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 Even before release, and subsequent vilification at the hands of the press, DMA's sandbox was a world of trouble for its creators
This article was originally published in the July 2006 issue of Edge (E164). To subscribe call +44 (0)870 4448466 or click here.
The one thing that everyone agrees on is that they didn’t make Grand Theft Auto, but that’s not strictly fair: the other thing that everyone agrees on is that everybody made Grand Theft Auto. Talking to those that worked for DMA Design back in the late ’90s it’s difficult to get anyone to claim significant credit for themselves, although they’re generous with praise for others. Development of Grand Theft Auto, or Race’n’Chase as it was originally known before a clash with a Matchbox slot-car racer forced a change, was collaborative and often tempestuous, and as a consequence it’s extremely difficult to pin down the specific turning points, even for those who were there at the time.
Its early days, however, are somewhat easier to piece together. “The original idea was to create a game based in a living city,� remembers DMA lyricist and PR head Brian Baglow. “The idea was to build an active environment that could react to the player and where there were consequences to their actions.�
Developers at DMA had grown tired of the stereotyped settings and implausible enemies that seemingly existed for no reason other than to harass the player, constantly reminding them that they were playing a game. They wanted something more convincing, more immersive. ‘Living’ environments seemed to be the answer and several of the designs being worked on at the Dundee-based developer took this idea to heart. Body Harvest, for example, would be set on a series of sparsely inhabited islands, but the most ambitious of these worlds would be to make an entire city.
The first DMA living city bore little resemblance to the final game’s distinctive look. Programmer Mike Dailly had produced a prototype city engine using a sophisticated, rotateable 3D isometric-style view. The gameplay for this modern-day metropolis was intended to concentrate on direct conflict between rival gangs, largely on foot because the view was ill-suited to driving. Unfortunately, as the engine moved from prototype to production, there were problems getting the required performance – and coupled with the release of the similar looking, if not playing, Syndicate Wars it caused the team to reconsider the ambitious project. But, fortunately, Dailly had been working on another, unrelated idea.
Platform games had served DMA well and Dailly had been impressed by the new graphical approach from Sega’s Clockwork Knight. Although at heart a traditional side-view platformer, Knight used the 3D abilities of the new Saturn console to add a perspective display to the platforms. This gave them a convincing depth, the end nearest the player looming large, and reducing as it receded into the distance. Dailly had prototyped the effect, and liked it. Could DMA could use this approach for a new game of its own?
A chance remark about top-down racing games, however, got Dailly thinking: “It occurred to me that although I had a side-on engine, all I needed to do was add a floor, and it could be an above engine. So, with programmer graphics, I set about using the previous prototype as a base.�
He showed the game to studio boss Dave Jones, who was immediately impressed: “It was a good-looking technical demo,� he recalls. “By staying with this pseudo-3D engine we could populate the world quite heavily compared to full 3D cities. With the camera attached to a car it would pull out quite a distance as you travelled faster. You got a great sense of depth.� The constrained viewpoint allowed Jones to flesh out the concept by concentrating on what was in the city, rather than on what it looked like. “I wanted to create as busy a city as possible. I felt that a classic cops and robbers style of game would really appeal.� Race’n’Chase was born and pitched to BMG as a title that Jones wanted to develop.
Work began straight away, putting flesh on the living city’s bare skeleton. “We went a little overboard on the simulation,� says Jones. “Buses following routes, people getting on and off, traffic lights working properly, a rail network. The more we could make it a mini living world the more fun the game became.�
Unfortunately, when development began several problems with the original concept emerged. “No one wanted to play the cops, so we ditched that,� recalls Jones - something that he has hopefully resolved, as his new studio, Real Time Worlds, is currently producing APB, an online action game where players have to make exactly that choice.
 The inherent problem with the ‘cops’ part of this cops and robbers game was that being the good guy all the time was hard, as anyone who tries to play the final game as a law-abiding citizen will testify. It’s harder not to run people over. Baglow summarises the problems: “If traffic was heavy you, as a cop, couldn’t decide to drive on the sidewalk, or plough through a busy park. We couldn’t let the player do that and reward them. Driving safely and sensibly to your destination – observing all road safety – was about as much fun as Sim Driving Instructor.�
Changes on this scale were typical of the entire game’s development. Although it was very collaborative it could also be extremely fluid, and occasionally contentious, as Baglow remembers: “I sat through heated design meetings, which resulted in tears. Screaming, punches and arguments were common.
“We didn’t have a clear concept of exactly what the final game would be like. We knew we had some great mechanics in there and some really innovative new ways to interact, but the details were impossible to pin down until you had most of the other elements in the game. Once you knew how the cars would handle and how the pedestrians would react and so on, you could incorporate that into level design and bonuses.�
Elements of the game were added as they were thought of, often as a consequence of some casual tinkering with the behaviour of the living city.
