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Tyla

Grand Theft Auto IV: London

Recommended Posts

Tyla

Anth: Yeah, that would be great mate. I've always been interested in seventies games (like Driver) since I was a kid. The more of them the better! And thanks!

 

Mati: Thank you, and your feedback is always welcome. Knowing that people read and actually like the effort I put into this make it worth updating.

 

And I'm glad you spotted the new feature. I may or may not expand on it a bit more in later missions... not sure yet confused.gif Something just sounds cool about murdering someone alleyway and then stuffing the body in a dumpster so you aren't rumbled, or placing the corpse in the boot of your car to avoid being detected.

 

brownbear: I'm going to have to agree with akavari, Philly sounds a really promising location to set a game in. Especially in the 80s when it was all kicking off. Atlantic City would be an excellent bonus too.

 

That said, I would also love to see New Orleans, mainly because I don't know nothing of the location and a proper well done concept would be somewhat of an education tounge.gif Couple the location with a brilliant soundtrack and some big f*ck-off boat sized seventies vehicles and I could see such an idea become an asset to this section.

 

The Costa would also be interesting, but the downside to that idea I feel is that it wouldn't garner much attention because of the location. I remember General Goose having a GTA: Italy that was brilliant, yet its slipped away and I don't know whats happened to it.

 

The next mission will be coming soon, guys. With researching for the seventies LC idea and everything else I'm going to take my time with it. I will tell you that it will involve freeing an escaped convict from custody after being recaptured and transporting him to freedom, though, so lots of action wink.gif

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Tyla

 

Look After Those That Look After You...

 

Answering Dessie’s urgent message on your telephone you arrive at his plot to be greeted by the sound of furious sawing emitting from his caravan, with Desmond’s voice barely able to be heard over the great amount of noise.

 

Dessie: I don’t care! We’re gonna make it f*ckin’ happen!

 

Desmond is viciously pertinacious with his demands before finally slamming the telephone down. He removes a cigarette from behind his ear and announces he is going for a smoke outside. Exiting the caravan, he meets Ray who is walking up the wet gravel track. With the urgency of his manner on the telephone still present in his voice, he informs Ray that his twin brother Darren, who had been serving time in a London prison on Armed Robbery charges but broke out of custody, has been recaptured by the Flying Squad after attempting to rob a local Post Office of its takings. A brother has his urges, he confesses.

 

Darren is being transported from Scotland Yard back to Prison to continue his ten year sentence; Dessie wants you to make sure that doesn’t happen. Bucky Sligo emerges from the caravan with two Sawed Off Shotguns in his possession, Dessie collects them from him and hands them to Ray; you will use these to free Darren from custody. When you have Darren, Dessie wants you to take him out to Essex, where a boat will be waiting to transport Darren out of the country.

 

You will find when back in control of Ray (when equipped) he walks with the duel shotguns perched over his shoulders and will lower them, ready to use, whenever you decide to aim. Make sure you have a suitable vehicle, such as the Hunter, before you make your way to Scotland Yard, as you not only need to accommodate Darren but you will also need a fast escape.

 

A convoy of two cars, an unmarked Intruder and a Police Patrol, will pull away from the station upon your arrival. You will notice there to be a total of seven officers between the two cars, all armed, with Darren Savage being in the back of the unmarked Intruder. Stay near to them as they depart, but do not get too close or else you will be rumbled.

 

A series of scripted events (road works, a delivery truck blocking the road, London traffic, etc) will arise during the drive, allowing you to make an approach on the convoy whilst it has been halted. It is completely the player’s choice when to utilize one of these to their advantage though all of them will vary in how much of an actual opportunity you get before the convoy begins to move again.

 

The cars will eventually stop at the site of a road traffic accident, in which one vehicle is upturned and the other is completely mangled. A police unit is surveying the wreckage; they will walk over to the convoy and converse with them, giving you the perfect opportunity to approach them from behind. Remember: There are seven armed officers (and one unarmed) you will need to disable to get to Darren. Be careful not to murder him in the crossfire or to set the convoy cars alight.

 

Ray will raise the Sawn-Off in his right hand upward as you lock on to the unarmed officer with his back to you; the devastating round (revealed to be modified shells later on) will blow a hole in his rear and send him crashing to his knees, dead. The second Shotgun will then be aimed in the direction of the driver of the Police Patrol, the round that slams into him sending him rag dolling across the bonnet of the police car, sprawled face down and motionless. The Intruder containing Savage will then attempt to speed off, forcing your hand in gunning down the driver and front seat passenger with your final two loaded rounds, effectively stopping their escape.

 

Immediately rush for cover behind the upturned Uranus and reload, creeping out of cover to blind-fire at the Flying Squad officers who are gunning for you with Pistols and Sterling SMG’s. They are bodacious in their approach to you and will pepper shots in Ray’s direction whilst the remaining officers will act to keep Darren where he is, though he will protest he does not know anything about any escape and is about to die. When you have them all killed, approach the Intruder and the game will fade into a cutscene.

 

Darren: Dessie send you?

 

Ray: Raymond Caine, I’m setting you loose.

 

A Sweeney GT suddenly appears from around the corner, skidding upon the driver’s use of the handbrake before launching into a direct charge at your position. The blue flashing lights mounted on the grill flicker wildly and the bell (siren) rings out unrelentingly. Ray’s eyes darken.

 

Darren: It’s the heavy mob!

 

Without a word, Ray turns to face the oncoming police car with the Shotguns mounted on his shoulders. You are thrown back into gameplay, the GT moving ever closer to you.

 

Ray: Hello coppers!

 

The screen darkens around the edges, narrowing in on the vehicle. Darren’s sounds are drowned out; all you can hear is the police bell. All you can see is the approaching flashing lights. Raise your weapons into the air and begin to fire ferociously at the car. Regardless of how much ammo you have left, your fire will be continuous. Ray’s rage is indomitable and his taunts are devoid of any mercy on his foes.

 

Ray: f*cking filth!

I’ll do you all!

The windscreen is eventually penetrated, exploding with a thick splash of blood from the driver’s head. Sparks fly from the barrels of your weapons as Ray continues to discharge shots, eventually blowing out the front tyre. Thick smoke, the skidding of the bare wheel drum, rises up from the street and the Sweeney GT – still travelling at a great speed – flips over onto its roof and smashes into the pile-up in the middle of the road.

 

Ray approaches the overturned, smashed GT with Darren in tow. He politely opens his hands.

 

Darren: Mind if I?

 

Ray hands him one of the Sawn-Off Shotguns.

 

Ray: Go on, son. Enjoy yourself.

 

Darren: Thank you.

