Welcome to the IMPACT series where I dissect notable and iconic sequences from games and movies, and how they broadened my mind and left a lasting impression on me, years to come. 

Find the samurai who smells of sunflowers.

The Backdrop

I will the first guy to admit that I am not much of an anime viewer. My foray into anime mostly consist of Studio Ghibli and a few limited episodes of Digimon, Pokemon or One Piece that I caught on TV early in the morning before I went to school.

I am aware of the cultural impact of many different series, and have researched a whole host of them, from DragonBall Z to Attack on Titan. I know enough about the lore and the plot to engage in some basic conversation about the most popular anime.

But I don’t watch any of them. Maybe it’s the length of the series that prevent me from getting into them … Don’t let yourself get attached to anything you are not willing to walk out on in 30 seconds flat if you feel the heat around the corner.

OK, that is taking McCauley’s advice a bit too literally, but the point is … I can’t really find myself getting into long shows.

But for the works of Shinichiro Watanabe I will gladly devote many waking hours obsessing over his artistic creations.

Samurai Champloo is my favourite anime of all time and I don’t think there will ever be a time when I won’t treasure my first viewing of this revolutionary anime.

This anime is as treasured to me as a kiss from a woman. It is of that much significance, and importance to me that I rank it that highly. Expect this to be an incredibly long swan-song.

The Impact.

When I first started watching the show, I was expecting the same level of quality I had experienced in Cowboy Bebop. I got that and a whole lot more of emotional resonance than I was expecting. This is a show that picked me up, abused me and threw me around in a cage before depositing me onto the floor, leaving behind a emotional wreck.

The gauntlet in which this show made me run through, with its incredible visuals, score and characterisation left me breathless at the end. Certain episodes had me bawling my eyes out, others; laughing out loud and many smiling like an idiot.

Jin, Mugen, Fuu … they became my friends over the course of 26 episodes. I wanted to hang out with them more. I adored their dynamic, with Jin being my idol, for his cool, calm, collected nature. I loved Mugen’s unpredictability and his wild nature that clashed with Jin’s more measured approach to life. Fuu was the sweetheart that no-one could hate, a girl that was the true glue that held the trio together and the heroine of the story.

I was addicted to the adventures they went on, the multiple twist and turns, the strange discovery of how much Japan was changing … modernising and how it seemed to leave people behind. I loved how many of the episodes were miniature stories that showed the real cost of modernisation and the varying attitudes people had to such rapid change.

In particular, the ability to create such compelling, unique and fascinating side characters in the space of 20 minutes is nothing short of remarkable. I can still recall multiple characters like the blind Sara, the tragic Shino and the disturbing Umanosuke with crystal clarity, despite their brief introductions and encounters with the main protagonists.

The pacing of the story overall is amazing, Watanabe’s deft touch to keep the story fresh and engaging whilst juggling an adventurous tone, a sign of a true artist at work. He knows exactly when to inject action, emotion, humour and drama and barely makes a step wrong throughout the entire series.

In particular, episode 11, Gamblers and Gallantry is the one that struck me with all the force of an emotional bullet, the tragedy of the ending leaving me a wreck afterwards. I recall feeling hollowed out by the mix of emotions that it stirred in me and swearing from that moment on, I would immediately download every single song featured in the series, just to capture this feeling I was experiencing.

It was sorrow, melancholia, goodbye and farewell, mixed in with a healthy dose of love, regret and necessary separation and all of these feelings were coloured with nostalgia.

No anime since, has managed to capture this complex array of emotions. Arguably, no piece of fiction I have read, watched or listened to since has managed to get anywhere close.

And I haven’t even touched on the beauty of the animation yet …

The Enrichment

There is a lot I took away from Samurai Champloo. I will break it down according to the subheading. It goes without saying that this anime has impacted me immensely in my life. This is in part due to the timing of when I watched it (I was a teenager) and the fact that I was also a massive Japan history buff at the time, having read the James Clavell’s epic Shogun.

A) Samurai Culture

I was also obsessed with samurai culture when I had finished reading Shogun, so to see this fresh take on what were traditionally stiff, honour-bound warriors was quite a shock to the system. It was the swordplay and action that gripped me, seeing how quick and deadly the samurai were and how cruel they could be, with their superior skills and weapon. I loved seeing how Jin and Mugen got injured during fights, how their styles clashed frequently and how they seemed to attack any obstacles head on.

