She takes command of her own decisions, and in doing so, breaks away the role of a character who is stifled by the men around her and becomes the driving force behind the Saints vengeance. The male characters, as well as the protagonist, do attempt to stop her but ultimately falls short when she puts them in their place and calls them out for trying to stop her grieving. Shaundi, a key character in all games but the first, is the first to express her grief by wanting to brutally murder those who took her friend away. Grief isn’t new in Saints Row, but the way it is handled here is wildly different from the first two games. In Saints Row: The Third, the Saints suffer the loss of one of their dearest friends. Of course, Saints Row: The Third was far from perfect, and it isn’t completely free from criticism, but it was most certainly a step in the direction for a ton of the characters within the series, as well as a more cohesive, mature story. Whether because of Anita Sarkeesian rightfully criticizing the second game or not, remains up to your own opinion. Women were more involved within the story’s plot and the men were actually allowed to be something more than homicidal, gun-happy gang members. The second game is rife with casual racism, misogyny and homophobia, but Saints Row: The Third ended up being a turning point for the better. Saints Row wasn’t always like this, of course.
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