“The Gouranga bonus is a really good example of that,� he points out. “One of the programmers came up with a routine that had pedestrians following each other. This led to the idea of a line of Krishnas following each other down the street and then, once we had all experimented with ploughing through them all in one go, the Gouranga bonus became an obvious addition.�
This was to be only one of the more minor changes during the development. Several, although essential to making the game a success, would cause a lot of work to be thrown away, as programmer Brian Baird recalls: “If we’d stuck to the original design, GTA would have flopped.
“The scale of the missions were very small, with the design being a series of short, sharp five-minute missions, returning to a mission select screen in between. Originally the player started as a delivery boy and worked his way up to the top. We quickly found it wasn’t fun delivering pizzas.�
One of the defining moments of the series happened in early 1996, not long after Baird joined the team. “At that time, we were still a series of small missions,’ he says. “We had a long, long brainstorming session where we picked up on an idea for one long level containing multiple missions proposed by one of the level designers, Paul Farley. We took this and expanded it into the open-ended structure that the game shipped with. This meant a big expansion of the scripting and improvements to game systems – they had to handle the game running over multiple missions instead of the short structure.�
Many ideas and approaches were bandied about, some quite different to the final game. Baird remembers suggestions for a horror theme. “A large chunk of missions were originally planned to be Omega Man-inspired. The team loved the idea of running over hundreds of zombies but we couldn’t fit it into the structure and the time it’d take wasn’t worth it. Everything zombie-related got dropped.�
Missions weren’t the only thing he remembers having to scale back. “There were a number of background ‘living breathing city’ features that got dropped. The player could break traffic light boxes and a repairman would wander around fixing them. Of course the player could kill the repairmen and stop all repairs. There was a TV crew that went to major accidents. This got dropped, though the TV van itself stayed in. San Andreas was supposed to have a tram system like San Francisco’s cable cars, working similar to the train system, however we couldn’t get it working nicely with regular traffic so it was removed, though the cable art stayed in.�
The PlayStation version, although preserving the core of the game, lost even more features, including the fire engines and the trains. But 18 months into development, the entire city had to be razed and rebuilt, as Baird again recalls.
“Mike Dailly came up with a new technique to draw 24bit colour tiles instead of the low-res ones we were using. Technically,
it was stunning for its time but it required every single tile and graphic in the game to be redrawn. We borrowed most of the artists in the company to blitz the tiles for an ECTS demo to show off this new style.�
If a new feature promised a better game, then it was included seemingly irrespective of the extra cost. The new artwork added another 12 months to the schedule. As Baird puts it: “There was always an overall plan with GTA. However, the day-to-day development was more flying by the seat of our pants.�
 Fortunately, publisher BMG was generally sympathetic, with a very hands-on approach from producer Gary Penn. Relations with BMG in the US, however, were not always as smooth. As BMG took on more people from within the industry, some began to voice concerns, as Jones recalls: “We could not compete graphically with, say, Ridge Racer, so we were banking on the fact that the game was radical in terms of gameplay and its edgy content. The content side was never an issue. BMG supported us 100 per cent to put whatever we wanted into the game; coming from the music business nothing fazed them. It was a real shame to see BMG losing its fresh approach and become more like a games publisher. BMG US didn’t think you could release a top-down game into the market. They said it would simply not sell and we should drop the title. This was only three months from completion. I was confident the sheer fun and originality factors would make it a success, and we also had great backing from BMG Europe. Luckily, we won the argument.�
Despite taking an entire year longer to produce than originally expected, Jones believes it was the right thing to do: “The extra time really benefited the game massively. We really pushed the boat out though on some areas such as audio, which I had not planned.�
Fortunately, this resulted in another area in which the game took chances. “At that time most people’s idea of good game audio was ‘you didn’t switch it off’,� recalls audio director Colin Anderson. “I suggested that in order to add an interactive element to the music it might be nice to place them ‘in the cars’ as if they were coming out of the car stereo. That way, when a player got into a car the radio would start and when they got out it would stop: voila! Interactive audio. Once the idea of radio stations was established the rest was relatively obvious – DJs, news reports and different types of music for different types of car.�
The radio stations also provided an added incentive to try the game’s less powerful vehicles. With poor handling and low speed, the pickup would have been quickly abandoned if not for the guaranteed burst of spoof country and western. Anderson’s approach was unorthodox, and also controversial. “There were a sizeable number of people who felt it was too radical,� he says.
