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Glare Review

Written By Kom Limpulnam on Rabu, 23 Oktober 2013 | 21.50

You are the Shiner.

The Shiner is a powerful guardian with a single objective: to obliterate the darkness that has recently begun encroaching upon the galaxy. Armed with magical light that allows you to push away foul mist and nasty creatures, you advance through a series of treacherous environments set on mostly barren planets, banishing all that is murky.

Glare is in many respects a conventional 2D platformer, meaning that you're called upon to perform many precise jumps. The unique hook in this case is your ability to cast a bright beam on enemies and the world around them, often while airborne. You must master that skill to thrive. At first, you use the dazzling beam to repel projectiles and push away the floating purple aliens and skittering nasties that crowd your space, but the beam's use soon grows beyond such basic utility. Shadowy plant life in the background is brought to the foreground when you shine light in the right spot, allowing the vegetation to propel you toward higher ground. Switches can also be activated, producing zip lines and other helpful means of navigation. Early on, you gain the ability to fire bullets, but you must often choose between illumination and firepower. In tough spots, controlling crowds of strange beasts means alternating. If you are being swarmed by gliding enemies that suddenly emerge from a portal, it's easy to become overwhelmed until you clear out a safe path.

Sure, aim for the sky! It's not like you have to worry about running out of batteries or anything.

You start your tour of the galaxy by exploring a verdant forest environment known as Tree World. From there, you go on a voyage through the expected environmental tropes, traversing desert, rock, ice, and lava. The locations feature detailed foliage, intricate rock formations, and sparkling ravines covered in ice and snow--familiar but attractive locations in which background beauty and foreground dangers are easily distinguished. Each new environment introduces a couple of new monsters, but you generally deal with the same four or five critters.

Glare offers an inventive mechanic that could have given rise to a memorable adventure, but then fails to build meaningfully on that early promise.

Monsters roam in the alien environs, but fights against these beasts are just an afterthought. Your most fearsome opponent is the generous supply of spiked vines that flourish on each planet. Brushing against the razor-sharp barbs spells instant death, even if you have taken no prior damage. Sometimes, those vines seem cheap in areas you're forced to hurry through, with you running or falling into a pit of spikes you couldn't have seen coming, but for the most part, stages are designed in a manner that avoids producing such frustrating circumstances. Even when you stumble across an exception to that rule, the levels benefit from a generous checkpoint system. There are a few cases where checkpoints are more frugal than normal, but you rarely lose much ground when monsters or spikes produce an unpleasant death.

Hanging around spikes all the time can be bad for your health. Didn't Buffy teach you that much?

Glare's controls are every bit as responsive as they should be in a game of this sort. You begin with the ability to jump long distances, bound up walls in narrow vertical shafts, and rush down slopes. Special pedestals you come across in each level grant access to additional moves, but a lot of those enhancements don't require direct player input. For instance, you gain the ability to dash along certain slopes to build speed that allows you to clear wider gaps, but you don't have to do anything more than run along the appropriate path to enjoy the benefits.

Mild puzzle elements provide occasional interludes, but such moments are too traditional to be interesting. They typically require you to find a missing piece to a machine that allows you to open a locked door. In this case, you press a switch to make the piece appear and rush forward so that you can nab it in time. Once you grab it, you easily place it where it needs to go, and the door opens. A more successful attempt to vary the tempo comes elsewhere, when you ride winged creatures across fields of spikes while blasting enemies out of the air. In another case, you ascend a wide vertical shaft by fashioning makeshift ledges out of fragile bubbles. The game could have used more inventive moments like these.

It's always better to jump over this fellow than to face his charge.

At least the bosses keep things fresh. Most of them briefly turn the game into a twin-stick shooter along the lines of Geometry Wars. You float around an enclosed chamber, chipping away at the boss's armor so that its weak point appears and you can blast it. The foe at the end of each successive stage becomes more difficult than the previous one, but the process is never overly frustrating, and those encounters are a nice change of pace from the standard platforming segments that lead up to them.

Glare is satisfying as it goes--it just doesn't go far enough. There are only six stages in all, and the first and last ones can be cleared quickly, especially once you are familiar with them. The first five areas each contain hidden artifacts that lie well off the beaten path, but there's no obvious benefit to finding them, and you don't get to use abilities gained in later stages when you head back to early ones. Securing a better time isn't really motivation to return, unless you're the sort who particularly enjoys speed runs: there's no way to easily share your triumphs with friends or rivals.

