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EPILEPSY WARNING
Please read before using this video game or allowing your children to use it. Some people are susceptible to epileptic seizures
or loss of consciousness when exposed to certain flashing lights or light patterns in everyday life. Such people may have a seizure
while watching certain monitor images or playing certain video games. This may happen even if the person has no medical
history of epilepsy or has never had any epileptic seizures. If you or anyone in your family has ever had symptoms related to
epilepsy (seizures or loss of consciousness) when exposed to flashing lights, consult your doctor prior to playing. We advise that
parents should monitor the use of video games by their children. If you or your child experience any of the following symptoms:
dizziness, blurred vision, eye or muscle twitches, loss of consciousness, disorientation, any involuntary movement or convulsion,
while playing a video game, IMMEDIATELY discontinue use and consult your doctor.

PRECAUTIONS TO TAKE DURING USE

• Do not stand too close to the screen. Sit a good distance away from the monitor.
• Avoid playing if you are tired or have not had much sleep.
• Make sure that the room in which you are playing is well lit.
• Rest for at least 10 to 15 minutes per hour while playing a video game.

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TABLE OF CONTENTS
INSTALLATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

COPY PROTECTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

THE MAIN MENU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

STORY & CHARACTERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

Jones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

GAME SCREEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

GAME CONTROLS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Default Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Zooming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

ACTIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
How to trigger a task . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Once in the task... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Gaining Entry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Sabotage of Surveillance Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Information Retrieval . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

WEAPONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Close Combat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Medium Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
Medium to Long Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
Non Lethal Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
Tactics employed by Covert Operatives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Engaging Vehicles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

CREDITS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

EIDOS INTERACTIVE CUSTOMER SUPPORT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

EIDOS INTERACTIVE LIMITED WARRANTY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

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INSTALLATION
Place the Project IGI CD into the CD-Rom drive and then close the drive.

If autorun is enabled then the installer will start automatically. Simply follow the instructions on screen in order to install Project IGI.

If autoplay is not enabled, double click on the My Computer icon on your desktop. Double click on the CD-ROM drive icon and
then start to follow the installation instructions.

If Project IGI does not start to install, double click on setup.exe. Project IGI will now begin to install.

After installing the game, you can uninstall it by using the uninstall program found in the Start Menu, under Project IGI.

COPY PROTECTION
To play Project IGI you must have the Project IGI CD in your CD ROM drive

THE MAIN MENU

The main menu allows you to start new games of IGI, to replay already completed missions and to configure the settings for
Project IGI.

THE FOLLOWING OPTIONS ARE AVAILABLE

• Select Player
• Play Project IGI
• Configuration
• View the Readme file
• Credits

SELECT PLAYER
This option gives you the ability to select which player configuration you wish to use.

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CONFIGURATION
The following options are available within the configuration screen:
• Graphics
• Sound
• Controls
• Language
• Content Control

Graphics
In the graphics options, you can configure the render device, set the game resolution and adjust the gamma setting for the game.
The primary render device is chosen as standard.

Sound
You can adjust the volume levels for the ingame sound effects and the game music.

Controls
You can configure the controls for Project IGI to match your personal preference.
This menu can be also accessed through the in-game menu.

Language
The language for Project IGI can be changed here.

Content Control
Blood effects are enabled / disabled here. Password protection is included.

IN GAME MENU
The in game menu is available at any point within the game by pressing the ESC key.
The following options are available within the in game menu:
• Resume Game
• Restart level
• Sound
• Controls
• Quit to main menu

Sound
You can adjust the volume levels for both the sound effects and the game music.

Controls
You can configure the controls for Project IGI, in game, to match your personal preference.
Think your way in, shoot your way out.
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STORY & CHARACTERS

Josef woke. The dark cell walls were still there, so was the chair where in which he had been beaten. His bed was as
uncomfortable as it looked. He thought it had may have lice but that was the last thing on his mind.

The cuts on Josef’s face had stopped bleeding but the bruises on his chest were larger and darker than before. Then he heard
the sound again.

Footsteps. The sound of footsteps was moving towards his cell. Josef’s pulse quickened, two men were coming down the hallway
that lead to his cell.

