In the scuffle, I discover one of Conviction's primary new features: the notion of a last-known position. No, instead of alerting everybody to my presence by means of magic hi-def projection, I opt to blunder into the yard, clumsily grab the first body I see and, using him as a human shield, attempt to down the remaining baddies before snapping the guy's neck like a twig and leaping into a nearby gutter, damp with my own cowardice. Objectives and cinematics are beamed on to surfaces in the game world as a clever and contemporary means of delivering information to the player without Sam having to squint at his product placement PDA mid-mission.
"Bloody hell," says Sam as he skulks away, embarrassed, "that's the last time I project my objectives onto buildings." Except that's not what really happens because, as I'm patiently informed, the giant letters are merely a narrative device and therefore undetectable by terrorists.
Another one shouts something angrily before they all start firing into the air and screaming, driven mad by the realisation that. Unexpectedly, the words "Interrogate the Black Arrow officer" are projected on to the front of the building in 30ft tall letters for all to see. Past a yard strewn with vehicles and short walls, a seemingly abandoned warehouse looms. Sam Fisher Crouches behind a crate of some description, the moonlight glinting off his tri-focal goggles (which we swear are smaller than they used to be) as terrorists chatter just feet in front of him, oblivious to their proximity to somebody famous.
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