Glare offers an inventive mechanic that could have given rise to a memorable adventure, but then fails to build meaningfully on that early promise. This is an entertaining pit stop that can tide you over on your journey to a bigger, brighter galaxy.


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Base Defense Returns in XCOM: Enemy Within

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PlayStation 4 controllers arriving at retail

The PlayStation 4 does not arrive until next month, but controllers for the system are already showing up at retailers. A Reddit user (via Polygon) posted an image of DualShock 4 units on display at an EB Games outlet in Canada.

It is not clear if the controllers are available to purchase. The EB Games website has DualShock 4 controllers available to preorder for $60, though they are not available for purchase at the moment.

Earlier this week, Sony explained how it arrived at the final version of the DualShock 4 players will get their hands on with the PS4 next month.

Product planning manager Toshimasa Aoki said Sony considered "drastically changing" the controller from previous DualShock designs and even experimented with a touchscreen for the input.

Sony also created DualShock prototypes with the analog sticks placed in a similar way to the Xbox 360 controller. Aoki said Sony received feedback saying players wanted this control setup, especially for shooters. However, that stick placement "just wouldn't work" because it would break players' muscle memory, Aoki said.

The PS4 launches in North America on November 15 and in Europe on November 29.

Filed under:
PlayStation 4

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House of Horrors - SCP: Containment Breach

Written By Kom Limpulnam on Selasa, 22 Oktober 2013 | 21.50

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The Wolf Among Us: Episode 1 Review - Testing My Faith

Over many years and many intellectual properties, developer Telltale Games has honed its aptitude for creating player-guided, story-driven games, culminating with last year's critically acclaimed series, The Walking Dead. Now it has introduced player agency to another comic series, Fables, which proves to be an uneasier fit. The bold artistic style and lively characters bring creator Bill Willingham's world to life vividly, but giving you control over a strong personality in this rich universe has a diminishing effect on both.

I own the first trade paperback in the comic series, titled Fables: Legends in Exile. It had been a few years since I'd read it, but when I started playing The Wolf Among Us, it all came flooding back to me. The premise: colorful characters out of fables and fairy tales have been forced out of their magical homelands and now live in modern society. Bound together in a secret community, they must face the troubles of mundane life as well as a few challenges unique to them; nonhuman folks must constantly maintain a costly glamour spell in order to appear human, lest they be sent upstate to the farm where conditions are less than desirable.

There are centuries of viciousness behind that snarl.

It's an immediately intriguing setting, one that drew me in as effectively in the comic as it does in the game. Affinity for beloved characters from my childhood mixed with empathy for their unhappy exile and made me yearn to learn all I could about their plight. The Wolf Among Us is quick to introduce a great example: Mr. Toad. Once the quirky, wealthy owner of the stately Toad Hall, Mr. Toad is now the landlord of a run-down tenement house that is currently playing host to a violent domestic dispute. His brusque cynicism speaks volumes about his change of fortune, and there's an undeniable charm in having an adversarial conversation with a cranky, bipedal toad.

As the Big Bad Wolf (call him "Bigby"), you have a part to play in this dialogue. You're the Fabletown sheriff, and you have to respond to the ruckus in Toad's building, but not before confronting him about his conspicuous nonhuman appearance. Whether you give him a hard time or let it slide this time is up to you, and you can choose your dialogue responses from among four choices (one of which is usually to remain silent). To keep things moving, you have a limited amount of time to choose your response before the scene moves on, and this can urge you to be a bit more instinctual with your choices, as opposed to letting you carefully deliberate as long as you like.

Dialogue choices are the beating heart of the gameplay experience in The Wolf Among Us. By taking a substantial degree of control over Bigby's lines, you take on an active role in shaping his character and, by extension, the story. Having a part to play in the story makes you an active participant and is meant to make you more invested in the characters, events, and world of the game. Many narrative-heavy games have been immensely enriched by this kind of investment, including Beyond: Two Souls, which I had finished a few days earlier and found utterly engrossing. Telltale's previous tales have benefitted greatly from giving the player control through choice, but The Wolf Among Us is poorer for it.

Instead of feeling like I was molding my own character in the game, I felt like I was diminishing a character from the comic book.

So why did this technique work so wonderfully with The Walking Dead yet falter here? The difference and the disconnect lie in the nature of the protagonists. In The Walking Dead, you played as Lee Everett, a character created specifically for the video game adaptation of the comic series. Though his past is eventually fleshed out, he begins the episodic series as a largely blank slate. This leaves a lot of room for his character to develop and, more importantly, a lot of room for you to create his identity. With each choice you make, you are claiming parts of Lee's personality for yourself and becoming more invested in his struggles.

