Saints Row Has Me Feeling Some Kind of Way

I picked up the much-hated Saints Row reboot on the most recent Steam sale. I never played any of the previous entries in the franchise (unless you count Agents of Mayhem), though I’m broadly familiar with the basic concept of being a sillier cousin to Grand Theft Auto. I knew it was widely unpopular, but I’ve liked lots of unpopular games, and it looked fun in the trailers, so I figured I’d give it a shot.

My character getting ready for a bit of the old ultra-violence in the Saints Row 2022 reboot.In the end it did end up being another entry on the long list of disliked media that I’ve enjoyed. In fact I downright loved it. Oh, it was a bit buggy, and certainly not highbrow art, but I loved the characters, the totally unexpected wholesomeness, and the general light-hearted vibes of it. I really needed something light and silly right now, and it hit the spot for that super well.

But I’m not here to do my usual thing of staging an impassioned defence of a game everyone else hates. At least not exactly.

What really struck me playing this game was the sheer scale and detail of it, and the incredible amount of effort it must have taken from so many people to make a game this big.

The game world was huge. You can steal and drive every vehicle in the game, from food trucks to military grade aircraft. You can glide, and there’s whole mini-games around it. There are multiple in-game radio stations you can listen to while driving. There’s traffic, pedestrians, a day/night cycle, weather. The skybox realistically models light pollution such that you need to drive out into the desert to see the stars at night.

My character and her friends in the Saints Row 2022 reboot.And the customization! I spent an hour just on character creation. There are eight different potential voices for the main character, eight actors that would have had to record hundreds of hours of dialogue each. Dozens of different clothing pieces, all of which can be dyed any possible colour. You can customize the engine sounds of your car! There’s like forty different kinds of tire rims to choose from!

And people looked at this game and said, “Meh, whatever.”

I know a lot of these features aren’t even unique, that other games even within this franchise have done much the same. But that’s kind of the point, isn’t it? How did this become ordinary to us?

I grow up with DOS games. If they had any kind of story at all, that was amazing. If they had more than one or two lines of voiced dialogue, that was mind-blowing. The crudest 3D graphics were a revolution when they arrived.

It’s just so bizarre to me that Saints Row can be both an artistic and technical triumph the likes of which would have been unimaginable thirty years ago, and a disastrous flop. It’s heartbreaking the amount of time, effort, creativity, money, and resources that went into building something that everyone immediately tossed away like a mouldy sandwich.

My character and her crew in the Saints Row 2022 reboot.I’m not saying the game’s perfect, not by a long shot. I liked it, but there’s plenty of areas it could have been improved. I can see how you might not be thrilled by it. But the whole “worst game ever, don’t even bother” vibe around it boggles my mind.

It’s the dismissiveness. The completely blase attitude towards something that had so much work put into it. We live in a time where technology has created such wondrous things, and we just let it become so mundane to us so quickly.

I’m not even really sure what point I’m trying to make here. I guess I don’t understand the modern gaming community. I don’t know how people can be so jaded.

I suppose I’m not immune. There’s some very big and impressive games that I think are just plain boring, and gods know I can be critical when I don’t like a game. But I try to remember the people behind these things, and honour the work that went into them. I don’t always succeed, but I do try.

My character going for a drive in the Saints Row 2022 reboot.I don’t know. I don’t know what I’m trying to say here. I guess I want to take this opportunity to appreciate how far games have come since I was a kid. We are incredibly fortunate to live in a world where a game like Saints Row can be considered a failure.

The Inexplicable, Irredeemable Disaster of Picard’s Second Season

I debated whether or not I should even write this post. Partly because I try not to be too negative in what I write (I know it doesn’t always seem that way), and partly because fully covering everything that went wrong with the second season of Star Trek: Picard would pretty much be a full-time job. I genuinely feel you could devote an entire podcast to breaking down why every single scene of this season failed, either in isolation or in the greater context of the story.

The official logo for Star Trek: Picard.It’s awful. Utterly, irredeemably, inexplicably awful. It is almost certainly the worst season of any Star Trek show, and very possibly the worst season of any TV series I have willingly sat through.

Nothing about this season makes sense, on any level. And I don’t just mean in the sense of continuity errors or plot holes, although there is an astronomical number of those. None of it even makes sense emotionally, or from a story-telling perspective. It’s an endless series of massive blunders that were not only avoidable, but which the writing team went out of their way to create.

How bad is it? Going in, I had low expectations, especially given the severe flaws of the first season, but the one thing I was sure of was that there was no way they could screw up the reunion of John de Lancie and Patrick Stewart. Two actors that are brilliant individually, and who have massive on-screen chemistry. An entire season of them playing off each other couldn’t possibly be all bad.

But baffingly, that’s not what we got. In the entire season, Picard and Q have about three scenes together, totaling what felt like at most five minutes of footage. In a ten episode season.

This was the easiest of easy wins, and they still managed to find a way to squander it. It’s like if I offered someone a million dollars to tell me what 2 + 2 is, and they refused because they wanted to pursue their dream of selling used vacuum cleaners to uncontacted Amazon tribes.

Patrick Stewart in season two of Star Trek: Picard.Everything in this season is like that. Baffling, unforced errors that serve no purpose.

One of the greatest mistakes of Picard’s first season was under-utilizing Isa Briones, and she appears in only a handful of scenes in this season — not even playing the same character! Instead she plays a new character with no relevance to the plot, no interactions with the rest of the cast, and no reason to exist in the story whatsoever.

Nothing was stopping them from just including Soji in the season. Literally nothing. Like all of season two’s innumerable blunders, it was easily avoidable, but the writers dove headlong into it with reckless abandon.

Similarly, the Romulan warrior monk Elnor was one of the best parts of the first season, but he is quickly killed off at the beginning of season two. Even more baffingly, Picard — the character who actually has a history with Elnor — has no apparent reaction to his death, whereas Raffi — who has had just one scene with him up prior to this season — suffers a complete emotional meltdown over his loss.

I get that they are meant to have developed a friendship off-camera during the break between seasons, but we don’t really see any of it. “Show, don’t tell” is one of the most basic tenets of good writing — it’s one of the very first things you learn when you begin studying any kind of fiction writing — and it’s completely ignored here. To call it amateurish is unfair to amateurs.

There’s also Talinn, a human woman from hundreds of years in the past who mysteriously looks just like Picard’s Romulan maid, Laris. This great mystery is strung out for multiple episodes, only for us to eventually learn… she actually is a Romulan, presumably related to Laris. The most boring explanation possible, and there was no reason it couldn’t have been revealed off the bat. Just cheap drama for cheap drama’s sake.

Picard and Guinan in the second season of Star Trek: Picard.Or we could look to the fact that the writers just straight up forgot the circumstances of Picard and Guinan’s first meeting and ended up effectively ret-conning it out of existence.

All of this barely even begins to scratch the surface of this unpardonable disaster of a season, but I have not the will to keep going. The above issues at least stand out as most emblematic of the sloppy, nonsensical attempts at story-telling that defined the season.

Picard’s first season had a lot of flaws, but it set us up with all the ingredients for a fantastic show. Aside from the obvious talents of Patrick Stewart, we also got a great cast of compelling new characters, countless opportunities for powerful stories around the Romulan diaspora and the rehabilitation of the X-Bs, and a terrifying new threat in the form of extra-dimensional machine gods.

The second season threw all of that out the window in favour of a story that not only fails to achieve even the most basic tenets of good story-telling, but which appears to have done everything possible to avoid even brushing up against them.

I genuinely feel bad for Patrick Stewart and the rest of the cast. If the writers had tried to make the worst season possible, they could not have done any better.