The metal cell door swung open with a clang and white light flooded the small room. Flinching from the light, he tried desperately
to look at the man in the doorway, silhouetted in the doorframe.

Slowly the large figure spoke, "Josef, it is I, your uncle". Josef’s heart froze. Uncle Jach! Jach Priboi was here; the head of the
family was here. Jach Priboi stepped forward, his hands clasped behind his back. Closing his eyes, Jach lowered his head.

"Who did you call, Josef? Who? What did you tell them?" Jach asked gently.

"Uncle" Josef stammered. "I called no-one, I mean, it could have been anyone" Josef was panicking. "It must have been that
Government agent, you know how hard-up Moscow is, they pay them nothing, they’ll sell anything, to anyone!"

"Wrong answer, Josef" Jach whispered. His right hand moved into view, it held a claw hammer.

Turning the hammer in his hand, Jach looked up. He smiled and a gold tooth gleamed. "My trademark, the hammer." Jach added

Josef began to scream.

Located just outside Washington, the Pentagon’s elite counter nuclear terrorist unit had traced the call back to a cell phone. The
report placed the call in downtown Tallinn, capital of Estonia. Part of the former Soviet Union, Estonia lies between next to the
Baltic Sea, with Russia to the east. The cell phone was still on and its location was being tracked by satellite.

Major Anya looked up briefly from the report. She paused. The caller knew about the deaths of 6 marines and the battlefield nuke
they had been guarding. He knew about the storage depot in Germany and he knew how the security systems were brought down.
Nobody outside of the President and the top echelon of military intelligence knew this data. Not the Press, not on the Internet, no
one, she thought.

The caller said he knew who had taken it and why. He was due to call yesterday, to discuss payment terms, how to ‘proceed with
our relationship’, his words, but today nothing. He hadn’t called. This guy has been taken, Anya decided.
No more time to wait, Anya thought. Her monitor held the deployment of personnel, as usual, no-one local, not with the skill set
this operation required.

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She reached over to the phone, "Give me the London office", she ordered.

"I need a field op, he has to know Estonia, former Warsaw pact weaponry, local language skills for starters. Mission class is
extraction, one target, male. Set it up, the usual channels".

This man better be good, she hoped, I haven’t much time; we haven’t much time.

Project IGI – the missions throw you into the deep end as Jones,former SAS soldier,now field operative for the West’s intelligence agencies.

Your mission is to track down Josef Priboi, Estonian Mafiosi arms dealer and bring him back for interrogation. He is being held
at a military airfield. Satellites have pin- pointed the location, close to the coast, but in rough hilly terrain. Plenty of cover exists,
enough to fly a rescued man out to the coast in a stolen helicopter if the local air defenses can be neutralised.

The base is guarded and surrounded with electric fences, minefields. It houses elements of an armoured airborne division of the
Estonian army, so expect helicopter gunships with rockets, APCs armed with cannon and heavy machine guns.

The only questions Jones has, for now, are how to get in, how to get out and just who the hell is Josef Priboi?

JONES
Name: David Llewelyn Jones
Nationality: British
Age: 35
Height 180cm
Weight 85kg (180lbs)

Jones’ start to life was not the best. Expelled from school at the age of 15, he quickly fell into a short career of stealing and racing
cars. This ended abruptly after a high- speed chase turned into a high speed crash, killing his best friend and badly injuring Jones.
Juvenile detention followed a lengthy stay in hospital. Jones had a lot of time to reconsider his approach both lying in hospital
and in his cell.

When he was released from detention, he took the advice of a family friend and joined the army. This proved to be the turning
point in his life, learning discipline, focus and respect for both himself and his comrades.

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Jones served in the Parachute Regiment for several years before he successfully applied to join the Special Air Service (SAS).
Jones specialised in Russian and European tactic and languages, showing a flair for language he never knew he had. Jones is
also exceptionally knowledgeable on former Soviet small arms, vehicles and aircraft.

These skills naturally led to covert surveillance missions in Eastern Bloc countries, measuring military strength and capabilities.
His natural ability for languages led him to the streets of Northern Ireland, combating terrorist organisations. Other tours of duty
led Jones to the jungles of south east Asia. The high point of his career was fighting in the Gulf War – serving with small teams
deep in Iraqi territory, the details of these missions are still classified.

