I've always loved RPGs and open-world sandbox games. They're the ones that unleash gaming's true potential as a truly interactive experience, by placing you in a world which you directly alter with your own actions. As such a fan of the genre, I've spent a lot of time listening to podcasts, reading articles and watching interviews in which developers talk about building these types of atmospheric, non-linear games.

I've think I've found the rule for a successful open world game.

I don't think anyone can doubt that making a game with good atmosphere isn't one of (if not the) main goals for modern game designers. Any game that has a large area to explore has got to feel right; whether it's magical and fantastic or real and grounded, no matter the genre or take, all imagined worlds follow the same principles to feel alive and real. Fun, engaging gameplay is important, but if you're spending 300 hours in an unconvincing land, you won't have fun; a nagging voice in your head will always remind you that 'this isn't right'. Feeling immersed is a vital component for both basic enjoyment and that special emotional connection felt only in incredibly good games.

Graphics, obviously, often aid immersement. Most upcoming open world games look to have no lack of beauty - Skyrim is an obvious example. But it's the wealth of small, often minor features or mechanics that truly make or break a game world. Take S.T.A.L.K.E.R., for example. While its textures may be bland and outdated, its lighting is superb. When combined with other effects, like eerie scrathces and moans, it has a huge ambient effect. Why do players get so scared when, say, approaching a Bloodsucker lair? It's not just because of the streaks of intermittent lightning; it's the fact that, at night, you've wondered past the lair before, seen odd lights, and heard strange noises. You've noticed twisted corpses and blood painting walls, all of which give you a feeling of the area's history. A Bad history. You've heard rumours from NPCs about this place, so while you have an idea of what's coming, you're not truly sure what to expect. Graphic and sound aesthetics combine with narrative clues to create a place that feels frighteningly tangible.


After playing these types of open world RPGs and sandboxes for a long time, I think I've come up with my own little maxim that you can apply quite well to all those games that have truly outstanding atmosphere - the ones that truly feel real, truly engage with the player with a real, breathing world. Basically, after you've turned off the game, close your eyes and imagine the game world for a moment. Once you've envisioned it, ask yourself:

Is it possible for that world to function without a player?

Example: GTA. Take Vice City or San Andreas. Those worlds only functioned with the player inside them. If you imagined the game was still running after you stopped playing somehow, it would be utterly dead. Cars would still go round, but nothing else would happen. All its missions are simply waiting around for you start them. The cops wouldn't have to chase anyone down. The gang wars would never happen, as in the game it takes the player to press a button saying 'start a gang war'. NPCs would wonder aimlessly, without purpose. It just wouldn't feel real. The Vice City or San Andreas worlds do nothing but wait and react to one person: you.



GTA IV, on the other hand, pretty much nails it. Thanks to what you've seen or experienced in the game, you know random events can occur. So, if you imagined Niko Bellic went away for a while and Liberty City was left to it's own devices, it would actually make for a pretty convincing world. The police would still chase criminals, whizzing past you while chasing someone else as you've often witnessed, so when turning off you console you feel like 'Hey, there's stuff going on that isn't player-dependant'. NPCs would carry shopping bags home, dash between awnings in the rain, drive to work, and react to one another. Helicopter tours would fly around the city, day would turn to night, there'd be a shoot-out somewhere, the weather would change, and so on and so forth. It'd be a boring place, sure, but you still feel like things would happen, events would occur, and there'd be some purpose and order to the city without you roaming it. The game, on this occasion, isn't simply waiting for you to affect it; it's a realistic, alive place, that you just happen to have a very active role in.

This 'can-the-world-thrive-without-its-player' theory can be applied to many of these types of games. In S.T.A.L.K.E.R, Duty and Freedom patrols occasionally run into each other and have a fight in its shadowy environment. That made it feel alive, real, ever-changing, and so on. As progressed, you visited places with escalatingly worse atmospheres. As the environment became increasingly harsh and the situation more dire these sort of events happened less and less, until essentially it was only you doing the unique, world-changing things; the game was just waiting for you to accept a mission to go somewhere and do something. If you didn't play, nothing would happen.

