For the virus, see Syphon Filter Virus.
For the theme song, see Syphon Filter Main Theme.
Syphon Filter is a third-person stealth-action shooter for the PlayStation released in 1999. It is the first game in the Syphon Filter franchise.
Gabriel Logan and his partner Lian Xing investigate a series of biological outbreaks triggered by international terrorist Erich Rhoemer. When fellow agent Ellis loses contact during a mission in Costa Rica, the top-secret Agency dispatches Gabe and Lian to find him. They discover Ellis is dead, and Rhoemer's suspected drug operation is a cover for the viral operation. Another outbreak in Nepal leads to more questions when an infected person who should have died remained alive.
Before the Agency can pursue Rhoemer, he attacks Washington, D.C. with viral bombs. Gabe battles several terrorists, including Mara Aramov, as he follows the trail of bombs across city streets, subways, Washington Park and finally Freedom Memorial where he must incinerate enemy munitions expert Anton Girdeux to stop the final threat.
Gabe's investigation takes him to a new lead from PharCom, a multinational pharmaceutical and biotechnology corporation headed by Jonathan Phagan. The Costa Rican plantation was growing PharCom compounds, meaning Phagan and Rhoemer were working together. At the PharCom Exposition Center, Gabe shadows Phagan to a meeting with Aramov and Edward Benton, an apparent Agency mole who assisted Rhoemer during the Washington, D.C. attack.
After Gabe eliminates Benton, he saves Phagan from assassination only to have him escape. Mara Aramov, now in custody, had attempted to locate PharCom's virus labs. Gabe must set aside the hunt for Phagan to destroy Rhoemer's base in Kazakhstan. During his assignment, Rhoemer seemingly kills Lian, but Agency Director Thomas Markinson rescues Gabe.
Markinson gives Gabe a report on the virus called Syphon Filter, a bioweapon that one can program on a genetic level to target specific groups of people. Gabe and Markinson infiltrate Rhoemer's stronghold in Ukraine to inject test subjects with a vaccine and locate Phagan, who is now Rhoemer's prisoner. In the catacombs, Phagan tells Gabe that Lian is alive, and they reunite. Lian has become infected with Syphon Filter, and she says there is no universal cure.
Aramov arrives to shoot Phagan, but she convinces Gabe and Lian that she came to help. The three travel to PharCom's warehouses in hopes of preventing Rhoemer from launching a missile. Lian reveals that the serum Gabe injected into the test subjects was really a lethal chemical, and Markinson was having them killed. Using the fighting between Rhoemer's terrorists and Phagan's guards to cover his insertion, Gabe descends into a silo and searches for the missile's detonation codes.
He finds Markinson and gets him to confess that the Agency has been involved in the plot all along. Rhoemer worked for Markinson, since the latter wanted the virus in the Agency's possession. He never authorized the missile attack, but before he can stop it, Rhoemer kills Markinson with a headshot. Gabe must reach the missile's control center in time and destroy it. Enraged, Rhoemer engages Gabe in a final fight, but is killed with a gas grenade.
Their mission completed, Gabe and Lian call in the U.S. Army Chemical and Biological Defense Command (CBDC) to secure the area. They do not know how far Markinson was cooperating with Rhoemer and Phagan, but Gabe believes they may never know. In a post-credits scene, Aramov approaches a mysterious man inside the Agency headquarters and whispers something in his ear. He congratulates her while the camera pulls back to show PharCom boxes in the office.
|Gabriel Logan is the main protagonist of the game.|
|Lian Xing is the second protagonist of the game.|
- Georgia Street
- Destroyed Subway
- Main Subway Line
- Washington Park
- Freedom Memorial
- Expo Center Reception
- Expo Center Dinorama
- Rhoemer's Base
- Base Bunker
- Base Tower
- Base Escape
- Rhoemer's Stronghold
- Stronghold Lower Level
- Stronghold Catacombs
- Pharcom Warehouses
- Pharcom Elite Guards
- Warehouse 76
- Silo Access Tunnels
- Tunnel Blackout
- Missile Silo
Some changes are seen in the demo, such as a different outfit and weapon for Pavel Kravitch.
The PlayStation version was released in 1999.
In March 25, 2011, an Android port was released. However, this android version is only compatible with PlayStation® Certified devices (currently the Xperia Play)
Interview: Behind the Classics
PlayStation.Blog: What was the original base concept for the game? Was it in any way a response to Metal Gear Solid, or did the idea develop in a relative vacuum?
