Paul J. McKee is the kind of video game developer whose work is far more familiar than his name.
Across a career that can be traced for more than three decades, McKee worked on everything from Nintendo Entertainment System graphics and unreleased Commodore 64 games to handheld conversions, Grand Theft Auto, and the enormous world of Red Dead Redemption 2. His credits followed the transformation of British game development itself, beginning in an era when a handful of people could create the artwork for an entire console game and eventually reaching productions involving hundreds or thousands of developers spread across multiple studios.
McKee was primarily an artist. Early credits simply call his contribution “Graphics.” Later games placed him in art and design, city art, and general artist roles. By the time Rockstar Games credited Red Dead Redemption 2 and Red Dead Online, his title had become Associate Lead Artist: Environment at Rockstar Leeds.
Yet McKee presents a problem for anyone trying to write a traditional game developer biography. There is no dependable published record establishing his birth date, education, or exactly how he entered the industry. There does not appear to be a substantial interview in which he has told his own story from beginning to end.
What does survive is something different, and in some ways more valuable for understanding his work: game credits, original manuals, old development material, source code, graphical assets, recovered unfinished games, and the recollections of people who worked beside him.
Taken together, those fragments tell the story of an artist whose career stretched from the final years of British 8-bit development into some of the largest open-world games ever produced.
An Artist in the Credits
McKee’s documented career reaches back to the early 1990s, when British developers were still creating games across a bewildering collection of computers and consoles.
One of the earliest surviving credits places Paul McKee on the Nintendo Entertainment System version of The Addams Family. GameFAQs credits Darren Melbourne as director of the NES version and lists Paul McKee alongside Chris Edwards, Ivan Horn, and Simon Butler among its graphics artists.
The names surrounding McKee are important because they repeatedly appear again throughout his early career. Darren Melbourne, Mark Greenshields, Chris Edwards, Joe Booth, Alastair Dukes, and several other developers belonged to a relatively small British development community in which teams moved between licensed games, conversions, original projects, and different hardware platforms.
McKee’s early career was therefore not built around one famous creation bearing his name. It was built around making games work visually within machines that imposed severe technical limits.
On the NES, every character, background object, animation, and interface element had to exist within a restricted graphical environment. Artists could not simply draw what they wanted and allow the hardware to handle it. They had to think about palettes, sprites, tiles, memory, animation frames, and what programmers could actually place on screen.
That kind of work rarely made its artists famous, but it formed the visual identity of an entire generation of games.
Pugsley’s Scavenger Hunt and the Enigma Variations Circle
McKee’s connection with the Enigma Variations development circle becomes particularly clear with The Addams Family: Pugsley’s Scavenger Hunt.
The surviving NES record credits Mark Greenshields and Darren Melbourne as directors, Chris Edwards and Paul McKee with graphics, Barry Leitch with music and effects, Colin Gordon as producer, and Joe Booth as writer. Arcade-History states that its staff information was taken from the surviving ROM dump, making the game itself an important underlying historical source.
McKee also received a graphics credit for the Game Boy version. GameFAQs identifies that version’s developer as Enigma Variations and credits both McKee and Edwards with graphics. Darren Melbourne served as producer on the Game Boy version.
These were exactly the kinds of projects on which a versatile game artist could become valuable. The NES and Game Boy presented very different visual restrictions. The Game Boy in particular offered a tiny monochrome display and limited processing resources, forcing artists to reduce characters and environments to their most recognizable features.
For a licensed property like The Addams Family, the challenge was greater. The characters had to remain identifiable while fitting into a graphical vocabulary determined as much by hardware as artistic preference.
McKee’s early credits show him working repeatedly within that environment, but another project from the same period reveals something normally lost from game history: work that never reached store shelves at all.
The Lost Nigel Mansell Game
In 1993, Enigma Variations was working on a Commodore 64 version of Nigel Mansell’s World Championship for Gremlin.
The Commodore 64 was by then an aging machine. The British games market was moving rapidly toward consoles and more powerful 16-bit computers, but demand remained strong enough that Gremlin pursued an 8-bit conversion of its Formula One racing game.
Darren Melbourne later provided Games That Weren’t with details of the project. He identified himself as project manager, Andrew Bowen as programmer, and Paul McKee as the graphics artist.
