DOCSLIB.ORG

Grand Theft Auto Iv the Lost and Damned

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Grand Theft Auto Iv the Lost and Damned GRAND THEFT AUTO IV MISSIONS | Maps and strategy for all The Lost And Damned missions—plus complete coverage of the new Odd Jobs, Bike Thefts, Gang Wars, Random Characters, and other activities required to achieve 100% completion. ™ THE LOST AND DAMNED MAPS | Score health, armor, and weapons no matter where you are in Liberty City. Our maps show you where to fi nd them in every mission. Pick-ups, collectibles, places of interest— everything you need and everywhere you need to be in a dedicated map section. SECRETS | Our detailed collectible maps and descriptions reveal precise locations for all hidden Seagulls. VEHICLE SHOWROOM | A cavalcade of every ride in Liberty City—including all of the new motorbikes. MULTIPLAYER | Complete coverage of all the new Multiplayer modes and features. MAPS & COLLECTIBLES! $12.99 USA/$14.99 CAN/£8.99 UK www.bradygames.com www.rockstargames.com/thelostanddamned COVERS MICROSOFT XBOX 360® © 2006-2009 Rockstar Games, Inc. Rockstar Games, Rockstar North, the Rockstar Games logo, the Rockstar North logo, Grand Theft Auto, and the Grand Theft Auto The Lost and Damned logo are trademarks and/or registered trademarks of Take- Written By Tim Bogenn Two Interactive Software, Inc. in the U.S. and/or other countries. The ratings icon is a trademark of the Entertainment Software & Rick Barba Association. All other marks and trademarks are properties of their respective owners. All rights reserved. LAD GTA IV Cover.indd 1 2/6/09 4:06:01 PM Table of Contents WELCOME BACK TO LIBERTY CITY ELIZABETA TORRES What’s New .........................................2 Heavy Toll ......................................77 Liberty City ..........................................2 Marta Full of Grace ...........................79 Getting Around ......................................3 Shifting Weight ................................81 Health and Body Armor .............................4 Random Character: Malc Weapons ............................................4 Mission 1 ....................................85 Police Wanted Levels ...............................6 Mission 2 ....................................85 100% Completion ...................................7 ASHLEY Xbox Live Achievements ............................7 Roman’s Holiday ..............................86 RAY BOCCINO VEHICLE SHOWROOM ...........................8 Diamonds in the Rough ......................88 Collectors Item. 90 Was It Worth It? ...............................92 MAIN STORY WALKTHROUGH THOMAS STUBBS III BILLY GREY Get Lost .......................................95 Clean and Serene .............................18 Angels in America ............................23 OTHER ACTIVITIES It’s War .........................................26 FRIEND ACTIVITIES ..............................100 Action/Reaction ...............................29 BIKE RACES Buyer’s Market ................................32 Alderney Industrial ............................101 JIM FITZGERALD Park Circuit ..................................102 Liberty City Choppers ........................35 Alderney Casino ..............................103 Alderney Beach ...............................104 Bad Cop Drop .................................37 Holland .....................................105 I Want One of Those .........................39 Bohan Steps .................................106 PROCEDURAL MISSIONS: Bike Thefts Bohan Strip ..................................107 Take Out Liquor ................................40 Bohan Beach ................................108 Ex Display ....................................41 Schottler Station ..............................109 Strip Club Hog .................................42 Tudor Docks .................................110 Zorst Fumes ..................................43 Alderney City .................................111 Get Off Your High Horse ..........................44 NW Alderney .................................112 Short Stay Parking .............................45 GANG WARS ......................................113 Tattoo Parlor Lament ............................46 Delivery Boy’s Hardship .........................47 A Ride in the Park ..............................47 LIBERTY CITY MAPS Beachcomber .................................48 