More importantly though, the show made me aware of how anachronistic the samurai culture was becoming in a more modern world, and what that must have felt like for the class that once ruled Japan and defined its culture. You could really see how honour could turn easily into corruption and malice, how the extreme modernisation of Japan created an arrogant, gleeful middle class that were previously subjugated under the noble class of the samurai. So many episodes dealt with how Jin, Mugen and Fuu’s quest was out of touch with the times, the trio barely scrapping by on their adventure.

The infusion of hip-hop in the music and scenes lent this gangster vibe to the three protagonists. They were freed from the constraints of the society they were living in, and due to hip-hop’s natural tendency to encourage rebellious behaviour, it made you sympathise and envy these characters and their inherent freedom.

Of course they were destitute, struggling to find food and board, but there was a freedom and simplicity to their life. They were on a quest to find the samurai that smelled like sun-flowers. Life had a meaning and to hell with what society thought. Isn’t this what the essence of hip-hop is? To make do with what you have, and celebrate life regardless. Sometimes it is better to be poor and free to be able to express yourself than well-off and constrained by society’s rules and pressure.

Jin, Mugen and Fuu did just that.

B) Nujabes

What can I say about Nujabes that hasn’t been said? I will probably end up making an IMPACT post on Nujabes because his music has been so influential and instrumental in my development growing up. There was a time when all I listened to was Nujabes and I couldn’t bear a single day without hearing his smooth, unique take on jazz and hip-hop.

One of the main reasons why Samurai Champloo works as well as it does, is because Nujabes’ score is the perfect accompaniment to the tone and style of the anime. His score is evocative, slow, and singularly Samurai Champloo. It is moody without the sad overtones, nostalgic without cynicism and emotional without deviating too far into happiness or sorrow. The hip-hop influences kick in during action sequences, whilst the more mellow jazz style soars over the emotional scenes.

To listen to Nujabes’ score is to tap into the unique appeal of Japan, where you hearken for a time that existed long ago and the world seemed more exciting, fresh and alive. His music reminds me of a wonderful dream, where you visit incredible places in your sleep, and when you wake feel that sense of deprivation, of being robbed of something that never existed.

It is why I always listen to his album, Samurai Champloo – Departures when reading Haruki Murakami books. A dream like sound to accompany a dream like read.

C) Melancholy

Samurai Champloo more or less weaponised melancholy as an emotion and turned it against me. I actually became entranced by the sensation of melancholia and would often put myself into a deliberate funk just to capture that emotion again. There are so many tragic sequences in Champloo that evokes this sensation and I couldn’t help but wallow in them constantly.

It actually took me awhile to recover from this addiction to this emotion. It is inherently self-destructive but when utilised right, it really allows you to explore all facets of your identity and self. Melancholia is almost crucial to self-introspection. You long for a time when you were “yourself” and so you end up diving deep to try and find yourself again. Samurai Champloo style, art and music really allowed me to weaponise the melancholic feeling against myself and create actual mind palaces where I could truly explore all facets of my identity without self hatred or loathing.

The series’ style was so influential in that aspect, that my most private and healing sanctuary is actually based on a location in the series, and I retreat there often when confused, and in search of meaning. I can picture every single door, room and location in that mind palace and I have always found answers to my questions there whenever I visit.

In a lot of ways, Samurai Champloo allowed me to be my own therapist, guide and conscience without ever having to resort to a therapist or psychologist. I have to thank this show and Murakami for allowing me to truly unlock my psychological id.

D) Japan’s Artistic Style

Samurai Champloo, much like Studio Ghibli films, showcased some of the finest Japanese modern aesthetics I had seen in a while and perhaps ever. Whilst Ghibli emphasises immense detail in all aspects of its animation, Champloo employs a unique blurriness to its art style. It knows when to showcase clean, lean lines of the characters and then have that juxtaposed against a blurrier but still distinct backdrop.

Water in Champloo has a mystical effect and a shimmer that isn’t seen in other animation studio works. I particularly love how the backdrop of a lot of scenes evoke a certain emotional response, whether it is eeriness or startlingly beauty. It is such a testament to actual Japanese landscape that are one or the other.

When it comes to action, I love the glint effect that Wanatabe showcases when a sword is flickering through the air, at intense speed and the overall dynamic of clashes, dodges and final moves.

The opening credits, which I have employed liberally throughout this blog, is a stunning showcase of animation, talent and art. The way how dark cel shaded lines interplay with brighter colours and semi realistic depictions of animals and landscapes create this unique art-style that can’t be replicated by anyone else.

