7 Minutes in Heaven is clever. My mind was working overtime trying to put the pieces of this puzzle together. There are elements of romance, mystery and hints of sci-fi throughout this novel, but at the heart, it is a coming-of-age story that tests the boundaries of young love. Josh Smith, Hair Band Heaven 1990s glam rock outfit Pretty Boy Floyd return with Public Enemies, a fourteen-track effort complete with the huge choruses, glitzy guitar solos and powerful vocals fans have come to know and love. Revisiting the glory days of hair metal, this release provides one anthemic fist-pumper after another. FACE Family elements; Summary. Francis suddenly decides to make everyone play 7 minutes in heaven at a party. Romance, chaos, humor and awkward moments in a closet ensue. Part 1 of Gauken University; Language: English Words: 2,399 Chapters: 2/? Comments: 3 Kudos: 23 Hits: 523. The Seven Minutes written by Irving Wallace is a novel about a novel,”The Seven Minutes – J J Jadway”, one of the most banned and obscene book of all Times. As per prosecution, “The Seven Minute” is immoral, filthy and very dangerous to society while on other side as per defense, the book is master piece and literature art not made. Into The Night is a music studio album recording by SATELLITE (Neo-Prog/Progressive Rock) released in 2007 on cd, lp / vinyl and/or cassette. This page includes Into The Night's: cover picture, songs / tracks list, members/musicians and line-up, different releases details, free MP3 download (stream), buy online links: amazon, ratings and detailled reviews by our experts, collaborators.

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SATELLITE Into The Night ratings distribution

Essential: a masterpiece of progressive rock music(28%) Excellent addition to any prog rock music collection(41%) Good, but non-essential (22%) Collectors/fans only (8%) Poor. Only for completionists (2%)

SATELLITE Into The Night reviews

Collaborators/Experts Reviews

'Into the night' is the final part of a trilogy by Poland's own Satellite, the previous parts being 'A Street Between Sunrise And Sunset' (2003, the band's first album) and 'Evening Games' (2005). Originally intended as a solo project by Collage's Wojtek Szadkowski, the band have rapidly evolved into one of the finest protagonists of neo-prog currently recording. Jarek Michalski takes over on bass, but the line up is otherwise unchanged. Jarek's bass playing is notable throughout the album, adding an underlying depth to the sound.

The music here will appeal not just to those who enjoy the melodic power of bands such as Arena and Porcupine Tree, but also to those who favour the classic prog bands such as Yes and Pink Floyd.

The Opening title track is a quite delightful piece with symphonic keyboards and some superlative guitar work. It stands proudly alongside the very best in neo-prog songs. 'Dreams' is an epic 13½ minute suite in three parts. Here we find the dynamics of modern day Porcupine Tree merging seamlessly with the epic majesty of Arena. The third part of the track features the guitar playing of Sarhan Kubeisi backed by slower symphonic keyboards, the piece building towards a superb crescendo.

'Downtown skyline' has softer and sparser verses counterpointing with loud guitar bursts, Szadkowski adding some interesting percussion effects. I am reticent to mention Porcupine Tree again since this album is very much of its own character, but those who enjoy albums such as 'Stupid dream' will find much to admire here. The track segues into the brief spacey instrumental 'Lights', which provides a welcome breather from the almost overwhelming power which drives the album. This in turn becomes 'Don't walk away in silence'. The track is introduced by some fine John Mitchell (Arena) like guitar leading to what is probably the most accessible song on the album. Deceptively, this appears at first to be a melodic power ballad would have sounded superb on Arena's 'The visitor' album, such is its beauty. Soon though, the pace is lifted and we find another magnificent guitar solo with symphonic synth strings.

'Heaven can wait' is a nine minute epic which is unrelated to any other songs of the same title. This is a heavier number with screaming guitar and driving bass. Even the quieter sections are menacing, with a haunting undercurrent. Krzysiek Palczewski's keyboard work is dominant here, his wave upon wave of synth creating a great atmosphere.

The closing 'Forgiven and forgotten' gently returns us to earth with a fine vocal performance by Robert Amirian. The keyboards on this track have a distinctly mellotron like sound the song building through some symphonic effects to a grand conclusion.

It is difficult to review this album without constantly drifting into fawning praise and endless superlatives. This is through without doubt the album of 2007. I can only hope that 'Into the night' receives the recognition it deserves.

