Thanks to a dedicated community, the PC version of Grand Theft Auto IV has been continually polished and upgraded since its release all those years ago. To the point where, now, it looks like something from the future.

The iCEnhancer series of mods, which we've featured before, are being updated to 2.5 (this is an alpha preview), and the results are amazing.

This looks as good as a quality first-person shooter. The fact that this kind of fidelity can be applied to an open world game the size of Liberty City is just mind-boggling.

iCEnhancer 2.5 Alpha - First preview [YouTube]

Lazlow Jones co-wrote the radio scripts for all the Grand Theft Auto games (save Chinatown Wars, of course) going back to III, and appears as a radio personality in all of the games. He also, evidently, has all of the master copies of the recordings. In his home. Which is on Long Island. Or, well, a barrier island off Long Island.

Ordinarily this isn't much of a problem. but it was as Hurricane Sandy came barreling in late October, and Long Island was whomped particularly bad by the stormacane, or whatever it was at that stage. In a visit to the Opie & Anthony Show last week, where Lazlow's a regular guest, he related what his priorities were as the storm came barreling in.

1. Get the GTA III master recording.
2. Get the GTA: Vice City master recording.
3. Get the GTA: San Andreas master recording.
4. You get the idea.

"My studio is on the ground floor," he said on the show. "That's where GTA 3, Vice City, San Andreas, all those masters like the full recordings with Axl Rose and everything. I mean, all this stuff," he said. "I started freaking out and grabbing, just boxes of masters and putting it up on the second floor. Cause I was like 'I'm not going to let this stuff get ruined.'"

Asked if he was storing the recordings elsewhere, Lazlow said he'd learned he shouldn't "keep a lot of amazing masters from some epic video games on the ground floor near a sand bar."

If you're curious if he said anything about Grand Theft Auto V, he did, but only to say the game was due in the coming spring.

GTA master audio tapes almost lost during Superstorm Sandy [Original Gamer]

2012 has been a fine year for video game music. The finest in recent memory, I'd argue. We've seen soundtracks of every shape, size and tonal color, compositional collections complementing games that have incorporated harmony and discord in ingenious, exciting ways.

Granted, my affinity for this year's music is at least in part because it was the year I started running Kotaku Melodic, and so my awareness of all things musical and video gamey has been at an all-time high.

But as the list below demonstrates, this year was something special any way you look at it. It was a year in which game design and music composition moved ever closer, where composers and instrumentalists played vital roles in development teams, and where game-makers demonstrated a greater than ever understanding of the many things video games and music have in common.

Here, in no particular order, are our picks for the best video game music of 2012.

I was expecting to like Gravity Rush, but I wasn't expecting its soundtrack to cast quite the spell it did. Sweeping and old-fashioned, Kohei Tanaka's score conjured old Hollywood in a way that few games even attempt. It mixed Django-esque gypsy jazz with rambunctious orchestral arrangements to build a tone all its own. I chose this tune, "Gravity Days," because it so well captures the soundtrack's charm. Though it was hard not to pick, "Pleasure Quarter," which marked the moment when I truly fell for Gravity Rush. The color palate switches; neons dot the night sky, the violin kicks in, and Kat takes flight.

Even among this heady list, the Hotline Miami soundtrack stands apart. Assembled by a collection of artists, it channeled the 80s-tinged, neon-drenched funk of the game perfectly, and is entirely listenable on its own merits. This track, "Miami" by Jasper Byrne (whose soundtrack to his game Lone Survivor is also outstanding), perhaps best captures the energy of the game. But other tracks from M.O.O.N., Perturbator, Sun Araw all elevate Hotline Miami to a level of deep, almost filthy glamor.

It's not an easy thing to make a turn-based game seem fraught and action-packed, but XCOM: Enemy Unknown managed it with energy to spare. Part of that is due to the game's brilliantly tense mission design, but some credit belongs to Michael McCann's brilliant score. McCann lent XCOM the same futuristic flair for the dramatic that he brought to last year's Deus Ex: Human Revolution, and his combat music gets me pumped like no other. Mix that with the eerie, keening sounds of a quiet ("too quiet") battlefield, and you've got one of the best strategy soundtracks in recent memory.

Few game soundtracks have ever charmed me like Botanicula's. When I first played the game, I described the it as weapons-grade joyfulness, and it hasn't lost an ounce of charm. And the soundtrack is a huge part of the game. Crafted by the Czech duo DVA (who make a surprise appearance in the game), the soundtrack relies on a combination of strange homemade instruments and human voices. DVA also created all of the sound effects in Botanicula, and the resulting soundscape blends sound design and music into a ramshackle jamboree of hums, whispers, grunts, bangs, clangs, and whistles.

