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Assigned the pedigree and also almost brutish levels of hype adjoining Grand Theft Auto V, it would have been a surprise if this type of wasn’t the five-star humdinger which you expected. Nevertheless here we are: Grand Theft Auto V is the height of open-world video gaming design as well as a colossal feat of techie engineering. It requires a model laid down by its predecessors and also promotes upon it, increasing on and streamlining some of its rougher aspects. It doesn’t break out of the template and can be brash, nasty and also nihilistic. But for all of the its more unsavoury factors, this is a videogame built with competent mechanical expertise and creative artistry.

In addition, recent pretender Saints Row is sorted out in an early illustration of the game's many, quite a few side-missions, in which drug-fuelled hallucinations see you gunning down aliens together with clowns. One suspects that Rockstar has included this to indicate that it could do ridiculous slapstick if it desired - but it prefers to deliver a stylised model of the real world. And then Grand Theft Auto V gives an open world over anything else on Xbox 360 console, to the point where it's astonishing that it's actually possible on Xbox 360.

And money. Lots of it. If the reported cost of £170m is to be taken at face value, GTA V is the most expensive video game at any time assembled. If practically nothing else, that lavishness seeps from each pore of Los Santos, Rockstar’s twisted imitation of Los Angeles and grand point for our crime caper. It can be a virtual world of such huge scale as well as fine detail that it continues to befuddle how the coders have been able to squeeze it all onto current generation hardware.

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The urban sprawl of the city alone is a tangle of roads and definable districts; Strawberry is a spot of limited public mobility, portrayed by boarded-up shops, tatty slat-board residences and gangland graffiti. Down-town is a cluster of high-reaching skyscrapers, the city’s homeless shuffling alongside office yuppies. Rockford Hills homes the city’s wealthiest, lavish mansions sitting down alongside costly hotels, tennis courts and playing golf clubs (both of them with playable sports, they’re great too). Vespucci Beach is a hive of swim-suited pin-ups and party boats. Vinewood is the neon-splashed sanctuary of movie-star wannabes.

The technical victory is the most obvious. It's not the great pounce forward that GTA IV was over the initial Xbox - it's even now recognisably the same technological innovation underpinning everything - yet it's a marked progress. The draw length stretches off to the horizon, the streets - particularly the freeways - are more busy with cars, as well as the cars them-selves are more thorough. The lighting flawlessly captures the slightly-too-bright daylight of LA, the ambient music captures the sounds of the city at night. World-building is undoubtedly Rockstar's strongest suit, and using this type of it's raised the bar as just stated.

And the scale of it really is remarkable. The opening missions play out in the sketchier aspects of downtown, which appears like a low-rise version of the earlier game's Liberty City, but go north and you head by way of maze-like motorway interchanges, open country dotted with ranches and rural areas with farms, redneck-infested desert together with machinery-filled quarries. It's all teeming with life, and loaded with things you can do.

The online game opens up gradually, taking several hours to grant the capacity to switch between all of the three heroes, and it's nonetheless adding side-quests long following that. This is we can see that: there's such an incredible volume of activities that even after 3 days of play you're overwhelmed by the alternatives on offer. The huge map is splattered with icons for starting with yoga to airline flight school to shooting ranges, most of which should be used at some point to buff each one character's abilities.

Order new property but it extends even further: pick up a desert airstrip you can run guns into Mexico; get a trucking small business and earn cash back dragging away double-parked cars. Strangers and Freaks missions move further, supplying a small set of side-missions for each character (for street hood Franklin it's standing in for a drug-addicted tow-truck driver, for deranged meth seller Trevor it's serving the delusional Do it yourself militia hunt down "illegal immigrants").

They aren't challenging, but they aren't vital either: at their worst, they're the form of delivery-driving busy-work that a lot of open-world activities use to pad the most important narrative. Here, they're the disturbances you pick as you want to pay out some time making profits and paying attention to the radio (the soundtrack is, while ever, exceptional, and better by the addition of a variety wheel for the stations which displays the present track every one is enjoying).