The Persona 2: Innocent Sin Retrospective-Part 6, Other Characters

Part 1-Introduction

Part 2-Gameplay

Part 3-Setting and Tone

Part 4-Plot

Part 5-Player Characters

ANTAGONISTS

The Masked Circle

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These are the longest-lasting enemy group in the game, who you’ll be romping with for almost all the game’s plot.  The Masked Circle is a doomsday cult, led by the Joker, who seek to gather enough ‘Ideal Energy’ to destroy the world and drive humanity into a new golden age in space.  Yeah, the rumors allow pretty much anything to happen.  Those who make their wish with the Joker find themselves first forced to be a part of the Masked Circle, then sacrificed for their goals, their Ideal Energy drained from them until they’re left motivation-less husks.  Their leadership is made up of pastiches of your own group, as Jun seeks to replace your childhood crew with his own creepy cult fellows.  They lose a lot of steam after you break Jun out of his Joker guise, leaving them pretty much without leadership, but they do maintain a presence up to the end of the game, being one of the few organizations able to make a stand against the Nazi invasion.  Of course, they don’t stand for long against them, and they’re only fighting them towards their own twisted goals, but still, at least you’re not the only group putting up the fight.  You’re constantly running roughshod over them, interfering with whatever they have planned, but most of the time you figure out the full extent of their plans just after they put them into action.  Your interference only seems to make them stronger, too, thanks to your spreading the word about them and the power of the rumors at play.  At least until you start knocking off their leadership.  Once you reach that point, there’s no recovering for them.

Joker

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If you call your own cell phone number, the Joker will appear before you and grant you one wish.  At least that’s what everyone says.  Except that your crew tries it in the early game, and instead on sending you on a shopping trip to buy those larger pants you’re suddenly needing, he just sics a bunch of demons on you.  As stated previously, the Joker is Jun, still really, really pissed off at your crew thanks to the influence of Nyarlathotep and the false memories he has of all his childhood friends burning Maya to death.  To say his feelings towards you are troubles is an understatement.

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Joker is the head of the Masked Circle, he who directs their activities towards the fun, fun goal of destroying the world.  Making you suffer seems to mostly be a side project of his.  The Joker is all about ideals.  He highly values his own ideals, he respects other’s commitments to their own ideals above all else, and he thinks largely in terms of ideals.  As twisted as it is, he honestly believes that the destruction of the world and the ascension of its people are honestly what humanity wants.  Thing is, he’s much more of a big picture guy, and doesn’t much care for the individual.  So, the fact that thousands of people don’t really want their ideal energy drained away in pursuit of the Earth’s destruction doesn’t much matter to him.  He is completely serious about the Masked Circle and their goals, focused on them above all else.  He doesn’t even use them to go after you until you start messing with the circle first.

Like Guido/Kandori of last game, Nyarlathotep is his persona.  And like last game, Nyarlathotep ends up taking him over for his final battle in this guise, then flees his form once he’s defeated.  Free of Nyarlathotep’s corruption, Joker reverts to his old form, and joins you in undoing the mess he’s created.

King Leo/Tatsuya Sudou

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Tatsuya Sudou’s dad is Japan’s Foreign Minister.  Tatsuya Sudou’s dad is a bad, bad man.  Growing up in that environment did him no favors, compounding the troubles he already had with his schizophrenia.  He found a father figure in Jun’s dad, however, who helped him make some sort of sense of the voices he was hearing, believing them to be some sort of alien prophecy and codifying them into the Oracle of Maya doomsday thing the Masked Circle is buying into.

Some time after that, Sudou snapped.  Depending on how far back the rumor thing was in effect, this may have been a result of other’s beliefs about him, conflating his schizophrenia and his father’s bad reputation and thinking he was a violent figure.  Either way, he became a serial arsonist, and burned down the shrine kid you and kid Maya were hanging out in.  You broke out, Sudou stabbed you, and you awakened your persona and burnt out his eye.  I’m going to say you got the better of that one.  After that, he stalked Maya for a good long while, then joined up with the Masked Circle for reasons that are mostly up to conjecture, and serves as King Leo, the second in command to the order.