The same is true for Bigby Wolf; with each choice you make, you are claiming parts of his personality for yourself. However, while playing as Lee is like filling a role, playing as Bigby is like taking one over. With every dialogue choice, you are imposing your personality on a strong character; Bigby has a dark past that he has tried to escape in his new life, and the struggle between his reformed attitude and his true nature is a gripping one. It's not that any of the dialogue options feel wildly out of character, because they don't, and the sharp writing throughout strikes a great grim tone with a few welcome beats of levity.

Rather, the issue is that in shaping Bigby's responses, I really just wanted to know what Bigby would do rather than choosing myself. By choosing sympathetic, indifferent, or harsh options, I felt like I was shutting off other parts of his personality that might be truer or more interesting than the ones I was choosing. Bigby's strong persona was already well established in this world, and I felt like an interloper. Instead of feeling like I was molding my own character in the game, I felt like I was diminishing a character from the comic book.

This feeling nagged me throughout the game, but I was still eager to see this first of five planned chapters through to its conclusion. Encountering other characters, like the boozy flying monkey or one of the three not-so-little pigs, was a regular treat, and interacting with the hard-working Snow White and the hard-drinking Woodsman left me even more sympathetic than I'd been to begin with. Bigby's investigations lead to some startling discoveries and hint nicely at the conflicts to come (though how much those conflicts diverge from arcs in the comic series, I couldn't say). With strong dialogue and interesting characters, The Wolf Among Us tells a stimulating tale.

There are spikes of action as well that lend some extra drama to the proceedings and offer provocative peeks at what happens when Bigby lets his claws come out. These scenes rely entirely on those double-edged swords: quick-time events. While these scripted skirmishes are exciting and nicely choreographed, the large button prompts tend to draw your attention away from the action, though one type of prompt does counteract this by making you look at environmental elements. Beyond: Two Souls had similar fight scenes, but instead of looking for a prompt, you had to take your directional cue from the protagonist's body language by paying close attention to the dramatic action taking place. I felt invigorated as I closely watched my character's movements, while in The Wolf Among Us, I felt enervated as I waited for the on-screen prompts.

It's hard out there for a pig.

Certain conversations were also plagued with a similarly draining mechanic. Intermittently, the game displays a message in the corner of the screen informing you how a character reacted to something you said or did. Lines like "Snow White is still skeptical of you" or "Toad will remember that" are meant to be teasers of consequences to come, but they feel like placeholder captions for sentiments that should be expressed through animation or dialogue. The Wolf Among Us conveys a range of emotion through the natural flow of the game, making these messages stand out like so many sore thumbs.

After the few hours it took to complete this chapter, I wasn't certain I how I felt about playing the next chapter. The characters and the world of The Wolf Among Us create a strong draw, but I couldn't shake the feeling that I was somewhere I didn't belong. The world of Fables is so rich and so intriguing, is there really room for player agency? In The Walking Dead, zombies are a variable that allow for flexible dramatic staging. In Fables, the fairy tale characters are constants on a dramatic stage that is already set. Without an inherent narrative flexibility, The Wolf Among Us makes an awkward fit for the winning Telltale formula.


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Hotline Miami now free for US PlayStation Plus subscribers

New GTA Online title update out now

Latest update for multiplayer mode hits Xbox 360 and PS3; addresses vanishing vehicle bug; game now available via Games on Demand for $60.

DICE considered delaying Battlefield 4 on Xbox One, PS4

Patrick Bach says people fail to grasp how difficult it can be to develop alongside new hardware; game won't use Xbox One Cloud servers at launch.

Reality Check - Do we need 60 FPS on PS4 and Xbox One?

Cam investigates frame rates and wonders if the next generation truly needs 60 fps.

Users report save-corrupting bug in Pokemon X and Y

All copies of the game reported to be affected by bug that can corrupt save files.

Nintendo confirms save-breaking Pokemon X and Y bug, promises fix

Nintendo confirms save-breaking Pokemon X and Y bug, promises fix

PS4 costs $1,850 in Brazil

Next-generation console going for 3,999 Brazilian Real in South American country due to import fees and taxes.

Apple's October 22 event confirmed

New iPads and Macs expected at San Francisco event next week.

Windows 8.1 now available

First major update to operating system adds boot-to-desktop option.

