How Many Lines Of Code In Gta 5? Trust The Answer

Today’s data visualization is by David McCandless of Information is Beautiful. Buy her amazing book called Knowledge is Beautiful – we own the physical version and it’s full of awesome data visualizations.

How many million lines of code does it take to make the modern program, web service, car, or plane possible?

The range is extraordinary: the average iPhone app has less than 50,000 lines of code, while Google’s total code base is two billion lines for all services. And interestingly, the code behind machines like fighter jets, popular video game engines, and even the Large Hadron Collider falls somewhere between those two extremes.

INCREASING COMPLEXITY

A million lines of code would be about 18,000 pages of text when printed. That’s 14 times the length of War and Peace.

It’s more than what was needed to power ancient technologies like the space shuttle, a pacemaker, or even Quake 3’s game engine – but it’s not enough to be the driving force behind the modern software that used in everyday life today.

The control software for operating a US military drone uses 3.5 million lines of code.

A Boeing 787 has 6.5 million lines behind its avionics and online support systems.

Google Chrome (browser) runs on 6.7 million lines of code (upper estimate).

A Chevy Volt uses 10 million lines.

The Android operating system runs on 12-15 million lines.

The Large Hadron Collider uses 50 million lines.

Without the backend code, Facebook runs on 62 million lines of code.

With the advent of sophisticated cloud-connected infotainment systems, the car software in a modern vehicle appears to use 100 million lines of code. This is reported by Wired magazine.

All Google services add up to a whopping 2 billion rows.

Applying the above math, it would take 36,000,000 pages to “print out” all the code behind all Google services. That would be a stack of paper 3.6 km high!

How big is Google? We can answer that question in terms of revenue or stock price or customers or, well, metaphysical influence. But that’s not all. Among other things, Google is a vast empire of computer software. We can reply in the form of code.

Google’s Rachel Potvin came pretty close to an answer at an engineering conference in Silicon Valley on Monday. She estimates that the software needed to run all of Google’s internet services – from Google Search to Gmail to Google Maps – involves around 2 billion lines of code. By comparison, Microsoft’s Windows operating system — one of the most complex software tools ever designed for a single computer and in development since the 1980s — is probably in the 50 million row range.

So building Google is roughly 40 times the equivalent of building the Windows operating system.

“The numbers are absolutely stunning.” Sam Lambert, Systems Director, Github

The comparison is more accurate than you might think. Much like the code that underlies Windows, the 2 billion lines that power Google is one thing. You control Google Search, Google Maps, Google Docs, Google+, Google Calendar, Gmail, YouTube and every other Google Internet service, and yet all 2 billion lines are in a single code repository available to all 25,000 Google engineers Available. Inside the company, Google treats its code like a giant operating system. “Although I can’t prove it,” says Potvin, “I would suspect that this is the largest single repository in use anywhere in the world.”

Google is an extreme case. But his example shows how complex our software has become in the internet age – and how we have changed our programming tools and philosophies to accommodate this added complexity. Google’s huge repository is only available to programmers within Google. But in a way it’s analogous to GitHub, the open-source public repository where engineers can share enormous amounts of code with the internet. We’re moving towards a world where we regularly collaborate on code at scale. This is the only way we can keep pace with the rapid development of modern Internet services.

“Having 25,000 developers, like Google does, means it’s sharing code with a variety of people with different skill sets,” said Sam Lambert, director of systems at GitHub. “But as a small business, you can get the same benefit with GitHub and open source. There is a saying, ‘A rising tide lifts all boats.’”

The downside is that building and operating a 2 billion line monolith is no easy task. “It has to be a technical challenge – a tremendous achievement,” says Lambert. “The numbers are absolutely stunning.”

Part of the genius of GitHub is that programmers can easily share and collaborate on code. But GitHub doesn’t host a single software project. It includes millions of projects. Google goes one step further and combines many projects into one. Given the difficulty of juggling so much code across so many engineers, this might seem a bit crazy. But according to Potvin, it works.

Hear the piper

Basically, Google built their own “version control system” to juggle all this code. The system is called Piper and runs on top of the vast online infrastructure that Google has built to run all of its online services. According to Potvin, the system includes 10 different Google data centers.

It’s not just because all 2 billion lines of code are in a single system available to virtually every engineer in the company. This system gives Google engineers an unusual freedom to use and combine code from countless projects. “When you start a new project,” Potvin tells WIRED, “you already have a plethora of libraries at your disposal. Almost everything is already done.” In addition, engineers can make a single code change and immediately deploy it to all Google services. By updating one thing, they can update everything.

Google is an extreme case. But his example shows how complex our software has become in the age of the internet.

This system is subject to restrictions. Potvin says certain highly sensitive code — stuff similar to Google’s PageRank search algorithm — resides in separate repositories available only to certain employees. And because they don’t run on the web and are very different things, Google stores the code for its two device operating systems – Android and Chrome – on separate version control systems. But for the most part, Google Code is a monolith that allows the free flow of building blocks, ideas, and solutions.

The bot factor

As Lambert emphasizes, the construction and operation of such a system not only requires know-how, but also enormous computing power. Piper holds about 85 terabytes of data (aka 85,000 gigabytes) and Google’s 25,000 engineers make about 45,000 commits (changes) to the repository every day. This is serious activity. While Linux open source operations involve 15 million lines of code in 40,000 software files, Google engineers change 15 million lines of code in 250,000 files every week.

The construction and operation of such a system not only requires know-how, but also enormous computing power.

At the same time, Piper has to work on taking much of the burden off the human programmers. It needs to make sure people can get all that code in their heads; that they will not step on each other’s toes with code changes; that they can easily remove bugs and unused code from the repository. And because it’s all so difficult, it actually has to do some of that work for people. Now that Google has switched to Piper from its previous version control system — a tool called Perforce — automated “bots” are doing a lot of the commits.

That doesn’t mean bots write code. But they generate much of the data and configuration files needed to run the company’s software. “They must work together to maintain code health,” says Potvin. “And it’s not just humans that are keeping the code sane, it’s robots too.”

Piper for everyone

Could others benefit from the same type of system? Certainly. And they do. The main Facebook app is over 20 million lines of code, and the company is treating it all as a single project. Others do the same on a smaller scale. As companies approach the size of Google or Facebook, logistics can get in the way. But Google and Facebook are looking at ways to change that — for everyone.

The two Internet giants are working on an open-source version control system that would allow anyone to juggle code at scale. It is based on an existing system called Mercurial. “We’re trying to see if we can scale Mercurial to the size of Google’s repository,” says Potvin, noting that Google is working hand-in-hand with programming guru Bryan O’Sullivan and others involved in overseeing the Help programming work at Facebook.

That may seem extreme. After all, few companies juggle as much code as Google or Facebook do today. But in the near future they will.

GTA 5 uses C/C++ for the game engine while it uses C# and C/C++ for the gameplay elements.

Our team researched the Rockstar job board and these are the results we got regarding the game’s coding.

C++ is a very popular programming language in game development, it was to be expected to see it in the Rockstar Advanced Game Engine or RAGE.