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Tatsuya Sudou, as should be obvious from the name unless you did the right thing and change your protagonist’s handle for something wicked sweet, is the counterpart for your lead.  Given Maya’s history with him, he serves to some degree as the Masked Circle replacement for her, too.  He’s an arsonist, so he likes blowing things up.  Throughout the section you’re dealing with him, he leaves behind clues that will lead you to buildings he’s rigged to blow.  You usually have two buildings at a time to choose from and have to pick the right one, enter it, and find the bombs in order to properly bring a halt to his deeds.  Or, if you’re of a lazy mind, you can choose the wrong one and skip a few dungeons entirely.  It culminates in a big encounter in an aviation museum where you have to rescue an entire field trip, beat him in a big slogknocking fight, and jet of there in an exploding blimp.  Probably one of the high points of the game, in all.  As you might guess, he gets a sadistic glee in death and violence, and actually burns a man alive by means of introducing himself.  His persona is Reverse Vulcanus. Continue reading

The Persona 2: Innocent Sin Retrospective, Part 4-Plot and Themes

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Part 1-Introduction

Part 2-Gameplay

Part 3-Setting and Tone

Part 5-Player Characters

Part 6-Other Characters

Plot

So, plots have always been more important in RPGs than in most other genres. If you’re going to be dragging the player around for like forty hours, if you’re going to be making them read a light novel’s worth of text, you got to have something going on to provide sufficient drive for all that. The Persona series in particular is known for being the more plot-focused branch of the whole Megaten franchise. So how does Innocent Sin stack up? Well, it’s got some growing pains, but you know, it’s still making a lot of steps in the right direction, and it’s definitely worth the experience. Namely, Innocent Sin uses something that you don’t see too often in video game storytelling, and that I raved about last time in the tone section. It has some subtlety to its storytelling. It doesn’t present everything up front, you’ve got to absorb and consider to get the full picture. Granted, the amount of actual depth there is pretty limited, but hey, for a PS1 era RPG released when everyone else was scrambling to catch up in the wake of the Final Fantasy VII bombshell, it does pretty well for itself.

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The plot in Revelations: Persona was pretty lacking. It was certainly there, but didn’t really aspire for more than to be a simple justification for the gameplay. Well, the Persona 2 duology has a lot more going on. Not only does the plot have some degree of focus in this game, but it actually goes back and makes the Persona 1 plot retroactively better. It’s Eternal Punishment, the second game of the duology, that relates more to Persona 1, but Innocent Sin still sets the groundwork for it. Namely, it makes Nyarlathotep, who you may remember as being one of the bad guy’s persona from the first game into his own separate entity, a master manipulator and the main villain behind this game. As it turns out, the last game was just part of a greater contest between him and Philemon regarding the whole destiny of mankind. They’ve taken the rather shallow conflict of last game and added a bit of depth by tying it into something greater. A really smooth way of handling it, in all. The plot here ties the series more closely to Jungian psychology than the original game had managed to. Of course, there’s the titular personae making themselves apparent, but the game also introduces the elements of shadows, those parts of yourself that you don’t want to acknowledge, and the idea of the collective unconscious, one of the more major tenants of Jungian psychology. The collective unconscious drives most of the game, in fact, giving rise to both your ultimate enemy and your most powerful ally, as well as granting rumors their reality-warping power.

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The narrative generally takes place over three phases. Or acts, if you’d like to fit it into the traditional structure. All of them are mostly conflict-driven. In other words, the plot’s drive works like almost every other game you’ve played before. The first starts off mostly down to earth, introducing you to your characters and setting up the conflict with the Joker, the cell-phone based wish granting genie that’s pissed off at you personally for something you don’t even know you did. Essentially, the first act is focused on building you into that world and your characters, and most of the conflicts are pretty interpersonal ones centered on relatively familiar locations. Your main is at the center of the first act’s plot, although each of the other characters get their own moments of focus. In the second act, Joker starts up the Masked Circle, a group of terrorists who serve as an analog to your own party. There, the conflict starts to expand a bit, as the Masked Circle are attacking the general public within Sumaru City, but thanks to them being largely focused on fighting you, and them being built of members that correspond to your own, it’s still a very small, personally-scaled conflict. Here’s where the idea of the global-destruction gets built, although it doesn’t really pay off with the Masked Circle. Your main, thanks in large part to being the silent lead, starts taking more of a backseat during this section, and the other members of your party end up leading more of the general happenings. And then come the Nazi’s. As often happens when they get involved, things blow up from there. The consequences finally hit the grand scale the SMT series is known for, with the Last Battalion and the Masked Circle duking it out over who’s going to rise as gods over the freshly devastated Earth. The character focus at this point shifts pretty squarely from the traditional members of your party to Jun Kurosu, the new member to join your squad in the final act. One thing to note here is that due to Innocent Sin being the first part of a duology, while most of the individual plot threads do end up wrapped up by the end, the overarching plot only just gets started here. You still end up creaming most of your major opponents and leave both the Masked Circle and the Nazis on the ropes, but you don’t beat all of them, and the game ends on a massive cliffhanger leading into Eternal Punishment. As for how the next game handles the lead, well, we’ll talk about that next time around.