Great sleeve illustration too!

This review is based on a promotional copy of the album kindly supplied by Metal Mind Productions.

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Posted Monday, November 12, 2007 Review this album Report (Review #150314)

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Posted Sunday, December 23, 2007 Review this album Report (Review #156391)

The best material is found in the first few songs, the beautiful title track and Downtown Skyline with its Collage-like synths especially. Don't Walk Away in Silence is another fine number which reigns in excesses by and large. The three part Dreams does have many good moments much in the manner of Evening Overture from the prior album, but it is overly long and repeats themes a bit too often. It does not measure up to the other Satellite epics. While up till now most fans would concede that Satellite is the superior offshoot of Collage when compared with Mirek Gil's solo work and his latest project 'Believe', the opening riff of 'Heaven Can Wait' is a blatant ripoff of Mirek Gil's guitar style and virtually note for note of the start to 'Liar' off the Believe album. But Sarhan doesn't have the warmth of Mr Gil, which didn't matter a whole lot before because he was kept in check a lot better. Now he seems to have a bit too much free rein and it isn't pretty. 'Lights' has an infectious beat but again takes a turn for the worse as it goes along. Both bonus tracks are decent but pale in comparison to what we know Satellite can do, the choruses being unimaginative and lacking melodic flair. Moreover, the lyrics just don't resonate the way they did on the first 2 albums, especially 'Evening Games'. Szadowski seems to be out of inspiration in that department.

From my perspective as big fan of the first two installments and of Collage, Satellite has given up their niche in progressive rock, and to hear them trying to sound like Porcupine Tree or even Riverside is a bitter pill to swallow. But it's still Satellite, and for half an album amply shows the brilliance for which they are known. The rest of the time they launch an all out assault on the subtle while rotating in a geo stationary orbit.

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Posted Monday, January 7, 2008 Review this album Report (Review #157999)

So that's what I semi-officially call them. Don't even now who the old kings were. Probably Marillion or Arena or maybe Pendragon. Not that you have to count them out from now on but let's face it, right this moment Satellite is hot ! They prove it last few weeks by being the most visited band with their latest album. But of course they also prove it with the great music on their latest. The album starts with a thrilling opener, I wanted to say one of the best of this release but then I realized that in fact they all are. So that would be a bit silly to say it with every song. But it's true: all tracks are magnificent except of course the short and quiet interlude in the middle (Lights) but even that song has an important function. Let's not forget: this is an avalanche of fantastic music coming over you and then a track like that is a nice quiet moment in between to take a few breathes and go on with the rest.

Another interesting feature of this album is the small new effects and elements they are bringing in with this album and that were not present yet on the first two. Like the original percussion on the third song or the funny little sounds at the beginning of the fifth track that are amazingly being taken over by the guitar. Very nice ! All things considered I can think of only one downside and that's not even really fair: there (same as with Evening Games) is not a track on the album that can match with On the Run of their debut. Not fair because that song will probably never be surpassed in the future because of it's ultimate greatness.

In the edition I bought there were two bonus tracks that don't really diminish the rating of the album and that means a lot because I intend to give this 5 stars and those who follow my ratingways know that I don't do that lightly. If I compare this album with the two predecessors I think it's in between them. A street .. was an obvious masterpiece to me and Evening Games almost but just a notch less and I harshly gave that 4 stars. So if this is in between those two it can mean only the full score.

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Posted Wednesday, January 9, 2008 Review this album Report (Review #158144)

So, different means better? Tricky question I´ve been asking myself since I got the CD. Certainly this album turned out a bit uneven, but this is mostly because of just one track, the 13 minute Dreams. It seems that it was heavily influenced by leader Wojtek Szadkowski´s side project Peter Pan. Like that group the music is sometimes a bit too loud and chaotic for Satellite. Even some electronic processed vocals are included. It´s not a bad tune - it has some real fine moments - but it is too long and should not be listed as the second track of the album. That way it stands it almost ruins the album sequence. It could have been an excellent album finisher.

The rest of the CD is excellent. Even if every song has something new or unusual, the music flows brilliantly and it is Satellite after all. Highlights are the title track (a new classic, with its wonderful early Crimson-like mellotron ending), Don´t Walk Away In Silence and Heaven Can Wait. The two bonus tracks are slightly below par when compared to the others, but nice anyway. And it is always good to see some restless musicians who do not sit on their former glories. Without sacrificing their strong points they are escaping from what could have been a redundant album.

