Title	:	Devil Summoner: Soul Hackers
Platforms	:	Sega Saturn (1996), Sony PlayStation (import, 1999)
Publisher	:	Atlus
Game Rating	:	9.4
Review by	:	Robert Boyd

In the near future, everyone is hooked up to a massive electronic network. Incredible virtual worlds allow experiences never before thought possible. On the surface, things seem better than ever. But technology can be used for evil as well as good. An organization known as the Phantom Society seeks to steal away the souls of every man, woman, and child through Paradygm X — a new virtual world. Only the Spookies (a group of amateur hackers) stand in their way. 

This is the world of Devil Summoner: Soul Hackers, for Sony PlayStation and Sega Saturn (Saturn version reviewed here). It's the latest RPG in Atlus' Megami Tensei series. Only one game in the series has been translated into English so far — a gaiden (side story) for the PlayStation called Revelations: Persona. If all of the games in this series are as good as Soul Hackers, it's a shame that we haven't seen more of them. 

Unique is the word that best describes Soul Hackers. Utilizing an equal mixture of advanced technology and the occult, the developers at Atlus have created a truly unique world. Monsters stalk the hallways of major corporate buildings. Your best friend, Hitomi, brings new meaning to the phrase, "multiple personalities," when she becomes possessed by a powerful spirit. People lose their souls in front of their computers. Portable computers summon forth powerful demons. This is not your usual RPG. The story makes good use of the system's FMV capabilities and delivers many memorable moments. 

Gameplay is also very unique and quite deep. Your characters fight the forces of evil with knives, guns, magic — all typical weapons — but they also fight with dialogue. In most battles, negotiations with the enemy can be attempted. If successful, combat can be avoided, items and money can be extorted, and enemy demons can even be persuaded to join your team. Demons can be powerful allies in battle (up to 4 can be summoned at a time) and can be combined to create even more powerful monsters. The Phantom Society is made up of many master devil summoners (hence the title); if you don't build up an army of powerful demons yourself, you don't stand a chance against them. 

Another interesting aspect of the game is the portable computer your character uses. This computer is primarily used for summoning and storing demons, but it can also be upgraded with various add-on modules (26 in total). These modules enable a wide range of useful (and useless) features like automapping, saving in dungeons, enemy detectors, and a clock. Some strategy is required here as only a limited number of modules can be utilized at any one time. 

The graphics are well designed even though they are not spectacular from a technological viewpoint. The music sets the tone nicely and is pretty good, but not great. But Soul Hackers' original and well done story and deep gameplay make up for these minor shortcomings. Devil Summoner: Soul Hackers is a very good game. It's also pretty long. 

Atlus was planning on translating this game into English, but Sony has denied them a US license. Feel free to contact Sony and complain. Right now, the only way to play the game is by buying the Japanese version from one of the import game companies on the internet. The Saturn version is currently available and a PlayStation version (with Pocketstation support and a demo of Persona 2) is about to be released. The game requires a knowledge of Japanese to truly enjoy (an English guide is available at http://www.gamefaqs.com though), but if you're up to the challenge, Soul Hackers is well worth your time. 

---

This article is copyright (c) 1999, 2007 by Ken Gagne. All rights reserved. Not to be distributed without permission.

Original publication: Sentinel & Enterprise, 12-Jul-99

Title	:	Panzer Dragoon Saga
Platforms	:	Sega Saturn
Publisher	:	Sega
Game Rating	:	9.4
Review by	:	Ken Gagne

The Sega Saturn was doomed almost from the start. Poor advertising, a smaller game library, and an initial higher system price made it a poor competitor for the Sony PlayStation. Although it has always had excellent titles, there has been little awareness of them. Just now, some of Sega's best games are being released. Panzer Dragoon Saga is such a title. 

The third in the Panzer Dragoon trilogy, this installment is not like it's flying shooter brethren, but is a role-playing game. There are references enough to past titles to interest veteran of the series, but not to confuse newcomers. The game comes on four discs. 

