Quantcast

Jump to content

» «
Photo

Grand Theft Auto: Bohemians & Blackjack

Concept
58 replies to this topic
Cebra
  • Cebra

    Eh.

  • Leone Family Mafia
  • Joined: 06 Jan 2013
  • Canada

#1

Posted 06 January 2015 - 03:11 AM Edited by Cebra, 15 hours ago.

Cebra and Money Over Bullsh*t collaboration

KNnT093.png

 

Main logo credit goes to Graven

Heading and radio station logos courtesy of FunkyRJEternal Donkey, and SA's Most Wanted

 

MAIN THEME

 

Welcome to 1968. In the two most paramount cities of the era, you will follow the stories of three separate yet intertwining stories winding you across both a re-imagined San Fierro and Las Venturas, experiencing the unique culture of the times. From psychedelics and casinos to waning mobs and the Civil Rights Movement, it was an edifying time to be alive; the happy-go-lucky attitude of the '60s was just beginning to wear off and a grim reality began to set in: only the morally dubious would prosper through the chaos ahead. Only the ruthless will thrive in these cutthroat times.

fIv3mbx.png

In GTA: B&B, you lead the lives of three characters with the most common mindsets of the time - an out-of-work Vietnam vet, an aspiring mobster and a cross-county courier in the years 1968, 1971, and 1974. As with GTA 4's trinity, three separate stories will intertwine throughout a series of unfortunate events that lead our protagonists to work together indirectly. 

The game gives all players the chance to experience the period of the Counterculture Era for what it truly was - outrageous. From huge cultural events such as the Civil Rights Movement and the mob's last grasp at Las Vegas taking a starring role in the story, lots of satirical insight is given to one of the most historically shaping time periods in American history.

The overall aim is to provide a story that is equally as immersive as it is accurate, along with many convenient features that have been long awaited. Our protagonists are representations of the positive ethos that was finally beginning to dwindle as the 70s approached: desire to conquer, consequences be damned. 

xBzoON7.png

 

Colorful cities host a colorful populace. Meet some of northern San Andreas' liveliest offerings, from the pettiest of pushers to the highest of high rollers.

 

Esda5KY.png

R8YQ2T1.png

 

A 32 year old San Fierro native and Vietnam War veteran, Doug relocated to his hometown after being dishonorably discharged from the military when he was caught smuggling thousands of dollars worth of the USMC's equipment onto the streets. He's been reduced to spending his days with his wife and three year old daughter in their two-room apartment in Suppleham, wallowing in the regret of getting caught and waiting for some sort of action to take hold of him again. 

At the beginning of the game, Doug has $75 to his name and drives a blue 1963 Vapid Messier.

 

woALHRJ.png

Hailing from Carcer City, Julius arrived in San Fierro in 1960 with his brother Winston. After a near-decade of shifty jobs ranging from pizza delivery to slaughterhouse disposal, he joined Win in the virtuous career of courier work - just in time for it to become significantly less on the level.

At the beginning of the game, Julius has $400 saved up and drives both a cream 1962 Willard Gaia and a white 1966 Dinka DP420.

zHL7ULA.png

 

Flying in from Sicily with his uncle Giacomo in 1960, Dante hadn't an inkling of what lied ahead. A childhood of tough love led to a semi-recurring need for validation; a decent clout for wanting to do well in his elders' eyes. Now 23, having somewhat grown out of impulsiveness, Jacky's bosses have got their eyes on him. He knows it.

At the beginning of the game, Dante has $250 in his bank account and drives a yellow 1968 Barbican Piranha.

 

xM7DDQj.png

DlZdreB.png

Joanna Pryor: Youngest scion of a pear ranching dynasty, Joanna met Doug in 1964 while he was on leave. One thing led to another - before the year was out a baby was in tow, they eloped; she got axed from the will for marrying below the family. When Doug was discharged in '67, she felt she had put the wool over her own eyes and took it out on her husband - as a result, she's often home alone with three-year-old Bonnie.
 
Chad Pryor: Four years his elder, Chad grew up alongside Doug in the suburbs of San Fierro. Given his propensity for violence and teenage angst, it came as a surprise for all when he left for ULSA in 1951 to study law. After passing the bar with flying colors, Chad returned to San Fierro just in time to become a crusader for the Civil Rights Movement.

 

Marcus Vogel: Former USMC Corporal turned jobless nomad, Marcus risked sticking by Doug during the smuggling fiasco while furtively knowing his guilt. They were discharged together and now live in the same sh*thole - Doug knows he's been running up a tab for years that can only be paid off one way: cold hard cash.

 

Charlie & Archie Baker: The inseparable Baker brothers have long been the cause of all kinds of trouble; in recent months, they've been the ones in trouble. Racking up debt at a faster pace than the United States due to a constant craving for booze and cooze, they've turned their semi-successful motion picture enterprise into something slightly more seedy - they're under the green ownership of Joey Ferrito, catering to the more bestial indulgences of the hoi polloi.

 

Robert Kurtz: Leader of the east coast's answer to David Arnold's band of brothers, Robby Kurtz is a former squadmate of Doug's who long preceded him in the art of the dishonorable discharge. On the loose since 1964, he and his crew recently got tired of the drear and fear of Liberty; they've kicked dirt 'cross country, recently settled on the outskirts of San Fierro - the rural town of Pleasance, where they've taken to calling themselves The Lost in honor of their exotic environs.

 

Mick Cassidy: In addition to having long abandoned his pledge to protect the general public, Lieutenant Mickey Cassidy of the SFPD has also ditched the guise that his corrupt approach to law enforcement is for the greater good. Self-centered and self-serving, his badge serves as the sword that allows him to pillage and pilfer - bureaucratically, of course - as he sees fit in the name of personal enrichment.

 

John Muscarella: A former lawyer turned San Andreas state senator. They say the only honest politician is one who can stay bought, and a lawyer-politician combo doesn't bode well. In spite of his slimy resumé, John Muscarella's specialty as a lawyer was government anti-corruption cases; as a senator, he devotes his time to advancing civil rights. Despite his pure intentions, he's still a victim to the age-old adage - his financial backings will return to supply a firm bite to the ass.

 

Edward J. Segal: A Sergeant Major of the USMC, Eddie Segal was, in spite of all outward appearances, the mastermind behind the smuggling operation that Doug regrettably took part in. Now retired from active duty and considered a war hero, no one's the wiser of his involvement except Doug himself. As fate has it, he's decided to carry on with his retirement in Calton Heights - a mere five minute drive from Doug's own home.

 
Randolph Harris:  One of Doug's former brothers-in-arms, Randy Harris spared no time rising up the ranks of San Fierro's police department after a suspicious helicopter malfunction left him cleared of Vietnam duty. He's the perpetual good cop, always wanting to make up for his misdeeds during the war - a sentiment not jibing well with his orders to work hand-in-hand with some of the city's undesirables as part of an early gang task force initiative.
 
Ying "Winky" Marquez: Coupled with his befuddling ancestry, Winky Marquez is a low-tier heroin dealer and Triad hopeful. While running his previously budding operation out of Pocilga Lodging, he met Doug and the pair formed a lukewarm business relationship - yet another source of tension between Doug and his wife. But recent shifts in the San Fierro drug trade have forced Winky aside - the cash tap is running dry for all involved.
 
Baldwin Schultz: Intimidating in his youth, this retired arms dealer has become old, frail, and hard of hearing in his golden years. Schultzy acted as the land-water liaison in Eddie Segal's smuggling fiasco and got away with most of the money - but that hasn't stopped him from living a life of intense frugality ever since; a hermit in a cabin atop Mount Callahan.
 
Damon Leung: A third generation Chinese-American who doesn't seem to know it; Damon is an enforcer in the San Fierro Triads who prefers every aspect of the "old country" he's never visited. A stickler for anonymity and discipline, he overlooks much of the gang's local drug operations and reports up the ladder instead of taking action himself - making him a powerful contact for those with something to gain.

 
Tsang Kan Kuen: At the top of that serpentine Triad ladder, a man known as Connie to his more Americanized subordinates sits perpetually satisfied with himself. He was sent off from his eager Maoist origins in 1956 to organize the ragtag hierarchy of San Fierro's resident Triads, an endeavor he has completed all too well. Between human trafficking with the Soviets and drug dealing with the Mexicans, Connie has found an unforeseen consequence in American markets - the tossing aside of his pinko origins; the embrace of the joys of consumer capitalism. 

 

Wei Cheng: A young Triad envoy sent from Yangshan to pad Connie Kuen's numbers, Wei is both ambitious and mischevious in his approach to a life of crime. In plain words he has no respect for ancient customs, nor the practice of elderly respect - he's in America to do damage, and in the fountain of youth he intends to make the water red.

 

Oscar Deng: The bellicose history between the Dengs and the Kuens goes back dynasties; it was brought to an end in the early years of the Great Qing after a liaison between an Imperial noble and a well-born temptress resulted in a child. That affair reverberates centuries down the road: it's the only reason the brute known as Oscar the Ouch has made lieutenant in the otherwise tight-laced matters of the Kuen Triad.

 
Lex Gianakos: A socialite before socialites with an exotic background and fingers in every illicit pie, Lex Gianakos is known as a cipher equal parts coy and cruel with no discernible origin story. It's widely accepted across the west coast that, regardless of her potential unsung loyalties, she's a necessary evil to have on your side.

Slzly0F.png
Winston Cole: Three years younger than Julius, the Coles' good son made it all the way to university before a criminal framing brought him tumbling down. Disillusioned with society in general, he didn't hesitate to cross the country with his brother in 1960 - after eight years of intermittent employment, he's found a pursuit in civil rights and has made connections he hopes he'll never need to use.
 
David Arnold: A professional chopper enthusiast: Dave owns a chop-shop in Dutch Flatlands, and in the eyes of the law that's as far as his enterprising goes. In the underworld he's known to be a suave businessman of another fashion with an explosive temper and a Redwood perpetually in hand. He's currently the de-facto leader of San Fierro's biker culture, which has recently dipped its toe in the international heroin trade.
 
Dirk Dunne: A formidable presence with the brazenness to match, Dirk is second only to David Arnold in the biker crew hierarchy. Another example of classic brains vs. brawn, Dirk provides the terrorizing muscle behind the organization while David presents a purely businesslike facade - but the fact that both men consider themselves the boss is slightly problematic. The ostensible united front is about to crack.  
 
Freddy Peters: The owner of Intrepid Courier Service, Freddy's come to be known as a surrogate father for his employees - complete with raging temper and all. In spite of a life running forty-some years of scrupulous values, the city's beginning to swallow him up in debt and dismay: turns out he's no more immune than anyone to sin when faced with the prospect of ruin.
 
Harry Bulle: ALL A man who likes inside jokes - he chose "Harry" from the 'Tom, Dick & Harry' type of everyman, and his job at the International American Airline for the innuendo alone. Every aspect of Harry Bulle is a farce, marred behind layer upon layer of red tape and blind alleys. From a motel an even run between San Fierro and Las Venturas, he runs clandestine ops for God-knows-who for Lord-knows-why, but always in the company of an even-keeled sense of humor.
 
Bennie Bartok: One of San Andreas' newer players in the drug trade, Bennie is already known as a force to be reckoned with. His laid-back disposition works hand-in-hand with his disarming figure, but he's got a dangerous knack for negotiation and depravity while behind closed doors. He advertises as one of the cheapest fixers currently on the market - loyal only to the highest bidder.
 
Dallas Bloomfield: Jack of all trades or an incompetent bum; a pinko bastard or a madcap anarchist - speak to different folk, get different answers. His paper trail paints no clearer picture - a journalism degree in the deep south, a tryst and quarrel with a Spanish duchess, a charge for felony mayhem in 1966 - now, he runs his own journalistic outlet from a Poacher's Beak warehouse when he's not running with David Arnold and his gang of desperadoes.

 

Chester Goldwater: A New England drug runner with deep-rooted links down south, Chester Goldwater drifted all the way to Los Santos so he could sell weed to the free spirited alumni of ULSA - before long he had a habit of stealing airplanes from private Blaine County airfields in order to deliver to the Mexes; a business relationship was born, but didn't last. Chester the perpetual transient fell in with some hippies; he's broken new ground further north.
 
Henry Katz: Long-successful record executive known for his reach across all musical genres, Henry Katz's auteur status is owed to his children's fingers on the pulse of young society - not his. The facade of avant-garde knowledge has gained him many successful contracts in the meantime, thanks in equal part to his underworld connections - the question is: how long can he maintain the balancing act?
 
Bruno Grzybowski: Voted most esteemed agent of the Department of Opioid and Pharmaceutical Exploitations since '65, the colloquially known Agent Grotto has never hesitated to be brutal and calculated in his efforts to curb San Fierro's growing drug epidemic. Perhaps he wouldn't be as revered if his superiors knew of his back-alley deals - a wet beak in exchange for busting only the pettiest of pushers. 
 
Matilda Yong: Luckily for Matilda, her patrons are an inherently no-questions-asked type of clientele. Perhaps if they were, they would ask how she managed to pop up in S.F. come 1965 with a small fortune in counterfeit bills and a Chinatown building lease without so much as a peep beforehand - or why half the time she doesn't respond to her name. When she put the apartments above her parlor up for rent in '68, the equally reticent Cole brothers came a-knocking.
 
Roxanne King: A Los Santos girl born and raised, Roxanne migrated to the Iron City to join her brother Freeman after the Rancho Riots. She and her shadow found work in a local Suppleham watering hole - it's there she met Winston Cole, where they founded the S.F. chapter of the House of Racial Equality with only the purest of intentions - three years down and he still hasn't met her brother, a man significantly less altruistic than the dynamic duo.
 
Leon King: Pillar of the Birchwood community just outside San Fierro, Leon has his sister four years beat in arriving to the city. Rather than flee the Rancho Riots like Roxy, he took a return trip home just to participate in the chaos. He avoided arrest, made a name for himself after torching a command post, found himself revered by the black community of Birchwood on his return back home. Vain and visionary as ever, he took the opportunity to found the Leopards of Leon - a civil rights organization on paper, currently under investigation for sponsoring every crime under the sun.
 
y2evveq.png
Jacky Gallo: Dante's only uncle, Giacomo came to America at the height of Prohibition. After a rise and fall under the eyes of a local thief ring, he headed east straight into the arms of the Gambettis. An astute business acumen boosted him to underboss by the 60s, when his paisan Amerigo Cazzini recruited him to oversee Venturas ops in perpetuity.
 
Jon Gravelli: A consistently dependable worker for the Gambetti family since the age of twelve, Gravelli has recently been promoted to capo and shipped off to Las Venturas just in time to miss the birth of his son. In love with his work but having left his heart in Liberty City, he is known as a fair and level-headed leader with a zero tolerance for callowness.
 
Amerigo Cazzini: A Mustache Pete through and through, Cazzini came to North America in the early 20s to flee the state police and four angry husbands. The full Sicilian package of a sadistic streak and heightened business savvy, he found triumph in the Prohibition bootlegging operations of eastern Canada. Of late, his personal kinship with Gambetti head Sonny Cangelosi has earned him a spot further south - heading the Sicilian sect of the Gambettis as their Las Venturas intermediary.
 