Conclusion: not as accessible as their two previous CDs, but still very strong and inspired. It might take some time to digest on its whole. It reminds me of Collage´s Safe in some aspects. But actually it is a little better than that album, since there is no real weak songs. Different songs, yes. Neo prog fans, rejoice! There´s something new on the market!

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Posted Thursday, January 17, 2008 Review this album Report (Review #158832)

Embarking on a trilogy is fraught with danger. (I know this from a writing point of view.) One's style might change, or one simply gets bored with the subject and wishes to move on. The former seems to have happened between 'A Street ...' and 'Into The Night', although I understand that the middle CD is heavier than either the first or third. This is a real pity, as these ears really valued the lyricism derived from the combination of synth and guitar present on the former album. Here beauty is replaced by a sloppy combination of crashing rhythms set much further forward in the mix, and guitars bordering on metal. The gorgeous hooks that made 'A Street' so memorable have gone.

Well, so it's not a copy of their first album. That's a good thing. What, then, is it?

Well, it draws together elements of metal and neo-prog, underlining them with a heightened urgency. The album borders on heavy prog. 'Dreams', the 13 minute epic, displays these wares rather effectively, though the frenetic rhythms in the second part of the song I find rather annoying. The climax of the third part, however, is very special. Unfortunately it doesn't quite gel as a song, and appears far too early in the album. Pruned a little, this would have made an excellent closing track.

The heavy wall-of-sound instrumentation spills over into the rest of the album, so much so that SATELLITE are compelled to add an 'in between' track, 'Lights', just to give the listener a rest from the noise. See, the problem here is that the high volume gives the band little scope for the dynamic range they're capable of, which robs their songs of much of the character they could have had.

There are touches of electronica ('Don't Go Away In Silence', for example, is rather AUTECHRE-ish in parts) that help give tracks personality, but in reality all is dominated by the crushing guitars and incessant rhythm. 'Heaven Can Wait' is helped by an excellent riff, and we get to actually hear the keyboards for a change. But it overstays its welcome by a considerable margin. And what's this closing track? Does anyone else feel as jarred as I do that this album of sharp edges is concluded by a track that is initially lounge-funk smooth? Nice solo though.

What a pity. The changes may have made the band louder, but they've also made the band sound like so many others. The components are all there, but compositionally it is more like eating raw egg than an omelette. Having once found their voice, SATELLITE appear to have given it away again.

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Posted Wednesday, April 16, 2008 Review this album Report (Review #167549)

For me Satellite their previous studio album Evening Games and especially the DVD entitled Evening Dreams were the proove that this Polish formation is moving towards the top of the current progrock. About the new album Into The Night I had read a lot of positive stories and I can tell you, it's true: Satellite has made a very strong and professional sounding new CD that will please not only many neo- progheads but also those symphomaniacs who love modern prog.

On Into The Night (running time more than one hour) we can find seven melodic compositions (exclusive the two bonustracks I will talk about later) that often alternate between mellow, sultry, mid- tempo and bombastic (featuring a propulsive rhythm-section), that makes the music very dynamic. In Satellite their sound the guitarwork is omnipresent, often with howling runs but at some moments also quite heavy like in Heaven Can Wait and Forgiven And Forgotten. The keyboards are tastefully arranged, from lush violin-Mellotron, soaring keyboards and sparkling piano to bombastic Hammodn organ, majestic orchestrations and flashy synthesizer flights. The vocals sound very pleasant, from yearning in the more mellow parts to intense and emotional in the other pieces, this is an extra dimension to the music. The two bonustrack are no more or less than nice extra's, not at the level of the other seven songs.

I am very curious to the development of this awesome Polish formation, they fully deserve their four star rating and perhaps they are on their way to five stars on the successor of Into The Night, a big hand for Satellite!

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Posted Saturday, May 31, 2008 Review this album Report (Review #172678)

SATELLITE, as said before, is made of members of the deceased-band COLLAGE, from Poland. I have heard that late band and all I can say is, SATELLITE has a very similar sound to that of the disappeared group, but with a harder, at moments even more metallic approach. At the same time, some problems I found in COLLAGE have been solved here, mostly the lack of really memorable songs, as 'Into The Night' is full of songs that will stay in one's mind for a long time, especially after a few listens of the album, which is what it's needed to appreciate it in its entirety.

