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:
“No grand idea was ever born in a conference, but a lot of foolish ideas have died there.”
—F. Scott Fitzgerald (1896–1940)
“Men are not therefore put to death, or punished for that their theft proceedeth from election; but because it was noxious and contrary to men’s preservation, and the punishment conducing to the preservation of the rest, inasmuch as to punish those that do voluntary hurt, and none else, frameth and maketh men’s wills such as men would have them.”
—Thomas Hobbes (1579–1688)
“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)