The Point - Should you hold off on next gen?

Now that Watch Dogs has been delayed, Danny wonders if you should wait until next year to buy an Xbox One or a PlayStation 4.

GameStop Black Friday ad leaks

Battlefield 4 discounted to $30 on Friday only, while Call of Duty: Ghosts going for $50.


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Grand Theft Auto V Review - Southland Sprawl

Written By Kom Limpulnam on Senin, 21 Oktober 2013 | 21.50

Grand Theft Auto V deserves accolades for its innovative triumvirate of antiheroes, its many and varied missions, and the sprawling depiction of Los Santos and the hillbilly outbacks. But to rip off what an erudite author once said about Oakland, there is no "there" there. I can't imagine any scenario in which a literary icon like Gertrude Stein would be critiquing a video game, but that legendary putdown can also apply to the Greater Los Santos Area. There is something missing in GTAV that makes the game less engaging than the sociopathic sandboxes of GTA: Vice City and GTA: San Andreas, the two GTA games that will perpetually be my measuring sticks for the franchise.

What is missing most of all is a solid sense of place. Both Vice City and San Andreas reveled in nostalgia. Vice City reeked of the '80s, from the pitch-perfect radio stations to the Crockett and Tubbs lookalikes that showed up in their Testarossas--er, Cheetahs--when you cranked your wanted level to three stars. San Andreas evoked the early 1990s in a similar way. San Andreas' theme was not as developed as Vice City's, but the game still depicted a recognizable time and place in its grim cartoon look at Los Angeles--with sidelong glances at LA County, San Francisco, and Las Vegas--during the explosion of rap and the racial tension that saw a good chunk of SoCal go up in flames after the Rodney King verdict.

Both San Andreas and Vice City seemed like real places. Rockstar's biggest achievement in these games was in creating places that you wanted to visit. Vice City was most successful at this. I practically moved to Vice City; I knew the streets by name and could find my way around there better than in the real world. This devotion speaks to Vice City's power to invade my waking thoughts. Long after the game's release, I would go for long drives around town, listening to the radio and indulging my inner hooligan in a rampage or three. The same is true of San Andreas, although the allure of the '80s theme usually won out before I got the San Andreas disc into the system. Rockstar hasn't forgotten how to do this sort of thing. I liked visiting the faux West of Red Dead Redemption just as much as I did Vice City, and still load up the game to ride around the lonely prairie.

GTAV, much like its immediate predecessor, GTAIV, is too almost-modern for its own good. While the setting is ostensibly today, the plot goes back to the 2008-2009 depths of the Great Recession. The story feels dated, and not in the good way of Vice City and San Andreas, which were intentionally retro. Instead of thinking, "Cool! That Exploder: Evacuator Part II movie commercial perfectly sums up how dumb action movies really were in 1986!" you're thinking, "Man, the developers started writing this stuff a long time ago."

Look beyond the jokey stuff, and you discover an unrelentingly bleak, black-hearted look at humanity.

Not that the economy is really a whole lot better today, of course. But worries about the housing crisis, the implosion of Lehman Brothers, and the bursting of the housing bubble in the US--all things that clearly motivated a lot of the storyline in GTAV--are not exactly current. We've moved on to new economic meltdowns, like the stateside debt ceiling crisis. It's critique of mainstream media is equally archaic; taking shots at reality television for being crass also isn't cutting-edge comedy. Grand Theft Auto V was a clearly expensive game to make and obviously took a long time to develop, but a story that is only contemporary when work begins in earnest on a project of this magnitude ultimately looks dated. It suffers from the curse of trying to be too current.

The triumvirate of protagonists represents the before, after, and way after of humanity.

Los Santos, at least, is brilliantly realized, particularly as a technical achievement. The city and the surrounding meth-producing rural environs form the most realistic depiction of a metropolitan area to ever grace a game. The whole burg lives and breathes, offering colorful slices of life whether you're creeping through backyards in the dead of night or just wandering down the sidewalk in the middle of the afternoon. I don't think I ever encountered any window dressing; all of the people seemed to be present in their own moments, not just there to serve as my personal backdrop. But it's so damn big. I long for the simpler layouts of Vice City and even the more sprawling San Andreas. You could get to know them in a reasonable amount of time, which added to that easy sense of familiarity that turned them into real places in short order.

