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Grand Theft Auto IV: London

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Akavari
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#271

Posted 14 January 2011 - 02:27 AM

Great mission, I love the way you've painted Bucky's character as this cold murderer whilst Derrick is the opposite with compassion for their victims.

LuisBellic
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#272

Posted 14 January 2011 - 02:43 AM

How many missions will this have?

Tyla
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#273

Posted 14 January 2011 - 11:04 PM Edited by Tyla, 27 February 2014 - 08:04 AM.

QUOTE (akavari112 @ Jan 14 2011, 02:27) Great mission, I love the way you've painted Bucky's character as this cold murderer whilst Derrick is the opposite with compassion for their victims.

Thanks man, thats exactly what I was aiming for.

QUOTE (LuisBellic) How many missions will this have?

Possibly forty to fifty in terms of main story, and five missions per asset. I might do a batch of random characters... not sure how many yet though.


Mati
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#274

Posted 15 January 2011 - 07:40 AM

QUOTE (akavari112 @ Jan 14 2011, 02:27)
Great mission, I love the way you've painted Bucky's character as this cold murderer whilst Derrick is the opposite with compassion for their victims.

Exactly what I was going to say.

Sanjeem
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#275

Posted 15 January 2011 - 10:49 PM

QUOTE (Tyla @ Jan 14 2011, 23:04)
QUOTE (akavari112 @ Jan 14 2011, 02:27)
Great mission, I love the way you've painted Bucky's character as this cold murderer whilst Derrick is the opposite with compassion for their victims.

Thanks man, thats exactly what I was aiming for.

QUOTE (LuisBellic)
How many missions will this have?


Possibly forty to fifty in terms of main story, and five missions per asset. I might do a batch of random characters... not sure how many yet though.

Random characters being like the random one's we saw in IV? maybe like past characters you have seen like Mikhail's wife, or that peadophile guy, things like that in IV is what made me like it alot aswell. icon14.gif

Tyla
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#276

Posted 16 January 2011 - 11:46 AM

Yeah, thats what I mean. In addition to the random encounters and people approaching you through your gang members/appointments to 'take care' of things for them (according to Ray's Criminal Rating) a handful of people who appear through the storyline would reappear as random encounter missions dotted around the map, like Camp Tony for instance.

I plan on bringing back a couple of old (OLD wink.gif ) faces back for these... I will keep their names a secret but if anyone wants to make a guess at who they are then feel free. You'll be surprised...

Just a heads up, my bandwidth has been capped for this month and doesn't come back for a week or two so updates will be few and far between until it gets restored. There's so much content in the OP that I can't load it. Future missions will begin to introduce Ray's family on a greater scale (after mission #20), with Arthur Caine, George Caine and my favourite planned character yet, John Sharpe, taking greater roles and further locations than London will be introduced, such as Southend.

Much thanks for the support.

Tyla
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#277

Posted 19 January 2011 - 03:01 AM

This mission is loosely based on this, albeit a more twisted tale notify.gif The style moves away from the usual script as I try and convey the imagery that makes the first part of this continuing mission what I want it to be.

Tried to model Tony on 'Mr. French' from The Departed, a complete nutcase, but there's more to him than that. The story has more than enough of this kind: Dessie, George, John, Toolbox... all either psychotic, mentally ill or supremely sadistic, so to separate this character from that bunch I've tried to make it so that he vocalises the motives going on behind the scenes, the underlying themes of the story - something (after talking with Dark_Side in the best storyline thread) that Tommy Vercetti and his rise were missing in Vice City.

It’s entirely plausible that maybe Tony knows of Raymond Caine, knows his reputation, and just exactly what he is capable of, and that Tony and his gang rose to prominence (perhaps off the back of another organization or group) whilst Ray was imprisoned. And through having never met Ray and his knowing of his ‘rep before the man himself its almost as though Doherty comes to his own foreboding conclusions about just what exactly his true motives are... and it just so happens that he isn’t too far away from the truth.

Sorry if I go on lol.gif , I just try to ignite that same speculation about the characters that the IV concepts have.

Worth Your Weight...

Ray answers the constant ringing of the phone attached to the wall of his safehouse with his usual raucous sounding growl, - “Caine.” The response he receives is from Jackie Doherty.

Jackie would like for Ray to hook up with his brother, Tony, at their pub The Half Mast in Finsbury, not too far away from where you originally met up with Jackie in ‘Down In The Third’. He informs him that Tony has something big going down and it would be wise for him to take along some extra muscle: Jackie thinks that Ray is just the man for the job. Before the call ends, he takes the time to drop in a forewarning that his brother isn’t the friendliest of men and that it’s advisable Ray shouldn’t take his attitude personally.

Upon arrival at the location in question, you will find the Doherty’s pub to be quiet and very much tucked away, much the same as the Lucky Winkles in that it keeps an appearance as a neighbourhood secret. In contrast to this though, the ‘T’ of ‘Mast’ above the entrance has fallen lose and hangs low.

