Unabashedly brutal “Grand Theft Auto V” hit the streets Tuesday in a sequel that promises to enthrall fans of the blockbuster video game franchise.
Rockstar Games spent five years crafting the title and the time has paid off for gamers, according to a slew of reviews giving it top marks.
“GTA V has been worth the five-year wait,” said computerandvideogames.com digital manager John Houlihan.
“You can really see the maturity in this version, the graphics look sensational — it really is like being in a virtual copy of LA.” GTA V is set in a fictional city of Los Santos based on real-world Los Angeles and its nearby hills and beaches.
The videogame franchise has won legions of fans and cadres of critics with game play in which triumph depends on acts such as carjacking, gambling and killing.
“GTA is essentially the ‘Sopranos’ of videogames,” Tech Savvy analyst Scott Steinberg said, making a reference to a hugely popular US cable television series centered on Mafia characters.
“Everyone talks about the series as violent, but compared to what you are seeing in the movies and on television GTA is relatively tame. Certainly, it is a mature game for mature audiences .” GTA V is billed by the New York City-based video game publisher as the “largest and most ambitious” title in a franchise that has sold more than 114 million copies since its debut in 1997.
“Grand Theft Auto V builds on everything we’ve learned about open world gaming,” said Rockstar founder Sam Houser.
Versions of “GTA V” for play on Xbox 360 or PlayStation 3 video game consoles or personal computers powered by Windows software launched worldwide Tuesday in respective time zones.
Midnight release events were planned at shops in an array of countries to let GTA lovers snap up the game the instant Tuesday arrives.
EB Games held a midnight launch party in Sydney’s World Square, featuring DJs and free burritos.
Torrential rain put a dampener on the night but didn’t stop GTA zealots.
“If a storm stops you from getting your hands on gta you ain’t a die-hard fan,” Ryan Nero said in a message fired off at Twitter.
“I just rode through a hardcore thunderstorm to get my copy.” GTA V was released in 320 stores across the country Australia.
“There has been a huge buzz about the game,” Rashaan Walker said as the clock ticked down on a midnight launch event at the San Francisco area Best Buy shop where he is a sales supervisor.
“We’ve had tons of people asking about it.” Walker, a 26-year-old GTA fan, had in mind to stick around after the end of his shift to pick up a copy of the game.
“It’s exciting,” Walker said. “In this one you can go online and bring together a clique of friends and go terrorizing and do whatever you want.” He was also keen to see how the overarching storyline of the series progresses. In a new approach used in GTA 5, gamers take on the roles of three different main characters whose paths eventually merge.
“This really is a blockbuster that almost dwarfs the movies in some way,” Houlihan said. “GTA V is really a cultural phenomenon.” Houlihan said it was rumored that the production budget for the game was in the vicinity of $270 million.
The franchise’s appeal is fueled by captivating story lines and an open-world format that lets players go wherever they wish in game worlds.
“You can rob banks or you can do a yoga lesson or you can fly a plane or you can play tennis or you can do what I sometimes do, which is just wander round the world in a really flashy car and listen to some of the hilarious radio stations — so there really is everything for you to explore, it’s a world of possibility,” Houlihan said.
The game will also let people play with or against one another online.
Rockstar, which is owned by Take-Two Interactive, said that GTA V “focuses on the pursuit of the almighty dollar” in a re-imagined Southern California.
Grand Theft Auto IV blew away video game and Hollywood records by raking in an unprecedented $500 million in the week after its release in 2008.
“GTA is the 10-ton gorilla of video game franchises,” Steinberg said. “Obviously, this is going to help kick-start the holiday season for the videogame industry, which has taken a beating.” While console video games have faced mounting pressure from free-to-play titles tailored for smartphones or tablets, there is “still room for blockbuster Hollywood-style games,” according to the analyst.
