Why Splinter Cell Conviction’s Non-Canon Ending Is Its Best

I love Splinter Cell and its lead Sam Fisher. I am a Tom Clancy fan and love playing the games bearing his endorsement filled with his pulpy action and ultra-competent badasses.

While Rainbow Six and Ghost Recon have the fun of being a member of an elite squad, Splinter Cell always held more of a draw for me. Perhaps it was because a fan of James Bond, being a lone operative and relying only on your wits and tactics to survive seemed much more thrilling.

While I did enjoy the first four games in the franchise, with Chaos Theory being the best of that set, I am only truly a mega-fan due to the fifth entry, Conviction. This may raise some eyebrows among other SC fans as Conviction is seen as a lesser game for its shift towards action and linearity, but I love Conviction for its story and presentation.

While the narrative is the usual Clancy stuff about secret government conspiracies, industrial espionage, and spy vs. spy standoffs, the story of Conviction is a good deconstruction of the entire series to that point. However, the deconstruction only works if you pick the non-canon ending.

Everybody Walks – How Splinter Cell: Conviction’s Ending Deconstructs The Entire Series

All games have messages. There has been debate recently with games like Modern Warfare (2019) and The Division 2 (another Clancy game), over messages and political leanings in games. Splinter Cell, along with other games in the same stealth genre, are not immune to adding messages and themes in their games.

The Metal Gear Solid series was famously anti-war and dealt with themes of marginalised servicemen and women, the military-industrial complex, and the repercussions of Mutually Assured Destruction.

The earlier Hitman games had subtle hints on the dogmas and doctrines of Catholicism such as original sin, the capacity for God, and absolution (so much that they subtitled the fifth Hitman game Absolution).

Splinter Cell’s overarching theme is family and friendship. From the beginning of the series there has always been a sense of camaraderie, of not just co-workers, but of intimate connections. These can be seen both in the larger frame of the story as well as in individual scenes.

During the first three games Sam has a tendency to crack some jokes and have some light-hearted banter with his handlers over the radio. He argues with Grim over whether lasers or a 90s spy thing or 70s spy thing in Chaos Theory, discusses relationships and religion with Frances in Pandora Tomorrow, or asks a guard he has taken hostage if the coffee machine in the room uses ground or dried beans, again in Chaos Theory.

Michael Ironside Sam
Michael Ironside was the voice of Sam Fisher until Blacklist. He sat down with Ubisoft to flesh out Sam’s character, making him more human and less gung-ho. (Source: YouTube.com)

In terms of the story as a whole, friends and connections to Sam appear in every game. His daughter, Sarah, has been a major figure from the start. Her inclusion gives Sam something to focus on outside of work. In the ending cutscene of the first game when Sam laughs at the news covering up all the spy intrigue, Sarah says she hasn’t heard him laugh like that, “…since the Reagan administration!”

Sarah is also the focal point of the Conviction storyline. Sarah is supposedly killed by a drunk driver at the start of the previous game, Double Agent, but it is revealed her death was faked so an enemy agent couldn’t use her as leverage over Sam. Upon hearing his daughter’s voice for the first time in three years, Sam audibly clams up, stuttering over his words. His reunion with her later in the game has no dialogue, just a look between the two before they embrace.

Splinter Cell Sarah
During Conviction we see Sam and Sarah before he lost her, strengthening the bond between the two. (Source: splinter cell.wikia.com).

During the events of Pandora Tomorrow, the second game, Sam saves an old army buddy, Douglas Shetland, from a guerrilla camp. In the sequel, Chaos Theory, Shetland is a valuable asset to Sam, helping with logistics and even offering him a job at his mercenary company if Sam wanted to leave the spy work behind. However, Shetland had been using his contacts to fuel a war between the United States, Japan, Korea, and China, and Sam confronts him at the end of the game. Sam and Shetland level their weapons at each other as Shetland starts to monologue about his reasoning. He ends with, “You wouldn’t shoot an old friend…” Sam can either shoot him, or if Shetland goes to shoot, Sam ducks and stabs Shetland with his knife, before pushing him off the roof they were on. Sam replies, “You’re right Doug, I wouldn’t shoot an old friend.”

