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Tyla

Grand Theft Auto IV: London

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Sanjeem

I loved that scene Tyla! Excelent, however is that a mission? or a side mission i'm not sure because you havent given it a name... i mean a number...

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Tyla

The previous mission was mission number eight, I only number them on the front page. When mission ten comes around I think I'm going to do a re-cap before we move on to the next 'chapter' as it will be. Glad you liked the scene, Sanjeem smile.gif

 

I'm thinking about using

song as the theme tune for the topic. Would it be fine if I used the song you suggested earlier on as the theme for the Manchester gangsters, akavari? seen as its an Oasis tune.

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TommyMufc-Champs

Nice missions icon14.gif Well done cookie.gif

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Sanjeem
Nice missions icon14.gif Well done cookie.gif

Tyla i might use your logo idea, do you still give me permission to use it, i will replace english flag with italian flag instead though since it's different topic.

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Tyla
Nice missions icon14.gif Well done cookie.gif

Tyla i might use your logo idea, do you still give me permission to use it, i will replace english flag with italian flag instead though since it's different topic.

Thats fine mate, I look forward to seeing how it turns out!

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Prasdana

1 word, AWESOME!! icon14.gifcookie.gifcookie.gif

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Tyla

Thank you smile.gif

 

I shall be posting up a cutscene at some point later on before the first chapter of ten missions are rounded off. Then, we move on to Act II: Building Ties! The missions will be a lot more centred around the action of the previous mission, so hopefully they will be more engaging than those at the start of the story.

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Tyla

 

Cutscene

 

Deep in thought over a pint, Ray sits at the bar in the Crown Jewels contemplating his surroundings; its just him and two fellow customers. Returning to such a mess – his family dwindling and with dangerous debts – was clearly not what he expected judging from his face of stone. Narrow eyed, he tastes the Pißwasser on his lips and observes a man in the corner exchanging a packet of powder with another man out of a backpack. The camera then follows the pint glass being placed on the bar half full and we see Ray walking over... is he going for violence just for violence’s sake or to throw his weight around? Either way, an ulterior motive lies deep in his eyes.

 

Ray: “Oi,” he barks in a low tone at the buyer, “Bugger off, now!”

 

Ray helps him find his feet and gives him a shove towards the doors; he topples out and into a sprint. The dealer jumps up.

 

Dealer: Oi, what do you think you’re doing mate?

 

Ray keeps a calm composure, somewhat of a smirk on his face, and collects what is left of his pint from the bar.

 

Ray: Harry, get the door.

 

The bartender does what he is told and pulls the lock across the doors. We see the dealer’s confused eyes watching the bolt click into place, following Ray over as he comes to stand in front of him; he coolly takes a sip of his pint and gives the most deceptive friendly grin.

 

Ray: Whats in the bag mate?

 

Dealer: What do you mean whats in the ba-

Ray shoves him back into the chair quick to change his tune to violence; the backpack falls from the dealer’s hands. He goes to reclaim it but Ray is too quick; he snatches it.

 

Ray: What have you got in the f*ckin’ bag, scum?!

 

He unzips it and turns it upside down; five small bags of Cocaine tumble out along with a small amount of money.

 

Ray: Listen to me, you lowlife c*nt; I’ve been watching you. I know how much coke you’ve shifted and how much you’re making... where’s mine?

 

The dealer attempts to speak, presumably to disagree with the demands.

 

Ray: You really shouldn’t test me, boy. Now, look lively, ‘cause I’m gonna throw you a bone; I’m gonna let you keep pushing in this pub... and you’re gonna kick a grand up to me every week. We understanding each other? Good.

 

Ray takes the money from the seat; £350 will be added to your balance when gameplay resumes.

 

Ray: Now this, is an advance. Get on your way.

Harry, let the boy out.

 

The dealer hurries the bags of cocaine back into his bag and is shown out of the pub by the bartender. Ray simply finishes his pint and goes upstairs.