Ray enters the establishment to find it very much alike its quiet outward appearance; three men populate the entire pub, all of them seated at the bar, sipping pints and telling a dirty joke or two. He is immediately confronted by their stares and gets the immediate impression that he is the outsider here and this is very much their ‘local’. Nonetheless, he remains undeterred and approaches the bartender, who is busying himself behind the bar. Ray rouses him with the clearing of his throat.

“Where’s Doherty?”

The camera immediately turns to show a great lump of a man, built very squarely in his appearance, sitting alone with his back to the bar. His large, rotund face cycles in expression; he wipes his nose with his hand and continues to stare at the wall, though it appears his cauliflower-like ears are eagerly listening to pinpoint any further mention of his name. The bartender having now pointed him out, Ray walks over to approach him. The regulars at the bar watch on curiously.

“Tony?” His question is met with the slightest angling of Doherty’s head in his direction, his dull eyes shifting upward; Ray extends his hand regardless, his voice retaining his initial friendliness. “It’s nice to meet ‘ya, ‘Tone...”

Tony merely grunts through his teeth and snubs Ray’s hand, preferring to focus on his half-drank pint of Blarney’s instead. This leaves him somewhat stumped at his overly taciturn counterpart and a cautious chuckle leaves his mouth as he takes a seat opposite him: “You’re not too impressed.”

“No.” Tony wastes no time with his blunt response and continues to get to the point rather harshly. “I don’t f*cking like you. I don’t like what I’ve heard.”

Such unreserved bluntness stuns Ray even further, blankness momentarily cast upon his face. He dares to ask just who Tony has been speaking to in order to reach such a conclusion, his moment to raise this curiosity fading quickly as Doherty finishes his pint; he tastes the stout on his lips for a brief second and makes his satisfaction known. He turns his head south and barks an order at his three associates at the bar,

“f*ck off.”

Almost immediately they disperse, and the bartender wanders off into the storeroom; Doherty returns his focus on Ray with all assurance it is just the two of them and he gives a sigh before continuing his monologue, adding (vague) reason as to why he is ‘not impressed’. “You’ve been running around town... making friends with all the wrong people. Putting your fingers in every dirty little pie. I know your game.” he declares.

With a self-assured grin he cuts off the defence Ray attempts to mount, his grin turning to a menacing frown, the rehearsed skill of terrorisation voiding his face of all humanity: he gives a deathly impression he could explode at any moment and this certain demeanour paints a picture of a very disturbed individual. “Going to have me over, are ‘ya?” His cold, blood-chilling expression, although plucked seemingly from the depths of a highly paranoid mind, visibly makes it very hard for Ray to keep his manner calm and reserved. “Think you can have me for a mug?”

A tense, thought provoking silence follows, both men exchanging glares that reflect the feeling within the room, sizing each other up. Ray finally sighs, and returns a bristly response in his own equally as bold. “I think you’re acting enough of the mug for the pair of us.” flows his attempt at crushing Doherty’s assumed doubts from his mouth, such goading words earning him a look as though he has just pulled the pin.

“What?”

In complete contrast, Ray laughs. Tony’s face descends into confusion, his mind, his tainted emotions struggling to grasp whether or not this is a direct challenge. Through his look, the camera shows that Ray’s words are finally hitting home with him: violence and challenge are clearly the only two things this man understands. “You think you can have me?” he dares Ray to elaborate, beginning to lose the little self-control he has. His mouth is seen to dry out when no response is given to him, only a stoic glare: his lips tremble. His forehead dampens, and his voice softens. Whether this is of his own or Ray’s doing is up to interpretation.

“You’re making me very nervous, Raymond.”

“Yeah?”

“Yeah. I think, maybe...” His hands suddenly rise, so stiffly held they shake, “maybe... I’m going to have to ‘do something’ about you? Mhmmm?” Tony’s hands weave together, as though he is choking the air. His face begins to make abstract, fearsome expressions – as though he has totally lost control - and Ray is seen to now be entirely disturbed. Tony’s jaw juts forward, saliva leaving his mouth, “What do you think about that, Ray?”

Ray’s chin thickens as he licks his lips; he gives the slightest show of fear, and then he stands. He bites the bullet, and he stares back down at Doherty, still seated, still wet with anticipation. In a show of his unwavering bravura, Ray subtly implants the idea that he can take him whenever he likes, courting him. “Do something.”

Again, there is silence, a very tense moment in which all could erupt in a matter of seconds. When nothing comes to fruition, Ray moves to leave: Tony’s hand stops him.

“McCann’s yard... me and you: one-on-one...”

Despite appearing initially confused and still thoroughly disturbed, Ray stands to seriously consider his offer.

“You beat me... and you got the gig. You lose...”

He shuts his palm, his eyes narrow.

“I’ll f*cking bury you...”

