Metal Gear Solid

aka: Hejin Zhuangbei, MGS, Metal Gear 3
Moby ID: 2511
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Description official descriptions

Metal Gear Solid is a sequel to Metal Gear 2: Solid Snake. After the tragic confrontation with Big Boss, the hero, special agent Solid Snake, decided to retire and has since then lived in a secluded region in Alaska. But the US government recruits him once again for a dangerous mission. The members of Foxhound, a renegade special forces unit, threaten to use a devastating nuclear weapon if the government doesn't hand them the mortal remains of Big Boss, their former commander. Foxhound is now led by a talented, ambitious young man with the codename Liquid Snake. Knowing that the visual resemblance between this new terrorist mastermind and himself can not be coincidental, Solid Snake agrees to infiltrate the new Foxhound base, destroy the unknown nuclear weapon, and find the truth about his own identity.

The gameplay in Metal Gear Solid follows the prototype established in the two earlier Metal Gear games. Solid Snake has a limited arsenal of weapons and cannot allow himself to pave his way to the goal by killing all the enemies. He has to stay unnoticed, hide, crawl, wait for the right moment, sneak, and use various gadgets that will prevent him from alerting the enemy. Boss battles and some other sequences are played out as action-oriented set pieces, with the player having to figure out the weakness of the enemy in order to succeed.

The game utilizes a traditional top-down view, but the graphics in this installment are real 3D. Conversations with Snake's allies and cutscenes are used extensively to advance the plot and gain more insight into it.

Spellings

  • 惔ć‚æćƒ«ć‚®ć‚¢ć‚½ćƒŖ惃惉 - Japanese spelling
  • åˆé‡‘č£…å¤‡ - Chinese spelling (simplified)
  • ē‰¹ę”»ē„žč«œ - Chinese spelling (traditional)

Groups +

Screenshots

Promos

Credits (PlayStation version)

173 People (148 developers, 25 thanks) · View all

Solid Snake
Liquid Snake
Meryl Silverburgh
Naomi Hunter
Hal Emmerich
Roy Campbell
Mei Ling
Gray Fox (Ninja)
Nastasha Romanenko
Revolver Ocelot
Vulcan Raven
Psycho Mantis
Sniper Wolf
Donald Anderson
Kenneth Baker
Jim Houseman
Genome Soldier A
Genome Soldier B
Johnny Sasaki
Enemy Soldier
Computer Voice
European package design
[ full credits ]

Reviews

Critics

Average score: 94% (based on 33 ratings)

Players

Average score: 4.1 out of 5 (based on 234 ratings with 11 reviews)

Influential, but flawed

The Good
Since the late 1980s, there have been two action adventure franchises that are almost universally acclaimed every time they release a game. Both series are highly influential to gaming as a whole, and each new installment is looked forward to with great anticipation. The first is Nintendoā€™s The Legend of Zelda. The other is Konamiā€™s Metal Gear.

1998 was the year that both franchises entered the third dimension, Zelda with Ocarina of Time, and Metal Gear with Metal Gear Solid, and these two titles, exclusive to rival systems, are widely considered among the best games ever made. For many people, Game of the Year 1998 seemed to come down to these two games.

Metal Gear Solid has the player take on the role of a soldier who goes by the codename of Solid Snake. Solid Snake is tasked to infiltrate a nuclear test site called Shadow Moses, in an attempt to rescue an arms manufacturer and the DARPA chief, and stop FOXHOUND, the terrorists who have taken over, and a group who Snake just happens to be a former member of. Things get a LOT more complicated from that basic setup.

Admittedly, thereā€™s not much more to the plot than kill the bad guys, rescue the girl, and save the day, but the way it plays out is a lot more complicated than that. There are themes running throughout the gameā€™s extensive script such as the purpose of nuclear weapons, the value of life and how to go on living after a great loss, technology gone wrong, and the eternal battle between fate and free will.

in 1998, most video games, outside of role-playing games never really tried to deliver intricate storytelling. With numerous twists and turns and a cast of weird but wonderful characters, MGS was a knowing pastiche of Hollywood action and science-fiction films with a bit more substance underneath the surface. It delivers in both smart and dumb. Plenty of explosions and shootouts mixed in with philosophizing about genes and nuclear warfare.

