San Andreas's achievement lies in performing what Rockstar has never managed to do before or since but has flailed for its lifetime to monopolize: the cinematic game. Yet it elides their usual trickery: long, laborious cutscenes with facile gesticulations of composition and montage, acting that mugs the eyes and ears to no particular end or effect, lightweight ideas imposed by the heaviest-handed touch. No, San Andreas chances upon its fertile relationship to cinema by accident, stumbling into a rich moving image tradition and by the vulgarity of its non-intention, dressing itself in those films' aesthetics and arriving at a place only a video game could reach.

In what tradition has Rockstar done it? Rockstar has tried its luck with the gangster film and the Western. Shock of shocks, it makes it with blaxploitation. The linear story of GTA games, often criticized for conflicting with their open world charm, is hardly so linear here, per the rhythms of that tradition. CJ's return to Grove Street and family and friction with corrupt police is interrupted by the betrayal of your annoying friends. After that comma, CJ gets bondage tortured by a psychopath lady in the countryside, torches weed farms, invests in upstanding businesses in Las Vegas, and robs a bank that indirectly leads to the catastrophes of GTA III. Then, with the help of a CIA agent that put you through hell and even worse, flight school, CJ returns to his neighborhood, to the police station where his brother was all this while kept, and upon hearing his traditionalist, slightly ungrateful brother instead chastise his disloyalty to the hood, erupts, "What did the hood ever do for me?" You are supposed to feel that line as though it is a culminating moment in Boyz in the Hood, a powerful, steadily building drama about the troubles of boyz in the hood. But you never really stayed in the hood. You jacked your first bike, did your street crimes for less than a third of the game, and some hours before your reunion with your brother, you infiltrated a military base and jacked their experimental jetpack. I used it to get to the police station faster.

It is at this reunion that something greater is reconciled than CJ and Sweet: CJ and Sweet Sweetback, something that people point to when they feel the "spirit" of the GTA games have been lost following this game. What is unified is the blaxploitation film and the open world game in the one narrative ethos - incredible, explosive, ridiculous distraction with a destiny: family, the hood, police corruption, resilience.

Yet here's the most important part of this case: one would argue - rightly, that San Andreas is not really about these things. I am not saying this is a political (read: politically interesting) game, which may be its most serious divergence from blaxploitation. But that's the crucial, kingmaking difference, what makes one remember and look back with longing. Every Rockstar game afterwards would attempt to deal with gravity, suffering, pain. In their vanity, they once again import film: Heat, High Noon, Rio Bravo, the entire hodgepodge collage. But even at their most ironic, such as Trevor's tirade about torture on the ride to the airport after pulling the shmuck's teeth out, they are deathly sincere about the important ideas they have and more importantly, the projection of the fact that they have important ideas. Not necessarily moralistic, but even at the peaks of satire, always too pointed in the way an accusing index finger or a flippant middle is brandished at the most obvious grotesqueries of modern/frontier life, and about as insightful. But what remains is insecurity. What remains is pointed certainty that video games believe it must negate video games to be serious. What's at this point moving about San Andreas is its stark, lonesome stance athwart all of this, no less as a blockbuster game from a blockbuster studio. Its lightness of feet and mind allow messages to not sound as thudding monologues but resonant echoes, easily drowned out by K-DST, possibly the greatest rock radio station in any video game. That is not passivity; that is confidence, grace, style, fun, and art.

The dreaded storygamer, Youtube analyst, or some unconscious industry poptimist asks, if not a message, though, what is there to hear? San Andreas is not a game of questions but it is a game of one, polyphonic answer. No "morals", no "satire", no thoughts, head empty. Pathos in the close periphery, lethally large dildo in hand, Ballas in view, sunrise in Grove Street, sunset in Mt. Chiliad, guns, muscles, fat, stamina, lung capacity, sex appeal, two number 9s, gang wars, martial arts, katana fight, the Truth, Samuel Jackson is in this, boats, following trains, nosediving jets, girlfriends, hot coffee, it's OOOOG Loc, all we had to do, one, two, three and to the four, ah shit, here we go again.

in the place of a message, music: gaming's most badasssss song.

ENG: It expands its open world and possibilities in a brutal way. With a protagonist not being a hired killer, nor a guy who knows what he wants. Carl is more malleable, more human. It's a shame that the story isn't very coherent at times and that some missions are awful.

