Tougher enemies are indicated by helmet icons, meaning you can't headshot them in one go. Too often in the campaign, Blacklist feels like it's being pulled in two directions at once, and only one of them is a place you'll want to go. When Splinter Cell Blacklist is like this, it's brilliant - a great fusion of cinematic storytelling and expressive gameplay systems in a cool location. Once you make it out, leaving the special forces flailing around in the dark, you cap things off with a few drone strikes on the SUVs that pursue you along the highway.
Laser tripwires, doubled patrols, RF-coded doors there's nothing you can't handle. Perhaps you get the toys out, using a tri-rotor drone and sticky cameras to scout positions or EMP and noisemakers to create a distraction.
They need the lights, but you're happier in the dark, killing enemies if you like or leaving them alone if you prefer. The lights go out and machineguns pop off everywhere, but you're already halfway to the ceiling. But once inside you're quickly double-crossed, left staring down the barrel of a gun. You're on foreign soil without permission, you need to break into a military building to steal vital intelligence, and if you don't pull it off then the whole world goes to hell.Ī brief cut-scene sets up a scripted sneaking sequence where someone distracts guards while you move quietly through the shadows nearby, dodging security cameras and shinning up drain pipes. There's a mission about halfway through Splinter Cell Blacklist where everything clicks into place.
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