Ancient relics are unearthed at an excavation site, prompting a bandit attack. When Edge, a mere boy and the only survivor, is befriended by a mythical dragon and begins his search for vengeance, he becomes caught in a war between the rebels and the Imperial Army for the power to save, or destroy, the world. 

The game opens with a 10-minute movie, telling the above tale and setting the tone for the rest of the game. Much of the involving storyline is told through full-motion computer movies, nearly comparable to those found in Final Fantasy VII. The graphics here and in other modes are smooth, detailed, and often dark. Towns are explored in a 3D, over-the-shoulder perspective, similar to Tomb Raider. 

The dialogue accompanying the speeches is a combination of gibberish and Japanese, and subtitled in English. Although English dialogue would have been more dramatic and effective, the foreign tongues serve to support the fantasy setting. Music is also used well to introduce new mysteries, friends, and foes. 

At the heart of any role-playing game is the battle system, and Panzer's is innovative and fun. All battles are done from dragonback, against flying and racing foes. The winged lizard can be positioned in front of, behind, or to either the side of the enemy to launch attacks, which may be a dragon laser, Edge's gun, or a variety of special Berserk attacks. The type of attack available depends on a power gauge which fills during battle, similar to Street Fighter. As the game progresses, the dragon morphs into more powerful forms, with strengths and weaknesses selectable by the player. 

Edge has few enemies which will fall quickly to his assaults. Most have weak points, but hidden behind many offensive and defensive strengths. There are safe spots and danger zones; getting caught in the wrong position at the wrong time can prove devastating. 

Despite the challenging nature, Panzer is a shorter game than other role-playing games. It will provide 20 to 30 hours of solid, enjoyable gameplay, not the 40 or 50 standard for the genre. 

It's a shame that such an excellent title has arrived so late in the Saturn's life. Sega has saved the best for last; for that and all those reasons which make Panzer an incredible experience, players owe it to themselves to take to the skies with this RPG.

---

This article is copyright (c) 1998, 2007 by Ken Gagne. All rights reserved. Not to be distributed without permission.

Original publication: Sentinel & Enterprise, 27-Jul-98

Title	:	Quake
Platforms	:	Nintendo 64, Sega Saturn, Windows
Publisher	:	Midway
Game Rating	:	7.7
Review by	:	Ken Gagne

An interdimensional terrorist is striking at Earth. His army's recent raid on a military base has left a sole survivor who decides to take it to the monster's own hellish home front. So goes Quake, for Nintendo 64 and Sega Saturn, translated by Midway from the PC hit. 

Quake, the game's title and the name of the afore-mentioned terrorist, has been on the computing scene for a few years now, and has spread like wildfire as the modern-age DOOM. It is a first-person perspective shooter renowned for its fast action and multiplayer death matches. Its most important characteristics have been lost in this console version, yet it remains a enjoyable experience. 

The default control is awkward, with unnecessary functions assigned to essential buttons. But every button and action is configurable, so Quake can be made to play identically to Goldeneye, Turok, or any other setting, in which case Quake is flawless. The controllers support both the rumble pack, for quaking action, and the memory pack. Controller setups can be saved with the latter, but game progress can be saved with either the pack or a password. 

The nature of the graphics is dark, choppy, and swift. Many of the abysmal levels are without proper lighting, making it difficult to tell if there is, or isn't, a place to stand, or if that's an enemy hiding in the shadows or your eyes deceiving you. The sprites (or moving figures) have few frames of animation, and move in an ungainly fashion. But as players move about, the levels themselves speed by. This makes it easy to make a quick escape but difficult to draw an accurate bead. 

The music is minimal, yet effective. There is not much music, per se, but background moans, whistling winds, and drums emphasize the gothic atmosphere. Hammering nailguns and exploding corpses comprise the sound effects. 

Quake's challenge is classic; it offers many goals but nothing new. Simply, each level has an exit which must be found. This may involve backtracking, exploring, finding keys, or other tasks. Each level also has several hidden areas which are not pertinent to one's progress, but offer valuable power-ups. The total number of secret areas is revealed at each level's end, as well as the time it took the player to complete the level. 