’Grand Theft Auto V’ hits streets in brash debut
’Grand Theft Auto V’ hits streets in brash debut
In the heart of Bahawalpur, a 152-year-old palace continues to reflect its royal past
- Built by the ruler of Bahawalpur’s princely state in 1875, Noor Mahal spans over 44,600 square feet, houses 32 rooms
- Legend says the palace was built for the nawab’s wife, who refused to live there after seeing a nearby graveyard
BAHAWALPUR: A young nawab once built a palace for his wife, so goes a local legend, only for her to abandon it after a single visit. As the tale is told, Nawab Sadiq Muhammad Khan IV had Noor Mahal constructed for his spouse, who, after spending one night there, glimpsed a nearby graveyard from the balcony and refused to return, considering it a bad omen.
The story may not hold up to historical scrutiny, but it continues to captivate the many tourists who flock to Noor Mahal, Bahawalpur’s most iconic monument. Towering over manicured gardens, the palace, built in 1875, is famed for its Indo-European architecture and striking symmetry.
Before joining Pakistan in 1956, Bahawalpur was a princely state, one of over 500 semi-autonomous territories in British India ruled by local monarchs. These rulers retained control over internal affairs while pledging allegiance to the British Crown.
The 152-year-old Noor Mahal was a crown jewel of Bahawalpur under its last great ruler, lending some credence to the theory that it may have been built as a gesture of affection for Noor Jahan, his wife. Some historians, however, offer a different reading.
“At the time, the Nawab family had multiple palaces, and Noor Mahal was primarily intended as a guest house for foreign dignitaries and experts,” Dr. Nadeem Omar Tarar, an art historian, told Arab News while challenging the popular story.
Nevertheless, another scholar, Dr. Usman Ali, maintained that the building might originally have been planned as a personal residence before its use shifted.
“The 1904 Gazetteer acknowledges that it was originally designed as a personal residence but later repurposed due to its proximity to the graveyard,” he said.
The story of Nawab Sadiq Muhammad Khan’s ascension to the throne is equally intriguing. When his father died at the age of 29 on March 25, 1866, Khan was just four years old. The young nawab was immediately declared his successor, but his position was challenged by rival factions seeking control of the state.
Fearing internal unrest, his family and loyalists turned to the British for support. In return for their intervention, the British assumed guardianship of the child ruler, securing complete political influence over Bahawalpur.
“The British government took the young Nawab under its guardianship, ensuring his personal education, health and training while also focusing on the development of every sector of the state,” Hafizur Rahman Hafiz wrote in his 1924 book, “Tajdaran-e-Riyasat Bahawalpur.”
To oversee both state affairs and the young Nawab’s upbringing, Major Charles Cherry Minchin was appointed political agent in November 1866 and served as the de facto authority until Nawab Sadiq IV formally assumed power at the age of 18.
Noor Mahal was constructed over an area of 44,600 square feet, featuring 32 rooms — 14 of them in the basement — along with six verandas and five domes.
Its design was selected from 11 architectural proposals solicited from across India, with the final plan submitted by a building designer named Muhammad Hussain, adopted with minor modifications.
The palace blends Corinthian and Islamic styles, with columns, balustrades and pediments sitting alongside domes and angled arches, a signature of Indo-Saracenic architecture.
A commemorative inscription and state coins were buried in its foundations during construction as a good omen, according to court historian Azizur Rahman Aziz in his book, “Subh-e-Sadiq.”
After Bahawalpur joined Pakistan in 1956, Noor Mahal came under the Auqaf Department. In 1971, the Pakistan Army leased the property and eventually bought it in 1997 for Rs119 million ($428,400).
Today, the palace is open to the public and remains a major tourist attraction. Each evening, visitors gather for a sound and light show narrating Bahawalpur’s history, from its state rulers to its accession to Pakistan.
“The immersive experience draws large crowds every weekend, running throughout the year,” said local tourism official Waqas Ahmed.
Turkiye detains 11 after protest boycott calls
- The leader of the main opposition CHP party called for the purchase boycott on Wednesday to put more pressure on the government
Istanbul: Turkish authorities on Thursday detained at least 11 people suspected of spreading calls for a blanket boycott of purchases to protest the jailing of Istanbul’s opposition mayor, the official Anadolu news agency reported.
Prosecutors have opened an investigation into the calls, accusing the suspects of inciting “hatred and discrimination,” Anadolu said, adding that authorities were seeking five additional suspects.
The leader of the main opposition CHP party called for the purchase boycott on Wednesday to put more pressure on the government after the March 19 arrest of Istanbul’s popular mayor Ekrem Imamoglu.
