Essay On Grand Theft Auto Vice City
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#ESA17 Speedruns - Grand Theft Auto: Vice City [All Missions] by KZ_FREW
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Subscribe Now. India - 33,, World - ,, For Daily Alerts. Must Watch. By Vivek. Most Read Articles. Best Cameras Best Selling Upcoming. Apple iPhone 13 Pro Max. Apple iPhone 12 Pro. Redmi Note 10 Pro Max. Motorola Moto G Xiaomi Mi 11 Ultra. Samsung Galaxy S20 Ultra. Xiaomi Mi 10i. Samsung Galaxy Note20 Ultra 5G. Motorola Edge Plus. Samsung Galaxy A My friend's taste in recreational drug abuse vastly exceeded my own, and this extra sweetener turned out to be an alarming quantity of cocaine, a substance with which I had one prior and unexpectedly amiable experience, though I had not seen a frangible white nugget of the stuff since. While the GTA IV load screen appeared on my television screen, my friend chopped up a dozen lines, reminded me of basic snorting protocol and handed me the straw.
I hesitated before taking the tiny hollow sceptre, but not for too long. Know this: I was not someone whose life had been marked by the meticulous collection of bad habits. I chewed tobacco, regularly drank about 10 Diet Cokes a day, and liked marijuana. Beyond that, my greatest vice was probably reading poetry for pleasure. The coke sailed up my nasal passage, leaving behind the delicious smell of a hot leather car seat on the way back from the beach. My previous coke experience had made feeling good an emergency, but this was something else, softer and almost relaxing. This coke, my friend told me, had not been "stepped on" with any amphetamine, and I pretended to know what that meant.
My friend and I played it for the next 30 hours straight. Many children who want to believe their tastes are adult will bravely try coffee, find it to be undeniably awful, but recognise something that could one day, conceivably, be enjoyed. Once our tastes as adults are fully developed, it is easy to forget the effort that went into them. Adult taste can be demanding work — so hard, in fact, that some of us, when we become adults, selectively take up a few childish things, as though in defeated acknowledgment that adult taste, with its many bewilderments, is frequently more trouble than it is worth.
Few games have more to tell us about this adult retreat into childishness than the Grand Theft Auto series. We know he is probably a Serb. We know he fought in the Balkans war. We know he was party to a war-crime atrocity and victim of a double-cross that led to the slaughter of all but three members of his paramilitary unit. We know he has taken life outside of war and it is strongly suggested that he once dabbled in human trafficking. He wants to start over, leave behind the death and madness of his troubled past, and bathe in the comfort and safety of America. Niko's plan does not go well. Soon enough he is working as a thief and killer.
Just as Lolita , as Nabokov piquantly notes in his afterword, was variously read as "old Europe debauching young America" or "young America debauching old Europe", GTA IV leaves itself interpretatively open as to whether Niko is corrupted by America or whether he and his ilk many of the most vicious characters whose paths Niko crosses are immigrants are themselves bacterial agents of corruption. The earlier GTA games were less thematically ambitious. Tommy from Vice City is a cackling psychopath, and CJ from San Andreas merely rides the acquisitionist philosophy of hip-hop culture to terminal amorality.
They are not characters you root for or even want, in moral terms, to succeed. You want them to succeed only in gameplay terms. The better they do, the more of the gameworld you see. The stories in Vice City and San Andreas are pastiches of tired filmic genres: crime capers, ghetto dramas, police procedurals. The driving force of both games is the gamer's curiosity: What happens next? What is over here? What if I do this? They are, in this way, childlike and often very silly games, especially San Andreas, which lets you cover your body with ridiculous tattoos and even fly a jetpack. While the gameworlds and subject matter are adult — and under no circumstances should children be allowed near either game — the joy of the gameplay is allowing the vestiges of a repressed, tantrum-throwing, childlike self to run amok.
Most games are about attacking a childlike world with an adult mind. The GTA games are the opposite, and one of the most maliciously entertaining mini-games in Vice City and San Andreas is a mayhem mode in which the only goal is to fuck up as much of the gameworld as possible in an allotted period of time. Niko's real pathos derives not from the gimcrack story but how he looks and moves. Vice City and San Andreas were graphically astounding by the standards of their time, but their character models were woeful — even by the standards of their time.
Niko, though, is just about perfect. Dressed in striped black track pants and a dirty windbreaker, Niko looked like the kind of guy one might see staring longingly at the entrance of a strip club in Zagreb, too poor to get in and too self-conscious to try to. When, early in the game, a foul-mouthed minor Russian mafioso named Vlad dismisses Niko as a "yokel", he is not wrong. Niko is a yokel, pathetically so. One of the first things you have to do as Niko is buy new clothes in a Broker read: Brooklyn neighbourhood called Hove Beach read: Sheepshead Bay. The clothing store in question is Russian-owned, its wares fascinatingly ugly.
And yet you know, somehow, that Niko, with his slightly less awful new clothes, feels as though he is moving up in the world. The fact that he is, only makes him more heartrending. The times I identified most with Niko were not during the game's frequent cut scenes, which drop bombs of "meaning" and "narrative importance" with nuclear delicacy, but rather when I watched him move through the world of Liberty City and projected on to him my own guesses as to what he was thinking and feeling. What many without direct experience of the games do know is that they allow you to kill police officers. This is true. GTA games also allow you to kill everyone else. It is sometimes assumed that you somehow get points for killing police officers. You get money for completing missions, a number of which are, yes, monstrously violent.
While the passersby and pedestrians you slay out of mission will occasionally drop money, it would be hard to argue that the game rewards you for indiscriminate slaughter. People never drop that much money, for one, and the best way to attract the attention of the police and begin a hair-raising transborough chase is to hurt an innocent person. As for the infamous cultural trope that in GTA you can hire a prostitute, pay her, kill her and take her money, this is also true. But you do not have to do this.
The game certainly does not ask you to do this. Indeed, after being serviced by a prostitute, Niko will often say something like: "Strange. All that effort to feel this empty. It is what it allows you to do. There is no question, though, that GTA IV's violence can be extremely disturbing because it feels unprecedentedly distinct from how, say, films deal with violence. Afterwards they decide to put Batts's body in the trunk of Henry's car and bury it in the forest. Of course Batts is not yet dead and spends much of the ride to his place of interment weakly banging the trunk's interior. When Batts is discovered to be alive he is repeatedly, nightmarishly stabbed. The viewer of GoodFellas is implicated in the fate of Billy Batts in any number of ways.
Most of us presumably feel closest to Henry, who has the least to do with the crime, but is absolutely an accomplice to it. Henry's point of view is our implied point of view. Here the horror of the situation is refracted in an entirely different manner, which allows the understanding that GTA IV is an engine of a far more intimate process of implication. While on his foul errand, Niko must cope with lifelike traffic, police harassment, red lights, pedestrians, and a poorly handling loan car. Literally thousands of in-game variables complicate what you are trying to do.
The GoodFellas scene is an observed experience bound up in one's own moral perception. The GTA IV mission is a procedural event in which one's moral perception of the admittedly much sillier situation is scrambled by myriad other distractions. It turns narrative into an active experience, which film is simply unable to do in the same way. And it is moments like this that remind me why I love video games and what they give me that nothing else can.
It is strictly a motor drug. It does not alter your perception; it will not even wire you up like the amphetamines. Any individual serious about his chemicals — a heavy hitter — would sooner take 30 No-Doz [caffeine tablets].