 

....

 

Dave is sitting in the back room, watching the tail end of the football highlights. He is clearly still shaken about what happened with the Turkish Mafia.

 

Ray: Dave; I’ve been thinking.

 

Dave: You’ve had time to think while taking care of all that sh*t for the Turks?

 

Ray: I got them their smack but that ain’t gonna sort it. I’m sorry mate, but there’s no way you’re cut out for clearing that debt yourself. They’re going to hold it over you and then when you can’t pay ‘em back, they’ll do away with you like sh*t off a shovel.

 

This subtle brand of intimidation visibly unnerves Dave; exactly what Ray set out to do.

 

Ray: So listen, I’ll take on the debt... I’ll clear all of it.

 

Dave: How? Where will you get the cash from?

 

Ray: I’ll find it... but I want the deeds to this place for my troubles. I want you to sell it to me, for twenty grand, and I’ll make all these troubles go away.

 

There is an awkward silence following a sigh, Dave trying to think, which is clearly a strenuous task for him. By the time the theme tune to The Plod kicks in, he has reached his decision.

 

Dave: How soon can you get it?

 

Ray smirks. The cutscene abruptly fades out to black.

 

You now have a mission marker on your map for Alan Frazer; immediately go and see him.

 

+£350

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Prasdana

I can see a bit similiarities between Ray and Mr.White from Reservoir Dogs.

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Tyla

Just curious, but why Mr. White? He's not as cool as Mr. Pink?? tounge.gif

 

 

See if you guys can spot the references to two past characters!

 

Bobby Dazzlers

 

Make your way to Alan’s lockup in the East End. You will remember it as your first destination of the game, your first save point and the location of your first missions. Enter the marker at the door to trigger the mission.

 

Ray finds Alan inside his office, liaising with Camp Tony, whom you met earlier on. The two men are discussing security arrangements for an underground gay nightclub venue in Brighton; Alan asks Ray if he wants in but he replies that it is not really his scene. Tony is quick to assure him the offer remains open, though, before he pushes his rack of clothes out of the office and summons his toy boy to help load them back onto his van.

 

Ray goes on to explain that he is in need of some quick cash, prompting Alan to inform him that he has just the job and you are just the bloke to take of it, permitting Ray is still as willing to get his hands dirty as he was before being imprisoned. He goes on to explain that he wishes to acquire some rare, one of a kind antiques that belong to a wealthy family who own a large estate in the Essex countryside. According to Alan, they are on vacation in Vice City, allowing them to be in and out with little trouble.

 

Take control of the Rumpo you are provided with and drive with Alan to the house in the country. You will confronted by a daunting, towering gate when you arrive at the mansion and are instructed to exit the vehicle and break the lock. To do this, equip the Crowbar you have been supplied with for this mission, lock on to the lock, and break it. Ray will then push the gates open. Once you have done this, slowly drive the van into the grounds and park up around the back of the mansion. The best way to park is with the back doors closest to the property so that you can easily load the antiques you steal onto the van.

 

Using the crowbar, break into the property via the back door and than enter. Even though you do not necessarily need to use stealth in this mission the amount of noise you make will be indicated by the noise meter, displayed around the HUD. Alan will follow you through the mansion and when you reach one of the blips on the radar – each blip indicating an antique of value – press Square/X to steal it. Some of the items aren’t worth anything though and these will be indicated by Alan’s responses; if he exclaims that they’re cheap tat, don’t bother with it.

 

Ray will carry the item back to the van each time you repeat the process with the other four antiques of value. When you go to steal the fifth upstairs however, you are suddenly confronted by the home owner who in fact isn’t in Vice City at all. He points a large Shotgun at you and tells you that the police are on there way. At this point, you are given a choice of reasoning with the man to put the weapon down using < and > on your controller. For the purpose of this mission, press <.

 

Ray: Your daughter in there?