According to Melbourne’s recollections, the game was developing impressively. Its road routines included smooth corners and undulating hills that pushed the Commodore 64 hard. The problem was time.
Too much development effort had gone into perfecting the road system. When other 8-bit versions were ready, the C64 edition was reportedly still about six weeks from completion. Gremlin concluded that another six weeks would push the game too far beyond the point when it could make enough money to justify finishing it.
The Commodore 64 version was cancelled.
For decades, that might have been the end of the story.
Instead, the history of McKee’s work on the game became dramatically clearer more than thirty years later.
Recovering McKee’s Lost Graphics
In early 2025, Games That Weren’t began helping preserve material from the surviving Enigma Variations archives. The preservation effort had been arranged with the assistance of Mark Greenshields and Darren Melbourne.
Among the material was something preservationists had been seeking for years: the PDS source-code backup for Nigel Mansell’s World Championship on the Commodore 64.
The recovered backup was dated March 29, 1993. It contained enough surviving code and material to reconstruct a substantial portion of the unfinished game. Researchers found most of the tracks, qualifying, racing, a tutorial mode involving Nigel Mansell, and graphical mock-ups showing elements that had not yet been fully incorporated into the playable build.
Those surviving graphics provide an unusual window into McKee’s work.
Most game artists from the period can be studied only through finished products. Their unused graphics, experiments, rejected ideas, and incomplete assets disappeared when development disks were erased or discarded.
Nigel Mansell’s World Championship survived differently.
Games That Weren’t documented graphical mock-ups produced in Commodore 64 format, recovered elements that had not yet been properly implemented, and even an unused animated Nigel Mansell head apparently intended for the game’s training sequence. The project was incomplete, but the surviving archive allowed modern players to see how far the team had pushed the hardware before work stopped.
For McKee’s career, the recovery transformed what had once been an almost invisible cancelled project into one of the best-documented examples of his early graphics work.
Magician’s Apprentice and Another Game Brought Back
Nigel Mansell was not the only early McKee project to return from obscurity.
In 1993, Dark Technologies worked on Magician’s Apprentice for hardware descended from the failed Konix Multi-System project. The machine is sometimes informally described as the Multi-System 2, although that was not an official commercial name.
Games That Weren’t identifies Joe Booth as the main developer. Alan McFarlane created background graphics, while Chris Edwards and Paul McKee produced sprites and animations. Darren Melbourne handled concept and design, Mark Greenshields production, and Jez Taylor the music.
The game was reportedly completed, but the hardware itself failed to establish a viable market. Magician’s Apprentice therefore became another example of a finished or nearly finished project disappearing because of circumstances surrounding the platform rather than simply because the game was abandoned.
A PC version later appeared as a bonus with Alien Olympics, but the original version remained largely inaccessible.
Then the preservation story repeated itself.
In 2025, source code and builds of Magician’s Apprentice were recovered from surviving development archives. Preservationists worked with emulator developer Lee Hammerton to make the game run, eventually allowing the lost version to be played decades after it was created.
It meant that two projects involving McKee from roughly the same early period had resurfaced through modern preservation work.
Both demonstrate something easy to forget when studying video game careers solely through commercial releases. Developers often worked on far more games than the public ever saw.
Cancelled hardware, shifting publishers, financial problems, missed release windows, and changing markets could erase months of work almost overnight.
McKee’s surviving record happens to preserve some of that invisible labor.
Tiny Troops and a Project That Refused to Disappear
Another important piece of McKee’s early career is Tiny Troops.
The real-time strategy game placed small military units across a series of colorful battlefields, combining strategy with an unusually playful presentation. Its development history stretched across several years.
Games That Weren’t has recovered 33 surviving PC builds dating from September 1993 into 1994 and 1995. The project originally carried the name Bugs before becoming Tiny Troops. The recovered material includes prototypes, graphical assets, and a development diary, creating an unusually detailed archaeological record of how the game evolved.
The planned PC version was never properly completed and released, and a proposed Amiga CD32 version has not been found. The Amiga edition, however, eventually emerged commercially in 1997 through Vulcan Software.
Its credits place Paul McKee among the graphics team and specifically credit him with animation. Lemon Amiga records McKee alongside Alan Macfarlane, Chris Edwards, Matt Watson, Nick Dent, Paul Hale Carrington, Paul Meston, and Stuart Stevenson in graphics, while separately identifying “Animation: Paul McKee.”