Like any sad fan, I have a lot of Fuu wallpapers. Her style is so remarkably entrancing, which when combined with unique poses and her kimono, creates a really incredible visual art piece. And if there is one anime that generates endless wallpapers, it is Samurai Champloo.

The Culmination

Samurai Champloo has been responsible for a lot in my life. It has allowed me to discover more about myself, to experience a phenomenal story that is uniquely Japanese and exposed me to the genius that is Nujabes.

I found a soundtrack that I could listen to forever and let it heal parts of my life.

I learned to trust and unlock my subconscious and seek the truth in all the things I do.

I made some friends along the way and waved a sad but happy farewell to them.

I learned to understand and process deeper emotions and how to recognise them in the future.

Samurai Champloo was responsible for all of it. No other media has managed to achieve so much in just 1 season of episodic TV. It is as deeply personal to me as my first novel I ever wrote.

If I had to answer the question about an anime that actually “changed” parts of my life, it would be Samurai Champloo. It’s impact on me cannot be understated.

If you haven’t seen it, do yourself a favour and check it out, alongside Cowboy Bebop. They are the gold standard when it comes to anime and Japanese story-telling. If you refuse to do so, then just listen to the entirely suis generis genre that Nujabes created called nu-jazz.

Wind, Limitless and Benevolence.

Fuu, Mugen and Jin.

IMPACT

~ Damocles

Welcome to the IMPACT series where I dissect notable and iconic sequences from games and movies, and how they broadened my mind and left a lasting impression on me, years to come. 

Your mission, should you choose to accept it …

The Backdrop

It all started with my first proper viewing of Mission Impossible II, where to my shock, I could actually see a film set in Australia. While it was Sydney, (as a Melburnian, it gives me great pleasure to continually derive that horrible town) it was a genuine delight to actually see my home country being portrayed positively and gorgeously on film.

Mission Impossible II gave me my first real inkling of John Woo style action, with absolutely ridiculous set pieces that still captures my heart today. In particular, I loved the climatic chase sequence, especially right after the big twist. The score, the action, the glorious slow motion and the absolute insanity Tom Cruise was able to perform with his motorbike and Beretta all culminated in a cinema experience that enraptured a young Damocles.

The third movie, a typical J.J. Abrams fare, was fun, but it wasn’t until Mission Impossible Ghost Protocol that I really began to fall in love with the franchise again.

The Impact

If I had to distill the Mission Impossible franchise down to its now winning formula, it can all essentially be traced back to Tom Cruise, the core fundamental element as to why the series work as well as it does.

The man does almost all of his stunts, and somehow only seems to get more impressive and extravagant with age.

But what really seals the deal is the amount of fun each film is. It is not as dark and serious as other spy thrillers like Tinker Tailor Soldier Spy (2011) nor is it as old fashioned as Bond. Instead it tends to sell the action-adventure element more, with fun situational humour, like Ethan Hunt’s clear reluctance to fight at certain times (Mission Impossible: Rouge Nation) and even more enjoyable ways to marvel at spy gadgetry.

I mean, the entire mask reveal gimmick is campy, fun and silly. But the series lean into that element and rewards the audience with genuinely clever ways to hide that gadget with each new iteration.

This is what makes the franchise great. It isn’t afraid of its history, and it prefers to disguise its wheels, than reinvent them. I have loved all the small gadgets that the Mission Impossible series have created, the key ones being the cushion grenade gadget that was only briefly seen for 5 seconds in Ghost Protocol, the suitcase G36K and the giant remote drum mag fed Barrett M82A1 turrets in III, and always fun, disguised sniper rifles in Rogue Nation especially the alto flute.

If the mask gadget is always prevalent in the series, I also always enjoy the new “drop” they premiere with each film. In the first film, it was the CIA HQ, the second, the Biocyte building, then the third ramped things up with a pendulum swing (one of my personal favourites). The fourth was a fun magnetic free fall, the fifth, a spectacular water stunt and finally with Fallout, the now incredible HALO jump sequence.

It is quite a simple formula that is always reinvented slightly with each new film, but the DNA of the Mission Impossible franchise is unshakeable. Tom Cruise, a drop stunt, “Halloween Masks”, globe-trotting and a new stylistic approach to the film by the directors.

Although, I do love that in order to sell the films further, Tom Cruise now has to top every single stunt he did before.

The Enrichment

Beyond an appreciation for fictional gadgets, (I mean, who doesn’t want a pair of gloves that can climb the tallest building in the world … until they of course fail, but then that is what the cushion grenade is for.) I’ve also grown to enjoy watching Ethan Hunt’s dogged determination and insouciance to the obstacles mounted in his way.