 

You will recall seeing family portraits all over the house.

 

Ray: Think how she’d feel if her Daddy got hurt.

Put it away.

 

Move towards him, seeking to disarm him. Your choice of intimidation however already pushed him to breaking point and stepping towards him prompts him to fire at you; he misses you, but destroys the final antique that sat in the corner. The blast echoes all around the large mansion and around the grounds outside. Utilize the combat skills you learnt working in Lenny’s club to relieve him of the weapon while he recovers from the great recoil; press Circle/B to take control of the Shotgun and knock him out cold.

 

Police sirens can be heard in the distance, Alan is suggesting you leave ASAP, and to top off the commotion the wife begins to scream in the bedroom. Calmly, Alan opens her bedroom door, presses his fingers to his lips, and asks her to be quiet. She nods and he shuts the door, but the screams begin once again, annoying the hell out of both yourself and Ray!

 

Kick in the bedroom door and as in the previous mission, press Square/X to drag her up from the bed and take her hostage.

 

Ray: Shut up, slag!

 

With the Shotgun resting at your side, lead her down the stairs and out onto the grounds. Alan then notes that the police have arrived; two unarmed police officers exit their patrol car and, oblivious to you holding the woman hostage, knock on the door waiting for a response. You can choose to execute them quickly (earning a heavy police response to the area) or decide to free the woman and make a quick getaway. You can also choose to execute* the woman; murdering her will result in a different stream of dialogue on the way home with Alan barely able to comprehend what you have done.

 

Once your decision has been made and you are back in control of your vehicle, race back to the lockup, losing any police attention that you may have picked up. Alan will apologize for his information being false but explains that is the luck of the draw. You successfully recovered the goods, though, and he pays you £10,000 - £2,500 each – for them, also informing you that there is always a market for stolen goods.

 

+£10,000

 

*The execution of Rosetta – the woman – plays out with Ray shoving her forward. He puts the shotgun to her back then pulls the trigger. A dull shot (as to symbolise your choice) rings out and she collapses to the floor, lifeless.

 

** Mansions are now unlocked to burgle, with Alan being able to sell the goods.

 

***A random encounter with Camp Tony is now available in Brighton; find him at the underground gay club he mentioned (which will take some finding) between 20:00 and 06:00 to trigger it.

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TommyMufc-Champs

Camp Tony lol.gif Good mission.

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Sanjeem

I liked that mission, especially the connection with TBOGT

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El Zilcho

Tyla I've got to say this is absolutely brilliant! The best GTA idea I've read in a very, very long time. Keep up the great work I look forward to the next mission.

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Tyla

Thanks Zilcho smile.gif Means a lot that you like the idea.

 

And top marks to Sanjeem and Tommy for spotting the nods to Gay Tony!

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Typhus

God bless you for including Southend, my home town! For that you have earned a spot on the Typhus respect list!

In terms of crime, there's something of a struggle going on between Vietnamese and Somalian drug gangs who want to control both marijuana and heroin. The Somalians have a habbit of forcing people out of their homes and turning them into a drug den.

We also have problems with football hooligans, you mentioned the cliffs, well, a while back the hooligans were chasing each other around that area. About 40 of the f*ckers, causing a small scale riot.

 

The most disturbing aspect of Southend is the 'freak' crimes. Sexual assaults, serial abductions and even a cat killing psychopath. Here's some links:

 

http://www.longpier.com/features-2/surreal-southend/

 

http://www.southendstandard.co.uk/news/810...m_future_games/

 

http://www.echo-news.co.uk/news/local_news...es_deadly_turn/

 

http://www.longpier.com/2010/08/rochford-p...pted-abduction/

 

Not to mention our hardcore of hippie eco-warriors who tie yellow ribbons on EVERYTHING to apparently protect them from council plans to modernise the town.