Tiny Troops therefore provides another useful marker in McKee’s development as an artist. His early credits were not confined to producing static background artwork or isolated sprites. Animation was part of the job.
It also continued his association with familiar collaborators. Darren Melbourne was responsible for the concept and contributed to the design, Chris Edwards worked on design and graphics, and Alastair Dukes handled coding.
Those names would continue to appear around British development projects long after the industry’s 8-bit period ended.
Moving into the Handheld Era
By the end of the 1990s and beginning of the 2000s, McKee’s surviving credits shift increasingly toward handheld games.
This was a natural environment for someone whose career had begun with machines built around severe graphical limitations. Game Boy Color development demanded many of the same fundamental skills as earlier 8-bit work, but artists could now work with color and increasingly sophisticated portable hardware.
In 2000, McKee handled graphics on the Game Boy Color version of Casper. MobyGames identifies him explicitly as Paul J. McKee, although the game itself credited him simply as Paul McKee. The development credit places him at G3 Interactive alongside programmer Stephen Hey and additional programmer Richard Naylor.
That same period included Micro Machines 1 and 2: Twin Turbo for Game Boy Color. Paul McKee and Darren Harden are credited with graphics, with Darren Melbourne serving as development director.
McKee then received a broader credit on the Game Boy Color version of Colin McRae Rally in 2001. Rather than simply “Graphics,” GameFAQs lists Gavin Moles and Paul McKee under “Art & Design,” with Al Dukes as programmer.
Player Manager 2001 gives another useful identification point. Its Game Boy Color credits name him as Paul J. McKee, credited onscreen as “Paul Mckee,” and place him among the graphics artists with Gavin Moles and Sean Dyson.
Taken individually, these can look like unrelated handheld credits.
Together they show continuity.
The artist who had been producing graphics for NES and Game Boy games in the early 1990s was still working in constrained portable environments nearly a decade later, but his credits were beginning to encompass both art and design.
A much larger transition was approaching.
The Formation of Rockstar Leeds
In April 2004, Rockstar Games announced that Take-Two Interactive had acquired the British developer Mobius Entertainment.
Mobius had been founded by Gordon Hall, Jason McGann, Dave Box, and Ian Bowden and had developed a particular reputation for handheld games. Following the acquisition, it became Rockstar Leeds.
Take-Two’s announcement described a studio of approximately thirty developers and said Rockstar expected the team to continue concentrating on Game Boy Advance and the emerging PlayStation Portable market. Sam Houser praised the studio’s work and described it as being ahead of the industry in next-generation handheld development.
The surviving evidence does not establish exactly when McKee joined the organization, so it would be unsafe to assume that he had been part of Mobius before the acquisition.
What can be established is that by one of Rockstar Leeds’ most important early releases, Paul McKee was part of its art team.
Building Liberty City
Grand Theft Auto: Liberty City Stories brought Rockstar’s enormous open-world series to the PlayStation Portable in 2005 and later to PlayStation 2.
The game’s original manual provides particularly strong evidence for McKee’s role.
Under the Rockstar Leeds credits, Ian Bowden is named art director, Chris Smart art department director, Paul Smith lead character artist, and Dan Roberts lead city artist. Beneath Roberts appears the City Artists credit: Paul McKee, James McHale, and Siu Lee.
The title “City Artist” is significant.
McKee’s early career had been concerned with sprites, animations, and graphics designed for small 2D environments. Liberty City Stories placed him within a team responsible for translating a sprawling three-dimensional city onto handheld hardware.
It was still constrained game development, but the meaning of those constraints had changed enormously.
Instead of determining how many animation frames would fit inside an 8-bit game, artists were now dealing with geometry, textures, environmental detail, visibility, memory budgets, and the problem of making an open city appear convincing on a portable system.
The scale was larger, but the basic discipline remained familiar: create as much visual information as possible within the limits imposed by the hardware.
From Liberty City to Vice City
Rockstar Leeds followed Liberty City Stories with Grand Theft Auto: Vice City Stories in 2006.
Again, McKee appears among the city artists.
The credits identify Dan Roberts as lead city artist and list Neal Corbett, Gunnar Droege, Mark Edwards, James McHale, and Paul J. McKee as City Artists.
