"Splinter Cell has always rewarded fans for demonstrating patience. The video game series that first debuted in 2002 was unusual for emphasizing stealth, hiding, and biding one's time in an era when many games were about charging heedlessly into melees and shoot-outs. Splinter Cell was different; it emphasized cunning and was about keeping your head down, striking only when the time was just right."
"To be honest, I was part of that fan base when I played the first game, says head writer and executive producer Derek Kolstad, best known for penning the John Wick and Nobody films. I remember coming off of first-person shooters. You run into the room, you just start shooting. You couldn't do that in Splinter Cell, man. You run out and start shooting and you're dead."
"I wanted to capture the solitary rituals of a secluded Sam, years after we last saw him, in a setting that appears frozen in time, says director Guillaume Dousse. Sam's farm stands on a wild, endless plain, where enemies can be seen from afar. He's fully exposed yet entirely in control of his environment. He and lead director Guillaume Dousse (Love Death + Robots) worked together to make sure the eight-episode show was marked by the same forbearance as the games."
Splinter Cell: Deathwatch debuts on Netflix October 14 as an eight-episode animated series reviving Sam Fisher's world. The original Splinter Cell game debuted in 2002 and stood out for emphasizing stealth, concealment, and timed strikes rather than run-and-gun combat. Seven games followed over the next decade; no new mainline title has appeared since 2013, and a promised reboot has been in development since 2022. The series places an older, secluded Sam on a farm set on a vast plain where enemies are visible from afar, portraying him as exposed yet fully in control. The show intentionally mirrors the games' patient, clandestine approach.
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