The Saboteur [PS3]

03 Dec 2009 at 17:05:56 by Andy Alderson
Systems used to review this title: (PS3)

Following the news that Pandemic Studios was recently closed as part of EA’s streamlining program, the developer’s final title, The Saboteur, takes on even more significance. Not simply another open world action title, the game is now officially the last farewell to Pandemic. And the good, or bad, news (depending on how you look at it) is that The Saboteur is a fitting swan song to the developer and is up there with the best games it has made.

That’s not to say there was a huge amount of excitement when the game was announced. A new World War Two action title doesn’t tend to attract too much interest, but what The Saboteur is offering is something a little different – an open world set in World War Two Paris. And kudos to Pandemic for pursuing the idea because the combination actually works very well. Moreover, the developer has also managed to identify the most compelling aspects of open world gaming – a decent central story, an atmospheric game world, vertical movement and solid combat – and built The Saboteur around them. The result is a game bristling with atmosphere and good ideas, but hampered by a few technical issues.

The Saboteur tells the story of Sean Devlin (based very loosely on real life race driver and SOE operative William Grover Williams), an Irish racing driver who, following the death of his friend Jules at the hands of Devlin’s racing driver (and, as it happens, high ranking Nazi) nemesis, demands retribution. What begins as a pure revenge tale soon takes on a greater significance as Sean becomes drawn further into the Resistance partly out of his displeasure for the Nazis and partly due to the debt he feels he owes Jules’ family. The central story in The Saboteur is, for the most part done well and, while it’s pretty predictable in places, it does throw up the occasional surprise and some interesting characters. We’re particularly fond of posho turbo-slut British Agent Skylar St Claire, if only because she’s got the best porn name since Gusty McFlaps.

What the story of The Saboteur manages to achieve is atmosphere and this is reflected in the game’s impressive world design and art style. Despite the presence of thousands of Nazi scumbags, hell bent on world domination, The Saboteur’s Paris is actually a pretty nice place to live. Not only does the game feature many of the famous Parisian landmarks you’d expect to see, it also extends beyond the city showing off some lovely Champagne-esque countryside sections. What’s most impressive about the game world in The Saboteur, however, is just how hostile it is. Nazis are everywhere and this is where the game’s art style and the much-vaunted Will to Fight Mechanic comes in. In sections of the city with a heavy Nazi presence, the game world becomes a stark monochrome vision, decorated with the bold red of Nazi symbols. Oh and their blood, too, because these are the areas in which Sean will need to wreak some havoc in order to persuade the locals to rise up. Once an area has been liberated, it will fill with colour, indicating that Sean will have local support should he have another run in with the Nazis.

This art style lends a heavy dose of atmosphere to the game as do the well-judged jazz soundtrack and the frequently dark tone of the storyline. Without giving anything away, the very final section of the game’s storyline, for instance, drips with style as Sean heads towards the final showdown amid incredibly macabre scenes, brilliantly soundtracked by Nina Simone’s “Feeling Good.” It’s a real standout moment, a fitting end to the narrative and proof that Pandemic had some serious game.

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