 

He snaps open the hold to reveal two fresh shells sitting inside, distinctive by their home-made appearance; a trademark of his brother Desmond. He closes the hold again, and lowers the gun to an injured officer, climbing out of the broken passenger side window. With little hesitance, he shoots him dead. Two other officers, sprawling out of the back window, shelter their heads and ears with their hands as blood sloshes all around them.

 

Darren: Where do you think you’re going?

 

Darren steps to them, giving them his undivided attention. He laughs, low and cold for a moment, and a second shell leaves the shotgun and blows open the rib cage of one of the officers. The wounded man gives an hysterical, dying scream before curling over and doing just that.

 

Darren: I’m all out.

 

Ray searches within his pockets for a moment for additional shells; he stops suddenly when he catches a glimpse of the surviving officer.

 

Ray: Hold up.

 

He moves past Darren to survey a close look.

 

Ray: Langton? D.S Langton?

 

He grins, almost with disbelief. It must be his lucky day.

 

Ray: Fancy seeing you here!

 

Langton: Detective Inspector now, Caine, you horrible c*nt...

 

Ray emits a sinister chuckle. He reaches down and snatches Langton by the collar, dragging him out of the wreckage.

 

Ray: You’re coming with me, rozzer. Gonna have some fun with you before I kill ‘ya.

 

Gameplay resumes with Ray back in the driving seat of his vehicle. You now have a wanted level and backup officers are rapidly approaching you from the rear. Speed away from the scene to evade them temporarily.

 

Ray: ‘Daz, pass me up his radio.

 

You now have a police radio. The controller can be heard frantically calling for updates of the situation and dispatching backup; through listening to these transmissions, you can avoid any dispatched units and traps the police will set. While the HUD radar will position police response, the police radio will tell you exactly who is being dispatched where. This, and your evasive driving, will be the difference between dealing with lighter armed response (three, four stars) and heavier, tactical units (five stars).

 

Darren: Aren’t you going to introduce me?

Excuse me for feeling out of place but I’m stuck in a motor with a copper and a Londoner.

 

Ray: This, Mr. Savage, is D.S – Dog sh*t – Harry Langton. Harry here sent me down seven years ago on a blagging rap.

 

Darren chuckles, mocking Langton.

 

Darren: What are the chances of that?

And now he’s playing hostage to two armed robbers! Some f*ckin’ detective you are! Twat!

 

Langton: I’m a good copper, Caine. Nothing more, nothing less.

 

Ray: The only good copper is a dead copper, filth. And don’t you forget it.

 

As you approach the motorway route towards Essex, you will hear over the radio that police are setting up a two lane roadblock to thwart any attempts of a getaway into the countryside, as the police have now learnt of the scene at the RTC and that D.I Langton is missing. Fearing a hostage situation, they ramp up their search for you. To avoid the roadblock and the excess attention, turn off the main road and thunder off the beaten track, taking a quiet B-road to your destination instead. You may not avoid all police attention down here, and the road’s narrow capacity will make for tough situations should you be rumbled. Nothing that can’t be sorted by blasting the response from the window of your vehicle with your Sawn-Off, though.

 

When you eventually reach the destination, a small boat will be waiting on the water to take Darren somewhere warm and sunny. He will depart your company, thanking you for freeing him and asking you to thank Dessie for him. As he jumps on board the boat, he wishes Langton a slow and painful death.

 

Langton responds by trying to run at Darren.

 

Langton: You won’t get away with this, Savage. You can’t run forever!

 

His attempts are stopped by Ray, who slams him back against the Hunter and pushes him down to the mud.

 

Ray: You’re not going anywhere.

 

Ray backhands Langton across the face, sending him sprawling face down into the mud. He places a foot on his back to keep him there.

 

Langton: What’s the plan, Ray? Kill me? You’ll go straight back to prison. The nuthouse if you’re lucky!

Do you know what they do to cop killers inside?

 

Ray gives a broad grin and a laugh, a sadistic insight into how the man works. The laugh continues for some seconds, almost narrating that “I might end up inside but either way, you’re dead.”

 

Langton: You’re not the real bastard, Ray. No matter how much you try.

It’s all a front... just so you can be like your old man.

 

Ray stops laughing; Langton’s comments earn him a hefty kick to the ribs.

 

Langton: I know you’re not like him. You’re not sick in the head like him, and the others...

It’s not in you to kill me aswell. I’m a good copper. I catch criminals. I caught you... doesn’t that make me a good copper?

 

Ray: It makes you a sad old man, whose about to die alone. No fat police pension, none of the backhanders you stashed for a rainy day, no nothing. Look at you, Harry,

 

Ray shakes his head and tuts.

 

Ray: Tits down in the mud, miles from anywhere... with some maniac holding a gun to your head. Raymond Caine...

Was it all worth it, Harry? I mean, you’ve been in the force what? Thirty years now? That’s a long time...

 

He pushes the barrel deeper into Langton’s skull; he grimaces.

 

Ray: Massive wedge of time. Life just flashes by, doesn’t it?

 

Langton: If you’re going to kill me, you bastard, do it quick. Get it over with.

 

Ray: I admire you, Harry – Mr. Langton. Because of men like you, the streets were safe enough for my mother to walk around in. But that wasn’t enough for you, was it? Eh?

 

Ray wipes the dirt and sweat from his nose, flicking it into the wet grass. Langton drowns himself in his thoughts.

 

Ray: Where are they, Harry? Where’d you stash ‘em?

 

Langton: What?

 

Ray: The bungs, Harry. The fruits of you long and illustrious career in the ‘met. Where are they?

 

Langton: You want my retirement fund? Is that it?

 

Through his pain and predicament, he manages to mouth a faint laugh.

 

Langton: You’re not having it. You kill me and I’ll take it to my grave.

 

A police helicopter hovering overhead prompts Ray to work with a sense of urgency, possibilities of an elongated destruction of this man who imprisoned him seven years ago dashed by the spinning blades above his head.

 

He takes Langton by the cheeks, bringing him to his knees. He puts the barrel to his mouth.

 

Ray: You took everything away from me, Harry,

 

He runs the Sawn-Off deeper into Langton’s throat, Langton’s eyes close tightly.

 

Ray: Now I can take everything away from you!

Last chance! Or it’s f*ckin’ over for you, you c*nt!

 

The almost incomprehensible gurgling from Langton’s throat symbolises his co-operation and will to live. Ray removes the shotgun and he dispatches a cough.

 

Langton: It’s all in antiques. Paintings, vases... I keep ‘em at my holiday ‘gaff out here, big place over in Chelmsford. You take them, and you can sell them.

 

Ray nods. His hand hovers over the pocket of his black leather jacket. Indecisively, he removes the police radio used earlier and throws it to Langton.

 

Ray: Go on, call for the cavalry.

 

He turns his back, resting the Shotgun on his shoulder. Langton throws his grip around the radio and turns it on. Frantically, he speaks into it, requesting for backup. His calls are met with crackles. He pushes in the call button again in the background, repeating his message into the device as the camera shows over Ray’s shoulder, only to find there is no signal out here in the country.