Part II will follow soon smile.gif

TommyMufc-Champs
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#278

Posted 19 January 2011 - 09:58 AM

Great mission Tyla icon14.gif

Tyla
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#279

Posted 22 January 2011 - 04:40 PM

Part II

The above cutscene fades out immediately upon the deliverance of Tony’s warning, and Ray respawns outside of The Half Mast to the instant sound of your car phone* ringing out from inside your vehicle. Enter the car and press up to answer it. It just so happens that it is Mack McCann calling; he informs you that Tony has requested to arrange a dirty go - a no holds barred fist fight – to settle the dispute between the two men. He warns Ray that Tony is a ‘nasty, nasty piece of work’ that wants to chew Ray’s throat out; he doesn’t doubt Ray can hold his own in a fight but offers to teach some of his arsenal of tricks learned in his thirty year career fighting bareknuckle.

You will find Mack at his Camp Site, waiting for you at the entrance with his gypsy associate Ethan, whose hands are wrapped up. While leading Ray to a makeshift ring, he hands him some wrap and formally introduces Ethan. Ethan will serve as your punching bag whilst Mack watches on from the bonnet of his vehicle. McCann then produces some headgear from the car and tells both men to put it on.

First, you are instructed to start off sparring and simply trade blows. Ethan will be told to keep on his feet and will start to cycle around the ring rapidly, and you will follow him from your stance with your guard held high. When you see the opportunity, eventually knock him off his feet and to the floor. Follow the on-screen prompts to keep locked onto him and as Mack instructs, sweep down and belt him in the face by pressing Y/Triangle. This sends him sprawling over backwards (though not hurt as the blow is absorbed by the padding) but Mack notes that very few people will get up after this.

When Ethan gets up, Mack berates him, calling him a sh*tstain on his family name to rile him and orders him to go at Ray. Immediately he will charge at you and begin to grapple with you, prompting you to hold A/X to stop him taking you fully in a headlock. As a counter to this grapple, Mack bluntly tells you that you could ‘chew his ear off’ (prompted as Y/Triangle) or ‘bite through his throat’ (on screen as B/Circle). A tap of either one of these will see Ray will mimic the movement, and Ethan move away as an opponent would during a fight, leaving them open to a pounding.

Finally, Mack tells you that he did not get the reputation he holds to this day by shaking hands after a fight. If you want to make a mark, you have to do your opponent so badly he dare not challenge you again. This prompts the instruction of a forth ‘finisher’ – a grapple move Ray can perform when his opponent’s health is on the final two bars and flashing red.
Mack outlines that after performing the attack (taking hold of your weakened opponent in a grapple), in which Ray will take his opponent’s head and headbutt them three times under the chin/in the throat by pressing A/X, should Ray want to make an impression on his foe, he can rip a good chunk of their nose off with his teeth and disfigure them completely.

With these moves in mind, Mack thinks you stand a good chance against Doherty – himself an accomplished, much revered fighter – but warns you to keep your guard up and your wits about you at all times. The fight will most likely be ‘the fastest thirty seconds of your life’, so Ray must stay sharp. With all appreciation shown, you are released back onto the streets to test these new moves out.

Mission Complete – Nothing


*Car Phone is my original way of including the convenience and essentialness of the cell phone from IV in a past setting lacking such technology. Initially, this feature is only available in the Hunter you are rewarded with after completing The Introduction, but as car modification becomes open, you may purchase one for any vehicle. The concept is simple: You activate the phone in your vehicle using Up as you would with the cell in IV, you pick from the address book and you call. Alternatively, you press Up to answer a mission call that you would alternatively receive at your safehouse.

In anticipation of the next mission, the actual fight...

Basic Fighting Controls;


LT/L2 – Lock-On
RB/R1 – Stealth Kill/Pistol Whip
X/Square – Left Jab/Basic Attacks
B/Circle – Shove/Right Jab/Basic Attack
A/X – Block/Counter
Y/Triangle – Grapple
LS/L3 – Drag/Throw
RS/R3 – Pin/Shake

Red Reticule (not in combat) – Stun Attack
Red Reticule (in combat) – Finishing Move

Fighting Styles;

Basic (Boxing/Brawler) – Available Immediately.
Defence/Disarmament – Unlocked after completing five bouncer side-missions.
Dirty Fighting – Unlocked after Worth Your Weight...

Updates:

•Added links to the first time a character appears in the Characters section. Will be updated as per introductions.
•Modified the Basic Fighting Controls
•Updated the character pictures of John, Alan and Jimmy. Changed Dessie completely.
•Added two new songs - Nazareth - No Mean City and The Jam - Down In The Tube Station At Midnight
•Also had a crack at making some artwork for Ray

To-Do List:

•Mission Nineteen - ...Worth Your Weight
•Seven new and Updated Character Bios

Thank you.

Mati
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#280

Posted 22 January 2011 - 04:46 PM

Thats a nice fight. Will be there an Asian guy in the story? Maybe he will learn you some moves. I think including some kung fu or sh*t would be nice. BTW, how about explaining the finishing moves more exactly?

TommyMufc-Champs
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#281

Posted 22 January 2011 - 04:54 PM

Great mission! Well done icon14.gif Love the fight idea smile.gif

Akavari
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#282

Posted 22 January 2011 - 04:56 PM

Dude you should add Nazareth - Ballad Of Hollis Brown to the hard rock/metal. That song rocks.

