• Hey, guest user. Hope you're enjoying NeoGAF! Have you considered registering for an account? Come join us and add your take to the daily discourse.

Max Payne 4 - Your Vision

Y

yogloo

Member
I want it the other way around. You play as the disposable bad guys. In the number of hundreds to take down max Payne.
 
C

ChawlieTheFair

pip pip cheerio you slags!
NotTheGuyYouKill said:
Lighting and colour ideas...

Los Angeles:

More bright, sickly neon than sterile Michael Mann, I think. The city should feel like a head trip.



The section set in the desert (Nevada), I want it to actually feel quite creepy, so it'd be at dusk in the desert as the sun is setting. My inspiration for this is Alan Wake: American Nightmare, the way they show Arizona. The colours, purples and browns, spectacular usage.



Section set in the Midwest, I'm inspired by True Detective... the idea of a place that is a memory, and the memory is fading...



New York:

David Fincher is the influence here all the way. Everything has to feel dark, twisted, and claustrophobic as Max finally returns home.
Click to expand...

Really great suggestions, especially True Detective. Being from Louisiana, would love seeing some colorful characters from say Shreveport or Monroe. Would be fantastic.
 
S

Spring-Loaded

Member
kid max


mid 70s


mafia kids bully other kids in teh neighborhood, kid max stands up to them


mafia kids start shit with max


use gas powered bb and pellet guns
 
Agent_4Seven

Agent_4Seven

Tears of Nintendo
I really love this series but to be honest, I do not want a new MP game in any shape or form. Now the reason for this is I think they already have told everything they possibly can and there is no good reason to continue the series further and I don't think that reboot of the franchise is a good option too. But if they decide to continue... I don't think that the next game will be good.

P.S. We need more new and original IPs in this generation.
 
Estocolmo

Estocolmo

Member
Make a Son of Max Payne

The story ended in the third game. Make a game set in the near future, about 20-30 years from now playing as the son of Max. Give us some future weapons that could exist in 20-30
Years from now.
 
Marvel

Marvel

could never
Sega1991 said:
Bring back Sam Lake's face.

That's all I really want.
Click to expand...

qLZPF.gif


Original Max did look better.
 
B

Big_Al

Unconfirmed Member
Yeah the soundtrack to MP3 is amazing, Health deserve a lot of credit for such a great soundtrack.As well as Tears my favourite tracks would be Shells and Painkiller

As much as I love MP3 I don't think we really need a new MP game, I'm happy to let Max walk off into the sun after that one. The only thing I can see happening for a sequel is Max returning to New Jersey and somehow getting involved with the gang wars going on. (which he set in motion lol ) I just want a re-release of MP3 where I can skip every cutscene! (though to be fair you can skip a lot of them in arcade mode at least but not enough for my liking)
 
B

Bandit1

Member
I'd kind of like to see a spiritual successor set in Shanghai or Hong Kong with a Chinese protagonist since the game's gunplay has its roots in John Woo films. If we went the buddy cop route Rockstar could possibly implement the character switching we saw in GTAV into a linear style game, that might be really interesting.
 
Nymphae

Nymphae

Banned
I just want them to remove the massive unskippable cutscenes. That was what kept me from going back to 3 more than I did, it just took too fucking long to get into the action. I understand that it was masking loading, but it's still not fun to sit there and twiddle your thumbs for several minutes, waiting for 5 minutes of gunplay.

It needs some sort of a Bloody Palace (from DMC) mode where you can just play with the mechanics in nicely designed levels full of bad guys.
 
S

Screaming Meat

Unconfirmed Member
Bandit1 said:
Noir is pretty subjective in my opinion. There are several traits that, the more they are implemented in a work, the more noir it feels. Some of these are night/darkness/shadows as a visual cue, flawed/cynical protagonist, crime, a femme fatale, and usually a bad ending. A movie like Double Indemnity is about as noir as it gets in my opinion, as all these traits apply. The film version of The Big Sleep, while I do like it, doesn't feel as noir as Double Indemnity, or Chandler's novel. In the book Marlowe is left quite disillusioned and lonely, while in the movie Lauren Bacall's role is amplified and her and Bogie's word play make Marlowe seem like a happier guy than in the novel, especially in the end. The Big Lebowski is somewhat based on The Big Sleep and has noir aspects, but it doesn't really "feel" noir to me. A movie like The Asphalt Jungle doesn't really have a femme fatale in the sense of Double Indemnity or The Lady From Shanghai, but it still feels very noir.