The repeated title provides a clearer picture of McKee’s position within the Rockstar Leeds art department. He was no longer simply appearing in the credits of unrelated licensed projects. His work had become part of an established art team responsible for constructing the environments of one of gaming’s largest franchises.
Vice City Stories also illustrates how dramatically his working environment had changed since Nigel Mansell’s World Championship.
In 1993, a cancelled C64 conversion could be described through the contributions of a project manager, programmer, graphics artist, and musician.
By the Grand Theft Auto era, McKee belonged to a much larger hierarchy containing art directors, lead artists, character artists, city artists, vehicle artists, concept artists, animators, level designers, programmers, audio specialists, and production personnel.
Game development had become industrial in scale.
McKee had moved with it.
Chinatown Wars and a Different Liberty City
Grand Theft Auto: Chinatown Wars in 2009 returned McKee to Liberty City, but in a very different visual form.
Developed principally by Rockstar Leeds for Nintendo DS, the game reinterpreted Grand Theft Auto for dual screens, touch controls, and comparatively modest handheld hardware.
Its credits list Dan Roberts as lead artist and Paul Smith as lead character artist, with Neal Corbett and Gunnar Droege as technical artists. Paul McKee appears among the game’s artists alongside Chris Edwards, Mark Edwards, Siu Jone Lee, James McHale, and others.
The appearance of Chris Edwards beside McKee is particularly striking when viewed across the full career.
Edwards and McKee had been credited together on early Addams Family work and on the sprites and animations of Magician’s Apprentice. Years later, both appeared in the Rockstar Leeds art credits for Chinatown Wars.
The tools, hardware, company, scale, and type of game had changed.
Some of the professional relationships endured.
From Handheld Games to Grand Theft Auto V
McKee’s Rockstar career eventually extended beyond the handheld specialization that had defined Rockstar Leeds’ early years.
Grand Theft Auto V represented that transition on an extraordinary scale.
The game’s Rockstar Leeds credits identify Alastair Dukes as studio manager and Ian J. Bowden as art director. Paul McKee appears among the studio’s artists alongside Adrian Page, Ben Woods, David Dixon, Eric Dawe, Hugh Payn, James McHale, James O’Hare, Paul Kemp, Paul Smith, Robin Ball, Siu Jone Lee, Vittorio Conti, and others.
For McKee, the credit forms another bridge between eras.
Alastair Dukes had programmed Tiny Troops during the earlier part of McKee’s career. By the Grand Theft Auto V period, Dukes was running Rockstar Leeds while McKee worked within its art department.
The modest British development projects of the 1990s had grown into careers inside one of the world’s largest game-development organizations.
Grand Theft Auto V also required a different approach to environmental art from the portable Grand Theft Auto games. Los Santos and Blaine County were built as a continuous world filled with urban neighborhoods, highways, mountains, deserts, interiors, vegetation, commercial districts, industrial areas, and an enormous quantity of environmental detail.
McKee’s individual contribution cannot safely be separated from the work of the larger Rockstar art organization without more detailed primary evidence.
His credit nevertheless establishes that he was one of the artists contributing from Rockstar Leeds.
The next surviving official credit shows how far he had advanced within that organization.
Associate Lead Artist on Red Dead Redemption 2
Rockstar Games’ official credits for Red Dead Redemption 2 and Red Dead Online identify Paul McKee as Associate Lead Artist: Environment at Rockstar Leeds.
It is the strongest evidence for his later senior role and a remarkable endpoint when placed beside his early credits.
In the early 1990s, McKee was credited simply with graphics on games made for machines such as the NES, Game Boy, and Commodore 64.
By the Red Dead Redemption 2 era, he held an associate lead position in environment art on one of the largest open-world productions in game history.
The terminology itself tells part of the story.
“Graphics” had become “City Artist.”
“City Artist” had become “Artist.”
“Artist” had become “Associate Lead Artist: Environment.”
That progression reflects McKee’s career, but it also reflects the transformation of game development.
Early game artists frequently worked across many forms of visual production because teams were small. As games became larger and more technologically complex, art departments divided into increasingly specialized disciplines involving characters, vehicles, environments, lighting, vegetation, materials, technical art, visual development, animation, and more.
Environment art eventually became a profession within a profession.
McKee had been working with game environments in one form or another since the era of tiled backgrounds and tiny sprites.