Jones stayed with the regiment for ten years until he was injured in a training HAHO (High altitude, high opening) parachute jump.
Having been declared ’unfit for service’, Jones was invalided out of the service but recovered. His field skills were duly noted by
the intelligence communities in both Europe and the US, Jones was approached and recruited to serve as an field operative.

Jones works freelance, choosing only the lucrative tasks, he specialises in solo roles, operating deep in potentially hostile
territories. His extensive knowledge of former Soviet forces, tactics and territories means Russia, Eastern Europe and the Baltic
states are regular destinations for David Llewelyn Jones.

GAME SCREEN
Message bar – any messages or objects
received are displayed here

Weapon – your current

weapon is shown here
Heath bar – along with remaining
remaining health. ammo in your clip and in
If the health bar your backpack
reaches zero, Jones
is dead.
Action Icon – If an icon is shown
here, Jones can perform an
action

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GAME CONTROLS
DEFAULT CONTROLS
Here are the default controls in Project IGI
Move Forward Up arrow
Move Backwards Down arrow
Move Left (strafe) Left arrow
Move Right Right arrow
Jump 0/Ins (Keypad)
Crouch Right CRTL
Use Right Shift
Look up Mouse
Look down Mouse
Peek 1 / End (numpad)
Attack Left Mouse Button
Secondary attack or activate zoom Backspace
Reload ENTER
Map Computer C
Binocular SPACE
Zoom in Page Up
Zoom out Page Down
Next Weapon Right Mouse Button
Previous Weapon O
Select Weapon Class 1 1
Select Weapon Class 2 2
Select Weapon Class 3 3
Select Weapon Class 4 4
Select Weapon Class 5 5
Select Weapon Class 6 6
Select Weapon Class 7 7
Select Weapon Class 8 8
Select Health 9
In game menu ESC key

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ZOOMING
BINOCULARS
The binocular zoom is controlled by using either the Zoom In and Zoom Out keys or using the Attack and Secondary Attack keys.

SNIPER RIFLE
The Sniper rifle zoom is activated by pressing the Secondary Fire key. It is adjusted by using the Zoom In and Zoom Out keys .

ANY OTHER WEAPON

Any other zoom modes are single use only. The Secondary Fire key will toggle the zoom function on and off; a good example is the MP5.

ACTIONS
In Project IGI, you can perform an large number of actions and tasks. You can set explosives, climb ladders, monkey climb along
ropes and cables, climb fences, hack computers; to name just a few.
An icon is displayed on screen when you can perform an action or task

In Project IGI, tasks take time to complete. Hacking a computer, for example, takes time to complete, just like the real world. All
tasks require the player to disengage from combat and focus on the task in hand. Each one takes valuable seconds to complete.
If disturbed while working on the task, the player must restart the task from the beginning.

HOW TO TRIGGER A TASK

To initiate any action or task press and hold down the use key. The view will change to a third person view.

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ONCE IN THE TASK...

You can control the position of the camera with the mouse.

Watch out! If you are monkey climbing along a cable or sliding down a rope and you cancel the action by pressing the use button,
you will drop to the ground. You may take damage....

Whilst you are performing the action, a bar appears, showing your progress and how far you have to go before the task is completed.

Releasing the use key again will terminate the progress of the task.

Example
Whilst pickling a lock, a guard comes around the corner and opens fire. The player can either take damage and continue to try
to pick the lock, or can terminate the task and return fire. Once combat is completed, the player must start picking the lock from
the beginning.

GAINING ENTRY
Climbing ladders – once you have control of the camera, you can control your progress using the Move
Forward and Move Backwards Keys. Pressing the action key again will cause you to slide to the ground.

Picking Locks

Scaling Fences

Sliding down Cable

Monkey climbing (movement on horizontal cables) – once you have control of the camera, you can control
your progress using the Move Forward and Move Backwards Keys. Pressing the action key again will cause
you to drop to the ground.

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SABOTAGE OF SURVEILLANCE SYSTEMS

Hacking computer systems

INFORMATION RETRIEVAL
Searching for paper records
Accessing computer data

TOOLS
Explosive placement
Homing beacon placement

WEAPONS
Combat takes place at three ranges; Close, Medium and Long.