Ettore Boccino: Product of a long line of slimy businessmen and con artists, Ettore was the first and only to welcome Dante to the neighborhood. He taught the boy English and how to hustle; the brother he never had. With the pair growing up around men like Jacky they inevitably found themselves drawn to the lifestyle - if only they ever found success in it.
 
Sebby Boccino: One of those aforementioned slimeball con artists, Sebastiano Boccino is Ettore's father and one of the casualties of the Gambetti family's Liberty City purge - any and all weak links sent to the land of slot machines. Turns out he's well suited to it; his affinity for unsightly polo shirts is uninhibited by the weather, and corpse disposal is only a fifteen minute drive to a hole in the desert - what's not to love?
 
 Vivienne Lemay: One of Las Venturas' most prestigious poker players, "Lady Vee" is notorious on the strip for her talent of cleaning out any casino that dares let her enter. Blacklisted from all but three Venturas gambling outlets, she is eager to try her hand at La Penisola upon its opening in early 1968 - little does she know, the Cazzini family have long had their eyes trained on her.
 
Linwood Kennedy: Famed alum of Classic Vinewood's silent era, Linwood Kennedy has amassed such an immense fortune in the past three decades that he's been allowed the luxury of practicing peculiar hobbies. Besides snow globe collecting, harvesting carnivorous plants, and faking his own death for sport, he rejoices in purchasing controlling stakes in thriving industries, only to bleed them dry and inevitably forget about them. After a long life stuck in Vinewood he's moved slightly north - drawn like all to the neon lights of Las Venturas.

 

Sammy Moreno: Former city alderman from the Midwest, Sammy Moreno has long retired his political aspirations in favor of a equally corrupt agenda - cavorting with organized crime and government agencies alike. He's a man serving many interests, above all his own; only a small party are privy to just what extent this attitude operates. He'll take it to the grave. 
 

The Commission: Composed of the heads of Liberty City's five families, The Commission rules over all mob-related decisions - including those dictating Las Venturas' fate. As of 1968 it is composed of Pasquale Ancelotti, Giustino Pavano and Vincent Lupisella. Sonny Cangelosi and Victor Noto represent the Gambetti and Messina crime families, respectively. (Left to right - Cangelosi, Pavano, Noto, Lupisella, Ancelotti)
 
Giovanni Ancelotti: As Pasquale Ancelotti's nephew, Giovanni has long been considered the obvious choice to succeed his uncle's position as head of the family. He's fair in his dealings, unbiased in his affairs, ostensibly peace-seeking - if only they knew of the fire in his heart, the yearning for the day his beloved Uncle Pasquale keels over so he can begin pulling the reins.
 
Carlo D'Aversa: Las Venturas' casino frontman, Carlo has always been popular among the comers-and-goers of the strip. Known for his happy-go-lucky attitude and ostentatious habits, Carlo hasn't been quite himself lately. He's being pulled down the middle by the Gambettis and the Ancelottis - the former trusting he'll provide a garish open to La Penisola, the latter hoping they can hook him over to play for the other team.
 
Michael Caccina: With a penchant for flashy shirts and philandering, Mikey's an Alderney City bookie who got demoted cross-coast when he slept with a Lupisella capo's goomar one too many times. The Gambetti brass shipped him out with the hope that his numbers skills would prove useful in the casinos - they don't know the resentment he harbors for pulling him from his stomping grounds.
 
"Chubby" Charlie Matteo: From the nickname alone, people expect to come face-to-face with a waddling Guernsey greaseball of middle age - they're wrong. Rather, young Charlie Matteo's moniker comes from the predatory vig he charges on his loans which, even at his young age of twenty, have inspired many a successful Alderney risk-taker to file for personal bankruptcy. His zeal for the old ways of the life are paving the way for a long-lived career in Ancelotti loansharking; the Las Venturas wing of the family needs his services more than ever.
 
Pip & Pat Trompi: The Trompi brothers are the Ancelotti family's main enforcers, bringing both the brains and the brawn to the table. Despite the longstanding war, Ancelotti higher-ups waited until Venturas was a sure thing to send them in. Pip's laying low under his permit to get the city in Ancelotti hands at all costs. His little brother, on the other hand, has a mouth that can't contain his fervor - even in a city of callous windbags.
 

REjSIYo.png

1968. A seemingly perpetual overseas war on the horizon, and it's no different at home. Between the commies and their robust firepower and American-made weaponry being smuggled back home, there's certainly no shortage of deadly instruments flowing onto the streets of San Fierro and Las Venturas. You'll find weapons befitting their constituents - the Triads and their Mao-made SMGs, biker 'Nam vets with their powerful pistols. 

 

As always, certain protagonists carry certain perks - in this case, Doug already has a fairly adequate arsenal at the game's start courtesy of his time in the service. As for the other two - status quo antebellum.

 

eZuNusC.png

 

dQGsTS8.png

 

o2whPeT.png

 

 

98DJxjx.png

 

RQdp7dg.png

 

As the first GTA game set in a drastically different time period, B&B aims to enter foreign territory as far as modern conveniences go. No texting, cellphones or even pagers are available to keep in constant contact with your criminal compatriots; we enter the "old-world" way of connection. Playing as this entry's focal trio, you'll notice how much this affects your discovery of the in-game world. Whether you're trying to conquer the Venturas mob scene as Dante, make your riches as Julius or overcome your demons as Doug, things will be different. The word on the street will become your main point of reference for how business is being viewed, so keep your ear to the ground and listen for hints from the population that, if exploited, can pave your way to success.

 

 

 THE PASSAGE OF TIME: B&B will explore the drastic changes that took hold as America entered the 1970s with civil issues abound. Views of race, morality and prosperity were changing faster than many could keep up; the perfect arena for criminals to thrive. 

  • 1968: We're dropped into 1968 - the status quo of the 60s is being uplifted by the reactionary roots of the counterculture movement. With issues never before questioned being raised like a house on fire, you'll find the year's period of uncertainty shown in every facet of west coast culture. 
  • 1971: Three years down the road, society is in a full-blown hippie haze. Music's loud and mind-bending, cars are tough and hard-bodied, the people are free and easy-going. It's a utopia for those of a certain mindset - but you better enjoy it while it lasts, 'cause it ain't lasting.
  • 1974: Ain't lasting indeed: reality always takes time to set in, doesn't it? Even as a certain war ends and things should be ever-better, failed political conspiracies and worldwide oil crises take a toll on even the most gonzo of places. Brass tacks are back, Jack.

 

 A LIVING WORLD: The old-time setting brings ahead the biggest change: in a living, breathing world, your every action is important in a time where word travels mainly by rumor. All aspects of criminal life are subject to scrutiny.

  • Gambling: Want to turn your characters into card sharks? Whether you win or lose, your reputation will precede you. A losing streak will guarantee more people want to play you because they think you'll bust out at every turn. Win every time and you won't be offered as many street games, but entry to high-stakes tournaments will present beaucoup bucks rewards. See Gambling section for an in-depth look at the gambling system itself.
  • Image: As you progress in your criminal exploits and the public begins to learn your name, the way you carry yourself will take affect on your perceived persona. Dressing well and driving flashy are good ways to look successful, but your business approaches are taken note of as well. Don't get revenge when someone tries to torch one of your businesses? Expect it to happen again. Ruthlessness gets noticed - don't let people f*ck with you.
  • Violence: You go out and do what you want to do; that's the freedom of GTA. But a violent streak will ensure you are treated appropriately, be it by passerby or shopkeeper. Pedestrians may give you wary glances or just plain run away upon seeing you. Shopkeepers, depending on the business, may either offer you discounts out of fear or refuse service altogether. Be an asshole in moderation.

 

A REPUTATION SYSTEM: A more in-depth version of the system in Red Dead Redemption, B&B's reputation system analyzes all gameplay choices to give your characters their unique personas. While the protagonists already have their goals in mind as the game begins, it is up to you to truly shape how they reach them. Inconsistency between cutscenes and gameplay is no more; everything is taken into account. Frequent visits to "massage" parlors as Doug may yield hostility from his wife and quips from his friends as word of mouth travels. Instigating street fights as Dante will make him feared as tied in to the Violence section above, but winning them may earn him higher payouts in the fight cages. 

This extends to business, too. Julius' tenure as president of his courier service is directly influenced by how much you care about it. Ensuring packages are delivered safely and without drama will earn you more business and bigger contracts. Ignoring it altogether will equally ensure its foreclosure-you'll have to find prosperity elsewhere. How you dress, act, and conduct business shapes your protagonists more than ever.

 

A FUNCTIONING ECONOMY: While the stock market is not around in this installment, other features have been implemented to show the process of change in Las Venturas and San Fierro. As the game progresses, stores may close and reopen, shopkeepers will age and eventually be replaced, buildings will be built on previously empty lots and much more. As Doug, Dante or Julius you now have the ability to decorate their homes as you see fit; for each room, you are given up to four options on what decorative style it takes on, much like Saint's Row 2's customization system. Your businesses will be influenced by the city's mood as the years progress, and it's up to you to see economic change coming if you want to stay afloat. See Business section for more information.

 

CAR RADIO: Unlike previous iterations, the in-game radio is more dynamic as ever. Upon pressing the corresponding button/key, the camera will zoom in to the radio. From there you are free to scroll AM/FM stations until you find a randomly generated song or political discussion that suits you. If you're in a rush, there are still the traditional station choices with a long list of tracks to choose from. See Radio section.

 

HANGOUTS: Although less invasive than they were in GTA IV, friend activities have returned in B&B. Main characters all have their own residences with enter-able interiors now, so instead of using a payphone or hobbling into the nearest restaurant to make a call you can now simply knock on their door and go out. These activities range from restaurants, bars, disco clubs, dart & pool venues, strip clubs, drive-in cinemas and more. All friends have one unique activity that only they can be taken out to, and some friends may call you for favors ranging from things as simple as a lift to beat-up missions and small-time robberies. See Friends section for more.

 

FAVORS: In an effort to provide an open and fully interactive world, multiple objectives can be accomplished by doing favors for NPCs around the map. Say, for example, you need to find a hit target but don't know his location. You can take the traditional routes - follow a friend to his residence, offer someone a bribe - but you can also complete favors for people with the information. These range from jury intimidation to auto theft and even charming a famous actress; really, anything is possible in this situation.

 

 

 

h4GlBUc.png

 

Spoiler

 

The cities of San Fierro and Las Venturas are separated into Districts. Within these districts are neighborhoods, which are all entirely unique and evolve as the game goes on. In between the two cities is an expanse of desert, where small towns and venues are scattered across. Below is a list of districts, neighborhoods and desert towns in the game.

 

San Fierro

yjFVd9t.png

 

Iron Coastlands: Consisting of Quest Sound, the Dutch Flatlands and Poacher's Beak, the Iron Coastlands consist mostly of industrial factories, many of them abandoned and in disarray - the SFPD know that no amount of policing will heed the amount of illegal dealings that go on under the moonlight. Of the three, Poacher's Beak is considered the "safest" to venture into overnight, seeing as it's the only one with residential areas. David Arnold's chop shop is right in the middle of the Dutch Flatlands district, which tangibly belongs to him, and Quest Sound is the place to go if you're looking for questionable narcotics or solid weapons. If you aren't up for paying, the San Fierro Naval Dockyard is host to the most military contraband in the state; try your luck.

  • Quest Sound Still mostly empty with exception of a few looming warehouses and vacant alleyways, the perpetually half-flooded Quest Sound - The Bayou - is Fierro's go-to place for deals of the shadiest kind. Until someone wealthy enough decides to initiate a redevelopment project, the SFPD chooses to ignore the fact that every night, the population experiences a sudden boom.
  • Dutch Flatlands Consisting almost entirely of run down and abandoned buildings, there is absolutely no reason for anyone up to a reasonable amount of good to venture into the Flatlands. De-facto owned by David Arnold and his gang, the police stopped patrolling the area ages ago.
  • Poacher's Beak Being the least dangerous neighborhood of the Coastlands doesn't make it safe by any stretch of the imagination. Poacher's Beak is a cesspool of sketchy massage parlors and liquor stores with upstairs apartments. You've still got a 50-50 chance of getting mugged or propositioned while walking down the street, but it's a whole 'nother world compared to the Dutch Flatlands.

----

Sunset District: Calton Heights, Westwood, Vista Park and Princeton are the neighborhoods of the Sunset District. Previously occupied by lower-middle class, the district has recently received a surge in property purchases by those in the know. Tightly packed Victorian-era townhouses populate the narrow streets that offer sweeping views of the bay.

  • Calton HeightsPreviously known as Andreas Heights, in recent times this neighborhood has been inhabited by those with money to spare. Located at the top of a steep incline, Calton Heights features a great view of Easter Bay and is home to the most affluent in the city. Despite the high property prices, the streets of the neighborhood are plagued with young "artists" hocking their newest music and advertising clubs in the city's seedier locales during the day, and the "classiest" of working girls at night.
  • Westwood - Virtually identical to Calton Heights, Westwood sits high above sea level and is populated to the brim. However, it remains untouched by the higher class. Victorian houses not maintained since their inception continue to fall apart at the seams behind well-maintained lawns and gardens. Due to not knowing what sort of audience they might find, Westwood is free from any sort of hecklers and is the quietest of the district at night.
  • Vista Park - Unlike the others, Vista Park was never considered a great place to live. Apartment tenements highly outnumbering historic homes took away from its charm atop San Fierro's highest hill, but the Summer of Love brought hundreds of young couples to the neighborhood. Now fully populated, one might call it the nerve center of counterculture.
  • PrincetonHalf at sea level and half uphill, Princeton used to be a quiet residential area. Recently, it's turned upside down and has become a safe haven for the LGBT community in the aftermath of the Summer of Love and more nightclubs and bars are springing up than ever. History buffs and natural beauty keep its reputation as prime real estate.

----

Lusitano Hill: Only the neighborhoods of Suppleham and Little Hanoi remain part of the formerly sprawling locale of Lusitano Hill. Constricted to the east by San Fierro's expanding downtown and to the west by the estates of the Sunset District, it has become a haven for those with little cash to spare and nowhere else to go.

  • SupplehamBooming from the Gold Rush until the end of Prohibition, Suppleham developed into a refuge for GIs as the 1940s approached. Its nightlife was swept aside as properties were flipped residential - it could only work for so long. Now, as WWII fades into the past and the draftees move on, it has turned to a something of a melting pot; jazz clubs, burlesque theatres and massage parlors now line the streets. The homes have been kicked upward - single occupancy apartments above the businesses. Doug and his family live at Pocilga Lodging, one of the only apartments left that operates not only in name.
  • Little HanoiPart of Suppleham in reality but not in spirit, Little Hanoi is distinct in its purely Vietnamese identity. Plain and simple - don't venture in here unless you speak it or look it, at least until the war's over.

----

 

Sastre Outlook: Home to those rich enough to acknowledge San Fierro's cultural scene from afar but too brassbound to take part in it, Sastre Outlook's district/neighborhood combo offers stunning views all around to look down on the commoners below. Recent picketing has put a pin in the district's perpetual air of superiority, laying bare the fact that no amount of elitism can keep out an increasingly unruly populace.

 

----

 

Greenwich: A district of shifting populations since the Gold Rush, East Greenwich, West Greenwich, Equator Bay and Kennedy Park make up San Fierro's middle-class compromises. The district border has been consistently warping since the 40s, pushing stucco dwellings to the brim with - most recently - headstrong Chinese immigrants who refuse to live in Chinatown.