During Double Agent, Sam has conflicting allegiances between the NSA and the terrorist group John Brown’s Army (JBA). He obviously doesn’t align with the JBA, but does emotionally connect with Enrica, the weapons expert of the JBA. The two become romantically involved and plan to run away together by the end of the game. Enrica is killed by another Splinter Cell just before the finale. Sam murders the Splinter Cell in a fit of rage before fleeing.

Another major event that happens in Double Agent is the death of Irving Lambert, Sam’s boss and friend. Lambert is taken hostage by the JBA, and Sam is forced to either shoot him or blow his cover. It is confirmed in Conviction that Sam did in fact shoot Lambert. When the scene is referenced in Conviction, the narrator, Victor Coste, says, “Lambert died that day by Sam’s hand. And so did Sam.”

Victor Coste is another of Sam’s army buddies and tells the story of Conviction via flashbacks. During the Gulf War Coste saved Sam after enemy forces captured the latter. Upon saving Sam, Coste chuckles, “You don’t leave a brother behind Sam. You don’t leave family.” Another theme present in Conviction is paranoia, with the voice of Sam, Michael Ironside stating in an interview, “Sam doesn’t trust anyone…” (1:31). His former handler, Grim, has seemingly become a turncoat, both helping and hindering Sam. It is seen through flash-forwards that she shoots Sam and captures him for the bad guy, Tom Reed.

Splinter Cell Grim Airfield
When Sam meets Grim face-to-face after she had him captured and tortured, his trust in her has already started to crack. (Source: steamcommunity.com).

Grim holds Sarah hostage and forces Sam back into duty if he wants to see her again. During the climax of the game Grim reveals that it was Lambert who faked Sarah’s death to make sure Sam couldn’t be compromised. She plays Sam a recording Lambert made before he died, explaining his motives and saying how he, “…lied to his [my] best friend.” Grim follows up by saying that she never held Sarah hostage, “That was just a bluff to get you in the game and for whatever its worth…I’m sorry.”

And we finally get to the ending of Conviction. After killing all the remaining Splinter Cells and saving the President, Sam has the traitorous head of the NSA, Tom Reed, at gunpoint. There are two options; kill him dead or spare him. Killing him is the canonical ending. Sam has been ‘activated’ again by the events of the game and is back to being a spy. In the final custscene of the game he breaks Coste out of the prison cell that he has been telling his story from (with Coste repeating his line about being ‘brothers’).

In the non-canon ending, Grim shoots Reed. The game ends with the following conversation.

Sam: You didn’t have to do that.

Grim: I disagree.

Sam: There was a time where you wouldn’t have said that.

Grim: Things change Sam.

Sam: Yeah, things change. Remember what you told me Anna, when this was over? Everybody walks. I’m walking.

Grim: You can’t. There is too much left to do.

Sam: Ask Lambert. I’ve done too much already.

Grim: Sam, please. I don’t know who else I can trust.

Sam: Trust? Funny you should say that. Goodbye Grim.

Throughout the entire series of Splinter Cell, Sam has always had his morals. Even when friends have become enemies, such as Shetland, he has always rationalised killing them, seeing them as bad guys.

After all that he has seen over the narrative of Conviction and the revelations of Grim and Lambert, he is an old and broken man. He may have got his daughter back, but he has lost everything else. And when Grim tries to reconcile and make it just like the ‘good old days’ Sam snubs her. It makes total sense that he would walk just like he did after Lambert’s death.

Splinter Cell Grim
Throughout the game Grim is constantly switching sides, leaving Sam never knowing if he can truly trust her. (Source: steamcommunity.com)

While I enjoy the sequel, Blacklist, I feel that the original run of Splinter Cell should have ended here with Sam coming to terms with his former allies and retiring into the sunset. Blacklist could have been a reboot as they changed the entire principal cast, with a new voice for Sam and Grim (as well as not having Sam Fisher, who is pushing fifty-four in Conviction, still be a spy).