 

Langton throws the radio down into the mud and resigns himself to his fate. Ray turns around and blasts him in the chest.

 

Escape your wanted level to complete the mission.

 

+£3,000

 

*You are able to telephone Dessie as a follow-up to this mission. He is understandably pleased that you successfully liberated his brother and tells you he saw the news report on television, commenting that it looks completely mental.

 

**Uncover the location revealed by Langton in this mission to steal his stash of valuables. By stealing these items and selling them to Alan, you will earn the equivalent to what Langton received in bribes over the course of his duty, effectively reimbursing Ray for his seven year prison sentence.

 

One of the more brutal missions I've written. Does such psychoticness suit our leading man? You may notice the 'Rage' feature I've introduced, which takes que from the rampages of Vice City and the 'balls' meter in Scarface: The World Is Yours. The duel wielded Sawn-Off's are from SA.

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Mati

I think you should keep his brutality in the story. The ending sawn-off shotgun scene is amazing, although dont make it too rough. I dont want to see him blasting brains out or sawing people into pieces or sh*t like that. I loved the balls feature in Scarface and I think you should keep it. Will the protagonist use drugs? Maybe you will be able to ´upgrade´ your rage by taking drugs. A question about the sawn-offs: Does the double sawn-off shotgun a separate weapon slot, making it a normal weapon like any other or can you just pick up 2 sawn-off shotguns at the same time (like SR2)?

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Tyla

 

I think you should keep his brutality in the story. The ending sawn-off shotgun scene is amazing, although dont make it too rough. I dont want to see him blasting brains out or sawing people into pieces or sh*t like that. I loved the balls feature in Scarface and I think you should keep it. Will the protagonist use drugs? Maybe you will be able to ´upgrade´ your rage by taking drugs.  A question about the sawn-offs: Does the double sawn-off shotgun a separate weapon slot, making it a normal weapon like any other or can you just pick up 2 sawn-off shotguns at the same time (like SR2)?

It's been a while since I played SR2 so I can't really remember what the weapons were like, but a single sawn-off and duel sawn-offs had two different slots, didn't they? I think I would go for something like that because there are sometimes you don't want to be walking around with two of them in your hands.

 

Thanks for letting me know how you felt about the brutality too. I've been wondering where to draw the line and have dropped some plans for incidences in the story that people would be burned with boiling water, scolded with irons, etc. Sounds 'kinda OTT when I think about it but if everyone is comfortable with that sort of tone in that last mission I'll keep including it as much as possible.

 

edit: Ray won't be able to take drugs, but I'm going to make that a one-off feature in my next concept. Seems quite plausible Gerald McReary would use and abuse drugs. The 'rage' feature was also intended for that idea, but I decided for it to make an early appearance here. Glad you like it!

Edited by Tyla

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Akavari

Haha! Nice touch, having Ray f*ck with Langton's hope before killing him.

 

About the 70s concept, I've been obsessing over the idea of having a huge robbery mission in the light of Dog Day Afternoon. Police surround the bank and put it on lock down, forcing the protagonist and his accomplices to make use of hostages in order to arrange an escape, communicating with the police negotiator to make demands. I think it could be really interesting if pulled off correctly. Also it doesn't exactly have to be a bank. They could just hold some people hostage like in The Taking Of Pelham 123.

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BrownBear

Ray is one brutal mudaf*cka, I've always wanted a protagonist who just kicks ass and kills people because he enjoys it.

 

Off topic: I reckon a good setting for a 70s topic would be San Andreas, in Los Santos you have the Ballas and Families starting up, the mob in Las Venturas and East Asian gangs making huge movements in San Fierro, plus all the gay pride movements there.

Maybe I'll consider doing this instead of a New Orleans one.

 

I have way too many topic ideas in my head, I need to focus on one.

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Tyla

 

Haha! Nice touch, having Ray f*ck with Langton's hope before killing him.

 

About the 70s concept, I've been obsessing over the idea of having a huge robbery mission in the light of Dog Day Afternoon. Police surround the bank and put it on lock down, forcing the protagonist and his accomplices to make use of hostages in order to arrange an escape, communicating with the police negotiator to make demands. I think it could be really interesting if pulled off correctly. Also it doesn't exactly have to be a bank. They could just hold some people hostage like in The Taking Of Pelham 123.

I can see the allure, sourcing from those movies would make for immense missions! Excuse the tired, wandering thought, but how about combining elements of both movies into one? A dud bank robbery that forces those involved into the subway system (after the breakdown of negotiations) where they seize the opportunity to cash in on being in a place populated with civilians, and hold the train for ransom?

 

I've also been thinking about a mission set during a citywide blackout, like the NYC blackout of '77. There's a power station in Alderney that could be the basis of the blackout, and the effects of this would prompt rioting, disorder, and the perfect blanket of cover for the protagonist to accomplish a task knowing full well all attention is focused elsewhere.

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BlueCheer

 

Haha! Nice touch, having Ray f*ck with Langton's hope before killing him.

 

About the 70s concept, I've been obsessing over the idea of having a huge robbery mission in the light of Dog Day Afternoon. Police surround the bank and put it on lock down, forcing the protagonist and his accomplices to make use of hostages in order to arrange an escape, communicating with the police negotiator to make demands. I think it could be really interesting if pulled off correctly. Also it doesn't exactly have to be a bank. They could just hold some people hostage like in The Taking Of Pelham 123.

I can see the allure, sourcing from those movies would make for immense missions! Excuse the tired, wandering thought, but how about combining elements of both movies into one? A dud bank robbery that forces those involved into the subway system (after the breakdown of negotiations) where they seize the opportunity to cash in on being in a place populated with civilians, and hold the train for ransom?

 

I've also been thinking about a mission set during a citywide blackout, like the NYC blackout of '77. There's a power station in Alderney that could be the basis of the blackout, and the effects of this would prompt rioting, disorder, and the perfect blanket of cover for the protagonist to accomplish a task knowing full well all attention is focused elsewhere.

Great topic!

Weren't you planning on doing that in this, though?

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Tyla

 

Haha! Nice touch, having Ray f*ck with Langton's hope before killing him.

 

About the 70s concept, I've been obsessing over the idea of having a huge robbery mission in the light of Dog Day Afternoon. Police surround the bank and put it on lock down, forcing the protagonist and his accomplices to make use of hostages in order to arrange an escape, communicating with the police negotiator to make demands. I think it could be really interesting if pulled off correctly. Also it doesn't exactly have to be a bank. They could just hold some people hostage like in The Taking Of Pelham 123.

