Saints Row thread

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The Last Stand said:
I was setting up a bait and switch, which you DID quote. IV was more serious than Saints Row 1+2, correct. That's why I pointed out how The Ballad of Gay Tony managed to avert IV's seriousness with some humor.

I would say SR2's plot tone was inconsistent.
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IV was hellbent on being absolutely miserable.
These were the days of "gritty" being en vogue in gaming, and being perceived as "mature" , "smart", and "deep" by gaymers.

TBOGT was made much more light-hearted as a direct response to the criticism IV and TLAD received as being too nihilistic. It wasn't planned to be so.

Inconsistent in what way? That there's mostly OTT action sprinkled with a few serious moments? Why not? If the stakes are always a giggle, you stop caring. You'd care a lot less about fucking up Maero if it wasn't for Carlos' death. Same with Aisha & the Ronin. You need to have your characters have a personal investment into it, lest you crank out SRIV where fuck all matters and everything is a Joss Whedon joke.

SR2's plot tone is that of a gangsta-rap song come to life. It's not the best thing nor is it high art but then again it never aimed to be any of those things. Like the GTA III era, it was about a power fantasy and a theme. It's not meant to be overly analyzed or looked at as deep art, however that doesn't mean the writing can't be good.
 
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Ita Mori said:
Inconsistent in what way? That there's mostly OTT action sprinkled with a few serious moments? Why not? If the stakes are always a giggle, you stop caring. You'd care a lot less about fucking up Maero if it wasn't for Carlos' death. Same with Aisha & the Ronin. You need to have your characters have a personal investment into it, lest you crank out SRIV where fuck all matters and everything is a Joss Whedon joke.

SR2's plot tone is that of a gangsta-rap song come to life. It's not the best thing nor is it high art but then again it never aimed to be any of those things. Like the GTA III era, it was about a power fantasy and a theme. It's not meant to be overly analyzed or looked at as deep art, however that doesn't mean the writing can't be good.
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I'll have to replay it.
 
Ita Mori said:
IV was hellbent on being absolutely miserable.
These were the days of "gritty" being en vogue in gaming, and being perceived as "mature" , "smart", and "deep" by gaymers.

TBOGT was made much more light-hearted as a direct response to the criticism IV and TLAD received as being too nihilistic. It wasn't planned to be so.
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Also what made Gay Tony work was he was meant as a foil to Luis. If he wasn't a homo you know Bulgarin instead of telling you to stop working for the faggot instead tells you how Luis was lapping up Tony's sloppy seconds from his networking and dealing with gold diggers sent by Ancelotti and the other debtors to get him high off the supply of hot women as patrons.
 
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The Last Stand said:
I was setting up a bait and switch, which you DID quote. IV was more serious than Saints Row 1+2, correct. That's why I pointed out how The Ballad of Gay Tony managed to avert IV's seriousness with some humor.
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Letting Luis do cool, over the top shit still caused a huge tonal clash with GTA IV and TLAD.

Rockstar was literally like "Niko and Johnny can't blow up buildings and steal military helicopters because they're just an immigrant hitman and a biker." when people complained.

But then suddenly a nightclub bouncer can do all that cool shit because...well, it's because people wanted to do fun stuff and TLAD sold like shit I'm pretty sure.

The thing is, now we're at a point where we've had these games for 20 fucking years. A game just being Saints Row 3 but in a desert and woke shouldn't really cut it.
 
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Crowd Control. Especially when fucking assault rifles come into play.
 
I also want to point to other Saints Row fans that we will never have the same kind of voice acting talent that Keith David and the late Michael Clarke Duncan gave us while voicing Julius and Benjamin King.

All of these new voice actors are too busy inserting real life politics and other TMI into their voice work, but I don’t ever recall those two ever doing anything like that.

They‘re very talented at what they do, and the fact that both characters ended up working together in the first game even after their long-standing beef says a lot about how they treated both characters in the first installment — really made them come to life in more ways than one.
 
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albert the programmer said:
I also want to point to other Saints Row fans that we will never have the same kind of voice acting talent that Keith David and the late Michael Clarke Duncan gave us while voicing Julius and Benjamin King.

All of these new voice actors are too busy inserting real life politics and other TMI into their voice work, but I don’t ever recall those two ever doing anything like that.

They‘re very talented at what they do, and the fact that both characters ended up working together in the first game even after their long-standing beef says a lot about how they treated both characters in the first installment — really made them come to life in more ways than one.
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I'm super disappointed that Charles Shaughnessy was only in the first two, then they replaced him with Robin Atkin Downes. Good VA, sure, but there's just something very novel about hearing a real life baron, Mr. Sheffield himself, talk like a gangbanger. Call me easily amused.
 
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Ruin said:
It still blows my mind that they're doing a Saint's Row reboot without Johnny fucking Gat aka the most iconic Saint's Row character. He's even Asian so he would fit in the gay Burger King kid's club thing they're trying to do.
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Modern day Volition probably sees Johnny (and perhaps the other old characters) as a fountain of "toxic masculinity", so he wouldn't have been considered for the reboot unless they "fix" him like they did with Rim Jobs or Freckle Bitch's. There's also no chance in hell he would willingly associate with the new "Saints", he'd either kick the absolute shit out of them or take them out to the desert to give them the Shogo deluxe treatment.
 
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Ruin said:
It still blows my mind that they're doing a Saint's Row reboot without Johnny fucking Gat aka the most iconic Saint's Row character. He's even Asian so he would fit in the gay Burger King kid's club thing they're trying to do.
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I think it's for the best that Johnny isn't in that game. Can you imagine if they redid him in our current timeline?
 
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Korpon said:
Watch them do some stupid twist reveal halfway through the story introducing Johnny and he's just a nu-male bitch who goes on about women's rights and how bad racism is.
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Is this when he suggests that everyone in the saints should join Antifa. Before your player insert talks him into joining the saints or something stupid like that.
 
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Ruin said:
It still blows my mind that they're doing a Saint's Row reboot without Johnny fucking Gat aka the most iconic Saint's Row character. He's even Asian so he would fit in the gay Burger King kid's club thing they're trying to do.
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What is the actual deal with the new one? I'm finding mixed info on how woke it is.

I know you can equip prosthetics and shit but I really don't care about that, but what other elements have been shit up. I've been purposely staying out of the info loop on it. THQ has been producing solid af titles the last few years

Edit: apparently it's all Deep Silver now. Abandon hope all ye who wish to game
 
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If only SRIV didn't half-ass the open world, until that point this was one of the few franchises that got better with each installation. I haven't touched anything since IV (Gat outta hell looked like a cash grab, agents of mayhem was...i..don't..even...remember)
Strong voice over work really prevents the titles from aging. The jokes aren't as funny around the second time (or maybe its just time gone by) but the characters interact with a lot more poise than many modern, much more narrative based games. Having baked in co-op also helps.
 
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