when you get to the vantage point, and you fail. Anyway, you need to snipe him, then escape to the waiting Osprey, but it's much easier said than done.
In this game, you're chasing two people: Suhadi Sudono and Norman Soth. At the end of the second to last mission, you're in a balcony above a studio in which Sudono is preparing to shoot some propaganda. You need to get behind him and grab him quickly. Naturally, his guards aren't too keen on this, and it's tense as you slowly back up, keeping Sudono between you and them at all times. Mess that up, and you're filled with lead in nanoseconds.

The last mission is in LAX, and you need to stop Soth from releasing smallpox. In the final room, you're on a catwalk being guarded by regular civilians, who don't even know that Soth and his two guards are above them, about to kill them all (you can tell who Soth and his men are because their body heats are running high, do to recent smallpox vaccinations). You can try to snipe them, but it must be done quickly or they release the Pox. Your other alternative is to sneak past the civilians, whose cries of alarm would alert Soth, and get up to a place where you can easily take them all out and quickly get to the ND133 holding the pox. During this entire encounter, however, a timer is running. If it runs out, they release the smallpox.
At the end of the toughest mission in the entire series (except perhaps Hokkaido), the Bathhouse, you're defusing bombs set by Sam's old friend, Doug Shetland, who is all the while taunting him about how he's a tool for the government. Once you defuse the bombs and evade Shetland's men, the two end up in a Mexican Standoff, staring at each other down the barrels of their guns. Shetland goes on a rant, to try to persuade Sam to go to his side. He puts down his gun and says "I know you. You wouldn't shoot an old friend", and you can then make a choice. The first option is to shoot him in the face, after which he falls through a window. The other is to put your gun away, after which Shetland pulls a to-that-point concealed gun and aims at Sam. Sam then stabs him and throws him through the same window. Either way, Sam ends the exchange with "You're right Doug. I wouldn't shoot an old friend."

After that, off to the Kokubo Sosho (Japanese defense ministry). After destroying the mainframes that were used to try to instigate a war between America, South Korea, and Japan, and North Korea and China, Sam comes face to face the man in charge. He rants, then commits seppuku, after which Sam must reach him in time to stabilize him (as he's needed alive).