Here's another one for you - Fable. Peter Molyneux did a good job with this. In the original, there were ships that deliver trade goods on certain days of the week, and villagers transporting those goods to individual shops. And then every night all the villagers would gather at the tavern and have a few drinks. Small details, yet it did wonders in making the game world feel vibrant and alive.


In half a year we'll be able to test this 'does-the-world-function-without-me' theory on the newest title in the Elder Scrolls series: Skyrim. I love Skyrim. I utterly adore Skyrim. And I actually have great faith in Bethesda, because despite engine limitations Fallout did a pretty good job of creating a believable environment. You'd find people fighting over a fridge, or someone crying with a bomb strapped to their chest - these made the place feel dynamic, like it would be a pretty interesting, eventful environment without you (though, of course, not as eventful as if you were there).

It'll be the small things that will make or break the world of Skyrim. Imagine, for instance, you go to a town and see Jimmy. You have a chat, and he tells you that he's going to start work soon, or that he really wants to be an adventurer. You go off and do missions and explore the world, but eventually you cross the same town again. Jimmy's there, with a lovely new piece of armour on. He tells you he did a bit of work for a friend, and earned enough to buy this really awesome breastplate. You, as a player, are thinking "Wow! While I was off doing my own things, Jimmy was actually off doing HIS own things, independent of me! It feels like this is a real place where people do new things and have experiences regardless of whether I'm here! I can't wait to see what else has changed!".

Or you'd probably just think "Wow, that's kind of neat. What's for lunch?".

Point is, the world with Jimmy feels alive, real, atmospheric, engaging, and full of wonder and change and dynamicnessosity (a word I just made up). There are loads of seemingly insignificant ways to add this Jimmy effect. A house has a broken roof, and after a while, you go back to see the house and it's fixed. A store clerk mentions getting new stock soon, and you come back later to see they've actually received it. You could even have mini-missions occurring that you don't take part in. You see a wife running down the street of the town, asking if anyone has seen her husband. You can't take it as a mission or do anything to alter the events, but you find her later, hugging her rescued husband. And you think:


"Hey... It is possible for this world to function without me"

Labels: 2011, Chris, Chris Hawke, Elder Scrolls, Fable, Grand Theft Auto, GTA, GTA4, S.T.A.L.K.E.R., Skyrim, STALKER

Oh, Grand Theft Auto, I do love you so. I love your dry wit, sharp humour, cutting satire and brilliant societal critiques. I love the fact you're so well realised, with no detail overlooked or flaw jutting out. I love your atmosphere, your dialogue, your gameplay, and - though I hate to be so shallow - your looks. You're damn near perfect.

So you can imagine that I was overjoyed when news broke of Rockstar registering new domains, possibly in connection with the next iteration of the best sandbox around. With such titles as getamexican.com, pregnantandalone.com and justcanoe.com, there was no reason to doubt their legitimacy. They just sound so perfectly in-keeping with the Rockstar style that it seems second nature to walk into an internet café, bash this into the address bar, then log off and start a rampage.

See? Video games haven't affected me one bit!

All seemed to be going swimmingly. I would soon be reunited by my darling, and off we would venture. Where to this time? London would be a favourite of mine, as it's been a while since I mounted the kerb for half a mile in Clapham. Just get me out of America, which has grown stale thanks to endless faceless virtual copycats. Then I'd be happy.

It was with an air of disbelief that I read about GTA V being codenamed Rush, to be set in Los Angeles. There was even a character list to boot, though I just couldn't believe it. How could Rockstar, creators of possible the sharpest, funniest and most playable games out there, create something so... uninspired? While I'm sure 'Rush' has something to do with Take Two, I very much doubt that it is connected with the Grand Theft Auto franchise. And here's why.