Yep, you said it best. A shadier version of Las Venturas, with freaks and weirdos instead of mobsters and call girls. Great work on this thread biggrin.gif

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Tyla

Thank you, Typh. Thank you very much for the information and links!

 

Sometime in the near future, I wish to add a descriptive piece to this topic, like the cutscenes I've been adding. It will be a point of view of the player as they travel around the locations in the game, which would basically be my best attempt at bringing this to life by throwing the reader into encounters and situations they would face as say, Niko Bellic, or the previous protagonists.

 

I would love to throw in a random chance meeting with an absolute basket case like you mentioned, and show how it played out. Like it could be a totally random occurrence totally unrelated to the random characters. The cat killer you mentioned; maybe the player could encounter him? Disturb him? And then the killer would know that you are 'on to him' and leave prizes for you - dead animal remains - at random for you to find and eventually lead you to his grand lair. When you arrive and are rightfully disgusted at what you see, he would attack you.

 

I'm also planning for the warning alarm that goes off in the town close to Broadmoor Hospital to not be a drill on one occasion, and you would end up stuck in the town with the police not letting anybody leave. You could choose to help the escaped patient - being very risky - or refuse them and they would turn confrontational. I'm all for stuff like this, and would love to hear any other ideas you have.

 

Thanks again mate, and thanks for the respect smile.gif

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Tyla

Apologies for the double post but I wanted to give a proper response to Typhus as he went to the effort of providing links and info. This will be mission number ten and round off the introductory level missions and mark the first appearance of assets, properties and rackets.

 

 

You are required to have £20,000 or more in funds to trigger this mission.

 

By The Jewels

 

The mission begins once your balance hits £20,000. Should you be travelling in your Hunter, Ray will use the car phone to make a call to Dave. If not, you are pointed to the nearest telephone box.

 

Ray: It’s me. I’ve got the cash.

 

...

 

Ray: I don’t care if you’re watching the bloody game!

You know the trouble I’ve gone to, to get this dosh? f*cking be there.

 

Clearly not a fan of football, Ray immediately hangs up, cutting the argument. You are now prompted to make your way to the pub in Bow.

 

A cutscene starts upon your arrival; Ray walks down the street with a briefcase in his hand, stopping outside the pub. We see him inhale deeply, tasting the air of the good old East End. He admires his surroundings for a moment and then enters the bar.

 

Dave is upstairs, looking as though he would rather be somewhere else. He appears rather anxious as Ray enters with a wry laugh, ready to finalise things. His ambition and excitement are dashed suddenly when Dave, stumbling over his words, drops the bomb that he has spoken to Arthur... and changed his mind. Ray’s face hardens, he snarls:

 

Ray: Well you’d better f*ckin’ unchange it.

 

He places the briefcase on the carpet, opening the catch. He kicks it over to his brother, spilling open and revealing lines of notes packed inside. We see Dave clearly tempted, torn between the wishes of his brother and his father.

 

Dave: Listen, Ray, I appreciate it. I really do...

 

Ray: No. I think you’re trying to have me for a mug.

You and him, think you can take on the Turks?

 

Dave: We can.

 

Ray: Who’s that speaking? You? Or Arthur?

You... who fannies about over ball games, shoves powder up his hooter, to make himself feel like a big man?

Do yourself a favour, son; you and him, you wouldn’t last a minute. Not now. Take the money, like a good boy, and pay them off.

 

Dave begins mustering up a response but is cut off.

 

Ray: Take it.

 

Reluctantly, we see Dave close the case. His final decision is to pick it up. Coldly, he takes it into his hands and walks silently towards the door. He stops and turns back.

 

Dave: Deeds are in the safe.

 

The cutscene ends as he leaves, presenting the player with a small tutorial.

 

You now own “The Crown Jewels” Pub. While this property is functional, you are able to collect the weekly earnings. Any earnings from assets will be added to the total. For this property, you are automatically supplied with a drugs dealer.