John Garvin, Creative Director at Bend Studio: Metal Gear Solid actually had nothing to do with the genesis of Syphon Filter. We had been in development for quite a while before we had even heard of it. The idea originally came from a producer at Sony’s (then) 989 Studios who had written a one page synopsis that he called “Syphon Filter” which had zero meaning, i.e. there was no plot, no character, and no story, just an idea for settings, mechanics and gameplay. From the beginning it was to be a “stealth action” game (in the days before there was such a genre) that focused heavily on weapons, gadgets and stealth. Our goal was to make the player feel like a super spy. Our lead designer back then was pretty heavily influenced by Nintendo’s GoldenEye, which was probably the closest you could come to finding a game like Syphon in those days.
PSB: Did you know you were working on something special? What were your creative conditions as you worked on it – uncertainty, confidence, terror?
JG: Mostly terror. It was a hard project in terms of development, for a lot of reasons. There were no, or few, games that we could draw on for inspiration. Most of the team had zero experience making this kind of game: The guys at Eidetic had just made Bubsy 3D, so they had some experience with doing a third-person action game, but Bubsy was a cartoon platformer so it wasn’t much help; I was brought on after the first Syphon Filter prototype was underway (a simple shooting segment in a subway), but my experience to that point was directing strategy games like MissionForce: Cyberstorm and art directing games like Sega CD’s Bouncers. None of us knew anything about making realistic shooters set in a spy world.
The first Syphon Filter went through a few rough patches and came close to being canceled several times as we missed deadlines, revamped mechanics, swapped levels around, changed the story, and generally tried to figure out what the heck we were doing. Our producer at 989, Connie Booth, and her boss Kelly Flock, were great though showing great faith in this new “spy genre” game. Our team ended up working in crunch mode for about a year as we tried to get the game up to everyone’s standards.
We didn’t know we had something special until after we shipped and sales took off like crazy, surpassing everyone’s expectations. I think we sold over a million units that first year. It was amazing. Players seemed to really appreciate doing something new — sneaking around, fighting terrorists while dodging subway cars, shooting a taser halfway down a city block and making a terrorist burst into flame. Things players had never before experienced. This kind of thing may be common now, but back then it was still all pretty new.
PSB: Did you draw inspiration from anywhere in particular for the game’s look and feel?
JG: Mostly my own experience. A lot of games these days are going for a dark, gritty, monochromatic look, but the games I remember playing in the late 1990s were all pretty colorful and weren’t all that realistic. Look at screens from Unreal, Turok 2, or Rainbow Six, which were realistic but had a palette that seemed all over the place. I remember being really inspired by Saving Private Ryan – which came out in 1998 I think – and Half Life.
PSB: It was an ambitious title for its time. What were the biggest challenges in realizing your original vision?
JG: It wasn’t really about realizing our original vision, because we were making it up as we went. We knew we wanted a third-person action game, and we knew we wanted to deliver on the fantasy of being a super spy. For us that meant even if something was “janky,” we’d do it if it could help sell the fantasy. For example, our rendered movies were pretty low budget. We didn’t even have articulated fingers. All our characters had “box” hands, but that didn’t stop us from having rendered movies because we had a story we wanted to tell. Our motto was that “bad movies are better than no movies.” Same thing went for game play sequences. We had a set-up where Gabe, the super spy star of the game, had to wear a tuxedo and infiltrate a black-tie event to spy on someone. Today that whole sequence would be very expensive, requiring sets, extras, costumes, and lots of mocap and animation; back then we just palette swapped some of our NPCs and did some very low budget animation of them standing around drinking cocktails. Once the game started, the player could hear a looping sound of the party, but couldn’t actually go back to the room where the party was being held. This kind of thing probably wouldn’t fly today, but we did all sorts of shortcuts back then to increase the scope of the experience without worrying about how polished it was. It was all about the game.
PSB: How close to your original concept was the finished game?