This is the most personable GTA game, with a strong emphasis on the three lead characters that delves into their psyches (and even into your own psyche by the end of the storyline). That isn't always a good thing, especially when it comes to Trevor, who's probably the most reprehensible dirtbag protagonist in the history of gaming, if not everything. Still, I couldn't look away. Trevor's most malevolent lines were also some of the most hilarious in the game. He forms a vital part of the triumvirate of playable characters, which are a commentary on life in 2008-era America. Trevor represents bottoming out, while burned-out Michael is the guy who's got it all and is still up to his neck in ennui (he's sort of Tommy Vercetti, 25 years later), and up-and-coming Franklin is the man on the rise who's eager to do anything to make the money needed to be regarded as a success in Los Santos. The three are a before, after, and way after.

Scripted missions are the best part of GTAV, especially the multipart heists.

The script is brilliant, from the start with Franklin and his idiotic buddy Lamar, through Michael's spoiled-brat family life, through Trevor's meth-lab murders, through the multiple-choice endings. GTAV gets back to the psychopathic comic strip best represented in the craziness of Tommy Vercetti in Vice City, but with more plot points and tighter characterizations to hold the story together. This game hates everyone and everything, expressing an unrelentingly bleak, black-hearted look at humanity, with even the few rays of sunlight bookended by atrocity. Trevor shows mercy on occasion, though the biggest act of charity he offers in the entire game comes right after introducing a guy to creative uses for a car battery and a monkey wrench.

The appeal of exploring the map on your own has been diminished.

If you have a dark sense of humor, there are more laugh-out-loud moments here than in all of the previous GTA games combined. Being able to switch between the members of this trio at will is a great mechanic that accentuates the humor. Flipping over to see what Trevor is doing almost always results in tuning in to pure insanity. My favorite such event was dropping in on him just as he was looming over a bikini-clad girl on Vespucci Beach, while wearing nothing but a filthy muscle shirt and tighty whities, saying something about her licking his white bits. Such moments are likely scripted, given how this Walter White moment led directly into a mission opening where Trevor dropped his undies in front of hapless Floyd, but it all seems organic when you're playing.

Missions have also been laid out almost perfectly, with loads of options as to how you play them, especially when it comes to the big multipart heists that see you planning and executing jobs with the help of hired operatives. Events get overly surreal at times, with the trio working together to form something of a James Bond team adept at everything from flying planes to scuba diving. Still, it's all incredibly captivating, and the game does everything at least reasonably well. Flying and landing planes, for instance, still aren't fully enjoyable tasks, but they've come a long way since San Andreas.

Women have few roles to play in GTA V. Here's the most common.

Unfortunately, the appeal of exploring the map on your own has been diminished. Attempts at free-form chaos inevitably had me switching back to the scripted stories and missions, which yielded far more entertainment. The only thing I enjoyed about exploring was stumbling upon random occurrences, such as robberies, an apparent bus hijacking, and police shootouts with other criminals. Yet even these great little touches paled in comparison with the scripted missions, and core components of the game design have been tweaked to raise the profile of scripted story at the cost of the open-world concept that has powered previous GTAs. You can still go gonzo in style, but it's not nearly as easy to explode in a random manner when the mood strikes you.

One reason the zaniness feels so limited is that the police are extraordinarily good at what they do and extremely aggressive. They arrive on the scene of even one- and two-star wanted level incidents almost immediately, and a police chopper is quick to show up the moment you hit three stars. Police boats roar up quickly if you try to take to the waves, and cops shoot extremely well, to the point where they can tag you with bullets from a good block away. Basic patrol cars accelerate almost as well as the average Pegassi Infernus, and their drivers are expert at cutting you off and blocking you in. If you want to go on a satisfying tear, you need to armor up, make sure you have loads of the best hardware that Ammu-Nation carries, and have a zippy car nearby. Walking out of a hospital in a bad mood and going berserk with cathartic anger generally gets you wasted again in very short order.

It's a lot more fun to escape the cops by slamming a car into a Pay 'n' Spray booth at a hundred miles an hour than it is to cower in an alley for five minutes while the police gradually give up their pursuit.

You can still go on rampages and evade the police, of course, but you have to do it more realistically by switching cars, hiding in bushes, ducking into somebody's backyard, hanging out in a parking garage, and so forth. This is a more lifelike way of ditching the boys in blue, but it's not very entertaining, especially if you like the intensity of one-man-stand firefights. The best way to eliminate a wanted level now is to hide. I had the most success by driving off-road where the cops couldn't follow me very well. Then I just stuck the car in a gully and sat back until my wanted level vanished completely.