There is a strange heart to the character’s sheer commitment to the cause and his ability to adapt, improvise and overcome seemingly “impossible” challenges never ceases to add to the drama and fun set pieces being laid out on film.

But the real impact comes from running.

The first real glorified running sequence, came from Mission Impossible III with its two minute long sequence along a river in China, perfectly highlighting Cruise’s perfect running form.

As fun as that was, it was really the Ghost Protocol chase and the incredible London sequence in Fallout that really sold me on the power of the Cruise run.

Admittedly, one of the biggest things that I love about physical exercise is running. There’s an incredible combination of feelings when I run. I adore the speed, the sensation of feet on pavement, the wind blasting past your scalp … I think it’s intoxicating.

Whenever I see a truly good running sequence on-screen, my body has a visceral reaction to match it. My legs feel charged up, my heartbeat starts accelerating and my mind starts to focus on building as much momentum and speed as possible.

I’ve chased trams to stops, raced cars to light poles, pursued bicycles to overtake, and beaten buses to stations, all of them attempts to get that winning feeling of running faster than something.

If Casino Royale (2006) made me a traceur, Mission Impossible made me a runner.

There’s nothing quite like a good foot chase on screen, through crowds, through sandstorms and across rooftops and when you add the Mission Impossible score to a run, you’ll find yourself covering kilometres in seconds.

The Culmination

Mission Impossible has achieved a rare thing. It has only gotten better with each iteration and more bombastic than the last, an incredibly rare feat for a franchise over 25 years old. Anchored by Tom Cruise’s dedication to stunt work and fun charisma, and rounded out by the humour of Simon Pegg, the friendship of Ving Rhames, and the feminine wiles of Rebecca Ferguson (who plays a believable and excellent female intelligence operative amazingly well), this series keeps on delivering with more and more impossible sequences that thrill.

I love this series for the same reason, why I loved The Mummy (1999). They are just a good time at the cinema. They don’t pretend to be high art, nor speak a terribly compelling message about the state of the world. The characters are fun, light-hearted and likeable, carried along by their screen charisma and occasional joke. The score is bombastic, especially Lorne Balfe’s latest interpretation in Mission Impossible: Fallout which somehow never seems to fail to give me goosebumps.

Good vs. Evil, the story is as simple as that, but the stakes only seem to get higher with each film, as Ethan Hunt find himself in more and more precarious situations to save the world. Mission Impossible is all about having fun in the cinema. It is the cinematic equivalent of strapping yourself into a rollercoaster ride, where you will thrill along with Cruise, with every single death-defying stunt he performs.

In fact, this seems to be a sneaky way to build instant emotional rapport with Ethan Hunt, a method that is unlikely copied by any other action franchise. When you see Cruise clinging to the side of an Airbus A400M, his hair being split apart by the wind and his legs swept off the fuselage of the plane by the speed in which he is travelling, you cannot help but feel concerned for him. The character and the actor merge into this strange medley of fear, adrenaline and concern and you find yourself holding your breath and marvelling at everything going on. In fact everything happens so fast, that it is almost logical that Hunt needs to be clinging onto the side of a plane …

It is a wholly unique aspect to this franchise, that you have such a strong emotional connection that is derived almost purely from dangerous stunt work from the lead actor.

And that … is something to be celebrated. You can’t help but admire a guy who will do anything just to entertain you, even if it means shortening his own statistical probability of dying.

Man, I wish I had the spy lifestyle … the places around the world I would run and do crazy stunts in …

IMPACT

~ Damocles

Welcome to the IMPACT series where I dissect notable and iconic sequences from games and movies, and how they broadened my mind and left a lasting impression on me, years to come. 

You’re like every other asshole … You made a bit of money, and you became a turd!

The Backdrop

This is going to be more or less an incredibly long love letter to a franchise I have adored since my first time starting up my Playstation 2 and loading in Grand Theft Auto: San Andreas.

I do plan on deep-diving into the series, with Grand Theft Auto: San Andreas, Grand Theft Auto IV, Grand Theft Auto V and Grand Theft Auto: Online.

But this is just about the franchise as a whole.

So why is it so impactful?

One of the biggest appeals that Grand Theft Auto has always held for me, is the complete and utter freedom one has to act in a realistically created world.

There are no games quite as expansive, lovingly crafted and insanely detailed oriented as a Grand Theft Auto game upon release. The world crafted in-game is almost slavishly faithful to its real-world counterpart.