Imamoglu is the main rival to President Recip Tayyip Erdogan, and his detention set off a wave of mass protests not seen in Turkiye for more than a decade.
Nearly 2,000 people, including several hundred students and young people, have been arrested since the start of the protests.
Some cafes, restaurants and bars heeded the boycott call and remained closed Wednesday in Istanbul as well as in the capital Ankara, AFP journalists reported.
CHP leader Ozgur Ozel had already launched a call to boycott dozens of Turkish companies and groups reputed to be close to Erdogan’s government.
World Cricket Association lights a fuse with views on game’s governance
- In a comprehensive review last August, the WCA said it had ‘given up hope’ on a structure in which international cricket and domestic leagues could co-exist
Everyone associated with cricket knows the international calendar is overcrowded. Everyone also knows India is the game’s powerhouse and is shaping it to its will. Solutions and remedies to these situations are in short supply, especially given the interests vested in maintaining them.
Last August, in recognition of this, the World Cricketers’ Association initiated a comprehensive review of the game’s global structure. At the time, its chair said they had “given up hope” the game’s leaders could establish a clear, coherent structure in which international cricket and domestic leagues could co-exist. A six-person panel was established with a remit to produce recommendations to the WCA board after talking with players, administrators, team owners and broadcasters.
Between September 2024 and March 2025, 64 interviews were conducted. Of these, 19 were with players, split almost equally between men and women; 14 with current or past cricket administrators; 17 with individuals operating in the media or with commercial interests; and 14 representing player associations. What is striking is the low-level of input from both the International Cricket Council and India — one Indian journalist was interviewed, along with the CEO of an IPL team, an executive of JioStar and a legendary former Indian female cricketer.
Whilst disappointing, this failure to engage is hardly a surprise. Neither India nor Pakistan has recognized player associations. There is an Indian Cricket Association, formed in 2019, but its membership is restricted to former players and it is not affiliated to the WCA. This reticence to allow the formation of a genuine players’ union is underpinned by the Lodha Committee. In response to the 2013 IPL betting scandal, it was instructed by the Supreme Court to recommend reforms to the Board of Control for Cricket in India. Although it recommended the formation of the ICA, it specified it should not act as a union. This lack of player representation further strengthens the BCCI’s power.
The extent of this power is laid bare in the WCA report, “Protecting History, Embracing Change: A Unified, Coherent Global Future.” It focuses on four areas — scheduling, economics, regulation and leadership — and suggests solutions to address a “broken global structure”. It is likely that many outside India will accord with this but therein lies the problem. India is now the dominant actor.
Under the ICC’s current revenue distribution model, the cricket boards of Australia, England and India together receive almost 50 percent, with the BCCI receiving the lion’s share at 38.5 percent. Some 87 percent of bilateral cricket revenues are retained by the same three countries. Only 2 percent of cricket’s global revenue is distributed to countries ranked 13th-108th by the ICC. This is not new information but perhaps the report will help these facts reach more eyes. Its proposed solution will certainly resonate widely.
The report proposes a new model in which each of the top 24 countries receives a minimum of 2 percent and maximum of 10 percent of ICC revenue. It also suggests countries ranked 25th and below should collectively receive a minimum of 10 percent. With the best will in the world, it is difficult to envisage this being acceptable to the BCCI, whose share would reduce from 38.5 to 10 percent.
Unsurprisingly, this suggestion has been received critically by the Indian press. It points out that the report does not talk about the contributions of the BCCI to the ICC’s revenue pool. Estimates vary as to the exact extent, but it is at least 70 percent. The WCA report also fails to recognize the sale of media rights for the India market which is generating an unparalleled inflow of funds for the ICC. In turn, this has led to an influx of advertisers and sponsors.
A further observation by the WCA which is guaranteed to rile Indians is that “the IPL accounts for almost half the global cricket but shares only circa 0.3 percent of revenue with other countries and less than 10 percent with players.”
No doubt the Indian response is to point out that the IPL is an Indian tournament and revenues should be used to benefit the Indian game. This is the case with other franchise leagues. As for distribution to players, there will be few who doubt the IPL pays handsomely.