I came to FTL a bit late. Though I'd been assured of its quality, I hadn't found time to play it until a few weeks ago. And Ben Prunty's cool, beautiful soundtrack grabbed me with a qucikness. The most remarkable thing about this track, "Civil," is how immediately iconic it becomes. Specifically, the chord progression at 1:38. The moment I first heard it, I thought "That right there is the core of this entire game." And so it is. The more I've played FTL, the more I've come to appreciate Prunty's range, but it always comes back to that moment in "Civil." His work invokes the best soundtracks of the past while conjuring something new, and it fits marvelously with the thoughtful, methodical pace of FTL.

I can only hope that Max Payne 3's soundtrack is the start of a trend. Rather than hiring a traditional film or game composer, Rockstar tapped the noise-rock band HEALTH to create the soundtrack for Max's return to glory. It would appear that after hiring the band, Rockstar got out of the way completely and let them do their thing. The result is one of the most uncompromising, exhilarating action game soundtracks I've ever heard. It's drenched in sweat, and at times feels like the music of Death Itself. It flattens the competition, a collection of compositions so distinctive that it enhances every moment of the game it accompanies.

Jason Schreier: I had some issues with Xenoblade Chronicles, the Monolith-developed RPG that came out back in April for Wii—yes, Wii!—but its soundtrack, composed by Yasunori Mitsuda, Yoko Shimomura, Manami Kiyota, and ACE+, is undeniably stellar. From peppy jazz beats to gentle guitar strums, Xenoblade's music is eclectic, sweeping, and catchy as all hell.

The Mass Effect 3 soundtrack needed to achieve the impossible: Tie together one of the most heralded video game trilogies of the current generation (with one of the best series-wide soundtracks) and give us closure. And, somehow, composers Clint Mansell, Christopher Lennertz, Sam Hulick, Sascha Dikiciyan and Cris Velasco did just that.

It's fitting that a large number of musicians was required to tie Mass Effect room together: The series has seen a number of composers over its five-year run, voices that always managed to combine into a cohesive whole. Best of all, the Mass Effect 3 sound designers even managed to contribute, weaving the music from past games into the ambient sound of several scenes, knitting together a aural tapestry that transcended backing tracks. This piece, "An End Once and For All," was the only one I could choose as emblematic of the Mass Effect 3 soundtrack. It's the rare piece of video game music that sounds exactly as grandiose as its title claims, and it achieves that not with the synths for which the series became known, but with a solo piano, eventually augmented by an orchestra. We'll miss you, Commander.

Sound Shapes is an odd duck for this list, since it doesn't have a "proper" soundtrack per se; the game is its own soundtrack. But the game's levels, which essentially re-imagine sequencer nomenclature as level design, are laid out in a way that lines up with today's remix/mashup culture and allows players just enough control to put their own spin on things without undermining the compositional intent of the musicians. This track, "Cities" by Beck, is the most well-known from the game, but all of them—crafted by musicians like Jim Guthrie and Deadmau5, stand on their own. It's a soundtrack you have to play, and for that alone, it's worthy of mention. The fact that the music is great on its own merits only sweetens the deal.

Dyad is another game inextricably linked with its soundtrack. Part chaotic racer, part simulated drug trip (or, accompaniment to actual drug trip), David Kanaga's score dips and dives, accelerates and drops out, all in line with the motion on screen. By the end of the game, play and music have blended together into a kaleidoscopic, occasionally nightmarish, entirely unforgettable experience.

I found Polytron's Fez to be a pleasant surprise—the game had been hyped for so long that I wasn't sure what to expect. But when I finally played it, I found that the colorful, dreamily nostalgic game was both smaller and more specific than I'd been expecting. Rich "Disasterpeace" Vreeland's soundtrack was a big part of that, a lush and consonant blend of synths and plinky electronic drums that conjured wide spaces, bright skies, and was surprisingly naturalistic for a synthesized soundtrack. And that the audio tracks are laced with hidden symbols and secrets of their own is a bonus of the best sort.

