Excerpt: Nazis and aesthetics, it’s a dangerous subject and one The Saboteur, just like so many things, dares to touch but doesn’t succeed in understanding, let alone integrate it in an adult and intelligent way into the gameplay and storyline that gets put up around it.
Excerpt: I’ve been sitting here wracking my brains over something. Possibly you can help. It’s just that I simply can’t think of a single other game that opens with a woman dancing in nipple tassels in a burlesque club filled to bursting with carousing Nazis.
Excerpt: The Saboteur is a strange, hodge-podge mongrel of a game. It's got the open world and vehicle-nabbing of the GTA series, the free-flow climbing of Assassin's Creed, and the sneaky kill-em-from-behind action of any stealth game released over the past decade.
Excerpt: Ah, Saboteur ... it brings me back to the days when videogames were all in black and white. Okay, maybe that was movies, but The Saboteur uses color saturation skillfully to manipulate the feeling of areas, portraying a sense of hope (color) springing out of hopeless oppression of Nazi occupation...
Conclusion: 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.
Conclusion: Those well-publicized aspects are superbly complemented by interesting, well-acted characters—there’s plenty of good guys you’ll root for and evil-doers you’ll love to hate—and a ripping yarn that’ll keep you engrossed until you’ve wasted your last Hitler-Heiling baddie.
Conclusion: For Pandemic Studios’ last videogame release, The Saboteur showcases what made the studio famous, while also showcasing a side that shouldn’t be a resent. While this game will provide countless hours of entertainment via blowing things up, racing and the occasional side mission or two, The Saboteur...