As any good shooter should, Quake offers a two-player mode. Gamers can battle in seven different arenas, of varying size. There are no maps or radars to assist the hunters in finding their prey, and the dark nature of the levels adds to the confusion. Each level consists of many small corridors and rooms, with few large, open spaces in which to run around. Hence, most pursuits end with two players face-to-face pounding each other with grenades, rather than strategic use of sniper and guerrilla warfare tactics and drawn-out epic battles. Whoever has the best armor and weapon will win. 

Quake is yet another entry in a familiar genre. It offers little new, but most of what it has is effective. The flawed graphics is one of its fault; the lack of a four-player mode on a four-player system is another. Quake on Saturn and the IBM may be more satisfying. On the Nintendo 64, Goldeneye and Turok did it better, and this summer's Turok 2 will do it best. Those wanting something to tide them over in between may find it in Quake.

---

This article is copyright (c) 1998, 2007 by Ken Gagne. All rights reserved. Not to be distributed without permission.

Original publication: Sentinel & Enterprise, 06-Apr-98

Title	:	Sonic R
Platforms	:	Sega Saturn
Publisher	:	Sega
Game Rating	:	8.3
Review by	:	Ken Gagne

He says he's the fastest hedgehog alive, but can Sonic prove his claim? Sega's mascot races for the gold in Sonic R, for the Sega Saturn. 

Sonic R is a racing title that includes five courses and five selectable characters, with more drivers available as the game progresses. Unlike Mario Kart, the racers do not enter the fray in vehicles, but participate in a foot race across various terrain, from green valleys to futuristic cities. The courses are anything but straight; they curve, weave, and offer multiple branches and shortcuts at every turn. Rings, plentifully scattered throughout the courses, offer opportunities to speed up or access hidden areas. The few other power-up items are not offensive in nature. 

The control takes a bit of getting used to, at first sending the racers wildly across the course. The fine touch necessary to move Sonic and company about is quickly acquired, but precise turns always seem an impossibility. The jump button is useful for getting to hard-to-reach areas, and for some characters (such as Tails and Knuckles), can be used to fly or glide short distances. Those with analog control sticks will appreciate them playing this game. 

Sonic R's graphics are a true pleasure. Since this is not a realistic automobile game, the racing environment is allowed to be a colorful world of fantastic scenarios. The limited camera angles from which to race are a disappointment. Also, the two-player mode suffers incredibly, since the graphics are only drawn half as far ahead as they normally are. Gamers won't know where they're headed until they're there, leaving little time to prepare for a turn. Another two-player mode requires the acquisition of balloons scattered throughout the course, promoting exploration rather than fast laps. This method of play is more fun. 

A good soundtrack is always a plus in racing games, and Sonic R is no exception. The song tracks are vocalized tunes with actual words. This is odd to find in a game of this genre, but they are great to hear nonetheless. The vocals can be disabled for an instrumental version of the soundtrack. Sound effects are sufficient, from the increasingly-rapid footfalls to the collection of coins. 

The challenge level varies on the goal. Simply coming in first place is easy once the layout of the course becomes familiar. A true victory comes from finding all the hidden Chaos Emeralds on each level, and their acquisition is for naught unless a pole position is achieved. Doing all that, and then again on the "hard" difficulty setting, can make for a very tough game. 

Overall, there's little to complain about in Sonic R. A good soundtrack, variable challenge, and other positives outweigh the iffy control and a less-than-spectacular two-player mode. Sonic and friends might not be the fastest racers in the competitive market, but they're hard to catch up to.

---

This article is copyright (c) 1998, 2007 by Ken Gagne. All rights reserved. Not to be distributed without permission.

