The Economist

Hello and welcome to the intelligence from The Economist.

I'm your host, Jason Palmer.

Every weekday we provide a fresh perspective on the events shaping your world.

Europe perspective on the events shaping your world.

Europe is phenomenally good at, you might say ruthless with its syntaxes.

Booze, tobacco, petrol, the sky's the limit.

The public health and public purse arguments for them are straightforward, but there is some inequality in their effects.

And the electric vehicle revolution has come for Bangladesh's rickshaws.

They might now be the world's biggest informal EV fleet.

Good news for driver's incomes and for riders' convenience, but everybody look out, these things are dangerously fast.

First up, though.

In 1997, a small team of software developers in the Scottish city of Dundee were about to release a title, which would change the way the non-gaming public would view video games.

Georgia Banjo is a Britain correspondent for The Economist.

It would go on to launch one of the best-selling series in games.

At the time, though, no one expected it would be a hit.

The game was a radical departure in tone for the studio.

DMA design at the time was best known for its lemming series,

which asked players to safely guide cute, green and blue blobs through a deadly obstacle course.

The new game would follow a small-time criminal, stealing cars, and terrorizing Harry Krishna's, all in a warped parody of America.

When the sixth installment of Grand Theft Daughter arrives next year, it will be less a video game released than a cultural moment.

The game has cost upwards of two billion to build, yet it's almost certain to turn a profit within its first week.

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