In my opinion MP3 has some noir aspects but doesn't "feel" very noir. Yes, the frame is a noir set up, and I'll grant you that Max's character is much more cynical in the third game. In the first game he runs into the Finito brothers and after they attempt a clever pun Max says, "You guys are killing me, did you make that up yourself or did you get some wino downstairs to come up with it? Don't answer, rhetorical question." He says it rather playfully, almost as if he's having fun, almost a Marlowe-esque line. He makes a few more wisecracks throughout the first game and seems less cynical overall than in 3. But the first game also has a a femme fatale and a permanent night as a visual cue, so to me it "feels more noir."

But that's, just, like, my opinion man.
Click to expand...

Sorry for the late reply!

Noir as a genre is fairly problematic in that it was a term that only caught on decades after it was a "thing". No creator tended to refer to their work as 'Noir', so in one sense it is an even more arbitrary distinction than other genres. However, the works labelled Noir were done so because they shared from a pool of conventions, themes, tropes and archetypes that they either followed or played with. Sometimes they used them all, sometimes only a few. Just because you 'feel' one thing is 'more' Noirish than another (how do you even quantify something like that?) does not mean it isn't. A genre can't simply be 'subjective'. If it were, then anything could be labelled, for instance, Noir and the term would become meaningless. I feel utterly confident in saying that Disney's Frozen is objectively not Noir and that Goodfellas isn't a Romantic Comedy, because those films do not share the traits of those respective genres (at least not without some serious suspension of disbelief).

With that in mind, I tend to find any references to MP1's Noirish qualities a little bit laughable, the game is much, much broader in it's parody: Heroic Bloodshed, Pulp novellas, Comics, American Action Movies, Exploitation cinema, a dash of Lynch etc. Noir tropes here (hard)boils down to a narrative framing device and a setting.

The femme fatale is here, as you pointed out, but MP1 Mona is nothing but a wry nod to the convention. Using her as an example of MP1's Noir qualities is a bit of a joke really, she isn't anywhere near as well realised as her MP2 incarnation. She shares so few traits with any actual Femme Fatale, Max's VO has to inform us directly of her role. At best, she's a plot device, someone to get the story moving at 2 or 3 specific junctures, so you're essentially pinning part of your "Noir feel" on a character that is hardly in the game (with probably ten lines of dialogue and at most one or two off screen mentions) and (critically) wouldn't be missed if she weren't in it.

Which leads us to MP1 Max and his wise cracks. He is not a character here but a pastiche; a caricature. He is a wise cracking, hyper violent, bloody teenage fantasy with more in common with a early John Woo protagonist than anything Chandler or Hammett created. There are no explorations of moral grey areas here, Max is right and true; the mooks he shoots are all scumbags and drugs are bad, m'kay? That kind of moral absolutism isn't a particularly Noirish trait, it's far more in line with 80s Hong Kong and American action flicks. If I had to tie the first Max to a specific Noir hero, he'd be closer to Spillane's unwaveringly violent Mike Hammer or one of Miller's Sin City bunch, neither of which could ever be mistaken for Chandler and Hammett's world weary intellectuals.

Now MP2? That's hands down a stone cold Classic Noir as directed by David Lynch. You'll get no argument from me there. It reeks of the genre's moral ambiguity, layered mysteries, bleak aesthetic and hidden motivations (although Lake's arch knowingness is never far from the surface).

Most of the films and novels you reference are what would be referred to as 'Classic' Noir, best exemplified, as I mentioned, in the Max Payne series by MP2. You seem to skip over the fact that the genre has evolved over the 70 years and has adjusted to suit more relevant themes and content, often referred to as Neo-Noir.

Max Payne 3 is very much a revisionist Neo-Noir. It takes a number of conventions from old noir and either plays them straight or flips them on their head.