ALDERNEY THOMAS STUBBS III Points of Interest ..............................116 Politics .........................................49 Pickups .....................................118 Off Route ......................................51 Seagulls ....................................120 PROCEDURAL MISSIONS: ODD JOBS ALGONQUIN Knowing Me, Knowing You .......................54 Points of Interest ..............................124 Phone Ho’ ....................................56 Pickups .....................................126 When the Blue Chips Are Down. 57 Seagulls ....................................128 Communication Breakdown ......................60 BOHAN/DUKES/BROKER First Impressions. 61 Points of Interest ..............................132 Pickups .....................................134 ASHLEY Seagulls ....................................136 Coming Down .................................63 BILLY GREY This Sh*t’s Cursed ............................65 MULTIPLAYER ...................................140 Random Character: Dave Grossman ........68 JIM FITZGERALD Hit the Pipe ...................................69 End of the Chapter ...........................71 Bad Standing ..................................73 Random Character: Brian Jeremy ...........75 00 TOC.indd 1 2/13/09 10:02:36 AM Welcome Back to Liberty City What’s New Liberty City Welcome back to Liberty City… assuming you ever left, that is. The actual structure of Liberty City has not changed from Grand Once you’ve downloaded The Lost and Damned from Xbox Live, Theft Auto IV to The Lost and Damned; you can still visit the enter Grand Theft Auto IV and access the Pause menu. Select same haunts and find all the weapons, health, and armor in the the last option, “Game” and then “New” from the drop down list. same places (see the Liberty City Maps chapter of this guide for Here you will find the new game. Select “The Lost and Damned” details). Johnny’s story takes place in the same time period as to begin your new, jam-packed adventure. The following is an Niko’s. In fact, Johnny’s story moves in parallel with Niko’s, and incredible list of the new features included in the downloadable on more than one occasion, their stories intermingle. content: Liberty City is divided into four boroughs: Algonquin, Dukes, Broker, and Bohan. And then there’s Alderney, a New Jersey-ish sort of place hunkering across the West River from the great • New motorbike and vehicle handling towers of Algonquin. Taken • New motorbikes together, these areas form • New weapons one of the densest, most vital urban centers in the world. • New races It’s a place where dreams • New Quick Play mode (drops you into unranked come to flourish or die. multiplayer deathmatch with no lobby) • New multiplayer outfits • New multiplayer games • Annihilator helicopter now has explosive Episode Completion rounds Play through all 22 missions to finish the main story, • Shotgun drive-bys while on a bike but keep in mind that this new episode also includes 15 new Procedural Missions, extra encounters with three • New games: Arm Wrestling, Hi-lo Card Game, Random Characters, and a number of new activities— and Air Hockey including games, bike races, various odd jobs, and gang • New TV Shows wars. Plus, there are 50 seagulls out there that must be • New comedy act at comic clubs eviscerated! • New radio content • New Internet content • New Hidden Packages (50 Seagulls) 2 01 Basics.indd 2 2/12/09 1:39:01 PM Getting Around Getting Around Vehicles Trains Liberty City is like a big, teeming car lot, laid out in a nice grid for Cheap, easy public transportation is one of Liberty City’s your exploration. Gleaming autos ride bumper to bumper in traffic, hallmarks, along with prostitution, depravity, organized crime, just waiting to be jacked—you can’t beat free transportation. and brutal police corruption. You can catch the El-train or the Watch out, though—some fools refuse to give up their ride subway and get to the next borough in moments. As with taxis, without a fight. Check our Places of Interest maps for locations you can choose to skip the trip, but you’ll miss out on some of three auto dealerships where you can find everything from a pretty spectacular views of the city. fine Italian sports car to a faster-than-lightning sport bike. Helicopter GPS Waypoints Helicopters aren’t easy to find, but they can take you places The GPS mapping system lets you set waypoints