The Saints Row saga has experienced a notable decline in sales and interest since its third installment, which reached a milestone in the industry by selling over 5.5 million units. Despite the expectations, the Saints Row reboot in 2022 became a commercial failure, leading Embracer Group to close Volition, the studio behind the franchise, just a year after its release. Neither a sequel nor a reboot: a prequel However, the franchise could be on its way to a revival. Chris Stockman, creator of the first Saints Row, has […]
The Saints Row saga has experienced a notable decline in sales and interest since its third installment, which reached a milestone in the industry by selling over 5.5 million units. Despite the anticipation, the Saints Row reboot in 2022 became a commercial failure, leading Embracer Group to close Volition, the studio behind the franchise, just a year after its release.
Neither a sequel nor a reboot: a prequel
However, the franchise could be on its way to a revival. Chris Stockman, creator of the first Saints Row, revealed in a Reddit forum that Embracer has contacted him to discuss the possibility of developing a prequel to the original game. According to Stockman, the company requested proposals from him, and he expressed his willingness to carry out a new concept that recaptures the semi-realistic and satirical tone characteristic of the early installments of the saga.
Stockman commented that his vision includes the possibility of setting the game in different decades, suggesting that they could explore the 70s, 80s, or 90s, which would bring an innovative and nostalgic approach to the narrative. However, the feasibility of this proposal is uncertain, especially after the closure of Volition and the restructuring of investments in Embracer, which raises doubts about whether the discussions between Stockman and the management will actually materialize.
Despite the uncertain situation, many fans of the saga hope that Stockman’s vision can rejuvenate Saints Row and return the essence that made it a benchmark within the genre during the craziest moments of the video game industry. If progress is made in this direction, the franchise could find a new path in an increasingly competitive market.
Chris Stockman, former design director of Saints Row, has stirred controversy by expressing his support for GTA 6 to have a price of $100. In a recent interview, Stockman argued that the scale and production cost of the game, estimated at around $2 billion, would justify this price, positioning it as the most expensive game ever created. An opinion that has generated a lot of discussion. With some titles already reaching prices of $80, the possibility that Rockstar Games, under the umbrella of Take-Two Interactive, sets a launch price of $100 has fueled the debate among the […]
Chris Stockman, former design director of Saints Row, has stirred controversy by expressing his support for GTA 6 to have a price of $100. In a recent interview, Stockman argued that the scale and production cost of the game, estimated at around $2 billion, would justify this price, positioning it as the most expensive game ever created.
An opinion that has caused rivers of ink to flow
With some titles already reaching prices of $80, the possibility that Rockstar Games, under the umbrella of Take-Two Interactive, will set a launch price of $100 has fueled the debate among fans and industry experts. Although Stockman acknowledges that GTA 6 could afford such a label, he warns that not all developers could follow this model without facing criticism. “GTA is the only one that can get away with this,” he stated, suggesting that a widespread price increase could cause considerable resentment among players.
Despite the possibility that the price of $100 may be seen as a way to offset the high development budget, a recent study warns that this figure could deter a significant number of fans from purchasing the game, which in turn could translate into a loss of revenue for Rockstar. The research suggests that such a high price could “leave money on the table,” restricting access to a portion of the potential market that could become resistant to the cost.
With the release of GTA 6 still on the horizon, discussions about its price reflect the complexity of balancing quality and accessibility in the video game industry. As the community awaits news, the pricing trend in this genre could be about to experience a significant shift.
The Strong National Museum of Play has acquired the Volition collection, which includes essential materials to reconstruct the 30-year history of the developer behind the popular Saints Row series. This surprising find offers a unique insight into various forgotten projects, including a playable demo of a Batman game, developed in 2003, that was never released to the public. Stealth, puzzles, and everything we expect from the bat The museum’s digital preservation director, Andrew Borman, recently showcased the demo, revealing a game that features stealth mechanics and puzzle-solving that anticipated aspects of […]
The Strong National Museum of Play has acquired the Volition collection, which includes essential materials to reconstruct the 30-year history of the developer behind the popular Saints Row series. This astonishing find offers a unique insight into various forgotten projects, including a playable demo of a Batman game, developed in 2003, that was never released to the public.