  • Noir Protagonist:
    Max fits the bill perfectly: flawed, cynical, at odds with the world around him. What Rockstar has done though (and this is where the revisionist tag comes in) is taken the caricature of MP1 and the archetype of MP2 and basically asked what that person would be like if he were more real? Instead of the know-it-all, philosophy spouting, superhero of yesterday, we have a man suffering from PTSD failing to come to terms with his own murderous rage in the only two ways he knows how: self medication and mass murder.
  • Plot:
    As I said before, although there are some seriously whiffy moments, the actual plot is straight up Noir: Cynical protagonist gets drawn into the machinations of a powerful family.
  • Characters:
    The Corrupt Politician/Policeman, the Beleaguered Officer of the Law, the Homely Brunette, The Ditzy (sort of) Starlet... They're all there. What may surprise you is that Passos really does fit the bill of a Femme Fatale in all but sexuality and gender. Maybe we can call him Friend Fatale? He draws Max into the plot, his motivations are questionable throughout... It's an interesting twist on the staple when you approach it like that.
  • The Setting:
    I've said it before, but MP3's setting was an inspired choice! A key feature of Noir, one that is often neglected or outright ignored, is that the antihero is our guide through the seedy criminal underworld and the magnificent opulence of the rich. He shows us how they are both just as corrupt as each other, essentially sharing his cynical outlook with use MP3 does this comparison expertly. São Paulo is a literally textbook example of the divide between the rich and the poor, both economically and aesthetically. Coupled with the fact that it allowed R* to completely alienate Max, to play with stark light/shadow (another key feature of Noir) and how it then plays against it by also being so colourful, shows just how inspired a choice of location it was.

There's more, but I think I've gone on a wee bit too long... XD
 
N

NotTheGuyYouKill

Member
Screaming Meat said:
Sorry for the late reply!

Noir as a genre is fairly problematic in that it was a term that only caught on decades after it was a "thing". No creator tended to refer to their work as 'Noir', so in one sense it is an even more arbitrary distinction than other genres. However, the works labelled Noir were done so because they shared from a pool of conventions, themes, tropes and archetypes that they either followed or played with. Sometimes they used them all, sometimes only a few. Just because you 'feel' one thing is 'more' Noirish than another (how do you even quantify something like that?) does not mean it isn't. A genre can't simply be 'subjective'. If it were, then anything could be labelled, for instance, Noir and the term would become meaningless. I feel utterly confident in saying that Disney's Frozen is objectively not Noir and that Goodfellas isn't a Romantic Comedy, because those films do not share the traits of those respective genres (at least not without some serious suspension of disbelief).

With that in mind, I tend to find any references to MP1's Noirish qualities a little bit laughable, the game is much, much broader in it's parody: Heroic Bloodshed, Pulp novellas, Comics, American Action Movies, Exploitation cinema, a dash of Lynch etc. Noir tropes here (hard)boils down to a narrative framing device and a setting.

The femme fatale is here, as you pointed out, but MP1 Mona is nothing but a wry nod to the convention. Using her as an example of MP1's Noir qualities is a bit of a joke really, she isn't anywhere near as well realised as her MP2 incarnation. She shares so few traits with any actual Femme Fatale, Max's VO has to inform us directly of her role. At best, she's a plot device, someone to get the story moving at 2 or 3 specific junctures, so you're essentially pinning part of your "Noir feel" on a character that is hardly in the game (with probably ten lines of dialogue and at most one or two off screen mentions) and (critically) wouldn't be missed if she weren't in it.

Which leads us to MP1 Max and his wise cracks. He is not a character here but a pastiche; a caricature. He is a wise cracking, hyper violent, bloody teenage fantasy with more in common with a early John Woo protagonist than anything Chandler or Hammett created. There are no explorations of moral grey areas here, Max is right and true; the mooks he shoots are all scumbags and drugs are bad, m'kay? That kind of moral absolutism isn't a particularly Noirish trait, it's far more in line with 80s Hong Kong and American action flicks. If I had to tie the first Max to a specific Noir hero, he'd be closer to Spillane's unwaveringly violent Mike Hammer or one of Miller's Sin City bunch, neither of which could ever be mistaken for Chandler and Hammett's world weary intellectuals.

Now MP2? That's hands down a stone cold Classic Noir as directed by David Lynch. You'll get no argument from me there. It reeks of the genre's moral ambiguity, layered mysteries, bleak aesthetic and hidden motivations (although Lake's arch knowingness is never far from the surface).