on your you can’t reach otherwise—certain rooftops, for example. The map; it then marks a route to your chosen destination. standard Maverick chopper can be stolen from the Helitours The map also creates routes to all yellow, red, or blue location in southeast Algonquin and from a private helipad in blipped destinations that are automatically designated northeast Alderney. Heavily armed Annihilators appear on top of in your missions. Note that any GPS-created route is the a police building in northeast Algonquin and also in the northern most direct legal route. You can also usually find plenty of area of the Francis International Airport. The Annihilator’s weapon illegal shortcuts (like driving against the flow of traffic) to has been upgraded! The machinegun-like rounds now explode get places faster. on impact, giving more punch to this already formidable
Load more

Recommended publications
  • TESIS: Grand Theft Auto IV. Impacto Y Contexto En Los Videojuegos Como
    UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO FACULTAD DE ESTUDIOS SUPERIORES ACATLÁN Grand Theft Auto IV. Impacto y contexto en los videojuegos como parte de la cultura de masas Tesis para obtener el título de: Licenciado en Comunicación PRESENTA David Mendieta Velázquez ASESOR DE TESIS Mtro. José C. Botello Hernández UNAM – Dirección General de Bibliotecas Tesis Digitales Restricciones de uso DERECHOS RESERVADOS © PROHIBIDA SU REPRODUCCIÓN TOTAL O PARCIAL Todo el material contenido en esta tesis esta protegido por la Ley Federal del Derecho de Autor (LFDA) de los Estados Unidos Mexicanos (México). El uso de imágenes, fragmentos de videos, y demás material que sea objeto de protección de los derechos de autor, será exclusivamente para fines educativos e informativos y deberá citar la fuente donde la obtuvo mencionando el autor o autores. Cualquier uso distinto como el lucro, reproducción, edición o modificación, será perseguido y sancionado por el respectivo titular de los Derechos de Autor. Grand Theft Auto IV Impacto y contexto en los videojuegos como parte de la cultura de masas Agradecimientos A mis padres. Gracias, papá, por enseñarme valores y por tratar de enseñarme todo lo que sabías para que llegara a ser alguien importante. Sé que desde el cielo estás orgulloso de tu familia. Mamá, gracias por todo el apoyo en todos estos años; sé que tu esfuerzo es enorme y en este trabajo se refleja solo un poco de tus desvelos y preocupaciones. Gracias por todo tu apoyo para la terminación de este trabajo. A Ariadna Pruneda Alcántara. Gracias, mi amor, por toda tu ayuda y comprensión. Tu orientación, opiniones e interés que me has dado para la realización de cualquier proyecto que me he propuesto, así como por ser la motivación para seguir adelante siempre.
    [Show full text]
  • Homosexuality As Seen in Grand Theft Auto Iv
    HOMOSEXUALITY AS SEEN IN GRAND THEFT AUTO IV A GRADUATING PAPER Submitted in Partial Fulfillment of the Requirements for Gaining The Bachelor Degree in English Literature By: YUNIARTI 10150025 ENGLISH DEPARTMENT FACULTY OF ADAB AND CULTURAL SCIENCES STATE ISLAMIC UNIVERSITY SUNAN KALIJAGA YOGYAKARTA 2014 ABSTRACT Homosexuality as seen in Grand Theft Auto IV By Yuniarti Grand Theft Auto IV is a form of RPG game created by Rockstar Games in 2008. GTA IV has two additional episodes, namely GTA IV: The Lost and Damned and GTA IV : The Ballad of Gay Tony. The analysis is focused on GTA IV: The Ballad of Gay Tony. This game tells about the life of Tony Prince who has debts taken from his business friends. Since then, Gay Tony asks Luis to do extra work provided by his business friends to redeem the debt. Problems come and go when he tried to redeem his debts and eventually Luis is able to resolve the issue at the end. To analyze Gay Tony, qualitative research method is used to find out how homosexuality is presented by Tony Prince and to reveal how Tony sees himself in being homosexual. The analysis begins with Gay Tony’s homosexual background. Further analysis is divided into several parts, that is conversation of text and visual effects that appear in the game. Conversation was divided into two parts, namely the influence to the other characters and conversations that related to homosexuality. In the visual, the author divides into two, namely the appearance of characters and loading screen image. The writer concludes that the character is an openly homosexual.