  • East GreenwichConstantly under construction and split down the middle between ancient Victorians and budget crash pads, its borders are rounded out by the Sastre Vista highlands one way and San Fierro's token park on the other. East Greenie is affordable and cultural - and the bohemians are taking notice.
  • West GreenwichWhen the Greenwiches became two, the west side got away with most of its fabled antique housing. With sandy beaches on one side and lush parks on another, only those appreciating of nature and tolerant of peculiar smells inhabit it.
  • Equator BaySmack dab in the middle, Equator Bay was left out of the Greenwich moniker. It has its own identity instead - numbered streets, abundant murals, and cheap duplexes. Its second only to Chinatown for the highest concentration of Chinese immigrants; ones who prefer to live in relative anonymity.
  • Kennedy ParkKennedy Park is nothing more than a glorified nature reserve built around an abandoned asylum. It's a tourist trap for those excited to see the end of the Great Ocean Highway, but that's about it. Recent talks of tearing down the crazy house have been tossed aside by locals as a pipe dream; San Fierro's government acting on its proposals? Inane.

----

 

ChinatownAnother district/neighborhood mashup, San Fierro's Chinatown is the oldest of its kind. If it's food cart nosh, faux imperial architecture and bargain, 50/50-shot-of-a-happy-ending massages you seek, it's your port of call. Just ignore the influx of immigrants hoping to keep the district to themselves. Above one of those infamous parlors sleep the Cole brothers, undying sticklers for budget living.
 

----

 

Nocaro Esplanade: Under this district's umbrella fall San Fierro's varied waterside neighborhoods: Clarita Quay, Balandro, and Las Llegadas. They might share a nautical view, but that's about it - the San Fierro city council sits partial to the remunerative neighborhoods only, letting the flower children fight for the scraps elsewhere.

  • Clarita Quay - As some of the Esplanade's other developments fell into disarray, Clarita Quay's grandiose allure kept it 100% afloat. It's survived the times as a token of nostalgia, seemingly untouched by modernity to the benefit of the rich and tourist-inclined alike. Main attraction - Victoria Dock, where anyone can gorge on seafood while eyeballing the filthy rich do the same on their moored yachts nearby.
  • Balandro - Twenty years ago Balandro could've been considered Clarita Quay's sister section - if its original architect hadn't insisted on forging it in wood, that might still be the case. Now it's falling to rot, both literal and metaphorical - it's closer to the Dutch Flatlands than its neighbor in spirit.
  • Las Llegadas - Commemorative fountains and an abandoned army post: what's not to like? Fort Woods has been chiefly forsaken since the end of the Korean War; it lays waterside as a target for urban exploration and patriotic photo ops, zip else. The open land of its few plazas, however, are ripe for bohemian outdoor living.

6acPhxK.png

Mission NamePlotLink
1: Three Guys Walk Into a BarJulius Cole, Doug Pryor, and Dante Gallo act out a typical day in the life as unfamiliar prospects loom on the horizon. Click
2: Top of the SlideAfter finally achieving a face-to-face with his newest employer, Julius is put to a haphazard test in a surreal environment. Click
3: Bet Your Bottom DollarDante takes a trip to the desert to deliver a package on behalf of his uncle, then enacts some revenge with the help of an old friend.Click
4: The Gordian KnotDesperate for work, Doug teams up with a former business associate and earns a chance to showcase his skills to a new organization. Click

 009otZa.png

GTA B&B integrates the traditional series side-missions with more structured tasks incorporated into the storyline. Here is a list of them, in order of unlocking:

 
Winky's Wetwork (Doug)
The first structured side-mission available in-game, Winky's Wetwork consists of Doug's efforts to keep Winky Marquez's Triad-affiliated drug running op afloat. Tasks range from the menial - overseeing Chinatown poppy shipments or keeping workers in check - to the more intricate, such as roughing up unruly employees or getting the dirt on warehouse owners downriver. As the story progresses and Winky learns the ropes himself, Doug will receive a thanks with decent severance. There are seven scripted missions:

  • The Birds: Doug oversees a shipment of heroin coming in through the open waterfront; open season. With the help of Triad goons, ensure the cargo is safely tucked into the vans as rival thugs attempt to butt in from the sky - ward them off and bring a batch straight to Damon yourself for extra compensation.
  • Badlands Redux: At the behest of the Triads themselves, take out the ringleader of the other day's ambush from his mountaintop cabin south San Fierro. 
  • Crème de la Crème: Conduct a business meeting yourself out of a Poacher's Beak confectionery and prove your reputation as a stalwart negotiator - if you've got good eyes you'll double-cross the double-crossers before they can do you any wrong.
  • Prohibition: As the Triad warehouse housing the goods from the confectionery deal gets raided, find a way to relocate the goods without getting busted.
  • Chief Shaft: Obtain some coercion-worthy exhibition shots of the drug case's lead investigator and shrug off funny looks as the photos get developed.
  • Tropic Sun: With the heat off Winky's back, stake out the agreed meeting place to offload the goods before the deal takes place and eradicate any undesirable elements.
  • Heroin Chic: In the company of Winky and a band of Chinese goons, ensure the biggest deal of his career goes off without a hitch.

Weapons Trafficking (Doug)
Maybe second time's the charm. Doug still holds contacts within the USMC willing to part with some firepower despite the original ring's disastrous fate - with the help of Baldwin Matthews, Doug returns to his old tricks sans the deceitful Sergeant Major. With good work put in along with Doug's career advancements elsewhere, the missions become increasingly complex and doubly rewarding as time goes on. There are five varieties of missions:

  • The Oceanic: Be it through stealing or purchasing, this mission takes Doug out on the water to complete his objective. That's not an indicator of anonymity - San Fierro has eyes on the sea 24/7 to protect the SF Naval Dockyard. Grease the Coast Guard's palms yourself or think of another way through, because naval warfare isn't a force to be reckoned with in these trying times.
  • The Smuggler: Race to the given locations and stuff some weapons in anonymous dropboxes around the state - just watch out for setups and crackdowns.
  • The SaboteurAs always, the arms race is not without opposition. Through force of wit or ferocity, let your competitors know that northern San Andreas has only one name for blackmarket weapons.
  • The DealMeet with contacts statewide to seal the deal on a sale. Be aware - with no means of verification, you're always taking part in a risky business. Cop or crook, see to it that things are done on a level playing field.

 

Will be added to daily. TBC. :)

  • Tyla, B Dawg, universetwisters and 17 others like this

Cebra
  • Cebra

    Eh.

  • Leone Family Mafia
  • Joined: 06 Jan 2013
  • Canada

#2

Posted 11 January 2015 - 10:25 PM Edited by Cebra, A week ago.

D745FLU.png

Because video hasn't killed its star just yet.

 

Lc41uMA.png

 

1968

Albert King - The Huntér

B.B. King - Rock Me, Baby

Eddie Floyd - I've Never Found A Girl

Etta James - At Last

Elmore James - It Hurts Me Too

Howlin' Wolf - Smokestack Lightning

Janis Joplin - Summertime

John Lee Hooker - Boom Boom

John Lee Hooker - No Shoes

Johnny Watson - Three Hours Past Midnight

Junior Wells - Vietcong Blues

Lowell Fulson - Reconsider Baby

Muddy Waters - Mannish Boy

Otis Spann - Must Have Been The Devil

Wilson Pickett - Mustang Sally

 

1971

Derek and the Dominoes - Have You Ever Loved A Woman

Howlin' Wolf - How Many More Years

Led Zeppelin - I Can't Quit You, Baby

The Rolling Stones - Love In Vain

 

1974

 

BYLg17G.png

1968

Sly & The Family Stone - Everyday People

The Chambers Brothers - Time Has Come Today

The Flaming Embers - Hey Mama

The Temptations - Cloud Nine

 

1971

Rare Earth - Get Ready

 

1974

Can - Vitamin C

Marvin Gaye - Let's Get It On

Roberta Flack - Killing Me Softly With His Song

 

 

WGKZdaL.png

 

 

1968

Buffalo Springfield - For What It's Worth

Cream - Sunshine Of Your Love

Donovan - Season of the Witch

HP Lovecraft - At the Mountains of Madness

Jefferson Airplane - White Rabbit

Kenny Rogers & The First Edition - Just Dropped In

Pink Floyd - Remember A Day

Sun Ra - Rocket Number Nine

The Beach Boys - That's Not Me

The Beatles - A Day In The Life

The Byrds - Eight Miles High

The Doors - The End

The Pretty Things - Defecting Grey

Tommy James & The Shondells - Crimson and Clover

 

 

1971

Big Brother And The Holding Company - Combination Of The Two

Cream - Born Under A Bad Sign

David Bowie - Space Oddity

Iron Butterfly - In-A-Gadda-Da-Vida

Jefferson Airplane - Eskimo Blue Day

Jimi Hendrix - All Along The Watchtower

Jimi Hendrix - Voodoo Child

Led Zeppelin - Dazed And Confused

Love - Always See Your Face

Love - The Red Telephone

Pink Floyd - Careful With That Axe, Eugene

The Grateful Dead - Dark Star

The 13th Floor Elevators - You're Gonna Miss Me

The Lemon Pipers - Green Tambourine

The Millenium - To Claudia On Thursday

 

 

1974

Genesis - The Lamb Lies Down On Broadway

Pink Floyd - Eclipse

Supertramp - Dreamer

The Beach Boys - Good Vibrations

The Beatles - Tomorrow Never Knows

The Byrds - Everybody's Been Burned

The Doors - People Are Strange

The Doors - Hello, I Love You

Vanilla Fudge - You Keep Me Hanging On

 

 

QC6h3aS.png

 

1968

Alton Ellis - Rocksteady

Bob Andy - I've Got To Go Back Home

Dave & Ansell Collins - Double Barrel

Eric Morris - Say What You're Saying

Jackie Edwards - Keep On Running

Larry Marshall - Nanny Goat

Lee "Scratch" Perry - People Funny Boy

Max Romeo - Jordan River

The Bleechers - Pound Get A Blow

The Paragons - The Tide Is High

The Skatalites - Guns Of Navarone

The Wailers - Rude Boy

 

1971

Carl Dawkins - Satisfaction

Desmond Dekker - It Mek

Jimmy Cliff - Wonderful World, Beautiful People

The Melodians - Rivers of Babylon

Tony Tribe - Red Red Wine

 

1974

Bob Marley & The Wailers - Get Up, Stand Up

Carl Douglas - Kung Fu Fighting

Harry Nilsson - Coconut

 

 

 

9EiOR4L.png

1968

Buddy Holly - True Love Ways

Dean Martin - Volare

Elvis Presley - Can't Help Falling In Love

Everly Brothers - All I Have To Do Is Dream

Frank Sinatra - Don't Worry About Me

Johnny Mathis - Chances Are

Johnny Mathis - Wonderful, Wonderful

Nat King Cole - Unforgettable

Randy & The Rainbows - Denise

The Cleftones - Why Can't We Be Sweethearts

The Crests - 16 Candles

The Harptones - Life Is But A Dream

The Moonglows - Sincerely

The Platters - Smoke Gets In Your Eyes

The Wrens - Come Back My Love

 

1971

Bing Crosby - Just A Gigolo

Bobby Darin - I'll Remember April

Frank Sinatra - My Way

Julie London - Fly Me To The Moon

Jimmy McHugh - 'Til Death Do Us Part

The Flamingos - I Only Have Eyes For You

The Nutmegs - Story Untold

 

1974

 

 

 

 

oEgjGR.png

 

1968

Bobbie Gentry - Ode To Billie Joe

Buck Owens - Where Does The Good Times Go

Hank Snow - I'm Movin' On

Hank Williams - Settin' The Woods On Fire

Johnny Cash - Jackson

Johnny Cash - I Walk The Line

Lefty Frizzell - Long Black Veil

Marty Robbins - El Paso

Merle Haggard - Mama Tried

Patsy Cline - Walkin' After Midnight

Roger Miller - King of the Road

The Statler Brothers - Flowers on the Wall

 

1971

Creedence Clearwater Revival - Proud Mary

Janis Joplin - Me And Bobby McGee

 

1974

Eddie Rabbitt - Kentucky Rain

Kenny Rogers - Ruby

 

 

AsgiFkB.png

 

 

1968

Blue Cheer - Out Of Focus

Bob Dylan - Like A Rolling Stone

Bob Seger - Ramblin' Gamblin' Man

Cream - Crossroads

Deep Purple - Hush

Deep Purple - Kentucky Woman

Steppenwolf - Born To Be Wild

Steve Miller Band - Living In The USA

The Animals - House of the Rising Sun

The Band - The Weight

The Beatles - Helter Skelter

The Kinks - Waterloo Sunset

The Rolling Stones - Paint It Black

The Velvet Underground - Sweet Jane

Tommy James & The Shondells - Mony Mony

 

1971

Black Sabbath - N.I.B.

Bobby Fuller Four - I Fought The Law

Creedence Clearwater Revival - Bad Moon Rising

Fleetwood Mac - Oh Well

Janis Joplin - Piece of My Heart

Jeff Beck - I Ain't Superstitious

Jethro Tull - Living In The Past

Joe Cocker - With A Little Help From My Friends

Led Zeppelin - Your Time Is Gonna Come

Steely Dan - Reelin' In The Years

The Grateful Dead - Truckin'

The Guess Who - American Woman

The Rolling Stones - Money

The Who - Baba O'Riley

Zombies - Time Of The Season

 

1974

Aerosmith - Dream On

Bachman-Turner Overdrive - Ain't Seen Nothing Yet

Deep Purple - Smoke On The Water

Derek and the Dominoes - Layla

Golden Earring - Radar Love

Lou Reed - Vicious

Nazz - She's Going Down

Steely Dan - Dirty Work

Tommy James - Draggin' The Line

Wings - Live and Let Die

 

 

San_Fierro_Underground_Radio_logo.png

 

 

1968

Bobby Vee - The Night Has A Thousand Eyes

Box Tops - Cry Like A Baby

Buddy Holly - Everyday

Lesley Gore - You Don't Own Me

Nancy Sinatra - Bang Bang

Dusty Springfield - Spooky

Gary Puckett - Lady Willpower

Nancy Sinatra - You Only Live Twice

Simon and Garfunkel - The Sound of Silence

The Beatles - Hey Jude

The Turtles - Happy Together

 

1971

Badfinger - Baby Blue

Donovan - Atlantis

Electric Light Orchestra - Mr. Blue Sky

Neil Diamond - Sweet Caroline

The Beatles - Revolution

The Kinks - Waterloo Sunset

The Monkees - I'm A Believer

The Shangri-Las - Out In The Streets

The Rascals - People Got To Be Free

The Who - I Can't Explain

Tom Jones - Delilah

Simon and Garfunkel - Mrs. Robinson

 

1974

Blue Swede - Hooked On A Feeling

Billy Joel - Piano Man

Carly Simon - You're So Vain

Elton John - Rocket Man

Tom Jones - She's A Lady

 

 

 

h7w4hwF.png

1968

Aaron Neville - Tell It Like It Is

Aretha Franklin - Chain Of Fools

Etta James - Seven Day Fool

James Brown - Out Of Sight

Marvin Gaye - Heard It Through The Grapevine

Mickey & Silvia - Love Is Strange

Nina Simone - Feeling Good

Otis Redding - The Dock of the Bay

Otis Redding & Carla Thomas - Tramp

Smokey Robinson - Shop Around

Solomon Burke - Cry To Me

Stevie Wonder - Uptight

The Four Tops - Walk Away Renée

The Rascals - Good Lovin'

Wilson Pickett - 634-5789

 

1971

Bill Withers - Ain't No Sunshine

Fats Domino - Blueberry Hill

James Brown - Hot Pants

Lou Johnson - Always Something There to Remind Me

Louis Jordan - Saturday Night Fish Fry

Nina Simone - I Shall Be Released

Sam Cooke - Twistin' The Night Away

Percy Sledge - When A Man Loves A Woman

The Isley Brothers - It's Your Thing

The Temptations - I Wish It Would Rain

 

1974

Bill Withers - Lean On Me

Bobby Womack - Across 110th Street

  • Mister Pink, Jezus Holy Christ, Ivan1997GTA and 2 others like this

Cebra
  • Cebra

    Eh.