“I knew that was total nonsense because films do it successfully all the time. Different styles successfully blended because they work in context with the visuals.�
A diverse range of tunes was also needed to make the radio convincing “It wasn’t good enough for the music to sound good enough for game music; people had to believe they were listening to real bands they just hadn’t heard of,� as Anderson puts it. This proved very useful – and was taken somewhat literally – by Baglow when publicising the game. “I let it be known that the bands and tracks were all real and licensed especially for the game,� - perhaps one of the more understandable exaggerations. Sadly, not all the audio work could be used. The tank, for example, lost an interesting-sounding, if perhaps credibility-straining, version of the Star-Spangled Banner.
With audio, graphics, the living city and the game’s mission structure finally coming together, Grand Theft Auto was released to immediate success, justifying the enormous effort and compensating to some degree for the immense amount of lost work. Jones’ determination, and BMG’s indulgence, received their just rewards. Unfortunately, having helped to create such a success, BMG pulled out of the games market shortly afterwards, much to Jones’ regret: “It helped create one of the biggest games ever but didn’t stay around long enough to enjoy it. BMG really would have been great for the industry.�
GTA is often seen as inventing the sandbox genre, but in truth it built upon a strong heritage of arcade and freeform games. Even the game’s trademark carjacking had been seen in Hunter and Mercenary before that. Its unique achievement was to take the best from what had gone before and fuse it together with ambition, skill and incredible attention to detail. That process was a complicated one, but the idea at the heart of GTA wasn’t. The word that comes up again and again when talking to its creators is ‘fun’: if an opportunity arose to make the game more fun, no matter who it came from, and even if it meant throwing away a huge amount of work, it was seized with both hands. The series that resulted has been copied countless times, but few imitators have stoppped to think that the secret to its success may lie in the process, not the product.
There are trams in San Andreas!
Posted by: Jim at June 30, 2006 9:41 AM
Yeah, but not in GTA1's San Andreas.
Posted by: DHSG at June 30, 2006 11:01 AM
More games should have trams in them
Posted by: joeso at June 30, 2006 5:08 PM
I propse a new list ... Top 10 games with trams!
Posted by: one at June 30, 2006 10:10 PM
You are a moron. In GTA 1, which is what the article is talking about, on the PLAYSTATION 1, each car had a different radio station. IT WAS ONLY IN GTA 3 THAT YOU COULD CHANGE THE STATIONS.
THIS ARTICLE IS ABOUT THE FIRST GRAND THEFT AUTO!!!!! GTA 1!
Posted by: bert at July 3, 2006 8:18 AM
You could actually change the music in the cars (at least in the PC version) of GTA1 with the F7 key if I recall...
I do worry about the attention to detail displayed by some people.
Posted by: dw at July 3, 2006 11:34 AM
I believe they are referring to the default stations for each car, like what it's set to when you get in.
Nice article :) I still reckon Body Harvest is an early version of the GTA 3 engine - so many similarities.
Posted by: drdoak at July 3, 2006 12:38 PM
On the PC version, you can change the station in some of the cars (F5), but in each different car, you have a limited number of stations to choose from.
And in the pick-up, there was only the one station.
GTA1 is a free download now from the rockstar site, get it and check it out for yourself.
I'm suprised the article didn't mention hearing music from cars passing you, i really liked that feature.
Posted by: cam at July 4, 2006 12:45 AM
Great read!
Posted by: Dee at July 4, 2006 12:57 AM
top ten games with trams: i nominate locomotion.
Posted by: nex at July 4, 2006 12:03 PM
Top ten games with trams......The Night of the Trams.......I think that was a game?
Posted by: joeso at July 4, 2006 6:37 PM
@ drdoak, ive been waiting for them to bring back the feature of cars passing wigh different music, it also bugs me whenever u get out of a police cruiser and the siren sfx stop. its the little things people
Posted by: who cares at July 4, 2006 6:38 PM
i always wondered what those vans with sattelites on top of them were
Posted by: kiwi at July 4, 2006 6:56 PM
Everyone of you had more informations about gta 4 ?? I'm french, so i'm not very good in english so excuse me.
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Posted by: ben at July 5, 2006 3:25 PM
I remember GTA1, people went nuts for it, came out in my first year of Uni, and had about 10 ppl in my tiny 6ft x 6ft room crammed round a PC drinking beer just watching the thing and people trying to get a GOURANGA Bonus.....
I remember the Superbike being totally uncontrollable (though how we all cheered when bike we put BACK INTO GTA) i also remember "El Burro" wanting to congratulate you personally upon completing a level (-scary stuff!) Most of all, i remember the packaging - Most of all i remember opening the CD Case to be confronted with the definition of Grand Theft Auto, and the description of the Jail Time and potential fines for your crimes - very apt!