Most of the films and novels you reference are what would be referred to as 'Classic' Noir, best exemplified, as I mentioned, in the Max Payne series by MP2. You seem to skip over the fact that the genre has evolved over the 70 years and has adjusted to suit more relevant themes and content, often referred to as Neo-Noir.

Max Payne 3 is very much a revisionist Neo-Noir. It takes a number of conventions from old noir and either plays them straight or flips them on their head.

  • Noir Protagonist:
    Max fits the bill perfectly: flawed, cynical, at odds with the world around him. What Rockstar has done though (and this is where the revisionist tag comes in) is taken the caricature of MP1 and the archetype of MP2 and basically asked what that person would be like if he were more real? Instead of the know-it-all, philosophy spouting, superhero of yesterday, we have a man suffering from PTSD failing to come to terms with his own murderous rage in the only two ways he knows how: self medication and mass murder.
  • Plot:
    As I said before, although there are some seriously whiffy moments, the actual plot is straight up Noir: Cynical protagonist gets drawn into the machinations of a powerful family.
  • Characters:
    The Corrupt Politician/Policeman, the Beleaguered Officer of the Law, the Homely Brunette, The Ditzy (sort of) Starlet... They're all there. What may surprise you is that Passos really does fit the bill of a Femme Fatale in all but sexuality and gender. Maybe we can call him Friend Fatale? He draws Max into the plot, his motivations are questionable throughout... It's an interesting twist on the staple when you approach it like that.
  • The Setting:
    I've said it before, but MP3's setting was an inspired choice! A key feature of Noir, one that is often neglected or outright ignored, is that the antihero is our guide through the seedy criminal underworld and the magnificent opulence of the rich. He shows us how they are both just as corrupt as each other, essentially sharing his cynical outlook with use MP3 does this comparison expertly. São Paulo is a literally textbook example of the divide between the rich and the poor, both economically and aesthetically. Coupled with the fact that it allowed R* to completely alienate Max, to play with stark light/shadow (another key feature of Noir) and how it then plays against it by also being so colourful, shows just how inspired a choice of location it was.

There's more, but I think I've gone on a wee bit too long... XD
Click to expand...

Great points.
 
B

Bandit1

Member
Screaming Meat said:
Sorry for the late reply!

Noir as a genre is fairly problematic in that it was a term that only caught on decades after it was a "thing". No creator tended to refer to their work as 'Noir', so in one sense it is an even more arbitrary distinction than other genres. However, the works labelled Noir were done so because they shared from a pool of conventions, themes, tropes and archetypes that they either followed or played with. Sometimes they used them all, sometimes only a few. Just because you 'feel' one thing is 'more' Noirish than another (how do you even quantify something like that?) does not mean it isn't. A genre can't simply be 'subjective'. If it were, then anything could be labelled, for instance, Noir and the term would become meaningless. I feel utterly confident in saying that Disney's Frozen is objectively not Noir and that Goodfellas isn't a Romantic Comedy, because those films do not share the traits of those respective genres (at least not without some serious suspension of disbelief).

With that in mind, I tend to find any references to MP1's Noirish qualities a little bit laughable, the game is much, much broader in it's parody: Heroic Bloodshed, Pulp novellas, Comics, American Action Movies, Exploitation cinema, a dash of Lynch etc. Noir tropes here (hard)boils down to a narrative framing device and a setting.

The femme fatale is here, as you pointed out, but MP1 Mona is nothing but a wry nod to the convention. Using her as an example of MP1's Noir qualities is a bit of a joke really, she isn't anywhere near as well realised as her MP2 incarnation. She shares so few traits with any actual Femme Fatale, Max's VO has to inform us directly of her role. At best, she's a plot device, someone to get the story moving at 2 or 3 specific junctures, so you're essentially pinning part of your "Noir feel" on a character that is hardly in the game (with probably ten lines of dialogue and at most one or two off screen mentions) and (critically) wouldn't be missed if she weren't in it.

Which leads us to MP1 Max and his wise cracks. He is not a character here but a pastiche; a caricature. He is a wise cracking, hyper violent, bloody teenage fantasy with more in common with a early John Woo protagonist than anything Chandler or Hammett created. There are no explorations of moral grey areas here, Max is right and true; the mooks he shoots are all scumbags and drugs are bad, m'kay? That kind of moral absolutism isn't a particularly Noirish trait, it's far more in line with 80s Hong Kong and American action flicks. If I had to tie the first Max to a specific Noir hero, he'd be closer to Spillane's unwaveringly violent Mike Hammer or one of Miller's Sin City bunch, neither of which could ever be mistaken for Chandler and Hammett's world weary intellectuals.

