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It’s a wonderful mechanic that never stops rewarding, no longer will you be fumbling to get a bead on a target like in the previous games, in Conviction it’s a matter of pressing a button and watching the goons fall.
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The main aspect of this new system is ‘mark and execute’, which allows players to tag a number (which increases as the player upgrades their weapons) of targets and have Sam quickly take them out before returning to the safety of shadow.
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The control scheme and combat system have been completely overhauled, so much so that it is quite intimidating for a long time Splinter fan to enter into this game unprepared. Here is where Splinter Cell: Conviction really comes into it’s own as a franchise re-boot. It’s a panicky situation when your screen is suddenly filled with vivid colour. The colour filter changes when Fisher enters the shadows, bathing everything in a eerie monochrome which, crucially, makes the player feel safe. As always in this series, light is a weapon and adapting to the environment is one of Sam’s key skills. Luckily Ubisoft and team Clancy don’t disappoint. The aforementioned lighting and shadow system needed to be perfect, this being a stealth game and all. Where previously Sam felt a little cumbersome as he slipped through the shadows, now he earns the ‘panther’ codename given to him by his pursuers. His speed and maneuverability is much more accessible than in previous games. The new animation system is fluid and exhilarating, Fisher darts between cover, popping out to perform muscular takedowns. Objectives and context specific controls are projected onto the environment instead of flashing up on intrusive menu screens, this coupled with non existent loading times serve to immerse the player in a way not seen since the early Splinter Cell games. The art style is, at times, wonderfully minimaliist. Fortunately, the Conviction developers have created some engaging environments to stalk around and the series' trademark lighting and shadow effects are all present and correct. The smooth textures and earthy colour palette are instantly recognisable to anyone who has played Gears Of War or Bioshock. Splinter Cell: Conviction runs on the Unreal engine, which unfortunately means that, aesthetically, it looks like the majority of action games currently on the market. Splinter Cell: Conviction’s single player story is riveting while it lasts, Fisher is a brilliant protagonist and his magnetic presence keeps you hooked throughout. Although, this being a Clancy game, all is not what it seems and Fisher soon finds himself involved with a shadowy PMC known as Black Arrow and trying to track down any information he can about his daughter. Much like the game he inhabits, Sam Fisher is a changed man, the death of his daughter and best friend have turned him into a relentless killing machine bent on vengeance and nothing is going to stand in his way. Resident storyteller Victor Koste informs us early on that Sam is not the man we once knew. Bourne without the memory loss, Bond without the misogyny, Fisher is a force of nature and he spends most of Splinter Cell: Conviction really pissed off. Surviving on his predatory skills and quick wits, Fisher is a joy to control. Sam Fisher has always been the best thing about the Tom Clancy games, amidst the one dimensional Ghosts and the stoic Rainbow 6 guys, Sam stands tall as a true gaming icon. Exiled from Third Echelon and without his friend Lambert (a sorely missed presence), Fisher is out in the cold, but far from vulnerable. Taking place shortly after the events of Splinter Cell: Double Agent, Conviction sees Sam Fisher out for revenge against those responsible for his daughters death.