Although the WCA’s case for economic reform looks to be on thin ice, its take on the game’s governance and regulation is likely to receive a better hearing, at least outside the current body vested with that responsibility. One recommendation which straddles these two areas is: “All distributions from the ICC to National Governing Bodies to be publicly accounted for and independently audited against clear KPIs and enforcement mechanisms.” The fact this is considered at all is suggestive of currently imperfect control systems.
Famously, the previous ICC Chair said the governing body was not fit for purpose, a view shared by many. Upending and replacing the ICC is a task not for the faint hearted since it would directly take on Indian interests. The ICC is a members’ club answerable to no one and, as such, is unlikely to vote for its own abolition. A revolution is not in the air, yet. In recognition of this, the WCA boldly proposes an interim step of an “independently chaired Global Game Leadership Committee to make recommendations to the game and ICC Board,” comprised of “25 percent national boards, 25 percent DT20 leagues/franchises, 25 percent players and 25 percent independents.
It is obvious that the review undertaken by the WCA ought to be one conducted by the ICC. The fact it has not done so reflects its strategic inertia and constricted leadership faculties. An overcrowded calendar can be laid at its door. As a minimum, the WCA has suggested four three-week windows in the calendar that would be reserved for “core international cricket,” with commercial rights pooled.
Whilst a number of the WCA’s recommendations are unlikely to be either practical or acceptable, it has done a service by bringing together a raft of fragmented concerns which plague the game’s future direction. Every so often cricket is subject to transformational tremors. We may be on the brink of another.
‘We were serious’: Dominant Dubai Basketball cruise to 23-point victory over Serbia’s FMP Soccerbet
- Dubai cements their place in the top 3 of the ABA League standings following an 84-61 win at Coca-Cola Arena
DUBAI: With the playoff season fast approaching, Dubai Basketball continue to impress in their debut ABA League season with back-to-back wins, continuously establishing themselves as title contenders.
Their latest success came on Saturday night as the home side cruised past FMP Soccerbet with a resounding 84-61 victory, strengthening their position in the ABA League top three.
Dubai now have their their sights on silverware as they edge closer to the playoffs in May. Reigning champions Crvena Zvezda’s (Red Star) shock loss in Round 25 of the regular season has propelled Dubai Basketball to an unprecedented debut season standing with just five games left until playoffs.
An electrifying start set the tone for a dominant night when Ahmet Duverioglu opened the scoring with back-to-back two-pointers before Davis Bertans quickly followed up with consecutive three-pointers, giving Dubai a well-deserved early lead. Their relentless defensive pressure and physicality countered FMP’s attacking efforts, limiting the otherwise strong side that had won against Dubai on Serbian soil. By the end of the first quarter, Dubai had already established a commanding 10-point advantage.
Dubai Basketball coach Jurica Golemac commented on the big win: “I need to give the credit to the players. You know, these are not easy games to play. We were serious. We were very focused, disciplined.
“We got a great group of players with great character who are very experienced. They know that we need to do the job before the playoffs. We want to get the best position that we can get before the playoff. So, they’re all focusing, locked in.”
FMP attempted to respond at the start of the second quarter, with Filip Barna leading the Serbian side’s lineup, scoring 17 points. However, Dubai’s intensity never wavered. By halftime, the lead had stretched to nearly 20 points thanks to Dubai’s unshakeable guard Nate Mason’s impressive 18-point contribution.
With three minutes remaining, Dubai retained a comfortable 20-point lead, essentially sealing the win. However, the night’s most electrifying moment came when Filipino star player Thirdy Ravena stunned with a three-point jump shot with just two minutes left on the clock, sparking an eruption from the 2,800-strong crowd at Coca-Cola Arena.
Dubai Basketball now turn their attention to next weekend as they push to stay at the top of the ABA League standings, with a league title within reach. The team takes on Croatian team Zadar on April 6 at Coca-Cola Arena for what is sure to be another unmissable home game.
Art Week Riyadh: A ‘constellation of events’ that ‘pushes the boundaries’
- Curatorial team discuss the aims and intentions behind inaugural edition of AWR
RIYADH: The inaugural Art Week Riyadh begins April 6 in the Kingdom’s capital. A non-commercial initiative, AWR builds on the city’s already thriving art community while inviting international artists and art lovers to join in.