RAGE has been in use since 2008 and was used in GTA 4. Every time a new game is released by Rockstar, the engine changes significantly.

The graphics engine was very beautiful, GTA 4 offered beautiful landscapes never seen before. The gameplay was also very good and loved by many around the world.

C++ and C are languages ​​of the same family and use some similar things. We would say that learning C and C++ is very difficult compared to a language like C#, but the documentation available for these two languages ​​has been around for more than 40 years.

The same concepts you’ll learn from C# apply, with some changes to your coding style like variable declaration. C# was developed by Microsoft and you are offered extensive documentation for learning the language.

GTA 5 was a success from the start and the game is enjoying a resurgence in popularity with the release of first GTA:Online and then FiveM, a multiplayer mod where role-playing servers are very popular.

GTA 5 will always be an instant classic in the world of video games and will be remembered by many people for years to come. Many of the engine’s features and improvements have been well received by the community.

Then the regular updates created by Rockstar have only made GTA 5 better, it has enjoyed millions and millions of dollars in sales.

Sources

Rockstar job board

These games use languages ​​like c++, c#, java etc. Graphics are put into these games using game engines like CryEngine, Unreal Engine, Unity, custom game engines etc. In these games, most of the graphics are real photos that they convert into 3D models and then use it for graphics. If you like amazing games like GTA5, FIFA14, Resident Evil, Need for Speed ​​etc. want to create you need to use game engines which I mentioned in the answer. These games are not created by a single person, many programmers and experts work in teams and they make these games. In these teams, each person has their own work according to their ability. The backend of these games is very complex because it contains thousands of lines of code and lots of database management.

In today’s highly connected and fast-paced world, we have access to a vast amount of information.

Historically, however, this has not always been the case.

Travel back in time just 20 years ago to 2002 and you would find that the vast majority of people were still waiting for the daily newspaper or the evening news to help fill in the information gap.

In fact, for most of 2002, Google lagged behind Yahoo! and MSN. Meanwhile, early incarnations of social media (MySpace, Friendster, etc.) were just starting to come online, and Facebook, YouTube, Twitter, and the iPhone didn’t exist yet.

The media waves so far

From time to time, new technological developments and changing societal preferences turn the dominant form of communication on its head.

These transitions appear to be accelerating over time, adjusting to the accelerated advancement of technology.

Proto-Media (over 50,000 years)

Humans could spread their message only through human activity. Speech, oral tradition and handwritten text were the most common mediums to convey a message.

(over 50,000 years) Humans could only spread their message through human activity. Speech, oral tradition and handwritten text were the most common mediums to convey a message. Analogue and early digital media (1430-2004)

The invention of the printing press, and later radio, television, and the computer, brought powerful forms of one-way and cheap communication to the masses.

(1430-2004) The invention of the printing press and later radio, television and the computer opened up powerful forms of one-way and cheap communication to the masses. Affiliated Media (since 2004)

The birth of Web 2.0 and social media enables participation and content creation for everyone. A tweet, blog post, or TikTok video from anyone can go viral and reach the whole world.

Each new media wave has its own pros and cons.

For example, Connected Media was a big step forward as it allowed everyone to join the conversation. On the other hand, algorithms and the sheer volume of content that needs to be searched have also created many disadvantages. To name just a few problems with media today: filter bubbles, sensationalism, clickbait and so on.

Before we delve into what we believe to be the next media wave, let’s first break down the common characteristics and issues of previous waves.

Wave Zero: Proto Media

Before the first wave of media, it took dedication and a lifetime to get a message out.

Add to this the fact that even in 1500 only 4% of the world’s citizens lived in cities and you can see how difficult it was to communicate effectively with the masses during that time.

Or, to paint a more vivid picture of what proto-media was like, information could only travel at the speed of a horse.

Wave 1: Analogue and early digital media

In this first wave, new technological advances enabled widespread communication for the first time in history.

Newspapers, books, magazines, radio, television, film, and early websites all fit within this framework, allowing the owners of these assets to spread their message widely.

Since printing books or broadcasting television news programs required large amounts of infrastructure, capital or connections were required to gain access. Because of this, large corporations and governments were usually the gatekeepers, and ordinary citizens had limited influence.

Attribute Description 📡 Information Flow One-way 💰 Barriers to Entry Very High 📰 Distribution Controlled by mass media companies and government 🏆 Incentive To cast a wide net and not alienate viewers or advertisers

Importantly, these mediums only allowed one-way communication—meaning they could send a message, but the general public was limited in their response (e.g., a letter to the editor or a phone call to a radio station).

Wave 2: Connected media

Innovations like Web 2.0 and social media have changed the game.

Beginning in the mid-2000s, barriers to entry began to fall and eventually it became free and easy for anyone to voice their opinion online. As the internet exploded with content, sorting became the main problem to solve.

For better or for worse, algorithms started feeding people what they loved so they could consume even more. The upshot was that everyone competing for eyeballs was suddenly in the process of tweaking content to try and “win” the algorithm game in order to gain virality.

Attribute Description 📡 Two-way flow of information 💰 Barriers to entry Very low 📰 Diffusion Controlled by technology companies and algorithms 🏆 Incentive To cast a tight net, target and mobilize a specific audience

Viral content is often compelling and interesting, but it comes with trade-offs. Content can be made artificially compelling by sensationalizing, using clickbait, or playing lightly with facts. It can be very purposeful to resonate emotionally within a particular filter bubble. It can be designed to infuriate a particular group and mobilize them into action – even if it is extreme.

Despite the many benefits of connected media, we are seeing more polarization than ever in society. Groups of people cannot relate to each other or discuss problems because they cannot agree on even basic facts.

Perhaps the most frustrating? Many people don’t realize that they are deep within their own bubble, being fed only information they agree with. They are unaware that there are other legitimate viewpoints. Everything is black and white, and gray thinking is becoming increasingly rare.

Wave 3: Disk

Between 2015 and 2025, the amount of data collected, created and replicated globally will increase by 1,600%.

For the first time ever, a significant amount of data is becoming “open source” and available to everyone. There have been massive advances in data storage and verification, and even ownership of information can now be tracked on the blockchain. Both the media and the population are becoming more data literate, and they are also becoming aware of the societal disadvantages that result from connected media.

As this new wave emerges, it’s worth examining some of its attributes and connecting concepts in more detail:

Transparency:

Data literate users will start demanding that data is transparent and comes from trusted, factual sources. Or, if a source is not rock solid, users will demand that methodology limitations or possible biases be openly exposed and discussed.

Data literate users will start demanding that data is transparent and comes from trusted, factual sources. Or, if a source is not rock solid, users will demand that methodology limitations or possible biases be openly exposed and discussed. Verifiability and trust:

How do we know that the data shown is legitimate and reputable? Platforms and media will increasingly want to prove to users that data has been verified back to the original source.