The musicianship of the band is pretty good. As always with neo-prog, the guitar holds a special place in the music, mostly with clean, atmospheric solos, and these are done to perfection here by Kubeisi. When it's time to get harder and heavier, like in the first and last section of 'Dreams', he also is quite capable of that. The keyboards are also very good, adding the exact touch of magic to the mix. All the rest of the instruments are played very competently. The vocals are good, at times extremely good. They're very pop-like at moments, and that's one of the great successes of this group: they manage to sound accessible while still being progressive, with a vocalist that matches the atmosphere of the music perfectly.

The songs are melodic, averaging 7 minutes in length, and full of short solos and beautiful leads. I particularly like the opener, 'Into The Night', which is like a refreshment to my ears for its melody and it's distinct neo-prog sound. 'Dreams' is rockier, even metallic, though the middle section is not that successful. 'Don walk away in Silence' is another great song, and even better is 'Heaven can Wait' (how many songs have been written using this title? I can think, in a second, of three), long but never boring, very melodic. The last track (not counting the bonus ones) is the most pop of the lot with its almost electronic-flavor, and I love it, a perfect display of the virtues of a genre where accessibility and progressiveness are combined to give us truly outstanding music.

Because of a couple of weak tracks ('Dreams' one of them, except for its beginning), I'm forced to bring the rating down one star. Otherwise, this would've been a fantastic, perfect neo-prog album. It's still very, very good, and a necessary addition to any collection of progressive rock

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Posted Friday, July 18, 2008 Review this album Report (Review #177255)

The sound here is much heavier and less melodic. This is another change of musical orientation. Fair enough as far as diversity is concerned, but it is difficult for the fan to embrace these three efforts. They were much more impressive in their early days, IMHHO. Even the epic 'Dreams' can't really thrill me.

Vocals sound close to Ray Wilson's ones on 'Calling All Stations', but if you exclude a short and fine guitar break, there is little I will retain from this long song (almost fourteen minutes). It is close to prog metal IMO, even if the last third features some great and symphonic parts.

But this is just a short break into these almost metal sounds ('Downtown Skyline'). I didn't expect this musical change, but as I have already outlined in some other reviews, it seems that lots of bands were incorporating these harder elements because of the market's demand. But I don't belong to this tendency.

I'm more on the side of 'Don't Go Away In Silence' which could have been featured on their debut: a jewel of a melody with a superb guitar work and subtle piano lines. I only wished to have more songs of this calibre on 'Into The Night'!

My opinion is that this album is average. I will upgrade it to three stars.

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Posted Sunday, September 14, 2008 Review this album Report (Review #182444)

Satellite has found itself and stamped it hard with a powerful and grandiose album. Into the Night's the 'natural' following of what Evening Games is, but with more oomph and less melancholy. In fact, we all liked what Evening Games was and as a neo-prog band, Satellite is doing it without hiding their influences. Big plastic keyboards, clean Strat and strong Fish choruses.

A strong high five is given to the early 80's in many textures, sprinkled here and there. I recall some acoustic guitar and keyboards a la Tears For Fears or the specific Stratocaster sound by Bernard Sumner of New Order. Again, everything seems to be airy and floaty, nothing heavy like their Polish collegues Riverside.

Satellite is all about dreamy ambience and the alternance of programming and the acoustic approach. Somewhat modern, the need to honor Genesis is still strong and yet no surprises here...again.

More mature and entertaining than the last one, time sure flies by when listening and as usual, a sign that everything is in it's right place.

Better, higher, happier.

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Posted Monday, November 10, 2008 Review this album Report (Review #188705)

This really isn't the case with the opening track though, in fact this has more in common with 'Moonshine' with those passionate vocals and orchestral keys. I think this is one of the best tracks on here. I like when the sound gets fuller dring this song. 'Dreams Part 1-3' is the 13 1/2 minute epic. It opens with a nice heavy sound and the guitar has some attitude. It settles with vocals before 2 minutes. A change 3 minutes in but i'm not a fan of this part. It changes to a heavier style before 9 minutes. It settles a minute later with piano. Guitar lights it up before 11 minutes. The final minute is fairly heavy with piano. 'Downtown Skyline' has this steady beat to open as guitar comes in followed by synths. Vocals 1 1/2 minutes in and then it kicks in a minute later. It settles again as the contrasts continue.

