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Though Volition constructed a wholly new map for Saints Row: Gat out of Hell, designed specifically for flying players, at its core the game is still an open-world crime sandbox. What I saw on that flight was as lovely as fire and brimstone can be, and dodging missiles in flight is both acrobatic and fun, but the speed at which I picked up more than 10 percent of all of the orbs in Saints Row: Gat out of Hell is an early hint of how quickly the seeming wealth of content can run dry. Within five minutes I'd collected over 100 orbs and traversed 80 percent of the map. Once I'd upgraded my abilities sufficiently, I decided to take a long flight collecting as many orbs as I could.
For the most part these orbs are thoughtfully placed and provide players coming to grips with the freedom of flight a few dozen interesting aerial courses to follow, but here is where the game starts to shake apart. Much like Saints Row 4, the world of Saints Row: Gat out of Hell is pocked with glowing blue orbs that serve as a currency toward unlocking demonic superpowers.
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It's by far the best way to traverse the map (even after fast travel points are unlocked) and is the only way to gather the majority of the game's upgrade orbs. It's a good thing in-game flight feels so natural, because players will be using it frequently. Mastering this concept is the key to long, sustained flight, but it's made easy by crisp, responsive controls and in-game physics that feel instinctively correct – like you're maneuvering a human-sized plane with the agility of a hummingbird. Lose too much speed and the wings cease to function. When climbing into the air, players will lose speed, but gain speed as they dive. That's as solid a gameplay concept as it is ambitious, but Volition has a great sense for crafting movement mechanics that feel right and are entertaining on their own. This allows players to sprout angelic wings that, with enough upgrades, can be used for proper flight, not just gliding as in earlier games. Moments into the game, Johnny or Kinzie (players can freely switch between the two leads) receives an item that quickly becomes the cornerstone of Saints Row: Gat out of Hell, The Devil's own Broken Halo. Johnny Gat may be a murderous sociopath, but he's smart enough not to argue with the birthday girl.
Meanwhile, Johnny Gat threatens a mouthy ouija board with a pistol to summon his own hell portal while Kinzie insists she be allowed to join the adventure, not just because it gives the developers an excuse to include both male and female protagonists, but also because it's her birthday.
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Sadly, it's not to be, as the ridiculous body count The Boss racked up over the course of the series has caught the eye of Satan, who is so impressed that he pulls The Boss through a portal to hell in the hopes of arranging a marriage between the leader of the Third Street Saints and his rebellious teenage daughter. You've got balloons, party hats, 19th-century English novelist Jane Austen - everything you'd need for a great party. After defeating Zinyak's alien hordes in Saints Row 4, we see The Boss (aka the custom character protagonist central to the Saints Row franchise) and friends hoping to relax at the birthday party of former FBI agent Kinzie Kensington.
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Saints Row: Gat out of Hell is developer Volition's most successful attempt at proving that a license is not required for a great, open-world superhero game, though a too short run time, a few technical flaws and some odd design choices keep it from eclipsing Saints Row 4.It's best to think of Saints Row: Gat out of Hell as a continuation of the Saints Row 4 plot with new protagonists. It's gorgeous, in a grim sort of way, and is pocked with all kinds of neat diversions and fun excuses for Johnny to test his new demonic superpowers.
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Concrete roads crack and spiral around pits of molten lava while glowing obelisks hover ominously above crowds of shambling, doomed souls huddled within a twisted mockery of a human metropolis. With that succinct intro, Saints Row: Gat out of Hell drops players into a netherworld that's equal parts Hieronymous Bosch, Megadeth album covers and the 1989 Beetlejuice cartoon series. Through bat-winged demons, flaming monster trucks and historically questionable playwrights, Johnny will do whatever he can to save his friend, especially if it involves punching Satan in the face. When Johnny's best pal is pulled into the netherworld, he jumps in after him, guns blazing. But you're not Johnny Gat, resident murder-happy antihero of the Third Street Saints.
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If your best friend, a person who has saved your life countless times (often in super-cool, action movie fashion), was sucked into hell, would you go after them? Of course not, that's ludicrous.
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