One of the fun things about the original 3D series of Grand Theft Auto games was how they slowly built out a world of interconnected characters, places, and events. Lazlow was a constant radio presence, with a wild up-and-down career journey over III, Vice City, and San Andreas. Characters we became familiar with in III, like silent protagonist Claude, eventual antagonist Catalina, or mob wife Maria, appear in San Andreas in roles that both act in service to a distant prologue to III and clearly indicate that everyone is the hero of their own story (after all, many would be quite familiar with the player avatar for the earlier game, yet they found him in San Andreas in a peripheral and relatively unimportant role, reframing him from conquering warrior to easily dominated sidekick at the side of Catalina). Other characters slip in and out of the games, creating the impression that they have lives of their own–characters like Kent Paul, Phil Cassidy, and Donald Love.
The HD continuity offered a hard reboot with Grand Theft Auto IV. The interconnected story lines and character arcs were brushed away. The game still felt distinctively set in a Grand Theft Auto universe, with its trio of major cities referenced (Liberty City, Vice City, and Los Santos). And of course, the wide variety of companies and products created to fill out earlier games were often reintroduced into the new game universe–especially the cars. GTA IV added so much, and reimagined Liberty City so completely, that it made sense to do away with some of the specifics, outside of the occasional Easter egg reference and the ever-present Lazlow.
With Grand Theft Auto V, Rockstar could start folding in the new continuity established in IV throughout the new game. Most interestingly, in a trend started with the two story expansions to IV, the resolution to dangling tertiary antagonists was left for this title. For instance, annoying Mafia toady Rocco was spared at the end of The Ballad of Gay Tony because he was a “made man” whose death would only further complicate the efforts of Tony and Luis to end the cycle of debt and revenge that was trapping them, but in V, he’s fairly quickly dispatched after a couple run-ins with Michael toward the middle of the game. Similarly, Karen, the true identity of Niko’s double-crossing girlfriend, reappears in V along with her unnamed handler as agents of the IAA; while she lives to fight another day, her handler is shot and killed in a massive firefight late in the game. (Or is he? Apparently he returns alive in GTA Online content set after the events of the game–though that whole timeline seems a bit of a mess at this point.)
Other GTA characters at least get referenced. Lester refers to an Eastern European guy who was making moves in Liberty City before going quiet, an obvious reference to Niko (and while it could mean he’s dead, I choose to read it as meaning that Niko finally got the quiet life out of crime that he could barely hope for). Packie, a close former associate of Niko’s, can be recruited to be a quite successful heist crew member. Brucie, friend to Niko, shows up in media marketing Bull Shark Testosterone, playing up a recurrent joke from the predecessor title.
There are even nods to 3D characters. The El Burro Heights district in Los Santos alludes to the character El Burro from GTA III. Other characters apparently have stars on the Vinewood Walk of Fame or other small call-outs (continuing similar small references from IV). Radio DJ Fernando Martinez joins Lazlow as a personality holdover from the previous era. A favorite small reference of mine is the mission achievement entitled “Better than CJ” in the mission “Derailed,” which you complete by landing Trevor’s dirt bike on the train he’s pursuing on the first attempt, and which is specifically referring to the “Wrong Side of the Tracks” mission in San Andreas in which C.J. chases a train on a dirt bike outside of Los Santos.
There are exactly two appearances I don’t like in the game: Johnny and Ashley. Johnny Klebitz was the Vice President of the Alderney chapter of The Lost outlaw biker gang in The Lost and Damned. Ashley is his ex-girlfriend, hopelessly addicted to meth. The game is set in motion by the release of the gang’s president, Billy, from a rehab program. Billy’s mania and drug use derail the progress Johnny has made in making the gang stable and profitable. Billy launches the gang into a couple of all-out gang wars before he is arrested by police again. Billy blames Johnny (ironically, it turns out, as The Ballad of Gay Tony makes clear that Billy had actually set Johnny up for a fall just before he’s taken out of the picture). Billy’s loyal and stupid sidekick leads a civil war, and while Johnny takes on the mantle of president and ultimately wins the infighting, most of the gang is killed. By the end of the game, Johnny is somewhat despondent, having seen most of his brothers killed, including his best friend, but he’s cleared the board of those after him, he’s established firm leadership with his surviving crew, he’s taken down the treacherous Billy in a daring prison raid, and he’s cut Ashley out of his life, apparently for good.
In GTA V, we run back into Johnny and Ashley as soon as the player regains control of Trevor for the first time since the prologue mission. In fact, the perspective switches back to Trevor in the middle of fucking a strung-out Ashley over his trailer’s kitchen counter. His hedonistic moment is interrupted when a news report on the TV in the background reveals to him that his old buddy Michael must still be alive after all. Trevor is immediately enraged and sets into motion an insane plan to quickly wipe out all competing gangs in his area so he can turn his attention to tracking down Michael.
On his way to do the deeds, Trevor is confronted by a heartbroken Johnny, who pleads with him to stop his affair with Ashley. Whereas Johnny was a hardened, confident man, a leader who rejected the influence of drugs in his life, and never a pushover, Johnny is now portrayed as weak and craven, quickly talked down by the domineering, alpha presence of Trevor. Johnny also appears to have given into a meth habit in taking back up with Ashley. We don’t ever get any explanation as to how he could have descended so quickly in the span of five years, how he gave up on his principles and ended up with Ashley yet again, living a wretched half-life fueled by Trevor’s drugs–let alone how he ended up in San Andreas all the way across the country at all, with a rebuilt chapter of The Lost MC following him. There’s no time to explain. Trevor launches a surprise assault and bashes Johnny’s brain into the pavement. Then he goes on a rampage against the remaining bikers, killing off Johnny’s two remaining close biker friends from TLAD, and mocking them, as well as their leader and his death, in the process. Ashley can be killed in the aftermath of Johnny’s death, or left grieving. Either way, a news report can later be heard documenting her death.
I recognized Johnny in my first playthrough of GTA V, but while his death seemed cruel and unnecessary, it didn’t strike a chord with me. Now that I’ve played V after completing TLAD‘s story, however, the death isn’t just cruel but incredibly arbitrary for a former protagonist, and Johnny’s depiction seems incredibly out of character. It’s hard to understand what Rockstar was doing here. Sure, it made Trevor seem like an unpredictable agent of chaos, able to practically interfere with the fourth wall. Even someone who you’d think would have protagonist armor is given a swift death (a bit peculiar, when you think of how you can endlessly have him killed and wake up in a hospital when playing TLAD, just like any other GTA protagonist). And it is certainly shocking for anyone who recognizes Johnny. But it seems so very senseless. (And underneath the scandalizing senseless killing in GTA’s open world and media image, the stories are typically big dramatic affairs that follow tenets of traditional storytelling.)
I guess the lesson I can take from this moment is that Rockstar is quite happy to mock and disparage anyone and everyone–even the fans of its games.