San Andreas legitimately allowed me to enjoy 3 American cities in a single game, with its copies of San Fransisco (San Fierro), Los Angeles (Los Santos) and Las Vegas (Las Venturas) in addition to expansive desert and wooded countryside landscapes.

The scope of that game … is still unmatched today. No game I have ever played since, allowed a player to legitimately fly from one city to another in a plane and find themselves in an actual “world” to experience.

Rockstar Games have always been an incredibly ambitious and provocative company. They thrive off negative controversy, an iconic element of their marketing strategy and they refuse to release games until they are goddamn ready. Every single game of theirs, has been an event in the entertainment industry.

The sheer amount of marketing that Rockstar Games is capable of, on a global scale, ensures that every single person is aware of their product. It is quite literally, a hostile takeover of physical and virtual marketing when they release a game.

And so it should be, because thus far, they have yet to release a bad one. Even their more obscure titles, like Bully or L.A. Noire have rabid cult followers who are still breathe and live their games and cry out for a sequel.

But it was with Grand Theft Auto, Rockstar Games cemented their place in history. Its’ sprawling, realistic worlds with all the depravity of real life, from sex, violence, and crime gives players full agency to do whatever they feel fit to do, within the confines of the game.

You have immense creative freedom, complete moral ambiguity and intense levels of customisation.

It’s the ultimate sandbox to experience reality like you never have before and never could in the actual world.

The Impact.

I have always been a person who loved reality more than a lot of fiction. There is just too much in this world that is incredible and more bizarre than the strangest alternate reality devised.

So on a personal level, all I’ve ever really wanted from a game is a sandbox that is realistic and contemporary, with the freedom to shoot, run, hide and interact like how I’ve always wanted to in reality, but without being sent to jail for it.

Grand Theft Auto, from the very first time I played San Andreas, allowed me that escapism. I became obsessed with the game around the same time The Bourne Supremacy (2004) came out.

Taunting the cops to chase me, whilst I drove away in a yellow taxi cab, to emulate that iconic chase sequence at the climax resulted in both film and game merged in an experience I would treasure even now.

With absolute fondness, I still recall slamming my yellow taxi cab around Las Venturas’ highways, avoiding police traps and playing the throbbing score by John Powell “Bim Bam Smash” on a loop over the Self Radio.

Nothing else quite topped that experience in a game, for a very long time.

That is until Grand Theft Auto IV came out and I became equally obsessed with recreating film moments in Liberty City, and my addiction grew even further, because now the driving and shooting mechanic had become buttery smooth and I was in love anew with the driving physics.

The hours I spent, role-playing as a vigilante FIB agent, killing gangsters with Niko Bellic in a suit and tie, wielding a Glock … are too numerous to count and too shameful to admit.

The simple fact is, the game itself encourages you to recreate iconic moments you’ve seen in film and pop culture. Beyond obvious references in Grand Theft Auto’s stories, the amount of customisation for your character in terms of clothing, tattoos, haircuts and in some cases, even weight, meant that you can express yourself however you see fit.

Then there are the vehicles …

Every single game has been an incredible delight to drive, cruise, fly and pilot. I loved the heavier feel of the cars in Grand Theft Auto IV, the sheer variety in Grand Theft Auto: San Andreas, and now the overall experience of flying across a stunning realisation of Los Angeles in Grand Theft Auto V. Whether it is sport cars, sedans, Pimp-mobiles, tractors …. if there is a fun vehicle, you can find it in Grand Theft Auto and modify it to your heart’s desire.

The sensation of flying across San Andreas in a prop plane with God rays reflecting off the surface of the plane, while a sunset slowly comes down across the horizon is still as stunning as it was when it first came out.

With Grand Theft Auto Online, I think I have lost count of the number of vehicles I own. I became, quite literally addicted to the premise of earning money so I could own more cars. As a car fanatic, the garage collection you can build in Online is so vast, that you can actually forget which cars you own.

At the time of writing this, I believe I own close to 200 cars in the game, with almost every kind of imaginable vehicle I have ever wanted in reality. The classic Batmobile from 1989, numerous Ferraris, two replicas of the F1 Red Bull RB7 challenger, a Bond-styled Aston Martin DB5, an Aston Martin V8 Volante, and even the latest Aston Martin Valkyrie. There are numerous Porsches, Ferraris, BMWs, Mustangs, Nissan GTRs, armoured variants of classic coupes, Bentley Continentals, McLaren F1, McLaren Longtail, and even a Mercedes 300SL.