For a game released in 1998, the voice acting is incredibly impressive, and there is a lot of it.

The gameplay of MGS involves Snake sneaking around various areas, collecting weapons and resources needed to solve problems in his path and complete the mission, and above all else, trying not to be seen.

If a guard spots Snake, an expression mark appears over their head and the game goes into ā€œAlertā€ mode, The player can either use the tools he/she has on hand to attack or otherwise impede the guards and surveillance cameras and find a new place to hide. When the player can no longer be seen, the guards enter evasion mode, where they make a more heightened effort to try and find Snake. When evasion ends, the guards resume their patterns as normal.

Snake has several ways he can avoid or manipulate guards. He can crawl under some objects or through vents to observe the guardā€™s paths. Snake can lean on corners to check for any distant guards. The player can also tap on walls or other objects to make noises which will distract guards, allowing Snake to slip by. If worst comes to worst, Snake can sneak up behind a guard and either knock him out by throwing or punching him. He can even kill a guard by choking them and snapping their neck.

Along the way, the player will find a wide variety of tools and weapons that he/she must use in certain situations to help Snake overcome whatever problems are in his way. Chaff Grenades can be used to disable surveillance cameras and turrets for a limited time. Thermal Goggles can be used to spot enemies in the dark and see lasers. The Mine Detector is used to spot mines on the radar, crawling on top of them will allow Snake to pick them up. The most famous of these tools are the various cardboard boxes that Snake collects to disguise himself. Youā€™ll need to choose the right box for the right location of where you are in the base so that the guard wonā€™t be so suspicious. There are many of these devices that youā€™ll find throughout the game, and itā€™s important to hold on to them and not waste them unless you absolutely need to use them, especially on higher difficulties.

Metal Gear Solidā€™s graphics were praised at the time of its release, but the blocky characters, clipping issues, and that classic PlayStation texture warp do little to impress in 2015. Nevertheless, MGSā€™ visuals do have great art direction, and thereā€™s a real sense of playing in a game world that is incredibly detailed: puddles of water reflect the ceilings above, Snakeā€™s breath is visible due to the cold climate, and footprints get left in the snow when someone walks over them. MGS was definitely trying to push the limits in terms of how realistic PlayStation graphics could be, and for what they had to work with, Konami did an alright job.

I also want to note that Metal Gear Solid has a really underrated soundtrack. From the mysterious themes that play during normal sneaking, to the fast-paced music when under alert, every track in MGS is catchy and well suited for the situation. It has a cool ā€œtechno-orchestralā€ sound that fits in well with the gameā€™s espionage theme. <br><br>**The Bad**<br>For a game that is so heavily praised for pushing stealth games to the forefront of mainstream popularity, thereā€™s surprisingly little stealth involved. Much of the actual sneaking takes place during the first third of the game, but from the Psycho Mantis boss fight onwards the game basically becomes a progression of boss fights and action setpieces. There are several times youā€™ll backtrack through areas that have practically no guards or even hazards to speak of. Even the stealth itself is highly simplistic and rarely stretches beyond the capabilities of an 8-bit game. The Soliton radar is an almost invaluable tool for your first run through the game, but it also reveals MGSā€™ limitations: Guards have a very small field of view and a very poor memory. Killing or choking them causes their bodies to simply disappear and have a new guard spawn elsewhere in the room to replace him. It all feels very ā€œgameyā€, which does slightly break the gameā€™s sense of immersion.

There are a number of clunky mechanics which make the game slightly awkward to play. Using the sniper rifle, for instance, is really awkward since there is no way to control the zoom on the scope, nor is there a way to effectively take cover. There are also parts where it almost seems like the developers expect you to take damage. A particularly painful example is a scene near the end of the game where you are shooting enemies from a turret on the back of a Jeep. Since there is no way to dodge the bullets, and the turret rotates incredibly slowly, you just have to take damage like a man and pray that you are lucky enough to hit all of the targets you need to. While the gameā€™s variety is certainly commendable, it sometimes results in less-than-stellar moments such as this, though youā€™re never doing one thing for too long, which is always a plus.