Long gone are the days when you could clock six stars (the game now tops out at five stars), get the army after you, and still escape justice simply by scraping into a Pay 'n' Spray a second ahead of the long arm of the law. Pay 'n' Spray shops have actually been pulled out of GTAV entirely in favor of Los Santos Customs, which is more of a car modification garage than a ready way to escape the cops, since it's useless unless you've already lost your pursuers. Magic car paint in Vice City and San Andreas may have been pretty ridiculous, but it was also a great game mechanism that emphasized the catch-me-if-you-can excitement that made sandbox rampages so integral a part of the GTA experience. It's a lot more fun to escape the cops by slamming a car into a Pay 'n' Spray booth at a hundred miles an hour than it is to cower in an alley for five minutes while the police gradually give up their pursuit.

World-weary Michael is a memorable character who seems like a Behind the Music look at Tommy Vercetti, 25 years later.

This is a considerably different style of game than either San Andreas or Vice City, with more structure and less of that eyes-wide-open world where the most fun was surveying the landscape and seeing what kind of trouble you could get into. This is a new GTA, one that is a great game on its own terms, but also one that fails to capture the magic of the freestyle adventures that set the tone for the series. I can't see myself coming back to GTAV very often now that I've wrapped the main storyline, save to check out the expansions that Rockstar is undoubtedly prepping for 2014, or to get into the multiplayer, if and when it lives up to its potential. Here, because the game's structure is so tight, done is done. That's typical of how I play games. But it isn't typical of how I play GTA games.


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Fez shown running on PS Vita

New GTA Online title update out now

Latest update for multiplayer mode hits Xbox 360 and PS3; addresses vanishing vehicle bug; game now available via Games on Demand for $60.

DICE considered delaying Battlefield 4 on Xbox One, PS4

Patrick Bach says people fail to grasp how difficult it can be to develop alongside new hardware; game won't use Xbox One Cloud servers at launch.

Apple's October 22 event confirmed

New iPads and Macs expected at San Francisco event next week.

Watch Dogs delayed to spring 2014

[UPDATE] "From the beginning, we have adopted the attitude that we will not compromise on quality," Ubisoft says; Amazon and GameStop release statements on bundle orders.

Users report save-corrupting bug in Pokemon X and Y

All copies of the game reported to be affected by bug that can corrupt save files.

Nintendo confirms save-breaking Pokemon X and Y bug, promises fix

Nintendo confirms save-breaking Pokemon X and Y bug, promises fix

PS4 costs $1,850 in Brazil

Next-generation console going for 3,999 Brazilian Real in South American country due to import fees and taxes.

Windows 8.1 now available

First major update to operating system adds boot-to-desktop option.

The Point - Should you hold off on next gen?

Now that Watch Dogs has been delayed, Danny wonders if you should wait until next year to buy an Xbox One or a PlayStation 4.

Ryse: Son of Rome - Story Trailer

Take a deep look into the story of Ryse: Son of Rome.


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New Releases: Batman Arkham Origins, Deus Ex Directors Cut and Path of Exile!

Isn't Arkham to be released the 25th instead of 22nd? Even its own facebook page posted a '5 Days!' message today.

And if I understand correctly, Deus Ex is only 10 bucks if I already have it on Steam (through a wicked summer deal; only 2.50 euros!)?


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Grand Theft Auto V Review - Southland Sprawl

Written By Kom Limpulnam on Minggu, 20 Oktober 2013 | 21.50

Grand Theft Auto V deserves accolades for its innovative triumvirate of antiheroes, its many and varied missions, and the sprawling depiction of Los Santos and the hillbilly outbacks. But to rip off what an erudite author once said about Oakland, there is no "there" there. I can't imagine any scenario in which a literary icon like Gertrude Stein would be critiquing a video game, but that legendary putdown can also apply to the Greater Los Santos Area. There is something missing in GTAV that makes the game less engaging than the sociopathic sandboxes of GTA: Vice City and GTA: San Andreas, the two GTA games that will perpetually be my measuring sticks for the franchise.

What is missing most of all is a solid sense of place. Both Vice City and San Andreas reveled in nostalgia. Vice City reeked of the '80s, from the pitch-perfect radio stations to the Crockett and Tubbs lookalikes that showed up in their Testarossas--er, Cheetahs--when you cranked your wanted level to three stars. San Andreas evoked the early 1990s in a similar way. San Andreas' theme was not as developed as Vice City's, but the game still depicted a recognizable time and place in its grim cartoon look at Los Angeles--with sidelong glances at LA County, San Francisco, and Las Vegas--during the explosion of rap and the racial tension that saw a good chunk of SoCal go up in flames after the Rodney King verdict.