  • Leone Family Mafia
  • Joined: 06 Jan 2013
  • Canada

#3

Posted 12 January 2015 - 02:12 AM Edited by Cebra, 4 weeks ago.

CitXXl6.png

As always, vehicles can be purchased or stolen at the player's leisure. However, as each protagonist has a default vehicle replacement default vehicles have to comply with certain rules as to still make sense in cutscenes and gameplay; Doug's replacement must always be a sedan, Dante's a coupé and Julius' a convertible. Otherwise, legal purchases of extra vehicles works as normal. Given how B&B takes place from the years 1968 to 1974 separated by missions, cars only appear in the year their respective model first appeared in real life. 

 

 

 

Doug's replacement vehicle options:

 

Model Name, year RL Counterpart Generation, price, availability
Schyster Prolix, 1965 Rambler Classic 3rd generation, $2,800, after Three Guys and a Bar
Barbican Monitor, 1968 Plymouth Satellite 2nd generation, $3,000, after Three Guys and a Bar
Vapid VIP, 1970 Ford LTD 2nd generation, $4,100, after Into The Fire
Dundreary Insular, 1973 Lincoln Continental 5th generation, $4,600, after How Love Goes
Albany Emperor, 1967 Cadillac DeVille 3rd generation, $5,500, after How Love Goes

 

Dante's replacement vehicles options:

Model Name, year RL Counterpart Generation, price, availability
Imponte NFI, 1967 Pontiac GTO 1st generation, $2,400, after Three Guys and a Bar...
Imponte Dukes, 1968 Dodge Charger 2nd generation, $2,800, after Three Guys and a Bar...
Imponte Phoenix, 1973 Pontiac Firebird 2nd generation, $3,800, after Arrivederci Ancelotti
Declasse Vigero F3X, 1969 Chevrolet Camaro ZL1 1st generation, $7,500, after Unconditional Conditions

 

Julius' replacement vehicle options:

Model Name, year RL Counterpart Generation, price, availability
Albany Manana, 1966 Cadillac Eldorado 5th generation, $2,900, after Three Guys and a Bar...
Declasse Voodoo, 1960 Chevrolet Impala 2nd generation, $1,800, after Three Guys and a Bar...
Imponte Tiburon, 1966 Pontiac Catalina 3rd generation, $3,500, after The Prodigal Sons
Dundreary Count, 1970 Mercury Marquis 2nd generation, $4,800, after Love Goes

 

Civilian Vehicles:

Model Name RL Counterpart Year of availability
Albany Ace Cadillac Calais 1968
Albany Buccaneer Buick Riviera 1971
Albany Cosa Cadillac Fleetwood 1971
Albany Emperor Cadillac Deville 1968
Albany Fila (1st gen.) Cadillac Series 62 1971
Albany Fila (2nd gen.) Cadillac Series 62 1968
Albany Manana Cadillac Eldorado ('63) 1968
Albany Tosto Cadillac DeVille 1974
Albany Virgo Cadillac Eldorado ('70) 1974
Annis Drassock Datsun Fairlady 1968
Annis Heaver Datsun 320 1968
Annis Philanderer Datsun 1200 1971
Barbican Clover Plymouth Duster 1971
Barbican Commuter Plymouth Station Wagon ('73) 1974
Barbican Monitor Plymouth Satellite 1968
Barbican Piranha Plymouth Barracuda 1968
Barbican Gaspille Plymouth Special Deluxe 1968
Barbican Roxboro Plymouth Station Wagon ('57) 1968
Barbican Veranda Plymouth Belvedere 1968
BBC Consulate AMC Ambassador 1971
BBC Critter AMC Gremlin 1971
BBC Scimitar AMC Javelin 1971
Benefactor Glendale Mercedes-Benz W108 1968
Benefactor Glendale Royale Mercedes-Benz 600 1968
Benefactor Feltzer Mercedes-Benz 280 SL 1968
Benefactor Magnum Mercedes-Benz 190 SL 1968
Benefactor Perfidia Mercedes-Benz W186 1971
BF Class 18 Volkswagen Karmann Ghia 1968
BF Injection Volkswagen Baja Bug 1968
BF Kolepa Volkswagen Golf 1974
BF Roachee Volkswagen Beetle 1971
BF Surfer Volkswagen Type 2 1968
BF Synergy Volkswagen 1600 1968
Bravado Bison Dodge D-Series 1971
Bravado Bolt Dodge Dart 1974
Bravado Calhoun Dodge A100 1968
Bravado Duneloader Dodge Power Wagon 1968
Bravado Gauntlet Dodge Challenger 1971
Bravado Javelin Dodge Lancer 1968
Bravado Meridian Dodge Polara 1971
Bravado Miter Dodge Coronet 1968
Bravado Rumpo Dodge Tradesman 100 1971
Brute Boxville Dodge Step Van 1968
Brute Camper Dodge Travco 1974
Canis Bodhi Jeep M715 1968
Canis Capsule Citroen SM 1971
Canis Kalahari Citroen Méhari 1971
Canis Raider Jeep Commando 1974
Canis Trafficker Jeep Wagoneer 1971
Canis Warsaw Jeep CJ5 1971
Cheval Corrida Chevrolet El Camino ('58) 1968
Cheval Fugitive Holden Kingswood 1971
Cheval Picador Chevrolet El Camino ('68) 1968
Cirrus Alto Nash Rambler 1968
Cirrus Mercuria Nash Healey 1968
Classique Atwood Oldsmobile 98 1968
Classique Hurricado Oldsmobile Toronado 1971
Classique Stallion Oldsmobile Cutlass 1971
Classique Supernova Oldsmobile Starfire 1968
Classique Tango Oldsmobile Delta 88 1968
Classique Vizina Oldsmobile L-37 1968
Declasse Asea Chevrolet Corvair 1968
Declasse Burrito (1st gen.) Chevrolet Van 1968
Declasse Burrito (2nd gen.) Chevrolet Van 1974
Declasse Coquette Chevrolet Corvette 1968
Declasse Granger Chevrolet Suburban 1968
Declasse Jacqueline Chevrolet Stylemaster 1968
Declasse Largo Chevrolet Fleetline 1968
Declasse Mamba AC Cobra 1968
Declasse Merit Chevrolet Caprice 1974
Declasse Montana Chevrolet Bel Air 1968
Declasse Rancher Ford Bronco 1968
Declasse Tahoma Chevrolet Monte Carlo 1971
Declasse Tampa Chevrolet Nova 1971
Declasse Vigero FX3 Chevrolet Camaro ZL1 1971
Declasse Walton Chevrolet Task Force 1968
Dewbauchee Bight Aston Martin Lagonda 1974
Dewbauchee JB-700 Aston Martin DB5 1968
Dewbauchee R-77 Aston Martin 15/98 1968
Dinka Blista Honda Civic 1974
Dinka Chavos Peugeot 304 1971
Dinka Cube Honda N600 1971
Dinka DP420 Honda CB160 1968
Dinka Enduro Honda CB250 1971
DUDE Cement Truck International Harvester S-2500 1968
DUDE Dozer Bulldozer 1968
Dundreary Admiral Mercury Monterey 1971
Dundreary Brigand Mercury Marauder 1968
Dundreary Count Mercury Marquis 1971
Dundreary Hellenbach GT Mercury Cougar 1968
Dundreary Hermes Mercury Eight 1968
Dundreary Insular Lincoln Continental 1974
Dundreary Regina Mercury Colony Park 1968
Dundreary Stretch Mercury Limo 1968
Enus Cognoscenti Bentley S2 1968
Enus Lazarus Bentley T1 Coupe 1968
Enus Super Diamond Rolls-Royce Phantom V 1968
Enus Windsor Rolls-Royce Silver Shadow 1968
Grotti Cheetah Ferrari Dino 1968
Grotti Stinger Ferrari 250 GTO 1968
Grotti Stinger SS Ferrari 365 GT/4 1974
Grotti Turismo Ferrari 375 MM 1968
Imponte Cochise Pontiac Star Chief 1968
Imponte DePalma Pontiac Grand Prix 1968
Imponte DF8-90 Pontiac Grand Am 1974
Imponte Dukes Dodge Charger 1968
Imponte Malpais Pontiac Bonneville 1968
Imponte NFI Pontiac GTO 1968
Imponte Nightshade Chevrolet Camaro 1971
Imponte Tiburon Pontiac Catalina 1968
Karin Asterope Toyota Corona 1974
Karin Dilettante Toyota Corolla 1968
Karin Rebel Toyota Hilux 1974
Lampadati Casco Maserati 3500 GT 1968
Lampadati Felon Maserati Quattroporte 1968
Lampadati Foeni Maserati Ghibli Spyder 1971
Lampadati Tropos Lancia Stratos 1974
Nagasaki Blazer Honda Three-Wheeler 1971
Nagasaki Havarti Yamaha AS1C 125 1968
Nicollet Ardor DeSoto Firedome 1968
Nicollet Furto DeSoto Adventurer 1968
Ocelot Caracal Jaguar Mark X 1968
Ocelot Minx Jaguar XJ 1968
Ocelot Oncilla Jaguar XK-E 1968
Pegassi Esskey Ducati Scrambler 1968
Pegassi Faggio Piaggio Vespa 1968
Pegassi Infernus Lamborghini Countach 1974
Pegassi Monroe Lamborghini Miura 1968
Pegassi Oceania Lotus Europa 1968
Pegassi Vacca Lamborghini Urraco 1974
Pfister Comet Porsche 911 1968
Pfister Ribelle Porsche 550 1968
Schyster Bayadere Chrysler 300B 1968
Schyster Libertonian Chrysler New Yorker 1968
Truffade X-Type Bugatti Type 57C 1968
Truffade Z-Type Bugatti Type 57 1968
Übermacht Oracle BMW 528 1974
Übermacht Sentinel BMW 2002 1968
Vapid Blade Ford Falcon 1968
Vapid Bobcat Chevrolet C/10 1971
Vapid Boho Ford Maverick 1971
Vapid Bullet Ford GT40 1968
Vapid Chino Lincoln Continential Coupe 1968
Vapid Dominator Ford Mustang 1971
Vapid Fortune Ford Thunderbird ('61) 1968
Vapid Peyote Ford Thunderbird ('55) 1968
Vapid Shetland Ford Pinto 1971
Vulcar Hink Volvo P1800 1974
Vulcar Ingot Volvo 240 1974

  • Ivan1997GTA and DimitriFaustin like this

Cebra
  • Cebra

    Eh.

  • Leone Family Mafia
  • Joined: 06 Jan 2013
  • Canada

#4

Posted 12 January 2015 - 03:36 AM Edited by Cebra, 4 weeks ago.

Cont.:

Model Name, year RL Counterpart Year of availability
Willard Faction Buick Regal 1974
Willard Gaia Buick Electra 225 1968
Willard Marbelle Ford Granada 1974
Willard Solair Buick Caballero 1968
Willard Soledad Buick Roadmaster 1968

 

Utility Vehicles: 

 

Model Name, year RL Counterpart Year of availability
Brute Boxville Chevrolet Step Van 1968
Brute Bus Twin Coach Bus 1968
DUDE Cement Truck International Harvester S-2500 1968
DUDE Dozer Caterpillar D6B 1968
HVY Biff Ford Super-Duty 1968
JoBuilt Hauler Peterbilt 362 1968
JoBuilt Phantom Peterbilt 251 1968
JoBuilt Trashmaster GMC L4000 1968
MTL Flatbed GMC 13-Ton 1971
Vapid Towtruck (1st gen) Ford F-350 1968
Vapid Towtruck (2nd gen) Ford F-350 1974

 

Emergency Vehicles: 

 

Model Name, year RL Counterpart Year of availability
Highway Cruiser (1st gen) Oldsmobile Delmont 1968
Highway Cruiser (2nd gen) Dodge Polara 1974
LVPD Cruiser Ford Galaxie 1968
SFPD Cruiser (1st gen) Ford Custom 1968
SFPD Cruiser (2nd gen) Ford Galaxie 1971
Unmarked Interceptor Dodge Polara 1971

  • ClaudX, Ivan1997GTA and DimitriFaustin like this

Tyla
  • Tyla

    Playing It Cool

  • Members
  • Joined: 12 Feb 2007
  • United-Kingdom
  • Best Concept Story 2014
    Contribution Award [Concepts]

#5

Posted 13 January 2015 - 04:02 PM

Awesome. I take it Ettore Boccino is some kind of relation to Ray Boccino? So far I'm loving all these GTAIV references.

 

A show of appreciation for your layout as well. You've made it nice and easy to work out which characters interact with each protagonist.


Niko Montana
  • Niko Montana

    Gangsta

  • Members
  • Joined: 23 Apr 2014
  • England

#6

Posted 01 February 2015 - 10:12 AM

Just a question. Are you keeping SF & LV in one state/map like in SA or is it to completely separate cities? 


Cebra
  • Cebra

    Eh.

  • Leone Family Mafia
  • Joined: 06 Jan 2013
  • Canada

#7

Posted 03 February 2015 - 01:46 AM

Just a question. Are you keeping SF & LV in one state/map like in SA or is it to completely separate cities? 

Together. The stories will be more or less separate, but SA and LV will be adjacent to each other.


bodyparts
  • bodyparts

    Ай лав США

  • The Connection
  • Joined: 15 May 2015
  • Sweden

#8

Posted 30 January 2016 - 08:18 AM

Sweet stuff, mate! The gameplay feautures are great, and so are the character descriptions. Coolio!
  • Cebra likes this

Tyla
  • Tyla

    Playing It Cool

  • Members
  • Joined: 12 Feb 2007
  • United-Kingdom
  • Best Concept Story 2014
    Contribution Award [Concepts]

#9

Posted 02 February 2016 - 04:30 PM

What an update. I'm seriously hyped for this.

 

One thing I picked up on that I didn't notice before - the story spans from 1968 to 1974? I would love to hear more about how a transition like this would transpire.

  • Cebra likes this

Cebra
  • Cebra

    Eh.

  • Leone Family Mafia
  • Joined: 06 Jan 2013
  • Canada

#10

Posted 02 February 2016 - 09:21 PM Edited by PhilosophicalZebra, 02 February 2016 - 09:24 PM.

Sweet stuff, mate! The gameplay feautures are great, and so are the character descriptions. Coolio!

 

What an update. I'm seriously hyped for this.
 