Tyla
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#283

Posted 22 January 2011 - 05:19 PM

QUOTE (mati1501 @ Jan 22 2011, 16:46)
Thats a nice fight. Will be there an Asian guy in the story? Maybe he will learn you some moves. I think including some kung fu or sh*t would be nice. BTW, how about explaining the finishing moves more exactly?

I couldn't really see Ray doing kung-fu. I based the dirty fighting with what akavari summed Ray up as in mind: a big, heavy tough guy that f*cks people up and I think I did that well. Only problem I have with kung-fu is that it would look out of place, as Johnny having the same moves as Niko did (well, counters).

I will have a crack at doing a more detailed list of finishing moves though, the advanced controls, when its not four in the morning blush.gif

QUOTE (TommyMufc-Champs)
Great mission! Well done icon14.gif Love the fight idea smile.gif


Thanks Tommy!

QUOTE (akavari112)
Dude you should add Nazareth - Ballad Of Hollis Brown to the hard rock/metal. That song rocks.


Fuzz bass kicks ass, don't it!

I actually have that exact song penned for my other concept - the one about Gerald - that I'm including mainly because the theme of the song. Seven shotgun shells... seven people dead... there are seven McRearys. It would be there to mirror Gerry's state of mind if you know what I mean?

Mati
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#284

Posted 22 January 2011 - 05:21 PM

QUOTE (Tyla @ Jan 22 2011, 17:19)
QUOTE (mati1501 @ Jan 22 2011, 16:46)
Thats a nice fight. Will be there an Asian guy in the story? Maybe he will learn you some moves. I think including some kung fu or sh*t would be nice. BTW, how about explaining the finishing moves more exactly?

I couldn't really see Ray doing kung-fu. I based the dirty fighting with what akavari summed Ray up as in mind: a big, heavy tough guy that f*cks people up and I think I did that well. Only problem I have with kung-fu is that it would look out of place, as Johnny having the same moves as Niko did (well, counters).


OK I kinda agree. What was I thinking biggrin.gif

Tyla
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#285

Posted 22 January 2011 - 05:25 PM

QUOTE (mati1501 @ Jan 22 2011, 17:21)
QUOTE (Tyla @ Jan 22 2011, 17:19)
QUOTE (mati1501 @ Jan 22 2011, 16:46)
Thats a nice fight. Will be there an Asian guy in the story? Maybe he will learn you some moves. I think including some kung fu or sh*t would be nice. BTW, how about explaining the finishing moves more exactly?

I couldn't really see Ray doing kung-fu. I based the dirty fighting with what akavari summed Ray up as in mind: a big, heavy tough guy that f*cks people up and I think I did that well. Only problem I have with kung-fu is that it would look out of place, as Johnny having the same moves as Niko did (well, counters).


OK I kinda agree. What was I thinking biggrin.gif

There are about fifteen unique counters/additional moves when all fighting styles are eventually unlocked... Niko/Johnny/Luis had three or four biggrin.gif

Tyla
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#286

Posted 26 January 2011 - 05:23 PM

I'm trying out a new way of scripting the missions here with help from Typhus. Let me know what you think. Thanks.

...Worth Your Weight


Tony Doherty paces up and down. He cuts a solitary figure away from the small crowd gathered at the steel cage, awaiting their show. Throwing shadow uppercuts, his flesh tense, he mutters incoherently to himself.

Tony
Think you can have me... you’ll never have me. I’m Tony Doherty. I’m the f*cking daddy now.

Turning, he snarls at Ray, jeering at him walking up the gravel path. Both men lock eyes for a moment before Ray enters a small cabin, populated by the mountainous Mack McCann and his three gypsy associates. He produces and throws a wedge of money down on the desk.

Mack
No backing out now, son.

He counts the thousand pound collective and satisfied, dispatches two of his boys to go and rouse Doherty.

Mack
Now lets go give these people a show.

The cutscene fades into black, fading in again moments later to the sound of music dubbed over with uproarious cheers from the crowd.

Ray rolls his neck in one corner of the cage, Alan spouting out motivation beside him. Tony is firmly in his vision in the opposite ends, and menacingly stares back. The camera pans around the crowd, mostly thuggish looking louts out for their fix of violence, and two extremely dubious, out-of-place gentlemen sitting silently near the front rows, looking as though they have been implanted from elsewhere.

Stood in the middle of the ring, Mack summons both Ray and Tony after addressing the crowd.

Mack
Right boys, you know the score. You’ve both weighed in your stakes. You keep going until the other drops or throws in the towel. This is no holds barred. Now touch gloves and lets go.

The moment the two men touch gloves, Tony delivers a crushing headbutt which knocks Ray backwards. Mack jumps out of the way and the player is thrown into control.

Tony immediately comes at you, unrelenting in his attack and fully intent on smashing all life out of you. Try to parry his shots and meet him blow for blow, never letting him get on top of you or the fight is over. Each round lasts one minute and thirty seconds and the more damage Ray absorbs, the more cut and bruised he becomes, the more the screen will darken in a murky red hue, as will be the case in all boxing matches you undertake. Lasting the round will return you to your corner and the hue will fade. Your health will replenish fully, although the damage you receive will be of increasingly great impact.