ESP: Expande su mundo abierto y posibilidades de forma brutal. Con un protagonista no siendo un asesino a sueldo, ni un tipo que sabe lo que quiere. Carl es más maleable, más humano. Es una pena que la historia no sea muy coherente en ocasiones y que algunas misiones sean horribles.

It's crazy to think about the amount of things this game does in terms of content and variety in side-activities compared to the games that followed it. I enjoyed a lot of what the game had to offer and experiencing the entire story for the first time was a very enjoyable experience for the most part. I found the missions to have enough variety to keep me engaged when compared to GTA IV for example, which I thought became a bit repetitive by the end. I have the same problem with this as I had with GTA IV though, only to a lesser extent, which was the lack of checkpoints and unfair enemy placement. It was incredibly frustrating to spend minutes progressing through a mission only to die and have to restart from the beginning. Controls definitely aged pretty poorly as well. The driving is ok, but the shooting and vehicular combat are both quite terrible, but it didn't necessarily ruin the experience for me.

I really liked the story as well, it might be my favourite in the franchise, or at least on par with GTA V. I really liked how it was structured, taking you to different and distinct areas of the map in each chapter of the story. The characters were very entertaining and well written, building up to a satisfying and enjoyable finale.

I really wish Rockstar kept this level of creativity going in the future GTA games, as for the time this released, the innovation is really astounding.

Not yet at the stage where in-game GPS can be used as a crutch for overly dense or visually monotonous levelling, the world design of San Andreas is all interconnected backstreets and shortcuts, and the artful use of colour and texture to suggest interest or to assist the player in building a mental map of all the landmarks across San Andreas' diverse city. To move through it is to learn it intimately, to belong in it, and to read the space and know which escape route to follow under which circumstances. Every backyard and park and underbridge. The missions carefully ripple out from Grove St, introducing new territories bit by bit, such that the player is still able to connect familiar signs and buildings with new vistas, like stars to a navigator.

Then when it suddenly all becomes too much, the story goes that it's too much too. We're miles away in the country and it's night time and the spaces are far too open and now we're lost because we're in exile. CJ cannot go home. The intricate network of passageways that constitutes Los Santos (where it's always better to move by foot or bicycle) is replaced with bare hills and long, straight highways leading to new nowheres. That which once took hours on foot because it was bustling with life takes minutes by car, and the human textures of the world are lost to a shiny sameness that actively works to deflect player interest. The passage from Grove St is to the Desert of the Real, its veins running cold and efficient with the anonymity of hyperspace.

The emptiness of much of San Andreas outside of Los Santos is testament to its overambition, but this works well for its narrative where CJ must return from the desert back home. It also gives the landscape an air of mystery that has to be actively filled by player imagination, hence the accumulation of community myths concerning ghosts, cryptids, angels, and parallel dimensions. GTA V would attempt to tap into some of these narratives in order to control them, but in San Andreas it's the organic byproduct of players, glitches, and weird landscapes. It's the perfect synthesis of broken and polished gameplay and features, and because of its homely details and manic scope, still one of the biggest feeling games there is.

Creating a hallmark of Rockstar games as we know them, Grant Theft Auto: San Andreas would probably be a better game if they cut out all of the enjoyable and interesting sandbox-based exploration gameplay, the minigames and distractions, and instead forced you to do a whole bunch of dumb boring story missions in a row. Perhaps they could just do separate game modes. Or just like, a completely separate game? Hey Rockstar! You can do a Pokemon, people would love it. Anyways.

Look, people really like to toot their horns about ludonarrative dissonance. It has become a trite criticism and is kind of boring to point out at this point. Still, I think its worth bringing up in the context of this and other Rockstar games. I think San Andreas approaches ludonarrative incoherence. And even beyond dissonance; it broaches into narrative incoherence. I don't understand how missions start. Sometimes mission markers will just appear on your map, and you go there, and a cutscene will play. Carl walks up to an airfield and asks "Well now what the heck is this guy up to?" Carl walks into a random house, where Tenpenny is grilling food and gives you a mission. What is even happening there, is it his house, how does Carl know where to go, I, what? There are so many weird things in this game.

I think getting rid of the open world method of traversal, changing this into a linear story, would alleviate the confusion. I think it would obviate the incoherent mechanisms that Rockstar chooses to use in order to allow for an open world. It just doesn't work. I think we are supposed to fill in the blanks and imagine that the characters are like, living independent lives of their own accord and we don't see all of it. But it feels sloppy. If instead of open world, choose what you do when, you can link the cutscenes together in a more easily understandable way.

At a certain point I think they need to choose between these two incompatible gameplay types.