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The Persona 2: Innocent Sin Retrospective, Part 3-Presentation, Setting, and Tone

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Part 1-Introduction

Part 2-Gameplay

Part 4-Plot

Part 5-Player Characters

Part 6-Other Characters

Presentation

Ah, graphics. That which game industry professionals have been telling me for decades is the 100% absolute most important thing in determining a game’s quality. If you don’t have graphics, than what do you have, really? If your game doesn’t make those graphics cards catch fire, you aren’t trying hard enough. In fact, you can totally predict a game’s quality based on how many of those p’s it has. So how do the graphics in Persona 2: Innocent Sin stack up?

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Well, not so great. It’s totally a Playstation 1 JRPG, and doesn’t really aspire to be anything more. The Persona franchise, hell, the Shin Megami Tensei series as a whole, has never been a graphical powerhouse. But that’s ok, those industry professionals are full of it anyway. It’s the art style that matters.

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And there’s where the game’s visuals excel. Also, where they flop. Art design’s kind of a mixed bag in Persona 2: Innocent Sin. The duology seems to represent a sort of transition time for the Persona team’s visual design department. When talking about art direction in Persona games, there’s two big names to know: Kazuma Kaneko and Shigenori Soejima. Kaneko’s got at least the tip of his brush in pretty much every SMT game out there, and is legendary for the demons that come out of his head. Soejima seems to work almost solely on the Persona series, and is renowned for his character design. Here, they’re both working on the game’s visuals, yet neither seems to really be implemented to the extent they will be in the future. Kaneko in particular seems to be peculiarly limited in application. You could argue that it’s his demon designs that made the series what it is today, yet here, he only develops the main characters, the main personae, and the bosses, and leaves everything else to the rest of the art team. Soejima’s still coming into prominence, still working as one of the art team grunts, and handles the design of the rest of the characters and the character portraits. So, this leads to the game’s characters looking excellent, the headlining personae looking awesome, and some quite fearsome bosses, but the rest of it, the rank and file demons, non-unique personae and dungeon design, looking a bit bland.

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The dungeon tilesets in particular I have to call out as being pretty bland. They’re serviceable, mind, they do get across that you’re in a cave or department store or bomb shelter or whatever just fine, it’s just that they’re small, repeated endlessly, and you’ll be seeing so much of them with very little variation that you’ll be glad for the random battles because at least they’ll give you something new to look at.

The music is… you know, actually pretty good. As I stated last time, the first Persona had two soundtracks made for it, one for the PSX release that was atmospheric and moody at the cost of any enjoyable listening, and one for the PSP that got your heart thumping but was pretty null at communicating any sort of atmosphere. The Innocent Sin tunes bring out the best of both worlds with some eminently listenable tracks that still succeed in bringing the proper moods across. I’ve even listened to the soundtrack for fun plenty of times, and most of it’s just as good on it’s own. The songs aren’t quite as memorable as those in the Persona 3 and 4, but it’s still obvious that the composers really knew what they were doing for this one.

The audio, while quite good, is noticeably a little different from the rest of the series. The original compositions aren’t quite as layered, and the instrumentation doesn’t evoke as much of a modern feel as the others. A quick glance through the credits reveals why. For whatever reason, Shoji Meguro, the composer behind literally every other game in the Persona series except for the Arena ones, was completely absent on this one. The composers who are here provide a strong showing, but Meguro does have a pretty distinct style that’s noticeably absent here. He did rejoin the team in the PSP release, remixing the old songs for a more modern sound, but they’re still mostly variations on the classic compositions. It’s definitely not bad, just noticeable, especially if you spend way too much time thinking about the series like some extraordinarily beautiful video game bloggers. In any case, both the remixed and classic soundtracks are packed into the PSP release, so you’ve got your choice of tunesets to listen to.