    [Show full text]
  • The Racialized Experiences of Video Games
    The Racialized Experiences of Video Games Mario Venegas: McNair Scholar Dr. Arthur Scarritt: Mentor Sociology Abstract This research explores the ways different people experience the racial content of video games. Building on DeVane and Squire, this research speaks to content analyses literature that shows games as modern minstrelsies. Using Bonilla-Silva’s definition of Racial Ideology in conjunction with Winddance-Twine’s concept of Racial Literacy, I examined racial ideology and its role as an interpretative framework. I also used Bourdieu's notion of cultural capital to account for video game cultural knowledge. Data were collected through personal interviews where participants played the video game Grand Theft Auto: The Ballad of Gay Tony for 30-50 minutes. A sample of 31 participants covering variation in gender, gaming experience, and race answered questions assessing their racial ideology, then played the game introduction, and finally, answered questions assessing interpretations of game content. Racially aware people with little gaming experience echoed the content analysis minstrelsy findings while colorblind racist non-gamers believed the content accurately represented the world. However, deeper familiarity with gaming and other mass media opened up a new interstitial space for challenging the racial status quo. Racially aware gamers saw the franchises as lampooning the shallow stereotypes in mainstream society. More importantly, with a more sophisticated media context, many colorblind racist gamers also saw racial representations as intentionally offensive. Gamers herein create inventive, non-threatening, but meaningful ways to address racialization across a spectrum of racial literacies. As a result, content analyses need a richer understanding of the experiences of video games for consumers.
    [Show full text]
  • Consolidated Financial Results of the Year Ended March 31, 2009 (Unaudited)
    Consolidated Financial Results of the Year ended March 31, 2009 (Unaudited) Date of Issue: May 8, 2009 Company Name : CAPCOM Co., Ltd. Stock Listing: Tokyo, Osaka Code Number : 9697 Location of Headquarters: Osaka Prefecture (URL http://www.capcom.co.jp/) Tel: +81-6-6920-3605 Representative :Haruhiro Tsujimoto, President and COO Contact Person :Kazuhiko Abe, Managing Corporate Officer Ordinary General Meeting of Shareholders : June 17, 2009 Dividend Payment Date: June 18, 2009 Filing Date for Annual Financial Report : June 18, 2009 (Note: Numbers are rounded down at Million Yen) 1. Results of the Year ended March 31, 2009 (April 1, 2008 - March 31, 2009) (1) Financial Results Note: Percentage represents change against corresponding period of the previous year. Net Sales Operating Income Ordinary Income Net Income Million Yen ％ Million Yen ％ Million Yen ％ Million Yen ％ Year ended March 31, 2009 91,878 10.614,618 11.4 13,808 12.6 8,063 3.3 Year ended March 31, 2008 83,097 11.5 13,121 36.6 12,267 15.7 7,807 33.4 Earnings per Share of Return (net Return (ordinary Earnings per Share Return (operating Common Stock income) income) on Total of Common Stock income) on Sales (Assuming Full Diluted) on Equity Assets yen yen ％ ％ ％ Year ended March 31, 2009 130.98 120.41 14.3 13.8 15.9 Year ended March 31, 2008 132.90 116.84 15.8 13.3 15.8 Reference: Investment Profit / Loss on Equity Method Year ended March 31, 2009: (553) million yen Year ended March 31, 2008: 0million yen (2) Financial Position Total Shareholders' Shareholders' Equity Shareholders'
    [Show full text]
  • THE VIDEO GAME INDUSTRY the Video Game Industry (Often
    THE VIDEO GAME INDUSTRY The video game industry (often referred to as interactive entertainment) is the economic sector involved with the development, marketing and sales of video games. It encompasses dozens of job disciplines and employs thousands of people worldwide. Game industry value chain The game industry value chain is made up of six connected and distinctive layers: 1. Capital and publishing layer: involved in paying for development of new titles and seeking returns through licensing of the titles. 2. Product and talent layer: includes developers, designers and artists, who may be working under individual contracts or as part of in-house development teams. 3. Production and tools layer: generates content production tools, game development middleware, customizable game engines, and production management tools. 4. Distribution layer: or the "publishing" industry, involved in generating and marketing catalogs of games for retail and online distribution. 5. Hardware (or Virtual Machine or Software Platform) layer: or the providers of the underlying platform, which may be console-based, accessed through online media, or accessed through mobile devices such as the iPhone. This layer now includes non-hardware platforms such as virtual machines (e.g. Java or Flash), or software platforms such as browsers or even further Facebook, etc. 6. End-users layer: or the users/players of the games.[2] [edit]Disciplines Latest trends in the game industry A fairly recent practice, since the mid-1990s, of the video game industry is the rise of game players as developers of game content. The rise of video game players as fourth-party developers of game content allows for more open source models of game design, development and engineering.