With each moment that passes you must focus solely on ending the fight, punching Tony into a corner, absorbing and enduring all he throws at you in the face of throwing it back twice as hard. He does not relent and belts & butts back for all that you do to him, awashing your screen in red to the point Tony is all you can see and all you can hear are the crowd egging the two of you on. A stronger cheer will erupt, your fingers sweaty, worn and tired just like the men in the screen: Tony is finally down. Don’t let him back up.

Ray smashes a fist down into Tony’s face; he somersaults backwards. Stamp on his head, assault him with a barrage of punches until his breaths gasping from the floor are heavy and when you see that his health is flashing red you show him who the f*cking daddy is. Just how much you want that job and the opportunity comes with it. Ray drags him from the ground, his hand tight around his throat: he headbutts him a succession of three times, the crowd roaring with each, Tony wincing in pain, his face bloody and swelling as they go on. His eyes blacken, his body goes limp but Ray keeps him up; he launches himself forward and tears a chunk out of his foes nose.

Tony falls. The bell rings.

His entourage gather around him, downed on the floor. Ray raises his arms, claret oozing from his mouth, his face battered and bruised, he’s the victor. He hands Doherty’s men the piece of flesh for it to be sewed back on – a symbol of his co-operation – and mounts himself in the corner to soak in the entirety of his triumph.

+£1,000


• On a note that somewhat sours the occasion, Ray receives a phonecall from Dave detailing how the Turkish Mafia showed up at the pub and slapped him around after informing them Ray wasn’t there. They want him to return to them and finish the Heroin business.

• Mack McCann also telephones, congratulating Ray on his win and offering him more organized bouts. The player can now fight bareknuckle by returning to Mack at any time or by accepting any challenges they should receive.

Mati
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#287

Posted 26 January 2011 - 05:44 PM

The new mission layout is OK but I would not mind if you use the old layout. The mission was really a good read. I like how Ray gets involved with shows. I think the fights should go even deeper, like in Mafia II where you still did some brawling later in the storyline.


Tyla
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#288

Posted 28 January 2011 - 09:43 PM

This needs a kick up the arse, I'm afraid. What could I add (or alter) to refresh or extend the content that is already here? What would spark further interest beyond my missions?

I like the idea of the fighting going deeper, and possibly expanding the system to include how people would invest in Ray after his reputation with his fists grows and furthermore how he would be challenged/the player could challenge by NPC's. I would like to put more light onto this feature with the advanced controls and such and because the mafia (anyone spot them in the last mission) would eventually take you to Liberty City to go at it with their toughest fighter.

I would also like to expand on working in nightclubs and possibly an advanced form of Club Management. Moonlighting as a Bouncer and working the door would be fun early on, and a must for unlocking the perks it offers, but as Ray's star rises in-game, I feel it would be more suitable to be running the clubs and not manning the floors throwing out pissheads, wouldn't it? The hooks of such a feature when coming to re-playability could be kitting out a venue in a particular style (I.E: Strip Club, Dance Club, Live Music venue) as Volt Krueger once posted about, and each would draw in a different crowd. In the same manner Bahama Mama's would attract the bridge and tunnel guidos while Maisonette was exclusive and members only.
One venue - Dingleberries (based on Stringfellows) - will play a role in the story, so it could be feasible to expand on.

Other random thoughts for building upon include Gangs (particularly introducing faces from Somalia and Vietnam as Typhus suggested) and expanding the character of Alan as to introduce a Black Market system, something working in the fabulous list of weapons akavari provided and a whole host of illegal goods that would become unlocked as Ray's relationship with Alan would progress - possibly through stealing rare vehicles to order, much like for Stevie in IV.

I know people read this, so don't be afraid to weigh in with ideas. There's a whole lot more that could be squeezed out of this.

BrownBear
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#289

Posted 28 January 2011 - 11:08 PM

Maybe there could be biker rallies out in the country where you can take part in different activities like racing and modding harleys.
Perhaps there are skinhead gatherings, getting into fights with protesters.
Maybe you could add a charcter similar to Charles Bronson, a nuts prisoner with a hatred of authority, perhaps there could be a mission where you break him out of prison.

Mati
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#290

Posted 29 January 2011 - 07:21 AM

@brownbear: The prison idea can be good, but the outbreak has to be original. Something between shooting your way out and Prison Break.

@Tyla: There are many ways how to make fighting more important. Maybe Ray is sometimes forced to fight instead of using guns. If it ever comes to his kidnapping, a mission would feature him fighting his way out. A different idea is that Ray goes to prison (maybe because of the black market idea?) and some rich guy will bet on Ray so he has to win. He promises Ray he will help him to get out of prison if he wins some fights. BTW I think fighting could be a little more interactive.

Example for interactive fighting (watch the first 2 minutes):

The scene is just kick ass. Grabbing your opponents after hitting them hard enough and smashing their heads against objects would be amazing.

Tyla
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#291

Posted 29 January 2011 - 06:43 PM

Excellent video! I agree with you. I don't want to just put some lipstick on the fighting from Grand Theft Auto IV, it needs to have the entire makeover.