Both San Andreas and Vice City seemed like real places. Rockstar's biggest achievement in these games was in creating places that you wanted to visit. Vice City was most successful at this. I practically moved to Vice City; I knew the streets by name and could find my way around there better than in the real world. This devotion speaks to Vice City's power to invade my waking thoughts. Long after the game's release, I would go for long drives around town, listening to the radio and indulging my inner hooligan in a rampage or three. The same is true of San Andreas, although the allure of the '80s theme usually won out before I got the San Andreas disc into the system. Rockstar hasn't forgotten how to do this sort of thing. I liked visiting the faux West of Red Dead Redemption just as much as I did Vice City, and still load up the game to ride around the lonely prairie.

GTAV, much like its immediate predecessor, GTAIV, is too almost-modern for its own good. While the setting is ostensibly today, the plot goes back to the 2008-2009 depths of the Great Recession. The story feels dated, and not in the good way of Vice City and San Andreas, which were intentionally retro. Instead of thinking, "Cool! That Exploder: Evacuator Part II movie commercial perfectly sums up how dumb action movies really were in 1986!" you're thinking, "Man, the developers started writing this stuff a long time ago."

Look beyond the jokey stuff, and you discover an unrelentingly bleak, black-hearted look at humanity.

Not that the economy is really a whole lot better today, of course. But worries about the housing crisis, the implosion of Lehman Brothers, and the bursting of the housing bubble in the US--all things that clearly motivated a lot of the storyline in GTAV--are not exactly current. We've moved on to new economic meltdowns, like the stateside debt ceiling crisis. It's critique of mainstream media is equally archaic; taking shots at reality television for being crass also isn't cutting-edge comedy. Grand Theft Auto V was a clearly expensive game to make and obviously took a long time to develop, but a story that is only contemporary when work begins in earnest on a project of this magnitude ultimately looks dated. It suffers from the curse of trying to be too current.

The triumvirate of protagonists represents the before, after, and way after of humanity.

Los Santos, at least, is brilliantly realized, particularly as a technical achievement. The city and the surrounding meth-producing rural environs form the most realistic depiction of a metropolitan area to ever grace a game. The whole burg lives and breathes, offering colorful slices of life whether you're creeping through backyards in the dead of night or just wandering down the sidewalk in the middle of the afternoon. I don't think I ever encountered any window dressing; all of the people seemed to be present in their own moments, not just there to serve as my personal backdrop. But it's so damn big. I long for the simpler layouts of Vice City and even the more sprawling San Andreas. You could get to know them in a reasonable amount of time, which added to that easy sense of familiarity that turned them into real places in short order.

This is the most personable GTA game, with a strong emphasis on the three lead characters that delves into their psyches (and even into your own psyche by the end of the storyline). That isn't always a good thing, especially when it comes to Trevor, who's probably the most reprehensible dirtbag protagonist in the history of gaming, if not everything. Still, I couldn't look away. Trevor's most malevolent lines were also some of the most hilarious in the game. He forms a vital part of the triumvirate of playable characters, which are a commentary on life in 2008-era America. Trevor represents bottoming out, while burned-out Michael is the guy who's got it all and is still up to his neck in ennui (he's sort of Tommy Vercetti, 25 years later), and up-and-coming Franklin is the man on the rise who's eager to do anything to make the money needed to be regarded as a success in Los Santos. The three are a before, after, and way after.

Scripted missions are the best part of GTAV, especially the multipart heists.

The script is brilliant, from the start with Franklin and his idiotic buddy Lamar, through Michael's spoiled-brat family life, through Trevor's meth-lab murders, through the multiple-choice endings. GTAV gets back to the psychopathic comic strip best represented in the craziness of Tommy Vercetti in Vice City, but with more plot points and tighter characterizations to hold the story together. This game hates everyone and everything, expressing an unrelentingly bleak, black-hearted look at humanity, with even the few rays of sunlight bookended by atrocity. Trevor shows mercy on occasion, though the biggest act of charity he offers in the entire game comes right after introducing a guy to creative uses for a car battery and a monkey wrench.

The appeal of exploring the map on your own has been diminished.