Metal Gear Solid made its plot a huge part of the experience, sometimes to its detriment as a game. Metal Gear is well known for being a series where the characters simply wonā€™t shut up. Every time you meet a new character, they strike up conversations that can seriously reach into the 10s of minutes. You canā€™t take more than a few steps without someone contacting Snake on his codec, though you have the option of not taking the call in most cases. As it is mostly very entertaining, I didnā€™t mind listening in, but I did leave the game feeling like I wanted a little more when it came to the gameplay.

The Bottom Line
Metal Gear Solid is one of the earliest examples of the ā€œcinematicā€ action game that many AAA developers attempt to create. Itā€™s easy to see the influence MGS had on later games such as Deus Ex, Uncharted, and Batman: Arkham Asylum. So many games these days are attempting to blur the lines between game and film that itā€™s easy to forget that there was a time when developers were not doing this. MGS was a pioneering hybrid of games and film, and pushed the industry in a more ā€œHollywood-izedā€ direction, for better or worse. As influential as it is, parts of it do bring a rough ride for players who are more used to modern gaming conventions. Despite itā€™s somewhat dated gameplay, what is there is still pretty enjoyable, with a really entertaining plot that keeps the player hooked throughout. MGS is still a worthy title for anybody who is interested in seeing the beginnings of modern gaming as we know it today.

PlayStation 3 · by krisko6 (814) · 2015

The Running Gun Blues

The Good
There were only two Metal Gear games that I played prior to my most recent playthrough of the series, and the Gamecube remake of Metal Gear Solid was one of them. Back then, I really didnā€™t enjoy the game, and my most vivid memory of it was being thankful it was over. Now that Iā€™ve played the original Metal Gear titles on the MSX2, Iā€™ve gained a new appreciation for the series and felt that I was well prepared to give the first in the Solid series another chance, this time on the original Playstation. I went into it expecting to enjoy it with a newly gained perspective of the series. Unfortunately, I just feel that same way I did after completing it the first time.

Metal Gear Solid starts out the same way as the previous two games: Snake arrives at a compound filled with enemy combatants and must infiltrate it with nothing but his wits and a pack of cigarettes. Where Solid diverges from the original series is in both its new 3D polygons and a much greater focus on storytelling. Before you even start, youā€™re given the option to view a rather lengthy set of briefing videos that outline the mission Snakeā€™s about to embark on in great detail. Itā€™s optional, since much of the information provided is also given in dialogue, but it underlines the great effort taken to create a deep story experience.

This time around, Snake is tasked with rescuing two hostages and preventing terrorists from launching a nuclear device. The terrorists are composed of soldiers from Snakeā€™s old unit, FOXHOUND, and they make up the gameā€™s diverse rogues gallery. While Metal Gear 2 had some interesting bosses, Solid takes it a step further by giving them unique personalities and building them up before finally placing you at odds with them. This leads to some extremely memorable encounters, and is perhaps Metal Gear Solidā€™s most outstanding feature. However, the attempt to make them well-rounded characters unfortunately leads to them launching into absolutely ludicrous monologues both before and after their battles.

While Metal Gear Solid does have a case of the early 3D uglies, the presentation holds up remarkable well due to a great artstyle and sound design. Itā€™s hard to believe that the voice acting came from the late 90ā€™s, since most of the performances are extremely well done; passable even by todayā€™s standards. Characters and environments are blocky and pixelated, but excellent texture work, the use of atmospheric lighting, and adherence to the seriesā€™ typical blue-grey colour palette make them visually appealing, despite their obvious age.

Despite the many changes that Solid brings to the series, there are still portions reminiscent to earlier games. The item collecting is still present and still satisfying, though itā€™s somewhat diluted by the gameā€™s more linear progression and some superfluous items. Certain portions feel directly ripped from Metal Gear 2, such as a puzzle that requires you to heat and cool a key card to get it to fit in different locks and a certain encounter where Snake must confirm the identity of a character by following her into the womenā€™s bathroom. Unfortunately, many of these additions feel useless within the gameā€™s new structure. The aforementioned key puzzle in particular already required a great deal of backtracking, and Solidā€™s linearity and insistence on constantly popping up new storytelling sequences makes the sequence even less tolerable.

