#Saints row 3 music how to

Guardians of the Galaxy is so close to understanding this, and for the most part, it works. While it lacks the guns-to-music beat, it feels fresh out of Baby Driver, like the scene could not exist if separate from the song it is an essential piece of the jigsaw, not just an extra dash of seasoning thrown on top. ThereвЂ™s a moment in Saints Row The Third when you attack a rival hideout, and the game decides to blare out Kanye WestвЂ™s Power while you rush in and hold your ground against the odds in a fit of carnage, mayhem, and bullets. This is why, while itвЂ™s the best since Saints Row The Third, it still canвЂ™t eclipse it. The music should start right when the developers decide is the perfect moment, not whenever I feel like huddling up. While injecting the biggest fights with вЂ80s cheese is genius, letting me be the one to push the play button is ludicrous. Most boss battles are long enough that youвЂ™ll get to huddle, but itвЂ™s up to you when you activate it, and the huddle boost doesnвЂ™t always last between phases. Taking on Lady HellbenderвЂ™s greatest allies all to the tune of Wake Me Up Before You Go Go is a spectacular piece of direction, but it also brings me to GuardiansвЂ™ soundtrackвЂ™s biggest problem - itвЂ™s entirely reliant on the huddle. ItвЂ™s not quite on the level of RedboneвЂ™s Come And Get Your Love as heard in our cinematic introduction to Star-Lord, but itвЂ™s pretty close. Since this is coming through QuillвЂ™s headphones, itвЂ™s an active piece of music in the world, and QuillвЂ™s cassette player itself ends up being involved in some major story moments. Once you reach enough style points, you huddle up and everyone becomes supercharged, all while slick вЂ80s pop blares in the background. GuardiansвЂ™ huddle mechanic in combat is divisive, given that it completely pauses combat, takes far too long, and soon feels repetitive - but the outcome of it is glorious. But Guardians and Saints Row do so much more with their music.

I often listen to music when IвЂ™m playing open-world games anyway, and IвЂ™ve written before about why we need an Alt-Z Lorde shooter. And hey, thatвЂ™s fine and essential to your agency within these virtual places.

GTAвЂ™s hugely varied, detailed, and curated radio stations are a marvel, and Cyberpunk 2077вЂ™s riff on them with original tracks from the likes of Us Cracks are even more impressive - but theyвЂ™re just a background to the world itself. In the here and now, the fact Guardians relies on existing music elevates its biggest moments, and makes it the best use of a video game soundtrack in years. Related: Give Me A Gamora Game Right NowMaybe Last Surprise and songs like it deserve more radio spins, but the fact is they donвЂ™t get them. These are songs that exist outside of that one cinematic moment, songs just as at home on the radio as they are on the silver screen. With films, though you have instantly evocative original scores in the likes of Jurassic Park or Star Wars, you also think of (DonвЂ™t You) Forget About Me, Eye of the Tiger, Lose Yourself, and I Will Always Love You. When you think of iconic video game songs, you think of Persona 5вЂ™s Last Surprise, the melodic beeps of Pokemon Blue, or some soft, sad piano track as the screen fades to grey.

Video games have always secretly wanted to be films, but the use of soundtracks is one of the biggest differences between the two mediums.

#Saints row 3 music how to

ItвЂ™s the best video game soundtrack since Saints Row The Third, not just because it has excellent tunes, but because it knows exactly how to use them. The need for streamer mode these days means using licensed music is even harder, but while video games shy away from a proper soundtrack in favour of original scores, Guardians of the Galaxy comes out swinging. While games are getting ever more impressive scores, they still havenвЂ™t quite mastered the art of a soundtrack.