    [Show full text]
  • Qt1sn790gg Nosplash Bd41110
    ii Copyright 2016 By Susan Forsyth iii Funding Acknowledgement This dissertation was supported by: • The University of California, San Francisco Graduate Dean’s Health Science Fellowship • The Eugene Cota Robles Doctoral Fellowship • Dissertation award from the Tobacco-Related Disease Research Program (TRDRP), grant #22DT-0003. iv Acknowledgments I would first like to thank the participants who gave freely of their time and stories. Without them this dissertation would never have been written. I knew almost nothing about video games before I started this and their patient explanations of things most obvious was greatly appreciated. I would also like to thank my advisor, Dr. Ruth Malone. In 2008, when I sat in my first graduate class, I was not sure if I even belonged. Dr. Malone encouraged me and helped me believe in myself as a person and as a scholar. She opened doors for me that I did not know even existed. Ruth has mentored me for the last eight years, and for this I am honored and grateful. I would also like to thank my dissertation committee, Dr. Ruth Malone (chair), Dr. Kit Chesla and Dr. Roberta Rehm. Their gentle and careful guidance has seen me safely through one of the most challenging journeys of my life. I would like to thank my qualifying exam committee, Dr. Christine Kennedy (chair), Dr. Ruth Malone, Dr. Roberta Rehm and Dr. Susan Kools. Through your expertise and direction this project was shaped into what it is today. I would also like to thank Dr. Lisa Bero and Dr. Donna Odierna. I joined their reasearch group for ten weeks and stayed five years.
    [Show full text]
  • Interpretations on the Racialized Experience of Video Games
    Interpretations on the Racialized Experience of Video Games Mario Venegas: NcNair Scholar Dr. Arthur Scarritt: Mentor Sociology Abstract This research seeks to explore how participant video gamers’ cultural capital impacts their interpretations of the racial content in video games. Having cultural capital on the video game world mediates interpretation of video game racial semiotics showing complexity in the reproduction and contestation of race in media. The project seeks to supplement grounds that show complexity in how people interpret racial content from a growing video game industry. Data were collected through personal interviews where participants played the racialized game Grand Theft Auto: The Ballad of Gay Tony for 30-50 minutes. A sample of 23 participants covering gender, gaming experience, and race answered questions assessing racial lens, then played the game introduction, and finally answered questions assessing interpretations of game content. Results indicate two major frameworks in game interpretation. One mode consisted of dismissing racial content as mere jokes or aesthetic game elements which borders colorblind racial notions. The second mode consisted of rejection and criticism of game content. Gamer respondents interpreted through media reference modes while non-gamers, by and large, were critical of game content. Respondents draw from their experiences and knowledge to interpret racial semiotics and do not passively accept content, as content analysis and psychology literature assumes. Introduction The video game industry is one of the fastest growing businesses of this century with sales of at least $6 billion in the year 2000 (Leonard 2003, 2006) and $25 billion in the year 2010, outselling the music and film industries in the United States (digitalbattle 2010; vgchartz 2011).