One thing I picked up on that I didn't notice before - the story spans from 1968 to 1974? I would love to hear more about how a transition like this would transpire.

Glad to hear you guys are hyped! I've noticed lots of people on the forum hoping for a game set in this time period (and before anyone says anything - I had the idea before Mafia III  :lol:). I just wish that the GTA Series Forum was back where it used to be on the sidebar so all our concepts could get more visibility.
 
Ideally I'd like to have B&B progress naturally, but if this was a real game then that wouldn't work because of people's different playing styles. The game will be separated into four distinct chapters separated by big missions: 1968, '69, '70 and '71-'74. Think Assassin's Creed (but with less time in between) where you can fill in the blanks yourself. From 1971 to '74, the change won't be as drastic and instead time passes in between missions. As I get further along in writing the story I'll be fine-tuning it, but I think this is the best approach.

  • Tyla likes this

Tyla
  • Tyla

    Playing It Cool

  • Members
  • Joined: 12 Feb 2007
  • United-Kingdom
  • Best Concept Story 2014
    Contribution Award [Concepts]

#11

Posted 16 February 2016 - 07:22 AM

It sounds pretty good to me. I like the idea of having a big mission before a passage of time, and I could imagine sort of an introduction mission after it just so we could get used to things that are changed. The 1968 to 1974 really appeals to me because there's so much going on between then. You could potentially see three presidents, plus the thick of and finally the end of the Vietnam War. Period settings like this always interest me because I'd find myself immersed in the setting and then go to a book to read more about what was going on back then.

 

Also, I'm really liking the changes you've made to the vehicle section! :) I'm surprised no one has bought up how clever (and outright convenient) the replacement vehicles feature is. We need more freedom like that.

  • Cebra and Ivan1997GTA like this

Cebra
  • Cebra

    Eh.

  • Leone Family Mafia
  • Joined: 06 Jan 2013
  • Canada

#12

Posted 19 February 2016 - 05:50 PM Edited by Cebra, A week ago.

wBlKbKB.png

 
A blinding white light slowly fades into a hazy yellow. As the screen becomes clearer, the theme music and credits begin to play and we focus on the scene; the soon-setting sun beads a dark orange cast onto blocks upon blocks of rundown concrete buildings. In the shadow of the nearest lies a rectangular wooden structure, its chimney billowing smoke into the atmosphere. A man walks his dog down a gravel path nearby, but aside from them the place is desolate. View from the ground: from the gravel path a convertible pulls in behind the building, slowly, tentatively.
 
The camera shifts abruptly and we see two vehicles, a Dundreary Brigand followed by a Déclassé Rancher, speed up the same path. As the first car turns into the wooden place's parking lot, its passenger signals with a hand for the pickup to continue down the road. It speeds forward kicking dirt as the Brigand comes to a stop in front of the building, a sign reading Iron Inn now clearly falling off its distinctly wooden hinges at the entrance. Bennie Bartok steps out of the passenger seat, removes his sunglasses and stuffs them into his red leather jacket. The music fades down but the credits continue as he leans into the window.
 
"Keep your ass planted to the seat, fella. Make sure your hermanos keep circling the block and if I ain't back in ten minutes you all come in guns-a-blazin'. Got it?"
 
The driver - a skinny Latino - nods and hands Bennie a suitcase from under the seat. He grabs it, looks 360°, heads inside.
 
The perspective shifts inside the bar. All beaten-down wood, it's vacant except for our first protagonist, Julius Kren, sitting at the bar, and a chef in the back kitchen. "Walk Away Renée" by The Four Tops drones quietly from the jukebox. We get an eye on Julius: he's just arrived, but makes it looks like he's been waiting ages. As he sips his whiskey he spins in his seat toward Bennie and lets him speak first as the theme quiets;
 
"Suppose you're the guy. I thought this was set up as a public deal, what gives? This place's dead inside and out."
Julius eyes him carefully. "I don't make the deals, cat, just carry 'em out. That the stuff?" The chef in the kitchen wipes down the pass, eyes Benny nervously, ad nauseam. 
Bennie nods, smirks: "You hope it is. Where's the dough?"
"I got it, don't worry. Only, I hear that you ain't the most trustworthy cat on the block. You mind lettin' me see the sh*t first?"
A hand to his heart. "Ah, that hurts. Not thirty seconds and you're already judging me." He pauses all serious, breaks out into a laugh. "Yeah you can see it, baby. All here."
 
He props the metal suitcase onto the bar top with a thud and opens the latches. Inside, at least a dozen sealed packages of who-knows-what.
 
"Alright, brother, you cool." Julius gets up, goes around the bar and grabs his own suitcase: $5,000 cash courtesy of David Arnold. He puts it on the bar alongside the other one and watches Bennie swallow a few bennies from a foil wrapper.
 
"You know, I'll take your word for the money," Bennie says. His shaky hands show that he couldn't count it even if he wanted to. "I got a feeling we're gonna cross paths again - Davie keeps a small circle. Call me Bennie next time."
Julius half-smiles. "So you say. The name's Julius."
They shake hands. Bennie says "Don't I know it, fella," smiles and walks back out the door he came in.
 
Julius grabs the remaining suitcase and pulls a note - Bennie B. I always got work! and a phone number - He stuffs it, chef pipes up: "That cat ain't right, brother. I know a toad when I see one."

"Them's the breaks if you wanna catch yourself some flies." Julius tips an invisible hat to him - "See you, Louie."

 

Head out back to Julius' Willard Gaia. He places the suitcase on the back seat and hops in front - the Brigand and Rancher eastbound, Bennie's peace-signed fingers sticking out the passenger window. Julius smirks, shakes his head, shifts into first as the theme morphs into Everyday People - he kicks down the gravel road toward the city, and we get a full view for the first time: downtown San Fierro outlined by the bright setting sun. The typical GTA city ride-around begins alongside the credits; Julius heads into the city as we're treated to its landmarks - a God's view of the busy Crimson Way Bridge near Flamenco Island; the beginnings of the Montgomery Monolith; a pass-over of the Center of Quattrocento. Julius rides into Suppleham, an arm on the door belt. He checks out a gal leading a poodle down the crosswalk - she smiles, the light turns green, and he keeps going - but the camera stays behind. It abruptly drifts 90° to a brick building in a line of storefronts; a bar named The Bar. From behind the camera a man in a USMC-sleeved jacket shuffles inside.

 

The door chimes as Doug Pryor makes his way into a busy scene. The place is much less desolate than the inn - every seat wrapped around an L-shaped bar is full of chattering men and women. The bartender - Monica - running between half-made cocktails, raises a hand in the air to acknowledge her regular. Doug offers her his best smile as a couple of oldsters eave a window booth arguing about pears. Doug takes the vacant spot, removes his old Corps jacket and sighs. We get a view of the street outside - happy couples, briefcases and suits, lone people walking their dogs go up and down the sidewalks as cars rumble along beside them. The credits continue out of the way. The perspective switches to behind Monica as she brings Doug his perennial tonic, an Old Fashioned. She puts it down on top of a napkin, smiles and turns away before he can speak a word - as if he would have. As he takes his first sip, the door chimes again as a man in a brown flight jacket and fedora enters and makes his way to Doug's booth. Marcus Vogel removes his hat, sits down and folds his arms.

 
"What in God's name is so important I had to shlep out here for?"
"I needed to get out of the house, you know." Doug leans forward.
Marcus nods. "Yeah - that's great and all, but I was perfectly content sitting on my ass reading the funnies."
Doug - straight to the point. "I just found out that Eddy Segal lives in Calton Heights."

"No sh*t? Small world."

"Itty-bitty. You prick."

 

No words - it's clear that Marcus had the scoop and didn't tell.

 

"Alright, look - I knew you'd want to know, I just didn't think you needed to know, you dig?"

"I don't dig. You've put me in a very bad mood, Marcus."

"F*ck off, I don't need your sh*t."

"Likewise. You coming?"

 
Marcus nods and slides out of the booth. Doug places a fiver on the table and exits the bar, Marcus shadowing him.
 
You gain control of Doug. The camera focuses on his blue Vapid Messier parallel parked across the street as the objective appears: Get in the car. As you attempt to cross the street, a familiar convoy of a Brigand followed by a dark Rancher speed down first, nearly mowing you down. Doug flips the bird before getting in his car, Marcus beside him. The driving controls appear in the upper left; extra long if you've chosen manual transmission. Squeeze your way out of the line of parked cars and follow the mini-map route.
 
Marcus: "This car is a piece of sh*t."
"I'm aware. But you had to bike here, so I'd pass on passing judgement for the time being."
"C'mon, I know for a fact you've always wanted an Enus - get yourself an Enus."
"Are you stoned? I'd settle for a steady supply of food stamps; if I want an Enus I'll head up to the Outlook and break a window."
"That's a bad idea. You know, I can hook you up for some stamps - good price."

"Oh, I'm glad to see you've demeaned yourself to stealing from the poor."

"The moral high-ground falls through when you're poor yourself. Death and taxes, you know."

"We're in the same boat, Mark. I got a guy-"

"We should be in the same boat. In a literal sense."

"I know, but really. You know the guy up in 5G - the uh, Asian fusion?"

"Marquez? He's a bum."

"There are things on the horizon with him. Good things - and unlike you, I'll be sure to keep you in the loop."

"You do that."

 
Continue up San Fierro's winding roads at whatever pace you desire, being sure to eye the hard-bodied vehicles of the era. When you reach the destination, you'll see Edward Segal's place of residence - a white three story townhouse nestled between a dozen identical ones. Anonymous. Expensive. A shiny yellow Coquette sits in the slanted driveway.
 
The perspective switches to inside the Messier. The pair stare at the house and the sports car.
 
Doug: "F*cking asshole. Screw the Enus, I'd like to break that f*cking window."
 
Marcus grabs a pack of Redwoods from his breast pocket, puts one in his mouth and hands Doug another. They light up.
 
"Listen, Doug, Joanna keeps telling you-"
"Don't bring her into this."
"Don't play the battered wife card - she's right. She knows what's best for you, and lamenting on that f*ck-up ain't it. Bringing the past to the present - even worse."
"I can't believe he's so close. You know I haven't talked to him since they passed down the sentence? I bet the f*cker's holding a whole Goddamn armory in there."

"Let's go."
 
Doug shifts into first gear and hits the gas. The camera shoots into a bird's eye view and launches across San Fierro by way of the Crimson Bay Bridge and the desert, smack into the middle of Las Venturas. We focus on a big building's tin facade glistening in the sunlight - big blue letters reading La Penisola blinking over a row of a dozen glass doors. A shiny red Albany pulls to the curb of the crescent driveway and we meet our final intro, Dante, with his uncle Jacky the passenger.

 

Dante puts it in park - "Lemme guess - I don't get the privilege of entry."

"You get the privilege today." Jacky checks himself out in the mirror. "I look okay? I was right, this tie looks like it belongs on a f*cking clown suit."

"It's Ponsonbys, uncle Jacky. You can't go wrong."

"Sonny'll appreciate it. Come on."

 
Take control of Dante as he exits the car. Head inside one of the doors, into a grand entry hall full of marble and glass, and past the big game room: dozens upon dozens of slot machines sitting empty over a floral red carpet. Further down, it morphs to blackjack, roulette, poker, baccarat - green felt tables awaiting their dealers. Instead, they receive the asses of Silver Sixes' moving company's workers who think they're on lunch.

 

Jacky: "Get back to work - you want Mr. D'Aversa to see you slacking off?"

"Union-declared break." A worker thinks he's funny. Jacky hasn't used his zygomaticus major since the Depression.

 

Through gold and red French doors, the office: more carpet, more red. Around a wooden bar sit the brass: Carlo D'Aversa, Jon Gravelli, even Sonny Cangelosi, on unwrapped leather stools. They stop mid-convo to acknowledge the Gallos; they raise their drinks and Sonny stands and opens his arms.

 

Jacky walks into the embrace. "Bravo, Santino."

"Thank you, Giacomo. It's been a long time coming."

Dante butts in: "Sure has, Mr. Cangelosi. When's opening night?"

"Whenever that little sh*t Nino Lisi frees up his schedule." He turns his attention to Carlo D'Aversa. "This kid, I tell you, he's got some balls. You know, I offered him twice the-"

 

Sonny's talk gets delegated to the background. Jon ignores him as well, grabs everyone's glasses and hands them to Dante. "Rye."

 

Dante scoffs and walks behind the bar.  The clink of ice cubes comes before the sloshing of liquid in tumblers as Dante finishes pouring, eyes up and back down trying to hear what Sonny has to say. We see this from Jon Gravelli's perspective as he moves forward from his seat.

 

He talks, looking at Dante but speaking elsewhere: "Jacky, the kid up for driving?"

"I am."

Jacky overrules: "Depends on the business."

"Important stuff. The zoning commission won't get off Amerigo's ass about the parking lot's limits; anything to bring down legitimate business from under the hand of an Italian."

Dante laughs although he's no longer being spoken to. "Oh yeah?"

"Me and Sonny are gonna go meet our friend with the nose on the West Side. Jacky, you mind keeping Carlo company in the meantime? Kid's got the jitters."
"Certo."

 

Downing his own drink, Dante shrugs as Gravelli tosses him a pair of keys. You gain control of him, directed to leave the casino and find the car in the parking lot - but you are free to explore the building. You'll see the rows of slot machines glisten, never used, and the carpet floor spotless. All is lit by hundreds of yellow-hued lights spread across the ceiling. Further down, near the roulette tables, a group of Gambetti goons carry cardboard boxes inside from a side door, heaving creative insults back and forth alongside the boxes, clearly over their lunch break. La Penisola is very new, very expensive, and, above all, a do-or-die.
 
When you make your way outside followed by Sonny and Gravelli, you'll find the black Glendale Royale parked in the lot. Take your time, admire the atmosphere: the strip homes twice the amount of cars than it does pedestrians, who all convene in groups at casino doors. At every angle of your vision is a flashing sign advertising a casino, a product, a hotel, waiting for darkness to fall to fully shine. Alternately, jump straight into the car. Allow the mafiosi to get in the back seat and take off. The radio is set to Chances Are - let the music sink in and enjoy or change the station to something a bit more modern - Radioactive Radio plays Born To Be Wild. Don't like either? Play spin the dial; try your luck.
 
A grumpy mumble, the first time Sonny speaks direct: "Don't change the frequency, it depreciates the value."
 
Follow the minimap route down the roads, taking into account their contrast with those of San Fierro - fresh pavement, operating in grids instead of winding disarray. Make your way down the strip, passing by older casinos brimming with eager moneywasters and through a few quiet residential areas as your surroundings become increasingly sh*tty. The men of honor in the back seat converse in Italian to Dante's annoyance although he was brought up pure Sicilian;  he dropped the language like a bad habit upon his arrival in America.

 

Dante interrupts, hoping to catch a bit of English: "Say, Mr. Cangelosi, I hear you've got a choice Albany back in Liberty City. You swap to Benefactor on the west coast?"

"I call her Caterina. Cream leather seats, the best car money can buy." He snaps from a little trance - "Maybe the power of the almighty dollar is different on this side of the country, but his piece of sh*t is the best thing they had at the dealership. Testa di mierda, you ask me."

"It's not so bad. Real heavy, though."