There's also a really fucking funny aspect to the narrative of this game, in that it imagines the protagonist as a Brave, Upstanding Gangster because he Won't Sell Drugs. Is that like, a kind of guy that exists? Obviously the story is one of the like "gangster with the heart of gold," you're supposed to be sympathetic to how he cares about family and his community and stuff. Sure, that's all well and good. But he draws the line at drugs? And I mean even then its like "go shoot the bad gangs who deal drugs;" it woulda been way more fun to pop a bunch of CIA agents in the heads, and they're the ones who really sold em anyway. Whatever.

I think people think of this as one of the "classic" GTA games. I remember a bunch of "grove street. home." and "just follow the train!" memes. Playing it to understand those, or to understand the game in the context of the series is probably worth it. Just as a game, generally, you can probably pass: but if you're looking to play a game in the GTA series there's not that big of a difference between this and GTA V. Maybe just randomly choose. Same shit different city.

I'm writing this review for the Android version because Rockstar never officially released a port of this for the PlayStation Vita. I am absolutely stunned that Rockstar never even considered it. The phone versions of San Andreas are technically one of the worst ways to experience the game, but they're slightly more forgivable due to the hardware they're running on. The only issue is that the game was never made with touchscreen controls in mind. On the other hand, the Vita gets as close as it can to the original control scheme, and it seldom feels gimmicky when you have to use the touchscreen for anything. Its performance isn't super consistent, but it runs fine enough for overclocking not to be necessary.

I get that Rockstar didn't want to deal with porting the game any more times, and they figured that it would be easier to rerelease their old PSP games. But they seriously missed out on the opportunity of a lifetime, and if you have a hacked Vita and extra storage space, you owe it to yourself to snatch the Android version of this so you can try it out. The only caveat I have is that it takes slightly more effort to get this on your Vita than just downloading a VPK file and putting it on your system. If you aren't careful or as stupid as I was when I first tried this, you can easily brick your Vita. Otherwise, mwah, gorgeous. I know it's still, like, one of the shittiest ports of San Andreas. But it's also kind of awesome.

This is the third in a series of reviews on the 3d era of the Grand Theft Auto games and it reference my previous 2 reviews on GTA 3 and Vice City. San Andreas is a fan favourite in the GTA franchise and was a cultural blockbuster on release. The game was a chart topper for the PlayStation 2 beating out both previous games and even Sony's first party releases in sales to become the best selling PlayStation 2 game of all time. What I’m trying to get across is that this game was a big deal and it set the course for Rockstar's future. I want to state up front that I think this game is a monumental achievement, it’s setting and story was a huge step up from previous games, it made meaningful changes to the GTA formula and I had a great time playing it, yet I also felt a sense of disappointment as all too often the game strayed from the intoxicating hands off mission structure that the previous two titles had. San Andreas will often lead the player by the nose and not only does the game reduce the amount of creative expression the player can do but it even goes so far as to actively destroy any chance the player might make in preparing for missions or engaging in creative problem-solving instead choosing a serious of linear scripted sequences which are lacking in a satisfying payoff.

Let’s start at the beginning; its the 1990s and Carl ‘CJ’ Johnson has been away in Liberty City for a while but at hearing the death of his mother he has come back to San Andreas for the funeral. Whilst visiting the his old neighbourhood and gang he becomes dedicated to building the gang back up and its here we meet the cast of characters and establish the setting. San Andreas is set on the West Coast in the 90s and it is reminiscent of gangsta films of the era like Boyz n the Hood or Menace II Society. Unlike Vice City, which was a straight rip off off one particular movie, San Andreas doesn’t really follow beat for beat exactly what happens in it’s filmic influences and instead chooses to take elements from their setting and portrayal of hood life to create a very dry and drab looking aesthetic, one that’s romanticised by the influence of west coast hip-hop where the streets are mean and crime is a way of life. Corrupt police stalk citizens and enable gang violence, different gangs not only beef with each other but there’s also conflict within families. This is a more thoughtful approach to building a setting and it’s fantastic. In the previous games I talked about the ‘rags to riches’ catharsis that comes from building up the protagonist to a very glorified kingpin and whilst San Andreas starts the player on the bottom rung in a neighbourhood of poverty and systemic violence it doesn’t glorify the crime life, tragedy, downfall and consequences strike the characters. San Andreas retains the feeling of progression from older titles but chooses to make a conscious effort to depict its setting and characters with a more tempered approach.

