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I always thought it too slow back then – clotted by Rockstar’s confidence. Thank God I had the opening of San Andreas to retreat to, which sees its hero, CJ, landing in Los Santos after a stint on the East Coast. It was so abruptly and brilliantly massive it was too much to take, and I found myself clamming up and clicking the Switch to sleep. I happen to have started The Legend of Zelda: Breath of the Wild this month (I’m firmly of the belief that the new should be taken with a good helping of the old), and I found myself greeted by the game’s sense of freedom as one would embrace an abyss. On the whole, it’s a sentiment with which I won’t quibble, having enjoyed scores of open-world games that would be neither as open nor as worldly were it not for San Andreas.
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Fonda was more of an outlaw than a hoodlum, and his famous line, spoken in The Wild Angels, sums up the simple appeal of the series perfectly: ‘We wanna be free to do what we wanna do. Of the game’s brightest stars, the only actor who doesn’t fully fit the criminal profile is Peter Fonda, another man who wore his hair long and let his shoes scuff, who plays a dope-fogged hippie called The Truth. It’s as though the studio decided, in paring back the splashy casts, to manufacture its own myths.Ĭould it be that the reason San Andreas burns more brightly in my mind is that Rockstar has been less successful in the forging of its own legends than in the glittering, interactive realisation of those that already linger in our collective moviegoing subconscious? As Aaron Garbut puts it, in Kushner’s account of the development of Grand Theft Auto: Vice City, ‘The goal is to make the player feel like he’s starring in his own fucked-up Scorsese cartoon.’ And yet, strange to tell, the joy of playing San Andreas – now as it was fifteen years ago – is borne of something more innocent, less fucked-up. Kushner describes the salad days of Rockstar Games’ president and co-founder, Sam Houser, during a time in which he ‘wore his hair long’ and ‘let his shoes scuff’: ‘He’d trudge down to the local library, checking out videotapes of crime films: The Getaway, The French Connection, The Wild Bunch, The Warriors.’ San Andreas marks the last occasion on which Rockstar furnished a game with a full-powered celebrity voice cast the latter Grand Theft Auto games and both Red Dead Redemption and its prequel, Red Dead Redemption II, opt for relative unknowns. Precisely the sort of adolescent, in fact, described in the book Jacked: The Outlaw Story of Grand Theft Auto, written by David Kushner, which details the history of the franchise.
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San Andreas grasps at its subject by filtering it through the founding myths of the movies, just as an adolescent plasters their walls with posters. If there is a single theme that permeates the bulk of Rockstar’s back catalogue, it’s America in particular, the way that crime rolls through the country and its history like a river of rusty water. Aside from the prestige of pulling in actors that usually throng the silver screen, maybe even more priceless is the notion of populating a game with a gang of ready-famed crooks. Or, to be exact: Jules Winnfield from Pulp Fiction, Lester Diamond from Casino, Nice Guy Eddie from Reservoir Dogs, Billy Batts and Sandy from Goodfellas, Roger Van Zant from Heat, and Wyatt from Easy Rider. Jackson, James Woods, Chris Penn, Frank Vincent, Debi Mazar, William Fichtner, and Peter Fonda. All provided the voices of pedestrians or wafted on the radio waves.Īdd to that the main cast: the likes of Samuel L. The game is jammed with A-list Hollywood talent and encrusted with uncredited gems: Geoffrey Cantor, Couzin Ed, Andy Dick, Patton Oswalt, Fred Melamed, Marge Redmond, Joe Lo Truglio, Jackie Hoffman, Wil Wheaton, Kenneth Choi, Ken Foree. Why on earth should that be the case? One answer is simple: the voices. If anything, the years since the release of San Andreas have cooled and clarified my recollections of it indeed, it seems more vivid than Grand Theft Auto IV and Grand Theft Auto V. It would be reasonable to assume that my memory of it would have acquired a similar fuzz. It is all very hot, which is fitting for a game set in the permasummer of the West Coast of America, in 1992, and which released, in 2004, amidst a haze of hype and controversy. The ground is a grey blur and the buildings melt into a sky the hue of honey.
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But where does the mist come from? Is it a fog of nostalgic tears? Is it the graphics, which, powered by the PlayStation 2, seem to sweat? Or is it rather that the streets are glimpsed behind the glass of a CRT television (as they have been for me these last few weeks)? Perhaps it’s all of the above, plus the way the art direction – done by Aaron Garbut and Alex Horton – favours colour over crisp lines. The city of Los Santos, fifteen years after it appeared in Grand Theft Auto: San Andreas, is a sight for the misty-eyed.