The Bad
Iā€™d be hesitant to call Metal Gear Solidā€™s narrative bad, since it does feature a decent amount of depth, memorable and well-rounded characters, and an interesting progression. However, itā€™s hard to actually appreciate it when itā€™s mired in so many problems that it would likely take a lengthy essay to properly cover. The root of the problem isnā€™t in the story, which is largely a repeat of the previous games, but rather in the storytelling. Gameplay is frequently interrupted by cutscenes or codec communication sequence, and these interruptions tend to be long and drawn out.

This is the price of those diverse and memorable characters; long and overdramatic dialogue. Every character in the game is so quick to spill their life story that it quickly gets ridiculous. Youā€™d think you were in a chat room full of teenagers, rather than on a covert infiltration mission. Almost every boss gives a long monologue as they die the clichĆ©d slow death, telling you all about how tragic their life was and how great you are for finally giving them peace. Any character who talks to you over codec feels the need for venting their every insecurity. This does have the benefit of creating sympathetic villains and conveying motivation, but there are better ways of handling character development. This is the storytelling equivalent of publishing someoneā€™s diary.

If youā€™re not listening to a character prattle on about how they were born on the battlefield, then theyā€™re probably over-explaining the gameā€™s technology and political climate. I canā€™t say Iā€™ve ever wondered how a key card works in the game, yet Metal Gear Solid takes the steps of carefully explaining how that door slides open when you get near it. This is the sort of thing that goes better in flavour text. If I cared, Iā€™d ask. I imagine the goal of all this superfluous information is to make the game world feel more real, but over-developed trivialities sit beside ridiculous ideas like the ability to manufacture the perfect soldier by splicing specific genes. The mere fact that so much effort went into making certain elements of the narrative airtight and realistic just makes the many preposterous elements harder to swallow.

I hate to spend so much time harping on the gameā€™s writing, but when the game is so ridden with cutscenes and dialogue itā€™s hard to ignore. By my estimate, somewhere around one-third of the entire gameā€™s running time is taken up by cutscenes, and this is taking my numerous deaths into consideration. It seems that for every two rooms traversed, a cutscene is there to interrupt, and the constant starting and stopping becomes extraordinarily aggravating until it all culminates in the most excruciatingly eye-roll inducing ending I think Iā€™ve ever sat through. If the narrative just played nice with the gameplay instead of constantly getting in the way, I would have been much kinder to it.

It doesnā€™t even feel like the designers knew what to do with the gameplay. As mentioned, many of the gameplay elements from the early Metal Gear games have been replicated in the new 3D engine, but the structure had to be completely gutted in order to accommodate the cutscenes. Exploration has been scaled back considerably to the point where the game feels restrictively linear. Yet, despite dropping exploration entirely, the designers make a half-hearted attempt to cram it back in there. Rooms are still locked until you get a key, so backtracking is still necessary, but few of the rooms contain something that makes the trip worthwhile. Worse yet, some of the forced backtracking is unreasonably forced. The worst case of this is a boss battle that has to be interrupted while you travel back to one of the gameā€™s first rooms in order to retrieve a weapon. You then walk back to the boss, defeat them (potentially), and get sent all the way back there in a cutscene, only to have to walk back again. Itā€™s ridiculous!

What makes this even more intolerable is the horrendous camera angles which seems to be stuck between poorly emulating the perspective in Metal Gear 2 and trying to present something more cinematic. The result is a view that is zoomed in way too close and angled way too high, making the whole game feel frustratingly claustrophobic. This forces reliance on the radar, which works okay, for the most part, allowing you to accurately see an enemyā€™s field of view, but the problem is that it gets frequently jammed. So if youā€™re unfamiliar with the position of enemies and auto-turrets, you could easily wind up walking into the line of sight of one that is carelessly positioned right outside the cameraā€™s perspective.

The Bottom Line
Youā€™ll have to forgive me if, after the excellent Metal Gear 2: Solid Snake, Iā€™m extremely disappointed with Metal Gear Solid. Even if Solidā€™s storytelling and dialogue were spot on, the gameplay from the previous games had to be so scaled back that very little remains of what makes the first games so satisfying. What was held onto feels more like ornamental additions held onto for traditionā€™s sake, such as pointless backtracking sessions and items that are basically unnecessary. Itā€™s not all bad, though. While I found it to be frustrating to play, its outstanding presentation ensures that there are a lot of memorable moments and characters to meet. I just wish it wasnā€™t all bogged down in a completely MEDIOCRE experience.

