Who would have thought that boring-beyond-belief Splinter Cell could be transformed into a really R-rated hard-charging action franchise? In addition, Splinter Cell Conviction takes the time to set the new bar for firefight mechanics in third-person shooters. Playing Conviction is surreal, because I just can’t believe that Ubisoft took Splinter Cell and made everything exactly how I would want it to be, making this easily one of my favorite games of all time. While progressing through the single player campaign, you’ll be more impressed with the ground-breaking gameplay than with the by-the-numbers espionage tale. The story is by no means bad, though, and you will probably enjoy the epic settings and situations.
It has been just about four years since we last saw Sam Fisher in the ill-conceived and poorly executed Double Agent. Now, I’ve been a Splinter Cell fan since the original came out in 2002, and I think we can all agree that Double Agent made a rough transition to the 360; it was the same old shit with a considerably bad branching story mechanic. The branching plot left one question dangling, whether Sam had indeed killed Lambert or spared his life. Unfortunately, Lambert is fucking dead, and Third Echelon is run by severe asshole Tom Reed. The trailers and the awesome frozen picture menu screen inform the player that the endgame is a firefight between Third Echelon agents and Secret Service in the White House, with Sam thrown in the mix. Sam will also fight the mercenary company Black Arrow (*cough* Blackwater *cough*) along the way to unraveling the EMP bomb plot bearing down on Washington D.C.
The story is above average for Splinter Cell, but the cursing and the violence are what really throw this thing over the top. Finally, a game where enemies will yell “motherfucker” or “stop being chicken shit, Fisher” during a gunfight. I could scarcely believe my eyes when Sam Fisher roughed up previously prudish office-drone hacker Anna Grimsdottir, now revealed to be an enigmatic and dangerous character in questionable flash forward story sequences. I’m not a big fan of jumping ahead in the story, but it works, along with narration by Sam’s old Iraq war buddy, Navy SEAL Victor Coste, held in an undisclosed Black Arrow facility and recounting the story as it happens. There is a flashback to the first Gulf War that is clever, set in the famous Highway of Death. The stealth mechanics make no sense in broad daylight, and soldiers down the road don’t seem to hear the gunfire as you take out squad after squad of Iraqis soldiers. Still, this level looks great, the soldiers scream at you in Arabic, adding a touch of realism, and the game riffs on Modern Warfare 2 with a familiar fight in an abandoned school.
The thing that really sets the bar in this game is the new shooting mechanic. Tap the left bumper to crouch and tap the left trigger to attach yourself to cover. Look at any available cover in range and hit the A button to make a fast dash to your new hiding place. You can also do barrel rolls, slides going forward on your side, or a feet-first slide on your butt. Attaching to cover is great for hiding, but a real gem in a firefight. Sam really presses into corners and against walls while avoiding enemy fire, then a quick tap of the right trigger to swing out and shoot. The B button offers either a hand-to-hand combat kill, or to take an enemy hostage. Enemies will not hesitate to kill their comrades, so the human shield technique only lasts until they are shot to death. The hand-to-hand moves were most widely advertised, and they are good, but the shooting is spectacular. Guns have the right subdued feel, they sound good, and they have to be controlled; shooting wild will expand your reticle, and you won’t kill a guard with a whole clip of ammo. You can’t even compare this with older Splinter Cell games, and I doubt you could have the patience to go back, anyway, after this.
The fact that the game is focused on aggression instead of evasion makes the game a lot easier to swallow. Older Splinter Cell games worked on the ridiculous conceit that secure military facilities were poorly lit, and that the shadows of any room are impenetrably dark. Gamers swallowed this lie and suspended disbelief for four (six, if you include Double Agent on the old XBOX, and Essentials on PSP) games that are now so antiquated they might as well be relics. This game has a hint of that bullshit left, but now it is more about brutal murder and killing. Also, Sam should be well into his 60s by now, but he remains as ageless as ever. The graphics have a very unique look. Things look almost line-drawn and cell-shaded, which looks awful in internet trailers, but great on the big screen. Sam’s model has been changed considerably and looks more aggressive and little less chiseled than before. Anna Grimsdottir’s character model looks incrediblely good, and Victor Coste is the most expressive game character I’ve ever seen.
The settings are Washington D.C. landmarks from the National Mall to the Lincoln Memorial, and really add to the gravitas. There is an incredible tension that builds waiting for SWAT members to find you hiding on the top floor of a cafe, watching vehicles arrive with more and more enemies, listening to the team leaders calling out commands while searching for you. I don’t understand why a person would yell out his position, especially when dealing with a well known stealth assassin like Fisher, but it makes your job a lot easier.
This game gets my highest possible recommendation. The campaign is top notch, and there is a robust multiplayer to top everything off. It is very rare to find a game that is more enjoyable to play on the hardest setting, but this is definitely one of them.