I can see the allure, sourcing from those movies would make for immense missions! Excuse the tired, wandering thought, but how about combining elements of both movies into one? A dud bank robbery that forces those involved into the subway system (after the breakdown of negotiations) where they seize the opportunity to cash in on being in a place populated with civilians, and hold the train for ransom?

 

I've also been thinking about a mission set during a citywide blackout, like the NYC blackout of '77. There's a power station in Alderney that could be the basis of the blackout, and the effects of this would prompt rioting, disorder, and the perfect blanket of cover for the protagonist to accomplish a task knowing full well all attention is focused elsewhere.

Great topic!

Weren't you planning on doing that in this, though?

That I am, good memory!

 

I think the scope of the idea could be altered that while the area the bank robbery mission in this topic would be totally blanketed in darkness, the blackout in Liberty City would cover the entire game setting and last for an elongated period of time, resulting in all the riots and looting, etc. That could even be one of the protagonist's motivations, should they not directly cause the power outage.

 

Hey, maybe if the idea of multiple protagonists is expanded on, the blackout could serve as an event all of them would appear together? Imagine riding the hijacked subway car up to North Holland, only to find yourself set upon by angry rioters from the nearby projects...

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BlueCheer

Well I just read through your topic and the plot summary thing, then noticed your comment about a blackout/bank robbery. Good stuff. cool.gif

When are you two going to post your game?

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Akavari
Haha! Nice touch, having Ray f*ck with Langton's hope before killing him.

 

About the 70s concept, I've been obsessing over the idea of having a huge robbery mission in the light of Dog Day Afternoon. Police surround the bank and put it on lock down, forcing the protagonist and his accomplices to make use of hostages in order to arrange an escape, communicating with the police negotiator to make demands. I think it could be really interesting if pulled off correctly. Also it doesn't exactly have to be a bank. They could just hold some people hostage like in The Taking Of Pelham 123.

I can see the allure, sourcing from those movies would make for immense missions! Excuse the tired, wandering thought, but how about combining elements of both movies into one? A dud bank robbery that forces those involved into the subway system (after the breakdown of negotiations) where they seize the opportunity to cash in on being in a place populated with civilians, and hold the train for ransom?

 

I've also been thinking about a mission set during a citywide blackout, like the NYC blackout of '77. There's a power station in Alderney that could be the basis of the blackout, and the effects of this would prompt rioting, disorder, and the perfect blanket of cover for the protagonist to accomplish a task knowing full well all attention is focused elsewhere.

Great topic!

Weren't you planning on doing that in this, though?

That I am, good memory!

 

I think the scope of the idea could be altered that while the area the bank robbery mission in this topic would be totally blanketed in darkness, the blackout in Liberty City would cover the entire game setting and last for an elongated period of time, resulting in all the riots and looting, etc. That could even be one of the protagonist's motivations, should they not directly cause the power outage.

 

Hey, maybe if the idea of multiple protagonists is expanded on, the blackout could serve as an event all of them would appear together? Imagine riding the hijacked subway car up to North Holland, only to find yourself set upon by angry rioters from the nearby projects...

I'd definitely like a subway hostage situation. Police pouring in from both ends of the tunnel, shrouded in the darkness and you laying down walls of bullets with your Smith and Wesson M76 (which is mandatory to include as a weapon, no discussion. Plus the guys in the actual movie used the same exact gun. biggrin.gif )

 

Speaking of guns, do you want me to make a weapons list for this game and I'll PM it to you? I've got a ton of them in mind although it will be hard to include proper names for them all with the whole "Combat Pistol, Micro SMG, Carbine Rifle, etc." system that GTA IV used. Maybe we could go the route of Red Dead Redemption and name guns according to who makes them, like "Smith & Wesson SMG, Colt Pistol, Winchester Sniper Rifle, etc."

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AnthMUFC-Champs
I think you should keep his brutality in the story. The ending sawn-off shotgun scene is amazing, although dont make it too rough. I dont want to see him blasting brains out or sawing people into pieces or sh*t like that. I loved the balls feature in Scarface and I think you should keep it. Will the protagonist use drugs? Maybe you will be able to ´upgrade´ your rage by taking drugs.  A question about the sawn-offs: Does the double sawn-off shotgun a separate weapon slot, making it a normal weapon like any other or can you just pick up 2 sawn-off shotguns at the same time (like SR2)?

It's been a while since I played SR2 so I can't really remember what the weapons were like, but a single sawn-off and duel sawn-offs had two different slots, didn't they? I think I would go for something like that because there are sometimes you don't want to be walking around with two of them in your hands.

 

Thanks for letting me know how you felt about the brutality too. I've been wondering where to draw the line and have dropped some plans for incidences in the story that people would be burned with boiling water, scolded with irons, etc. Sounds 'kinda OTT when I think about it but if everyone is comfortable with that sort of tone in that last mission I'll keep including it as much as possible.

 

edit: Ray won't be able to take drugs, but I'm going to make that a one-off feature in my next concept. Seems quite plausible Gerald McReary would use and abuse drugs. The 'rage' feature was also intended for that idea, but I decided for it to make an early appearance here. Glad you like it!

I am all for that range style mode, i loved the one in Scarface The World Is Yours where you would fill the balls meter by taunting enemies. Also i think you have not gone too overboard with the brutality i think it is just about right mate also that was a very good mission well done and keep up the good work.

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Tyla

 

Well I just read through your topic and the plot summary thing, then noticed your comment about a blackout/bank robbery. Good stuff.  cool.gif

When are you two going to post your game?

I'm looking to focus my efforts fully on it after I complete this. I'm looking to get forty main storyline missions and a total of sixty to eighty with the assets included, and I'm on mission sixteen now. Could be a while but I'm not averse to a bit of multi-tasking tounge.gif

 

akavari: I'd appreciate the weapons list. Thanks smile.gif

 

No complains about the M76 either! They've got those cool stocks, like coat hangers tounge.gif

 

I haven't seen Pelham 123 for a long time but I looked it up on IMDB and the guys in that movie had the names Mr. Blue, Mr. Brown, etc, kinda like Reservoir Dogs. At the risk of sounding like I want to rip off one too many movies, what if the mission had that sort of twist to it? A maverick member of the team in the vein of Mr. Blonde would get tired of dealing with the negotiators and start killing hostages, turning everything into a total shootout.

 

This would lead to some cover for our protagonist to escape with accomplices, fighting a limited amount of police onto the subway, where they would then take the whole train hostage. Maybe the power outage could even happen when negotiating for a ransom? The blackout would cause communication to fade out, leading to the police onslaught on the train?

 

Oh, and I've been working on some vehicles for LC. I've invented the fictional brand "Argyle" - based on Plymouth (and their football team) - and came up with (so far) a couple of cars I would like to include,

 

Argyle Coyote - Plymouth Road Runner

Argyle Greenwood - Plymouth Fury

Argyle Police Cruiser - Plymouth Fury

Argyle Tampa - Plymouth Duster

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Akavari
Well I just read through your topic and the plot summary thing, then noticed your comment about a blackout/bank robbery. Good stuff.  cool.gif

When are you two going to post your game?