CJ is the best protagonist of the 3 games hands-down because he isn’t an unfeeling, reckless gangster but rather he is a person who at times displays sadness and amusement and anger and despair, he speaks to different characters in different tones. CJ might show respect to his family members and people who treat him well but he also has a playful side where he makes fun of his homies, he speaks coldly and impatiently to Tenpenny and the police officers who keep him on a leash. CJ is successfully established not just as an avatar of player chaos but deep down, a decent guy with a complex thought process, he sometimes comes across as very trepidatious and whiny and like he feels pressured into doing something to appear strong even when he knows it’s the wrong thing to do. This is praise that you cannot say about Claude or Tommy. I think a lot of credit should go to the brilliant performances of the voice actors who deliver a fun and enthusiastic performance from start to finish.

The starting area of the game, Grove Street is a triumphant expression of game design and makes you feel like you’re back in the swing of GTA. San Andreas has better movement mechanics this time around, CJ can crouch, climb, roll and swim and the starting area shows this off by placing a few weapons on rooftops, encouraging players to reach tangible and useful early game rewards by exploring and interacting with these new mechanics. One of the first things I would do upon returning to Grove was pick up a pistol, SMG and body armour, the golden combo of early game GTA. The game also improves on shooting mechanics, the controls are more like what you would expect from a third person shooter with a reticle and finer movement controls, the lock on is very powerful and in fact its almost too powerful, you can snap onto enemies very quickly with very little effort combined with the improved aiming you can absolutely blast enemies away or snipe them before they even notice you, but its an overall good change, it feels like a robust system that encourages you to use movement and cover intelligently.

It sounds good so far right? Good story, good setting and meaningful gameplay improvements aside the shortcomings of the mission design appear very early in the game when Big Smoke takes you on a mission to kill some Russian Mafia. By this point in the game I had done laps of weapon pickups and equipped myself with an MP5 and a lot of ammo for it, what happens next is a sequence where a mac-10 is forced on my character replacing the powerful SMG and all the ammo I had collected so that the mission could perform an extended turret sequence. Needless to say this was where I knew this game and I would start to clash. After the mission all the effort and progress I had put into preparation had been undone and I was left with a shit gun with one magazine, I felt betrayed by this and it was made worse by the scripted mission wasn’t even very impressive in its delivery, considering it resembled a climatic chase scene on a motorbike in a storm drain being shot at by black sedans and a semi truck (A la Terminator 2) it was decidedly flat with no music or impactful sound effects and marked by invulnerable vehicles that had to reach an area to blow up cinematically.

This mission represents a problem with the entire game, the player is not encouraged to figure out a solution to a mission but rather follow a series of instructions and set pieces. If you’ve spent some time picking up grenades a mission will force you to replace them with Molotovs to complete an arson mission, if there's a warehouse full of enemies they won’t spawn from one entrance and you cannot scout the area because you have to hit a trigger at the front entrance and go through the mission on a set course, this linear approach to missions completely clashes with the open world design remnants like ammo and armour pickups and I wasn’t even particularly motivated to look for fast vehicles or use the new vehicle customisation options because the vehicles were either expected to be blown up as part of the mission or the player is just provided with a car and told to drive somewhere. Contextual health and armour spawn in the middle of missions and red barrels are placed everywhere. San Andreas doesn’t want you to prepare and it doesn’t want you to experiment and this is such a massive let down after the feeling of having Grove Street teach you to explore for goodies, any sense of reward or satisfaction is killed stone dead when a mission demands I complete it a certain way.

Nowhere is this focus on narrative-at-the-expense-of-gameplay shown more clearly than the in car conversations you can have with characters; these conversations are themselves really great and I want to listen to them but all too often they conflict with the games scripted timing, I shouldn’t have to stop before a mission checkpoint to hear the dialogue finish but it happens nearly every time CJ and Ryder start having a conversation across the dashboard, I have to park a few meters away from the mission trigger to hear character development happen, it’s like the game’s narrative is not just fighting the player but the nature of the open world itself. The missions also have some straight up awful mini games like the beat matching games where you have to dance or bounce a low rider to arrows like a really slow and clunky step-mania, quite frankly I would not choose to play these game if a couple weren’t required for progression, I decided to cheat engine myself 100,000 points and browsed my phone whilst they played themselves out, you might call this a ‘skill issue’ I assure you that I am capable of playing bad rhythm games, but I don’t actually want to, I would rather be, you know, stealing cars? Shooting people? Playing a bloody Grand Theft Auto game and not Project Diva Compton.