PlayStation · by Adzuken (836) · 2015

Megalomaniac arcade game with verbal diarrhea

The Good
Metal Gear Solid is a belated installment in an old series originating with an interesting game that attempted to focus on stealth a bit more rigorously than the sub-genre's granddad Castle Wolfenstein (with mixed results). Often hailed for what it decidedly never was (a serious game with a rich story), Metal Gear Solid drew the ire of some hardcore players, who dismissed it as a typical representation of console gaming with its cheap effects and shallow content.

The above evaluation is, in fact, quite accurate: the game is, in essence, a glossy 3D recreation of a decade-old title, translating its once-intriguing gameplay ideas into the new technology with the addition of unbearable, monstrously overbloated soap opera interpolations.

That is not to say there is no fun to be had here. The gameplay is unabashedly gimmicky, yet some of the setpieces are entertaining. The boss battles, for example, are all completely different, and the action can get quite tense sometimes. At one point you'll have to deactivate lasers (there are three different solutions to this problem); in another place you'll guide a remote-controlled missile through narrow corridors to blast security system; yet another part requires you to blow up walls to find a secret opening. Even though most of the locations look pretty similar to each other, there is enough variety to ensure a smooth ride.

The Bad
You don't need to be a sharp-witted intellectual in order to realize how bad the story is. As always in those cases, it's not really the story itself, but the way it is told and presented. With infantile pretentiousness the game tries to turn its corny B-movie-like plot into some sort of a grand philosophical-political commentary, failing miserably. Cheesy, inappropriate, overwritten dialogue and lame attempts at humor utterly ruin supposedly dramatic moments. At the same time, the story takes itself way too seriously, trying to inject genuine emotions into interactions between anime freaks with zero credibility.

The lack of any stylistic coherence has something to do with Hideo Kojima's general approach to narrative, which he often simply abuses for throwing in bit after bit of boring and clueless moralizing or "educational" material. Ridiculously long-winded expositions and tacky, bombastic scenes loaded with fake sentimentality abound. This is truly Japanese storytelling at its worst.

Much of the dialogue is embarrassingly bad. Often characters would stop talking with each other and instead start addressing the player. Typically for Japanese games, the characters have the stupid and annoying habit of repeating the last word or phrase they have just heard. You've undoubtedly heard and seen it in many other games, but Metal Gear Solid almost breaks a record here. Also quite typically, the dialogue is crammed with overused "scientific" mumbo-jumbo.

But who cares for the story - it's the gameplay that matters, right? Indeed, if the weak story just took a backseat, restricting itself to a few remarks here and there and perhaps a couple of skippable cutscenes, there would be no problem. Instead, the story, suffering from delusions of grandeur, interferes constantly with the already clunky, segmented gameplay portions. After every few rooms, the narrative jerks you out of the gameplay and forces you to sit through inane cutscenes or radio conversations. This would have been a serious flaw even if those were actually good. Coupled with the actual quality of those scenes, the constant jarring interruptions are positively infuriating.

What remains are short, linear, and rather disjointed portions of old arcade-style gameplay that fails to exhibit a coherent concept, yet alone realism. The whole "tactical espionage action" label leads you to believe that we are dealing with dedicated stealth gameplay, while in reality it's just a modification of an utterly unrealistic style of its simplistic top-down arcade-like progenitor. Furthermore, the all too faithful transition to 3D revealed many more weaknesses and inconsistencies we readily overlooked in the old 8-bit days but cannot quite ignore in a supposedly much more advanced title. The top-down view, totally unsuitable for the much closer perspective, turns much of the game into blind radar-reliant crawling, occasionally exploiting the dubious AI and the many limitations of the engine. Comparing this game to Thief can only confirm the gap between serious entertainment and a collection of reflex-based minigames interspersed with trashy narrative.

The Bottom Line
Ultimately, Metal Gear Solid collapses under the aspirations of its author, who preferred to choke gimmicky, outdated, but at least somewhat nostalgically sympathetic gameplay with a blatantly intrusive, overblown mess of a story. Throw a quick glance at the impressive visuals and go play Thief if stealth is indeed your game.