Thanks to some very clever sleuthing work by the talented Superannuation, a casting call by Rockstar’s regular agency Telsey & Company was found, which listed various characters for a Take Two project known only as 'Rush'. These resumés seemed to confirm a GTA vibe (one woman listed the part of 'inner city female'). At this point, it's a very believable setup; games are accidentally revealed on a surprisingly common basis thanks to CVs or casting calls, and thanks to Telsey & Co.'s regular acquaintance with Rockstar, everything pointed towards 'Rush' being code for a new Grand Theft Auto. Except for one small issue...

John Marston is a stunning character. Not just for video games, which often substitute story for gameplay, but in terms of any piece of fiction, he's a beautifully rounded character. Niko Bellic may have been a bit whingy, but he showed layers of complex emotion that one wouldn't find out of place in a novel, albeit one with a lot of carjacking. Rockstar is known for creating incredibly detailed, intricate characters who can evoke sympathy, loathing, pity, or any number of alternative responses.

With that in mind, have you seen the characters for 'Rush'?!

Mitch Hayes:
38 – Annoying, wise cracking, highly successful FBI agent. In great shape. Does triathlons, drinks low cal beer, but still has a sense of humor.

Eddie:
47 – Weed evangelist, guy who started smoking at 30, and is now a leading proponent of marijuana’s fantastic properties. White, awkward.

Kevin De Silva:
18 – Albert’s fat, FPS-playing gamer son. Smokes a lot of weed, has anxiety issues and a card for a bad back, very soft, very opinionated. Into making racist comments while playing online.

'Annoying, wise-cracking'. That's probably the most basic stereotype for anyone inhabiting a Grand Theft Auto world. Does 'Weed evangelist' or 'annoying wise-cracker' sound familiar? Again, this is an incredibly boring, uninspired and underwhelming description of 'Default 18+ Video Game Characer #1'. And the self-referential 'Kevin De Silva'; would Rockstar really stoop as low as to parody their very players in such a simple, overtly cliché manner?

Oh, and he smokes a lot of weed, too.

I find it hard to believe, with the writing talent on Rockstar and the smorgasbord of superb figures standing proudly in Grand Theft Auto IV, that they would revert to such petty, childish stereotyping. If you asked a random man on the street to come up a list of with character traits they think the archetypal GTA oddball exhibits, these are the kind of quirks you would expect. But not from Houser & Co.

And then things take a turn for the ridiculous with Gilbert Gottfried reportedly tweeting that he had been cast to play the main character in GTA V.

“just found out I’m voicing the lead in grand theft auto 5! also I hate japan lol.”
- Gilbert Gottfried (@RealGilbert)

I want you to listen to this. And I want you to imagine that blasting out of your speakers for 25 hours of a video game. Rockstar's leading men have always been incredibly likable, from John's strong family values and dry humour, to Niko's sly remarks and desire for a better life. Could you really ever like the parrot from Aladdin? He's comic relief, a one-trick pony, just background noise. The voice is unique, but in a fingers-on-chalkboard way, not a warm, involving lead character way.

Which brings us back to the kicker; apparently, the game is set in Los Angeles. Now, I'm not sure about this, but according to some industry insiders, Rockstar are publishing a game already set in Los Angeles. Something called 'L.A. Noire'? Despite more than half a century between the two timeframes, could you imagine Rockstar visiting the City of Angels twice, in such a short space of time? It seems nearly impossible.

I'm sure Grand Theft Auto V is coming. I'm sure, very soon, the internet will be broken all over again thanks to everyone trying to see a debut trailer. But will that debut trailer focus on 'Eddie', the drug abuser? Will the Griffith Observatory stand proud in the opening shot? Will Gilbert Gottfried provide the voiceover?

I very much doubt it.

