And it was the third-person view that helped maintain the desired distance between the player and the character. For me, this disguise was the charm of the great Rockstar series. Vercetti in my hands remained an imposing gangster in a Hawaiian shirt, a sort of Al Pacino from Scarface, Belik - an uncouth immigrant who came to conquer America, and Trevor - a crazy redneck who solves all problems with swearing or weapons.
When I went through all the last parts of the series, I tried to act out my character. The apotheosis was, of course, in which the story is divided at once between three protagonists - the stupid Franklin, Michael, tired of life, and the crazy Trevor. Subsequent releases of the game can no longer be imagined without the main characters - without Tommy Vercetti, without CJ, and without Niko Belik. Since then, Rockstar has transformed the central character from an almost speechless virtual crime machine to a vivid participant in the action. One of the main parts in the GTA mechanism has always been the protagonist. Finally, intellectuals saw it as an evil social satire. Older people perceived the game as a fascinating action movie about modern America. Schoolchildren who wanted to sneeze at history and context in GTA destroyed cities and carried out atrocities. The genius of the Grand Theft Auto series has always been that it endeared itself to a wide variety of audiences.
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