The list could go on forever, because in the years since its release, Rockstar has only continued to build the endless list of cars inspired by real world counterparts in the game.

And I want them all.

No other game I have ever played, has inspired such greed in me. I haven’t even started on my personal yacht, boats, planes (a goddamn V-22 Osprey) and now with the latest Cayo Perico update, a frigging submarine with its personal Bell H-13 Sioux styled helicopter and even a submersible Ferrari/Lamborghini vehicle.

In Grand Theft Auto Online, there is nothing outside the realm of purchase and in all seriousness, that is 90% of the charm of the game. I have always wanted to own all of these things in reality and the game makes it so easy to do so.

The Enrichment.

There are a lot of things that I’ve learnt from Grand Theft Auto. But I want to distil it down to three major points.

Music. Marketing. Decade Recap.

With the Cayo Perico Heist update, it really opened my eyes to just how much of a “record company” Rockstar is. The music selection and licensing is obscene for a game of its size, with over 20 radio stations. Grand Theft Auto might boast the biggest contemporary collection of music in any game ever made. They are are so casual about their power in the music industry, that the legendary Dr. Dre can just show up as a cameo in a game cutscene and surprise everyone.

What makes it all the more astonishing is that without fail, every single GTA has managed to perfectly sum up the decade in music. I have never heard a bad selection of music in-game ever. It was Vice City that managed to grab the absolute best of the 80s and divide them into incredible radio stations complete with false advertising. Not only were the songs amazing to drive along to, it built the immersion to another level whilst playing.

San Andreas killed it with their 90s selection of songs, the game actually instilling in me, a deep appreciation for rap music. Grand Theft Auto IV was an amazing eclectic mix of everything, even surprising me with their Russian taste and really proving that immigrant music can be just as amazing as mainstream hits.

The more said about Grand Theft Auto V‘s music the better. Everything contemporary, most of it new and unheard of, has exploded on the radio stations in the game. You can hear music from Detroit, bump along to UK underground, dance to the latest club mixes and their nightclub DJs mixes rival some of the best music heard in reality. It is truly astonishing how many unique songs have been made just for Grand Theft Auto. I mean, even Gorillaz made a MUSIC VIDEO for their song using footage of their GTA gameplay.

Which brings me to my next point about Marketing.

One of the most obvious standout features about Rockstar as a game company, is their ability to thrive off negative press. Ever since its release, GTA has become the number one pick for hell-bent politicians and angry parents to blame for the corruption of their children, instead of looking inwards at poor parenting.

Rockstar has done everything in their power to further enrage those fires and thus drive up sales of their games, because suddenly when something becomes forbidden, it only serves to fuel the allure. But beyond that marketing philosophy of “bad press is better than no press”, are the numerous tactics that Rockstar has employed to generate hype around their games.

The Cayo Perico Heist was promoted first in-game, when dead bodies started washing ashore on Vespucci beach, at specific locations and at random times. Then there was a strange message that mentioned that the Casino was under construction for something big. Then out of nowhere Gorillaz released their music video for The Valley of the Pagans ft.Beck. This was then followed by a cryptic trailer that hinted at an island and a submarine ping?

Then to increase further hype, they showcased the actual trailer and the music was absolutely killer, encouraging you to think that you needed a holiday away from the mainland of Los Santos and they were teasing all new radio stations, 2 new places to party and socialise and jobs to do for the DJs in-game.

I don’t think I have ever been more hyped for a DLC than I was for this.

Beyond that though, there has been an incredibly consistent GTA branding that I envy, with unique font and art style that saturate every aspect of the game marketing, regardless of which title is released. Add on top of that, bus billboards, NYC giant posters, and endless campaigns that still last to this day, you will never escape the event that is the release of Grand Theft Auto.

The final aspect I adore about GTA is the decade recap.

At GTA’s heart, beats a sarcastic, satirical and scathing teenager who wants to lash out at society and laugh at its ridiculousness. Even the name Rockstar Games suggest there is an attitude of rebelliousness, of good ol’ rock’n’roll attitude to how they produce games. Yes the product is undeniably genius and well made, but its heart is devil-may-care. Rockstar doesn’t care that the game offends or insults you … the fact that you bought it or are talking about it, is already a win in their eyes and they are laughing all the way to the bank.