PlayStation · by Unicorn Lynx (181780) · 2016

[ View all 11 player reviews ]

Discussion

Subject By Date
Zovni's (really old) review for this is great! Simoneer (29) Oct 5, 2010

Trivia

Action figures

For the US release of Metal Gear Solid, McFarlane Toys was entrusted with the sculpting of an action figure line based on the game by Konami. Consisting of one series, the lineup includes: Solid Snake, Meryl Silverburgh, Ninja, Revolver Ocelot, Psycho Mantis, Sniper Wolf, Vulcan Raven, Liquid Snake and a limited edition Psycho Mantis repaint. This series has been re-released several times (later in double-packs).

Copy protection

It is rather important to keep the box for the PlayStation version of the game, since it features a frequency for the CODEC communicator thay you will need to progress through the game in one of the screenshots.

Emulation

One of three games to be emulated on the short-lived bleemcast! PlayStation emulator for Dreamcast.

References

Members of the development team hid images of themselves throughout the game. These images or 'ghosts' as they are referred to are only visible by taking photographs of certain areas in the game with the camera item.

References to the game

This game is referenced in the Eiffel 65 song, My Console.

Rumors

There were untrue rumors about Greg Eagles, the actor who voiced Grey Fox, being dead. In fact, he was mistaken for Kaneto Shiozawa, the actor who voiced the same character in the Japanese version of the game, dead in 2000.

Voice acting

Due to union regulations, the voice cast (with the exceptions of David Hayter and Doug Stone) used pseudonyms during the recording sessions, and were credited that way. Here's a list with the voice actors names and their respective pseudonyms: Cam Clarke (James Flinders), Debi Mae West (Mae Zadler), Jennifer Hale (Carren Learning), Christopher Randolph (Christopher Fritz), Paul Eiding (Paul Otis), Kim Mai Guest (Kim Nguyen), Greg Eagles (Greg Byrd), RenƩe Raudman (Renee Collette), Patric Zimmerman (Patric Laine), Peter Lurie (Chuck Farley), Tasia Valenza (Julie Monroe), Allan Lurie (Bert Stewart) and William Bassett (Frederick Bloggs).

Awards

  • Electronic Gaming Monthly
    • February 2006 (Issue #200) - #12 out of 200 of the "Greatest Games of Their Time" list
  • Game Informer
    • August 2001 (Issue #100) - #17 in the "Top 100 Games of All Time" poll
    • October 2004 (Issue #200) - #12 on the "Greatest Games of Their Time" list
  • GameSpy
    • 2001 ā€“ #32 Top Game of All Time
  • Retro Gamer
    • September 2004 (Issue #8) ā€“ #70 Best Game Of All Time (Readers' Vote)

Information also contributed by Ace of Sevens, Big John WV, chirinea, Evil-Jim, Grant McLellan, Indra was here, J. Michael Botorff, PCGamer77 and Zovni

Analytics

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Related Games

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Metal Gear Solid: VR Missions
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LittleBigPlanet: Metal Gear Solid Solid Snake Costume
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Related Sites +

  • Hints for Metal Gear Solid
    The solutions are revealed one tip at a time to give you just the help you need. If you're stuck, these hints will help you.
  • JUNKER HQ
    This fansite is dedicated to the games produced and/or designed by Hideo Kojima and contains all kinds of trivia, artwork, plot summaries, discussion forums and more.
  • Metal Gear Solid PC
    Official Site
  • Metal Gear Solid: The Unofficial Site
    A fansite that contains information about the whole Metal Gear franchise, including galleries, interviews, downloadable content and discussion boards.
  • Wikipedia: Metal Gear Solid
    Information about Metal Gear Solid at Wikipedia

Identifiers +

  • MobyGames ID: 2511
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Contributors to this Entry

Game added by Kartanym.

PS Vita added by GTramp. PlayStation 3, PSP added by Foxhack. PlayStation added by Grant McLellan.

Additional contributors: woods01, Unicorn Lynx, Jeanne, tlm, tarmo888, DreinIX, ā€”-, Paulus18950, Caelestis, Patrick Bregger, yenruoj_tsegnol_eht (!!ihsoy).

Game added October 19, 2000. Last modified March 8, 2024.