 

It is your responsibility to pay off any heat attracted to your assets; failing to do so will result in losing the asset to the police and the property closed pending investigations. Any uncollected income will be lost.

 

Mission Complete - Reward: None

 

You are now able to save your game at the pub, using the bed upstairs. The name Raymond Caine will now appear above the entrance.

 

That brings us to the end of the first ten missions. I would like to ask everybody who has contributed, or has been reading along, for their thoughts on how the story has been so far, and how my main character is coming across. Do you like the descriptions, or the dialogue? Do you feel anything could be done to improve the protagonist?

 

If he isn't coming along as at least a bit of a bastard by now, or at least the aggressive sort, I'm going to go back and rewrite the whole ten chapters before I do anything else! moto_whistle.gif

 

Thank you for reading!

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vertical limit

a map would be awesome

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Sanjeem
a map would be awesome

Another Good peice Tyla, the turks play a key part in your missions i see, which is brilliant because they do control alot of the London's Heroin underoworld, likem 80% i read somwhere, probably less back then though. I have to agree with vertical here though, a map to really spice things up would be an absaloute Thumbs up.

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Vercetti27

as londoner (moved now though) it would be great to see a gta style map of the city.

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Sanjeem

Hey Tyla i'm currently doing my Missions for my topic, i was wondering how do you manage to sort of locate them when entering the titles on the front Page?

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Tyla

You mean direct links?

 

Click ''Posted:'', next to the date and time of the post in question and you'll be given a link. Put it between URL tags and you're sorted cool.gif

 

Concerning a map: I would love one. I think the area mentioned in this thread could easily equal the size of San Andreas (in game of course), or perhaps eclipse it, especially with the addition of Brighton. Only problem is, I'm not skilled at mapmaking and I would want it done exactly right, which would be terribly difficult to do.

I've only been to London once, I was about five. One minute we were walking through the city and the next there was a bomb scare, and we were re-routed through Soho. With the obvious change in scenery sticking with me, the map would have to be big enough to get lost in, big enough for a player to feel as though they are somewhere totally different when they enter a new location, but compact enough to eventually get a hang of for the sake of gameplay. Don't know if I make sense or not! whatsthat.gif

 

About the Turks, they're portrayed as bigger than they actually are.

Must be the light again tounge.gif

 

I'm looking to post up the inaugural cutscene to Chapter II sometime soon, after I get enough feedback on how the last ten chapters and handful of cutscenes were: I don't even know if people like the cutscenes. It will feature a familiar Irish-American character and two new ones... who if anyone can spot who they're actually based on, I'll give them a spot on the front page!

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Sanjeem

Yeah i ment Direct, thanks didn't know it was that simple.

 

Also was Soho still the Vice scene at the time in London that it is today, I'd say that be a good point for the Albanians street gangs and hoods to operate.

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Tyla

 

Yeah i ment Direct, thanks didn't know it was that simple.

 

Also was Soho still the Vice scene at the time in London that it is today, I'd say that be a good point for the Albanians street gangs and hoods to operate.

Of course. An absolute cess pit of interactive filth, tolerated by bent police who turn their backs in return for a wedge of cash each month.

 

The Mickelthwaites, traditional enemies of the gang the player is affiliated to, are the main force in the area. Brothels, blue movies, street prostitution... you name it, they'd be in to it. To make the player despise them even more, Jimmy Mickelthwaite is into minors - a complete and utter nonce - and has burgeoning interests in the gay porn market. All whilst dabbling in some snuff for good measure.

 

Where the Albanians would come in is they would be the direct source of the Mickelthwaites business, by providing them with women trafficked in from Eastern Europe. These are often kidnapped and entrapped as slaves; others have just been flogged on the market, like cattle.