But what is astonishing is their skill at satire. The have such a consistent stupid approach to things. Pisswasser is their best beer in the game. Cluckin Bell is their take on fast-food empires and their radio stations have insane advertisement for Ammu-Nation the gun store in-game. Then there is the recent parody of Apple in iFruit with lewd, suggestive advertisements and even Faceook is not safe with their hilarious named LifeInvader social media program that apes the infamous company’s style.

What Rockstar is capable of, is identifying the best elements of a decade and turning it on its head, either in a hilariously over the top way or making it bizarrely sexual. Every decade, has had its best music put into a radio station with ridiculous ads, and the story has had the best of all that decade’s pop culture placed squarely into the narrative. Vice City was a spin on Scarface and Miami Vice. San Andreas was all about 90s gangster culture and there are so many references to popular 90s films, like Con Air, Boyz n the Hood or The Big Lebowski.

Grand Theft Auto IV has an obvious reference to Behind Enemy Lines with Niko’s starting outfit, but more sutble references like Ronin and even Zoolander of all things.

The list goes on and on, but it is that ability to grab all the best of a decade and turn it around that makes GTA so special. The world is real, its grounded but … just heightened ever so slightly just to make immersion a bit funnier to those with keen eyes.

The Culmination.

Grand Theft Auto is landmark piece of entertainment. It is one of the biggest selling franchises of all time and is probably responsible for devouring about an 1/8 of my waking hours. The reason why Grand Theft Auto is such an incredible hit is because it takes the world as it is, tweaks it to make it funnier and stupid and offers you that tempting chance to be an arsehole you have always wanted to be in reality.

That is what, at its core, makes Grand Theft Auto so addicting. You want to own all these things in reality. To do whatever you want in reality. To be a badass drifting around a corner through red lights, to sky-dive and not worry about the plane exploding onto a skyscraper, to pilot your own submarine, to make money easily by killing half a dozen people … to pull of heists and make millions.

Then subsequently spend all of it on a hyper-car and not worry about financial repercussions.

The story is cynical, hilarious and ultimately all about a flawed human being having a heart of gold. Every Rockstar protagonist is an incredibly lovable asshole. They are flawed, do horrible things, and behave like the biggest douche on the planet, but their writing, and ultimately desire to get better makes them relatable. Michael De Santa, Jimmy Hopkins, Max Payne, Niko Bellic, Carl Johnson, Tommy Vercetti, Arthur Morgan … all of these leads are charismatic, psychotic maniacs with thousands of deaths to their names and millions of dollars to their reputation and game but at their heart, despite their despicable actions, they are good men who look after their friends and just want to get ahead in life.

To quote Doctor Strange … Its a simple spell, but quite unbreakable.

The cherry on top of this satirical escapism, is the hyper realistic graphics, the fascinating side characters and the enthralling music. Rockstar takes immersion to the next level, with hilarious AI phone conversations, the ability to give the finger to pedestrians, and truly indulge in being the best Los Santos/Vice City/Bullworth Academy/Sao Paulo domestic terrorist you can be.

Rebellious. Controversial. Aggressive. Fearless. Anti-Authority. These are but some of the characteristics that help define the role of the rock star in modern day society. Rock stars are unafraid to push the limits of an established set of rules. They constantly question authority and live to upend the social structures that help to define it. Their belief’s become their passions and they strive to share these with the surrounding world. Their aura is intoxicating and inspires others to follow their way of life. This is the life of a rock star. This is the unofficial motto of Rockstar Games.

May you rock on forever, Grand Theft Auto.

Welcome to the IMPACT series where I dissect notable and iconic sequences from games and movies, and how they broadened my mind and left a lasting impression on me, years to come. 

Blak and Blu … this is The Story of Sonny Boy Slim.

The Backdrop.

With so much music being made nowadays, it is easy for us to let talented musicians fly under the radar.

I discovered Gary Clark Jr. the same way I discovered most of my musical taste … through Rockstar Games, the record label masquerading as a multi-million dollar game company that has produced masterpiece upon masterpiece.

I found it incredible that for such a short cut-scene in Max Payne 3, they managed to get the license of Bright Lights by Gary Clark Jr. All just to provide incredible atmosphere to the New Jersey bar that Max found himself slumped in.

I grew obsessed with the song and then artist soon after. I devoured his album, Blak and Blu and grew to appreciate his incredible guitar skills. The way how Clark Jr. seamlessly transition between blues and rock still floors me to this day.

So when I heard his next album, The Story of Sonny Boy Slim was coming out, I immediately pre-ordered and got myself a shirt.

There were even plans to see him live in Melbourne. But unfortunately I was strapped for cash so instead I just dedicated a weekend listening to his albums over and over again.