Okay, yes, Persona 4 is really a game from 2008, and doesn't quite fall under the purview of this list. But 2012's PSVita "remix" Persona 4 Golden features several new tunes from series composer Shōji Meguro, and it's all so damned good that I felt like I couldn't leave it off. Persona 4's mix of complex jazz, triumphant pop, and weirdo ambient music feels more hip and present than most any game soundtrack. By the end of my first time through the game, I was entirely in love with the whole thing. Honestly, these songs are Inaba to me. This track, "Make History," is the new battle music for Golden, and alternates with the original theme to keep things fresh. I have fought hundreds of battles in P4, and this music feels as fresh now as it did the first time I heard it.

What more can be said about Austin Wintory's Journey score? I know I said up top that these are in no particular order. But. Wintory's achingly beautiful work sets a new standard for the emotional heights video game soundtracks can achieve. Journey wound up being a profound experience for me more times than once. Wintory's music is a large part of why.

Journey's score has been widely celebrated, and is the first game soundtrack nominated for a Grammy award. Every accolade it gets is deserved, not simply because the music is good (it is), but because it's uniquely informed by ThatGameCompany's design, and as a result stands as Journey's beating heart. Noble cello themes and resonant alto flute melodies evoke the seemingly endless loneliness of the desert; our slack-jawed wonder at the sheer scope of this endless basin of life. Soundtracks like this come along once in a great while; we may not hear its equal any time soon. But that's okay. These compositions aren't going anywhere, and thanks to them, Journey will remain a classic for many years to come.

So there you have them: Kotaku's picks for the best video game music of 2012. Of course, we may have left off your favorite, so I hope you'll all share your favorite tunes from the year in the comments. (I thought we had a great collection in our reader's choice post last week.)

For now, let's just take a moment to plug in some headphones and reflect on a fantastic year in music.

About a month ago I decided to finally play Max Payne 3, incidentally our "Best Drinking in a Dirty T-Shirt" GOTY. The game prompted me to make a social account with Rockstar, so I did.

This came up when I was picking an avatar for the account—I knew Red Dead was a franchise, but damn! That sure is looking into the future.

A seedy underground of Russian criminals has gotten so brazen it's taken to posting advertisements offering the services of its expert "bank robbers".

These crims, who mostly employ "cyberheists and tax fraud" to lift money from US banks, even go into detail about the kind of things they can offer prospective employers, as listed on the site of security expert Brian Krebs:

We provide convenient service to our partners:

Unique administrative interface – fast response
We will react momentarily to any new task
Adapt every action of a money mule to client's requirements
Timely payments via WebMoney/Liberty Reserve/Western Union, cash conversion with WU/MG
Cashout of tax return, D + P (dump & PIN, cashout of debit cards stolen via skimming)
Receive over mail or expensive merchandise pick up in a store
Mules are available for other interesting transactions
We work only by reference.

Amazing. Perhaps unsurprisingly, given the background and field these guys are "working" in (and I guess the fact Eastern European crooks gotta stick together?), what do they use as the enormous illustration on the ad? Some Grand Theft Auto IV fan art, of course, by none other than internet-famous Rockstar fan artist Patrick Brown.

Online Service Offers Bank Robbers for Hire [Krebs on Security, via Boing Boing]

We saw the first Grand Theft Auto V trailer recreated in the original San Andreas (GTA: San Andreas, to be exact). Then someone set it in Grand Theft Auto IV. So, with the second trailer's release earlier this week, it's natural we get that one rebuilt inside IV as well. This is by YouTube user underage117.

If you want to compare it to the original, it's embedded below. Or watch them side-by-side here (might want to mute the volume on one.) My suspicion is that this won't stop until Grand Theft Auto V is recreated in Grand Theft Auto IV, which will be a hell of a trick considering its map is, at most, about 1/7th the size of what GTA V's is said to be.

GTA V Trailer #2 remade in GTA IV uploaded by underage117 [h/t Adriaan V.]

Who would go through such a painstaking process to recreate the poses and action of some of Grand Theft Auto V's screenshots, courtesy of Game Informer? RomanBOY123 would, apparently.

He put GTA IV on max settings on his PC (1920x1080 resolution, with HD tree mods) and came up with some amazingly accurate screenshots to match those of GTA V's. Check out one of them above by using the slider the reveal more of each. GTA IV is on the left, while GTA V is on the right.

Be sure to hit the GTA forums to see the rest of them, because they're truly well done.

GTA IV vs GTA V graphics comparision [GTA Forums via Reddit]

This is like some kind of stunt porn from The Fast and the Furious, but it's still impressive to watch a guy get past a cop car and a SWAT roadblock, on a bridge entrance, without a scratch.