By the time of Conviction we see those friends and relationships finally break down and rot, held together by only lies and deceit. It is a beautiful melancholic arc that punctuates the end of not just Michael Ironside’s last performance as Sam Fisher, but the last performances of the original voices of Grim and Lambert, Claudia Besso and Don Jordan respectively.

So while it was good to see Sam back in action both in Blacklist and more recently in Ghost Recon: Wildlands, it is here where Sam’s story came to a fitting end. When Sam leaves the Oval Office, he has nothing but Sarah. After years of field work where he would never get the recognition for his sacrifices, losing friends and lovers, until he can longer trust those he never thought would betray him, he still has a reason to go on.

It is the best ending the man could hope for despite the circumstances and one of my favourite narrative conclusions.

 

Banner Photo Source: moddb.com

007: Nightfire’s ‘The Exchange’ & Player Induction Through Level Design

I recently finished reading the first James Bond book, Casino Royale. Despite being a 007 fan for as long as I can remember, I had never actually gotten round to reading the classic stories by Ian Fleming.

While I was obviously introduced to the series with the films (every week I would head to Blockbuster and get a new one to watch), I think I truly became a fan when I was introduced to the games.

Picture the scene; it is 2003. I am seven years old. Our household console, the original PlayStation, ups and dies. We upgrade to the PlayStation 2 which is few years into its lifespan. We get three games with the PS2; FIFA, a Dave Mirra game, and James Bond 007: Nightfire.

The latter is the first FPS (first-person shooter) I play, and I become both a lifelong fan of the genre and the character.

There are no nostalgia goggles when I say Nightfire is one of the best games of the sixth generation. I have bought that game several times for different consoles, playing it well into my adult life. And I think that it all comes down to the excellent opening of the game, ‘The Exchange’.

This level features so many variations and little things to help a new player immerse themselves into the world of 007, so I thought I would take a look back and analyse how it creates and inducts the player into the gameplay.

“Provide Conditions In Which Students Learn” (Albert Einstein) – How ‘The Exchange’ Teaches Players Mechanics Through The Level Design

‘The Exchange’ is the second level of 007 Nightfire. The first level, ‘Paris Prelude’, is strictly an on-rails/driving affair with ‘The Exchange’ being the game’s first proper FPS mission.

If a player has not played the game before, ‘Paris Prelude’ starts. Aiming is computer-controlled; the player just has to shoot using the R1 button (the button is helpfully flashed on-screen when it is needed).

Nightfire Paris
‘Paris Prelude’ acts as a tutorial to Nightfire, teaching driving mechanics as well. (Source: superadventuresingaming.blogspot.com).

Even if the player has not got to grips with all the controls (by reading the game manual) then they know at least one button and what it does.

‘The Exchange’ begins with 007 on a mission to infiltrate an enemy castle in Austria. Bond starts a few hundred metres away from the front door on top of a guardhouse. This starting placement is important.

This guardhouse allows the player that has never played a game before to get used to the movement controls. This is a safe space. There are no enemies patrolling, nothing shooting at you, it is nice and calm. The game even allows you to fire your weapon once just to try the controls out. If you fire a second shot then a guard will investigate the sound (a good way to discipline the player for forgetting what the button does).

Bond’s placement on top of the guardhouse also helps player navigation. The end of the opening cutscene and the player starting position draw the eyes forward to the large castle, pointing the way forward. The player can venture backwards on the road, but will find the path blocked by a locked door, forcing them to have to move towards the castle.

Exchange Opening
The opening section of ‘The Exchange’. Notice how we are guided towards the castle. (Source: infinitemirai.wordpress.com).

This is such a small thing, but it helps aid movement. Imagine if the player started inside the guardhouse. It would be a more claustrophobic start instead of the freedom of the open environment. It would be counter-intuitive to player guidance by not showing us the way forward.