How do we know that the data shown is legitimate and reputable? Platforms and media will increasingly want to prove to users that data has been verified back to the original source. Decentralization and Web3:

Anyone can access the vast amounts of public data available today, which means that reports, analysis, ideas and insights can come from an ever-expanding group of stakeholders. Web3 and decentralized ledgers allow us to provide trust, attribution, accountability, and even content ownership when needed. This can eliminate the middleman, which is often big tech companies, and allow users to monetize their content more directly.

Anyone can access the vast amounts of public data available today, which means that reports, analysis, ideas and insights can come from an ever-expanding group of stakeholders. Web3 and decentralized ledgers allow us to provide trust, attribution, accountability, and even content ownership when needed. This can eliminate the middleman, which is often big tech companies, and allow users to monetize their content more directly. Storytelling of data

Rising data literacy and the explosion of data storytelling is a key approach to making sense of big data by combining data visualization, storytelling, and meaningful insights.

Rising data literacy and the explosion of data storytelling is a key approach to making sense of big data by combining data visualization, storytelling, and meaningful insights. Data Creator Economy:

Democratized data and the rise of storytelling are intersecting to create a potential new data teller ecosystem. This is what we are increasingly focusing on at Visual Capitalist and we encourage you to support our Kickstarter project on this (only 6 days left at time of publication).

Democratized data and the rise of storytelling are intersecting to create a potential new data teller ecosystem. This is what we are increasingly focusing on at Visual Capitalist, and we encourage you to support our Kickstarter project on this ( , at the time of publication) open ecosystem:

Just as open source has revolutionized the software industry, we will see more and more data widely available. Incentives can, in some cases, shift from retaining ownership of data to disclosing it for others to use, remix and publish, and attribution to the original source.

Just as open source has revolutionized the software industry, we will see more and more data widely available. Incentives can, in some cases, shift from retaining ownership of data to disclosing it for others to use, remix and publish, and attribution to the original source. Data > Opinion:

Data media will bias facts over opinions. It’s less about opinion, bias, silly, and telling others what to think, and more about enabling an increasingly data-literate population to access the facts themselves and form their own nuanced opinions about them.

Data media will bias facts over opinions. It’s less about opinion, bias, silly, and telling others what to think, and more about enabling an increasingly data-literate population to access the facts themselves and form their own nuanced opinions about them. Global data standards:

As data continues to proliferate, it will be important to codify and standardize it where possible. This will lead to global standards that will make communication even easier.

Early pioneers of data carriers

The data media ecosystem is just beginning, but here are some early pioneers we like:

Our world in data:

Led by economist Max Roser, OWiD does an excellent job of bringing global economic data together in one place and making it easy for others to remix and effectively communicate these insights.

Led by economist Max Roser, OWiD does an excellent job of bringing global economic data together in one place and making it easy for others to remix and effectively communicate these insights. USAFacts:

Founded by Microsoft’s Steve Ballmer to be an impartial source of US government data.

Founded by Microsoft’s Steve Ballmer to be an impartial source of US government data. fred:

This Federal Reserve Bank of St. Louis tool is just one example of many tools that have emerged over the years to democratize data that was previously proprietary or difficult to access. Other similar tools have been developed by the IMF, World Bank, etc.

This Federal Reserve Bank of St. Louis tool is just one example of many tools that have emerged over the years to democratize data that was previously proprietary or difficult to access. Other similar tools have been developed by the IMF, World Bank, etc. Thirty-five:

FiveThirtyEight uses statistical analysis, data journalism and forecasting to uniquely cover politics, sports and other topics.

FiveThirtyEight uses statistical analysis, data journalism and forecasting to uniquely cover politics, sports and other topics. Flowing data:

At FlowingData, data visualization expert Nathan Yau explores a variety of data and visualization topics.

At FlowingData, data visualization expert Nathan Yau explores a variety of data and visualization topics. Data Journalists:

There are incredible data journalists at publications like The Economist, The Washington Post, The New York Times and Reuters who are unlocking the early beginnings of what is possible. Many of these publications also made their COVID-19 work freely available during the pandemic, which is certainly commendable.

The growth of data journalism and the emergence of these pioneers helps you get a feel for the beginnings of data media, but we believe they only scratch the surface of what’s possible.

What data carriers are not

In a way, it’s easier to define what disks are not.

Data media aren’t partisan experts arguing about each other on a news show, and it’s not fake news, misinformation, or clickbait designed to get easy clicks. Data carriers are not an echo chamber that only reinforces existing prejudices. Because data is also less subjective, it is less likely to be censored like we see it today.

Data isn’t perfect, but it can help make the conversations we have as a society more constructive and inclusive. We hope you agree!

Red Dead Redemption 2 was one of the most anticipated games of 2018. It’s an exciting title, even from the point of view of someone who isn’t interested in the series: it looks stunning, you can do everything from dancing to… Conduct large-scale raids, and there are extensive customization and weapon options to make for fun, varied action that will keep you interested for dozens of hours – at least around 65 hours to be precise.

A new Vulture feature has provided glimpses into various aspects of Red Dead Redemption 2’s development, including the particularly disturbing revelation that the game’s development team had to put in 100-hour workweeks on several occasions in 2018.

Dan Houser, vice president for creative at Rockstar Games, says, “The finished game will have 300,000 animations, 500,000 lines of dialogue, and many more lines of code.”

He says that the team “probably made 70 versions of each Red Dead Redemption 2 commercial and trailer, but the editors could do several hundred.”

This revelation has alarmed many developers and consumers on social media and has sparked a discussion about crisis, worker exploitation and the need for unionization in the video game industry – a discussion that only gained traction after the recent majority studio shutdown at Telltale Games.

The Vulture feature is worth reading as it also shows that the Red Dead team has been actively working to address criticism of the studio’s previous games for lack of female empowerment. Houser doesn’t think this will be an issue in Red Dead Redemption 2, as it’s (among other things) “this old intellectual called Lillian Powell who came back down south from New York, almost like a Dorothy Parker character. There are also those who are weak, and those who are weak and grow strong, and those who think they are strong but are not. And that also applies to men.”

Houser goes on to say that the women’s suffrage movement also plays a role in the story, because “it was a time when women were beginning to question [their roles], and the Wild West was an area where people were turning to the able to invent time themselves for the first time; Many of the people who invented themselves were women.”

The final script for the game’s main story is around 2,000 pages long, but if you include all the side missions and additional dialogue, Houser estimates that the stack “would be six feet tall.” The motion capture work took 2,200 days, with 1,200 actors bringing their talents to the game.

It’s clear that Red Dead Redemption 2 aims to push the boundaries of video gaming, as is Rockstar tradition – the development team has focused on creating an experience that’s bigger and better than just its predecessors in the franchise , but also many other games the industry as a whole. But it’s important that consumers consider the human cost behind what it takes to make games like this.

Red Dead Redemption 2 will be released on October 26th for PlayStation 4 and Xbox One.

They may be fast and dirty, but that’s why Flappy Bird clones are such a welcoming outlet for programmers looking to hone their craft. One such person has managed to revive the lost (but never forgotten) wonder of mobile gaming with a fierce parsimony of jargon.