    [Show full text]
  • Under the Hood: an (Auto) Ethnographic Study of How White Adolescent Males Critically Engage with Race in Grand Theft Auto V
    UNDER THE HOOD: AN (AUTO) ETHNOGRAPHIC STUDY OF HOW WHITE ADOLESCENT MALES CRITICALLY ENGAGE WITH RACE IN GRAND THEFT AUTO V PAUL DARVASI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN EDUCTION YORK UNIVERSITY TORONTO, ONTARIO DECEMBER 2019 © Paul Darvasi 2019 ii ABSTRACT Grand Theft Auto V (GTA V) is emblematic of the public controversies that asso- ciate video games with violence, misogyny, and damaging depictions of race and gender. However, it is also a layered referential and self-reflexive text that roundly critiques US culture, including the pernicious complicity of media on issues of identity. GTA V is the third best selling video game in history, and primarily targets white adolescent males, but its effects on the attitudes and behaviors of its chief consumers are virtually unstudied. Furthermore, the tendency for schools to keep controversial games at a distance may neg- lect a need to better equip adolescent boys with the tools to critically consume the com- plex media in which they are immersed. This doctoral dissertation employs a postcolonial lens and documents a month-long qualitative study where a high school class of ten white adolescent boys played GTA V while in a formal instructional context that encouraged them to critically reflect on their gameplay. Although they viewed the game through the lenses of gender, masculinities, violence, and hegemony, my research specifically reports on how they engaged with representations of race and racialized places in the elaborate urban simulation. The participants were positioned as co-researchers and trained in basic ethnographic methods, and the fieldnotes and filmed videos of their play were synthesized in autoethnographic accounts of their experiences.
    [Show full text]
  • Take-Two Interactive Software, Inc. (NASDAQ: TTWO)
    Take-Two Interactive Software, Inc. (NASDAQ: TTWO) February 2019 CAUTIONARY NOTE: FORWARD-LOOKING STATEMENTS The statements contained herein which are not historical facts are considered forward-looking statements under federal securities laws and may be identified by words such as "anticipates," "believes," "estimates," "expects," "intends," "plans," "potential," "predicts," "projects," "seeks," “should,” "will," or words of similar meaning and include, but are not limited to, statements regarding the outlook for the Company's future business and financial performance. Such forward-looking statements are based on the current beliefs of our management as well as assumptions made by and information currently available to them, which are subject to inherent uncertainties, risks and changes in circumstances that are difficult to predict. Actual outcomes and results may vary materially from these forward-looking statements based on a variety of risks and uncertainties including: our dependence on key management and product development personnel, our dependence on our Grand Theft Auto products and our ability to develop other hit titles, the timely release and significant market acceptance of our games, the ability to maintain acceptable pricing levels on our games, and risks associated with international operations. Other important factors and information are contained in the Company's most recent Annual Report on Form 10-K, including the risks summarized in the section entitled "Risk Factors," the Company’s most recent Quarterly Report on Form 10-Q, and the Company's other periodic filings with the SEC, which can be accessed at www.take2games.com. All forward-looking statements are qualified by these cautionary statements and apply only as of the date they are made.
