Similarly game spot found fault. They believed 'Land Stalker' was disappointing "with its cumbersome controls and frustrating platforming, all of which is exacerbated by an isometric perspective. The result is a lengthy, memorable adventure that, sadly, might be memorable for the wrong reasons for those who are easily flustered." Both reviewers seem to echo the thoughts of critics in 1993. "At times I find that the odd perspective employed is confusing" reviewer Paul Glancey said in Mean Machines magazine. "Platforms that appear in one location may lie in another. Pitfalls often prove lethal [and] this becomes a bit irritating." However this same reviewer notes that "Other than that, the game is a marvel." Dozens of magazines seemed to agree with this opinion. Game Fan magazine gave it a near perfect 99% score saying the developer "gets a standing ovation for this playable masterpiece". So what was it that made the game so great?
It's a simple premise that doesn't really get much deeper but short snappy dialogue helps to move the 25 hour adventure along. "The interaction between characters is always entertaining with a great line in humour supplying light relief on occasion" believed Glancey.
The over world map theme is particularly memorable and certainly inspired by the works of Nobuo Uematsu. Like the 'Final Fantasy' musical director, 'Land Stalkers' composer Motoaki Takenouchi studied Music Composition at the Tokyo National University of Fine Arts and Music. Here he was under the supervision of composer Koichi Sugiyama, a legend of the industry that's frequently referred to as the "big boss of game music". It isn't surprising that 'Land Stalker's music has a robust epic feel given that the composer's mentor wrote the scores for early 'Dragon Quest' games.
You’ll typically be doing the same thing repeatedly; attempting to disperse the enemies to take them on individually. Of course, enemies respawn continually, but given they drop loot this isn't necessarily a bad thing.