Destructoid recently came across a crappy-named Flappy Bird clone called “Crappy Bird” that was produced with just 18 lines of code. 17, actually, if you don’t count the last line, which is a quote from Douglas Adams. Ok, well, there’s a closing parenthesis in there too.

Here is the riveting passage in all its clumsy glory:

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This probably goes without saying, but Crappy Bird doesn’t come close to one of the best (and certainly most surprising) games of 2014. It’s not pretty to look at, nor is it that much fun to play. When I showed it to a programmer friend, he also shrugged it off, saying it was “18 lines of really ugly code” and would probably be longer “if he made it readable”. But after playing a few rounds in my browser this morning, I can at least say that it’s in Flappy Bird’s tradition to give me punishingly low scores:

Despite the ugliness of its presentation and code, it seems impressive that the creator managed to pull it off in such a succinct way. Or maybe not… my programmer friend noticed that technically you could just cram everything into a single line of code if you really wanted to.

The part I find interesting about Flappy Bird is how its deceptive (and therefore often underestimated) complexity has helped make it something of a training ground for game design and coding fundamentals. Ian Bogost, Georgia Institute of Technology’s pre-eminent Flappy Bird theorist, said this about Crappy Bird over Instant Messenger: “Once you’ve got all this infrastructure in place, it’s like saying you’re with just one foot to work hazards.”

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In other words, Flappy Bird lives on in its strange second life as de facto training material for aspiring programmers and game developers. It’s a pity, however, that we can’t continue playing the original marvel like we did last year. Maybe we should call it “Flappy Code” instead.

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What is game programming?

Game programming is a subsection of game development and refers to the code written to bring a game to life. It’s about taking specifications from game designers and translating them into a game that’s functional and playable.

Most games are written in the C or C++ programming language and require strong computer, math and logic skills.

Game programmers, also known as game developers, write the code that provides the logic and allows the player to interact with the game using programming languages.

A game programmer’s job doesn’t end there, however; You must constantly test the game and debug the code throughout the development process to ensure players have a seamless experience.

After the game is released, the developers continue to improve it while implementing add-ons to the game as needed to introduce new levels and improve functionality.

cstrat: cstrat: is it html mixed with js? Reminds me of PHP.

I think everyone who uses React goes through a phase of…yuck! why is this so popular, then ooooooh and finally…brilliant! This short video explains it better than I can: https://www.youtube.com/watch?v=DgVS-zXgMTk

I hated it myself until I used it in React Native. It also felt better because there is no dogma of mixing views and logic with iOS.

It’s also not technically HTML. The

How many lines of code are in Elden ring?

His experience on those projects helped prepare him to take on Elden Ring, whose randomizer clocks in at over 45,000 lines of code and more than 90,000 configuration files.

Development of Grand Theft Auto V

How many lines of code is in Minecraft?

For versions over 1.7,2, you can expect around 500,000 lines of code in Minecraft. But how did we come to this number? You see, a complete code file will include the code required to run the game, perform logic, display any output and have comments embedded.

Development of Grand Theft Auto V

How many lines of code is rdr2?

Dan Houser, Rockstar Games’ vice-president for creative, says that “the finished game includes 300,000 animations, 500,000 lines of dialogue and many more lines of code.” For every Red Dead Redemption 2 commercial and trailer, he says the team “probably made 70 versions, but the editors may make several hundred.”

Development of Grand Theft Auto V

How many lines of code is flappy bird?

It Only Takes 18 Lines Of Code To Clone Flappy Bird.

Development of Grand Theft Auto V

Projects with Most Lines of Codes Comparison.

Projects with Most Lines of Codes Comparison.

Projects with Most Lines of Codes Comparison.

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How Many Lines of Code are in GTA V? – GamerAfter.com

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Consisting of well over 80 million lines of code, this operating system is one of the largest ever written. How many lines of code does GTA 5 have? What is the …

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How many lines of code is Grand Theft Auto V?

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Most lines of code in a Nintendo DS videogame

Grand Theft Auto: Chinatown Wars had 800,000 lines of code, which is said to be even more than GTA: San Andreas on the PlayStation 2, making it the most complex Nintendo DS game. In fact, the game’s city was almost twice the size of that of the PlayStation Portable game GTA: Liberty City Stories.

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Development of Grand Theft Auto V

Development of the video game 2013

A team of about 1,000 people developed Grand Theft Auto V over several years. Rockstar Games released the action-adventure game in September 2013 for PlayStation 3 and Xbox 360, November 2014 for PlayStation 4 and Xbox One, April 2015 for Microsoft Windows, and March 2022 for PlayStation 5 and Xbox Series X/S. The first major installment in the Grand Theft Auto series since Grand Theft Auto IV, its development was led by Rockstar North’s core team of 360, working in partnership with several other international Rockstar studios. The team saw the game as a spiritual successor to many previous projects such as Red Dead Redemption and Max Payne 3. After its unexpected announcement in 2011, the game was eagerly promoted with press previews, theatrical trailers, viral marketing strategies and special editions. Its release date was widely anticipated, although there were several delays.

The open-world environment, modeled after Los Angeles and other areas of Southern California, accounted for much of the development effort. Key team members conducted field trips around Southern California to gather research and footage, and Google Maps projections of Los Angeles were used to design the city’s street network. The proprietary Rockstar Advanced Game Engine (RAGE) has been reworked to increase rendering capabilities at line of sight. For the first time in the series, players control three protagonists in single player mode. The team felt that the multi-protagonist design represented a fundamental change to the story and gameplay. They refined the shooting and driving mechanics, and streamlined the pace and scope of the narrative.

The actors chosen to portray the protagonists invested a great deal of time and research into character development. Motion capture was used to record the characters’ facial and body movements. Like its predecessors, the game features an in-game radio that plays a selection of licensed music tracks. An original score was composed over several years by a team of five music producers. They worked closely together, sampling and incorporating different influences into each other’s ideas. The re-release of the game added a first-person view option alongside the traditional third-person view. To accommodate the first-person perspective, the game received a major visual and technical upgrade, as well as new gameplay features such as a replay editor that allows players to create gameplay videos.