JG: Syphon Filter just wasn’t developed that way. The original concept of the player becoming a super spy was adhered to pretty closely, but everything else was worked out as we developed. A crazy way to make a game, but a process we made work because our team was only about 13 people. Here’s some examples: the story for Syphon Filter when I was brought on board was all about a group of scientists who had been kidnapped and taken to a huge underground complex where they were being forced to build a time machine by an evil scientist / government. I was hired to be the art director, but I began to offer ways to improve the story to make it more current, more relevant (I had been the art director, writer and designer on my projects at Dynamix, my previous game company). The studio directors liked my ideas and midway through development I rewrote the entire thing, coming up with the idea that the phrase “Syphon Filter” actually was a code word for a deadly “programmable” virus. None of that stuff was new, science fiction and film had explored ideas like these for years, but it was new to games.
We were shuffling levels around as late as weeks before we shipped in order to help pacing and flow issues. We changed locations and concepts mid-stream: the Girdeux boss fight was originally going to happen in a parking lot near the par, but I remember thinking at the time how hard it was going to be to build all those cars, and the challenge of “fencing” the player’s movement in an open space like a parking lot…and, could our engine even pull it off? So I went home over the weekend and built the “memorial” room, including downloading and chopping up that huge mural that ringed the wall of the space. It was a pretty big hit and was something we could pull off.
It really wasn’t until the sequel that we had a vision for the game. The entire team was given a week off and the game’s co-creator, Richard Ham, and I were sent off to write up a script for Syphon Filter 2. I think I spent a weekend and wrote the entire screenplay. Rich and I got together and he helped revise the second half of the game, introducing all the Moscow stuff, making the end of the story more espionage-like and exciting. When the team came back, we spent the next year building exactly what we had written. That was the first time that we had a vision up front, which we followed until the end.
PSB: Which element of the game are you most proud of?
JG: I’m personally most proud of the story elements. In those days you didn’t see video games dealing with a lot of current topics (bio weapons, terrorism, secret government agencies working outside the law). Remember this was all pre-9/11. And we were doing some things with characters that you didn’t see often in video games: Teresa Lipan, the brains of the agency, was an American Indian female… Lawrence Mujari, the biologist, was an African-American male, Lian Xing, a Chinese female, and so on. We were making a real effort to make the characters as diverse and un-stereotypical as possible. We were also attempting to inject a higher level of realism into the game than we’d seen before.
Often in game development (even today), you’ll hear “Who cares? It’s just a game!” That kind of thinking really bugged me. I wanted characters to have real motivations, level objectives to make sense and fit into a story arc, locations to feel real and have accurate details. And we did some crazy things story-wise that we might not be able to get away with now. For example (spoiler!), at one point in the game Gabe is rescuing and inoculating test subjects, only Gabe finds out later that he was actually killing them because the vaccine was really a poison. And scientists would run up to Gabe and surrender, and we sort of forced him to shoot unarmed men in the head (well, they were evil scientists after all). Having terrorists blow up a subway in Washington DC — think we could get away with that now? Again, this might all seem pretty tame by today’s standards, but in 1999 it was pretty startling to be doing this kind of stuff in a console game. Oh, and the taser. We all really loved the taser.
PSB: How would you like Syphon Filter to be remembered? What did it bring to the video game medium?
JG: For what it was: the first of its kind, a mix of stealth and action, using real-world, current story elements and settings, realistic weapons and gadgets, with edgy story elements. As anyone in game development knows it’s really hard to be original, to come up with new ideas, new mechanics and new ways of playing. Syphon did all that and spawned a genre; so many games came out after us and were variations on the theme. In many ways, we were there first.
PSB: Which of the Syphon Filter characters is closest to your heart?
Provided is a comphrensive list of all the voice talents used in this game.
- John Chacon: Gabriel Logan
- Ava Fang: Lian Xing
- Eric R. Hilding: Thomas Markinson
- Anna Murivitskaya: Mara Aramov
- Art Freedman: Jonathan Phagan
- Doug Boyd: Erich Rhoemer
- Frederick L. Gillette: Edward Benton
- Jason Cusson: Anton Girdeux
- Additional Voices: Bob Sáenz, Rahman Shamilov, Joel F. Martinez, Gary Barth, Buzz Burrowes
- Electronic Gaming Monthly: 7.62 out of 10
- Famitsu: 31 out of 40
- GameSpot: 9.0
- IGN: 9.5
- Official U.S. PlayStation Magazine: 4 out of 5
- The FMV cutscenes prior to a mission start feature the music for the following mission. Such as examples include:
- While Benton is explaining the mission to Gabe and Lian before Georgia Street
- As Gabe is running through DC before Washington Park.
