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All respekt till Pandemic som jag numer sörjer att de gått i graven. Jag hoppas innerligt på att kärnteamet som fick stanna kvar hos EA redan har inlett arbetet på en uppföljare. Vive la résistance! Vive le saboteur!
The action in The Saboteur is well executed and rewarding, so even though World War II is merely a backdrop and the stealth elements are underdeveloped, it's still a blast to spill gallons of Nazi blood and blow targets sky-high. The Saboteur may not be the most original sandbox game around, but it certainly stands out from the glut of other World War II-themed adventures, and it's a darn good time as long as you can put up with its minor problems.
La ambientación y su planteamiento jugable, si se le disculpan esos fallos que hemos señalado, lo convierten en un juego interesante, pero no es, ni mucho menos, uno de los mejores trabajos firmados por Pandemic, estudio cerrado por la compañía una vez se cerró el desarrollo de este juego.
It's easy to see why Saboteur was greenlit. Sandbox games are a popular genre and World War II is a popular setting so merging them seems like a savvy move. A good premise isn't enough, though. Ultimately it comes down to gameplay and while Saboteur has most of the features you'd want in a sandbox game, it doesn't execute them as well as similar games.
The Saboteur è un buon titolo, incapace di imporsi ai vertici di una stagione videoludica così ricca di grandi capolavori, ma sicuramente idoneo ad intrattenere l’utenza per tutte la durata della storia, grazie ad un’ambientazione ispirata ed un gamaplay piuttosto vario. Alcune ingenuità nel gamedesign e qualche limite tecnologico di troppo vanno ad inficiare il giudizio globale. Il titolo Pandemic è quindi una buona alternativa per tutti coloro in crisi d’astinenza da GTA o Assassin’s Creed o per chi non vede l’ora di intralciare per l’ennesima volta i piani dei malefici nazisti.
The Saboteur isn't a great game, nor is it a terrible one, although its constituent parts can be characterized using such descriptors. Great visuals, a unique approach to WWII-era storytelling, the "will to fight" system, and explode-and-run fun made me love what I was taking part in, but the actual nuts and bolts of the gameplay -- shooting, driving, climbing, stealth -- made me want to choke myself instead. Over time, though, I became acclimated to the sub-par mechanics and did enjoy my time with The Saboteur, and I think many players with the free time and cash can do the same. Unfortunately, the game had the potential to do great things with the foundation provided by its unique features and style, but it ends up feeling dated among a sea of competitors that all handle the gameplay end of things far better.
Timing is everything, and despite all the hard work Pandemic has put into The Saboteur, it is a little too late. A few more months in development could have made the difference. However, it is unfortunately that Pandemic didn’t have that luxury. Overall, The Saboteur has its moments, with a number of solid ideas that will likely keep you entertained for a while, just don’t expect the same level of polish that you can get out of some other sandbox action games. This time around the Saboteur couldn't ignite the fuse, and like its clever use of colour, this one fades to gray.
You can spend hours ranting about The Saboteur and its questionable design merits, and you wouldn’t be wrong. If Pandemic Studios were able to see the light of day for the next few months, The Saboteur could have been given the time to make a more sizable impact. Still, it’s hard to argue with driving through the streets of Paris and the French countryside in a slick classic car and blasting away the Nazi military machine, piece by piece, as you slowly walk away. Because cool guys don’t look at explosions. Oh, and titties.
In a year that also contains Red Faction: Guerrilla, which does open world action much better, and Assassin's Creed 2, which makes stealth action and wall-scaling effortless and fun, Saboteur falls a little flat. I almost feel like I'm beating the game up unfairly -- acquiring new weapons and vehicles, and escaping pursuing Nazis is always thankfully easy, and you'll have fun exploring WWII Paris. But too many other titles do the exact same things better for Saboteur to hold your attention long.
The Saboteur can be both addictive and engaging, but also rather stale, all at the same time. Serious issues such as the nature of a resistance campaign, terror tactics, victory at all costs, etc... are fairly buried underneath the game's lighter tones. Still, it's in line with Pandemic's other works so it's not like you should expect a moral masterpiece. If you want to put in the effort, than the rinse/repeat actions won't seem as boring as they should be. It's good to see that Pandemic's last game has some decent production values,(Although there are still some trademark glitches to be seen), but unfortunately the lack of proper post-release support could mean that any annoying bugs could be there to stay. Pick it up if you're looking for some destructo-derby fun, and don't mind a bit of travel.
With a concept and feature set that’s so tantalising, it’s a crushing disappointment that The Saboteur is a victim of its own ambition. It promises a game like no other, with a setting and subject matter that’s unique to the genre. Unfortunately the reality is something that harks back to the darker days of open world games, its individual elements uninspiring and its story a poor patchwork of clichés sewn together with juvenile smut and swearing - and it's a melancholy swansong for the once brilliant Pandemic.