History and overview[ edit ]

Preparations for Grand Theft Auto V began around the release of Grand Theft Auto IV in April 2008; Full development took about three years.[1] Rockstar North’s core team of 360 co-opted studios around the world owned by parent company Rockstar Games to facilitate development between a full team of over 1,000.[2] These included Rockstar Studios in Leeds, Lincoln, London, New England, San Diego and Toronto.[3] Technical director Adam Fowler said that while development was shared between studios in different countries, the process involved close collaboration between the core team and others. This was necessary to avoid difficulties when the studios didn’t communicate with each other as many game mechanics work together.[4] Development of the game stopped on August 25, 2013 when it was submitted for manufacture.[5] Media analyst Arvind Bhatia estimated the game’s development budget at over US$137 million[6] and Scotsman reporter Marty McLaughlin estimated that the combined development and marketing efforts exceeded GB170 million (US$265 million), which it made the most expensive video game of all time in its time.[7]

The proprietary Rockstar Advanced Game Engine (RAGE) has been overhauled for the game to enhance sight range rendering capabilities, and the Euphoria and Bullet engines handle other animation and environmental rendering duties.[8][9] The team found that they could render the game world in more detail than in Grand Theft Auto IV because they had become familiar with the PlayStation 3 and Xbox 360 hardware. Art director Aaron Garbut said that while working with the consoles’ aging hardware was tiring, the team was still able to render detailed lighting and shadows and “maintain a consistent look.”[10] Vice President Dan Houser found working on Grand Theft Auto IV with relatively new hardware a challenge, but the team had since learned to develop more efficiently for the consoles.[11] The PlayStation 3, PlayStation 4, and Xbox One versions fit on one Blu-ray Disc; Xbox 360 copies are split across two DVDs and require an 8GB installation on the hard drive or external storage device;[12] while the Microsoft Windows (PC) version occupies seven DVDs.[13] The team claimed that any differences between the PlayStation 3 and Xbox 360 versions were negligible.[14]

Research and open world design[edit]

The initial work on Grand Theft Auto V represented the open-world creation in which preliminary models were engineered during pre-production in the engine.[15] The game is set in the fictional US state of San Andreas and the city of Los Santos, based on Southern California and Los Angeles, respectively.[16] San Andreas was first used as the setting for Grand Theft Auto: San Andreas, which consisted of three cities separated by open countryside. The team felt the ambition of including three cities in San Andreas was too high, as it did not emulate the cities as they had hoped.[17] Houser felt that an effective portrayal of Los Angeles must emulate its sprawl, and that splitting the workforce across multiple cities would have detracted from capturing “what LA is.”[18] Garbut said that PlayStation 2-era technology lacked the technical capabilities to adequately capture Los Angeles, so San Andreas’ rendition of Los Santos looked like a “set or game level with random pedestrians walking around”. The team neglected San Andreas as a starting point for Grand Theft Auto V because they had transitioned to a new generation of consoles and wanted to rebuild the city from the ground up. According to Garbut, the game hardware had “evolved so much from San Andreas” that using it as a model would have been redundant.[18] The team’s focus on one city rather than three meant they could produce Los Santos of a higher quality and on a larger scale than the previous game.[18]

The game reproduces several iconic Los Angeles landmarks such as the Hollywood sign, which is represented as the Vinewood sign in the game.

Los Angeles was extensively researched for the game. The team organized field research trips with tour guides and architectural historians, and captured around 250,000 photos and many hours of video footage.[10] Houser said, “We’ve spoken to FBI agents who’ve been undercover, mafia experts, street thugs who know the slang – we’ve even looked at an actual prison.” He considered the exploration and creation of the open world to be the most challenging aspects of the game’s production. Google Maps and Street View projections of Los Angeles were used by the team to design the Los Santos street network.[20] The team examined virtual globe models, census data, and documentation to reproduce the city’s geographic and demographic spread.[18] The team chose to condense the city’s sprawl into an area that players could easily traverse to “capture the essence of what’s really there in a city, but in a much smaller area,” says Houser. 21] The New Yorker’s Sam Sweet opined that the “exhaustive fieldwork…was not undertaken to document a habitat. Rather, it was collected to create a highly realistic version of a Los Angeles that does not actually exist.”[22] Garbut noted that Los Angeles served only as a starting point and that the team was not “dictated by reality” in building Los Santos.

The open world encompasses vast tracts of land surrounding the city proper.[23] The research took the team to rural California; Garbut recalled a visit he made to Bombay Beach with Houser that inspired her to set Trevor’s first story against the sea of ​​Salton to music.[15] Wanting a big world with no open, empty areas, the team condensed the Southern California landscape into a detailed game space.[10] The game world covers 49 square miles (130 km2) – about one eightieth of Los Angeles County.[22] Its scope is larger than Rockstar’s previous open-world games; Garbut estimated it was large enough to fit the worlds of San Andreas, Grand Theft Auto IV, and Red Dead Redemption together.[24] To accommodate the size of the world, the team reworked the RAGE to improve its line-of-sight rendering capabilities.[18] The large, open space allowed for the reintroduction of fixed-wing aircraft, which were omitted from Grand Theft Auto IV due to their relatively small scale. “We wanted a big place to really let players fly,” Houser explained.[26] Lead producer Leslie Benzies noted that the team populated the open world with wildlife to avoid a “hollow” landscape area.

Story and character development[edit]

A single-player story centered around three main protagonists was one of Grand Theft Auto V’s earliest design goals. Garbut felt such a departure from the core gameplay structure was a risk, recalling the team’s concerns that a departure from Grand Theft Auto’s traditional single-lead character setup “could backfire”. Early game concepts would have told three separate stories through different protagonists. Later, the stories of Grand Theft Auto IV inspired the concept that the stories would meet as the game progressed. Eventually, the concept evolved into three interconnected stories that intertwined through the missions.[28] According to Benzies, the team made the multi-character formula “an integral part of the structure of the gameplay as well as the narrative”. Houser said that Grand Theft Auto V is her “strongest plot game because the characters are so intertwined” and that the “meeting points [between the characters’ stories] are very exciting”.[24]

The central theme of the story is the “pursuit of the almighty dollar”.[29] Missions follow the main characters’ efforts to plan and execute intricate heists to amass wealth for themselves. The team focused on money as a central theme in response to the 2007/08 financial crisis, as its effects revert the main characters back to a life of crime.[30] “We wanted that post-crash feel because it works thematically in this bank robbery game,” explains Houser.[31] The positive response to Grand Theft Auto IV’s “Three Leaf Clover” mission – an elaborate heist conducted by main protagonist Niko Bellic and his accomplices – encouraged the team to develop the story around the heists.[32] Houser said that while “Three Leaf Clover” was well received, the team didn’t capture the thrill of the heist to the best of their ability and wanted Grand Theft Auto V to achieve that. He felt that a strong bank robbery mission was “a good tool that we had never used in the past. Repeating yourself is a fear when we’re making games where part of the evolution is just technological”. [33]

The game lets players control three characters: Michael de Santa, Franklin Clinton and Trevor Philips. The team wrote each character to embody a game protagonist archetype; Michael represents greed, Franklin’s ambition, and Trevor’s madness. Houser felt that Michael and Trevor were written to contrast each other, with Michael being “like the criminal who wants to stand out and be a good guy sometimes” and Trevor “the weirdo who isn’t a hypocrite”. He felt that the three main characters helped push the game’s story into more original territory than its predecessors, which traditionally followed a single protagonist rising through the ranks of a criminal underworld. Ned Luke portrayed Michael, Shawn “Solo” Fonteno portrayed Franklin, and Steven Ogg portrayed Trevor. Fonteno was first drawn to the acting job through his friend DJ Pooh, who was working on San Andreas and involved in the music production of Grand Theft Auto V.[34]