Princess Adwaa bint Yazeed bin Abdullah, head of Art Week Riyadh, explained the event’s inspirations and goals in a statement, writing: “Art Week Riyadh is born from a belief in the power of art to inspire, challenge, and connect us. Riyadh has long been a city of growth, and through this platform we hope to contribute to its cultural future — one that is open, dynamic and deeply rooted in both heritage and innovation.”
Curator Vittoria Mataresse heads a team including associate curators Basma Harasani and Victoria Gandit-Lelandais and public program curator Shumon Basar who have worked tirelessly across multiple time zones over several months to bring the event to life.
“It was very important for us to be playful and not have the kind of rigid structure or format we’re used to seeing. Art Week Riyadh sits in between an exhibition and an art fair. It’s really a constellation of events,” Matarrese tells Arab News. “Unlike major art events that often impose universal themes and rely on globally established artists, we wanted to work within the frame of a regional art ecosystem, embracing the textures, the urgencies, the sensibilities of the Arabian Peninsula. We are trying to retrace something which is very specific and, in this way, we propose a critical departure (from the normal) format.”
The theme of AWR’s inaugural edition is “At the Edge” and the event brings together more than 45 galleries from the Kingdom, the wider Arab world, and beyond. There are three main sub-themes: “Everyday Life,” “Landscapes,” and “Motifs.”
JAX District in Diriyah will host three major exhibitions offering an expansive insight into Saudi Arabia’s cultural identity. A number of established Saudi artists whose studios are based in JAX will also be opening their doors to the public. Meanwhile, in central Riyadh, more than 15 galleries housed in the Al-Mousa Center will present exhibitions, and a wider program across the city will feature several talks and collaborations.
Gandit-Lelandais, who has worked in the region for more than two decades focusing on contemporary Arab art, tells Arab News: “Art Week Riyadh really is different, because the market and the ecosystem is different. I think it’s about making people stop implementing the European and American formats into different places because they don’t have to fit — the format can be adapted.”
The team have designed the event as “an umbrella for everyone to gather under,” Gandit-Lelandais says. “It is inclusive and it’s meant to be niche — it is for the public, and for the art enthusiasts and for the collectors.
“With Riyadh growing so fast, the kind of dialogues that we have built are so important to bring people here, but not with a Western look at how art should be,” she adds.
Harasani, the lone Saudi in the curatorial team, tells Arab News: “I’m really excited to link our local artists and our local scene (with the world). I think an educational foundation is super-exciting and super-necessary at this time for artists, art practitioners, young collectors and everyone that comes under that umbrella. We wanted to allow these generations of artists from Saudi Arabia to narrate themselves, beyond the usual framework.”
While none of the curators live in Riyadh, they all offer a nuanced and sensitive take on the capital.
“I’ve been working in Riyadh so much that it does feel like a second home,” Harasani says. “Riyadh is culturally different from Jeddah, where I’m from, and it was interesting to delve into the art scene. I thought it would be similar to the Hajazi scene, but it’s completely different. It was a massive learning experience for me to see that — given that we’re all from Saudi — there are so many different ways of working, ways of producing, ways of communicating.”
Riyadh’s rapid expansion, both physically and culturally, over the past decade contributes to the richness and diversity on show at AWR, the curators say.
“That’s the beauty of the Middle East, 10 years here is 100 years elsewhere,” Matarrese says. “I think what’s really smart about what Saudi is doing right now is they’ve learned from other people’s mistakes and they’re looking at how to navigate this in a better way.
“There’s one thing that is important in the DNA of what we are doing,” she continues. “Our visitors are not going to know what to expect. We really pushed the boundaries of what this could be showing; we are trying to deconstruct the conventional display models, to experiment with something else and re-articulate the dialogue between the different parts of the art world.”
For Harasani, the event is another marker of the artistic progress that has been made in the Kingdom in recent years.
“This did not exist when I was growing up,” she says. “The fact that we can see our dreams come to fruition now — and (see) bigger projects like Art Week Riyadh — I feel very lucky and privileged to be a part of that.”