I've just been through all the missions, especially the earlier ones I did, and I think the fighting is fine. I like it. But it could always be better. What you're showing me in that video is interacting with the environment during a brawl, right? Using it to your advantage, like the guy pins him to toilet cubicles and sends him flying into walls? I've tried to apply this to a London tube. In this picture I marked up (excuse the poor numbers and dashes) everything that could possibly be used to the players advantage in a fight. Imagine the train as your arena,

1): Window – You can smash it with an enemy, throw them through it.
2): Seat – Vault an enemy over it, pin them to the seat.
3): Door – Slam an enemy into it (possibly breaking it). The window can also be smashed and an enemy can be beaten between the frames.
4): Plastic Frame – An enemy can be thrown into this and it will break, with both you and them toppling through it and straight into a grapple on the floor.
5): Wall – Enemy can be flung, smashed into this, and attacked while pinned against it.
6): Hand rails – Ray can alleviate himself on these and throw his legs upwards with great momentum into a targets chest.

Other marked objects

Pole – Enemies can be smashed/thrown into this: Ray can dodge an attack with his back against this and throw the enemy face first into it.
Object on the wall – Can be ripped off and used as a weapon.
Hand Rest – Again, can be ripped out and used to attack an enemy.
Person/Passenger – NPC’s can be used to throw into one another, giving you time to attack the two of them whilst disorientated.

I think that could work, and I did have a (cut) mission planned called 'Going Underground' for Dave Caine where Ray would join him and his hooligans in ambushing a gang of rivals coming down to London on a train that would be along those lines. But just as an example, imagine being able to vault Ray up on those hand rails in the middle of a fight, kicking your enemy in the chest and watching them stumble back into the pole, then ramming them against it, attacking them against it, and throwing them through the window to be smeared all along the tracks!

Rise of the Footsolider had something similar to what I mean,



The Godfather game also had a very good fighting system, especially grabbing an enemy, but it was a little flawed in the sense that you could take ten seconds to move them from their place on the corner to a window (and put them through it) and your enemy wouldn't hit you back or at least knee you where it hurts. Enemies should always hit you back and be throwing punches whilst your attacking them.

Defiantly have some missions based around hand-to-hand combat planned, though. Such as holding someone out of a balcony window and the whole taxation drugs recovery plot. They aren't all going to be shootouts from here on in tounge.gif

Legion-47
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#292

Posted 30 January 2011 - 05:19 AM

Looking forward to updates. Great job. icon14.gif

BrownBear
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#293

Posted 30 January 2011 - 10:15 PM

You could probably add a rap station as well, Derek P, Blade and Knowledge are a couple of British rappers around at the time.

Tyla
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#294

Posted 04 February 2011 - 04:45 AM

QUOTE (Legion-47 @ Jan 30 2011, 05:19)
Looking forward to updates. Great job. icon14.gif

Thank you smile.gif

QUOTE
You could probably add a rap station as well, Derek P, Blade and Knowledge are a couple of British rappers around at the time.


One was planned, but I couldn't fill it out. If you could come up with a track list, I'd appreciate it.

I also had a Reggae Station (K-JAH Brixton) planned along with Glam Rock, Jazz, Talk and Oldies stations, and this is the list of songs I have at the moment. Don't really know much about Reggae, but this wall of sound is what you'd be hit by when you go south of the river.

Burning Spear - Down By The River Side
Derrick Morgan - Conqueror
Desmond Dekker - 007 Shanty Town
Eddy Grant - I Don't Wanna Dance
Eek-A-Mouse - Ganja Smuggling
Gregory Issacs - Night Nurse
Jimmy Cliff - The Harder They Come
Max Romeo - Wet Dream
Musical Youth - Pass The Dutchie
Peter Tosh - Bumbo Klaat
Prince Buster - Hard Man Fe Dead
Toots & Maytals - My Number
U-Roy - Rivers Of Babylon

Yay or Nay?

And in other soundtrack news...

Tyla finally uploaded "Massacre" to youtube!




This will replace Johnny. Child In Time will also replace Smoke On The Water when I get the single version off iTunes.

As for other updates, I've been working on these two when I find the time - Club Management & Ice Cream Van side missions (based on Ice Cream Wars)

QUOTE (Ice Cream Side Mission)
Ice Cream Man:

Returning from Grand Theft Auto: Vice City are the Ice Cream side missions, in which the player will roam the streets in a Mr. Whoopee van with the intention of pushing drugs. Once Ray purchases a majority stake in the local Ice Cream company, his attention will shift to the distribution of his product through means of establishing himself as a major player in the world of Ice Cream.

Of course, Ray is not the only one with a view to making such a quick profit. From early on, he will run into competitors, rival gangsters who divide routes up as they would turf, and the player must secure these by means of intimidation and violence to eventually win the routes for themselves. Means of getting rid of your competitors can range from pursuing them to attacking them, destroying their vehicles, and hanging around to divert business. Be warned – your rivals will do the same to you.