A Career Spanning Two Different Game Industries
Paul J. McKee’s career is valuable historically because it joins two periods of game development that can sometimes appear almost unrelated.
The first was the British development world of the late 1980s and early 1990s, when small teams moved quickly between computers and consoles, licensed properties were common, technical limits shaped nearly every artistic choice, and a developer might be credited with a single word such as “Graphics.”
The second is the modern development system represented by Rockstar, where individual games involve vast international teams and highly specialized departments.
McKee crossed that distance without leaving game art behind.
His early work included NES graphics on The Addams Family, graphics on Pugsley’s Scavenger Hunt, artwork for the cancelled Commodore 64 Nigel Mansell’s World Championship, and sprites and animation on Magician’s Apprentice. He later contributed graphics and animation to Tiny Troops before moving through Game Boy Color projects such as Casper, Micro Machines, Colin McRae Rally, and Player Manager 2001.
Then came Rockstar Leeds.
Liberty City Stories credited him as a City Artist. Vice City Stories did the same. Chinatown Wars listed him among the artists. Grand Theft Auto V again placed him within the Leeds art department. Rockstar’s own Red Dead Redemption 2 credits finally identify him at the associate lead level in environment art.
Few single credits explain a career like that.
Together, they do.
The Games That Almost Vanished
There is also something unusual about the way McKee’s early career has returned to view.
Video game history is full of missing work.
Development disks were reused. Companies closed. Source code was thrown away. Artists moved on and left old files behind. Games were cancelled without screenshots ever reaching magazines. Hardware projects failed before software built for them could reach players.
McKee happened to work on several projects touched by modern preservation efforts.
The recovered Enigma Variations archive revealed the unfinished Nigel Mansell’s World Championship. Magician’s Apprentice returned through surviving source code and builds. Tiny Troops yielded dozens of PC development versions, assets, prototypes, and a development diary.
Those discoveries have made it possible to see a part of his career that normal commercial game lists would miss.
They also show why preservation matters.
A cancelled game is still part of game history. The programmers still wrote code. Artists still created sprites and backgrounds. Musicians still composed tracks. Designers still tested ideas. Sometimes years of professional work could disappear simply because a publisher changed its plans or a machine failed in the marketplace.
Recovering those projects restores the developers to the historical record along with the games.
For Paul McKee, that restoration has been particularly important.
Paul J. McKee’s Place in Video Game History
Paul J. McKee does not have the kind of public biography that surrounds famous game directors, designers, or studio founders.
There is no well-documented childhood story explaining when he first became interested in games. There is no reliable published birth date. There is no substantial career interview presently available that allows every transition to be reconstructed from his own words.
Those gaps should remain gaps until better evidence appears.
What survives is already enough to establish something important.
McKee was part of the generation of British artists who learned game development when every pixel mattered. He worked among developers associated with Enigma Variations and related teams during the early 1990s, created graphics for commercially released games and projects that disappeared before release, moved successfully into portable development, and eventually became part of Rockstar Leeds.
His career then advanced from city art on portable Grand Theft Auto games to a senior environment-art position in the Rockstar organization.
The distance between those projects is enormous.
The Commodore 64 version of Nigel Mansell’s World Championship had to squeeze an entire racing experience into hardware introduced in 1982. Red Dead Redemption 2 attempted to create a vast simulated American landscape filled with towns, wilderness, mountains, swamps, wildlife, buildings, roads, weather, and thousands of environmental details.
Paul McKee’s name can be found at both ends of that history.
That may ultimately be the most revealing way to understand his career.
He did not merely work on games for a long time. His credits trace the evolution of game art itself, from sprites and animation frames produced by tiny British development teams to the enormous collaborative environments of the modern open-world game.
Much of his story remains buried in credit screens, old manuals, forgotten development disks, and archives that preservationists are only now beginning to explore.
But the record that has survived makes one thing clear.
Paul J. McKee was there for an extraordinary amount of video game history.
