Saints Row feels shorter than most open-world crime games, and has just a handful of missions. Otherwise, the plot is fairly by the numbers.
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Here, the main characters are just long-time friends, and decent people that give a shit about each other, which is cool to be part of, and ends up being the narrative glue that gets you through the campaign. Usually in games, most friendships are of convenience, because people are shooting at you, or functions as a sort of Stardew Valley arrangement where you put in tokens until a fully formed friendship drops out. It’s good to see these characters interact because it’s so rare for games to actually examine friendship. Sure, it devolves into murder, but it shows the team’s capacity for human kindness and a general interest for each other – a million miles away from the banter and mass murder approach that has typified open-world crime games in the past. Take a mid-game scene where an ice-cold badass killer – that would probably serve as the player character in the franchise’s pre-reboot form – is won over by the Saints, as he accompanies them on a “teambulding” day of doing their favourite activities. In the city of Santo Ileso, the main characters feel like well-rounded and kind people who care about each other on a deep level, though have no qualms in single-handedly killing the population of a small town before the final credits roll. Games are products of their environment, and it’s hard not to feel that – while tonally dissonant – the same era of shitty politics, everything being generally pants and the urge for human kindness that produced popular Apple TV+ show Ted Lasso has also created Saints Row. The Boss’ only real skill is senseless violence, and his interests are… crime, I guess. While your character – the Boss – is designed to be a blank slate for players, it means they don’t have the same magnetic charisma as the rest of the characters. The weak link is actually the player character.
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The new setting – millennial housemates who get pushed into creating a gang and taking on the entire city in a quest to pay rent and hold down a job – feels like a direct comment on 2022’s recession-soaked hellscape, and the characters are surprisingly well rounded: getaway driver Neenah loves cars, but she’s also a huge art nerd, while the perennially shirtless Kev is all about beats and brunch. The storyline is one of the best parts about the game, and kept me going until the end credits.
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