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But most of the time they’re useful to have around, especially as the scale builds up toward the end. Far too often they’ll use exactly the bit of cover you need, and occasionally they’ll somewhat double-cross you by shooting you in the back. While their AI is not exactly outstanding, it’s useful back-up. Later, you’re able to choose to call in support from loyal club members on missions that could otherwise be played solo. So very often the shoot-outs, and this is primarily about shoot-outs, put you in company. When you head off to do club business, you’re amongst a number of other bikers, riding in formation (peculiarly, doing this builds your shield on the way to and from places). The most dramatic difference between TLAD and either GTA IV or The Ballad Of Gay Tony is the squad-based missions. Somewhat disrupted by the return of the president, and his immediate restarting of as many rivalries as possible. Financially ruined after years of Grey’s authority, he was doing all he could to rescue the Lost from complete destruction. While he was away, VP Johnny Klebitz, your character, formed truces with rivals all around the city, including former enemy motorcycle club, the Angels of Death. The Lost is headed by Billy Grey, freshly released from court-appointed rehab, and immediately back to his old ways of heroin and revenge. Much as before, a number of people around the city will give you scripted missions, the accompanying cutscenes telling the overall story.
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(Cars can be stolen and driven as before, but during missions you’re required to be on your own bike). Set in the same city as the previous game, now you primarily navigate the streets on two wheels. I say all this because if you remove the step-father element, that’s the opening plot of this first GTA episode. Jax wants to see change, wants SAMCRO to move on. His step-father, played by a grumpy Ron Perlman, is getting the club deeper into trouble, fixated on vengeance and the ways things used to work. At its centre is the gang’s Vice President, Jackson Teller, who wants to see change in the club.
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The FX show features a washed up biker gang, fighting to maintain any control of their town as the modern world hurriedly catches up around them. And after playing the biker gang story set within Liberty City, there were a number of (perhaps coincidental) parallels. Someone at Rockstar has maybe been watching Sons Of Anarchy. Perhaps the mistake in the new content (and there are very few mistakes) is trying to do this twice more. Rather it was a sad story, a demoralising exploration of one man’s descent into a criminal life of murder and exploitation that he had never desired, born of the horror of his past and the lack of opportunity in his present. The tale of Niko Bellic, a reluctant centrepiece for a narrative of crime, drugs, prostitution, and all that has come to be associated with the series, was not told with bravado or immature glee. Then within that, Rockstar told a story of so much more maturity than anything they’d tried before. Not just its size, but its detail, its variety. Liberty City is quite astonishing, the most realistically realised fictional location seen in gaming. Perhaps GTA IV’s greatest achievement is the sense of place it created. (Be advised - there's a picture of a man's front bottom in this article.) I’ve finished the both, and so it’s about time I told you Wot I Think. As of a week or two back, the two have been released together for the PC, not requiring the original game to run. At either end of 2009, two “episode packs” were released for the 360 version of GTA IV: The Lost And Damned, and The Ballad Of Gay Tony.