Once the player has got the hang of the controls there are three main ways to get into the castle; one aggressive, two stealthy. We will go with aggressive first.

Aggressive

The player makes their way down the stairs of the guardhouse and sees a bad guy stationed just outside the door. This is the first enemy of the game. This set-up allows us to be ushered into combat without being overwhelmed. The guard is facing away, allowing the player to play at their pace.

This is where knowledge of shooting comes back. Guns and bullets are player interaction at its purest. The guard must be dealt with to proceed, but since he is unaware of the player, the player can take their time to line up a shot. If the player has tinkered around on the roof, they may have found Bond can punch or use a stunning gadget. If the player accidentally wanders out of the guardhouse, Bond will make the guard surrender, a safety net for those still struggling with the controls.

And to top it all off, this guard is a singular entity. Unless the player completely messes up and doesn’t deal with him, he cannot alert other guards.

Nightfire First Enemy
The first enemy of the game, allowing the player to get to grips with the game before entering combat. (Source: oocities.org).

Subduing this guard will net us a new weapon, a sniper. The other enemies at the beginning of this level are visible in the distance (white outfits against a black/grey backgrounds), and so the sniper can be used to pick enemies off. Again, the player knows the shoot button and will use it to interact with the world.

The guards further up the road are stationery and will not notice the player until they get close. This allows the player to find an unobstructed viewpoint (the middle of the road) to survey the bad guys. The sniper is also silenced, allowing for players to take down bad guys without alerting others.

As the player moves up and dispatches the bad guys, they may acquire another new gun, a machine gun. This brings Nightfire’s weapon matrix into play. Now we have three distinct weapons. They each have their own strengths and weaknesses in regards to damage and range. After the player takes the machine gun, there are two more enemies in this starting area that it can be used against, allowing the player to familiarise themselves with the new weapon.

From there, the player heads to the main door and once they have found the action button, they continue to the next section.

Stealth 1: The Wine Truck

If the player waits on the roof, they can use the wine truck method. When the truck passes through the guardhouse, it will stall for a period of time. This allows the player to hop into the back from the roof and get inside the castle without killing any guards.

Nightfire Truck
It is such a classic Bond moment, one that isn’t signposted and just requires the player to mess around to find. (Source: superadventuresingaming.blogspot.com).

This is one of those moments that reward the player’s imagination. If the player thinks they can do it, then they quite possibly can in Nightfire. It is such a long way from the funneled systems of many big budget games of this generation where a mission will fail if you step an inch outside of the creator’s vision.

Stealth 2: The Castle Wall

Continuing the jumping aspect, if the player jumps from the roof to the rocky cliff face (the same way if they were to head backwards) they will find a footpath that leads to a ravine.

Nigthfire ravine
The ravine is another stealthy way into the castle and gets the player closer to the next objective. (Source: cheatcodesgalore.com).

If they continue, a pop-up in the corner of the screen indicates there is a grappling station nearby. If the player looks around with their grapple equipped they can see a white target reticle. Focussing in on the reticle with the grapple turns it green (the universal colour of ‘go’). Once the player has used the grapple they have to make their way around the outside of the castle, sneaking past other guards.

Nightfire Stealth
You have to monitor enemy movement to sneak past the windows. If you don’t, several bad guys will spawn in. (Source: cheatcodesgalore.com).

This path introduces the (optional) contextual movement aspect where the player can traverse a wall or zipline by shimmying along. These are some serious stealth strategies though and failure will lead to heavily armed goons coming to take you down. This is for a player that has mastered the controls and locates the opportunity.

However…

There is another contextual movement section before the one previously mentioned.

After the player has got through the first wave of bad guys but before the main door, there is a little path leading off to the left.

Nightfire Pathway
Notice the pathway to the left, highlighted by the wooden handrail. (Source: xTimelessGaming, YouTube).

Heading down there allows the player to scale around the wall. During the cutscene Bond moves through some crunchy snow (5:28). The guards at the door (if they are alive) will come and investigate, but soon head back to their post. This introduces sound into a larger gameplay loop.