Original publication: Sentinel & Enterprise, 05-Jan-98

Title	:	Mass Destruction
Platforms	:	Sony PlayStation, Sega Saturn
Publisher	:	ASC Games
Game Rating	:	7.2
Review by	:	Ken Gagne

Some games are all graphics and no gameplay, leaving what looks like a winner to be a bomb. Mass Destruction, a PlayStation and Saturn title from ASC Games, seems to have tried focusing on gameplay at the expense of other aspects, but didn't quite make it. [PSX version reviewed here] 

Mass Destruction puts players in control of one of three tanks, each with different speed and power ratings, before sending them to the front line in an imaginary war. Each of the two dozen levels has several objectives to complete, such as taking down enemy radar or rescuing hostages. A variety of terrain and foes will be encountered from an overhead perspective. 

The control is realistic; driving this tank can be as difficult as piloting a real one. The tank moves forward and backward, and the turret can be controlled separately. Buttons will automatically swivel it to the tank's left and right, but the tank is small and undetailed enough for confusion to arise about which way is which. It can be mastered for some neat drive-by shootings, but only with practice. It is also fairly easy to get stuck in corners during an intense shoot-out. Mass Destruction supports the new PlayStation analog controllers. 

This game allows mass destruction to occur without fettering the players with challenge. The enemy tanks and infantry are numerous, but not powerful, as the player's tank is well-armored and power-ups plentiful. Trekking from one end of a map to the other amidst enemy fire, destroying buildings left and right, is exciting, but not terribly arduous. Limited supplies of secondary weaponry are available, but unnecessary. The most difficult gameplay aspects can be determining exactly which areas need to be destroyed, or how to cross a river without drowning. Once the basics are learned, there is little difference between the easiest of stages and the hardest. 

Very little eye candy is peppered throughout the game. Even the animated sequences at the end of the five main regions is mostly unimpressive. The main display at the bottom of the screen is hard to read, and power-ups are indistinct. Sometimes terrain details and infantry can be confused as well. Overall, he graphics are not poor, just lacking. 

Obviously, a game of this sort will have many explosions and gunfire sound effects; Mass Destruction is no exception. The squeals of squashed foot soldiers are particularly gratifying. There are several decent music tracks, but most noticeable is that any one can be chosen at anytime in any stage. 

Progress through each of the areas can be saved to a memory card or continued via password. For the first time in a while, here's a PlayStation title with some excrutiatingly long load times. A single stage can take 25 seconds to prepare. Fortunately, no such lags are evident during the action scenes themselves. 

Mass Destruction can be fun, if not challenging. It could be described as a land-based version of Desert Strike, or other such games. Mass Destruction does not obliterate any gaming records, failing to stand out as a hit title, but can still be satisfying.

---

This article is copyright (c) 1997, 2007 by Ken Gagne. All rights reserved. Not to be distributed without permission.

Original publication: Sentinel & Enterprise, 15-Dec-97

Title	:	Last Bronx
Platforms	:	Sega Saturn
Publisher	:	Sega
Game Rating	:	6.9
Review by	:	Ken Gagne

With the success of Virtua Fighter and Fighting Vipers, Sega has now branched out into the weapon-combat arena. Unfortunately, Last Bronx is not the hit they were expecting. 

A Saturn translation of the arcade game, Last Bronx can be compared to Soul Edge, Namco's PlayStation fighter. Players select one of eight fighters — a small number by today's standards — each equipped with a weapon, from sais to bos and nunchukus to staves. They then battle it out in a 3D fighting arena, square in shape. Several gaming modes are available, including four two-player modes and two practice modes. Later on, hidden weapons, such as popsicles, frozen tuna, and corn-on-the-cob become available. 

There are no magic moves or special attacks, like fireballs or teleportation. The three main buttons — punch, kick, and guard — are used in a variety of combinations to execute differing types of attacks. A heavy emphasis is placed on stringing multiple moves together to inflict heavy damage. The special moves listed in the manual are really no more than series of punches and kicks. The fences which border each stage can be used as heights to escape to, and from which to launch an attack. 

The graphics cannot be universally described as either great or poor. The characters themselves are lively, moving with many frames of animation and with attention paid in the closeups to details, such as eyes and mouth. The backgrounds, all based on real Japanese locations, are extremely smooth. However, the foreground, being the most important as all the action occurs there, suffers from an unusual case of flicker. The sprites and arena borders seem to fade in and out during some scenes, a real distraction. 

