#GTA 3 PS2 FULL#

ItвЂ™s easy to forget now, but the open-world game wasnвЂ™t a novel concept when Grand Theft Auto III was released. The approach had an almost DIY punk aesthetic to it The list of artistic influences that show up in Grand Theft Auto III would read like the programming schedule for a Gen X fever dream: it pulls from Scorsese gangster flicks, house music and hip-hop, exploitation cinema, sketch comedy, chase films, and the city of New York itself, just to name a few. Looking back on it now, the approach had an almost DIY punk aesthetic to it, rejecting the insular pillars of traditional game design and reaching outside the videogame sphere for direction. In a 2001 interview with IGN (one of the few heвЂ™s ever given) Rockstar co-founder Sam Houser honed in on his priority of making sure Grand Theft Auto III had вЂњa look, a sound, a story and a feel that worked.вЂќ Working alongside film directors, writers, video producers, audio producers, and other connections from outside the industry, Rockstar created a sort of ragtag multimedia mash-up that, aside from boasting new tech, came together as a well-oiled, ultra-violent machine. There were stealth games, platformers, shooters, racing games, action-RPGs, turn-based RPGs, fighters, puzzle games, action-adventure games-and the expectation was that every game would feature a whole range of genre-informing actions and rules, typically interspersed with sections devoted to вЂњstory.вЂќ The problem is that this naming structure was a presupposition in itself: what if you wanted to do all of these things at the same time? What if you wanted to make the sights and sounds just as important as the shooting or the driving?

Up until Grand Theft Auto III (2001), it was standard to classify videogames by their central mechanics.

#GTA 3 PS2 FULL#

This article is part of PS2 Week, a full week celebrating the 2000 PlayStation 2 console.

Gta 3 ps2