I get a Hendrix vibe from him and while he may not reach the heights of Jimi, he’s damn close and I’ll settle for that any day of the week.

Make no mistake though, this guy from Austin Texas sounds even better live and he is one of the few artists where I actually download the Live albums.

The Impact.

One of my favourite things about Gary Clark Jr. is that the man is raw. Raw talent. Raw emotions. Raw performances. There is a roughness to his playing style that makes it compelling listening. He is insanely talented and skilled at manipulating a guitar, but it is the combination of his vocals and the actual meaning behind his lyrics that make him the real deal.

There is a folklore quality to his songs that inspired me to actually start revisiting other famous guitarists with a message to scream into a microphone.

It also made me realise just how difficult it is to create a niche for yourself in the over-saturated world of blues and rock. Often times you find talent copying other famous musicians, or people who can hold a tune, but can’t string a guitar or vice versa.

Gary Clark Jr’s raw style and folklore style to his lyrics make him a unique voice in American music.

There is a road quality to his soundscapes, where you might be passing by a bar on the street and suddenly you hear this wail of a guitar.

You stop, pay your entrance fee and forget whatever plans you might have had for the night, because talent this good doesn’t come by often.

That’s the effect Gary Clark Jr. has on me. He made me sit up, notice and hum his songs for days after. His voice can soar above his guitar, and somehow go low enough to meld beautifully as well.

The Enrichment.

Gary Clark Jr. opened my eyes to a lot of things beyond his amazing skill and killer album Blak and Blu.

Firstly, I appreciated that he was an early proponent of Indigenous Australian issues, when he toured Australia. The Aborigine flag was highly prominent across his chest as he jammed out his tunes and it seemed the issues they faced, were echoed in his latest album, This Land.

The album was inspired by a encounter he had when buying his ranch in Texas and it prompted one of his best songs yet, with an incredible opening that was as unique as it was impactful.

Warbles, guitar riffs and an angry, indignant voice combined together to create an absolute banger of a song to headline his latest album.

Beyond his obvious championship of Indigenous rights, an issue no doubt brought about his lovely Australian wife, Gary Clark Jr. also tackled social issues in most of his songs.

There is righteous anger in This Land, mythical wistfulness in The Story of Sonny Boy Slim and just pure nostalgia for a rugged Americana in Blak and Blu. His music videos are always well informed and tackling something crucial in society.

Well … perhaps his Justice League MV leaves a lot to be desired but … at least the lyrics are killer.

But the real enrichment Gary Clark Jr. provides for me is an angry atmosphere to wrap myself into. My favourite three songs of his, all make me feel a certain way that just can’t be captured by other artists.

His song, Numb is this hard-edged melody that makes me feel comforted in knowing that I am not the only male out there that loves his woman, but can also be incredibly frustrated by her. The slow, burning energy of the guitar is what sells this song.

Yeah I know … Yeah woman, I can’t feel the same.

Then it is When My Train Pulls In makes me want to run away with her again. The folklore style of the lyrics and wistfulness of his guitar make me romantic. Let’s escape across the road and put our worries behind is the vibe I get from this song. I want to, I want to so badly, but I can’t and that’s why this love is doomed.

I’ll be ready now … I’ll be ready when my train pulls in.

The best song for last is of course Bright Lights where it makes me feel like I am in the same bar as Max Payne, nursing a drink, agonizing over regrets and desperate to chase away the hangover with something even stronger. I’m angry, alone and desperate. I’m willing to do anything to make my pain go away, but nothing is coming, so I’m getting angrier.

Bright lights, big city going to my head

The Culmination.

If trouble was money baby …. I swear I’d be a millionaire …

If worries was dollar bills …. I’d buy the whole world and have money to spare.

Gary Clark Jr. remains one of my all time favourite musicians. His guitar skills are unbelievable and there is just a hell of a lot of emotions in his singing.

He’s a born live performer, not a man to be cooped up in a studio.

There is weight to his songs, a real strong sentiment of a man that can’t be tamed and lives on only through his music.

In a lot of ways, Gary Clark Jr. represents to me the ideal musician. A man with raw unmatched talent, the fire within to speak about anything he damn well please and he let his skills do all the talking.

He carry the kindred spirit of guitar legends on his shoulders and it has served him well.

Even now, when I listen to his stuff, I get transported to another space, a place where I am devoured by some strange passions and at the mercy of whims.

And that is a gift that not many musicians can conjure up within me.