Electronic games, with their technological roots in the military-industrial complex, are commonly associated with childish play and lowbrow entertainment for the antisocial—all of which damages their credibility as objects of serious cultural consideration. When critics of violent electronic games view Grand Theft Auto, they see a lurid delivery device for the militaristic culture of violence—one that targets the impressionable minds of children. 1 And in terms of the gore factor, extreme vulgarity, and the sheer gall of game designers, there probably isn’t anything detractors could say about the game that wouldn’t be true. Grand Theft Auto is a bloody mess, and developers have clearly drawn on Hollywood genres of classic slasher films, mob sagas, car chases, and a rich legacy of action adventures. Presented are a series of American cliches, packaged, marketed, and sold back to us. The game seems equal parts social commentary and logical cultural outcome of combining America’s ruthless capitalistic impulse with a valorized national legacy of barbarism and hegemony. Still, what is more interesting than the moral panic around the depiction of violence is how GTA, through a simulated “realistic” sense of space and time, conveys an