When Luke’s agent brought the casting to his attention, he initially didn’t want to audition for the role because it was a video game. After reading the audition material and learning more about the project, he became interested. He mused, “I went from ‘I don’t do it’ to ‘nobody else does it’ immediately after reading the material. It was just brilliant.”[34] During the first audition, Ogg noted the chemistry between him and Luke on the set, which he believes helped land them the roles. “When [Luke] and I walked into the room together, we immediately had something,” he explained.[36] While the actors knew their auditions were for Rockstar Games, they didn’t realize it was a Grand Theft Auto title until they signed the contracts.[34]

Work for the actors began in 2010.[34] Most of their performances were recorded using motion capture technology.[17] Dialogue for scenes with characters sitting in vehicles was recorded in studios.[37] Because the actors’ dialogue and movements were recorded on set, they felt their performances were no different than film or television roles. Their dialogue was written in such a way that they could not speak at will; however, with the director’s permission, they sometimes made small changes to their performances.[37] To prepare for his role as Michael, Luke gained 25 pounds and studied Rockstar’s previous games, beginning with Grand Theft Auto IV. He viewed Michael’s characterization as an amalgamation of Hugh Beaumont’s portrayal of Ward Cleaver on the American sitcom Leave It to Beaver ( 1957–63) and Al Pacino’s portrayal of Tony Montana in the 1983 film Scarface.

Ogg felt Trevor’s characterization evolved over time. He said: “Nuances and traits that emerged – his gait, his way of speaking, his reactions, definitely influenced his development throughout the game.” Ogg cites Tom Hardy’s portrayal of English criminal Charles Bronson in the 2008 biopic Bronson as a strong stylistic influence. He said that while Trevor embodies the violent, psychopathic anti-hero archetype of Grand Theft Auto, he wanted players to sympathize with Trevor’s story. “Evoking other emotions was difficult, and it was the biggest challenge and something that meant a lot to me,” explained Ogg.[34] Fonteno felt that growing up in South Los Angeles and being exposed to drug dealing and gang culture validated his portrayal of Franklin. “I’ve lived his life before… He was surrounded by drugs, crime, lived with his aunt – I lived with my grandmother – so there was a lot of intimacy,” Fonteno said.[34] After not acting since playing Face in the 2001 film The Wash, he sought advice from Luke and Ogg to hone his acting skills.

Gameplay design[edit]

The multi-protagonist design of Grand Theft Auto V was created to improve on the core mechanics of the series. The team sought to innovate game storytelling and negate stale familiarity by not evolving core gameplay structure. “We didn’t want to do the same thing again,” Houser said.[18] The idea of ​​having multiple protagonists was first raised during the development of San Andreas, but simultaneous hardware limitations made it impractical. Garbut explained, “Technically, it didn’t work because the three characters needed three times the memory, three types of animation, and so on.”[1] After the release of Grand Theft Auto IV, the team developed The Lost and Damned and The Ballad of Gay Tony, episodic content packs that followed new protagonists. The three interwoven stories were well received, so the team structured Grand Theft Auto V around this model.[26]

The development team found that players experienced more freedom when controlling three characters in missions. Lead mission designer Imran Sarwar felt they opened up more strategic maneuvers. He cites a combat scenario in which Michael positions himself at a sniper outpost to cover Trevor, who launches a frontal assault on the enemy position while Franklin manipulates flank points.[40] Benzies felt that the character switch streamlined the interaction between free roam and linear mission play, as it eliminated the cumbersome long-distance travel from San Andreas to mission start points. According to Benzies, players can “explore the whole map without worrying about the long drive back.”[27] Houser noted that using the mechanic during missions also negated long drives. The team implemented dynamic mission content throughout the open world, a feature borrowed from Red Dead Redemption. Dynamic missions present themselves as players explore the open world and can be accepted or ignored. For example, in Los Santos, players may encounter an armored van and attempt to intercept it in order to steal its contents.[18]

The team overhauled the game’s shooting and driving mechanics to bring them up to the standards of its contemporaries. During the process, the public reception of the team’s previous games (such as Grand Theft Auto IV, Red Dead Redemption and Max Payne 3) was taken into account. To increase the pace of gunfire, the team removed the fixed lock – a key mechanic in Grand Theft Auto IV that instantly locks onto the enemy closest to the crosshairs. Assistant Technical Director Phil Hooker found the hard locking “too disorienting” and immersion-breaking “because you didn’t have to think about enemy locations”. He said that Grand Theft Auto IV players “rely on holding and shooting until a target is dead,” so Grand Theft Auto V introduces a timer that will break target lock after a few seconds. [43] The team refined Red Dead Redemption’s cover system for the game, making cover entry and exit more fluid.[43] Regarding the revised vehicle mechanics,[42] Houser felt the game was influenced by racing games and corrected the “boat-like” driving controls of Grand Theft Auto IV.[18]

Music production[edit]

“Welcome to Los Santos” “Welcome to Los Santos”, the main theme of the game, was composed by Oh No. He collaborated with several other musicians to produce original music for the game. Problems playing this file? See media help.

Grand Theft Auto V is the first game in its series to use an original score.[44] Music supervisor Ivan Pavlovich summed up the original score idea as “scary” because it was unprecedented for a Grand Theft Auto game.[45] Like most previous series entries, the game also uses licensed music tracks provided by an in-game radio. Pavlovich hoped that the original score would enhance, not detract from, licensed music uses. He further noted the balancing act between the score’s “environmental subtext and tensions” and the game’s on-screen action. To work on the score, Rockstar hired The Alchemist, Oh No and Tangerine Dream with Woody Jackson, who had previously worked on the music for Red Dead Redemption, L.A. Noire and Max Payne 3. The production team has worked together over several years to create more than twenty hours of music that evaluates both the game’s missions and dynamic gameplay in both single and multiplayer modes.

Woody Jackson, who had worked on several previous Rockstar games, worked with a team of producers to create more than twenty hours of original music for the game’s soundtrack.

Early in development of the game, the music team was shown an early build before starting work on the score. Their work was mostly completed later in development, but they continued to compose until the final build was submitted for manufacture. Edgar Froese, founding member of Tangerine Dream, initially turned down the offer to produce music for a video game. After being flown into the studio and shown the game, he was impressed by its scope and cinematic nature and changed his mind. Froese’s first eight months of work on the score yielded 62 hours of music.[45] He recorded with Tangerine Dream in Austria, but further work was done at Jackson’s studio in the United States, which was also used by The Alchemist and Oh No.

Jackson’s original role was to provide the score for Trevor’s Missions, and he drew influence from artists such as The Mars Volta and Queens of the Stone Age. Upon learning that the team would build on each other’s work, he expressed concern that the finished product might be disjointed. However, after sharing his work with the team, he was particularly impressed with Froese’s contributions. “Edgar evolved the music, made it a whole different thing,” Jackson said.[45] Froese had interpolated funk sounds with Jackson’s hip-hop influences. Froese and Jackson then sent their work between The Alchemist and Oh No, who sampled it heavily. The alchemist said, “We sampled, took a bit of form [sic] here, a bit there… We laid things down, chopped them up, tweaked them. Then we picked the tracks that worked, and everyone came in and layered the”.[45] DJ Shadow then mixed the team’s creations and matched them to the gameplay.[45] Pavlovich thought it was a challenge,” how to make the hip hop and rock score not sound like they are instrumentals of songs on the radio but something unique to the score”.