Labels: 2011, Chris Hawke, Grand Theft Auto, GT5, GTA4, Red Dead Redemption, Rockstar, Take Two

Jack Thompson's argument has one vital flaw; it's hard to prove that violent video games 'damage' children, because you have to let them grow up. Finding out whether a childhood obsession with Grand Theft Auto leads to the cultivation of a hooker-beating, car-jacking, tracksuit-wearing 20-year-old maniac means that you have to both actively let a child play GTA, and then wait until he's a grown adult. It's time consuming, messy, morally objectionable and a bit weird.

However, there is still a way that we can find out what kids think of this super-violent alternate reality, and what their tiny innocent minds process while brutal imagery flashes through their tiny eyes. Unfortunately, I couldn't steal a child (not after last time, and I'd let a mate borrow the cage), so it was up to one brave writer: Matthew Orona of Bitmob. This is what happens when a kid plays GTA.

You can read Matthew's article on Bitmob.

"I egged him on to take the car in front of him which was waiting at the red light. He quickly looked up at me with disgust and refused, stating that the car was already owned by the person driving it."

First, a general observation: 4-year-olds are right little buggers. They dribble, shout, scream, punch, grab, bite, scratch, and spill everything everywhere. However, their favourite thing by far is to claim that every single object is theirs. See that vase your Mum gave you? Theirs. Your brand new Honda? Theirs. That chocolate bar you're eating? Definitely theirs. So, why is this child so terrified of taking someone's car? Either he's one of the kindest and most empathetic toddlers this side of young Gandhi, or it triggers the divide between action and principle. When in the home, it's easy for a child to say that 'everything belongs to them' in front of a parent, but actually physically taking something off a complete stranger is too much for most. As far as the child is concerned, the game is synonymous to real life, and the morals that they uphold in the real world translate directly to the virtual one. At least, for now...

"At one intersection he attempted to brake, but he was travelling too fast. Instead of ploughing into the rear of the car ahead of him, he swerved to the right and popped up onto to sidewalk. In doing so, he accidently ran over a woman walking towards his oncoming car. He was incredibly ashamed of himself and profusely apologised."

Again, just as a real life tragedy such as this would render a child horrified and ashamed, so does the video game. Children blur the lines between reality and the imaginary far more than most adult gamers, magnifying the whole experience and making it more involving, and either more joyful or terrifying, depending on the circumstances in the game.

"Only seconds later, he witnessed a policeman jump out of his patrol car to pursue a criminal of San Andreas. His eyes lit up as he asked if he could drive the police car. I reminded him that it was only a game, and it was fine to take the car. As he drove the squad car, I pressed L3 to turn on the lights and siren. He asked very excitedly if he could get the bad guys too. With a huge smile I pressed R3 to initiate the Vigilante Missions. It was as if his imagination had come to life. He was taking down delinquents left and right."

Remember that lesson in school where you were told how the police are your friends, and PC Nicey would give a little speech on how they catch the bad people? That was cool. What was even cooler were the cars. "Ha! Look at them lights! Looks at them hats they wear! They get GUNS! Kewl!". Being a policeman or policewoman is the height of awesome for all kids. Grand Theft Auto now becomes their way of living out this fantasy, drifting round corners and stopping the evil-doers in the name of the law. The interesting thing here is that while killing criminals in GTA is very violent, it's violence in a good cause; you're ridding the streets of evil. The child here displays no regrets or apologies, because he knows that the police are the 'good guys'. This is, presumably, before the inevitable time when the kid grows up and gets pulled over for doing 41 on a 40mph road, has to fork out a £300 fine and realises that the police are nothing but corrupt and sadistic creatures of pure evil who thrive off the salty tears of mere mortals by extracting every last penny from their battered wallets.

Because I'm not bitter at all.

"In all his time with Grand Theft Auto he never once encountered any of the controversy surrounding this notorious title. He didn’t beat any hookers with a baseball bat. He didn’t deal drugs. He didn’t go on a murderous rampage. He certainly never once had a cup of hot coffee. He didn't avoid these things because I told him he couldn't try them. It just never occurred to him to commit these acts."

