SOCOM: U.S. Navy SEALs
Zipper Interactive and SCEA kick out the first killer app for online console gaming.
Published: October 1, 2002
I reserved myself to playing a LOT of SOCOM: U.S. Navy SEALs before I passed judgment on it (which is why it's taken so long for us to post this review). In many ways, it's a big first for console gaming, introducing a welcome new addition to the game design process that's long since become a staple of PC game: the online factor.
For years now, a big part of a PC game's purchase-worthy weight has lied in what it can deliver in a multiplayer or online aspect. For the first time, this is something that weighs pretty heavily on the console market as well, and I'm happy to say that SOCOM could probably stand on its own as a borderline purchase in either of their online or offline modes. Luckily, you get both in one game, and this is about as sure a purchase as I can recommend. But let's get into why.
SOCOM has the distinction of being one of the most unique shooters ever made, thanks to the fact that it expertly blends third- and first-person modes into a game that really does require both to be enjoyed to the fullest. It's by no means groundbreaking in its execution, but until now, no game has really blended the two perspectives in such an engrossing way. The movement from one view to the other is as simple as pressing up or down on the d-pad, and even in the thick of a fight, it's possible to switch views, so you can go from sniper to third-person perspective to get a better idea of your surroundings in just seconds.
If you haven't gathered from the title, you take on the role of a Navy SEAL, arguably the most badass and well-rounded Special Forces group on the planet. Taking their name from their ability to be at home in the sea, air or land, the SEALs entire existence often revolves around their ability to pull off a mission sight unseen, usually a recon position or hostage rescue where they're in and out before anyone knows they've ever been there. SEAL members are experts in a variety of skills, from demolitions to sniping to plain ol' fashioned wet work. Each team member can accomplish any of the tasks at hand in a mission by themselves, but it's when they work as a team that their at their lethally best.
It's this team-based aspect that drives SOCOM; no SEAL is an island, and you'll be counting on (and ordering around) your squad mates as much as they count on you, which despite being completely digital in design, gives in the incredible feel of being part of a living, breathing unit of the best of the best in counter-terrorism. In fact, short of some annoying AI glitches at the start (your squad is split into two groups of two, and your partner, Boomer, is often brain dead), there's little here that shouldn't be considered sheer brilliance.
SOCOM's layout takes about 20 minutes to really get down, but once you do, it feels incredibly intuitive. The shoulder buttons control primary and secondary fire for weapons and switching between your loadout. The X button fires, square jumps, triangle toggles stance (standing, crouched or prone), and circle opens up the menu to command your squad mates. This last button can be almost completely supplanted by the included headset, which allows for dead-on voice recognition via a mic (just hold down the circle button bark your orders, and let off it). It's also incredibly cool to talk to your squad and have them talk back in just your headset, as well as receiving mission data with just the headset's speaker.
Missions range from simple demolitions or bomb defusal to hostage rescue to recon work, and each one is remarkably gripping (and lengthy - most of my missions clocked in at over a half an hour). Because SOCOM adheres to a Counter-Strike-style on hit kill philosophy, nearly finished missions can be ended in an instant. Frustrating, but realistic. It forces you to use your squad and to keep your eyes open. And dear Lord is it fun.
And then there's the online play, which is absolutely stellar and could easily stand on its own as a separate package. In addition to the ubiquitous deathmatch and self-explanatory hostage rescue modes, there's also a slick variation on capture the flag that involves a bomb in the middle of the level that can be used to blow up the other team's base. Online games are incredibly easy to get into, as is the process for setting up or joining a clan. At last count, there were about 1500 people playing at the same time -- plenty to keep you busy and proof that SOCOM is not only a brilliant online game, but the start of the next wave in console gaming.
Be forewarned, however: this is not Quake or Unreal Tournament, so don't try playing it as such or you'll quickly find yourself the very unhappy recipient of a solid wall of lead. You will have to find your own rhythm and pace for SOCOM, but invariably it will end up as addicting as those that are still entrenched in Counter-Strike or Day of Defeat mods for Half-Life.
Graphically, the game takes a queue from its subject matter and keeps a low profile. Because the game is mainly about stealth and camouflage, much of what you see on screen is dark or melded together into the same general color palette. This is a good thing (for once), and lends a bit of authenticity to the game. Texture detail is decent, but not stunning, though it should be noted that the game does support progressive scan mode for those that have high-end TVs.
The real area where SOCOM shines is in the player models and animations -- where everything from a simple reload to the way a seal crawls across a muddy riverbank to the way a freshly-capped enemy lurches forward and back, then topples over silently -- drips with an astonishing amount of detail. There is an odd case or two of some animation popping if you hit an enemy as he's doubled-over, but otherwise, it's smooth as butter.
I'm of the firm belief that Jeremy Soule is one of the finest composers I've ever heard, literally on par with the likes of, say, John Williams, and his score here is absolutely fantastic. It doesn't quite have the power to stir the emotions as something like Medal of Honor (also his work), but it is incredibly good at setting a tense mood and allowing for plenty of suspense. Because of the stealthy nature of the game, the score doesn't have a chance to really punch through, but when it does, there's significant oomph.
Likewise, the effects are cleanly executed and feel dead-on. This is, of course, the direct result of taping of live, accurate gunfire, but this is simply another layer of SOCOM's authenticity. The mission briefings and radio chatter also sound great, from the slow drawl of your squad mates to the screams in foreign tongues from the men you just gunned down or the villagers you're eavesdropping on.
