Other areas have also seen similar upgrades: animation is smoother and flows together better than in the previous game, and there's a noticeable increase in the amount of post-processing effects in play, particularly in the more heated cut-scenes, where screen distortion effects and motion blur can be quite prevalent. A closer look at the texturing also reveals quite a bit of subtle detailing in many places: the small cracks that appear on the road and pavements, and the degradations manifesting on the walls of old buildings found throughout Steelport. The change in art direction in this latest instalment in combination with more restrained use of normal mapping and specular highlighting on some surfaces creates a more realistic look to the environments. Saints Row: The Third also represents a large graphical improvement over the second game in the series. In-depth characterisation and an intriguing story are left behind in favour of what made the earlier GTA games so much fun to play in the first place - that is, being able to mess around in an open-world playground where realism is given the elbow in favour of all-out insanity.
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Grab her, and the mission is clear.Grand Theft Auto may be taking a more serious tone as the series matures but the Saints Row games are moving in the opposite direction. The ones firing from above seem to have better accuracy, but if you kill them quickly enough, they won't cause enough damage to really hurt you.Īfter that, you'll have to beat another quick-time event, then fly to Shaundi again.
Choose one group and eliminate them all, then flip over and eliminate the rest. You'll have another wave of enemies, this time hitting you from above and below simultaneously. A cut scene plays, and then you're flying again. Miss, and you'll just be a blood spatter on the fuselage. Use the left stick to push yourself through the air, but keep your reticule on the blue waypoint as best you can.Īfter that, you'll have a one-shot scene where you'll have to shoot the windshield of a plane as it approaches you. You'll then have maneuver through some debris as ground below looms larger. Make use of the aiming button, because the targets will be pretty small. You'll have to do several switches as the enemies start dropping faster. You have mostly 360-degree control facing a given direction, but if you need to hit things "behind" you (relatively speaking), just tap A (360) or X (PS3) to switch.
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Despite gravity working against you, you have room to maneuver, apparently because you're the king of physics as well.Įnemies will start to come at different paces then, but a pop-up box will helpfully tell you how to maneuver. After that, you'll have some quick-time events, followed by a midair shootout. Line up your crosshair on her with the left stick, and when you get close enough to her, the game takes over for a moment with an animation. Shaundi has no parachute, so she's dead if you can't catch her. The enemies here are unarmored and can be shot easily enough, but aim for the head anyway: it's good practice, and the pistol fires slowly enough to be annoying when you need to fire multiple times. He'll die after enough shots against him, but he'll be useful as a buffer. Grab the first guy you come to by pressing Y (360) or Triangle (PS3) to use him as a human shield. Run down the stairs, but don't fire on anyone quite yet. Kill the first one, and you'll automatically loot and equip his gun. In the cargo area, you'll be jumped by guys with guns. The enemies tend to go after Shaundi at worst, or come at you and just stand there as punching bags at best. Simply pull the indicated buttons, and practice combos here while you have a chance. Stripped of weapons, you and Shaundi have to punch your way to safety several miles in the air.
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