The story mode of the game begins with the player taking up the role of the aforementioned agent over a series of missions beginning with the infiltration of the KemSynth oil refinery in Alaska. The petroleum plant has been been occupied by a paramilitary group called Red Section for unknown reasons. From there the plot leads you on a whistle-stop tour full of twists and turns through Peru, Bosnia and Helsinki amongst others. It also becomes apparent that KemSynth has been working on a top secret project codenamed Dark Mirror and it is this that Red Section is really after.

The game is primarily played in third-person perspective, seamlessly slipping into first-person if necessary, such as when crawling through tunnels or aiming with a scoped rifle. The story itself is told through the use of some excellently presented cut-scenes utilising both pre-rendered footage and the in-game engine, time-splicing past and present to heighten the tension. One drawback to the fast-paced plot though is that it almost feels like events are not fully explained and thus it becomes hard to keep track of exactly what is going on and why. Thankfully the game also provides a mission mode where any of the seven episodes that have been reached so far can be replayed. Each episode comprises several parts and as well as the main objectives the player also has optional targets to achieve such as stealth kills, dart kills, head shots and finding all the hidden evidence. Achieving these targets results in unlocking extra bonus material including concept art, audio files, movies, weapons and extra levels. These give the game a replay value and longevity that would be lacking otherwise.

The overall level of presentation and attention to detail throughout is testament to the time and effort put into this title by the developers at Sony Bend. The game sets out to impress and generally succeeds in doing so. From the stylistic user-interface to the smoothness and quality of the motion capture animation, to the little touches such as being able to customise your weapons in mission mode - all add up to give the impression of a title that has been cared for throughout its development cycle, refreshingly without feeling rushed or compromised. This also extends to the audio, a great cinematic score coupled with excellent voice acting that only adds to the sense of quality.

For all its positives though, it would be remiss not to mention Dark Mirror's flaws, the least of which being some cheesy dialogue and diary entries and the biggest being the control mechanics. By default the left analogue nub is used to move forwards/backwards and to strafe whilst the Triangle, Square, Circle and Cross buttons are used as an improvised D-pad to rotate and aim. This takes a while to get used to and never quite becomes second nature. However whilst cumbersome and uncomfortable one could argue that this is more indicative of a limitation of the controls available on the hardware as opposed to a blemish on the game. Perversely though this restriction in aiming dexterity helps prevent the game employing a shoot-all-that-moves mentality that characterises other such games. Whilst still being outnumbered in the field, the firefight set-pieces require more measured exchanges which utilise the terrain as well as hiding behind crates and around corners in order to pick out enemies one at a time and using a scoped weapon if necessary. Stealth also plays a large and enjoyable part of the game - waiting for the right moment to pounce with a knife kill or to shoot a silent gas dart gives a deserved sense of satisfaction, not to mention saving your health and armour for tougher enemies.

Another point to mention with regard to the controls is that holding down right on the D-pad allows you to change weapons and holding down left will allow you to switch between three types of goggles. These goggles add a strategic element to the levels: the EDSU goggles are the most useful of the three, showing all interactive items in range including some harder to find elements; the infra-red goggles can be used to show hidden enemies or those in nearby rooms, allowing the player to plan their attacks, whilst the night-vision goggles intuitively allow you to see in low-light conditions.

Syphon Filter Dark Mirror achieves its goals and more with aplomb. Yes, the controls can be a bit cumbersome at times but such is the enjoyment that this minor irritation is soon overcome. Whilst it might not have the same hype or prestige as the Metal Gear Solid name, or even Perfect Dark, on reflection it deserves every bit as much success. Let's hope Gabe Logan and his team reach this last target.