Sources & Further Reading
Rockstar Games. “Red Dead Redemption 2 & Red Dead Online Credits.” Rockstar Games. Accessed October 25, 2026. https://www.rockstargames.com/mx/reddeadonline/thankyou
Rockstar Games. Grand Theft Auto: Liberty City Stories. PlayStation 2 instruction manual. Rockstar Games, 2006. https://www.videogamemanual.com/PS2/Grand%20Theft%20Auto-%20Liberty%20City%20Stories%20%28USA%29.pdf
Rockstar Games. Grand Theft Auto: Vice City Stories. PlayStation Portable instruction manual. Rockstar Games, 2006. https://www.gamesdatabase.org/Media/SYSTEM/Sony_PSP/Manual/formated/Grand_Theft_Auto-Vice_City_Stories–2006-_Rockstar_Games.pdf
Take-Two Interactive Software, Inc. “Take-Two Interactive Software, Inc. Acquires Mobius Entertainment Ltd.; Mobius Renamed Rockstar Leeds, Continued Focus on GBA and PSP Development.” April 8, 2004. https://ir.take2games.com/static-files/ac522aea-cbcb-4221-83fe-0d00569b2814
Gasking, Frank. “Nigel Mansell World Championship (C64).” Games That Weren’t. Updated 2025. Accessed October 25, 2026. https://www.gamesthatwerent.com/gtw64/nigel-mansell-world-championship/
Gasking, Frank. “Magician’s Apprentice.” Games That Weren’t. April 7, 2025. Updated April 15, 2025. https://www.gamesthatwerent.com/2025/04/magicians-apprentice/
Games That Weren’t. “Tiny Troops.” 2026. https://www.gamesthatwerent.com/2026/01/tiny-troops/
Crookes, David. “The Making of Nigel Mansell’s World Championship.” Retro Gamer, no. 227, 2021. https://pocketmags.com/ca/retro-gamer-magazine/issue-227/articles/the-making-of-nigel-mansell-s-world-championship
MobyGames. “Tiny Troops Credits, Amiga.” Accessed October 25, 2026. https://www.mobygames.com/game/28609/tiny-troops/credits/amiga/
Lemon Amiga. “Tiny Troops.” Accessed October 25, 2026. https://www.lemonamiga.com/game/tiny-troops
MobyGames. “Casper Credits, Game Boy Color.” Accessed October 25, 2026. https://www.mobygames.com/game/25842/casper/credits/gameboy-color/
MobyGames. “Player Manager 2001.” Accessed October 25, 2026. https://www.mobygames.com/game/16725/player-manager-2001/
GameFAQs. “The Addams Family Credit Information.” Accessed October 25, 2026. https://gamefaqs.gamespot.com/ast/936799-the-addams-family/credit
GameFAQs. “The Addams Family: Pugsley’s Scavenger Hunt Credit Information.” Accessed October 25, 2026. https://gamefaqs.gamespot.com/gameboy/585599-the-addams-family-pugsleys-scavenger-hunt/credit
Arcade-History. “The Addams Family: Pugsley’s Scavenger Hunt.” Accessed October 25, 2026. https://www.arcade-history.com/game/64461/the-addams-family-pugsleys-scavenger-hunt-model-nes-fm-fra
GameFAQs. “Micro Machines 1 and 2: Twin Turbo Credit Information.” Accessed October 25, 2026. https://gamefaqs.gamespot.com/gbc/250606-micro-machines-1-and-2-twin-turbo/credit
GameFAQs. “Colin McRae Rally Credit Information.” Accessed October 25, 2026. https://gamefaqs.gamespot.com/gbc/571715-colin-mcrae-rally/credit
IGDB. “Grand Theft Auto: Chinatown Wars Credits.” Accessed October 25, 2026. https://www.igdb.com/games/grand-theft-auto-chinatown-wars/credits
GameFAQs. “Grand Theft Auto: Chinatown Wars Credit Information.” Accessed October 25, 2026. https://gamefaqs.gamespot.com/ds/950922-grand-theft-auto-chinatown-wars/credit
IGDB. “Grand Theft Auto V Credits.” Accessed October 25, 2026. https://www.igdb.com/games/grand-theft-auto-v/credits
Metacritic. “Grand Theft Auto: Vice City Stories Details.” Accessed October 25, 2026. https://www.metacritic.com/game/grand-theft-auto-vice-city-stories/details/
GameSpot. “Mobius Renamed Rockstar Leeds.” April 8, 2004. https://www.gamespot.com/articles/mobius-renamed-rockstar-leeds/1100-6093162/
Jenkins, David. “Take-Two Acquires Mobius Entertainment.” Game Developer, April 8, 2004. https://www.gamedeveloper.com/game-platforms/take-two-acquires-mobius-entertainment