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The Persona 2: Innocent Sin Retrospective-Part 2, Gameplay

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Part 1-Introduction

Part 3-Setting and Tone

Part 4-Plot

Part 5-Player Characters

Part 6-Other Characters

Gameplay

Persona 2: Innocent Sin’s gameplay is a bit odd. The original PSX edition was a step up from the first Persona, built off of the series’ foundations with the conceptions of 1999’s contemporary JRPGs in mind. Then, in the PSP release, the only release we westerners officially have access to, Atlus made a few small updates to make things a bit more natural to modern gamers. So, in essence, you’ve got a late-90s JRPG with a few modern touches here and there, creating a bit of a weird mix when you’re coming to it fresh. What I found really intriguing is that they actually removed a few of the really unique mechanisms of the game’s engine in the re-release, making something much closer to your standard boilerplate JRPG in the new version. The changes aren’t necessarily bad, there was a lot I recall about the original engine that took a while to get a grasp on, but I do miss the old, more creative way of smacking down foes.

Much like the first Persona, this game has both elements of the classic Shin Megami Tensei formula as well as whole new mechanics giving the experience a flavor all it’s own. In fact, Persona 2 stretches even farther away from the Megaten boilerplate than its predecessor. The game came at a time where Atlus’s developers seemed to be trying out a lot of new things with their side-series, and Persona 2’s a lot more comfortable standing on its own than the original was. It still has a few elements in common with the traditional SMT game, and you can still see the foundation laid from the first Persona, but those are layered underneath some significant changes in mechanics that, especially in the original model, made this a game all its own.

THE ROAMING

As with most turn-based JRPGs, you’re essentially dealing with two separate engines here. You’ve got your big, dynamic, foe-blasting gameplay, and your totally thrilling just kind of walking around gameplay. The latter brings a completely new, absolutely innovative feature that will change the face of the Persona series forever. For the first time, you break free of the constraints of the old game, and you wander around in THE THIRD PERSON!

I’m sorry, was that too much for you to handle? Did your mind just blank that out, in an attempt to spare you from that paradigm shift? Well, too bad, because we’re going Third-Person now, and there’s no going back!

I mean, just check it out!  In the original Persona, we were like:

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But now we’re like:

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Can you feel the freedom?! You can see the character on the screen! I have to tell you, picking this game up after immersing myself in the first Persona for so long, it felt like being a bird whose cage is finally opened. I’m not usually given to emotional displays, but I shed a bit of a tear, the first time I saw that lovely, lovely three-quarters view.

Right, so exaggeration aside, with Persona 2, the sub-series finally sheds its western CRPG inspirations and behaves more like the JRPG it really is. I’m pretty sure this isn’t the first Megaten game to take the third person perspective; in fact, I know that Jack Bros and the Last Bible had third person perspectives years before Persona 2 came out. It’s the earliest game in the franchise I’ve played to boast such, however. Honestly, the change is welcome. The third person roaming fits the style of game they’re going for here a lot better than the first person perspective did in the previous game, and it allows them to expand on the dungeon design as well. There’s still some growing pains involved, a few elements that make me wonder if either someone on the dev team wasn’t quite experienced in the third person style, or that the game was originally conceived as a first person game. Either way, the lead to third person is still a really big one for the Persona series, and I honestly believe it does this game well.

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In spite of this being novel, innovative, and a completely different approach for the series, there’s not a whole lot to the mechanics of the general wandering around that you’re not already familiar with if you’ve played any JRPG within the past two decades. Control stick runs, d-pad walks, and you can check interesting things out in greater detail or open the menu to outfit and prepare your party. That’s about it. I do want to note that the running seems a little hard to control, but I think that’s more of a fault of the PSP hardware than anything else. Seriously, how anyone thought that little control nub would be a good tool for twitchy video games is beyond me. You don’t need precision out of it very often, but for those moments where you spot some cleverly hidden trap disguised in the floors texture and need to just barely skirt it to get where you’re going safely, it might be time to switch to the control pad for the safer option.