CLOSE COMBAT
There is one dedicated close combat weapon, the combat knife.

Given the effectiveness of modern weaponry, close combat is rare, but in the hands of a skilled covert operative, it can be used
to quickly and quietly neutralise the enemy.

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MEDIUM RANGE
From close to medium range, the operative choice of weapon is greatly increased.

PISTOLS AND REVOLVERS

Accurate, lightweight and easy to use. Pistols are used by soldiers the world over as an ideal side arm for close quarters combat
A well trained and stealthy operative is able to cause considerable damage with just a pistol.

MACHINE PISTOLS
Machine pistols offer the ease of use of a standard pistol but their have a much increased rate of fire. allows a rate of fire far
greater. Whilst this effects the accuracy of this type of weapon, it enables soldiers to hit many more targets, especially in confined
spaces, such as in the interiors of buildings.

SHOTGUNS
Shotguns offer a similar ability to lay down heavy, damaging fire at close to medium range. Their principle drawback is two fold.
Firstly their reload times tend to be longer and secondly their firepower is relatively ineffectual at extended range. However, if
the covert operative can move in close without being detected, the shotgun will prove to be one hit one kill weapon.

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MEDIUM TO LONG RANGE

This class of weapons generally have automatic fire, enabling the soldier to lay down sustained fire at ranges not offered by the
previous classes of weapons.

ASSAULT RIFLES AND MACHINE GUNS

Assault rifles and machine guns such as the infamous SAW give the soldier the ability to engage targets at almost any combat
range. Their principle drawback is rate of fire, an inexperienced soldier can quickly find himself needing to reload.

SNIPER RIFLES
Sniper rifles are the ideal choice for long range combat, preferably against an unsuspecting target.
Whilst having an extended reload time and small magazine, these drawbacks are countered by the phenomenal accuracy and
penetrative power.

GRENADE LAUNCHERS AND ANTI TANK WEAPONS

By their very nature, these weapons are medium to long range weapons, if anything due to their explosive warhead.
Grenades and proximity mines also abide by the same rules of engagement.

’If there is a line of side sight between you and the munition, it’s not only the enemy you’re going to hit.’

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NON LETHAL TOOLS

As useful as a weapon and used equally just as often, non lethal tools in the field play a principle role in successfully carrying
out your mission. You have two main tools. The map computer and the digital binoculars.

THE MAP COMPUTER

Possibly the most useful piece of equipment that Jones has is the map computer. The map computer comprises of a real-time
encrypted satellite link, high resolution screen with information storage facilities. It is the ultimate battlefield personal digital
assistant (PDA).

The map computer has three functions:

1. Surveillance by spy satellite
2. Mission Objectives
3. Communications log

SURVEILLANCE
Your surveillance action takes place in real time. If you see soldiers running towards you., then they are actually running towards
you. Remember this or you may watch yourself being shot, all the way from space!!

You can re-position the satellite view either by clicking on the screen or using the controls on screen.
The satellite can be ordered to zoom in on any object through 4 degrees of magnification.
The spy satellite can identify key objects and personnel within the world view.
Most importantly are guards and security cameras. Clicking on cameras within the map computer will bring up a projected image
of the camera view cone. You can use this to find safe areas to either avoid the camera or to destroy them. The destruction of
some cameras can trigger the alarm system. You will be told if these cameras are close by in the mission briefing.

MISSION OBJECTIVE
The Mission Objective screen tracks the current status of your objectives.

COMMUNICATIONS LOG 15
A log of all communications received throughout the mission is held here.
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TACTICS EMPLOYED BY COVERT OPERATIVES

Even the most critical skill or tool is useless unless deployed properly. Surprise is the most effective tactic ever used on the
battlefield, and covert operations are no exception. To combat this, there is the age old solution of ’keeping an eye open’, or rather
the use of sentries and guards.

Sentries and guards will raise the alarm if danger is spotted. Technology has superseded the deployment of guards to keep an
eye open – many installations are protected by security cameras, allowing one person to have many eyes. Therefore a critical
ingredient of surprise is stealth.

You cannot afford the alarm to be raised when you’re are on your own. The simple factors of attrition will ensure a covert
operative’s demise if caught with ’his pants down’.

