The inspirations in question are wide-ranging and prolific; forming the bulk of the game’s raison d’être they deserve comprehensive attention. Both the game’s characters and landscape are composed of ‘echoplast’ – a polymorphous substance capable of adopting varied forms; this suitably allows the cycling of different sets of abilities alongside each corresponding manifestation of your character. To different people this will appear either a crude or shrewd device by which to pull together a raft of ideas which include homage to Metroid Prime’s environments, Devil May Cry’s combo system and the Legacy of Kain series’ style of characterisation.

It is, however, the core that matters, and here THQ reveal a lazy aim which grazes rather than strikes the target.

There is simply not enough backbone in Alter Echo to make it more than the sum of its parts. Story-wise, it deserves little attention; terraformer crashes on shape-shifting planet at war with its creator, must resolve conflict using newly acquired mighty-morphin’ costume. From here, the game could conceivably evolve into single-minded action, stylised exploration or a daring combination of the two. As it emerges, however, this important design decision has been neither exploited nor, in fact, made at all. This is a game which never delves into the depths of its own potential, leaving a sadly obvious vacuum beneath its flashy credentials.

No doubt headed for the rental market which welcomes its kind, Alter Echo luckily has enough activity on its surface to momentarily entertain. But only just. The three ‘versions’ of your echoplast suit are interestingly designed and offer a refreshing, if frequently redundant, set of abilities. Combos are quick to grasp and enjoyable to perform while opposition ‘evolves’ so as to consistently intrigue. Its enemies are, in fact, the game’s greatest achievement alongside another genuine innovation – the ‘sync’ modes.

Energy permitting, the player can choose to combat a group of enemies by performing a ‘sync attack’, the action switching to a basic grid in which squares can be traversed during split-second specified intervals. Enemies in the ‘real world’ become icons which your cursor must reach for an attack to be successful; only when a movement interval is missed or all enemies defeated will the attack end. This provides an enormously satisfying method of vanquishing multiple opponents, especially considering the extravagant animation which follows, its nature varying according to your current form. Switches and other obstacles also require ‘syncing’ in order to progress, the routine being very much the same as it is for combat. Captivating as it is, however, this refreshing nod to Andrew Braybrook’s Paradroid ultimately collapses into the void which lies beneath.

In its obstacles and challenges, Alter Echo again reveals itself to be an impersonator of others with no conceptual identity of its own. Bridging the gap between its well-implemented mêlées is an altogether linear trudge through imagination limbo. Each level is littered with teleports, bridges and switches yet there’s seldom anything noteworthy waiting on the other side. Generically textured with base detail, they resemble an ill-defined template of Soul Reaver, Shadowman, or any other more handsome Dreamcast game. There are no landmarks to behold or scenarios to remember; worse still, levels end seemingly at random with no dynamic structure to lend them tension or drama.

The general picture is a disappointing one, but it’s occasionally misleading - there are momentary highlights which offer something to enjoy. When it successfully pulls its act together this is an enjoyable, if forgettable copycat; not quite Brian De Palma, but no TV movie either. With voice acting above par and some well-bodied action this is far from being a write-off. It’s more the case that despite cramming an auspicious set of variables into its equation, Alter Echo’s efforts result in a diminutive single unit which doesn’t entirely work.