- During the meeting between Markinson, Lian and Gabe prior to Expo Center Reception
- While Markinson is debriefing Gabe leading into Rhoemer's Base
- While Markinson is showing Gabe information on Syphon Filter, before the mission Rhoemer's Stronghold.
- As Gabe and Lian are being debriefed by Mara before Pharcom Warehouses.
- The font used for the logo and the back cover description is a slightly modified version of industria font.
- This is the only game:
- with a training video.
- without Teresa.
- Mara Aramov is Russian, but her last name should actually be "Aramova," because Russian surnames have both masculine and feminine forms.
- The K3G4's description repeats the media myth of the "teflon-coated bullet:" while heavy AP rounds do have Teflon coatings to reduce barrel wear, the coating is mostly removed through contact with the weapon's rifling and has no effect whatsoever on its stopping power. Furthermore, despite its armour-piercing performance in-game, it does not stop users from recovering completely intact armour pickups.
- The 12 gauge shotgun can, somehow, bizarrely be operated while hanging, in a one handed fashion. Despite this, Gabe is somehow able to magically fire the gun as per normal, bypassing the need to pump the weapon following each shot discharge.
- The sniper rifle features a fairly unrealistic sophisticated scope that highlights everything from distance to target appendage, something a small scope mounted on the weapon is unlikely to truly possess. Its world model also has no stock.
- The NV sniper is claimed to have a "SVDN2" night vision scope. There is, in truth, no such thing: this name is in actual fact applied to rifles which are modified to use the NSPUM (1PN58) night vision scope. The model is shown with a standard PSO-1 scope, and also lacks the suppressor it is claimed to have in the description.
- The game appears incredibly confused about what the fragmentation grenade is: ammonium perchlorate is an oxidiser normally used in rocket fuel, and the only type of grenades that use it are flashbangs, where it is used to generate a rapid reaction from aluminium or magnesium. The use of this particular chemical is perhaps a result of an individual (or possibly, individuals) on the dev team recalling the PEPCON disaster of 1988.
- The G18's game description bizarrely declares that firing at 1,200 RPM somehow translates to "the most lethal machine pistol" ever made. Because, in the series, this category includes full-size SMGs, this is severely erroneous: the first magazine-fed Thompson Submachine Gun prototype, "Annihilator I," fired more powerful .45 ACP rounds at 1,500 RPM, and this is not even entering the debate of whether or not lethality is best determined by firing rate alone.
- The weapon referred to as the "M79" is in actual fact a Tru Flite 37mm Super Long Range Gas Gun incorrectly shown as able to launch high-explosive grenades.
- Mara somehow survives being shot in the head.
- The instruction manual firmly establishes Erich Rhoemer was a German, but in Omega Strain's Zeus Files, they insist he was from Chechnya.
- Jonathan Phagan is shot in the head, apparently fatally, when escaping from Rhoemer's catacombs, with the game heavily implying if not outright confirming he was killed. It is revealed in the second game that he was merely rendered unconscious and in a coma due to being brain-dead, and his clinical death truly occurs during the escape from MacKenzie Air Force Base.
- During "Base Escape", if Gabe shoots one of the fuel tanks, Lian will call him, saying "Gabe, check your fire", and warn him about potentially setting one of the tanks off, even though Rhoemer caught (and seemingly killed) her in the previous mission.
- Inventory images of the G-18 inexplicably show the weapon with its slide locked back, indicating that it is empty.
- Mara's hair is red in this game and blonde in the rest of the series.
- The first three games take place directly one after the other yet the manuals indicate that the characters somehow aged 2 or 3 years. SF2's beginning is literally the same ending scene of SF1 and SF2's events happen in less than a week. Similarly, in SF3 a certain amount of time has implied to have passed from SF2 (but only months not years).
- ↑ https://play.google.com/store/apps/details?id=com.sony.playstation.NCEA01910_0
- ↑ http://blog.us.playstation.com/2012/10/25/behind-the-classics-syphon-filter/
- ↑ http://www.imdb.com/title/tt0255628/ Voice Talents
- ↑ UK Playstation sales chart, September 1999, published in Official UK PlayStation Magazine issue 50
- ↑ http://psx.ign.com/articles/080/080401p1.html
- ↑ プレイステーション - サイフォン・フィルター. Weekly Famitsu. No.915 Pt.2. Pg.21. 30 June 2006.