There are two ways in which a covert operative gives away his position in the field:
1. by being spotted visually,
2. by being heard.

Move slowly and carefully when in close proximity of a hostile and move fast, covering short distances, darting from cover to
cover at all other times.

When using cover, check your fields of fire. Always assume that you’re about to be ambushed so make sure that you are able to
fire back.

Cover varies in quality - a concrete wall is preferable to a cardboard box when hiding from incoming fire.

Some weapons are very loud – they are intended for mass deployment and so no consideration is given to the amount of noise
generated. When used in a covert role, they can draw much unwanted attention. So choose the weapon carefully after weighing
up the target and the situation.

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ENGAGING VEHICLES

Like the knights of old, the armoured fighting vehicles are impressive and highly effective killing machines. However in the same
way knights could be eliminated with a well-aimed crossbow bolt, armoured fighting vehicles are also at risk from the right
weapon, used in the right manner.

All armoured vehicles have a weak or weakest point. This is usually to the rear or the side of the vehicle. The engine is the best
area to aim at on any vehicle, be it a jeep, truck or tank.

Given the one shot nature of most portable anti tank weapons, you are advised to ensure that you have a definite kill shot before
opening fire. It would be folly to engage a main battle tank head on with only foliage as cover. The most likely probability is that
you would hit the armour where it is the thickest and simply draw the tank crew’s attention to your position. Suicide…

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BASIC FIELD TRAINING

Before being contracted into the service as a covert operative, your field skills will be assessed. So it’s time to revise on areas
and keep your mind fresh.

CHOOSE YOUR WEAPON CAREFULLY

"I was arming a C4 charge on a power transformer 15km east of <censored by commanding officer> when the patrol spotted
me. There were four guys about 20 meters away pointing an array of automatic weapons at me; and shouting nervously. Overhead
the fly boys were closing in for another pinpoint bombing raid and an AA battery opened up in response, lighting up the sky. My
suppressed MP5 sub-machine gun was out of reach – all I had was my knife or my Glock pistol. This was the do or die moment.
Too many targets and too far away for my knife to be of any use, my choice was clearly the Glock – but still I was outnumbered
and outgunned.

Whilst the triple A opened up, I made my move. The soldiers were jumpy and the explosions overhead had distracted them. I
brought my Glock to bear, damn! Only half a clip of ammo! A reload mid- fight could cost me my life. I ducked and rolled towards
the nearest soldier, placing two rounds in his upper chest. His AK47 would make an excellent substitute. I rolled to the right and
picked up the AK. The other three paused for a moment to watch their comrade hit the floor like a rag doll. Without a moment’s
hesitation, I emptied the clip of the AK in a sweeping motion in the general direction of the three soldiers. The first soldier
crumpled to the ground lifeless, the second caught a ricochet in the chest and fell backwards, clutching his wound.The remaining
soldier has thrown himself to the ground and was crawling to the nearest cover, trees, as fast as his elbows and knees could
carry him. Dropping the AK, I ran to my MP5, cocked it and sprinted towards the tree line. Once there, I lowered my night vision
goggles and dispatched the remaining soldier."

Here we have a fine example of the importance of the right weapon at the right time and the invaluable knowledge of how full
your magazine clip is. In this instance, the best and most available weapon was in the hands of the enemy. Needless to say, the
operative’s quick assessment of the situation and ability to use his brain before his weapon saved his life and ensured the
success of his mission.

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CREDITS
INNERLOOP STUDIOS - A VISION PARK COMPANY
GAME CONCEPT
Andrew Wensley Project Leader – Eidos Interactive

PROGRAMMING
Ole Marius Liabø Lead Programmer

MAIN PROGRAMMING
Anders Dybdahl Programmer
Martin Gram Programmer
Pal Holmberg Programmer
Tim van Klooster Programmer
Stein Pedersen Programmer
Johan Øverbye Programmer

ADDITIONAL PROGRAMMING
Thomas Hagen

ADDITIONAL ENGINE SUPPORT

Paul Endresen Programmer
Henrik Holmdahl Programmer

LEVEL DESIGN
Gavin Skinner Lead Level Designer
Ole Marius Kohmann Level Designer
Jolyon Leonard Level Designer