 

I know it may sound a little over the top for what would be a GTA title, but the player would eventually get the chance to dabble in the trafficking market himself, competing with the Albanians and other Eastern Euro gangs. Not because it would be a fun side-mission, because I'd portray it as complete the opposite, but because the protagonist is of the mind that if he can control a business, it can be done in the way he wants. It would make a refreshing change than just outright condemning practises like in previous games, IMO.

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Sanjeem

I think that would suit the GTA titles perfectly, i mean people might say, Jesus that is harsh, slaving women and making them prostitutes and drugging them, and when they are no good kill them off, yes that is harsh but it's that immoral world we live in, and top notch side mission for a game based on criminality.

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Tyla

 

I think that would suit the GTA titles perfectly, i mean people might say, Jesus that is harsh, slaving women and making them prostitutes and drugging them, and when they are no good kill them off, yes that is harsh but it's that immoral world we live in, and top notch side mission for a game based on criminality.

Well, I think it all boils down to the player's motivation. I just went away and thought about this, it would come down to money, and the use of it. Money would obviously be a big thing, and I was planning to put up a big post with revamped uses for it. Niko would always go on about doing things for the money, when he had no real motivation for doing so, because he never spent it and it was never sacrificed for his cousin's debts. Here, in the duration of the ten missions, the player has earned £20,000, and spent £20,000. Entering the next chapter, he has nothing. Nothing but a reason to branch out.

 

Would you have killed Derrick instead of Francis, if you had something to spend the money on? To put that in this situation, what's the difference between trafficking a bunch of Albo's when you could be living in that lovely boat on the Thames? Wanna import that one-of-a-kind Infernus direct from the manufacturer in Italy? No problem, but it's gonna cost 'ya. Or how about the Vigero? Maybe the Coyote takes your fancy?

 

Yes, this could be a gritty game. An absolutely horrible game, which allows the player into situations of ruining a man mentally (with the option of doing so physically, too) to profit from his stash of drugs and ill gotten gains, but it's also the era of the big ego. The shoulder pads and the excess. GTA and Thatcherism lads! It would be perfect!

 

Those who have money (regardless of how it is earned, true GTA style) can have the opportunities. No matter if you long to return to the beaches of VC, cruising up and down in your Infernus, there's sod all stopping anyone doing that in this setting and taking a giant leap forward in terms of gameplay to boot!

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Akavari

God, I love this concept. It has its own vibe about it, like the way I feel when I think about Vice City or GTA III. I like the way Ray looks too, he reminds me of Gerard Butler in the sense that he's just some big, tough, heavy guy who f*cks people up.

 

edit: Oh yeah, I had a couple of suggestions for cool British guns earlier. Gimme a minute and I'll post it. Britain had a lot of really cool specialized guns from WWII, so a criminal in the 80s could easily get a couple of them in possession from his local gunsmith or whatever. icon14.gif

 

De Lisle Carbine: Integrated silencer. Bolt action .45 cal makes for a mean assassin weapon

user posted image

 

Bren Gun: Bigass machine gun, although the M240 is good too. This just looks more like a classic British firearm.

user posted image

 

Welrod Pistol: Eccentric looking silenced pistol.

user posted image

 

Sterling SMG: Common WWII machine gun.

user posted image

 

Sterling Patchett SMG: Special silenced variant of the Sterling.

user posted image

 

Sten: Similar to the Sterling, just a more distinct design.

user posted image

Edited by akavari112

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Tyla

Fantastic mate! Thanks a lot! I'm still trying to find a work in for that PIAT you suggested in the old topic though!

 

I'm still marvelling at that Welrod Pistol. That just oozes awesomeness inlove.gif

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Tyla

 

Control List

 

In this post are a list of controls, detailing new features and alterations, as well as covering combat, hand-to-hand fighting and different attacks the protagonist can perform. Controls to the left are for the Xbox 360 and to the right PS3.