'Lights' is a short atmospheric instrumental with some tinkling piano. No real melody. 'Don't Walk Away' has this catchy melody that comes in at 1 1/2 minutes. It gets fuller and the guitar sounds great 3 minutes in and then it proceeds to rip it up a minute later. That catchy melody from earlier is back at 5 1/2 minutes. 'Heaven Can Wait' opens with some outstanding guitar. It's the organ's turn ripping it up before 2 1/2 minutes.The guitar is back ! It settles 4 minutes in and orchestral keys then piano follows. It kicks back in before 6 minutes. The tempo continues to change. This along with the first track are my two favs. 'Forgiven And Forgotten' opens with synths as a beat comes in. This is kind of poppy. It's orchestral sounding before 4 minutes then the guitar lights it up. Back to the pop flavour.

I still think their debut is the best one from this band. Good album but too much of it doesn't hit the spot for me.

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Posted Friday, May 8, 2009 Review this album Report (Review #214465)

This is a band who provide an almost perfect mix of melody, melancholy, and also riffing out as if they were born to do metal. For an example of this, listen to the opening section of the epic track Dreams, which blazes along at 100 miles per hour, before settling down to some more recognisable symphonic inspired keyboards and guitars. I especially love the closing section, which features an exquisite guitar solo backed by huge sounding keyboards, and a pulsating rhythm section, before rocking out in mad fashion at the end. This is a track of many moods, and is a fantastic listen.

They can also do more commercial, melodic prog very well also, and I would particularly mention Downtown Skyline here, with its swirling keyboards, and upbeat rhythm. It would have made a good long single. Melodic also applies to Heaven Can Wait, which has at its heart a huge sound, mainly affected by some superlative, grand, keyboard work.

The contribution by all musicians is superb, and this is as about as tight knit an outfit as I have heard for many a year. I have Moonshine by Collage, a predecessor band, and the similarities are obvious, but, if anything, this band have brought a fresh focus to their obvious inspirations, in addition to this album having a much harder edge.

The highlight of the album, for me, is Don't Go Away In Silence, and this portrays that tight musicianship exceptionally well. Very low key, dark, almost sparse, but played and sung very well, especially the guitar. The solo bursts in the mid and end sections have to heard to be believed.

If you are a fan of acts such as Fish, Yes, Rush, King Crimson, Porcupine Tree, and Genesis (yes, the inspirations are that diverse), but also of material from bands such as Riverside, their fellow Poles, then you will find a lot to enjoy here.

Into The Night is a fine album, and deserves a four star rating. On the back of it, I have bought last year's album, and am looking forward to seeing how this band progress.

There is a lot of good stuff coming out of Poland - this is amongst the best. Highly recommended.

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Posted Tuesday, November 2, 2010 Review this album Report (Review #307988)

1. 'Into The Night' (6:54) (13.5/15) 2. 'Dreams' (13:48) too sprawling and loosely threaded together to warrant high marks. Even the highly touted final four minutes is flawed in its drawn out simplicity. (24.5/30) 3. 'Downtown Skyline' (6:16) (8.5/10) 4. 'Lights' (2:15) 5. 'Don't Go Away In Silence' (7:36) great melodic guitar soloing. (13.5/15) 6. 'Heaven Can Wait' (9:04) a metallic opening that I'm captivated by turns into something disappointing in its simplicity and predictability. One of the poorer vocal arrangements and integrations I've ever heard from the Satellite world. Nice guitar shredding before the strummed acoustic guitar- and electric piano-based middle passage. (17/20) 7. 'Forgiven And Forgotten' (6:07)

Total time 42:00

The opener, title song, 'Into the Night' shows us right off the bat that this is going to be an enjoyable listen to some beautiful, powerful music. The excellent bass playing of Jarek Michalski is well worth noting, as is the guitar work of Sarhan Kubeiski (though he is no MIREK GIL). The sound production is quite a step up from the band's 2003 debut.

Album highlights: 1. 'Into the Night (6:34) (9/10);' 3. 'Downtown Skyline' (6:15) (8.5/10), and; 5. 'Don't Walk Away In Silence' (7:40) (13.5/15).

4 stars; a good, solid album but nothing Earth-shattering to write home about.