I'm looking to focus my efforts fully on it after I complete this. I'm looking to get forty main storyline missions and a total of sixty to eighty with the assets included, and I'm on mission sixteen now. Could be a while but I'm not averse to a bit of multi-tasking tounge.gif

 

akavari: I'd appreciate the weapons list. Thanks smile.gif

 

No complains about the M76 either! They've got those cool stocks, like coat hangers tounge.gif

 

I haven't seen Pelham 123 for a long time but I looked it up on IMDB and the guys in that movie had the names Mr. Blue, Mr. Brown, etc, kinda like Reservoir Dogs. At the risk of sounding like I want to rip off one too many movies, what if the mission had that sort of twist to it? A maverick member of the team in the vein of Mr. Blonde would get tired of dealing with the negotiators and start killing hostages, turning everything into a total shootout.

 

This would lead to some cover for our protagonist to escape with accomplices, fighting a limited amount of police onto the subway, where they would then take the whole train hostage. Maybe the power outage could even happen when negotiating for a ransom? The blackout would cause communication to fade out, leading to the police onslaught on the train?

 

Oh, and I've been working on some vehicles for LC. I've invented the fictional brand "Argyle" - based on Plymouth (and their football team) - and came up with (so far) a couple of cars I would like to include,

 

Argyle Coyote - Plymouth Road Runner

Argyle Greenwood - Plymouth Fury

Argyle Police Cruiser - Plymouth Fury

Argyle Tampa - Plymouth Duster

Or they could split up, so the protagonist makes his escape with his most trusted accomplice. Then in later missions you will learn about how some of the other guys were killed in a hail of gunfire, disappeared completely, or were arrested. Then maybe you'd have to assassinate him so he doesn't rat the remaining men out.

 

I'll be working on weapons, and I'll try to find some vehicles as well. I also have a great idea for a box art: we can take artwork from old action/blaxploitation films of the 70s. They really capture the whole theme and it would be more original than using the same old GTA IV artworks that everyone uses.

user posted image

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Sanjeem
Loving the mission mate, I hope the Pikeys will feature some more, they could make for some really unique characters.

 

At the moment I've got loads of ideas in my head for concepts, the main ones being:

US/Mexico border

70s New Orleans

80s Philadelphia

Chicago

Detroit

80s Cost Del Sol

 

WHat do you guys think?

Philadelphia inlove.gif

 

I would love to see a GTA in Philly, there's actually a lot of good mafia action there. You could also include New Jersey (Guernsey or whatever they call it in IV) and Atlantic City, since that is pretty much the gambling mecca of the east cost.

Philadelphia 80's would be awesome! Anth if you need any help feel free to ask about.

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Tyla

Brilliant idea for artwork. I was just playing Ladies Night in BOGT and you won't believe how much the Shaft poster reminds me of that!

 

Right lads, I'm going to need your help. I'm torn between using the next mission to introduce Derrick McReary and taking up the Bank Robbery plot point (thinking about the ideas here has made me want to see what I can do with one), or introducing Tony Doherty and exploring his character and his plots.

 

I really want to use Derrick McReary as a character in all three ideas I have kicking around my head; in this particular setting, we'll see the Derrick that went away 'inspired, with his dreams' and go into what made him the drug addled, guilt ridden informant come IV. I've even made concept art of him for one of my ideas. And with McReary in the story, Bucky Sligo would be bought out his shell a bit more. I can understand if people would want to see Derrick as an out and out bank robber who loves nothing more than a good 'ruck, but with his appearance I'd rather try garner some sympathy for him and his future status, and why exactly he needs Bucky Sligo dead.

 

On the other hand, there is Tony Doherty - an extremely paranoid psychotic gangland enforcer with fifteen underworld hits to his name, with the number greatly rising. He doesn't trust Ray from the moment they meet and his respect can only be earnt by Caine beating him in a one-on-one bare fist fight. Through this guys paranoia, the protagonist's true motives can be expanded on. Think of the Doherty brothers as being based directly on Gerald McReary: Jackie, is highly intelligent and controlled, whilst Tony is capricious and wary, almost petty and thuggish.

 

Let me know what you think.

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Sanjeem

One question, what is all this rumours going round about a nomination?

 

If somthing were to be nominated, i would vote this topic, but i don't know how it works. confused.gif

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The Lolwut Pear

 

One question, what is all this rumours going round about a nomination?

Do you not read the big, yellow text at the top of the page? tounge.gif

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Mati
One question, what is all this rumours going round about a nomination?

 

If somthing were to be nominated, i would vote this topic, but i don't know how it works. confused.gif

http://www.gtaforums.com/index.php?showtopic=466613

 

Its not that complicated.

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Tyla

I didn't even expect for this to get acknowledged or get replies, so being nominated for an award feels great.

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Mati

When is the next mission coming? biggrin.gif

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Tyla

 

When is the next mission coming? biggrin.gif

Still at a crossroads about what route I'm going to take with it. I'm probably going to end up writing both of them, and then picking between the two missions. The problem with characters, especially returning ones, is that their personalities have to be nailed with the dialogue or else I can't post the mission. Originally I wasn't going to dialogues for any of the missions, and was going to write them all out with no character interaction at all, so everything is written completely from scratch.

 

I will say sometime next week for the next mission then mate, because they aren't as easy as they look!

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Mati
When is the next mission coming? biggrin.gif

Still at a crossroads about what route I'm going to take with it. I'm probably going to end up writing both of them, and then picking between the two missions. The problem with characters, especially returning ones, is that their personalities have to be nailed with the dialogue or else I can't post the mission. Originally I wasn't going to dialogues for any of the missions, and was going to write them all out with no character interaction at all, so everything is written completely from scratch.

 

I will say sometime next week for the next mission then mate, because they aren't as easy as they look!

Actually, I believe they are harder than they look! Take your time to make them.

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BrownBear

I was thinking about making a topic based in a dystopic future city, there's just so much room for creativity.

 

Sorry to spam your topic, Tyla.

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Tyla

 

I was thinking about making a topic based in a dystopic future city, there's just so much room for creativity.

 

Sorry to spam your topic, Tyla.

I don't mind. As long as you're continuing to contribute to the topic you can continue to feel free to use this to discuss your ideas.

 

Can't really help you with the future though mate, I'm no Mystic Meg!