I might get the alignment checked after a drive like this, but damn. Fine work. Somewhere an action-movie screenwriter is writing a note to himself.

YouTube video uploaded by ddnewman

The Smoothest Police Evasion in GTA History [Dorkly]

There's this small problem I'm having with Assassin's Creed III. It's nothing to do with the game itself, actually, and everything to do with me. The problem is this:

Assassin's Creed III is turning me into a kind of obnoxious person.

I've developed this running commentary while the game goes on. It has nothing to do with the game's themes, or characters. It's unrelated to the gameplay and more or less completely unconnected to anything meaningful inside the game. It sounds like this:

"I used to work about a block away from there."
"They haven't changed out those cobblestones since 1773 and they're murder on nice shoes."
"That hill is the Back Bay now."
"That river is the Back Bay now. They put the hill in it."
"Lexington Common looks different when it's full of cows."
"A beacon? On Beacon Hill? I didn't see that one coming."

I grew up in and around Boston, making my home well inside of Route 128 from birth until striking out down the coast for New York City shortly before turning 25. While previous Assassin's Creed games have claimed high fidelity in recreating Damascus, Rome, and Istanbul, the basic fact of the matter is that those cities aren't my home. Boston is.

AC3 certainly doesn't represent the Boston or New England of the 21st century, of course. But the late 18th century setting of the game, a scant 230-odd years in the past, retains much more immediacy than the Italian Renaissance or the Crusades. The creatively imagined Boston-that-was is close enough to my Boston-that-is to give me a sense of familiarity both comprehensible and misplaced.

Games occupy this strange place in memory, where we so clearly go places and explore worlds that never actually existed. Experiences like To the Moon explicitly address this dissonance, but it's true of every game. I can remember how to get around a space station as well as I can remember how to get around my local mall, but my body's only been to one of the two. The mall is real; the Citadel is not.

When game spaces represent real-world spaces, the strange sense of memory gets ever-stranger. I moved to Washington, DC the year that Fallout 3 came out. Controversial advertising sprang up through the city's Metro system depicting a post-apocalyptic Capital, but it wasn't until after the game came out that I felt the full weight of investigating my own ruined city.

The general size and scale of the virtual DC is of course a mismatch to the real one—spaces in games were ever thus—but the details are devilishly familiar. In particular, the ruined Metro that provides the Lone Wanderer a route for getting around a city full of toppled buildings, nuclear waste, and super mutants is uncannily, frighteningly similar to the Metro that federal commuters use every day.

At first, while playing Fallout 3, I'd wander through the game comparing its locations to ones I knew from daily life. But after fifty or so hours of Fallout, a funny thing happened. Instead of comparing game-play time to real-world experience, I began to relate the other way around. While waiting to change trains at Metro Center in the mornings, I'd see a bench in the shadows and think, "That's good cover for avoiding the super mutants," or I'd see a door and think, "Didn't I pick that lock yesterday?"

Two Kotaku colleagues not based in New York reflected that the Grand Theft Auto games had inspired similar deja vu in them. They had played the games first, and then visited the city. On visiting, they handily identified and remembered places they hadn't actually been. As someone who lived a block away from Brooklyn's Grand Army Plaza the first time she came to the neighborhood around Outlook Park in-game, I could sympathize. On that memorable occasion, I'd blurted aloud, "I can see my house from here!"

I can, of course, visit the real Boston—or New York, or Washington DC—at more or less any time, weather and cost permitting. I don't need to see them in a game in order to explore them to their fullest—and even when I do use a game, it's not the kind I can put in the PS3. Exploring a real space, and digitally navigating an imagined space, are never the same thing.

Sometimes, though... sometimes, when game spaces represent real spaces, the uncanny and the real cross over in a very strange way. Through the games I've played, I remember the cities of my heart as places I've never actually known them to be. The tall ships of Connor's era are long since replaced with ugly motorboats, but the next time I stand on Long Wharf, part of me will remember seeing Haytham sail in on the Providence even so.

It's true that the PC version of Grand Theft Auto IV has given birth to some truly inspired mods. But not many of them totally re-paint Liberty City in as spectacular fashion as this one does.

Modder Quechus13 re-skins GTA IV's open world with the iconic, neon stripes of the Tron movies and throws in loads of ramps for leaping up into the darkened skies. Sure is pretty, but I wish that Niko was done up in glowing cyberwarrior gear, too.

TRON Stunt City Map Mod