Once Ray has established himself, the player can begin to hire dealers to expand the business. These assets will cost £500 a time and you must purchase additional vans at a cost of £5000 per vehicle, with their returns making up the profit you collect from the business alongside the money you earn when undertaking these missions yourself. You may also be called in to protect your assets from attack at any time, and to pay off the necessary officials in your areas as to keep your men from being pulled in by the police.


QUOTE (Club Management)

In addition to working the doors in Nightclub Security, Ray will become involved in the management aspect of clubland as the game progresses. Revamping the system seen in The Ballad of Gay Tony, the player can now take more of a managerial role in the protagonist’s enterprises. Success and profit margins will now be attributed directly to your actions, with a great deal of the player’s accumulated wealth able to be pumped into such ventures.

To partake in Club Management, the player must first buy up one of the nightclub businesses for sale across the map, with each catering to a different style of clientèle to the others. Once the deeds are in Ray’s name, you are free to do as you please with it.

Starting out, you will want to determine which crowd you want to attract, or whether or not there is profit to be made in the existing patrons that frequent the location. Much like the Assets system in Vice City Stories, Ray can revamp the property in different styles that will appeal to specific NPC’s. A cocktail bar in the city will appeal more to rich Yuppie sorts, while a nightclub will appeal to those looking to party and Live Music venues will be in the interests of those in search of good music. 

Purchasing assets will increase the incredibility of your business and the pull it will have in attracting customers. Again, these will cost you, but are necessary to establish a good profit margin. Funding in-house bands, purchasing centrepiece items for show, and kitting out a dance floor are all essential for maintaining business, while hiring numbers of bouncers will effectively deal with (and in the higher quantity they are hired) will deter trouble greatly and bartenders will keep the drinks flowing and the pounds coming in. In addition to this, you can also choose to allow drug dealers to operate inside for a cut of their profits, but this is at the player’s own discretion and again, this may affect the clientèle.

Once your new style is established, you will want to get on the doors yourself and make sure it is enforced. Utilizing the same system as Nightclub Security, you can choose to root out known troublemakers and refuse entry to those who do not conform to your new dress code. A counter – held by your accomplice on the door – will appear on screen denoting the amount of people in your venue and will increase/decrease as people enter and leave. This will give you a brief insight into if what you are doing is working or not.

To further increase exposure and revenue, the player can also choose to run advertising campaigns. Once purchased, the jingle will run on the radio (alongside existing commercials) for either one in-game week (£2,500) or one month (£7,500), drawing attention to your venue and thus having an impact on the profits for the duration the campaign runs. Along with bribing the necessary officials to keep the heat off any illegal enterprises (such as drugs, pimping) you have running in your establishment, advertising will cost you a fair deal of money to keep running, yet the player will reap the rewards in the long haul.

Additionally, as your credibility as a ‘businessman’ in this area is solidified, you may find owners of other businesses wanting to employ Ray’s services to clean up and turn around the fortunes of their own establishment, which will in-turn reward the player with money and allow for further interaction in the game-world.


Both are work in progress, as well as an interactive Black Market that will run consistent with the Burglary/Hijacking side missions, plus a take on Paramedic side-missions, Debt Collecting and Loan Sharking, as well as a Gangs System based around four interactive factors: Business, Fear, Respect and Strength that will hopefully stand alone as an update on the Respect is Everything notion of the GTA 2 style system.

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#295

Posted 04 February 2011 - 07:01 AM

I like the Reggae radio station icon14.gif

Tyla
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#296

Posted 05 February 2011 - 03:29 AM

Thanks Tommy. Bet you're an expert now Blood on the Hillside is up and running!

The Columbian Connection


A blazing joint illuminates the opening mission darkness, passed between hands to exchanges of chatter between four distinctively Jamaican voices. The camera pans back out of the exhaling smoke, revealing them to be four Yardies leaning against a rusted TIT freight crater, each in possession of an Assault Rifle. The Doherty Brothers are talking to one another close by, beside the water overlooking the disused Docklands space. Ray reaches them first, with Tony sporting the wounds of their straightener – a swollen face and stitches in his nose.

The Brothers are travelling into open waters to meet their Columbian contact, a representative of the Cartel in Columbia whom they are purchasing a large consignment of Cocaine from. Jackie has extended ties with the Cartel and negotiated a business deal to allow them to operate in London under the Doherty’s protection. Such a deal is very lucrative, and it cannot be sabotaged at any cost, leading to Ray’s presence as main muscle alongside four Yardies acting as additional protection.

When Tony summons them forth, they do not seem too pleased at Ray being there. They seem to think one of their own could have been given such a job, and in fact threaten to boycott their roll unless the cut they receive is upped. The leader is then taken aside by Tony, who tells the dread to remember his f*cking place, though this does not make him back down one bit. Merely to ensure everything does not go wrong at the last minute, Tony discloses within earshot that he will up their cut to £50,000 and have it delivered to their place in Brixton once the merchandise is distributed. Now appearing rather smug, the leader regroups with his boys.