 

To everyone that is wondering about the next missions, I'm still working on them. I've decided to do (at least) the mission involving Derrick McReary in more of a narrative form than the usual script after talking with Mokrie about writing in the Thames City topic, so preparing it is taking longer than usual. Also, the mission is going to revolve around different events than originally planned, as I thought of a little twist to change things up tounge.gif Here's a preview though,

 

 

The player is summoned to a back street, and the mission marker sits underneath the arch of a bridge running above. The controller will vibrate as a train rumbles overhead and after navigating their way through a series of parked heavy goods vehicles, the following mission is triggered outside of a small greasy spoon cafe.

 

In a cramped space populated mainly by builders and truckers, Bucky Sligo looms in the corner of a table Desmond Savage sits at, thoroughly enjoying his full English breakfast, something Bucky doesn’t seem to be doing; his plate is full of his untouched meal. His hands are instead held around a rucksack, undone at the top and his hand underneath the table shown to be stroking the end of a Sawn-Off Shotgun. He gives the room a shifty glare and the camera enters his point of view, sizing up those in the cafe with him before his eyes fixate on the cash register.

 

 

Bucky: This place?

 

Savage runs the sausage on the end of his fork through the tomato juice on the edge of his plate and with a stab, conjoins it with a piece of bacon; he barely spares the room a glance before it enters his mouth.

 

 

Desmond: Nah. Too many birds.

 

The bullish face of Bucky casts a boyish frown and his finger continues to angle over the trigger of the concealed weapon, not being able to understand his companions reasoning for taking this place for everything it’s got. Now. Right this second. Regardless of the amount of women that were inside, or that the pretty waitress flashed Desmond a smile when presenting him with the breakfast he enjoys so much. His thirst could not wait until later.

 

 

Bucky: They’re just flesh...

 

Desmond shakes his head and begins to lick the plate, much to the disgust of the people sat behind him. It falls to the table again stained with saliva to reveal his eyebrows angled with disapproval, his staring, blank eyes beginning to somewhat understand why this nutcase was locked up in prison in the first place. He taps his fingers against the side of his head to reiterate his thoughts.

 

 

Desmond: You’ve got f*cking issues, lad.

 

Also replaced Time by Pink Floyd on the Prog-Rock station with Dogs - as much as I love Time the song just sums up the whole idea of this topic so well. Give it a listen and see if you can connect with why.

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Mati

F*cking youtube racists wont let me hear the new song angry.gif

 

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Tyla

 

F*cking youtube racists wont let me hear the new song angry.gif

I'm sorry about that. Is it because of WMG? I've been struck down by them many a time, believe me!

 

Here are the lyrics in question anyway, fortunately they're so good you can almost drown in the imagery,

 

 

You got to be crazy, you gotta have a real need

You gotta sleep on your toes and when you're on the street

You got to be able to pick out the easy meat with your eyes closed

And then moving in silently, down wind and out of sight

You gotta strike when the moment is right without thinking

 

And after a while, you can work on points for style

Like the club tie, and the firm handshake

A certain look in the eye and an easy smile

You have to be trusted by the people that you lie to

So that when they turn their backs on you

You'll get the chance to put the knife in

 

You gotta keep one eye looking over your shoulder

You know, it's going to get harder, and harder, and harder

As you get older

Yeah, and in the end you'll pack up and fly down south

Hide your head in the sand

Just another sad old man

All alone and dying of cancer

 

And when you lose control, you'll reap the harvest you have sown

And as the fear grows, the bad blood slows and turns to stone

And it's too late to lose the weight you used to need to throw around

So have a good drown, as you go down all alone

Dragged down by the stone

 

The verses kind of sum up what I'm trying to do with chapters of the story; Verse One could be considered Ray getting out of prison, plotting to enact plans he has spent seven years pouring over, Verse Two he gets his foot in the door - he seizes his chance, etc. I'll leave the other two verses to everyone's imagination wink.gif

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Akavari

I think having Ray tragically die at the very end would be a good way to top off the dark, realistic story. Just as he completes his empire, lets his guard down for a second to enjoy it and gets shot in the back by some coward.

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Tyla

 

I think having Ray tragically die at the very end would be a good way to top off the dark, realistic story. Just as he completes his empire, lets his guard down for a second to enjoy it and gets shot in the back by some coward.

I've always thought about that, having Ray die at the end, because its impossible for him to f*ck over the amount of people that get wronged in the course of the story without someone, somewhere plotting revenge. I mean, Vercetti murdered a mob boss, Ray screws over a paramilitary organization.

 

The only problem I would have with his possible death is that the player would be expecting, or even waiting for the moment that someone turns around and bites back. It couldn't be really tragic at all, so I would favour leaving it as a point of discussion for creative minds about just what happened to him and how it could have happened. Like the song says, maybe Ray would spend his days looking over his shoulder, paranoid as he gets older, and it becomes harder and harder to keep control of his empire.

 

Or maybe the cancer - the new generation - takes over. People just like him, ready to screw each other over in a bid to get ahead, and the destruction of the 'old' underworld could (eventually) be attributed to Ray.

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Tyla

 

Grab and Dash

 

The player is summoned to a back street, and the mission marker sits underneath the arch of a bridge running above. The controller will vibrate as a train rumbles overhead and after navigating their way through a series of parked heavy goods vehicles, the following mission is triggered outside of a small greasy spoon cafe.

 

In a cramped space populated mainly by builders and truckers, Bucky Sligo looms in the corner of a table Desmond Savage sits at, thoroughly enjoying his full English breakfast, something Bucky doesn’t seem to be doing; his plate is full of his untouched meal. His hands are instead held around a rucksack, undone at the top and his hand underneath the table shown to be stroking the end of a Sawn-Off Shotgun. He gives the room a shifty glare and the camera enters his point of view, sizing up those in the cafe with him before his eyes fixate on the cash register.

 

Bucky: This place?

Savage runs the sausage on the end of his fork through the tomato juice on the edge of his plate and with a stab, conjoins it with a piece of bacon; he barely spares the room a glance before it enters his mouth.

 

Dessie: Nah. Too many birds.

 

The bullish face of Bucky casts a boyish frown and his finger continues to angle over the trigger of the concealed weapon, not being able to understand his companions reasoning for taking this place for everything it’s got. Now. Right this second. Regardless of the amount of women that were inside, or that the pretty waitress flashed Desmond a smile when presenting him with the breakfast he enjoys so much. His thirst could not wait until later.

 

Bucky: They’re just flesh...

Desmond shakes his head and begins to lick the plate, much to the disgust of the people sat behind him. It falls to the table again stained with saliva to reveal his eyebrows angled with disapproval, his staring, blank eyes beginning to somewhat understand why this nutcase was locked up in prison in the first place. He taps his fingers against the side of his head to reiterate his thoughts.

 

Dessie: You’ve got f*cking issues, lad.

 

Bucky merely glosses over the comment and falls into a sulk in the corner, Dessie stealing his plate of food for himself with a smile, feverishly tucking into the Bacon, Sausages and Eggs as Ray enters the cafe. The bell on the front door rings to acknowledge his arrival. He walks over to the table and pulls up a seat.