After more ambulance and fire-fighting work, we get to the crux of the matter. The kid has killed a number of people, either by accident or through vigilante missions, but all his actions have been justified morally. He never stole a car from someone, because that's not the right thing to do. Sure, he took the police car and the ambulance, but only because no one was in them and he hasn't quite got the hang of property laws yet. He killed, but only for a good and righteous cause. And he never once did the sort of evil things that plague an adult's playthrough, simply because he never thought of it. Why, in this world, should he beat up a hooker? Yes, all the necessary tools are there - weapons, hookers, dark alleyways - but there's no reason to commit such a grievous act. If anything, Grand Theft Auto has enhanced the child's morality; unlike most players who kill and steal for the hell of it, the kid only does what he thinks it is right to do, even if it provides him with some escapist fun in the form of a police chase. Do you really see this player growing up to kill and drug deal in later life?

Dr. Hawke has reached his conclusion. The 18+ rating is there for a reason; games are much more involving for children than they are for adults and, obviously, that means they're more dangerous: I have no doubt the same experiment with Dead Space 2 would produce endless nightmares. But as for children immediately turning into bloodthirsty murderers: it's doubtful. As a general rule, children shouldn't be allowed to play videogames so violent or repugnant as GTA, but if this toddler is anything to go by, they don't look at games with the same cynical eyes we do. As soon as you booted up GTA IV, you wanted to run someone down, didn't you? But for this child at least, it's just a fun way to become a policeman, and not much else.

Please don't take this as proper medical advice, as my BSc in Medical Sciences is actually written in crayon on the back of some tissue paper, but feel free to have a discussion of the findings below, and follow our Twitter.

Disclaimer

Quotes in this article are taken from Matthew Orona's original article on Bitmob.

Use of these quotes is for illustrative purposes only, and the Gamer's Guide to Life Network does not claim to own, in any way, the quotes used here.

Quotes shown here may have been edited or abridged to better fit the context of this article.

Labels: 2011, Bitmob, Children, Chris Hawke, Gaming Addiction, Grand Theft Auto, Grand Theft Auto IV, GTA, GTA4, San Andreas, Study, Videogames and Violence

So, you've most definitely driven, flown and shot your way though the gritty streets of Liberty City as Niko Bellic. And, chances are, you've done your fair share of riding down the highway with the Lost in tow, blowing a lot of shiny things up for a man named Gay Tony. That's enough Grand Theft Auto IV for most people. But not us. We're really hungry. Hungry for more sights and storylines in the most crime-ridden city in video games. So, we've compiled a lovely neat list of possible settings for a hypothetical third piece of GTA IV DLC. Enjoy!


Keeping It Kosher


Niko was at the diamond sale that went south. Johnny, star of Lost and Damned, was also there. And, would you believe it, so was Luis, of Ballad of Gay Tony fame. So, the only other group left unplayable are the Jews selling the diamonds.

We already know the older man who gets shot is called Mori. And, the man who runs away with the diamonds is called Issac. Astonishingly, for a game with so much murder, Issac only gets knocked out by Luis. Here's what we think; You play as Issac, a member of the Jewish faith who is caught up in the seedy crime underworld of Grand Theft Auto after a simple diamond sale goes wrong. Johnny Klebitz was Jewish, so there's a perfect chance for Rockstar to include some familiar faces, and we all know the developer doesn't shy away from the 'dangerous' areas - Issac must fight gangsters, police, and anti-Semitic bad dudes as he attempts to keep his faith... and his life.


The Tall Tail Of Little Jacob


Certain people seem to run Liberty City, and Niko, Johnny and Luis have met them all. However, one man and his crew seem to have been left out of the current DLC releases. Little Jacob, second in command to Real Badman, helps run the Hillside Posse, a group of drug dealers and Rastafarians. The Tall Tail Of Little Jacob would see the player taking the role of a member of the Hillside Posse, with drug running and minor crimes the order of the day. However, Little Jacob needs a few men to help him out with something big, and soon you're riding with the big boys (including Niko) in an attempt to fight off local gangs and rise to the top of Broker.