Stealth, puzzles, and everything we expect from the bat
The digital preservation director of the museum, Andrew Borman, recently showcased the demo, revealing a game that features stealth mechanics and puzzle-solving that anticipated aspects of future titles in the Arkham series. Although the demo suffers from certain imperfect aspects, it showcases the early innovations of Volition, such as the use of tools like binoculars, grenades, and a grappling hook.
The context of the Batman demo is intertwined with the development of a game called Underground, which was supposed to be a heist title in an open world. However, this project was canceled for not resonating with the expectations of the marketing team after the success of Grand Theft Auto III. The co-founder of Volition, Mike Kulas, had mentioned that the game’s mechanics did not meet the market demands at that time.
Despite the similarities that arose between what Underground was supposed to be and the ideas outlined in the Batman demo, the game never saw the light of day due to the interruption of its development. Thus, the acquisition by the museum not only preserves fragments of Volition’s history but also highlights how the studio has even more history than we know.
Harry Potter, a cultural phenomenon that transformed teenage narrative in the early 2000s, had a limited impact on the world of video games. Despite the enormous popularity of J.K. Rowling’s novels and their successful film adaptations, the potential of its magical universe did not translate into memorable video games in those early years. An RPG that could have been a true milestone Between 1998 and 2000, the studio Volition, known for its work on the Saints Row series, planned to develop an RPG set in the world of Harry Potter, following the trends of […]
Harry Potter, a cultural phenomenon that transformed teenage narrative in the early 2000s, had a limited impact on the world of video games. Despite the enormous popularity of J.K. Rowling’s novels and their successful film adaptations, the potential of its magical universe did not translate into memorable video games in those early years.
An RPG that could have been a true milestone
Between 1998 and 2000, the studio Volition, known for its work on the Saints Row series, planned to develop an RPG set in the world of Harry Potter, following the trends of titles like Baldur’s Gate. According to Andrew Borman, director of digital preservation at The Strong National Museum of Play, the Volition team was immersed in the plot of the first two books of the saga and outlined a prototype in a presentation to the rights holders, which included iconic characters like Harry and Hagrid.
The demo, although rudimentary and made in just a couple of weeks, showcased a world that evoked the village of Hogsmeade, in addition to implementing character-switching mechanics that could have added depth to the game. Unfortunately, despite the enthusiastic presentations, the project never received approval and was shelved without the public ever knowing of its existence.
In an ironic twist, the closure of Volition in 2023 put an end to any hopes of reviving this ambitious project. While fans have been able to explore the world of Harry Potter across various platforms such as movies, books, and the recent success of Hogwarts Legacy, the realm of video games has had to wait to capture the essence of the saga through other developments and adaptations.
Thus, what could have been a memorable delivery in the digital environment has become a forgotten chapter in the history of video games, highlighting the difficulty of translating such a rich and complex narrative into an interactive format in its early years.
The world of video games is at a decisive moment, marked by the unprecedented rise of multiplayer titles and online components. Games like Marvel Rivals, GTA Online, and Counter-Strike 2 have captured the attention of millions of users daily, leading to a resurgence in the importance of these social experiences in the industry. However, this phenomenon has raised concerns about the future of single-player games, whose development costs have grown significantly, making it difficult to achieve profits and leading some to project a bleak outlook for this […]
The world of video games is at a decisive moment, marked by the unprecedented rise of multiplayer titles and online components. Games like Marvel Rivals, GTA Online, and Counter-Strike 2 have captured the attention of millions of users daily, leading to a resurgence of the importance of these social experiences in the industry. However, this phenomenon has raised concerns about the future of single-player games, whose development costs have grown significantly, making it difficult to achieve profitability and leading some to project a bleak outlook for this genre.
Innovation is what will keep single-player games alive
Swen Vincke, founder of Larian Studios and director of Baldur’s Gate 3, has spoken out strongly on this topic, challenging the narrative that suggests single-player video games are doomed to disappear. On his Twitter account, Vincke argues that innovation is the key to revitalizing this category of games. He has pointed out that claims that there is no future for these projects can discourage investment in the sector, something he considers harmful to the industry as a whole.
On the other hand, Matthew Karch from Saber Interactive has expressed his concern about the high production costs that have led to the downfall of studios like Volition, affecting the continuity of franchises like Saints Row. In a recent interview, Karch emphasized that in a context where titles have million-dollar budgets but generate revenues that are often much lower, it is natural for many developers to face uncertainty and unemployment.