Posted by: codename_21 at July 5, 2006 5:01 PM
I'll be honest, I was 12 when this game came out on PS1 and I remember being attracted to it because it was the first game I ever seen with a "Parental Advisory" logo on it. And my ignorant mother was a bad bad person for buying that for me.
Posted by: chbuddah86 at July 5, 2006 5:21 PM
I would like to know more about GTA2, that game came and vanished pretty quickly it seems.
And the Hare krishna running around, always thought that was like a basketball/soccer team or something jogging :D
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Posted by: mateusz at July 8, 2006 7:54 AM
What the hell? "Kaczynscy" brothers are polish politicians, and have nothing to do with GTA1... Ahh "jebac"... Would you mind if I won't translate this? There might be autocensoring turn on...
But back to the article... It is funny to hear that game, which sequels are now making great incomes, could be a racing game, and uses engine, that is based on platrform game...
Posted by: Mibars at July 9, 2006 6:43 PM
They forgot to mention the biggest secret. The court building turning into a spaceshuttle and taking off, if you launched a rocket at it.
Ahhh GTA1 was awesome!
Posted by: GTA Lover at July 9, 2006 9:34 PM
You could change the music also in the PS1 version of GTA2 by holding up on the up D-pad arrow; GTA3 wasnt the first.
Posted by: Soldier of Funk at July 11, 2006 5:18 AM
Woah, that's a great article. GTA is a classic and this article proves it! GTA has come a long way, from the 90's to GTA:SA.
For thoes looking for some GTASA fun try SA-MP
Posted by: GTA fan at July 11, 2006 11:46 AM
you ner
Posted by: selin at July 11, 2006 3:15 PM
i beat Grand Theft Auto: San Andreas in a week u need to make a bigger map or put more islan out there or like (GTAW)Grand Theft Auto: the world have like diffrent path to pick from and choose to be a gangter or a drugdealger or a normal person make it awsome and longer
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Posted by: carl at July 30, 2006 2:35 PM
some people think gta vice city was better then san andreas but they were wrong i agree with the kyle guy u should be able to choose if u want to be a gangster or a drug dealer etc and i ca nremember when i was 9 iwas playing gta 2 on comp on multiplayer and it was the best i think in sanandreas they should of put in a multiplayer that would of been good i hope in the future they will make huge maps and loads of missions t okeep u palying for longer then a week in gta 2 u could upgrade ur car to have guns on the front and drop mines and oil slicks unfourtanitly it doesnt work on windows xp which is gay but over all gta is good
Posted by: sheldon24 at July 30, 2006 7:11 PM
ur all forgetting gta london !!!! that game kiked ass with the mini coopers and stuff, outstanding game!
Posted by: Cannie at July 31, 2006 4:20 PM
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Posted by: Nerd basher at July 31, 2006 4:25 PM
gta is the king of games
Posted by: utiu86rikur at August 1, 2006 2:17 PM
im not a damn nerd im 14 years old u asshole nerd basher how do uno whos a ners or whos not unless u are A HUGE 1!!!
Posted by: sheldon24 at August 1, 2006 6:33 PM
Why don't San Andreas use taxies. it is difficult because when you have bought a car from the Export/Import docks you can't just go driving a car to the airport or you would but you would just loose a mabye expensive car.
I know this is about lcs it was i think really important to point this out
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Posted by: Mateusz at August 9, 2006 8:13 AM
hey does anyone know where i can get the original soundtrack to GTA1? It rocks! XD
Posted by: mooseondaloose at August 17, 2006 12:04 PM
more people should leave comments anyways i dont even know what gta london is i thought i had all the gta i got gta 1 2 3 vice city san andreas but i never heard of gta londonmm guess i dont have them all how old is gta london bye the way
Posted by: sheldon24 at August 20, 2006 6:07 PM
gta1 was the dogs bollox.i got the limited edition version when it came out which also gave u the soundtrack on audio cd.pure class in a glass
Posted by: exile69 at September 11, 2006 1:18 AM
to sheldon
gta london was the expansion pack 4 gta1.couldnt play gta london without it
Posted by: exile69 at September 11, 2006 1:21 AM
thanks exile 69 i have gta 1 but not the expansion pack they need to make multiplayer on comp for the new gta exile give me ur email orr u can ad me at sheldonwolfe24@hotmail.com k
Posted by: sheldon24 at September 16, 2006 1:33 AM
where can i buy/download the gta 1 soundtrack???
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I remember the whole getting electrocuted by the train tracks in gta.
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For thoes looking for some GTASA fun try SA-MP
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