The game is festooned with half-baked mechanics that often feel like the game is trying to be too ambitious, there are terrible stealth missions where you have to crouch walk everywhere for example and whilst I do appreciate that the developers wanted to introduce new scenarios and new mechanics for players to experience I would much rather they took the approach of letting me create my own experiences. When I was playing Vice City and I found a way to sneak weapons into the golf course to snipe an assassination target at range that was ME creating MY OWN stealth mission, I didn’t need a visibility meter or noise meter or a new suite of mechanics that only work in a certain area, instead I built my own gameplay story and expressed myself without the game’s overbearing hand guiding me through it.

San Andreas is filled with ambitious mechanics that aren’t developed enough, the game has life-sim elements where you can increase your fatness, athleticism, muscle and lung capacity, these all effect the on foot gameplay and they add a really awesome element of flavour, I love that you can eat a ton of chicken buckets from fast food places and CJ will start to make wise cracks about his weight, characters will even call you up and tell you to go to the gym. This system is such a brilliant thing to add to this huge world but it’s fucked up by making the gym sections where you gain stamina and muscle these awful button mashing mini games that are a serious concern for people with RSI, its like the game can’t stop switching out the mechanics before fully exploring them. Another life-sim element that annoys the shit out of me is the mechanic of dating women, this ties into the rags to riches power fantasy as you begin to date sexier and more classy women who expect you to dress better and have a nice car but again it’s not thought out properly, you will be hit with random notifications that your ‘progress with Denise’ has dropped it’s like the game constantly demands attention from you as if it were a real relationship but all that it accomplishes is making the player go and do things that they may not want to do. My relationship with a girl should not decrease like a meter 10 minutes after I had already met with her and completed a series of very obtuse and boring date objectives like going to a bar wearing an appropriate amount of swag clothing and a $300 flat top.

I’m sure I could say more about the fact that you’re expected to cheat on multiple women who are largely portrayed as shallow gold diggers that you fuck for like, power ups and car spawns but its a 2004 GTA game, I wasn’t expecting much.

Another element that falls flat for me is the map layout, on the one hand its much much larger than previous games and the game continues the trend from Vice City of having cool interiors and little details, in terms of a variety in elevation and road complexity it still holds up today but it is much harder to navigate than most open world maps, very often I was met impassible geometry between me and an objective. Verticality is a big part of the San Andreas map but its supremely annoying to navigate because it results in the game putting a brick wall in your face and you need to drive an entire block around it. The areas outside the cities are expansive and devoid of any significant landmarks, Vice City and GTA 3 did a good job of getting players used to their environment by landmarking shops and points of interest with other areas to create a puzzle-like map that players could familiarise themselves with quickly. Highways in Vice City were dotted with interesting coloured buildings or a business or a unique bridge to cross to reach a new part of the city, compare this to San Andreas where you drive along featureless two lane highways between cities as if the game is attempting to recreate the mundane experience of driving in real life California. Areas are so generic that you can’t get used to them and you are forced to check a map to make sure the long, twisting road you’re driving on won’t just shit you out in a completely arbitrary direction. When I think about the West Coast of the US and the places there I don’t think too fondly of driving for hours on the i-15 and yet that's exactly what the San Andreas map feels like. Bad traversal of the map is mitigated somewhat by the new inclusion of really fun on foot options like parachutes and jetpacks but these aren’t always available, the bulk of a GTA game is always driving and having a map that feels boxed in whilst also being way too big is frankly upsetting.

It may sound dramatic to be upset with a game like this but I feel like I’m missing a trick with San Andreas, I feel like there's something not clicking for me here. I like the story, I like the characters, I like the driving model, I love the soundtrack which would’ve been a hard act to follow after Vice City and yet is still full of bangers and I love the new movement mechanics, I love the extensive amount of content and environments the game has, I appreciate that the game is ambitious even if it is too ambitious sometimes and I can see why it remains so popular amongst fans but there’s just something not right with it. I constantly felt like the game was wrestling away control from me and its the same feeling I get from contemporary Rockstar games. San Andreas exists in this weird space where the franchise hasn’t committed to its goal of a narrative experience and still has remnants of player choice and player expression like weapon pickups and collectibles so I get the impression that I’m supposed to be going out of my way to prepare for something when the game will just take all that away from me and give me a set of tools that I have to use. When the game lets go of the scripted linear focus it’s great and some of my favourite missions were the things like the heists with Catalina, the game lets off and tells you to choose a target and you play out a small heist with a dynamic shoot-out and tense getaways, these were exciting and unpredictable and were on par if not better than some of the best missions in Vice City and GTA 3. When the game rewarded me for increasing my lung capacity ahead of a mission that requires strong swimming that felt good, it felt like the game was acknowledging the choices I made. If San Andreas had a consistent mission structure that really let the player loose on the open world to build their own fun I think it would an incredible game, as it stands I can’t love it as much. Going forward Rockstar games would become increasingly railroaded in focus but also they became utterly immense in their popularity and cultural impact, its clear that even if this game didn’t click with me, millions more came to love this style of game, I think to understand San Andreas you have to appreciate a more authored approached to mission based open world games, but for me I will always prefer the freedom and unchained mayhem of GTA 3 and Vice City.