SOCOM isn't without its faults; the AI can sometimes be rather moronic, but from the controls to the missions to the multiplayer, there's little to really get upset over. This is, without a doubt a breakout surprise and the online killer app that Sony was hoping for. If you've got a nice, fat online connection and a network adaptor, you should already own this game.
For years now, a big part of a PC game's purchase-worthy weight has lied in what it can deliver in a multiplayer or online aspect. For the first time, this is something that weighs pretty heavily on the console market as well, and I'm happy to say that SOCOM could probably stand on its own as a borderline purchase in either of their online or offline modes. Luckily, you get both in one game, and this is about as sure a purchase as I can recommend. But let's get into why.
SOCOM has the distinction of being one of the most unique shooters ever made, thanks to the fact that it expertly blends third- and first-person modes into a game that really does require both to be enjoyed to the fullest. It's by no means groundbreaking in its execution, but until now, no game has really blended the two perspectives in such an engrossing way. The movement from one view to the other is as simple as pressing up or down on the d-pad, and even in the thick of a fight, it's possible to switch views, so you can go from sniper to third-person perspective to get a better idea of your surroundings in just seconds.
If you haven't gathered from the title, you take on the role of a Navy SEAL, arguably the most badass and well-rounded Special Forces group on the planet. Taking their name from their ability to be at home in the sea, air or land, the SEALs entire existence often revolves around their ability to pull off a mission sight unseen, usually a recon position or hostage rescue where they're in and out before anyone knows they've ever been there. SEAL members are experts in a variety of skills, from demolitions to sniping to plain ol' fashioned wet work. Each team member can accomplish any of the tasks at hand in a mission by themselves, but it's when they work as a team that their at their lethally best.
It's this team-based aspect that drives SOCOM; no SEAL is an island, and you'll be counting on (and ordering around) your squad mates as much as they count on you, which despite being completely digital in design, gives in the incredible feel of being part of a living, breathing unit of the best of the best in counter-terrorism. In fact, short of some annoying AI glitches at the start (your squad is split into two groups of two, and your partner, Boomer, is often brain dead), there's little here that shouldn't be considered sheer brilliance.
SOCOM's layout takes about 20 minutes to really get down, but once you do, it feels incredibly intuitive. The shoulder buttons control primary and secondary fire for weapons and switching between your loadout. The X button fires, square jumps, triangle toggles stance (standing, crouched or prone), and circle opens up the menu to command your squad mates. This last button can be almost completely supplanted by the included headset, which allows for dead-on voice recognition via a mic (just hold down the circle button bark your orders, and let off it). It's also incredibly cool to talk to your squad and have them talk back in just your headset, as well as receiving mission data with just the headset's speaker.
Missions range from simple demolitions or bomb defusal to hostage rescue to recon work, and each one is remarkably gripping (and lengthy - most of my missions clocked in at over a half an hour). Because SOCOM adheres to a Counter-Strike-style on hit kill philosophy, nearly finished missions can be ended in an instant. Frustrating, but realistic. It forces you to use your squad and to keep your eyes open. And dear Lord is it fun.
And then there's the online play, which is absolutely stellar and could easily stand on its own as a separate package. In addition to the ubiquitous deathmatch and self-explanatory hostage rescue modes, there's also a slick variation on capture the flag that involves a bomb in the middle of the level that can be used to blow up the other team's base. Online games are incredibly easy to get into, as is the process for setting up or joining a clan. At last count, there were about 1500 people playing at the same time -- plenty to keep you busy and proof that SOCOM is not only a brilliant online game, but the start of the next wave in console gaming.
Be forewarned, however: this is not Quake or Unreal Tournament, so don't try playing it as such or you'll quickly find yourself the very unhappy recipient of a solid wall of lead. You will have to find your own rhythm and pace for SOCOM, but invariably it will end up as addicting as those that are still entrenched in Counter-Strike or Day of Defeat mods for Half-Life.
Graphically, the game takes a queue from its subject matter and keeps a low profile. Because the game is mainly about stealth and camouflage, much of what you see on screen is dark or melded together into the same general color palette. This is a good thing (for once), and lends a bit of authenticity to the game. Texture detail is decent, but not stunning, though it should be noted that the game does support progressive scan mode for those that have high-end TVs.
The real area where SOCOM shines is in the player models and animations -- where everything from a simple reload to the way a seal crawls across a muddy riverbank to the way a freshly-capped enemy lurches forward and back, then topples over silently -- drips with an astonishing amount of detail. There is an odd case or two of some animation popping if you hit an enemy as he's doubled-over, but otherwise, it's smooth as butter.
I'm of the firm belief that Jeremy Soule is one of the finest composers I've ever heard, literally on par with the likes of, say, John Williams, and his score here is absolutely fantastic. It doesn't quite have the power to stir the emotions as something like Medal of Honor (also his work), but it is incredibly good at setting a tense mood and allowing for plenty of suspense. Because of the stealthy nature of the game, the score doesn't have a chance to really punch through, but when it does, there's significant oomph.
Likewise, the effects are cleanly executed and feel dead-on. This is, of course, the direct result of taping of live, accurate gunfire, but this is simply another layer of SOCOM's authenticity. The mission briefings and radio chatter also sound great, from the slow drawl of your squad mates to the screams in foreign tongues from the men you just gunned down or the villagers you're eavesdropping on.
SOCOM isn't without its faults; the AI can sometimes be rather moronic, but from the controls to the missions to the multiplayer, there's little to really get upset over. This is, without a doubt a breakout surprise and the online killer app that Sony was hoping for. If you've got a nice, fat online connection and a network adaptor, you should already own this game.