Pavlovich noted that while Rockstar assigned the team missions to write music, some of their random creations influenced other missions and sparked inspiration for the score’s further development. He discussed a “tribe-based” system used to adjust music to dynamic game factors, where the team would compose music to underscore the results that players could achieve immediately after completing missions. Each of these stems, Froese reflected, contained up to 62 five-minute WAV files that were sent to Pavlovich in New York. “He then very professionally created a mixdown for each of the eight stems needed for a mission and sent the material to the other artists involved,” Froese explained.[47] Oh No drew from scenes within the game to make his work feel contextually relevant to the on-screen action. For example, the iconographic introduction of Los Santos early in the game inspired him to “create a slick West Coast vibe that embodies the city.”[47] He provided horns, electric and bass guitars, and drum parts to go with the car chases. “We wanted everything to hit the right note,” he explains.[47]

The Rockstar team wanted to synergize the game world’s representation of California with the radio stations by licensing tracks that conveyed an appropriate “Cali feel”. Pavlovich noted that the cultural saturation of pop music in Los Angeles necessitated FM station Non-Stop-Pop; He said that “that first time you get off a plane in LA and you hear the radio and the bang just oozes out… that’s what we wanted. It really connects you to the world”. He felt that more discernment was needed when selecting licensed music than Grand Theft Auto IV, since Grand Theft Auto V’s music plays a crucial role in creating a Californian atmosphere.[45] Music “reflects the environment in which the game is set,” he said.[46] The team originally planned to license over 900 tracks for radio, but they refined the number to 241.[45] The tracks are shared by fifteen stations, with two additional talkback stations[49] and a radio station for custom audio files in the PC version.[50] Some tracks were written specifically for the game, such as rapper and producer Flying Lotus’ original work, which was composed for the FlyLo FM station he hosts. Pavlovich noted how the team would first develop an idea of ​​what each station would sound like and then select a DJ to fit the station’s genre, such as Kenny Loggins, who hosts classic rock station Los Santos Rock Radio. He felt that finding a balance between the radio and the score was a meticulous process, citing a scenario where players would drive to a mission objective while listening to the radio, with the score being carried over once the Players exited the vehicle and drove to the car as the next stage of the mission.[46]

release [edit]

During a September 2009 conference call, Strauss Zelnick, CEO of Take-Two Interactive, was asked about Grand Theft Auto V, rumored to be the next game in the series. He replied: “We will not announce it, we will not announce when we will announce it, nor will we announce strategy for the announcement or when we will announce it, or about the announcement strategy around the strategy announcement”. [51] In November of that year, Houser discussed with The Times his work on the series and the process that would be carried out for the next Grand Theft Auto game. He expressed plans to co-write a thousand-page script and said that when developing a new game, the team usually creates a city and then develops the main characters from that. In July 2010, Rockstar North posted seven job listings related to a new title. The company wanted to recruit environment artists, physics programmers, and character animators – the latter ad asked for recruits with “work experience developing a third-person action game”. Journalists wrote that the job posting hints at the existence of Grand Theft Auto V.[54] In June 2011, anonymous sources allegedly close to the developer told GameSpot that the title was “well underway” and that a 2012 release date was likely.[55]

Rockstar Games first confirmed the game’s existence on October 25, 2011 in an announcement on its official website and Twitter feed.[56] As a result, Take-Two Interactive’s share price rose by seven percent.[57] Journalists said the announcement raised high expectations in the gaming industry, citing the series’ cultural significance.[58][59][60] The game fell short of its originally planned release date of March–May 2013. By October 30, 2012, promotional posters had circulated around the internet and a listing from retailer Game had leaked the expected release date. Rockstar announced that day that it was scheduled for release in the second quarter of 2013, and the company began accepting pre-orders on November 5, 2012.

On January 31, 2013, the company announced that the release date had been pushed back to September 17 of that year. “It just needs a little more polish to meet the standard that we, and more importantly, you, demand,” Rockstar explained in a press release.[64] On August 23, reports stated that some European PlayStation 3 users who pre-ordered Grand Theft Auto V were able to download parts of the game, including the soundtrack and some character dialogue.[65][66] Details of the game were leaked later that day and in the following days before Sony removed the pre-order file from the European PlayStation Network and issued an official apology to Rockstar and its fans.[67][68] In response, Rockstar stated that it was “deeply disappointed by leaks and spoilers circulated ahead of the game’s launch”. The game was released in Japan on October 10.[70] A re-release of the game for PC, PlayStation 4 and Xbox One was announced at E3 2014.[71] The PC version, originally scheduled to be released concurrently with the console versions, has been delayed three times: first to January 27, 2015,[72] later to March 24[73] and again to April 14.[ 74] According to Rockstar, the game needed additional development time to “buff”.[72][73][74] The PlayStation 5 and Xbox Series X/S versions were announced in June 2020;[75] originally scheduled for release on November 11, 2021,[76] they were later pushed back to March 2022,[77] specified February 2022 to 15 . March. 78] They have additional technical improvements and performance increases.[75]

promotion [ edit ]

The game was marketed extensively through video trailers and press demonstrations. On November 2, 2011, a week after the announcement, the debut trailer was released. Narrated by Michael, it features the open world and is accompanied by the song “Ogdens’ Nut Gone Flake” by the English rock band Small Faces.[79] A press release issued the same day confirmed the open-world recreation of the game in Southern California and Los Angeles.[80] Almost a year later, Game Informer published a Grand Theft Auto V cover story for the December 2012 issue.[18] Rockstar intended to release the second promotional trailer on November 2nd. However, these plans were hampered by Hurricane Sandy, which cut power to Rockstar’s New York offices.[81] The trailer was finally released on November 14; It introduces the backstories of the main cast and includes the song “Skeletons” by the American musician Stevie Wonder.

An advertisement for the game at Hotel Figueroa in Los Angeles

To unveil the cover artwork, Rockstar commissioned artists to paint a mural on a wall in Manhattan on March 31, 2013,[83] followed by the digital release of the artwork on April 2.[84] It featured English model Shelby Welinder portraying a blonde beach-goer.[85] On April 26, three trailers were released, each focusing on one of the protagonists. The songs “Radio Ga Ga” by English band Queen, “Hood Gone Love It” by American rapper Jay Rock and “Are You Sure Hank Done It This Way” by American musician Waylon Jennings are featured in trailers by Michael, Franklin and Trevor, respectively used .[86]

A trailer released on July 9 shows the first gameplay footage. It demonstrates the shooting and driving mechanics and the ability to instantly switch between characters.[87] Grand Theft Auto Online was revealed in a trailer released on August 15th. The video featured activities such as bank robberies, petty robberies, “traditional” game modes, buying property, and riding a bicycle.[88][89] The final pre-launch trailer was released on August 29 and was supposed to be a TV ad. The 1974 song “Sleepwalking” by the American band The Chain Gang was used in this trailer.[91]

Viral marketing strategies were used to promote the game. Visitors to the website of the Epsilon program – a fictional religious cult in the Grand Theft Auto universe – were offered the opportunity to sign up for this group. After filling out an online membership form, the terms and conditions revealed that the site was a casting call for five people to appear in the game as members of the fictional cult.[92][93] The official website of Grand Theft Auto V was redesigned on August 13, 2013 to show a preview of activities and locations in the open world and an examination of the stories of the main protagonists.[94] Further information was published on the website on 24 August,[95] 6 September[96] and 13 September[97].