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Posted Monday, January 10, 2011 Review this album Report (Review #377653)

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Posted Sunday, April 15, 2012 Review this album Report (Review #728898)

Latest members reviews

Yes. What good news was to know that Satellite took out this new album and better news to listen to it. In this one Satellite opens his mind to receive influences of other pop prog rock bands as Radiohead and Coldplay,but in this intervention they don't loose their essence of being a very comp ... (read more)

Report this review (#164266) Posted by robbob Wednesday, March 19, 2008 Review Permanlink

A very courageous effort. Hopefully, Satellite’s back!:-) Satellite is one of the best bands in Neo-prog genre nowadays. The band consists of a mastermind Wojtek Szadkowski (ex-Collage), a vocalist Robert Amirian (ex-Collage too), a keyboardist Krzysiek Palczewski (ex-Collage again), a ... (read more)

Report this review (#161931) Posted by Paper Champion Saturday, February 16, 2008 Review Permanlink

Seven In Heaven

Satellite have proved to me to be one of the best new groups around today, this new album for me is there best yet because the songs are stronger all throughout this album, the melodies and the beautiful vocals are all over this delightful album, ive got the digi pack with the 2 extra songs tha ... (read more)

Report this review (#157023) Posted by theater66 Saturday, December 29, 2007 Review Permanlink

To me Satellite is the continuation of the legendary Polish neo prog band Collage, and I view this record in that tradition. Satellite made two albums before this one, and this is the third album of a trilogy. This one holds the middle between the lighter A Street Between Sunrise and Sunset and ... (read more)

Report this review (#156764) Posted by Soul Dreamer Wednesday, December 26, 2007 Review Permanlink

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Might and Magic III: Isles of Terra is the third game in the role-playing video game series Might and Magic. Released in 1991, it is the predecessor to Might and Magic IV: Clouds of Xeen and the sequel to Might and Magic II: Gates to Another World. A Sega Genesis version was developed, but never released.^[2][3]

Plot[edit]

After the defeat of Sheltem and his forces on CRON in Might and Magic II: Gates to Another World, a new party of adventurers from Sheltem's 'homeworld' of Terra find themselves embroiled in the battle between the two Guardians. The adventurers must aid the mysterious Corak in attempting to stop Sheltem once again and putting an end to his evil machinations. In canon, these adventurers are named Sir Caneghem, Crag Hack, Maximus, Resurrectra, Dark Shade, Kastore, Robert the Wise and Tolberti.^[a]

Throughout the game, the adventurers travel the Isles of Terra, a grouping of separate, flat 'nacelle' worlds drawn from the Void onto the oceanic planet of Terra by Sheltem himself in previous years. Driven against the Ancients, Sheltem is now launching their nacelles into the suns of various worlds, snuffing out countless lives in his wake.^[b]Driven by the tales told in Corak's journals regarding the Ancients, the Elemental Lords and the 'Forces of the Dome', the heroes pursue the Guardians, battling terrors along the way.

Elemental: Seven Minutes In Heaven Mac Os X

Finally, the heroes enter the so-called 'Maze from Hell' and earn the title of 'Ultimate Adventurers' from the maze's defenses. Uncovering revelations about Terra's past, they gain access to the Pyramids of the Ancients, stumbling upon what is named a 'Main Control Center'. They find themselves within the underwater seedship originally used by the Ancients in centuries past to colonize Terra with human life before its submersion beneath the waves.

At the game's conclusion, Sheltem pilots an escape pod within the underwater ship and sets off for the nacelle of Xeen, with Corak in close pursuit. After departing, Corak hastily contacts the adventurers from his escape pod, instructing them in the means of matter transferral to land the seedship - named the 'Lincoln' - safely.^[c] They set off to pursue Corak and Sheltem in the Lincoln, and it is implied that they actually do so in Might and Magic IV: Clouds of Xeen. However, they did in fact drift off-course and are next seen as powerful non-player characters in Might and Magic VII: For Blood and Honor.

Gameplay[edit]

Might and Magic III employs an updated first person perspective interface based on the one employed by Might and Magic Book One: The Secret of the Inner Sanctum and Might and Magic II: Gates to Another World. The action is turn based throughout the game phases. A number of improvements, made possible by an expanded development team and advancements in computer technology, are incorporated. The graphics are more colourful, taking advantage of contemporary VGA displays. A number of sound cards are supported, offering improved sound effects, background music, and synthesized speech. Mouse interaction is also supported for the first time.

