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Agent 47 strangles one of the women and punches her in the side of the head. The barely-dressed nuns line up outside the motel and launch a rocket at it, kicking off an explicitly violent fight. Agent 47, meanwhile, is putting clothes on, slipping a jacket over his shirt and pulling on his trademark black gloves. They bring pistols, SMGs and a rocket launcher out from under their habits before stripping them off to reveal tightfitting, PVC-and-leather, bondage-reminiscent costume, heavy on the suspenders, crotch shots and sashaying walks. The camera focusses on their breasts, downturned faces, and high-heeled shoes, before focussing on the eyes of one of the women. Meanwhile, a group of women dressed as nuns marches from a schoolbus parked outside the motel. HereвЂ™s a summary: Agent 47 strips off bloodstained clothing in a motel bathroom, redressing in his trademark crisp white shirt and red tie. If youвЂ™ve not seen Attack of the Nuns, itвЂ™s embedded below. ItвЂ™s obviously designed to shock, but the effect isnвЂ™t thought-provoking or emotional вЂ“ it leaves you feeling uncomfortable, mildly disgusted, and wondering what kind of warped conception HitmanвЂ™s marketing team has of what gamers want to see. The latest Hitman Absolution trailer, though, pairs gratuitous violence with sexualised imagery to create the most troubling piece of marketing material I think IвЂ™ve ever seen. WeвЂ™re also used to attention-seeking trailers. That absolves Gat Out of Hell of a lot of its sins, but nevertheless leaves it feeling restrained and underwhelming.WeвЂ™re all used to a bit of tasteless violence in videogames.

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First, this is an expansion, and so of course it's going to be smaller in scope than a full Saints Row game. Of the new events, Hellblazer and Salvation make use of Gat's flight ability, and as such are the best of the bunch. Survival and Mayhem also make the transition, and are similarly identical to previous versions. Torment Fraud is essentially a reskin of Saints Row IV's Insurance Fraud, in which you throw yourself in front of cars and fight against an irritatingly imprecise ragdoll system. There are only a handful of different activities, each repeated multiple times. Here, the smaller scale stuff seems more prevalent, and the grand set-pieces sorely lacking. It's functional, but the system feels more suited to large-scale carnage and mayhem than it does to the moment-to-moment headshotting of demons. Saints Row's combat has never been its strong suit, though. The exploding frog launcher was my constant companion throughout the game, and the armchair Gatling gun was funny enough in concept and execution to make it into rotation every now and then. Really, though, it ruins what could have been a wonderful surprise.

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Were I feeling generous, I'd argue that borrowing the movie industry's trick of spoiling a film's funniest bits shows how far comedy games have come. Even worse, the game's best joke вЂ“ which I won't spoil on the off-chance you haven't seen it вЂ“ was released in its entirety as a trailer.

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Gat Out of Hell's best moments are all in cutscenes, where the characters are free to break out of the rigidity of the game itself. Unfortunately, it all takes place in a cutscene.

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Through an even more ridiculous series of events, the playable duo open their own portal to New Hades with a half-formed plan to rescue him. Through a ridiculous set-up involving Kinzie's birthday party and Aleister Crowley's ouija board, The Boss is kidnapped by Satan and forced to marry his daughter, Jezebel. Rather than 'The Boss' вЂ“ the moldable agent of chaos at the centre of all previous games вЂ“ you play as returning characters Johnny Gat and Kinzie Kensington. Saints Row: Gat Out of Hell is a standalone expansion for Saints Row IV.

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