If you were fortunate to have played video games in your youth, you probably had some favorites that you loved going through again and again, and the idea of going back to them years, if not decades later, can feel like a trip back to a more innocent time. But time is a cruel thing, and revisiting said games often reveals outdated graphics, a story that isn’t as gripping as you thought it was, frustrating gameplay, or being so outdated that you just can’t enjoy it anymore. But for me, the Syphon Filter trilogy manages to withstand the test of time. While graphically and technologically outdated, the gameplay is still as gripping as ever, the story and characters still hold up, and the music is as awesome today as it was over twenty years ago. From beginning to end, the PS1 Syphon Filter trilogy is a solid example of an action-adventure spy thriller done well… with one exception.

When going back through the trilogy, I expected the first two games to hold up well, which they do. When it came to the third game, I was expecting to be a fun experience, albeit with the weakest story. But with the passage of time, I was surprised at how much Syphon Filter 3‘s story stumbles, sometimes quite badly. In the first two games, every level – no matter how frustrating or mediocre – advances the story in a meaningful way. But Syphon Filter 3 has several levels that don’t do that, due to its biggest issue: there are too many flashback missions.

Like every literary tool, flashbacks are not inherently bad, but Syphon Filter 3’s problem is that half the game consists of flashbacks, and most don’t add anything to the main conflict of stopping the Syphon Filter virus. All the Afghan missions, Montana militia missions, and Costa Rica missions could have been removed and the story wouldn’t have been harmed by their absence. By comparison, there’s only four levels from the first two games that could be removed to similar effect (Pharcom Elite Guards, Colorado 70 highway, returning to the Pharcom museum in Syphon Filter 2, and Volkov park). Had Syphon Filter 3’s flashbacks been removed, it would have freed up more time for modern-day missions that would have continued to move the story forward.

When we step back and view the Syphon Filter trilogy as a whole, it has a very strong first act, an equally strong second act (with a few stumbles), but comes to a halt in the third act, only finding its footing again at the very end when Gabe starts gunning down terrorists in the Senate hearing building. And with that in mind, I believe the greatest lesson the trilogy offers writers is this: limit using flashbacks in stories as much as possible, and if they do appear, to have them directly contribute to the story’s main conflict. While it’s nice to take the time to develop protagonists and see what adventures they had before the story, that development shouldn’t come at the expense of the story, especially not one that’s in its final act. And much like revisiting a beloved game series, there’s nothing wrong with reminiscing about the past, but not when it comes at the expense of the present.