Grand Theft Auto Clone
Grand Theft Auto clone is a genre of sandbox action adventure video games characterized by their likeness to the Grand Theft Auto series. These types of open world games are games which players may find and use a variety of vehicles and weapons while roaming freely in an open world setting. The objective of such games is to complete a sequence of core missions involving driving and shooting, but often side-missions and minigames are added to improve replay value. The storylines of games in this genre typically have strong themes of crime and violence.
The genre has its origins in open-world action adventure games popularized in Europe (and particularly the United Kingdom) throughout the 1980s and '90s. The release of Grand Theft Auto (1997) marked a major commercial success for open-ended game design in North America, and featured a more marketable crime theme. But it was the popularity of Grand Theft Auto III in 2001 that led to the widespread propagation of a more specific set of gameplay conventions consistent with a genre. The genre now includes many games from different developers all over the world where the player can control wide ranges of vehicles and weapons. The genre has evolved with greater levels of environmental detail and more realistic behaviors.
Since calling a game a "clone" has a negative connotation, reviewers have come up with other names for the genre. Names such as "sandbox games", however, are applied to a wider range of games that do not share key features of the Grand Theft Auto series.
Read more about Grand Theft Auto Clone: Definition
Famous quotes containing the words grand, theft and/or clone:
“Ancient of days! august Athena! where,
Where are thy men of might? thy grand in soul?
Gone—glimmering through the dream of things that were.”
—George Gordon Noel Byron (1788–1824)
“Every gun that is made, every warship launched, every rocket fired, signifies, in the final sense, a theft from those who hunger and are not fed, those who are cold and are not clothed. The world in arms is not spending money alone. It is spending the sweat of its labourers, the genius of its scientists, the hopes of its children.”
—Dwight D. Eisenhower (1890–1969)
“Each writer is born with a repertory company in his head. Shakespeare has perhaps 20 players, and Tennessee Williams has about 5, and Samuel Beckett one—and maybe a clone of that one. I have 10 or so, and that’s a lot. As you get older, you become more skillful at casting them.”
—Gore Vidal (b. 1925)