The music is enjoyable, fitting the action-packed situations, with a number of different instrumentations sometimes noticeable. The announcer's speech has a slight Oriental accent, while the characters speak all in Japanese. Even the opening and closing anime sequences are in Japanese, with English subtitles. Maybe some purists find this preferable, but Sega should've finished the translation job for the average gamer. 

Challenge is high, as a single blow can deplete up to a quarter of a fighter's strength. Without the assortment of attacks common in other fighters, close-range melee is common, which is not conducive of a long, healthy life. Several kinds of damaging throw-type attacks are usable, but difficult to use in the confined spaces in which they are effective. 

Last Bronx is a poor title among a plethora of fighting games. It is one of only a few weapon-based fighters, but is not the best even in that small crowd. Multiple gaming modes but poor player selection balance the replay value. Despite some great presentation, poor implementation produces a fatal flaw, with the fun factor paying the penalty. Glitchy graphics and a boring combat system make Last Bronx anything but a first choice.

---

This article is copyright (c) 1997, 2007 by Ken Gagne. All rights reserved. Not to be distributed without permission.

Original publication: Sentinel & Enterprise, 17-Nov-97

Title	:	Rampage World Tour
Platforms	:	Sony PlayStation, Sega Saturn, Nintendo 64
Publisher	:	Midway
Game Rating	:	8.1
Review by	:	Ken Gagne

George, Lizzy, and Ralph have returned to ravage the world in Rampage World Tour, for the Sony PlayStation, Sega Saturn, and Nintendo 64. There are no princesses to save, races to win, or bad guys to defeat. The objective is simply to destroy as many villages, towns, cities, and metropolises as possible. [PSX version reviewed here] 

World Tour is the sequel to a game which appeared in arcades about a decade ago, and then on every imaginable home system. Both the original and new Rampages are two-player games, unlike their three-player arcade counterparts. The latest edition follows the three giants — an ape, a lizard, and a werewolf — as they trounce through major world capitals, destroying military vehicles, dining on passing pedestrians, and otherwise wreaking general havoc. The gameplay scrolls both left to right and up the towering skyscrapers, creating bigger cities than World Tour's predecessor. 

Rampage is not a difficult game. The goals are simple and straightforward: demolish a city to as great an extent as possible, then move on. An onslaught of attacks will attempt to prevent the monsters from succeeding, but their injuries will only be ephemeral. Infinite continues ensure that the game continues as long as the player wants it to. Some enemies are particularly crafty annoyances, but the lack of permanent damage means their destruction is usually just for fun. 

The presence of a memory card lets progress be saved. There seem to be some errors in the game's interface with the card, however. On a few rare occasions, it fails to "see" the card, and does not save; or the game may freeze when trying to load the next city. Fortunately, these blunders are few and far in between, and do not cause any permanent damage. 

Considering the monstrous nature of the characters, most everything else is small in comparison. Some edible items are hard to identify, and whether they are a boon or a curse to consume is often not known until their effects are evident. The three fiends enjoy animated appearances with which to react to many circumstances, from being singed to toppling off buildings to enjoying a particularly tasty treat. Various types of buildings and backgrounds make for locations slightly similar to their real-life counterparts, from Istanbul to Los Angeles to London to, yes, even Boston. 

The music is actually noticeable in this game, creating a fun environment in which to devour all in sight. It has a rock/metal-type sound to it, fitting with the destruction theme. The sound effects are a blast, particularly the screams of the cities' doomed inhabitants. 

With hostile citizens coming from all directions, it's a relief to know the control is one thing you won't have to fight. There are four predefined setups, all which consist of punch, kick, and jump. These buttons, when used in various combinations with the control pad, create several forms of attack. Sometimes it's not so easy for a monster to turn his bulk to the face of a building so that it can be jumped at then climbed, but otherwise it's easy enough to leap from rooftop to rooftop, making sure the impact is felt and an impression left. 