Perestroika


The Ballad of Gay Tony deals with the high and mighty nightclubs of Liberty City, but what about the poorer places scraping an income? Perestroika is the theatre in Hove Beach that Faustin owns, which the player can visit to see some dreadfully hilarious magic and cabaret.

In the self-titled DLC, you play as just another bodyguard for the place; however, Faustin tasks you with his 'special' jobs of assassinations and dealing with the opposition. You can manage the club by throwing the low-life out, and take part in the main missions of helping the performers with their acts and even organising 'Porn Idol', which is mentioned in passing in a Niko Bellic mission.


Hangman's NOOSE


We've only had a a tiny look at Liberty City's Finest when Niko helped out Francis McReary, and even then he was basically as bad as the criminals you also worked with. What GTA IV needs is the story told from the perspective of those getting mowed down by Niko, Johnny, Luis, and pretty much everyone else.

Hangman's NOOSE take place in the Liberty City Police Head Quarters as you and your small anti-drug unit organize and take down local drug operations, uncovering moles, rats and corruption in the force as you go. This DLC probably has the greatest scope of things to do; an updated 'Current Criminal Activity' mini-game has difficultly levels and 'boss-fights', and you can plan out massive 50-man raids on huge drug hideouts, much like Gang/Drug Wars in the previous games. Obviously, Niko pops up from levels like Snowstorm, and Armando and Henrique, Luis' best friends, will probably appear at some stage.


Alderney State Correctional Facility


Couldn't think of a catchy name for this DLC, which is basically an epic and much less confusing Prison Break. Amazingly, there hasn't been a prison break mission in all of Grand Theft Auto IV - it's just waiting to happen. Rockstar will work their magic in providing a charismatic inmate jailed for the wrong reasons, and the early part of the story takes place in the updated prison, where you can watch TV, fight other inmates or pump your guns to gain respect, before you and your two friends (one of whom, as ever, is really stupid) escape. The rest of the story then follows you as you try and stay out of prison, and stay alive, by helping the crime bosses of Liberty City.


The Six Families Of Liberty City


This is just perfect. Late on in GTA, Niko learns that there are six mafia families in Liberty City: The Pavano, Lupisella, Gambetti, Messina, Ancelotti, and Pegorino families. Now, aren't they just begging for a Soprano-style Mafia War? It's simple, really. You play as a member of one of these families in a quest to own the city entirely. Take part in Mafia Wars, back-stab other families, bribe the cops, and organize 'sit-downs' that, inevitably, go horribly wrong. All that while wearing a sharp suit and dark sunglasses.


Those are just six suggestions for possible third pieces of Grand Theft Auto IV DLC. Got another great idea, or thought of a good title for the 'prison one'? Add it to the comments and follow the Twitter.

Chris

Labels: Chris Hawke, DLC, Feature, Grand Theft Auto, GTA4

Ever since gamers got their grubby hands on the previous Liberty City, and started shooting through the streets in a stolen police car, we've wondered where the next installment should be set. This teaser sparked off the whole guessing game - what could the rip be? It looks like north-western France, but the Seagull Theater is in London, and the picture behind it bears resemblance to a Vice City poster...

We may not find out until E3, but Gamer's Guide to Life can still bring you one step closer to figuring out, with our helpful guide of what qualities a city must have in order to be featured in GTA V.


1. It has to be English-speaking
This is probably the most obvious. While we'd all love causing crime down the back-alleys of some exotic getaway, it just wouldn't work. Sitting through entire cut-scenes only reading the subtitles is a massive waste of Rockstar's storytelling abilities, and makes it harder to relate to the characters. Most importantly, however, are the open-world implications. No talk radio. No cleverly exploitative movie posters. No screaming passers-by, no recognizably named streets, and certainly no comic quips from the protagonist. It might sound fun and exciting, but the reality is that a non-English speaking city would get annoying and confusing. Fast.

