Post-Play: Looking back on the Max Payne trilogy

The Max Payne trilogy has sat at an intersection between the most popular AAA games and the more underrated titles in the industry; the franchise itself is relatively short at three main games plus a feature film but it has nevertheless been able to maintain its strong critical reputation with a central character and his losses pushed to the forefront of each individual game. I played the first two titles on PC through Steam (an easy task given how old the games are) and the third on PlayStation 3.

Originally conceived by Remedy Entertainment (Who most recently made Quantum Break), Max Payne and Max Payne 2: The Fall of Max Payne were both dark, grim delves into criminal underworlds and they were also the first games to incorporate bullet time; initially introduced by The Matrix in 1999, the visual flair offered up by slow motion has been constantly replicated in movies but it was Max Payne that stamped it onto the gaming scene. All those slow-mo breach sequences we see in modern first person shooters nowadays owe their existence to Remedy’s original games. The first game is unapologetically gloomy, wearing its neo-noir style on its sleeve; the dreary streets of New York appearing desolate and mostly empty. It’s as much a part of the tone as it is a design constraint and serves a strong backdrop for Max’s dive into the seedy underworld of drug use. The presentation of the story, a set of comic book panels ground the game in a crime drama atmosphere; it draws the player into its story at a time where other games used pre-rendered cut scenes. The only real blemish on the first game’s look is the cheesy looking grin plastered across Max’s face (Courtesy of writer Sam Lake) throughout the entire game; 3D animation clearly shows its age here as it contrasts sharply with all the gritty action.

Max Payne 2: The Fall of Max Payne was a very strong sequel in 2003, bringing in countless refinements to a game that was somewhat limited in its scope. The presentation of both the in-game action and the story was vastly improved with Max tumbling even deeper into depravity. With this came a stronger variety of environments including a strangely proportioned funhouse and extravagant mansions. The greater role of Mona Sax added a greater dimension to the central story as Max trudged to further betrayal and loss. The game itself was far more versatile than before with Max now having a melee attack and more over-the-top moves to compliment the original’s bullet time mechanics. Max Payne 2 did not sell very well which prompted Take-Two Interactive to readjust their sales forecasts. Remedy would not return to the franchise, instead moving to make Alan Wake in 2010; development would eventually be passed to Rockstar Studios, creators of the Grand Theft Auto series.

Then there was the dreaded 2008 film adaptation starring Mark Wahlberg and directed by John Moore, who also made the awful A Good Day to Die Hard in 2013. Much like many video game movies, the adaptation was a colossal misfire with many fans arguing that it outright ruined the source material it was based on. Because of this I have no urge to watch the film but based on what little footage I’ve seen, the general thought was that someone at the production studio had been watching too much Constantine when making the film as it constantly dipped into confusing clusters of drug induced apocalyptic visions.

It would take nine years for the third (And at this stage final) title in the franchise and this long gap is an initial indicator that the third Max Payne game is very different from its predecessors, most notably from an aesthetic standpoint; the cold and harsh backdrop of Manhattan is replaced with the bustling sweat of Sau Paulo Brazil. The comic book style of the first two games is gone, replaced with flickering lights and emphasised words; despite not being consistent with the series it’s a very unique presentational style which manages to set itself apart from other modern games. In Max Payne 3 the central character is out of his element which fuels his own path of vengeance against the corruption that plagues the country. Max becomes more tormented than ever and as a whole the third game is a solid continuation of the story, though the overall conclusion left something to be desired. Max goes through most of the game at his lowest point, drinking and addicted to painkillers; once the final action sequence ends however, he merely walks off into the sunset in Bahia having finally found some solace. I was hoping for a scene where he moves on from his personal demons or at least a point when he throws away the painkillers and alcohol. It’s a little disappointing to have the trilogy end on such a simplistic conclusion but the ride taken was still worth playing through.

Ultimately the Max Payne series has served its time well, delivering some of the most explosive, action packed gameplay you can find outside of first person shooters. Unlike many action games though, it backs this up with a strong central character that completes an arc over the course of the three games. As far as refinement goes, Max Payne 3 is easily the best of the three but I wouldn’t discount the first two games either; I recommend playing through all three (or reading the graphic novels) to get the complete story.