You are now in charge of a Tropic, accompanied by a Yardie and instructed to follow the Doherty’s boat in front of you. Simply keep close for the duration of the journey, always staying vigilant for trouble. The Yardie accompanying Ray will initially be very hesitant to speak with you and focus on his joint (much to Ray’s annoyance) but will eventually engage in conversation. He will reveal his gang have a business relationship with the Doherty Brothers who often use them on such endeavours and as hitmen and thugs in return for protection in the drug trade. He also lets slip that they may be moving into the Heroin market, and he anticipates the violence that will come with such a move.

Eventually, you will be prompted to slow your boat to meet a large boat in the middle of the waters. A cutscene will show this to be the Columbians, a group of distinctive men eagerly awaiting the arrival of their partners. Ray is instructed to watch the boats while Jackie and Tony go and deal with them, taking two heavy briefcases. Surprisingly, Jackie communicates with the men in Spanish and through subtitles is shown to be skilled at bantering with them between exchanging the money for drugs. The exchange of the Cocaine soon begins to take place with several slave-esque workers bringing the drugs down and loading the boats – one of them is dragged aside by the Columbian and forced to test the quality of the product in front of Jackie and Tony. Once they are satisfied and all business is done, everyone departs.

You now spawn on board the Tropic with Jackie, keeping guard at the rear of the boat whilst a Yardie takes charge of the boat. The same journey will be made back to the Docklands, with Tony and the remaining Jamaicans sailing behind you. Jackie will remark how everything has gone as planned and what a good supply line they have in the Columbians, and how Ray will continue to profit from such an arrangement for his continued loyalty. Just as fate in Grand Theft Auto happens, a burst of gunfire slays all hope of a peaceful drug deal and the boats come under sudden attack. The Yardie mounted on the front of the Tropic is slain instantly, and the driver soon follows.

Like sharks, Albanian gangsters surround both boats and begin to engage in fire with you. Take cover below deck and hold your position, taking out your nearest attackers with your Assault SMG. Your attention is immediately directed to the arrival of two more Dinghies, flanking you at both sides. All around you, windows will be shattered by gunfire – immediately throw yourself into crouch cover (LS/L3 + RB/R1, and which Jackie will mirror) to avoid death, broken glass crashing down on top of both of you. Attackers that are not engaged in fire with Tony and his group will mount the front of your boat, and you must react quickly not to let them pin you down. Shoot at them through the broken windows, knocking them overboard in a hail of gunfire. Don’t worry about finishing them off in the water, as people tend not to resurface with a chest full of lead.

The Albanians then begin to employ the same tactics on the other boat, flooding the deck and pinning your allies down near the controls. You are instructed by Jackie to rid the boat of the lot of them – jump ship between boats after fending off all attackers remaining on the Dinghies, using the windows to shoot through and wound any Albanians running along the flanks. Others will take cover and wait for you to come out of yours to play you at your own game, so take caution when fighting through to the back of the boat. Once all are dead, your only remaining threat is a falling attacker, crashing to the deck via Tony’s boot, whose SMG will spray wildly when he topples.

Return to your Tropic and man the controls, wading through the aimlessly floating enemy boats to safety at your destination nearby. In Jackie’s eyes you have now solidified your worth, more than any fist-fight with his brother would, and as you dock, he mentions a big job he has planned is coming up and he invites Ray along. Details are scarce but he will telephone when he knows more. He thanks Ray before the mission ends, and his awaiting men begin to unload the drugs.

+£5,000

Akavari
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#297

Posted 05 February 2011 - 03:57 AM

You could build a novel with all this content and descriptive writing. Every mission is always a good read icon14.gif keep it up man.

Mati
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#298

Posted 05 February 2011 - 07:08 AM

Again a great lead. But you sure about the Albanians attacking the boat? I don't think they are interested in such stuff. The Albanians in the UK do sex trafficking, immigrant smuggling and have some H business with the Turks.

Tyla
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#299

Posted 05 February 2011 - 09:11 AM

QUOTE (akavari112 @ Feb 5 2011, 03:57)
You could build a novel with all this content and descriptive writing. Every mission is always a good read icon14.gif keep it up man.

Cheers mate!

QUOTE
Again a great lead. But you sure about the Albanians attacking the boat? I don't think they are interested in such stuff. The Albanians in the UK do sex trafficking, immigrant smuggling and have some H business with the Turks.


I wanted to lay it out so that the Albanians were possibly hired by another organization, such as the Russians, to wipe out the Doherty's (and steal their Cocaine) as to stem the flow of product into London and create an opening for themselves to seize control of the trade which the brothers are currently a power in. The Russians are meant to be very shadowy, and at this point the Albanians would be looking to build a reputation for themselves, so maybe its plausible? You'll see their true face soon enough, though.

The next mission also revolves around a drug deal and events mentioned in 'The Columbian Connection' will span out into missions of their own in the future. #20 is next and I want to make a big thing out of it... we'll be getting into the cream of the story soon wink.gif

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#300

Posted 05 February 2011 - 09:36 AM

QUOTE (Tyla @ Feb 5 2011, 03:29)
Thanks Tommy. Bet you're an expert now Blood on the Hillside is up and running!

Ha ha far from lol lol.gif

Nah I've listened to a lot of Reggae lately, I'm starting to like It more.




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