ok, vamo la q eu tenho muita coisa pra falar sobre essa porra

primeiramente tenho q mandar um parabens por fazer san andreas ser um local tão vivo, tu customiza tanto o cj q vc se sente personificado nele, vc realmente se interessa nas atrações da cidade pra fortalecer o protagonista, e n foca só nas missões, eu por exemplo não teve um dia (do jogo) q eu não me pegava indo na academia ou fazendo as guerras de gangue, ou perdendo todo o meu dinheiro no turfe, ou encontrando com alguma namorada, ou comprando alguma propriedade etc etc

mas tem porem na parte da guerra de "gangues", pq a sua gangue é uma bosta, são tudo robozinho burro, se eles nem sequer sabem te seguir sem bater em alguma parede ou carro, imagina atirando? eles sempre morrem no primeiro minuto da raid e fica por isso mesmo, é muito mais eficiente vc só ir metendo bala em tudo vc mesmo doq vc perder seu tempo chamando eles. e vai se fuder rockstar por fazer as primeiras guerras de gangue durarem umas 5 missoes só pra depois só perder tudo e colocar no final, eu literal dominei todos os bairros de primeira pra eu perder tudo depois e ainda me obrigarem a pegar a maior parte dos bairros novamente

a gangue dos ballas é a gangue mais sem sal q eu já vi na minha vida, eles n tem uma especie de lider ou algum cabeça importante, é só um bando de drogado e é isso aí. até as gangues do vice city tinha seus próprios líderes e cada um agia de um jeito diferente

sinceramente o mapa também não é algo q me agrada, é ridiculamente grande e dps começa a ser tédio pra krl ter q ficar se locomovendo por aí dps de sair de los santos (até pq n tem nenhum fast travel nessa porra)

e também tem o ponto de sair de los santos, pq dps q o smoke e o ryder te traem e seu irmão vai pra cadeia, o jogo simplesmente fica chato pra um caralho, vc faz as missões mais fodase do mundo ficando quase nível gta 3. as de propriedade foram o maior downgrade q eu já vi do vice city pra cá, todas sem graças e sem ausencia do charme e estilo de cada uma presente em seu jogo antecessor

e os vilões desse jogo são... ruins? olha bem, todos tem o mesmo padrão de serem um filho da puta do krl sem nenhuma motivação aparente

ambos o ryder e o smoke te traem, e quando vc vai matar o ryder, vc questiona ele e ele só fica vangloriando a si mesmo e dps morre, e é a mesma merda com o smoke só q mais grandioso ao inves de uma perseguição merda de lancha

até a catarina entra nessa brincadeira eternamente xingando e falando merda pro cj até mesmo quando ela n tá mais em san andreas

aqueles oficiais corruptos também são as coisas mais banais q eu já vi na minha vida, eles obviamente são usados pelo tenpenny e quando vc questiona isso pro pulaski quando ele tá prestes a morrer ele só procede falando mais merda (igual o smoke e o ryder...)

e, o pior, a porra do tenpenny, literalmente desde a primeira cutscene do jogo sempre quando eu via ele eu pensava: pq q o cj ainda perde tempo com ele? ele fica desde o inicio do jogo só pegando no pé do cj de graça e mandando ele fazer algo a favor dele, sempre dá um nervoso quando esse puto aparece. principalmente no final do jogo, o fdp mata o smoke armado até as unha com um colete super foda, pra simplesmente largar a arma quando o tenpenny chega depois? e vale lembrar q o principal antagonista do jogo é ele, n é o smoke, é ele q a gente encontra na primeira cutscene, é ele q a gente mata no final (mesmo n sendo tão atrativo quando do big smoke)

dito isso, vice city sola.