A few memorable items from the original Rampage are absent, such as the irritating photographers who blind the main characters. New surprises, such as vehicles which can be ridden and visits to foreign countries, balance off the losses. The two-player mode allows destruction at an even faster pace, but accidentally attacking a friend occurs all to often. A purposeful attack on an "ally" can be quite fun, though, especially when a megalopolis is the arena. 

Rampage World Tour is a successful build on a classic hit. There is very little innovation; World Tour is more a remake then an actual sequel. It has a few things missing and, even with more than 130 cities, is easy to overcome. But it's still a fun game, and a great way to blow off some steam. Nowhere else are the roles of good guy and bad guy reversed. Don't want to leave the house? Go on a world tour — Rampage style.

---

This article is copyright (c) 1997, 2007 by Ken Gagne. All rights reserved. Not to be distributed without permission.

Original publication: Sentinel & Enterprise, 03-Nov-97

Title	:	Megaman X4
Platforms	:	Sony PlayStation, Sega Saturn, Windows
Publisher	:	Megaman X4
Game Rating	:	7.9
Review by	:	Ken Gagne

 

 

 

 

 

 

Title	: MEGAMAN X4
Platform	: Sony PlayStation, Sega Saturn, Windows
Publisher	: Megaman X4
Game Rating	: 7.9
Review by	: Ken Gagne

 7.9 

Capcom has a tried-and-true formula for success: take a previous hit, add a few new elements, call it a sequel; repeat. Such is the case with Megaman X4 for the Sony PlayStation, Sega Saturn, and Windows. The format of defeating eight enemy robots, gaining their weapons, and then one long, final stage prevails. [PSX version reviewed here] 

The story seems to have lost something in the translation from Japanese, because it doesn't make much sense. The Repliforce, a passive army of robots, seeks to form its own nation independent of humans. By doing so, they are labeled Mavericks, and must be destroyed by Megaman and his partner Zero. Hence, the root of all battles and conflicts appears to be maintaining honor in the face of a great misunderstanding. Several new but throw-away characters are introduced, such as Double, Iris, and the Colonel. The only interesting storyline facet is the exploration of Zero's origin, which provides a mysterious link to the X-less Megaman series. 

The most enjoyable addition in this series entry is the option to play the entire game as Zero. He is not limited to a single stage or life, but can be played from beginning to end. From defeating the eight adversaries he gains Street Fighter-like moves which can be used at anytime, instead of switching between weapons. Zero's energy saber is a powerful close-range attack, making Zero a choice for experienced players. Unique plot developments, character interactions, and even enemies fought will depend on the choice between Zero and Megaman. 

The graphics do not depict the bright and cheery world of some Megaman games, but maintain the darker mood of the X series. The eight stages vary from ocean to volcano to icy mountains, and each are a delight to see. Attention to background detail presents deep worlds, with even a few surprise cameos by old characters. Japanese animation sequences present important occurrences, but occur too infrequently. 

Traditional music for this genre fills the game. Doleful techno is the order of the day, proper to the dismal, mechanical future represented by Megaman's world. Explosions are abundant, but too many annoying sound effects by the main characters get in the way. 

MMX4 is sometimes easy, and other times not. The stages, which are varied enough to be fun, are at times too brief. Finding hidden items throughout the areas is difficult, requiring each section to be travelled multiple times. Once found, they make Megaman more powerful, but don't add much versatility; no new areas can be reached with them, for example. Likewise, the special weapons just aren't special enough. Fortunately, the boss figures can take a licking and keep on ticking, giving a good fight. Their various personas are recycled, though; while MMX1 had Storm Eagle, MMX4 has Storm Owl, and so on. 

Like most Megaman games, the last stage is reached within a few days. Zero's presence gives good cause to play the entire game at least a few times, and a couple of tough spots will present a welcome challenge. Unfortunately, MMX4 adds little else in the way of originality. It's a quality side-scrolling adventure, but so have been all the ones before it. For better or for worse, MMX4 is little more than its predecessors.

---

This article is copyright (c) 1997, 2007 by Ken Gagne. All rights reserved. Not to be distributed without permission.

Original publication: Sentinel & Enterprise, 20-Oct-97