 

Ray: Hello, gents...

 

Dessie: Ray!

The cutlery in Dessie’s hands continues to ravage the meal and for a moment he seems rather indifferent to Ray’s arrival, prompting him to sigh and fidget in his chair. Sitting about in back street Cafes all day isn’t Raymond Caine’s idea of action.

 

Ray: You said this was urgent?

 

Between mouthfuls, Desmond manages to speak a response.

 

Desmond: Hold up! I’m just coming to all that...

 

He stops gorging and wipes the sauce from the corners of his mouth.

 

Desmond: Yeah, we need you to go pick up Bucky’s pal.

 

Ray: Okay. Where am I picking him up from?

 

Desmond: He’s coming in from Liberty City. You know, America?

 

Ray: That where you’re from then?

 

Bucky, as usual, ignores Ray completely, and simply continues to stare.

 

Desmond: Yeah, but his roots go back to Ireland, don’t they kid?

Ireland’s where I’m from Raymond. Originally, like.

 

Ray: Oh yeah?

 

Desmond: My dad come over from Dublin, that’s where we’re from. He had all us named after it, some ‘kinda tribute. There’s me, our Darren, Damien, and Derek.

 

Bucky: Speaking of Derrick...

 

Desmond: Yeah you’ll have to move sharpish lad. He’ll have come in by boat; one of ours is bringing him up the Thames on a Dinghy. When you’ve got him, bring him to Southwark. We’ll be waiting.

 

Bucky: Don’t let him out of your f*cking sight.

 

Ray: Hang about. Am I just ‘gonna be playing taxi driver here, or is there a proper reason you’re paying me?

 

Desmond: Oh, don’t you worry. We’ve got plenty planned for you. Now get shifting, we don’t want our boy going walkies.

 

Proquire a vehicle for yourself and head to the Thames Embankment to pick up Bucky’s friend. The Dinghy he is travelling in on will be seen to be slowing as you drive along and you will have to make sure you are there for when it docks.

Sitting between the blaring headlights of his vehicle, Ray patiently awaits the boat’s arrival. A gust blows through his leather jacket and soon his headlights are intertwined with the approaching lights of a Dinghy, slowly coming to a stop at the nearby docking point. A fresh faced man thanks the skipper and pushes his dark, fallen hair back into a woollen hat. He then jumps off the boat, gathering his overcoat and pulling it together in the early morning chill. Ray stands from his place on the bonnet and steps forth to welcome him.

 

Man: Bucky send ‘ya?

 

Ray: That’s right.

 

Man: Derrick McReary. Ready when you are.

 

You are now back in your vehicle with Derrick, a marker on your map indicating your new destination – a back alley where you will drop your passenger off. Simply enjoy the ride.

 

Ray: What brings you to London?

 

Derrick: Always wanted to see the world around me. Fly from the nest. Get out of Liberty.

 

Ray: You don’t look like a bloody tourist.

 

Derrick: No. Just a vagabond is what I am. Driftin’ from place to place, relieving folks of their hard earned money along the way!

 

Ray: Oh yeah?

 

Derrick: Bucky wanted me in on this little gig. Says we can make good. Only he can’t pull it off without me, he’s gonna need a sh*tload of my expertise to get what he wants.

 

Ray: Maybe that’s what they meant, when they said they had plenty planned...

 

Derrick: Don’t let anything fool ‘ya! Me, Bucky, we go way back. He’s like a brother to me, but he’s a horrible bastard. Won’t nothin’ stop him thieving, even if it’s nailed to the f*ckin’ ground! We used to do this sh*t for a living before things got too heavy. We got a tip off from ‘me father, only the guys were mobbed up, REAL hard.

 

Ray laughs, knowing the truth in this statement.

 

Ray: Sounds about right.

 

Derrick: Needless to say, we’ve been on the move ever since!

 

Ray: Well the pair of you are about to be reunited, mate.

 

Pull up in the marker.

Sitting parked in the deserted back street, Ray checks his watch and peers aimlessly out of the windscreen. There is no sign of Bucky, and the only life nearby stems from the passing traffic at the foot of the road.

 

Derrick: This it? Where the hell is he?

 

Ray: Relax. He said he’d be here.

 

Dessie Savage suddenly steps out of the shop to your left, holding the Rucksack in his right arm and eating a packet of Crisps out of his left hand. He climbs in the back seats of your vehicle, somewhat startling Derrick.

 

Dessie: Alright lads.

 

Ray: Des, what’s taking so long?

 

Derrick: Who are you? Where the hell is Bucky?

 

Dessie: Shut up. Bucky’ll be along in...

 

He dives into the bag of Crisps once more before fixing his eyes on his watch.

 

Dessie: Just about... now!

 

The camera immediately shifts to a passing Securicar, travelling along at a steady speed. All of a sudden, Dessie’s black Intruder gallops out of an archway and smashes into the side of the vehicle, disabling both cars.

 

Both Ray and Derrick look around oblivious; Dessie can hardly contain his laughter behind his hand. He shoves the rucksack into the middle of the back seats.

 

Dessie: Tool up and lets f*ck off!

 

You are now thrown back into the game, outside your vehicle and holding a Sawn-Off Shotgun in your hands. Run behind your similarly armed associates towards the wreckage, where Bucky Sligo climbs out of the mangled driver’s side door, wielding an Assault Rifle. With a limp in his step, he smashes the stock of the rifle on the bonnet of the Securicar, securing the attention of the dazed guards behind the shattered windscreen.

 

Bucky: Get out the f*ckin’ van now! NOW!

Don’t you dare disobey me boy or I’ll put one of these in your f*ckin’ head!

 

Fearing for their lives, the guards tumble out of the heavily ruined door. Bucky knocks the driver to the floor with the stock of his rifle and proceeds to shove the barrel in the face of his terrified passenger.

 

Bucky: On the floor!

 

He targets both of the guards on the floor, strafing between them, before backing away and addressing you and your two accomplices at your point behind the Securicar.

 

Bucky: Loot the f*ckin’ truck, boys.

 

He hurries off to the Intruder whilst Dessie throws open the back doors of the van. He climbs inside and drags Derrick up into the cabin.

 

Dessie: Keep an eye out for the filth, lad.

Stay in your position and use RS/R3 to look around you for any sign of approaching police. Dessie and Derrick will hurry to transport boxes of cash from the van to your vehicle and soon return for more. Bucky then emerges from the Intruder, carrying a petrol can. With all gathered around the guards, Bucky removes the lid, throws it aside, and begins to pour Petrol over the two guards on the ground, grinning as he does so. Derrick suddenly loses his cool, giving a small insight into his reoccurring issues with innocents.

 

Derrick: What the f*ck are you doing?!