To boost pre-order sales, Rockstar has partnered with several retail stores to offer special versions of the game. The “Special Edition” includes a unique case packaging, game card, and unlock codes for additional content in single-player and multiplayer modes.[98] The publisher has worked with Sony to release a 500GB PlayStation 3 console that includes a copy of the game, a 30-day trial membership to the PlayStation Plus service, and a set of Grand Theft Auto V-branded headphones.[99] All pre-orders of the game granted the purchaser an access code for the in-game Atomic Blimp plane. GameStop was running a promotional raffle with a chance to win an actual Bravado Banshee sports car (the game’s equivalent of the Dodge Viper). Rockstar worked with West Coast Customs to build the vehicle.[100]

Editions of Grand Theft Auto V[101] Features Standard Special Edition Collector’s Edition Re-Release Game CD Yes Yes Yes Yes Access to Atomic Blimp Pre-order only Pre-order only Pre-order only Yes Steelbook with “V” logo artwork No Yes Yes No Blueprint card (Los Santos and Blaine County) No Yes Yes No Signature Ability Enhancements No Yes Yes No Aerobatic Attempts No Yes Yes Yes Bonus Outfits, Tattoos, Etc. No Yes Yes Yes Additional Weapons No Yes Yes Yes Security Bag No No Yes No Grand Theft Auto V Key No No Yes No New Era Cap No No Yes No Custom Grand Theft Auto Online Characters No No Yes Yes Unique Vehicles and Garage Property No No Yes Yes Rockstar Editor No No No Yes

Shortly after the game was released, the iFruit application for iOS devices was released. It allows players to customize vehicles, create custom license plates, and teach Franklin’s dog, Chop, new tricks, unlocking additional in-game abilities.[102] Upon launch, some users reported problems connecting to the application’s servers;[103] these problems were fixed in an update on September 25, 2013.[104] iFruit was released on October 29[105] for Android and November 19 for Windows Phone devices.[106] A PlayStation Vita port was released on April 1, 2014.

There’s something incredible about running around this world in the first person, taking a look at Trevor’s hands, now your hands, and seeing the tattoos, the dirt under his nails… And then with one click you’re in the Third person and there’s your character in front of you again – it’s a whole new experience. Rockstar Art Director Aaron Garbut, IGN, November 5, 2014[108]

The enhanced version for PC, PlayStation 4 and Xbox One features increased view range, finer texture detail, heavier traffic, improved weather effects and new wildlife and plants.[71] It includes more than 162 new songs in the game’s radio stations.[109] Players could transfer Grand Theft Auto Online characters and progression between some platforms and receive exclusive activities and in-game discounts on weapons and vehicles.[71] The re-release features a new first-person view option while on foot that players can configure to personal preference (e.g., switching the view to third-person view when taking cover).[110 ] Animation director Rob Nelson said that during development of the PlayStation 3 and Xbox 360, a first-person option was addressed, but their relatively smaller memory banks were already being pushed, so adding new first-person animation would have stifled open-world rendering . According to Nelson, the first-person view required more development effort than simply repositioning the camera because of the need to adjust combat to a different view. Weapons have been updated to higher resolution and new animations have been added including weapon recoil, reload and switch. “I think we’ve done 3,000 animations for weapons alone,” Nelson said.[110]

The PlayStation 4 version uses the DualShock 4’s touchpad to navigate camera options and speakers to play smartphone calls, while the Xbox One controller’s “Impulse Triggers” [111] can rumble while players use vehicles. The PC version includes the “Rockstar Editor”, a replay editor that allows players to create video clips of their gameplay. It features a “Director Mode” that allows players to record footage with different characters speaking and performing contextual actions at will. Players can customize time of day and weather settings, and use cheat codes to access more cinematic effects. An editing suite allows players to add music from the game’s soundtrack and score, and access various depth of field and filter effects. Finished works can be uploaded directly to YouTube and entered into contests on the Rockstar Games Social Club.[113] Later, the PlayStation 4 and Xbox One versions received the Rockstar Editor via a free title update that added various features such as expanded sound effect and text style libraries across all three platforms.

Art director Aaron Garbut said that the addition of the first-person perspective inspired the graphical upgrade of the extended version. Rebuilt cars have interior features including working speedometers, fuel gauges and handbrake lights on the dashboard. The team added new particle and lighting effects, according to Garbut, “like fireflies at night in the countryside or ambient light pollution over Los Santos at night.” Red Dead Redemption inspired the team to add more vegetation to “break up the hard edges [and] the straight lines” of the open world.[108] The vegetation of the original version has been replaced with more detailed equivalents in the expanded version. An improved weather system makes branches and leaves blow realistically in the wind. The team hand planted weeds along fences and walls and sprinkled grass across many open-world terrains. Then they layered leaves, rocks, and trash over the grass. An improved SSAO (Screen Space Ambient Occlusion) system renders new particle, shadow and weather effects, such as volumetric fog or neon reflections in cars at night. Ambient light pollution over Los Santos at night can disappear during inclement weather. A dynamic depth of field system sharpens and softens images to emulate camera autofocus, and improved shaders create new colors in skin and terrain textures.[108]

Development on the first PC version began in parallel with the PlayStation 3 and Xbox 360. PC development later gave way as focus shifted to the console versions, but eventually resumed. Because the team had planned a PC version from the start, they made technical decisions ahead of time to facilitate later development, such as: B. Support for 64-bit computing and DirectX 11. The graphics team created their source graphics at high resolutions, although compressed on the PlayStation 3 and Xbox 360, with the foresight that PC versions would display these assets uncompressed. These early decisions also aided the development of the PlayStation 4 and Xbox One versions due to their similar system architectures to PC’s. Their similarities helped the team ramp up to the PC version, where they were able to push the graphics and technology further than before.[113] The PC development team consisted of members of the original team and PC specialists from other Rockstar studios that had brought Grand Theft Auto IV, Max Payne 3 and L.A. Noire to the platform. Recommended PC specs are based on the game running at native 1080p resolution at 60 frames per second (fps); The team suggested 60 fps as the optimal performance measure. The PC build also supports 4K resolution and unlimited frame rates. The team decided to give players the ability to configure the game to their individual system specifications. Players can configure LOD draw distances, anisotropic filtering, graphic effects, and so on. A population density slider affects the density of pedestrians and cars on the streets.[113]

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