 
"It's up here," says Gravelli when you reach the destination: a three-story apartment complex breaking apart at the seams. A neon sign reading Su ar Ray's M ni-Mart flickers above the street level entrance. Park up behind the baby blue BF Synergy curbside and let the two men exit.
 
"Idle the car. We're more than ten minutes I want you to circle the block", orders Gravelli as he slogs out. 

A light bulb - Dante hops out of the driver's seat and helps Sonny out the back. He receives a pat on the shoulder in thanks.
 
He returns and lights a cigarette, opens his window. The West Side is misleadingly quiet during the day - other than a group of three perched on a nearby stoop the street is empty. Cars, still working, badly beat, line the sidewalks.
 
Just as Dante finishes his cigarette and you predict they might become a problem, the three men hanging out close by decide to approach the car. Dante reaches for his gun in the glove compartment before remembering that it's not his car.
 
He mutters "Sh*t" as Gangster #1 slides his hand up the hood. He hunches in front of the driver's window.
 
"This a real nice whip, man."
Dante nods. "Thanks. Mind keepin' your hands off it?" It's not posed as a question.
"Yeah, yeah, 'course." The other two hover in front of the vehicle cracking knuckles. Intimidation 101.
"Let me be frank." Dante mirrors their actions. "I know this thing's pretty nice but it ain't mine, it's my boss's. He'll be coming out any minute and I don't think he'll be thrilled to see a bunch of spooks admiring his car so closely."
 
Good timing: Gravelli, Sonny and a squat man in a cheap suit exit the building together. Gravelli's experienced eye knows what to do; he leaves the building with his suit jacket pulled back, allowing them to revere his holstered pistol. Wordless, the men walk back to their stoop together.
 
"f*cking moolies," Dante mutters.
 
Sonny turns to the short guy. "I'm very pleased we could come to an agreement, Mr. Decker."
Mr. Decker chuckles. "So will my wife. I'll have the right files mailed to your guy."
 
The mafiosi take turns shaking his hand, patting him on the back and Dante's face contorts. The man hops into his Synergy and speeds off as Gravelli and Sonny return to the back seat. Hit the gas.
 
Dante: "You ain't gonna ask what was going on back there?"
"Nice car, not-so-nice neighborhood. I can do the math," answers Gravelli.

"Alright. Where to?"

Sonny chimes in: "Bring us to Caligula's, Dante. Friend of mine needs a haircut."

 
Objective: Drive to Caligula's Palace.
 
As you make the first turn off the West Side, you'll notice a rusty Barbican Veranda shadowing you. "Bastards don't give up," Dante mutters. "Step on it, kid." Do that. Escape your pursuers as best as you can in a heavy car built for luxury - try the vacant alleyways between apartments, closed businesses, sand lots. When they're lost, you get a little praise from Cangelosi: "Good driving, my boy. Your uncle used to be quite the driver himself."
 
Pull into the U-shaped valet park in front of Caligula's and a valet will fetch the Glendale, eyeing you strangely if it's missing a door or two. The trio will step under the awning as Sonny lights a cigar, watching the sun set behind The Pink Swan across the street.
 
"You did well, kid. You really do remind me of your uncle."

Dante smirks. "Never heard that one. Sure hope it's a good thing."

Gravelli: "That's your call to make. Look where he is now."
 
Sonny walks into Caligula's with an ambiguous wave and Gravelli places some bills into Dante's hand before following his boss. Dante stuffs the cash into his pocket before joining the crowds down the strip aimlessly - the camera pans up to show the casinos in their entirety as Las Venturas lights up for the evening.
 

 

piUfBpw.png

+ $25

  • Tyla, ClaudX and Ivan1997GTA like this

Tyla
  • Tyla

    Playing It Cool

  • Members
  • Joined: 12 Feb 2007
  • United-Kingdom
  • Best Concept Story 2014
    Contribution Award [Concepts]

#13

Posted 20 February 2016 - 10:03 AM

Wow man. Fantastic way to introduce a game. I think you've actually got the honor of being the first person to approach a beginning mission which introduces multiple protagonists from the get go, so take a bow. :pp

 

Where do I start? As someone who isn't really too clued in on the sixties and how things were back then, even to me it shines through how much time and research you must have put in to make this read as good as it does. The way your characters speak and act; Julius with the suspicion of an Elmore Leonard character; Bennie popping bennies; Doug, weary and to the point; the Mafiosi with the business-speak that somehow can't mask their sleaze. You've made the broader aspects of this concept like the music and the vehicles sing for you (literally -- loved the soundtrack) and it's allowed you to create a setting that really stands apart.

 

You're obviously a talented writer so I'm glad you're putting your skills to use in the dialogues and descriptions with little descriptive gems like, "Gravelli's experienced eye knows what to do; he leaves the building with his suit jacket pulled back, allowing them to revere his holstered pistol. Wordless, the men walk back to their stoop together." and, "Follow the minimap route down the roads, taking into account their contrast with those of San Fierrofresh pavement, operating in grids instead of winding disarray." from the final, Las Venturas portion of the mission. Not only do you handle multiple protagonists without skimping on the details but multiple cities too.

 

I also liked how you've addressed something I was skeptical about in your very first mission: The Commission and the returning characters involved in it. At first I thought to myself why not just create other characters because "Italian in Las Venturas" is kind of an easy stock image to imagine, but having Jon Gravelli and other Gambettis out there creates speculation from the very beginning, the same as the surname "Arnold" gets you thinking how do the AOD fit into this? Why are they working with a black guy -- what changed to fuel their racist attitudes come 2008? I'm already wondering what they're doing out there, who's going to f*ck who, how things will succeed (or fail). It is also helped a lot by you creating a believable portrayal of a young Jon Gravelli, from his appearance so far.

 

Thoroughly enjoyed and I hope to see much, much more soon! :^:

  • Cebra likes this

Cebra
  • Cebra

    Eh.

  • Leone Family Mafia
  • Joined: 06 Jan 2013
  • Canada

#14

Posted 20 February 2016 - 05:02 PM

Glad you enjoyed it, man. I was initially wary of introducing all three protagonists in the first mission, but now I think it was the best choice. It shouldn't feel like any one of them is less important because they're introduced later.

The Commission being part of this actually happened by fluke. I was originally only going to include the Gambettis because I thought it would be interesting to see both Jon Gravelli in his prime (if you can call it that :p) and to give a face to Sonny Cangelosi. I was looking for a picture to represent some Gambetti higher-ups when I found the one from Casino that I'm now using for The Commission. IMO, the guy to the left of the table looks a bit like Jon Gravelli and the guy in the middle looks like a typical fat Pavano soldier in GTA IV. So it clicked: why not implement every single family?

I didn't know too much about the subject when I first created this concept, but I had been reading about how the mob in 70s Vegas wasn't so much of a takeover anymore as it was a last resort to keep a bit of power. All the casinos were being bought out by organizations instead of being owned independently (i.e. by the mob) so I thought I could implement all Five Families into B&B as a way to explain their allegiances 40 years later in IV: the way they treated each other at the turn of the 70s. I think this way I can also offer more perspective into how truly desperate the Mafia was to keep a hold on Vegas/Venturas at this time.

Do expect more soon :)
  • Ivan1997GTA likes this

Ivan1997GTA
  • Ivan1997GTA

    Proud to Be Loud

  • Facade Corporation
  • Joined: 11 May 2015
  • Russia

#15

Posted 20 February 2016 - 05:39 PM Edited by Ivan1997GTA, 20 February 2016 - 05:42 PM.

Looking at this concept, I'm very impressed! I have a feeling this will be the best concept of 2016. As for the soundtrack, I'm expecting to see songs from artists like Golden Earring, Jimi Hendrix, the Rolling Stones, Pink Floyd, Kenny Rogers and others! Can't wait to see what you've got in store for us next.

  • Cebra likes this

Cebra
  • Cebra

    Eh.

  • Leone Family Mafia
  • Joined: 06 Jan 2013
  • Canada

#16

Posted 21 February 2016 - 04:18 PM Edited by PhilosophicalZebra, 21 February 2016 - 04:19 PM.

Looking at this concept, I'm very impressed! I have a feeling this will be the best concept of 2016. As for the soundtrack, I'm expecting to see songs from artists like Golden Earring, Jimi Hendrix, the Rolling Stones, Pink Floyd, Kenny Rogers and others! Can't wait to see what you've got in store for us next.

Glad you have faith in it, I can only hope. :p

You expect right. I've got most of those artists in the works now, just waiting for some help with the station logos since I'm useless with that. Should be up in the next few days.

Cebra
  • Cebra

    Eh.

  • Leone Family Mafia
  • Joined: 06 Jan 2013
  • Canada

#17

Posted 29 June 2016 - 02:41 AM Edited by Cebra, 01 July 2017 - 08:36 PM.

5jRJ0bF.png

 

The fade to black of the previous mission drops abruptly and you're thrown right back into the action as Julius, barreling down a straight road in his Gaia surrounded by brickwork factories and f*ck-all else. Maintain your steering if you don't feel like heaving yourself out of a ditch.

 

Objective: Reach the chop shop.

 

You'll see it soon: an orange-bricked little building with cracked windows and a dozen choppers parked out front. Pull into the lot and learn how to give your vehicle the switch from convertible to not; it's nightfall. Cue cutscene: Julius grabs the product-packed suitcase from between the seats and hops out. Foreign land to him, he circles half the shop before finding yellow light pouring out a back door—inside, more or less what you would expect: machismo galore. A good half dozen guys working on their bikes babbling, cigarette smoke and blowtorch burn filling the air. He tries to find a face behind the beards and taps one on the shoulder, who spins around and gives him a suspicious look-over.

 

"You meant to be here?" He pulls a cigar from his mouth.

"Depends. One of you fellas David Arnold?"

"Dave's in the cave." He points to an office behind a steel door. "And keep your hands seen—don't want no problems now."

 

Julius nods and walks to the door. Before opening it, he looks through a nearby mesh wire window into the cave: a big man even sitting down, bearded like all others and wearing a biker jacket patched Redwood, talks to an equally tall but much less rugged guy. The second guy looks official: black suit, black tie, black oxfords. Not a wrinkle at hand, though one would guess he's fallen into his 50s.

After a quick decision to walk instead of knock, Julius enters. The men turn to him, #2 with an inquisitive look.

 

Tall, seated beard — David Arnold. We see Julius' eyes rifle through #2's wrinkles in an effort to knock a sense of familiarity into his mind: nada.

 

"Mr. Kren!" Arnold flicks a cigarette onto the concrete floor. "I see you got a nice little something-something for me there."

 

Julius drops the suitcase onto a cement desk strewn with sh*t: a six-shooter, bloody cop badge, two dozen dusty papers and a broken bottle of Pisswasser. A flip of the latches and he stands back, allowing his new employer to admire the product.

 

Arnold claps his hands together and walks to the desk. Over his shoulder, you can see his buddy give Julius a half-assed smirk.

 

"Gimme the knife," Arnold barks at smirky, who pulls a Swiss-army from the inside of his lapel. Arnold takes it and cuts a fine slit along the top of a white package. It bleeds more white: powder. He scoops a bit up the length of the knife and doesn't hesitate to snort it up.

 

#2 finally speaks: "Don't judge the product from what you're sniffing. I told you, you've got to mainline it for a full rush."

Arnold spins around. "You sure about that? 'Cause I gotta say, I'd be pretty damn chipper with this rush."

"I'm sure." He stands up and takes his knife back. Arnold shuts the suitcase and hands it to him, they shake hands.

"Nice to see you, Dave."

"Always."

 

Julius watches the jiver as he walks out of the room and holds back a flinch when he receives a pat on the shoulder. The man closes the door behind him, leaving employer and employee alone.

Arnold lights another cigarette and offers one to Julius who raises a palm in answer.

 

"Don't mind him," Arnold lips around his cigarette as he zippos it. "Narc probes seem to make a fella real touchy-feely."

 

Julius leans against the wall and looks out the little window into the garage. As Out Of Focus makes way to Helter Skelter, he watches two bikers scuffle over the record player until a third threatens them with a blowtorch. "Narc probes don't sound too fun."

"Oh they certainly ain't, but they're the cost of business and I consider it a cheap price to pay."

"How's that?"

"It's a great system. The pigs are already spread paper thin, they have better things to do than chase this pussycat powder across the nation. But f*ck help us if they ever assemble a proper task force."

Julius crosses his arms. "Still don't seem like something to tell a prospective runner."

"I like your style," Arnold says between puffs. "You know when to get down to brass tacks. Now don't take this wrong, but you don't talk like I expected. Where you from?

"I picked up the lingo cross-country 'cause it seems to help old white folk get past their own preconceptions." Deadpan snark: "And my brother went to college."

Arnold chuckles, ignores the redirect. "Articulate and adaptive, you're shapin' up to be a real safe bet on my part.”

He throws the butt onto the floor and it lands next to the first. "I guess I should pay you now, huh?"

"I'd say so."

 

Arnold rises from his chair and walks over to another desk poised against the office's back wall. He opens a drawer and pulls out $100 in sawbucks.

 

"Not bad for ten minutes work, is it?" He hands Julius the cash and they shake. A first: Julius smiles.

"I'd be happy capping a C-note if that were so, but ain't the reward for the risk?"

"Depends how you took at it. I'd say the reward's in the risk."

A quick nod; Julius smirks again. “Yeah, you seem like that sorta guy.”

 

Arnold wraps his leather-clad arm around Julius's shoulders—apparently Mr. Suit isn't the only touchy-feely guy around.

 

“So I called and you took the bait. That's a start, now tell me straight-up—how far are you willing to go for a payday?”

 

Julius squirms from both the touchy-feeliness and poor choice of words.

 

“I ain't naïve. A brother’s gotta get some blood on his hands to make a buck in this city. Never been afraid’a that.”

 

Arnold removes his arm. “Good to hear, 'cause I got some bloody work ahead. You're in a good place—you done a couple jobs for me and kept your mouth shut doing it. Come with me.”

 

A snap back in control—follow Arnold out of the office and back into the garage as Helter Skelter amplifies. Notice the heads turn as you shadow him through another doorway and into a dimly lit, smoky hallway.

 

“Keep your head,” he whispers as he turns a key into a wooden door.

 

Keep your head indeed—a bloody man with a cloth over his face sitting in a chair under a single light bulb, a serrated blade poking out of his shoulder. Beside him stands Impotent Rage in a leather jacket, a foot wider and taller than David Arnold. Where the leader's jacket is blank his reads Vice President. His white hair is matted bloody over one hell of a manic expression.

 

As good a greeting as any: “Who the f*ck is this?”

 

We don't get an eye on Julius’ read of the situation.

 

Arnold speaks up. “Dirk, I told you about him. He's been running for us, he's our connect.”

 

Manic expression turned blank.

 

“He’s good and he's not the f*cking man.”

 

Arnold hobbles over and whispers something to Dirk we're not privy to, but it makes him grin.

 

“Ah.” No hesitation, Dirk yanks the knife out of the hostage’s shoulder and tosses it to Julius who fumbles to catch it. We see him for the first time—he's biting his lip.

 

As chairman screams, Dirk directs: “You wanna move on up, bobo? Finish the job.”

He moves to take the cloth off—Julius stops him. “Don’t need to see his face.”

