Like a good moviemaker, the finesse of Rockstar’s studios when handling the conventions of cinema proves a consistent joy to behold. Whether the results prove consistently fun to play, however, is an arguable cause for concern. Rockstar have certainly embraced third person action games, but can their respective developers carry them beyond the efficient, scripted set-pieces of Max Payne and the one-time revolution of GTA? Many would argue that Manhunt and the vapid State of Emergency suggest that they can’t. Meticulous and evocative, Rockstar San Diego’s attempt - Red Dead Revolver - still needs an ace in its hand.

Plot specifics are best left unmentioned; suffice to say that this is an entirely cynical Vietnam-era Western, populated with soulless renegades and townsfolk who arguably don't deserve to be saved. No good guy comes without a bad streak; the only prevailing law is one's own. As a 'hero', Red is one hundred percent Eastwood - not a trace of John Wayne's trademark racism or the weakness shown by Gary Cooper in High Noon. He holds reverence for women, but effortlessly suspends this creed for a modest price. We know this because, as with GTA: Vice City, this Rockstar game boasts truly cinematic cut-scenes to bulk up its tale. With every mission comes a stylised injection of character, atmosphere and exposition.

Visually, San Diego have used a very educated ‘less-is-more’ approach, the flat-faced, plain-textured characters and endlessly hazy filter effects perfectly evoking an arid wasteland. The simplicity doesn’t detract from the atmosphere because, in this case, simplicity very much is the atmosphere.

Luckily, effort such as this extends fruitfully into the underlying mechanics of the game. Customary twin analogue controls are perfectly calibrated, allowing for an aim that is easily acquired but challenging to master. Furthermore, the game chooses to embrace an underlying philosophy that is simple yet revelatory: in both the movies and in games, people take enormous pride in how they kill other people. Head-shots, articulated damage, combos and specials feature heavily, all packaged into game modes that increasingly reward perfection.

Many devices are employed to bring this philosophy into the hands of the gamer. ‘Dead-Eye’, for example, allows a brief period of slow-motion in which multiple targets can be fired upon at once, be they heads, arms, legs, torsos, hands or feet. This is reworked into a tenser and more demanding stand-off for the game’s many mano-e-mano shoot-outs. Dead-Eye makes the game easier for the novice and is simply darn-tootin’ cool for everyone else. It doesn’t detract from the challenge, however. Thanks to the game’s combo system (a prevailing feature of the unlockable ‘Bounty Hunter’ mode), players are encouraged to develop raw precision rather than rely on special attacks, earning in the process a greater combo tally and points score.

Alongside the special attacks is a healthy moves-list for a third-person actioner. Players can engage in gunplay from afar, switching weapons according to tactical requirements. Moving in closer invites the use of melee attacks and roll-dodges while there’s always a situation begging for dynamite or a Molotov cocktail. Across the spectrum of levels there are, to say the least, a varied range of situations. Not only do different levels provide occasional changes of character, they also feature a broad selection of arcade styles. Some work better than others – the glitch-ridden stealth level being especially bad. Nevertheless, there are enough stagecoaches, horses, burning barns, bar brawls and other respected clichés to keep most people happy. Between levels is the town of Brimstone – free-roaming home to many of the game’s NPCs, unlockables and upgrades. San Diego used just such a device to bring unexpected depth to Midnight Club 2; they achieve equally impressive results here.

Multiplayer is welcome in its presence and nature, offering split-screen and online versions of the game’s most distinctive scenarios. While nothing to usurp more dedicated multiplayer titles, mutual fans of the game will enjoy what’s on offer. A shame, however, that the game’s enormous cast of unlockable characters are so unbalanced in multiplayer; try lassoing a man who can send fifty bullets through you in a second – it just doesn’t happen.

It says much for the wealthy feature-set and rich presentation that, only now, does the opportunity for critique arise. Without doubt, it’s these aforementioned qualities that are the game’s strongest. There’s also enough innovation peppered throughout to keep things feeling consistently fresh and exciting. While there are no catastrophic flaws in the design, there are several oversights and missteps in the execution that bring things down a notch. The most painful of these is the game’s cast of bosses. Enjoyable characters, they are, but engaging opponents they’re not; too often their inherent weakness and stupidity betrays their initially threatening appearance. There’s also a sad lack of any great nemesis to invigorate the drama and bring the action to a climax. There are a couple of ‘big bads’ to be encountered (you even get to play as one of them), but nothing like Henry Fonda’s ‘Frank’ or Gene Hackman’s ‘Little Bill’ – nothing to meet the demands of this thunderous genre.

These negatives may, in this context, seem greatly outweighed by the positives. Don’t be deceived – a critical imbalance exists in the game as a result of them. Without decent bosses, games such as this can haemorrhage both drama and tension – something Red Dead Revolver would otherwise have in spades.

Rockstar publish very efficient action games that centre upon the vices we crave. GTA gave us murder, Manhunt gave us brutality, State of Emergency gave us anarchy, Red Dead Revolver gives us ruthlessness. It celebrates the perverse catharsis to be found in bringing quick justice to bad people, and the pride found in doing it well. If neither this nor the pleasures of Western cinema do it for you, then consider ‘Revolver a rental rather than a purchase. As an exercise in homage, however – whether that’s voice-acting, design, character or ambience – this is as good a video game Western as we’re ever likely to see. Sequel, please.