Despite these challenges, Vincke’s defense of single-player games could mark a new perspective within the industry, highlighting the need to find a balance and foster innovation to ensure their long-term viability.
Puede que una década después de la última entrega los jugones quieran probar otras cosas.
Podemos estar esperando ‘Zelda: Tears of the Kingdom’, ‘Assassin’s Creed Mirage’ o ‘Spider-man 2’ como agua de mayo, pero todos sabemos cuál es el juego que va a copar más titulares desde el momento en que se anuncie de forma oficial: ‘Grand Theft Auto VI’. Después de que su quinta parte vendiera 175 millones de copias dando un beneficio de 6.000 millones de dólares a Rockstar, parece que la productora está mimando cada detalle para que nadie se quede con las ganas. Y sin embargo… puede que una década después de la última entrega los jugones quieran probar otras cosas.
Dos años después de que ‘San Andreas’ revolucionara la industria, ‘Saints Row’ se lanzó a la venta como un simple clon. Una copia a mano alzada y no con papel cebolla, pero copia al fin y al cabo. Sin embargo, introducía un tema que ‘GTA’ abandonaría en sus siguientes entregas: la pertenencia a una banda. Mientras que la saga de Rockstar trataba la historia de un lobo solitario metido en un mundo criminal (por gusto o por salvar el pellejo), la de THQ tenía otro enfoque.
A partir de ‘Saints Row 3’ las cosas cambiaron sobremanera. Y es que, de repente, explotó la locura, la comedia, las situaciones inverosímiles, el ambiente más festivo. Mientras que en ‘GTA V’ veíamos una historia de crimen y venganza oscura y sin redención (que no le importó a nadie), en ‘Saints Row IV’ tu personaje, el mismo que en los juegos anteriores, conseguía superpoderes, se convertía en el presidente de los Estados Unidos y tenía que parar un ataque alien. Lo mismito, vamos.
Y por si te quedabas corto, ‘Saint Row: Gat out of hell’, su DLC, te permitía jugar con dos miembros de la banda mientras trataban de rescatar a su jefe del Infierno después de que Satán le secuestrara. Y ojo, nadie está diciendo que ‘GTA’ tenga que convertirse en un absurdo repleto de locuras dejando de lado su ADN, pero, para ser sinceros, a lo largo de ‘GTA Online’ también ha cambiado lo suficiente como para preguntarnos… Realmente, ¿qué es ‘GTA’?
¿Tiene personalidad propia ‘GTA’?
Aún poco sabemos de ‘GTA VI’, pero ante la recepción del modo historia de la quinta parte (espectacular en lo jugable, increíble en lo gráfico, decepcionante en lo narrativo), que, de hecho, ni siquiera ha lanzado un DLC, es posible que el equipo esté mirando más lo que hace la comunidad en el modo online para ajustar uno de los juegos más esperados de la década hasta el límite.
Dicho de otra manera: ni tan serio y apocado como viene siendo habitual, ni tan cómico y loco como en ‘Saints Row’. La idea de volver a jugar como un lobo solitario, teniendo la posibilidad de unirse a una banda, se hace ya repetitiva: al fin y al cabo, en el juego de Deep Silver la pertenencia a un grupo sirve para ver una evolución real y unos personajes que evolucionan juego a juego, creando conexión con el espectador. Si en un ‘GTA’ no funcionan, no hay nada que te haga volver a ellos.
Quizá no hay que abandonar la historia del criminal solitario que se enfrenta a los peces gordos, pero sí darle más profundidad, permitir que el jugador haga locuras si es lo que quiere… O darle la oportunidad de tener más contacto con otros personajes secundarios. ‘GTA’ pavimentó el camino para el triunfo de ‘Saints Row’, pero ahora puede que cambien las tornas: Rockstar ha creado dos juegos totalmente diferentes en uno mismo, y volver a la sobriedad de su historia cuando han acostumbrado al público a la sinvergonzonería del modo online puede ser una pastilla difícil de tragar.
Eh, montemos una banda
El camino que se abre delante de Rockstar no es fácil de seguir y está repleto de bifurcaciones para entender qué es realmente su saga estrella una década después de su última aparición. Incluso franquicias míticas como ‘Zelda’ se han ido adaptando poco a poco a los gustos de la gente para encontrar un nuevo ADN (de mazmorreo a mundo abierto) y la repetición constante, por muy espectacular que sea, solo va a dar lugar a, tarde o temprano, el abandono de los gamers.