 

No hesitation, no chance to reconsider. As Julius restrains himself from knifing the torturer instead, you are put in control to do the deed yourself. Push the indicated button and Julius thrusts the knife forward and into the man's neck. A sideways slice and a grunt; we see from behind the chair Arnold’s stoic expression. Julius stumbles backward and drops the knife with a clang as the man’s head lobs to the side and the cloth falls. Full view of the man’s pulpy face. Silence.

 

Broken: “I gotta say, that’s the quickest someone’s done it.”

 

Julius eyes Dirk. This happens often?

 

Arnold next, a touch over-excited: “I knew you were the right fella for this! Guy was a f*ckin’ heel, ‘case you’re wondering. I’m gonna find some good work for you, Kren, you’ll be damn pleased you came to see me.”

 

Wiping the blood off his hand, Julius begins back where he came in shaking his head.

 

“Stop.”

Bloody Dirk takes a step forward. “Can’t just leave a body at the scene, pal. Get rid of it.”

Julius speaks to Arnold instead. “I wasn’t fixin’ to kill anybody tonight. Figured you would’ve had a plan for the cat.”

Arnold shrugs. “The last guy who went through with this hightailed it before we could get this far. You shank a guy because I point and say so and you want me to believe you ain’t got a hiding spot?”

“I got a hiding spot, just not for dead folk.”

Dirk: “Time to find one, part of the induction process.”

“He ain’t goin’ in my ride.”

“This is a chop shop. Plenty of cages to go ‘round. I thought you were a no objections guy, Kren.”

 

With a shrug, Julius moves back up to the body and heaves him up with the help of Dirk. We cut to black, a fade back in as the corpse is heaved into the trunk of a rusty Bravado Bolt. Julius moves to the front seat and Dirk the side.

 

Julius: “You coming with?”

Dirk puts his arms on the roof. “Look, brother. You shanked that guy right quick, but all that proves is that you’re a sheep and Dave’s already actin' your shepherd. Killing is our line of business. What’s important is if you can handle the follow-up, and that remains to be seen.”

 

He gets in the car. Julius next.

 

“Cut the f*ckin’ names. I’ve worked for plenty of dudes since I got to this city and your boss ain’t the first to put me to the test like that. Difference is, most’a them other cats knew what they was doing. I don’t think you thought this through. Who’s the guy in the trunk?”

“I was thinking one of your strong points was not askin’ questions.”

“I killed the cat, didn’t I?”

“You did, and you better get used to it if you’re gonna work for David Arnold.”

“I’m freelance.”

“Not anymore.”

 

Make a choice before you hit the gas. Your options are presented to you on the minimap: you’re free to use any means possible to get rid of the body. Perhaps you want to get to the nearby waterfront and dump the car oldschool style. Shoot the gas tank, sure, just make sure Dirk gets the f*ck out of dodge first. Two scripted options are offered too; drive to the junkyard a few blocks east and use the car crusher. It will cue a cutscene where Julius and Dirk watch as the metal compresses and the latter cracks a joke about how the car’s steel might be turned into a knife in the circle of life. A final choice: venture out to Quest Sound avoiding any patrol cars to Julius’ former employer: the Cavallo-Carne Slaughterhouse. There you’ll meet his old pal Mr. Night Shift—Sammy—who filches the corpse with glee. Perhaps it’s your best choice anyway; it leaves Dirk a touch appalled.

 

When the dead guy’s dust you’ll be prompted to accompany Dirk back to the chop-shop, an easier feat if you haven’t destroyed the car—traffic is scarce on the waterfront late at night.

 

“I dunno,” he’ll say to Julius. “I still ain’t convinced about you.”

“Good thing you ain’t the boss, then.”

Quieter, bemused: “Not yet.”

Julius scoffs. “Don’t involve me in your sh*t, man. I’ll kill cats and run swag for your little club, but I won’t think twice about bailing if y’all start off with some intermediary bull.”

“Good to know.”

 

Pull up next to Julius’ Gaia and let Dirk bail himself.

 

Before he walks into the orange light, he leans in through the open passenger window. “I suggest you ditch this cage.”

Julius ignores him. “So now what?”

Dirk runs his fingers through his bloody hair then picks his teeth. “So now you go home and sleep tight, maybe come back tomorrow.”

“Maybe?”

“Your risk to take.” He winks and walks off around the chop-shop corner.

 

A fade to black if you’re in a jacked ride. If you went the slaughterhouse route it’s not done yet: Julius rifles through the car’s glove compartment and under the seats for any loot before ditching it. A final look inside the sun visor; as he flips it a small Polaroid falls onto his lap. He rotates it face-up: a smiling man holding hands with his wife and a young girl on his shoulders. A look of recognition: no cloth over his face, no blood. Julius throws it out the window and exits the car.

 

piUfBpw.png

+ $100

  • Tyla likes this

Tyla
  • Tyla

    Playing It Cool

  • Members
  • Joined: 12 Feb 2007
  • United-Kingdom
  • Best Concept Story 2014
    Contribution Award [Concepts]

#18

Posted 14 July 2016 - 11:25 AM

What an excellent follow up to continue the introductory missions. Again, you've done a great job of describing the location to us and it fascinates me how you're depicting San Fierro of the sixties compared to how we normally hear about it. This couldn't be darker, down on the waterfront, among the factories and chop shops. It works well.

 

Even though I read the first mission back in February, I like how memorable Julius remains as a character, albeit this being what, our second encounter with him? He's constantly on the ball, aware of his surroundings and who he's dealing with. He takes no sh*t and that's what I'm liking about him so much so far. The dialogue you've written for him and the exchanges between him and Dave are epic. This is what I'm talking about:

 

"I like your style," Arnold says between puffs. "You know when to get down to brass tacks. Now don't take this wrong, but you don't talk like I expected. Where you from?

 

"I picked up the lingo cross-country 'cause it seems to help old white folk get past their own preconceptions." Deadpan snark: "And my brother went to college."

 

Arnold chuckles, ignores the redirect. "Articulate and adaptive, you're shapin' up to be a real safe bet on my part.”

He throws the butt onto the floor and it lands next to the first. "I guess I should pay you now, huh?"

 

"I'd say so."

Reminds me almost of a Johnny Klebitz or Vercetti type, but sparring with worthy partners. Your secondary characters are equally as well described and written, right down to the mannerisms of the background players. Dirk is a firm favorite already and I hope he features a lot more.

 

So yeah, I dig the direction the story is going in this far into the game. You're covering all the gameplay bases (driving, shooting) whilst introducing key characters and alluding to future plot points -- Mainline Magnum, whoever he was, and Dirk mumbling something about not being the leader yet. I also very much liked your demonstration of different paths to complete the task at hand -- sinking the car into the waterfront (at the expense of pretty much being stranded) or take care of it at the slaughterhouse, which rewards us with a look into Julius' past.

 

Great work and I eagerly await the next installment. :^:

 

Also, fantastic job with the sounds and the vehicles. I'm actually a bit jealous of all the beautiful motors you're getting to work with. This is gorgeous, imagine driving that down the Venturas strip.


Tyla
  • Tyla

    Playing It Cool

  • Members
  • Joined: 12 Feb 2007
  • United-Kingdom
  • Best Concept Story 2014
    Contribution Award [Concepts]

#19

Posted 06 August 2016 - 06:05 AM

I have to bump this. I've been reading about Sonny Liston lately and I was wondering if you had thought of including a character like him at all?

 

His death was extremely dubious, supposedly involving the Mafia, but he was the undisputed heavyweight champ until he ran into Ali, and it occurred to me how that might fit in with the happy-go lucky feeling of the 60s story that fades into the harsh realities of the 70s.


Cebra
  • Cebra

    Eh.

  • Leone Family Mafia
  • Joined: 06 Jan 2013
  • Canada

#20

Posted 06 August 2016 - 03:48 PM Edited by PhilosophicalZebra, 06 August 2016 - 10:50 PM.

I have to bump this. I've been reading about Sonny Liston lately and I was wondering if you had thought of including a character like him at all?
 
His death was extremely dubious, supposedly involving the Mafia, but he was the undisputed heavyweight champ until he ran into Ali, and it occurred to me how that might fit in with the happy-go lucky feeling of the 60s story that fades into the harsh realities of the 70s.

Appreciate the link to Liston's death, I never knew the circumstances were so suspicious.

Boxing is going to be a big part of the the Gambetti casino's (attempt at) forging a gaming empire out of La Penisola. So as it starts out you'll host matches between local fighters, but fix the games properly and ensure that people make good money on your fights and you'll get progressively more famous fighters and so more spectators.

Part of this is going to be weaved into the storyline. I was planning on an Ali-based character working with the casino, but combining Mohammed Ali and Sonny Liston would make for a much more interesting one. Maybe he's had lots of success in the 60s but come 1970 he's losing matches and needs to make bank even if it's through fixed fights.

After reading about Liston's death I think such a situation could make for an interesting little plot point. Maybe I'm a getting a little ahead of myself, but I was thinking maybe the fighter could be in the middle of the Ancelotti v. Gambetti conflict, resulting in a little murder conspiracy by an Ancelotti hitman (judging by the LCPD database, I'm thinking Chubby Charlie of IV used to act as a hitman). Not to spoil things, of course :p

What do you think?
  • Ivan1997GTA likes this

Tyla
  • Tyla

    Playing It Cool

  • Members
  • Joined: 12 Feb 2007
  • United-Kingdom
  • Best Concept Story 2014
    Contribution Award [Concepts]

#21

Posted 08 August 2016 - 10:43 AM

That sounds perfect, right down to the Chubby Charlie connection. A quick GTA Wiki of him pretty much confirms he was into all sorts of loan sharking too, which would be an awesome reference to Liston if you run with it. Boxing of this era always fascinates me, so I'm massively stoked that it's going to feature as part of the Gambettis storyline.

 

Depending how you weave it in, you could probably have a character for both Ali and Liston, given how crazy the build up to their fights could be. Liston even pulled a gun on Ali at one stage (imagine, for added effect, a mission where this descends into a full on shootout). Either way, you've got me fully hyped!

 

I see there was an update to the main post recently, what's new? :turn:

  • Ivan1997GTA likes this

Money Over Bullshit
  • Money Over Bullshit

    The Visionary

  • Members
  • Joined: 02 Mar 2009
  • None
  • Contribution Award [Concepts]
    Most Knowledgeable [GTA Series] 2010
    Best Concept Story 2010 "The Code of The Streets"

#22

Posted 08 August 2016 - 04:19 PM

I expected good things from this and I am in no way disappointed and I really mean that, this is one of the best concept stories I've read in a long long time. Your writing sets every scene perfectly and I find myself instantly warming to every character, even though in some cases I'm probably not supposed to. I had always been skeptical of a GTA set in the 60s but this has really changed my mind. I'm looking forward to seeing more of it soon, don't let me down son :)

  • Ivan1997GTA likes this

Cebra
  • Cebra

    Eh.

  • Leone Family Mafia
  • Joined: 06 Jan 2013
  • Canada

#23

Posted 10 August 2016 - 07:14 PM Edited by PhilosophicalZebra, 10 August 2016 - 07:14 PM.

That sounds perfect, right down to the Chubby Charlie connection. A quick GTA Wiki of him pretty much confirms he was into all sorts of loan sharking too, which would be an awesome reference to Liston if you run with it. Boxing of this era always fascinates me, so I'm massively stoked that it's going to feature as part of the Gambettis storyline.

 

Depending how you weave it in, you could probably have a character for both Ali and Liston, given how crazy the build up to their fights could be. Liston even pulled a gun on Ali at one stage (imagine, for added effect, a mission where this descends into a full on shootout). Either way, you've got me fully hyped!

 

I see there was an update to the main post recently, what's new?  :turn:

I really have to learn to do my research like you. Drawing parallels to real life like that offers both some realism and spice to the story. I never knew he pulled a gun on Ali before. Thanks for the info again.  :)

 

And I updated the main post to reformat the Features sectionI think it's more clear now. I also changed the font because it's a bit bigger, but I'm not sure if it's hard on some peoples' eyes. If anyone could let me know if there's any issues with it, it would be appreciated.

 

I expected good things from this and I am in no way disappointed and I really mean that, this is one of the best concept stories I've read in a long long time. Your writing sets every scene perfectly and I find myself instantly warming to every character, even though in some cases I'm probably not supposed to. I had always been skeptical of a GTA set in the 60s but this has really changed my mind. I'm looking forward to seeing more of it soon, don't let me down son :)

Glad I changed your mind! I won't let you down with the story, I'm really enjoying writing this :)

 

I have a few more things to add to the OP in mind, plus I'm almost done writing main mission #3. Shouldn't be long. 


Tyla
  • Tyla

    Playing It Cool

  • Members
  • Joined: 12 Feb 2007
  • United-Kingdom
  • Best Concept Story 2014
    Contribution Award [Concepts]

#24

Posted 11 August 2016 - 08:43 AM

Ah, okay. I can read the features section just fine and I'm as good as blind in one eye, how's that for positive feedback? :cool:

 

Glad to hear you're nearly finished writing Mission #3. We'll be anticipating it eagerly!

  • Cebra likes this

Cebra
  • Cebra

    Eh.

  • Leone Family Mafia
  • Joined: 06 Jan 2013
  • Canada

#25

Posted 17 September 2016 - 10:25 PM Edited by PhilosophicalZebra, 17 September 2016 - 10:27 PM.

So I thought I'd bump this to ask if anyone has any suggestions for the music or vehicles. Working on the soundtrack I realized that Rockstar really has used some great music in the past, and even though there's no lack of great songs to use for this concept, I really don't know much about them. Some of you guys have great suggestions for it.

I've seen people's ideas around the forum while talking about things like Mafia III, and it's fired up some more enthusiasm for me to put work into this. So since the last update I've added quite a bit of music and cars, and within the next few days I'll be posting mission #3. I've been wondering how to approach the three character dynamic - I'll probably be rotating each mission around unless one mission would follow immediately after the previous. How would you guys prefer to approach this?
  • Ivan1997GTA likes this

Cebra
  • Cebra

    Eh.

  • Leone Family Mafia
  • Joined: 06 Jan 2013
  • Canada

#26

Posted 23 September 2016 - 01:41 AM Edited by Cebra, 01 July 2017 - 08:36 PM.

Ix1RCQm.png

 

After the end of the previous mission you'll be prompted to switch to Dante—do so at your leisure. The camera will once again speed across the map as the Monótono River turns to desert. We're treated to a timelapse of Las Venturas from the perspective of a flat-roofed bungalow a few miles out as nighttime neon vibrancy turns to a full blown heat-hazed day.

 

A red Albany Ace pulls into the driveway and parks behind a shiny Barbican Piranha. A familiar face steps out, a brown bag in his hand even more wrinkled than him. Jacky hooks around the car and makes his way into the home’s sandy backyard, past a picnic table covered in sawed-off shotguns to a small shack  poised against the fence. A look in a tiny window, then a knock on the steel door. It opens immediately to Dante in his skivvies yawning.

 

“Yeah?”

Dio mio. It's eight o’clock, you f*cking bum.”

“I know, that's why I'm still sleeping.”

 

Jacky pushes in; first person from his view—mattress on the floor, a few shelves filled with useless sh*t and a small table with newspapers piled in a 5x5 space. Smoke rises from beside the bed, Jacky sniffs.

 

“It don't smell like sleep to me.”

“Yeah, yeah, la canapa. Let's get it out of the way.”