If the player has gunned their way to this section, they already know about sound and its role in alerting guards. This gameplay section highlights that quick movements can give you away and that slow movements (such as when the player is crouching) can make you silent and less easy to detect.

Each one of these variations on infiltrating the castle starts you in a different place during the next section. If you came in with the wine truck you start near the wine cellars. If you walked through the main door you are a few corridors away. And if you took the ‘Stealth 2’ route you start in a guard tower.

Nightfire Castle
The different play styles net different rewards and new locations, making each style feel unique. (Source: infinitemirai.wordpress.com).

Even better, all these other places are available to visit. If you came in via the castle wall you can find the truck and where it ends up. It’s almost like reverse engineering, seeing where certain gameplay decisions spawn you.

Conclusion

I am going to finish this piece here because I don’t want this article to run long, but I will give a few bullet points as to what the next gameplay sections deliver.

  • A non-violent social stealth element where the player must work their way through the environment (useful in later levels like ‘Night Shift’).
  • Bond uses his micro-camera in two cutscenes. Its appearance shows it can be used for surveillance and to complete objectives (like in ‘Chain Reaction’).
  • We are barred from following the bad guys, so we go another way to rendezvous with another agent. On the way back, the barred section is open. As it is now unlocked, we can follow it. This is a perfect way to guide players in a non-linear fashion.
Nightfire Interior
The player is familiarised through non-violent gameplay sections before the level opens up. This allows for the game to guide the player without needing waypoints. (Source: infinitemirai.wordpress.com).
  • After some shooting we get another weapon (an unsilenced machine pistol, another element added to the weapon matrix).
  • We head back outside and encounter a contextual zipline. Like the guardhouse there are no enemies shooting at us, so we can find the button that makes the zipline work without the worry that we will die.
  • Alternatively, the player can stay inside and get to the next objective quicker.
  • Alternatively, if we did go outside we would be awarded with another weapon (a machine gun with a silencer) and a stun grenade. These weapons make quick work of the guards at the objective, as they use cover and have machine pistols.
  • When the player completes the objective by retrieving a suitcase, they also pick up a rocket launcher. It is impossible to pick up the suitcase without also getting the launcher.
  • Once the player has got to the cable car station (which they would have visited if they went outside, but is also in a straight line if they stayed inside), a helicopter shows up. What do we have that can take down a helicopter? The rocket launcher.
Nightfire Helicopter
Bond in combat against the helicopter. (Source: superadventuresingaming.blogspot.com).
  • The cable car has several windows. These can be shot out with regular ammo, allowing an almost perfect 360 degrees view.
  • The rocket is automatically on guided rockets, so when a player first shoots one they control its destination. While this may seem confusing on the first shot, the player’s previous movement controls come back into play and they can deliver several follow up shots on the helicopter.
  • The rocket launcher has full ammo capacity so even if the player misses a few shots, they will have enough to finish the mission.

Each following level takes one of the aspects from the ‘The Exchange’ and expands it, whether that is close quarters combat (‘Double Cross’), stealth (‘Night Shift’) sniping (‘Chain Reaction’) or all-out action (‘Phoenix Fire’).

While there might be some stealth in ‘Phoenix Fire’ or action at the end of ‘Night Shift’, these are only very small elements. This allows the levels to have their own distinct tones and themes. But that is why ‘The Exchange’ is a perfect opening. It allows for that difference in playstyle but also player freedom, educating them on how to play the game.

Newer 007 games like Blood Stone and Goldeneye Reloaded also have this balance of stealth and action in their opening levels, but none of them give the freedom of Nightfire, instead they railroad you through a directed experience.

That is not to say that strict linear games are bad. On the contrary, I love Blood Stone. But I think that freedom gives ‘The Exchange’ and Nightfire an excellent sense of character and gameplay. And that is why it is so fondly remembered.

And it doesn’t hurt that they absolutely killed it with the multiplayer. ‘Skyrail’ anyone?

Banner Photo Source: techraptor.net.