One of the guards begins to sob, face down on the floor, hands on his head, being doused in the liquid. Derrick steps forward and Bucky suddenly turns, his eyes dark; he shoves the AK in his right hand into his friend’s face.

 

Bucky: Shut the f*ck up, Derrick! Shut the f*ck up!

 

Ray: Easy...

 

Dessie: Ray’s right! Calm down and push on!

 

Before you can return to the rear of the van to continue thieving the contents, the camera shifts into a cutscene. A young police officer is shown approaching the scene, out of Raymond’s view but in Bucky’s. He reaches for his radio, nervously peering his head around the wreckage to survey the shouting that drew him to the incident in the first place. He just about has time to report the robbery in progress before Sligo notices him.

 

In one swift movement, he turns and fires a single shot. It enters through the helmet on his head and fells him instantly.

 

Bucky: f*ckin’ law!

 

Dessie: Bollocks!

 

A rapid response can be heard approaching in the near distance.

 

Dessie: sh*t! f*ck! Just get in the car! You!

 

He pushes Derrick to the right of your vehicle.

 

Dessie: Drive! Bucky! Come on!

 

The two terrified guards on the ground are suddenly ignited in flames, the sound of a lighter hitting the ground. They scream uncontrollably; Bucky joins your group with a smug look of satisfaction on his face, pouncing back and forth readily awaiting the police response.

You are now in the back seat of the vehicle, the camera fixed in first person perspective. You are equipped with a Sawn Off, which Ray can shoot out of the back window or at the tap of L1/LB, hang out of the window and fire. Bucky, armed with an AK, will also fire from the seat next to you. The moment you pull out of the alley, a Sweeney GT is hot on your tail with four Flying Squad officers inside.

 

Dessie: It’s the coppers!

They swerve behind you, their blue lights flashing directly in your line of sight. They will hit the rear bumper of your vehicle (as they are originally responding to the incident) and your POV will shake upon impact, making it difficult to get a shot off.

 

Derrick: Why’d ‘ya burn ‘em, Bucky?!

 

Bucky: ‘f*ck up and drive!

 

Derrick: I’m trying!

Try and demobilize your pursuers as you dart in and out of morning rush hour traffic, seizing chances as they come close to your vehicle to disable the powerful engines of their vehicles. The front seated passenger will also return your fire with a Pistol owhilst periodically requesting for backup, which will come in the form of several Police Response cars.

 

Dessie: Down ‘ere!

 

Derrick thunders around a corner, struggling to maintain control of the vehicle after performing a handbrake turn. The police again smash into your rear, sending the vehicle spinning. For a moment, it appears as though you are surrounded. Ray’s hand extends and shoves Derrick forward, drawing his attention to a heavily populated street in front of him where they can form an escape from the police vehicles descending on them.

 

Ray: Go!

 

He punches the back seat.

 

Ray: f*cking go!

 

The car jolts forward in a cloud of tyre smoke and flashing blue lights, the horn blaring out and people flying out of the way in different directions. The police follow as Derrick smashes through the market stalls and thunders under the bridge, back onto the road where another Sweeney car will join the chase. This time however, the officer in the passenger seat wields a Sterling SMG. Avoid hanging out of the window to retain your health and instead blow out the back windscreen with a gunshot and attack them with gunfire that way.

 

Ray: You drive like tarts!

 

Cleverly placed shots will blow open the Sweeney GT’s engine, causing a thick mask of smoke to burst out of the front and mask the driver’s vision. It will eventually career off the road and into the back of a London Bus.

 

Ray: Hard sh*t!

 

Derrick: Where the f*ck do I go?!

 

Dessie: Go up here!

 

Oblivious to where he is going, Derrick bombs down the road and onto London Bridge, the police still hot on your tail, the density of their pursuit subject to your shooting skills. Suddenly, your vehicle begins to slow and Derrick begins to panic – he has noticed the road block spanning the entire width of the bridge. Two Police Huntley vehicles and a Police Patrol block your way. He seemingly resigns himself to his fate, the vehicle skids to a stop in the middle of the road, police closing in both sides of you.

 

Derrick: sh*t! We’re done!

 

Bucky: What the f*ck are you doing?

 

Derrick: f*cked, we’re f*cked!

 

Ray: Control yourself!

 

The camera follows Ray out of the car, the Sawn Off still in the player’s possession.

 

Ray: Get in the back!

 

Derrick rushes out of the driver’s seat and into the back of the car, paving the way for Ray to take control of the vehicle.

 

Ray: Now hold the heavy mob off!

Derrick now has control of the weapon and along with Bucky, will fire from the rear of the vehicle. Now, you must escape. Line your vehicle up with the roadblock, aiming directly for the heart of it, and begin to build up speed.

 

Dessie: What are you doing??

 

Derrick: f*cking hell! You’re a madman!

 

The controller will vibrate as Derrick pounds on the back of the driver’s seat.

 

Derrick: Hail Mary! Hail Mary!

 

The police officers dive off the bridge, out of the way of your oncoming impact. Smash through the centre of the roadblock. A perfectly positioned hit will knock the Police Patrol out of the way, sending it sprawling through the walkway and into the water below. The pursuing police behind you will smash head on into the Huntley’s, leaving you with a head start as you make a bid to escape.

 

Dessie: You’re a f*ckin’ nutter, Caine! A f*ckin’ nutter! I love ‘ya, lad! Now get us out of here!

 

Turn off the road and crash down onto the embankment, smashing on LS/L3 to order the many tourists out of the way of your vehicle (them being under your wheels will only slow you down, right?) and thunder along the river. When the police eventually fade into the distance, cut across the grass, through traffic, and head into the concrete jungle that towers over you.

 

As your wanted level subsides, you will be prompted to pull to the side of the road. A cutscene will show Dessie passing around wads of cash - £5,000 in total – to all in the vehicle.

 

Dessie: Time to split up! I’ll see you two back at the camp!

 

Derrick: That was f*ckin’ something!

 

Bucky: “Hail Mary! Hail Mary!” ‘Ya f*ckin’ girl.

 

Dessie: Ray, you pulled a blinder back there. Glad to have ‘ya on board. I’m sorry ‘bout Bucky, he’s off his f*ckin’ rocker.

 

Ray seems indifferent as the money is placed into his jacket.

 

Dessie: Listen, I’m planning a big job soon. Real big score. I’d love to have ‘ya on the job.

 

Ray: After this mess, you ‘wanna tempt me, it had better be a big score...

 

Dessie: Oh, very big. Very juicy. The profits far outweigh the risks. You want in, come see me back at the van.

 

Ray: I don’t normally get this close to northern wankers working out of pikey sites, but I might pay you a visit.

 

Dessie: Smashin’. See ‘ya soon, mate.

 

Mission Complete - £5,000

Edited by Tyla

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