 

On Foot Controls

 

A/X – Run

X/Square – Jump

Y/Triangle – Enter/Exit Vehicle

B/Circle – Shove

LB/L1 – Hail Taxi

RB/R1 – Enter Cover

LT/L2 – Lock-On

RT/R2 – Fire Weapon

LS/L3 – Move/Crouch

RS/R3 – Look Around/Look Behind

Select – Change View

< & > - Talk/Respond

 

Hand-To-Hand Combat Controls

 

A/X – Guard/Block*1

X/Square – Grapple*2

Y/Triangle – Attack*3

B/Circle – Attack*3

LB/L1 – Taunt*4

RB/R1 – Stealth Attack*5

LT/L2 – Lock-On

RT/R2 – Kick/Bite*6

LS/L3 – Pin*7

RS/R3 – Duck/Weave*8

 

Armed Combat Controls

 

A/X – Release Hostage*1

X/Square – Take Hostage*1

Y/Triangle – Pistol Whip*2

B/Circle – Reload

LB/L1 – Taunt

RB/R1 – Enter Cover

LT/L2 – Lock-On

RT/R2 – Fire

LS/L3 – Crouch

RS/R3 – Aim/Strafe

< & > - Negotiate*3

 

Driving Controls

 

A/X – Handbrake

X/Square – Cycle Weapons

Y/Triangle – Enter/Exit Vehicle

B/Circle – Cinematic Cam

LB/L1 – Shoot

RB/R1 – Handbrake

LT/L2 – Brake

RT/R2 – Accelerate

LS/L3 – Horn

RS/R3 – Look Around

D-Pad Up – Car Phone*1

< & > Toggle Radio Stations*2

 

1) Keeping Ray’s guard up by holding this control allows you to block and parry attacks, absorbing damage that would otherwise be depleted from your health bar.

 

2) Initiating a grapple will see Ray take hold of the target in question. You can deliver an elbow to the throat (Y, Triangle), a headbutt (B, Circle) or a knee to the groin (RT, R2). To exit the grapple, tap the command again.

 

3) Ray’s basic attacks consist of jabs, hooks and crosses, gaining in intensity – progressing to elbows and headbutts – with the momentum you attack with. Both attack commands are also used to perform a Finishing Move* or a Stun Attack*. Enemies can also be attacked while on the floor, with Ray stamping on their leg (B, Circle) to break it, or belting them in the face (Y, Triangle).

 

4) Press Taunt to do just that, with which Ray will goad his opponent. A list of taunts can be found here.

 

5) To perform a Stealth Attack, Ray must approach his enemy either from behind or from cover. Approaching from behind, Ray will choke his enemy until they are rendered unconscious. Attacking from cover, Ray will launch out of his hiding place and lunge at the enemy, eventually rending them unconscious.

 

6) Kicking and Biting can be used to supplement an onslaught of punches, with Ray favouring a sweeping kick from a distance while he will bite an enemies ear at close range.

 

7) To have Ray pin an opponent, he must first be near either a wall, or objects such as desks, counters and car bonnets. Then click the said controls. Once Ray has his opponent in a pin, they are free to be attacked. While in a pin, Ray can also Shake an opponent by the player moving the stick up and down – extremely useful for Intimidation.

 

8) Ducking and Weaving replaces the countering system of Grand Theft Auto IV. When in hand-to-hand combat, use the Right Stick to have Ray duck to miss an incoming shot by toggling the stick down, or to shift his weight left/right to dodge. Then immediately shift Right Stick in the direction of your enemy and hit Attack – Ray will perform a Counter Move**.

1) Ray can take NPC’s Hostage by locking on to them with a weapon drawn, and the player pressing X/Square. Hostages will act as Human Shields, absorbing damage until they either die or you free them – done by pressing A/X.

 

2) When in close proximity to your target, tap Y/Triangle when locked on to Pistol Whip them. This may or may not knock them out.

 

3) Ray will negotiate and make demands when he has a hostage. Pressing < will result in a defiant, aggressive demand while > will spawn a calmer, methodical order. This can often get you out of scrapes while it also may land you in a few.