2. It has to be bright
Pretty much every sandbox game in this generation has a day-night cycle. And at night, the city lives or dies by the street lights. Liberty City shone with skyscraper spotlights and headlamps, and there's nothing fun about wondering dully-lit streets. GTA V needs to be basked in neon, with a vibrant night-life to match.

3. It needs to be capitalist
Not that we've got anything against the Commies (damn commies...), but we can't have a Grand Theft Auto with an ideological gap. Rockstar excels at poking fun in the culture of money-grabbing and power-grasping we live in - the switch to light jabs at a different culture would lead to jokes getting lost in translation for the majority of the audience.

4. It needs to be well-known
Even non-Americans could find humor in the 'GetaLife' building, or slightly creepy Statue Of Happiness, despite never having seen them in real life. That's because pretty much everyone knows of those landmarks, and that make them so much easier to alter for comic effect. There's no point in making deft alterations to a building that no-one knows existed in the first place.

5. It has to be urban
Sure, areas like San Andreas had its fair share of countryside, and the rolling hills may work well for Rico Rodriguez, but then again - he has a hook for an arm. He's basically Spiderman, if Spiderman were also Shakira's husband. For the Average Joe of GTA, hills and countrysides mean getting horribly stuck on scenery, slopes you can't climb and missing out on the beautiful city. GTA V may have a sliver of yonder hills where it's set, but the majority of the game will be a concrete jungle.

6. It needs to be rich
There's a reason we spent most our GTA IV playing time around north Algonquin. That was where all the fun was, with supercars in every driveway, pools round the back, and helicopters on the roof. Every city has a mix of the lower and higher classes, but where's the fun in running people over in a beat-up boxcar when you can just as easily steal a spaceship-on-wheels?


Most Likely

London
London has actually been featured twice, as expansion packs for GTA 1 - Grand Theft Auto: London '69, and '61. And they were awesome. Open-top red buses, lines of schoolkids, and a retro-gangster charm. Think of current London, sparkling with chrome and silver - it's modern, rich, bright, English, and capitalist. It has various trans-Atlantic exports, like the cockney accent or James Bond (you guys know about James Bond, right?). And then there's just the fact it would totally rock for all British people to mess around so close to home. There's 60 years of vibrant and alternating culture hidden between the old streets, and plenty to poke fun of with the London Eye, Tower Of London - and you'd hate to think of what they'd come up with when looking at the Gherkin or Big Ben. There's the added bonus that Rockstar North is Scottish, so it's only a quick trip south before a hands-on study of England's capital. Now that The Getaway 3 is lost in the wild, it's the perfect time to strike. You know it makes sense - let's hope they do.

Los Angeles
Another American city perfect for the GTA makeover - it's got the seedy celebrity culture, a criminal underworld, lots of swearing and stunning scenery. You can even include a section of the hills for variety, and the Hollywood sign is an easy target for vandalism. L.A. has all the hallmarks of previous GTA settings, with the added bonus of being the film-making capital. Rockstar have already worked on the City Of Angels with Midnight Club: L.A., so they just need to flip back through their notes.


Least Likely

Tokyo
It might sound fun at first, but the main pitfall would be that you would not understand a thing - it's bad enough trying to muddle your way through Asian export games, but the fact the alphabets are so different would make even the best fake movie posters unrecognizable, and make storytelling much more difficult. It's glitzy alright, but that won't count for much when you can't even read the street names.

Moscow
The language is impossible. There aren't many easily recognizable landmarks. So no radio and subtitles all the way through. Still, the snow would be fun.


We can only pray that we're right about GTA V, and we're causing havoc in Ye Olde London soon. Until then, be sure the follow our Twitter and comment below!