ART
Olav-Rasmus Vorren Lead Artist
Joachim Barrum Artist / Character Animation
Mikael Noguchi Artist / Character design

MUSIC
Kim M. Jensen Musician & Sound Design

QA
Henning Strandvik IGI QA

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EIDOS INTERACTIVE
Richard Carter Producer
Ed Bainbridge Executive Producer
Andrew Norman Assistant Producer
Frank Hom Shadow Producer (US)
David Rose External Development Manager

QA
Chris Rowley QA Manager
Jean-Yves Duret Assistant QA Manager
James Featherstone Assistant QA Manager
Daryl Bibby Lead Tester
Chris Ince Tester
Lawrence Day Tester
Matthew Hutchinson Tester

QA LOCALISATION
Alex Lepoureau Lead Tester
Iain Willows Tester
Marco Vernetti Tester
Samuel BJ Kil Tester
Jurgen Lottermoser Tester
Maike Kholer Tester

MARKETING
Rebecca West Product Manager
Stefan Mathe Product Manager (Germany)
Christel Camoin Product Manager (France)
Dave DePaulis Product Manager (US)

PR
Eva Whitlow PR Specialist

LOCALISATION
Holly Andrews Localisation Manager
Flavia Grant Group Localisation Manager
Jacqui Ralston Printed Materials Co-ordinator
Paul Motion Localisation Manager

CREATIVE SERVICES
Matt Carter-Johnson Creative Services Manager
Caroline Simon Creative Co-ordinator

MANUAL DESIGN & LAYOUT

A Creative Experience (London)

CASTING AND VOICE PRODUCTION

Philip Morris at AllintheGame

CAST
Kerry Shale
Amanda Mealing
Danny McCall
Larissa Murray

SPECIAL THANKS
20 John Windham (Integrated Defence), Tim 'Helze Boonstra and Matthew Houlbrooke at www.projectigi.com,
Team Extreme (Innerloop) and Andy McNab
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EIDOS INTERACTIVE CUSTOMER SUPPORT

If you require technical assistance, call the Technical Support helpline on:
0121 356 0831
or visit our website at:
www.eidos.com
All telephone charges incurred by you in connection with this facility will be met by you. Eidos Interactive shall pay postage
costs in returning to you any program which is returned to Eidos Interactive by you under this agreement but shall not be
responsible for postage costs incurred by you in returning the program to Eidos Interactive.

HAVING TROUBLE WITH PROJECT IGI?

Then try our recorded Gameplay Helpline on:
09067 535060*
*Please note that this call is more expensive than a normal call and at the time of publication is charged at 75p per minute at
all times. Callers must legally be aged 16 or over. This service is provided in the UK by Eidos Interactive Limited, Unit 2, Holford
Way, Holford, Birmingham, B6 7AX.

EIDOS INTERACTIVE LIMITED WARRANTY

Eidos Interactive Ltd reserves the right to make changes and improvements to this product at any time and without notice.
Eidos Interactive Ltd warrants to the original purchaser of this product that the physical medium on which the software
program in this product is recorded will under normal use and conditions be free from material defects in materials and
workmanship for a period of ninety (90) days from the date of purchase. The entire liability of Eidos Interactive Ltd under the
limited warranty set out above will be at its sole option either to repair or to replace free of charge the product provided you
return it in its original condition to the point of purchase with a copy of your receipt.

THIS LIMITED WARRANTY DOES NOT AFFECT YOUR STATUTORY RIGHTS. SUBJECT TO THE LIMITED WARRANTY ABOVE, THIS
PRODUCT IS PROVIDED "AS IS" AND WITHOUT WARRANTY OF ANY KIND. TO THE MAXIMUM EXTENT PERMITTED BY APPLICABLE
LAW, EIDOS INTERACTIVE LTD FURTHER DISCLAIMS ALL WARRANTIES (INCLUDING, WITHOUT LIMITATION, THOSE IMPLIED BY
LAW, STATUTE, CUSTOM OR OTHERWISE) RELATING TO MERCHANTABILITY, SATISFACTORY QUALITY, AND/OR FITNESS FOR A
PARTICULAR PURPOSE IN RESPECT OF THE PRODUCT.

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NOTES

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NOTES

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