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The Persona 2: Innocent Sin Retrospective-Part 1, Introduction

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Part 2-Gameplay

Part 3-Setting and Tone

Part 4-Plot

Part 5-Player Characters

Part 6-Other Characters

A bit of a change in format for this one. So, usually, when we’re doing these big retrospectives, we’ll just write up about twenty pages worth of text covering as much of a game as we’re able, add in some pictures usually shamelessly stolen from all over the internet, then put it up here in one lump sum. I’ve been starting to rethink that format, though. I’m not sure if just having one big, massive, 10,000 word+ post is best for myself the writer or for you the reader. So we’re going to try something new here. Something novel. Something that’s going to keep poor Matt from having to spend four reading sessions to get through the whole post. This time around, we’ll break things up, covering them topic by topic. We’ll divide the big massive study of this game into bite-sized, easily digestible sessions. Hopefully this will give a better experience for all involved. Sound good? Good. Let’s go!

So! Persona 2! I’ve been looking forward to doing this one. All the mainline Persona games have got some deep, deep roots in me. I’ve spent a good long while immersing myself in the series, and it’s one of the few franchises I actually consider myself passionate about. I’ve carved out a good bit of prime brain real estate for each of them. Yes, even the bad one. Persona 1 has it’s value as well.

Each of them, that is, except for Persona 2. Well, the first half of Persona 2. See, the second installment in this series has a really weird presence here in the western world. Persona 2 is a duology. Two games for the price of one. There’s Persona 2: Innocent Sin and Persona 2: Eternal Punishment, each telling half of the story. And way back when these games were new, Atlus, far from the bold and expansive localizer they’re known as today, decided to only release the latter game. The second half of the story. Flipping to the middle of the book and just starting from there.

There’s quite a few theories as to why that might be. Maybe it was because Atlus USA was a small department with too much on its plate at the time. Maybe it was because they couldn’t get it ready in time for the rush. Maybe it was because of the gay options in a time before America was ready for it. Maybe it was because of Hitler.

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Nobody knows! But the fact of the matter is that we missed out on the first installment of Persona 2. Eternal Punishment came out, and trust me, it was a bit of a challenge making sense of that alone. Still, I powered through it, and while I know that game well, Innocent Sin was always a gap in my Persona knowledge, only experienced vicariously, until finally, the game got re-released on the PSP a few years ago. It’s still the game I’m least experienced in.

So this installment of our retrospective series covers the first release in the Persona 2 duology, Innocent Sin. Eternal Punishment will get its own, probably shorter post. Just seemed like the best way to do things.

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Mark Danced Crazy for the Persona 1 Retrospective!

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I knew it. I freakin’ knew it. I suppose some part of me has known it all along. I’ve got something that makes me different. Something that makes me unique. And no, it’s not my incredible good looks. Although that does fit the bill, too. I’ve got a power, something no one else has. Right now, I’m just not sure what to do with it. Maybe I’ll be a superhero, using it to make the world a better place. Then again, I don’t think there’s much call for a superhero with the power to make developers release more games by writing huge amounts of words about a series.

Don’t give my that look. Once might have been a coincidence. Yes, you could easily write off the fact that I started writing a retrospective series about Saints Row, only for Saints Row IV to release, as mere happenstance. Twice, though, that creates a pattern. The very month I posted my introduction for the Persona Retrospective, Atlus announced the next games in the series. Not just one game, either. Four new Persona games, all as a result of me putting my powers to good use. World, you are welcome.

Of course, that does mean that I actually need to retrospect these games, for the magic to work. Which should be easy enough. The Persona series is one of my absolute favorites. All the games in the series are strong, except for… the first… one… euuuuuuuuuugh.

Now I’m not sure it’s worth it.

Some background information here. I wasn’t kidding when I said the Persona series is special to me. Years ago, I was just about ready to give up on JRPGs altogether, when I found my way to Persona 4. I was blown away by it, falling in love with its world and characters, finding myself completely immersed in its strategic gameplay several steps above what most JRPGs were offering, and being incredibly drawn in by the games characters. I love that game so much, I’d marry it if US law would let me. Those bigots. That game still remains the best JRPG I’ve played, and has a strong position as one of my favorite games. Working backwards from there was a joy as well. Persona 3 had its odd gameplay choices, but the story and characterization were both very strong and the game itself was quite fun to play. Persona 2 showed me an odd style of gameplay I never would have thought worked, but they actually managed to make a great offering out of it.

Then came Revelations: Persona, which managed to insult me on a personal level.

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And no, it wasn’t the bad translation that did it. It wasn’t the old school design, the weird experimentations, or the excuse plot, although those certainly didn’t help. No, I can trace the piece that enraged me so much back to one specific moment.