Now MP2? That's hands down a stone cold Classic Noir as directed by David Lynch. You'll get no argument from me there. It reeks of the genre's moral ambiguity, layered mysteries, bleak aesthetic and hidden motivations (although Lake's arch knowingness is never far from the surface).

Most of the films and novels you reference are what would be referred to as 'Classic' Noir, best exemplified, as I mentioned, in the Max Payne series by MP2. You seem to skip over the fact that the genre has evolved over the 70 years and has adjusted to suit more relevant themes and content, often referred to as Neo-Noir.

Max Payne 3 is very much a revisionist Neo-Noir. It takes a number of conventions from old noir and either plays them straight or flips them on their head.

  • Noir Protagonist:
    Max fits the bill perfectly: flawed, cynical, at odds with the world around him. What Rockstar has done though (and this is where the revisionist tag comes in) is taken the caricature of MP1 and the archetype of MP2 and basically asked what that person would be like if he were more real? Instead of the know-it-all, philosophy spouting, superhero of yesterday, we have a man suffering from PTSD failing to come to terms with his own murderous rage in the only two ways he knows how: self medication and mass murder.
  • Plot:
    As I said before, although there are some seriously whiffy moments, the actual plot is straight up Noir: Cynical protagonist gets drawn into the machinations of a powerful family.
  • Characters:
    The Corrupt Politician/Policeman, the Beleaguered Officer of the Law, the Homely Brunette, The Ditzy (sort of) Starlet... They're all there. What may surprise you is that Passos really does fit the bill of a Femme Fatale in all but sexuality and gender. Maybe we can call him Friend Fatale? He draws Max into the plot, his motivations are questionable throughout... It's an interesting twist on the staple when you approach it like that.
  • The Setting:
    I've said it before, but MP3's setting was an inspired choice! A key feature of Noir, one that is often neglected or outright ignored, is that the antihero is our guide through the seedy criminal underworld and the magnificent opulence of the rich. He shows us how they are both just as corrupt as each other, essentially sharing his cynical outlook with use MP3 does this comparison expertly. São Paulo is a literally textbook example of the divide between the rich and the poor, both economically and aesthetically. Coupled with the fact that it allowed R* to completely alienate Max, to play with stark light/shadow (another key feature of Noir) and how it then plays against it by also being so colourful, shows just how inspired a choice of location it was.

There's more, but I think I've gone on a wee bit too long... XD
Click to expand...




Haha, all right I'm going to concede a few points to you.

1. Max is more of a noir character in the third game than he is the first. I stated earlier that he's too carefree in the first game, making wisecracks and whatnot.

2. I had never thought of Passos' role as the "friend fatale." It's an interesting take on the character, and he does draw Max into the plot similar to the femme fatales in works like Double Indemnity or The Maltese Falcon, without sexuality as you said. But ultimately his role is quite small. He's in a fair portion of the game, and he is shady, especially in Panama, but I think he was mostly being used by the Brancos. DeSilva later says that Passos "Probably isn't a bad guy, he's just surrounded by more money and power than his tiny little brain can handle." He comes back to save Max at the Imperial Palace Hotel, apologizes for getting him into the mess and then Max sends him away to live happily ever after. I see him mostly as a catalyst, to get the story from one point to another. He doesn't really know what's going on exactly, when things get really dark in Panama he says, "I didn't think things were going to be like this." The femme fatale almost always knows what's going on. She's in control, she's pulling the strings. Which leads me back to MP1.

3. Mona. Yes, there isn't much to her in the first game, I wouldn't call her role as a femme fatale laughable, a bit cliche, sure. She slips Max a mickey, it wasn't the most original take on the role. But the real femme fatale I was thinking of in the first game was Nicole Horne. I'll grant you that she is entirely bad, essentially a one-dimensional character, but she is a femme fatale. She's somewhat unconventional as there is no sexual tension between her and Max as she is much older, but she's in control, pulling all the strings. She sets the events of the game in motion, although she does it 3 years before the game takes place.