Todo lo que sube no tiene por qué bajar, pero Rockstar necesita, quizá, echar un vistazo a esos mal llamados “clones” y ver si lo que proponen tiene sentido más allá de los coches, las pistolas, los tiroteos y todo lo que hace a ‘GTA’ la franquicia millonaria que es. Es un ejercicio de abandono del ego, pero puede dar lugar a aquello con lo que todos los desarrolladores de videojuegos sueñan: una nueva entrega que sepa a lo mismo de siempre pero tenga las suficientes novedades como para querer volver a pasar por caja otra vez. Y otra. Y otra más.
A decade after the last installment, gamers may want to try other things.
We may be waiting for ‘Zelda: Tears of the Kingdom’, ‘Assassin’s Creed Mirage’ or ‘Spider-man 2’ as if we were waiting for May, but we all know which game is going to make headlines from the moment it is officially announced: ‘Grand Theft Auto VI’. After its fifth part sold 175 million copies giving a profit of 6 billion dollars to Rockstar, it seems that the producer is pampering every detail so that no one is left wanting. And yet… a decade after the last installment, gamers may want to try something else.
Two years after ‘San Andreas’ revolutionized the industry, ‘Saints Row’ was released as a simple clone. A freehand copy and not with onion paper, but a copy nonetheless. However, it introduced a theme that ‘GTA’ would abandon in its following installments: gang membership. While Rockstar’s saga dealt with the story of a lone wolf in a criminal world (for fun or to save his skin), THQ’s had another approach.
From ‘Saints Row 3’ onwards, things changed a lot. Suddenly, madness, comedy, implausible situations, and a more festive atmosphere exploded. While in ‘GTA V’ we saw a story of dark crime and revenge without redemption (which nobody cared about), in ‘Saints Row IV’ your character, the same as in the previous games, got superpowers, became the president of the United States and had to stop an alien attack. The same thing, come on.
And if that wasn’t enough, ‘Saint Row: Gat out of hell’, its DLC, allowed you to play with two members of the gang as they tried to rescue their boss from Hell after Satan kidnapped him. And mind you, no one is saying that ‘GTA’ has to become an absurdity full of craziness leaving aside its DNA, but, to be honest, over the course of ‘GTA Online‘ it has also changed enough to ask ourselves… Really, what is ‘GTA’?
Does ‘GTA’ have its own personality?
We still know little about ‘GTA VI’, but given the reception of the story mode of the fifth part (spectacular in gameplay, incredible in graphics, disappointing in narrative), which, in fact, has not even released a DLC, it is possible that the team is looking more at what the community does in the online mode to adjust one of the most anticipated games of the decade to the limit.
In other words: neither as serious and demure as usual, nor as comical and crazy as in ‘Saints Row’. The idea of returning to play as a lone wolf, having the possibility of joining a gang, is already repetitive: after all, in Deep Silver’s game, belonging to a group serves to see a real evolution and characters that evolve game by game, creating a connection with the viewer. If they don’t work in a ‘GTA‘, there’s nothing to bring you back to them.
Maybe we shouldn’t abandon the story of the lone criminal taking on the big shots, but we should give it more depth, allow the player to do crazy things if that’s what he wants… Or give him the opportunity to have more contact with other secondary characters. GTA’ paved the way for the triumph of ‘Saints Row’, but now the tables may turn: Rockstar has created two totally different games in one, and returning to the sobriety of its story when they have accustomed the public to the shamelessness of the online mode can be a hard pill to swallow.
Hey, let’s start a band
The road ahead for Rockstar is not easy to follow and is full of bifurcations to understand what its flagship saga really is a decade after its last appearance. Even mythical franchises like ‘Zelda‘ have gradually adapted to people’s tastes to find a new DNA (from dungeon crawling to open world) and constant repetition, no matter how spectacular, is only going to result in, sooner or later, abandonment by gamers.
Everything that goes up doesn’t have to come down, but Rockstar needs, perhaps, to take a look at those misnamed “clones” and see if what they propose makes sense beyond the cars, guns, shootouts and everything that makes ‘GTA’ the million-dollar franchise that it is. It’s an exercise in ego abandonment, but it may lead to what all game developers dream of: a new installment that tastes like the same old thing but has enough new features to make you want to go back to checkout again. And another one. And another one.