 

1) Initially, the Car Phone feature is only available in the Hunter you are rewarded with after completing The Introduction, but as car modification becomes open, you may purchase one for any vehicle. The concept is simple: You activate the phone in your vehicle using Up as you would with the cell in IV, you pick from the address book and you call. Alternatively, you press Up to answer a mission call that you would alternatively receive at your safehouse.

 

2) The full soundtrack list can be found here.

 

 

 

*Finishing Moves

Finishing Moves can be performed when the enemy’s health reticule has been taken down to the final two bars. At this point, the bars will turn a solid colour of red for three seconds at a time. Finishers are always alternated and/or performed with the environment/state of battle in mind.

 

1 – The opponent is taken hold of and Ray headbutts them three times in the face.

2 – Ray hits his opponent in the body with a series of quick jabs before flooring them with a showy right/left hook combo.

3 – The target is hit with a left cross to the jaw. Ray follows up with a quick, demobilising uppercut to the chin.

4 – Ray throws his bodyweight onto his enemy, taking himself and his opponent to the floor with a headbutt. He precedes to headbutt the target repeatedly until they lay there motionless.

5 – By the collar, Ray lowers the targets head straight into an uppercut to the face.

6 – Ray shoves the enemy to the floor and taking hold of their head, introduces their teeth to his knee. Unlocked after completing five Bouncer missions.

7 – Taken in a headlock, the enemy is attacked with a succession of headbutts to the throat. Ray then disfigures their nose with his teeth. Unlocked after Worth Your Weight...

 

 

*Stun Attacks

A Stun Attack will become available before your enemy knows you are aggressive. For a period of three seconds, the lock-on reticule will turn red and Ray has the opportunity to floor his opponent before they can even fight back.

 

1 – Charging down the street, Ray will mow into his target with a headbutt. (Y, Triangle)

2 – Whilst running, Ray lamps his opponent with a right cross, propelled with his momentum. (B, Circle)

3 – Taking hold of the unsuspecting victim’s head, Ray drags it down and delivers a knee strike direct to their skull. Unlocked after completing five Bouncer missions.

4 – Ray grabs hold of the victim and launching his own head forward, pulls them into a two way strike. Unlocked after completing five Bouncer missions.

5 – Approaching from behind, Ray launches his knee into the kidneys of the enemy and shoves them forward to the floor. Unlocked after completing five Bouncer missions.

 

 

**Counter Moves

1 – Ray lunges towards his enemy and, using their ear for grip, vaults his thumb into their eye. Ray then violently shakes their head while still inserted in their eye socket, shouting at them, before tossing them to the floor.

2 – Ray uses the momentum of the enemy’s own strike to propel his fist into their ribs. As they double over, he knees them in the throat.

3 – Ray pulls his opponent forward with their own strike and delivers a knee strike into their stomach.

4 – Ray throws himself onto the attacker, toppling the enemy to the floor. When they attempt to get up, Ray pounds them in the face.

5 – To disarm his opponent, Ray fixes his hand on his attacker’s and releases the weapon out of their grip. Ray then takes the enemy by the throat and into a grapple.

6 – Again to disarm an attacker, Ray kicks the opponent in the groin and knocks the weapon away. Unlocked after completing five Bouncer missions.

7 – Fighting for control of the attacker’s weapon, Ray delivers a headbutt while all attention is on the tool. Unlocked after five Bouncer missions.

8 – When being grappled by an enemy, Ray will rip a chunk out of his opponent’s ear with his teeth. Unlocked after Worth Your Weight...

9 – The opponent attempting to take Ray to the floor in a grapple, Ray will sink his teeth into the enemy’s throat. Unlocked after Worth Your Weight...

10 – Confronting an attacker from behind, Ray will throw his weight around and launch a spinning back fist into his enemy.

Edited by Tyla

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