If you have a dark sense of humor, there are more laugh-out-loud moments here than in all of the previous GTA games combined. Being able to switch between the members of this trio at will is a great mechanic that accentuates the humor. Flipping over to see what Trevor is doing almost always results in tuning in to pure insanity. My favorite such event was dropping in on him just as he was looming over a bikini-clad girl on Vespucci Beach, while wearing nothing but a filthy muscle shirt and tighty whities, saying something about her licking his white bits. Such moments are likely scripted, given how this Walter White moment led directly into a mission opening where Trevor dropped his undies in front of hapless Floyd, but it all seems organic when you're playing.

Missions have also been laid out almost perfectly, with loads of options as to how you play them, especially when it comes to the big multipart heists that see you planning and executing jobs with the help of hired operatives. Events get overly surreal at times, with the trio working together to form something of a James Bond team adept at everything from flying planes to scuba diving. Still, it's all incredibly captivating, and the game does everything at least reasonably well. Flying and landing planes, for instance, still aren't fully enjoyable tasks, but they've come a long way since San Andreas.

Women have few roles to play in GTA V. Here's the most common.

Unfortunately, the appeal of exploring the map on your own has been diminished. Attempts at free-form chaos inevitably had me switching back to the scripted stories and missions, which yielded far more entertainment. The only thing I enjoyed about exploring was stumbling upon random occurrences, such as robberies, an apparent bus hijacking, and police shootouts with other criminals. Yet even these great little touches paled in comparison with the scripted missions, and core components of the game design have been tweaked to raise the profile of scripted story at the cost of the open-world concept that has powered previous GTAs. You can still go gonzo in style, but it's not nearly as easy to explode in a random manner when the mood strikes you.

One reason the zaniness feels so limited is that the police are extraordinarily good at what they do and extremely aggressive. They arrive on the scene of even one- and two-star wanted level incidents almost immediately, and a police chopper is quick to show up the moment you hit three stars. Police boats roar up quickly if you try to take to the waves, and cops shoot extremely well, to the point where they can tag you with bullets from a good block away. Basic patrol cars accelerate almost as well as the average Pegassi Infernus, and their drivers are expert at cutting you off and blocking you in. If you want to go on a satisfying tear, you need to armor up, make sure you have loads of the best hardware that Ammu-Nation carries, and have a zippy car nearby. Walking out of a hospital in a bad mood and going berserk with cathartic anger generally gets you wasted again in very short order.

It's a lot more fun to escape the cops by slamming a car into a Pay 'n' Spray booth at a hundred miles an hour than it is to cower in an alley for five minutes while the police gradually give up their pursuit.

You can still go on rampages and evade the police, of course, but you have to do it more realistically by switching cars, hiding in bushes, ducking into somebody's backyard, hanging out in a parking garage, and so forth. This is a more lifelike way of ditching the boys in blue, but it's not very entertaining, especially if you like the intensity of one-man-stand firefights. The best way to eliminate a wanted level now is to hide. I had the most success by driving off-road where the cops couldn't follow me very well. Then I just stuck the car in a gully and sat back until my wanted level vanished completely.

Long gone are the days when you could clock six stars (the game now tops out at five stars), get the army after you, and still escape justice simply by scraping into a Pay 'n' Spray a second ahead of the long arm of the law. Pay 'n' Spray shops have actually been pulled out of GTAV entirely in favor of Los Santos Customs, which is more of a car modification garage than a ready way to escape the cops, since it's useless unless you've already lost your pursuers. Magic car paint in Vice City and San Andreas may have been pretty ridiculous, but it was also a great game mechanism that emphasized the catch-me-if-you-can excitement that made sandbox rampages so integral a part of the GTA experience. It's a lot more fun to escape the cops by slamming a car into a Pay 'n' Spray booth at a hundred miles an hour than it is to cower in an alley for five minutes while the police gradually give up their pursuit.

World-weary Michael is a memorable character who seems like a Behind the Music look at Tommy Vercetti, 25 years later.

This is a considerably different style of game than either San Andreas or Vice City, with more structure and less of that eyes-wide-open world where the most fun was surveying the landscape and seeing what kind of trouble you could get into. This is a new GTA, one that is a great game on its own terms, but also one that fails to capture the magic of the freestyle adventures that set the tone for the series. I can't see myself coming back to GTAV very often now that I've wrapped the main storyline, save to check out the expansions that Rockstar is undoubtedly prepping for 2014, or to get into the multiplayer, if and when it lives up to its potential. Here, because the game's structure is so tight, done is done. That's typical of how I play games. But it isn't typical of how I play GTA games.


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