He is not just limited and exposed to one particular gang alone. There is no limitation placed on weaponry. Also, the players are supposed to fight against characters from various teams and gangs.
The player has the freedom to jump, drive vehicles, run and you can use different forms of attacks to fight against the enemies. The simplistic nature of the gameplay has attracted fans. The gamer can move around the city either by using a vehicle or on foot. The player has to seize the power from different criminal organizations and become the leader of all. The rise of gamers to a leader by crossing different struggles is what forms the gameplay. The character modeling, customization, lighting effects add glamour to the game. The open-world gameplay deployed in the making helps the gamer to explore different horizons in the game. Vice City is very beautiful with beaches, tall buildings and it has every other element of a beaming city. The game is all about the player having to cross different hurdles to become the leader of the criminals in the city. The characters, gameplay and music are some of the factors which set this game apart from others.
The entire gaming package is extremely fantastic. There are a lot of reasons as to why this game is loved even in today’s date and it takes you to nostalgic times. This game has impressed many gamers and keeps gaining more fans in the coming days as well. This perception gained through the identification of postmodern ideals in Los Santos, hopes to spark interest in the relationship between architecture and video games.A lot of games keep getting released in the video game market on an everyday basis but only some linger in the minds of the gamers for many decades, such game is GTA Vice City. To this idea, current day urban theorists now have the possibility to create immersive worlds within a playable and executable virtual realm. Through comparison with these theorists and Grand Theft Auto V, my interpretation of how Los Santos represents Los Angeles is speculated.
Therefore postmodern urban theorists such as Colin Rowe, Fred Koetter, The Situationists, Kevin Lynch, and Reyner Banham are suitable to act as precedent to discuss Los Santos. There is an unidentified shadow of postmodern ideals present in Rockstar’s creation of Los Santos. In a response to modernism, postmodern architects have virtualised cities through ideas of cognitive mapping. However, its urban architecture has never been taken to a deeper level of analysis as found in academia. “Rockstar’s virtual city Los Santos is based on modern 2011 Los Angeles.” This is an understanding widely adopted by contemporary gamers and is supported through the cognitive experience of playing the game. William Golding’s Lord of the Flies explores the same theme and Rockstar Games’ Grand Theft Auto brings the motif of violence into one that may be lived through in the form of virtual reality in the game-space. This paper aims to evaluate the predominance of violence in human nature hidden under the guise of an apparent civilised being. This particular event stripped humanity of all their glory, education and proud civilized ideas, naturally it affected deeply to the masses as well as to the artists. This display violence is not a stray phenomenon, as civilized people of Europe can also engage into barbaric and inhumane act under certain circumstances. (Wikipedia) The Raft of Medusa that inspired many artistic endeavours is a classic portrayal of the ingrained violence in human nature that surfaces in a state of unalloyed freedom from societal bondages. By this time only 15 men were still alive; the others had been killed or thrown overboard by their comrades, cannibalized brutally, died of starvation, or thrown themselves into the sea in despair. Crazed, parched and starved, the survivors slaughtered mutineers, ate their dead companions and killed the weakest." After 13 days, on 17 July 1816, the raft was rescued by the Argus by chance-no particular search effort was made by the French for the raft. At least 146 men and one woman-were piled onto a hastily built raft after Medusa ran aground on a sandbank off the West African coast, near the present day Mauritania. According to critic Jonathan Miles, the raft carried the survivors "to the frontiers of human experience. It is an overlifesize painting that depicts a moment from the aftermath of the wreck of the French naval frigate Méduse. Completed when the artist was 27, the work has become an icon of French Romanticism. The Raft of the Medusa (French: Le Radeau de la Méduse) is an oil painting of 1818–1819 by the French Romantic painter and lithographer ThéodoreGéricault (1791–1824).
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