Even if you play it bereft of context, the game’s still not very good. The dungeon design is horrible, the gameplay is overcomplicated, and the whole experience just shows a weird lack of thought. Still, I was firmly a Persona fan by the time I reached this game, so I was determined to stick it out and fully experience where the series got its roots. I did this for 30+ hours, finally reaching the final dungeon. The way dungeons were designed, you only ever got a save point/refresh station at the start. I had made use of those, then took my trek towards the final boss. I spent hours doing so, navigating the maze, the enemies, the various hazards, and managed to make it to the last floor. Just before I reached the boss, however, I was attacked by a new group of enemies. A group that quickly wiped out my party, save for my main character. Every enemy in this game has strengths and weaknesses, and those are a complete mystery until you’ve beaten them once. Fearful that any of my attacks could be reflected and kill me, I attempted to run. And failed. I tried again. And failed. I kept trying to run for seriously fifteen minutes, to no avail. My resistances were set up to where none of the enemies could damage me. However, not knowing what attacks they might reflect, I couldn’t safely strike out myself, without possibly ending my own life inadvertently. So I kept trying to run, but it wouldn’t let me go, no matter what I did. Finally, I tried casting a spell. Of course, it reflected and killed me in one blow. Back to the loading screen for me. Of course, with the way the game’s set up, the last save point was at the start of the dungeon, three to four hours earlier. All that work, all that time, wasted because the game refused to let me run and did not point more than one save point in that hours-long dungeon.

I immediately threw that game back on the shelf and never touched it for years. Not even after it got rereleased for the PSP. Not even when people tried to tell me it was a lot more lenient with the save points. Even when I had the PSP remake bought for me, I still never bother playing more than a token amount of it.

Eventually, I stopped being so bitter and gave it an honest try again. Still, some resentment lingers to this day.

So hey, there’s a note to start a good retrospective on, huh?

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Steelport is Under New Management! The Saints Row Retrospective: Saints Row The Third

 

Saints Row Retrospective Introduction here, Saints Row 1 here, Saints Row 2 here.

 

Here we are. We’re finally at the game that I had fully expected would finish up this retrospective series. Little did I know, however, that I’m slower than a fat baby wading through peanut butter at getting these written. So I could have finally finished the series up with just one more post after this one. But no, Volition and Deep Silver decided to spite me personally by releasing Saints Row IV while I was writing this, thus moving my goalposts farther away just as I was coming in for a homerun. Or however sports work. Whatever, I’m nothing if not flexible, I can roll with this. So, Saints Row: The Third! That’s a game! Here’s a giant freakin’ post about it! Read it and shower me with adoration!

Oh, and for the record, I still haven’t played Saints Row IV by the time this post comes out, so keep that perspective in mind.

It seems that Saints Row 2 was a bit of a surprise hit, and Volition/THQ was aiming to take advantage of that newfound popularity in Saints Row: The Third. Everything in the game has been overhauled, from the tone to the engine, even the blasted title’s changed format for this entry. And while I may not agree with all the changes, I can’t argue with their effectiveness; this is by far the most unique game in the series to date, drastically setting itself apart from all the rest of the sandbox crime simulators out there.

It’s the tone that does that, more than anything else. This game is where the Saints Row series leaves any ties to reality behind, leaping from the diving board of the rational and plunging right into the deep end of insanity. This is the game where you’ll be assaulting people with giant purple dildos, where you’ll wage war as a deeply immersed avatar on the internet, where you’ll get into tank battles while falling from 25,000 feet in the air. Saints Row: The Third pushes the reputation the series had gotten for blatant irreverence and wild gameplay to it’s breaking point, and then pushes it just a bit further. The series has always been known for being wild, and this game is the most blatant of the lot.

That’s not to say that the tone is everything. Behind the newly reached heights of ridiculousness lies the most highly polished game in the series thus far. Except maybe for Saints Row IV. But we’re ignoring that right now because Deep Silver did not get my permission before publishing. In what feels like pursuit of a broader audience, Volition has given Saints Row: The Third the smoothest gameplay the series has seen yet, and made player convenience the order of the day. Well, mostly. There are a few missteps here and there, but we’ll get to those. It may be telling that this is the first game I’ve pursued 100% completion while replaying them for this retrospective series. While part of that is because The Third is a bit simpler and smaller than it’s predecessor, it’s mostly that I found the gameplay so entertaining and each individual aspect so accessible. It’s a good game. It’s a really good game. So much so that it inspired me to write 22 pages of text on it. That has to be some sort of point in its favor, right?