Chris

Labels: Chris Hawke, E3 2010, Grand Theft Auto, GTAV

A lot of exclusives end up on the XBOX 360. It was the same case with Grand Theft Auto 4. A whole new story mode was built called The Lost and Damned. It received rather good reviews and now it seems PlayStation 3 owners will be able to play it too. In a recent post on the official PlayStation forums, moderator Yaster posted about the goings on at Gamescom '09. Unfortunately, the post was quickly removed but one or two got hold of it. A contributor by the name of Philip Larkin got hold of the quote and here it is -
'And they were certainly showing some PS3 love - Grand Theft Auto: The Lost and the Damned was available to play in a special 18+ area, we didn't manage to get our hands on it due to the MASSIVE queue - but those inside looked pretty ***** excited.'

We are unable to supply a link as it has been taken down but..Yay!!!!

Jacques

Labels: DLC, Grand Theft Auto, PlayStation3

I know the original plan was to do this on video, but I decided that it would be little more than me talking to a camera for 5 minutes, holding game boxes if I didn't do it this way. Anyway; 2008 was a great year. Here are my top 5 from it:

#5 Resistance 2


Resistance 2 should be used as an example for all game developers. Easy to pick up and play, hard to master. Great online mode, no lag. Amazing co-op gameplay with classes that actually work together; Resistance 2 does it all. Well maybe not, it has all of the fundamentals of a classic…but at times it feels like that’s all it has, fundamentals.

#4 Mirror’s Edge


Mirror’s Edge is the most unique game I have played all year. Even though combat is a big let down, and at times the missions can be frustrating (see boat level), the times when you run from rooftop to rooftop being chased by the police, are among the best of the year. Just as a note, ME has my favourite art style in a game ever.

#3 Grand Theft Auto 4


GTA 4 represents a more mature GTA series in times to come. I welcome this change. Whilst other games can boast of “amazing” character creation or “ground-breaking” user generated content, GTA 4 is one of the only games in history that have ever captured the feeling of a real city.

#2 Burnout Paradise


This is what racing games should be like. I don’t want to tune a car’s engine; I want to smash it to hell while jumping off a car park roof. I don’t want boring tutorials; I want to smash a car to hell, while jumping off a car park roof. I don’t want to change my car’s tyres, I want to smash it to he- OK, you get the picture. Burnout shows racing at its very best.

#1 Fallout 3



Fallout 3 has a great setting. Sure, at first it looks like a bunch of rocks and debris scattered around a wasteland, but if you dig deeper, what you find is an immersive world full of rich characters with good voice acting (at times), and a fun combat system. However, the thing that made this my game of the year was all of the little finishing touches. Stumbling on an exhibition in a museum that contains a replica vault complete with car salesman-like voiceover? Amazing.

Matt

Labels: Burnout, Fallout, Game of the Year 2008, Grand Theft Auto, Matthew, Matthew Meadows, Mirrors Edge, Resistance 2

In traditional GTA games, a great amount of the pleasure you would gain stemmed from exploring the city and just messing around. This edition of the best selling franchise is no different, with an enormous amount of things to do. Highlights include: stunt-jumps, a fully functioning in-game internet, jumping off the Rotterdam Tower (see Empire State Building) and piloting a fully armed attack helicopter over the city at night with friends in the passenger seats via a fully-fledged online component.

Another reason you should buy this game is those moments you rarely get in gaming. Wow moments. Situations were you feel inclined to put the pad down, look at the screen and admire GTA’s quality. I mean, for the love of God, on this game it is possible to mow down five gangsters, on a moped, whilst listening to Queen’s ‘One Vision’ on the radio. Amazing.

Labels: Grand Theft Auto, Matthew Meadows, Review

New details about GTA4's radio stations have been released. The stations' names and genres are as follows:

WKTT - Talk radio station
IF99 - Funk
Vladivostok FM - Eastern European music
K109 -Disco

Do not fear though, these four stations are of eighteen on the game.

Matt

Labels: Grand Theft Auto, Matthew Meadows