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Dan Houser möchte die GTA-Reihe aufgrund des gewalttätigen Inhalts nicht als Provokation verstanden wissen, sondern als eine Videospielversion eines Gangster-Romans. Des Weiteren würde GTA immer einen satirischen Blick auf die US-Kultur zeigen. Daher würde die gezeigte Welt in GTA nicht dem realen Amerika, soderm dem Amerika wie man es aus den Nachrichten, Fernsehserien und Filmen kennt, entsprechen.

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• (http://www.onlinewelten.com/news,id39145,haze_laeuft_nur_576p.html)
• http://www.zoomer.de/news/topthema/gta-iv-kommt/videospiele/artikel/sfsffsf
• http://www.gamona.de/article/detail/id-chronologie_einer_legende_die_gamona_zei_639529.htm

Mitte der neunziger Jahre konnten Sie VHS-Kassetten mit Polizeiverfolgungsjagden kaufen. Manche davon waren von Hubschraubern aus gefilmt worden. Daher kam diese Perspektive von oben nach unten, die man in den ersten zwei GTA-Spielen sehen konnte. Wir zeigen das Amerika aus den Nachrichten, Fernsehserien und Filmen. Nicht das echte Amerika.

Rockstar Games president Sam Houser: And on the soundtrack side we were like, ‘Why don’t we license the whole soundtrack from Scarface?’ That was pretty weird, right? And if you think about those two extremes and then you apply that across the whole game, every single bit was approached like that, every single bit.

GTAIII: And yet the lead character himself never spoke a word. What, we wonder, is the story behind that? "That was one of those things where I think I only remember noticing kind of late on, like: ‘Fuck – he doesn’t speak’. And I’ve never said that to anyone before – I’m being honest here. But I remember thinking, well, it kind of works – who cares? And there’s been a lot of debate about these things – like whether his name is Claude Speed, or whether he’s this or he’s that – and it was a lot less planned out than that. It was a lot more like, we were making a game, the guy needed to do certain things, so obviously we’re going to have to have these sequences. Initially I don’t think we even thought of them as cutscenes, but we were always going to do them, and then we started motion-capturing them and we were like, ‘Oh, these look quite nice – we can start adding to them’.

The Scarface influence was already deeply embedded in the GTA DNA thanks to the previous game, but a more overt influence on Vice City came from a TV series, not a movie. "The thing that was more of a direct influence was Miami Vice, because it’s a little bit later. Scarface is earlier, like ’83, and it kind of looks it, but Miami Vice was ’84 to ’89, about five seasons, 110 or so episodes, and I’ve seen them all many times.

Bloods and the Crips and the LA early-’90s gang-banger culture. I remember being in the UK at the time it was going off and being completely fascinated and terrified by it. Fascinated by how they looked – they dress amazingly – but these guys are all like soldiers, and are treated like armies, and this is very serious, scary stuff. And, as we were thinking and talking more about it, the idea that you could play an African American character became more appealing. Because not many games had done that at that point. A few, but not many."

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Bei der Produktion von GTA IV waren bis zu 150 Entwickler tätig.

Leslie Benzies, producer of Rockstar's Grand Theft Auto IV: “It's like making a theatre production, a few movies and an album all to fit into one package,” he says. He hasn't a clue how much GTA IV has cost to make but hazards a guess at $100m. About 1,000 people have had a hand in developing it. The perfectionism Houser and Benzies demand of their teams is astonishing.

For GTA IV, time-lapse cameras were set on rooftops in New York to capture the correct intensity of the rain. Over 100,000 photographs were taken on location. In the US, a deal with Amazon lets players download any of the 150 songs they hear on the radios of the cars they steal. Liberty City has its own working version of the internet. If you blow up part of the city, you will hear about it on one of the city's half a dozen radio stations.

Physical issues underpin much of what is new about GTA IV, and serve to give life to its intricately modeled components. Engineers from NaturalMotion have been working on-site at Rockstar North for months at a time to stitch in the company’s Euphoria procedural animation technology, introducing a bespoke, heavily integrated solution, not something simply bought off the shelf. The results are truly transformative, and evident right from the moment you begin to move Niko around the gameworld, his body shape cambering as he moves left and right while running, his feet properly connecting with steps and other topographical features. It’s tech that drives the behavior of NPCs, too, and the result is something that does more justice to the ‘living, breathing world’ tag so frequently attached to the GTA series. This is a genuine evolutionary step, and Rockstar and NaturalMotion deserve enormous recognition in getting here.

but something in the months afterwards when I was playing it was conflicting in my brain: was I playing Tommy Vercetti or was I playing Ray Liotta? Which is obviously going back to what I said about movies earlier. Who was I, what was going on here, what was happening on the screen? And it really sort of caught me off guard, and it kept happening to me. It didn’t happen to me so much with the other characters but it happened to me with my character because he’s an extension of me on the screen. To some extent it left me a bit confused, and it certainly made us resolve for future iterations to dial down the use of famous actors.