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We Used to Own This City! The Saints Row Retrospective: Saints Row 2

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Saints Row Retrospective Introduction hereSaints Row 1 here, Saints Row The Third here.

Saints Row 2. This is where it gets real. The first Saints Row was good and all, but this is where the series cut its teeth. You’ve probably heard of the Saints Row series being wild, chaotic, and proudly removed from reality, but if you started with the first Saints Row, you would understandably end up confused. “Why don’t I get to crash into things on a quad while on fire?” you might ask. “Where are the missions where I let lose with a septic truck?” “I thought I would get to kill people with a giant purple dildo!”

Well, you don’t get to in the first game. That game has its moments, but it still leaves a foot in the real, the rational, the “mature.” It was content with its position as being “mostly a GTA clone” and did not stretch itself any further than that. Saints Row 2 was where the series got its wings, where it finally took efforts to distinguish itself from Grand Theft Auto and its many imitators. And although Saints Row 2’s gameplay did get updated, that’s not what really sets it apart. This is where the Saints Row character was defined. This is the game that established the insane moments, wild fun, and blatant, loving immaturity the series is known for. And I wouldn’t have it any other way.

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Sinners Welcome! The Saints Row Retrospective, Part 2: Saints Row

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Saints Row Retrospective Introduction here, Saints Row 2 hereSaints Row The Third here.

We’re moving forward with our Saints Row Retrospective project, finally getting into real games. Who needs that foo-foo introduction crap anyway? This is where it’s really at! Here’s where we get into the meat of it, where we really find out what Saints Row is all about!

So here we are, talking about Saints Row, the first game in the Saints Row series. Go figure. Saints Row establishes a lot of what the following games pick up on and run with. And by “establishes” I mean “rips off from GTA” of course. I give it a lot of guff for that, but really, lots of games were ripping of Grand Theft Auto by the time this came out and Saints Row did it better than one might expect. Its definitely built off of the mechanics and style GTA III started, but the developers really added their own bits to it and made something unique. On-foot combat was made into something useable. The irreverent tone was expanded upon even as most crime games, GTA included, ditched the jokes for the drama masks. The city you were terrorizing had much more for you to do in between missions. Saints Row added enough to the formula that discounting it as just a GTA clone is doing it a disservice. It’d be more accurate to simply call it “mostly a GTA clone.”

Saints Row is a sandbox game where you are responsible for inflicting as much chaos, destruction, and straight up weirdness on the city of Stilwater as possible. Your nameless, customized character, known only as “Playa,” is an enforcer for the Third Street Saints, and as enforcer, your goals are to end gang warfare in Stilwater by murdering each and every member of the other three gangs in the city. Along the way, you’ll commit no small number of major and minor crimes, mostly through missions and non-storyline activities. It’s a sandbox game. Those things are made for messing stuff up. You’ve got pretty typical driving and third-person dual stick shooter controls. They put them together in a way that’s not quite great, but it functions well enough to make thousands of bangers dead. The plot’s fairly straightforward. There’s only a few twists, and they’re mostly towards the end. But you’re not playing for the plot anyways. The game doesn’t expect you to. All it expects you to do is destroy, and it dedicates itself to setting up just what you need for that.

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Just down the block from Sinners Alley: Saint’s Row Retrospective, Part 1-Introduction

So, I’ve had this blog for weeks now.  Weeks.  And yet I haven’t done any things with it yet.  Should we do a thing?  I think we should have done a thing already.  Are you ready to do a thing?  I’m home alone and have had way too many margaritas.  That makes it the perfect time to do a thing!  Let’s do a thing!

What thing you ask?  Well, you probably ask that because you’re too impatient to read the post’s title.  In memorium of THQ, we’re going over the Saints Row series!

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So, we’ll be doing this in five parts.  The first post, which you’ll be reading here, will give an overview and my thoughts on the series based solely on memory.  Kind of a summary of things to come.  Then, I’ll play through the games, making a post for each one as I finish them.  We’ll get more in-depth in the analysis there, covering the various characters, the plot, the gameplay, all that fun stuff.  Then, at the end, I’ll give a more informed retrospective of the type of stuff the series covers.  Interested?  Of course you are!  Hit the jump to find out more!

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