“I don't got time.”

 

Jacky pushes the bag into Dante’s chest. He grabs it and peeks in, Jacky slaps his hand away.

 

“Remember my pal Fabrizio out in the valley?”

Dante leans on the door frame. “No.”

A rare chuckle: “The bookie who screwed Angio Scavarelli’s broad. I had to put him in hiding for half the goddamn year.”

“Don't ring any bells. I remember Mrs. Scavarelli, though.”

“Uh huh.” — Jacky begins to direct Dante to Fabrizio’s place through physical landmarks rather than street names as Dante yawns and scratches away.

 

“...just put the bag in the vase on his porch. You listening? This is a favor from Jon so I'd appreciate it if you don't f*ck it up.”

 

Serious now: “I won't.”

 

“If you got nothing better to do, which I know you don't, go see Jon when you're done. He asked for you.”

 

Mutual nods; Dante closes the door. He checks his little spinello by the bed and finds water dripping onto it from a crack in the roof, followed by a trail of Sicilian cursing. Only part of the language he knows.

 

Objective: Get dressed and drive toward New Martis.

 

Approach a little pile of clothes on one of the shelves and pick a default outfit: rolled up blazers, wifebeaters under unbuttoned dress shirts and chinos. A quick tutorial on that pile of papers: it's your only alternative to radio, fresh off the presses every morning are details on the latest, from your criminal exploits to just typical everyworld bullsh*t 50¢ apiece. When you're pleased with yourself leave the brick hut and make your way to Dante’s Piranha. If you want, take the opportunity to explore Jacky’s home—a typical Venturas bungalow, flat-roofed, every wall’s a window. Mid-century as it gets until you see inside; stickler Jacky enjoys WWII-era furniture. The living room’s fifty shades of beige hosts a card game every night in which you can partake.

 

Done? Get to the car and pull out of the cul-de-sac of identical homes. Even though the valley isn't far away, the lack of traffic allows you an even quicker commute. Floor the muscle car and hear the engine roar as The Strip ’ buildings fade further away in the haze. No waypoint, but follow the natural route and you'll find yourself back on the West Side—sh*thole tenements and eerie desertion. The camera will focus on Sugar Ray’s Mini-Mart as you pass, a keen eye will notice the rusty old Barbican Veranda from the previous mission curbside. Keep driving as the amount of domiciles dwindles and sand dunes swells. Buttless scorching day—A Day In The Life playing on the radio as you travel down the highway. Around you? A little metal guardrail and miles upon miles of flat desert and tumbleweeds. Urban expansion my ass, Dante mumbles to himself. Promises straight from Cazzini—Venturas is the future, right?

 

Fabrizio’s bungalow is one of three built so far—the skeletons of a few dozen more are scattered along dirt roads nearby; the beginnings of a little township halfway to New Martis. Over a nearby foothill you would usually see the concentrated skyscrapers of San Fierro, but for now the haze limits the sight—park on Fabrizio’s dirt lawn, find the vase, cue cutscene: Dante peeks in the bag again and you get to make a quick decision: press the indicated button to snag a Grade-A suppressor. No immediate consequences, though; as he begins to walk back to the car a man pops out the front door holding a lupara by the barrel. Dante feels for his pistol and comes up empty again—holster’s in the backseat, you'll get it when you return.

 

Pure Alderney: “Who the f*ck comes all the way out here and don't say hi?”

 

No gun pointing; no hands in the air.

 

“I'm Gravelli’s guy. Heard you needed a few silencers.”

 

Fabrizio grabs the vase and flips it into his hand. He opens the bag, pulls a few out then back in.

 

Suppressors, you f*ckin’ amateurWhen someone comes up with a real silencer we’ll all be up sh*t’s creek.” Fabrizio scratches what seems to be a perpetual itch with his lupara.

 

Dante: “It's like tumbleweed f*ckin’ hollow out here—what's your deal?”

“You know my deal.”

“Can't say I do.”

“You work for Gravelli, paisan—we all got the same deal.”

 

He smirks, twirls his shotgun like a balancing act and slams the door, Dante's questions hanging tabled.

 

One main objective: Go back home, passing through the West Side en route.

 

Do so. Take the scenic drive again—what, how often do you get to put the pedal to the metal in a muscle car through a desolate desert? Try first person; admire the old-school dials and blood leather interior if that's your thing. The sand will soon morph to a few warehouses, then one-stories and ultimately your target tenements. Passing the mini mart will this time trigger a short scene: Dante will attach his holster, park around the corner and get out. The information box in the upper left will display your objective straight up—Go to the payphone across the street—along with a tidbit of info: the directive is purely a suggestion; you're free to use your initiative without punishment. If you wanna do things the old way, feel free.

 

First option—those guys fixing to jack Sonny’s Glendale in the intro are already hanging out on their stoop. If you’re up to it, take a hands-on approach and beat the living sh*t out of them. Honestly, the odds ain’t in your favor—three versus one, the three already well-versed in street fighting. Different gangs, different fighting styles—this isn’t one you want to go up against your first time. If you’re brave enough to down them, however, you’ll be introduced to the game’s fighting mechanics step-by-step until you kick their asses. “Not so tough now”, Dante will mutter to the moaning gangsters once they’re rolling around on the ground. “Stick to pinchin’ bicycles from now on.”

 

Two—Dante’s got a gun. Though a barely-attempted carjacking may not merit a bullet (or ten), it’s ultimately up to you. Draw the pistol and Dante will say “Never f*ck with the Gambettis” plain and simple—shoot and book it before the street starts getting crowded.

 

Three—follow the suggestion. Walk over to the payphone and Dante will automatically place the call, 50¢.

 

“Yo, it’s Dante. I got a little show needs playing out over on the West Side. You in?”

Laughs: “Of course. Be there in five.”

 

Five it is—fade to black, fade back in to a Vapid Banner double parking Dante’s ride. A pudgy guy inside calls him over.

 

“What’s the deal?”

Dante spits, points to the gangsters on the stoop. “These pricks were sizing up Cangelosi’s car yesterday when I was on a run. Jon scared 'em off, but I say we take it a bit further and teach ‘em not to do that again.”

“Oh yeah, you were on a run with Sonny and Jon. Who else was there, Vic Noto?”

“Ha, I don’t gotta prove sh*t to you, E. But don't say I didn't tell you I was movin’ on up.”

“Whatever, you delusive prick. Got a plan?”

Ooh, ‘delusive prick’That’s a good one. And sure—go piss the shines off with your charm while I pull their brakes.”

 

Ettore gets out—at full height he stands half a foot taller than Dante—and hobbles over to the stoop as Dante kneels by his car. Before long an argument starts; your cue to act. Crouch over to the rusty Veranda around the corner and get over to the front: press the indicated button to cut the car’s brake lines. You're free to do this as you wish in normal gameplay—a good preventative measure to take when you don't feel like a high-speed pursuit.

 

Back to the Piranha—shove it into first gear and cruise up to the mini-mart curb. One of the gangsters will notice you immediately.

 

“Ah, makes sense. You dagos hang in packs ‘round here, huh?”

“Glad you remember me. You really seemed to dig what I was drivin’ yesterday, you feelin’ as hot on this one?”

The trio size it up. The short guy: “Nothin’ special, motherf*cker.”

“I bet this ‘nothing special’ would kick up some good dough for parts, though. I'll be honest; I'm joyriding and lookin’ for a race—if you beat me in that rusty piece of sh*t this girl’s all yours.”

They laugh like they just heard the world's greatest joke. “Got nothin’ better to do. S’worth a shot, it is.”

 

The three run over to their car around the corner—Ettore gets in with Dante.

 

“Something tells me this ain’t gonna be fair game.”

 

Go to the makeshift start a bit down the road; not like there’s any traffic to interfere. It’s a long, straight path with a sudden 90° into a building further down—good for quick acceleration, bad for someone without brakes. Wait for the Veranda to position alongside you—3,2,1, hit it. Power down the road and prepare to drift the corner alongside your adversaries—watch as they lose momentum and slam into a brick wall at mid-speed. Shift gears again, hit it far this time. Leave the West Side in your dust as Dante and Ettore laugh away.

 

A final trek: Return home.

 

“Sh*t, your car.”

Ettore continues laughing. “I pulled that hunk a’ junk from Ricky’s yard. Gimme some credit, big shot.”

“Ain’t no big shot yet. Stepping stones, Tor—a favor here and an unpaid gig there’ll and before you know it they’re dependin’ on you.”

“Uh huh. And that back there—that your idea of sanctioned payback?”

“Not exactly. But the hoi polloi gotta know to respect the family, capiche? I got a feeling it’ll pay off.”

“So when you gonna introduce me?”

“What, to Sonny? That old prick won’t remember you from any other Strip drone stunad unless you make a splash. That’s on you.”

“So I heard. Come by my pa’s in a few shakes and I’ll bring the waves.”

 

Dante chuckles, a bit confused, a bit impressed. Park up the driveway into the indicated spot—don’t take Uncle Jacky’s vacant one unless you’re yearning for a verbal lashing later on. Not his house, but Ettore’ll walk in first—Dante steps out of the car and, for the first time, you’re free. You’ll receive the traditional breakdown of what you can do while in free roam, ending with a prompt to begin the first mission of Doug’s if you so please.

 

 

piUfBpw.png
No reward.

Money Over Bullshit
  • Money Over Bullshit

    The Visionary

  • Members
  • Joined: 02 Mar 2009
  • None
  • Contribution Award [Concepts]
    Most Knowledgeable [GTA Series] 2010
    Best Concept Story 2010 "The Code of The Streets"

#27

Posted 23 September 2016 - 09:15 AM

Just got caught up with this man. I really like the first two character introduction missions they're simple and straight forward but give a good sense of where the protagonists have been and more importantly where they're headed. I'm looking forward to seeing more of the same in the next offering. Also writing is as top notch as ever man kudos.
  • Cebra likes this

Tyla
  • Tyla

    Playing It Cool

  • Members
  • Joined: 12 Feb 2007
  • United-Kingdom
  • Best Concept Story 2014
    Contribution Award [Concepts]

#28

Posted 23 September 2016 - 01:48 PM

Another quality mission! As MOB said, simple and straight forward but brought to life with your vivid descriptions and attention to features such as location and vehicles. If Ettore Boccino is indeed related to Ray, little lines like this one are exactly what I'm talking about:

 

 

Ettore gets out—at full height he stands half a foot taller than Dante—and hobbles over to the stoop as Dante kneels by his car.

It might not be something you pick up on right away, but when you consider how much of a lanky fella Ray Boccino was and how he had a real awkward walk about him, it's some smart ass writing.

 

I'd definitely love to see you rotate the missions between characters. I've no qualms with Dante or Julius at all, but I would love to see more of Doug.

 

Music and vehicles? I think you're doing a terrific job. I've no suggestion to add other than keep doing what you're doing... as often as you can. :p I'd certainly love to hear this song when bouncing between casinos in the 60s portion of the game, though!

 

  • Cebra likes this

Cebra
  • Cebra

    Eh.

  • Leone Family Mafia
  • Joined: 06 Jan 2013
  • Canada

#29

Posted 23 September 2016 - 10:52 PM Edited by PhilosophicalZebra, 23 September 2016 - 10:53 PM.

Just got caught up with this man. I really like the first two character introduction missions they're simple and straight forward but give a good sense of where the protagonists have been and more importantly where they're headed. I'm looking forward to seeing more of the same in the next offering. Also writing is as top notch as ever man kudos.

 

Another quality mission! As MOB said, simple and straight forward but brought to life with your vivid descriptions and attention to features such as location and vehicles. If Ettore Boccino is indeed related to Ray, little lines like this one are exactly what I'm talking about:

 

 

Ettore gets out—at full height he stands half a foot taller than Dante—and hobbles over to the stoop as Dante kneels by his car.

It might not be something you pick up on right away, but when you consider how much of a lanky fella Ray Boccino was and how he had a real awkward walk about him, it's some smart ass writing.

 

I'd definitely love to see you rotate the missions between characters. I've no qualms with Dante or Julius at all, but I would love to see more of Doug.

 

Music and vehicles? I think you're doing a terrific job. I've no suggestion to add other than keep doing what you're doing... as often as you can. :p I'd certainly love to hear this song when bouncing between casinos in the 60s portion of the game, though!

 

Much appreciated, both of you. 

 

I wanted to make the first couple of missions for each protagonist like GTA IV's where it's more about ratifying characters and the setting. It was fun to jump right into things in V, but I prefer IV's way of going about the intro missions. Julius, Dante, and (as you'll see next) Doug are all pretty much midway in their careers. Julius is an established courier, Dante is in the midst of proving himself to the Gambettis, and Doug is pretty much lost. When they push toward the high points to come, that's when the set-piece missions will begin. 

 

Nice to see you picked up on Ettore's characteristics, Tyla. I thought maybe it was a bit far-fetched to bring a Boccino to the west coast, but what the hell. There's nothing to suggest the family wasn't rooted back in LC by 1976, right? :p

 

And I'll be adding Spooky to the soundtrack. Thanks  :^:


Money Over Bullshit
  • Money Over Bullshit

    The Visionary

  • Members
  • Joined: 02 Mar 2009
  • None
  • Contribution Award [Concepts]
    Most Knowledgeable [GTA Series] 2010
    Best Concept Story 2010 "The Code of The Streets"

#30

Posted 26 October 2016 - 04:13 PM

 

Just got caught up with this man. I really like the first two character introduction missions they're simple and straight forward but give a good sense of where the protagonists have been and more importantly where they're headed. I'm looking forward to seeing more of the same in the next offering. Also writing is as top notch as ever man kudos.

 

Another quality mission! As MOB said, simple and straight forward but brought to life with your vivid descriptions and attention to features such as location and vehicles. If Ettore Boccino is indeed related to Ray, little lines like this one are exactly what I'm talking about:

 

 

Ettore gets out—at full height he stands half a foot taller than Dante—and hobbles over to the stoop as Dante kneels by his car.

It might not be something you pick up on right away, but when you consider how much of a lanky fella Ray Boccino was and how he had a real awkward walk about him, it's some smart ass writing.

 

I'd definitely love to see you rotate the missions between characters. I've no qualms with Dante or Julius at all, but I would love to see more of Doug.

 

Music and vehicles? I think you're doing a terrific job. I've no suggestion to add other than keep doing what you're doing... as often as you can. :p I'd certainly love to hear this song when bouncing between casinos in the 60s portion of the game, though!

 

Much appreciated, both of you. 

 

I wanted to make the first couple of missions for each protagonist like GTA IV's where it's more about ratifying characters and the setting. It was fun to jump right into things in V, but I prefer IV's way of going about the intro missions. Julius, Dante, and (as you'll see next) Doug are all pretty much midway in their careers. Julius is an established courier, Dante is in the midst of proving himself to the Gambettis, and Doug is pretty much lost. When they push toward the high points to come, that's when the set-piece missions will begin. 

 

Nice to see you picked up on Ettore's characteristics, Tyla. I thought maybe it was a bit far-fetched to bring a Boccino to the west coast, but what the hell. There's nothing to suggest the family wasn't rooted back in LC by 1976, right? :p

 

And I'll be adding Spooky to the soundtrack. Thanks  :^:

 

Any idea when we will get to see more??





1 user(s) are reading this topic

0 members, 1 guests, 0 anonymous users