    [Show full text]
  • “The Character Feels That Way, Not Me”: Player Driven Narrative Experiences in Grand Theft Auto Iv James O'connor, Ba (Hon
    “THE CHARACTER FEELS THAT WAY, NOT ME”: PLAYER DRIVEN NARRATIVE EXPERIENCES IN GRAND THEFT AUTO IV JAMES O’CONNOR, BA (HONS) SCREEN & MEDIA/ENGLISH & CREATIVE WRITING FLINDERS UNIVERSITY CONTENTS List of Figures ………………………………………………………………................. ii Abstract ……………………………………………………………………...................iii Declaration………………………………………………………………………………v Acknowledgements....…………………………………………………………………..vi Chapter I: Introduction………………………………...………………………………...1 Chapter II: i. Literature Review…………………………………………………………………….10 ii. Methodology………………………………………………………………………...25 Chapter III: Player Experiences with the Established Narrative and Game World……………………………………………………………..32 Chapter IV: The Relationship Between the Player and the Avatar ………………………………………………………………………….70 Chapter V: Player Driven Narrative Experiences and Non-Canonical Narrative Reasoning…………………………………………………..94 Chapter VI: How and Why Players Tell Their Narratives………………………..…..117 Chapter VII: Conclusion…………………………………………...………………….135 Bibliography and Videogames Cited……………………………..…………………...139 i LIST OF FIGURES 1. Screenshot (PC version) illustrating user interface (Jamie Dalzell)…………............40 2. Screenshot (PC version) in-game phone use (David, participant)…………………...42 3. Scan of in-vehicle controls section of manual (Xbox 360 version)…………………44 4. Scan of on-foot controls section of manual (Xbox 360 version)…………………….45 5. Table of branching narrative possibilities in game…………………………........48-50 6. Screenshot of YouTube video ‘Grand Theft Auto IV: Hill Valley [Back to the Future
    [Show full text]
  • Post-Script Competing Literacies and the Politics of Video Game Trailers
    Post-Script Competing Literacies and the Politics of Video Game Trailers A Thesis Submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of the Arts in Communication, Culture and Technology By Michael R. Moore, B.S. Washington, D.C. May 2008 Abstract Video game trailers are simultaneously scrutinized and overlooked. Both game fans and the gaming industry invest huge amounts of time and money into video game trailers, yet few outside the community pay notice. Media critics, film critics, and game studies scholars have little to say about video game trailers. This critical oversight has political consequences. To paraphrase Langdon Winner, our understanding of new media and new technology affects our lived experience of that media and technology. And as modern technology continues to outpace itself, society struggles to navigate an ever larger pool of new cultural forms. Looking specifically at video game trailers, I argue that audiences approach new media through both formal history and social literacy. Using Lisa Kernan’s work on film trailers as a guide, I trace a history of the trailer from pre-cinematic appeals, to motion picture previews, and finally to video game trailers. Comparing film trailers to game trailers, I argue that game trailers often offer audiences greater interpretive flexibility. Following Gee’s work on video games and semiotic domains, I argue that audiences read game trailers through particular affinity groups. Moreover, as Gee emphasizes, these readings are inherently political. Building on Jenkins’ work with fan communities, I look at the political implications of competing literacies.
    [Show full text]
  • GTA IV Judged
    10 InGear MAY 4, 2008 . THE SUNDAY TIMES THE SUNDAY TIMES . MAY 4, 2008 InGear 11 When Mark Harris took a stroll down Grand Theft Auto IV’s mean streets, he Making a killing quickly identified with its Making a killing amoral hero. It’s all just a bit of fun, though – isn’t it? isthenameofisthenameof rand Theft Auto IV sold a record 609,000 copies in one day when it was launched in the UK this week, raking in nearly £25m for its maker, Rockstar Games. That’s about twice what GHollywood can expect its first blockbuster of the thethe game game year, Iron Man, to earn when it opens here this weekend. Some experts are even tipping Grand Theft Auto (or GTA) IV to topple the Pirates of the Caribbean 3 movie from its perch as the entertainment title with the most first-week sales. That’s not all. The game has been linked to two real-life attacks (a stabbing and a mugging) on its very first day of sale, and adverts for it have been withdrawn from public transport systems across America because of its graphic violence. So what makes GTA IV, available now on the PlayStation 3 and Xbox 360 consoles for about £40-£50, more exciting than Speed Racer, more profitable than James Bond and more dangerous than a crazed hoodie? I take a stroll along the mean streets of Liberty City (its fictional setting — a thinly veiled New York) to find out. Forget big-name stars and glitzy glamour girls; the “hero” of GTA IV is a rough-hewn, unshaven Serbian immigrant by the name of Niko Bellic.
    [Show full text]