The Launch Gallery: Vice City looks best at dusk
Rockstar's new Launch Gallery is full of faces, neon and weather, and I kept stopping on the quiet pictures.

Vice City, at the hour it looks best
Rockstar published 39 new screenshots on Newswire and the official site, calling the set the Launch Gallery, with the game now two weeks away. I opened it for a quick look and got stuck on one of the first pictures: the skyline across the bay on a clear day, yachts in the marina, a plane overhead.
I stayed longest on the dusk shots. Police cars on a bridge while a helicopter searchlight sweeps the water, a gas station canopy glowing over a Ricardo Tires sign, the city lights waiting behind it. That is the Vice City I always carried in my head: neon first, everything else second. The resort pool seen straight from above, with palm trees and a few gulls, is the quiet one I like best.






Neon, flying bills and a dive bar I'd walk into
The night pictures are where the city fills up with people. A packed club under green light and hanging plants, a DJ on stage, hands in the air. A backstage dressing room with bulb mirrors. A pole dancer under the neon Delights sign in Port Gellhorn. It looks loud, a little sleazy and very much alive, which is how I want Vice City.
My favourite is the least flashy one: The Rusty Anchor, with an older trio toasting at a table while people dance behind them. Nobody is posing for us there. Then there are the faces: tattooed guys in a concrete garage, a pit bull with a spiked collar, a man in a bucket hat covering his mouth while a street burns behind him. The picture doesn't say what he is looking at. I just want to meet these people.










Jason and Lucia, always within reach of each other
Several pictures show the two of them together. Close together on a packed club dance floor, lit violet by laser beams. Masked with bandanas and armed in a store while everyone raises their hands. In a convertible at night. Lucia firing a rifle from the car while Jason drives, with police cars, an armored truck and a motorbike behind them.
The one I keep going back to is the calm one: the two of them on a truck under a big tree on a hill at sunset, deer nearby, the city hazy in the distance. After all that noise it feels like a breath. What passes between them, the picture leaves open, and I'd like to find out for myself.





Jason, sweating, bleeding, still driving
Jason gets the widest range here:
- crouched on a sports bike with a police car on his tail
- shirtless and sweating under a loaded barbell
- firing a machine gun in a shower of sparks
- bloodied at a gas pump at night next to a shot-up red car
It is a lot of Jason in a row, and the gym picture is the one that makes him feel like a person rather than a poster.
The shot of three helmeted riders on dirt bikes inside a mall, shoppers running, made me grin. It is the kind of mess I remember loving in the old games.









Lucia looks straight back at us
To my eye, Lucia has the best-lit pictures in the whole gallery. A pistol held behind a rain-streaked window in blue and violet light, silhouettes outside. Braided hair behind the wheel of a blue car. And the close-up where she aims right at the camera with the city blurred behind her.
She turns her back on a police officer in the last one, flashing lights all around, a pistol held to her chest. Four pictures, and she is the one I would follow out of the frame.




Then the city lets go and the swamp takes over
Leonida is more than Vice City, and the last pictures say so: a diver in a reef in the Leonida Keys with a lionfish in front of the lens, a man with a snake around his shoulders at a Grassrivers campfire, an alligator on the table beside him. An alligator with a glowing red eye in a misty swamp, armed figures on an airboat under a crescent moon.
Screenshots say nothing about how any of this plays. What they do show is how far the reef, the campfire and the misty swamp sit from the neon, and I like that distance.