The Saboteur’s greatest fallacy is that it nicks and steals aspects from better sandbox games. Grand Theft Auto 4, Assassin’s Creed 2, Infamous, all of which were probably in development cycles at the same time as The Saboteur, all pull off this sandbox parkour/violence/death/freeing the civilians nonsense a lot better. Maybe you have a strong urge to rescue the French, and that may be your motivation for playing The Saboteur. But that sense of Parisian pride will fade when you hear Luc’s wonderfully Looney Tunes accent.
Die idiotischen Kämpfe erreichen manchmal nicht mal Moorhuhn-Niveau und zerstören die teilweise aufkeimende Atmosphäre. Wenn ich nicht wüsste, dass das Spiel von Pandemic entwickelt wurde, also jenen Leuten, die mit Full Spectrum Warrior einen realistischen Kriegsschauplatz inszenierten, würde ich vielleicht auf die Jungs von Alarm für Cobra 11 wetten. Wer hier einen Alarm auslöst und von deutschen Soldaten gejagt wird, darf sich auf programmierte Realsatire freuen, die jeden Anflug von Verfolgungsspannung im Keim erstickt. All das explosive Zerstören, das Sammeln, das Rasen und Aufrüsten macht vielleicht zwischendurch Laune, aber liegt zwei bis drei Klassen hinter der Faszination eines Assassin's Creed II, inFamous oder GTA IV. Pandemic hätte sich weniger auf Möpse und Strapse, sondern mehr auf das Spieldesign konzentrieren sollen.
The Saboteur, then: not half as bad as the limp first few hours suggest. It's perhaps not the greatest company epitaph in the world but, as Devlin might say, while throwing himself out of a speeding car, knocking back a slug o' the good stuff and mashing a Nazi's head in with one punch: "It coulda been a lot worse."
But while the combat and destruction portions of playing as the Saboteur are fun, the story and effect you have on the world are disappointingly underdeveloped. Without spoiling too much, I'll just say that the story is cliched to a point where no surprises exist, and it's full of characters that you never quite give a crap about. It's sad how little your actions affect the world; despite giving people the "will to fight," wherein the world around Sean changes from black-and-white to color as the Nazi presence diminishes, you won't suddenly see the resistance actually fighting soldiers in the street, nor will the Nazis fully vacate "liberated" areas. If this concept of changing the will of the people had been more fully realized, and if the story hadn't been so forgettable, The Saboteur could've been pretty fantastic. Instead, it's less of a swan song and more of a pop single: catchy at times, but ultimately not something that will stick with you.
About the greatest success an open-world game can achieve is to dupe the player into believing, even on a sub-conscious level, that they are in a real place. Deep down, we know that these are all clockwork playgrounds constructed specifically for our amusement, so it's not an easy thing to do. But The Saboteur's gameplay systems never let you forget that you are playing a game, and the nakedness of the underlying machinery is one of the game's greatest shortcomings.
The Saboteur feels a little rushed and incomplete but has an unexplainably fun side to it. Frustrating and boring at times, it does give way to some great moments and conversation pieces. It’s hard to know whether Pandemic’s unfortunate closure became The Saboteur’s downfall as I can’t help but think that with a few more months of tidying up could have made this game a must-have. As it stands, it’s a nice diversion but a sadly one dimensional one.
The Saboteur kent door haar unieke opzet veel potentie, maar weet dit te weinig om te zetten in een goede game. De sfeer is goed, maar het verhaal wordt nergens echt interessant. Qua gameplay heeft The Saboteur simpelweg te weinig om het lijf om echt boven de middelmaat uit te stijgen. Geen fantastisch afscheid voor Pandemic Studios dus.
It's hard to imagine why anyone would opt for The Saboteur when they've got Assassin's Creed II as an alternative. Beyond its Parisian setting, The Saboteur fails to add any new ideas to the sandbox genre other than breasts. While this will probably be enough for some of you to consider a purchase, we'd strongly advise against it on the grounds of bog-standard gameplay. Still, if you want some very expensive softcore porn, then The Saboteur is right up your alley.
Gamestyle can't help feeling disappointed with their time spent in Paris. The Saboteur held much promise, which unfortunately never materialises whilst playing. It lacks the story of Grand Theft Auto IV, the destructive fun of Red Faction: Guerrilla, and the entertaining exploration of Infamous. Exploring Paris offers some entertainment, but the frustrating controls and questionable stealth system mean that liberating it is comme ci, comme ça.
A poor swansong for Pandemic, with a few novel ideas spoilt by a host of badly copied gameplay mechanics.