Textual character summaries in the lower portion of the screen are replaced with a graphical head-up display, featuring the faces of the player characters, which wear different expressions depending on the condition of the character. Spells are selected from a list: an improvement on previous games where they had to be specified using numeric codes. Level maps were no longer limited to a 16 x 16 grid, and an automapping function eliminated the need for drawing maps on paper. Also, enemy creatures can now be seen as they approach, or are approached, from distant squares. In previous games the enemy creatures were only detected when they were in the same square as the player characters, which made combat more difficult to avoid. The ability to shoot at a distance also gives ranged weapons a more distinct tactical advantage. At the end of combat, players do not have to 'search' for loot as in previous games.

The player can save the game state at almost any time, with the notable exceptions of the Arena and Castle Greywind Dungeon, at which the player cannot store game state. In previous games, saving was accomplished by visiting an inn and signing the registry. Saving the game also records that enemy creatures have been killed; in previous games traveling to a level from an inn fully populates the former with monsters every time.

Reception[edit]

Computer Gaming World' Johnny L. Wilson in 1991 stated that the game would appeal to both new and experienced Might & Magic players.^[7] In 1992 the magazine named it as one of the year's best role-playing games, citing 'its new graphic look, use of sound and challenging play'.^[8] The magazine's Scorpia was also positive, writing in 1993 that Might & Magic III was 'a big improvement in the series, and worth playing'.^[9] The game was reviewed in 1992 in Dragon #177 by Hartley, Patricia, and Kirk Lesser in 'The Role of Computers' column.^[5]

Reviewing the SNES version, Mike Weigand of Electronic Gaming Monthly said it was 'a decent RPG with ... a solid story line and excellent music, but the interface is poor. Although the scrolling is true to PC, the step-by-step frame can get to you after a while.'^[6]

In 1994, PC Gamer US named Might & Magic III as the 25th best computer game ever. The editors called it 'one of role-playing's most engrossing adventures.'^[10]

Notes[edit]

1. ^These are the names of the default party, and the same names are given for those characters in Might and Magic VII: For Blood and Honor.
2. ^'Corak: Log Entry 7: VARN 6 launched itself into the sun today on Sheltem's command. A hundred thousand lives snuffed out in a matter of minutes. The magnitude of his crime is overwhelming, and the fact that I was unable to stop him lends my mission a sense of desperation and urgency that it lacked before. Where Sheltem was merely a nuisance before the disaster, he is now terrible menace that must be stopped at any cost. I MUST find him.'^[4]
3. ^'Corak: Log Entry 15: Xeen approaches. I will have to engage the ship stasis fields in order to survive the impact. Since I will be right behind Sheltem, I stand a good chance of capturing him after impact. Nav computers predict that the Terrans will not impact the project but will instead burn up in the atmosphere. I have instructed them on the use of the matter transfer device aboard their seedship so that they may escape its destruction. I am going into stasis now. May the Gods smile upon me.'^[4]

References[edit]

1. ^http://www.mobygames.com/game/dos/might-and-magic-iii-isles-of-terra/credits
2. ^'Sega Genesis: Great Expectations for 1992'. GamePro. No. 31. IDG. February 1992. pp. 36–46.
3. ^'News - Front Page: TimeLine'. Game Players. No. 45. Signal Research. October 1994. pp. 8–12.
4. ^ ^abNew World Computing (1991). Might and Magic V: Darkside of Xeen.
5. ^ ^abLesser, Hartley; Lesser, Patricia & Lesser, Kirk (January 1992). 'The Role of Computers'. Dragon (177): 57–66.
6. ^ ^ab'Review Crew: Might & Magic III'. Electronic Gaming Monthly. Ziff Davis (67): 32. February 1995.
7. ^Wilson, Johnny L. (May 1991). 'Now, New World Computing's Might & Magic III: Isles of Terra Makes Gamers Face the Music'. Computer Gaming World. p. 16. Retrieved 17 November 2013.
8. ^'CGW Salutes The Games of the Year'. Computer Gaming World. November 1992. p. 110. Retrieved 4 July 2014.
9. ^Scorpia (October 1993). 'Scorpia's Magic Scroll Of Games'. Computer Gaming World. pp. 34–50. Retrieved 25 March 2016.
10. ^Staff (August 1994). 'PC Gamer Top 40: The Best Games of All Time'. PC Gamer US (3): 32–42.

External links[edit]

• Might and Magic III: Isles of Terra at MobyGames