4. "Cynical protagonist gets drawn into the machinations of a powerful family." Is more of a noir set up than "Man seeks revenge for murdered family." Max even acknowledges that the revenge angle isn't anything new, "Eye for an eye. Old as dirt and still going strong." No argument from me here, as far as noir goes.

I'd say it's a toss up on the setting as far as noir's seedy underground goes. Both full of drugs, perversion, and violence.

The third game takes itself far more seriously, but in my opinion the first game isn't a parody overall. It does parody at times, like the conversations between some of the mobsters, Vinnie Gognitti, perhaps even the gameplay. But I think in third act it sheds most of the comedics. If Horne was just as screwy as Vinnie I'd say the game was more of a parody.

As for how I quantify "feels more noir" ...
I'm not really sure. XD
Bad choice of words, I should never let my feelings get in the way. :p
 
3

30IR

Banned
Max Payne 3 was one of the best games EVER.

The shooting mechanics are still the BEST IMO - and the game came out in 2012.

The graphics, slo-mo shooting etc. is so freaking fun I still play Arcade mode in MP3.

Some Max Payne 3 on 3 30" monitors w/ 4x GTX-680 Classified goodness:

http://www.youtube.com/watch?v=JMZyXveX1Vc
 
S

Screaming Meat

Unconfirmed Member
Bandit1 said:
1. Max is more of a noir character in the third game than he is the first. I stated earlier that he's too carefree in the first game, making wisecracks and whatnot.
Click to expand...

Ah, right. I totally misread that. My bad!

Bandit1 said:
2. I had never thought of Passos' role as the "friend fatale." It's an interesting take on the character, and he does draw Max into the plot similar to the femme fatales in works like Double Indemnity or The Maltese Falcon, without sexuality as you said. But ultimately his role is quite small. He's in a fair portion of the game, and he is shady, especially in Panama, but I think he was mostly being used by the Brancos. DeSilva later says that Passos "Probably isn't a bad guy, he's just surrounded by more money and power than his tiny little brain can handle." He comes back to save Max at the Imperial Palace Hotel, apologizes for getting him into the mess and then Max sends him away to live happily ever after. I see him mostly as a catalyst, to get the story from one point to another. He doesn't really know what's going on exactly, when things get really dark in Panama he says, "I didn't think things were going to be like this." The femme fatale almost always knows what's going on. She's in control, she's pulling the strings. Which leads me back to MP1.
Click to expand...

Yeah, you're right. The majority of the time they are, but that's the thing about Fatales, they aren't always in control or even necessarily bad, otherwise the ambiguity that surrounds them loses it's potency... we'd always know they were the baddie!

Vivien Sternwood in The Big Sleep (the novel) is a great example of this, as I recall. She may know what is going on, but she isn't the mastermind. She's having her strings pulled by Eddie Mars via blackmail throughout the story.

Evelyn Mulwray in Chinatown is another example of a Femme Fatale who is under the thumb of another character, in this case, the utterly evil Noah Cross.

Sean Young in Bladerunner is another who isn't in control. I can't remember if she really knows what is going on.

But, yeah, most of the time they are.

Man, I hope 'Friend Fatale' catches on XD

Bandit1 said:
3. Mona. Yes, there isn't much to her in the first game, I wouldn't call her role as a femme fatale laughable, a bit cliche, sure. She slips Max a mickey, it wasn't the most original take on the role. But the real femme fatale I was thinking of in the first game was Nicole Horne. I'll grant you that she is entirely bad, essentially a one-dimensional character, but she is a femme fatale. She's somewhat unconventional as there is no sexual tension between her and Max as she is much older, but she's in control, pulling all the strings. She sets the events of the game in motion, although she does it 3 years before the game takes place.
Click to expand...

It was only laughable in the sense that she is hardly in it. More of a cameo for her star-turn in MP2. She's hands down my all-time favourite video game character.

That's a great angle on Nicole Horne, though. Not thought of it like that.

Bandit1 said:
The third game takes itself far more seriously, but in my opinion the first game isn't a parody overall. It does parody at times, like the conversations between some of the mobsters, Vinnie Gognitti, perhaps even the gameplay. But I think in third act it sheds most of the comedics. If Horne was just as screwy as Vinnie I'd say the game was more of a parody.
Click to expand...

Nah, it definitely is. I mean, a parody doesn't necessarily have to be outright funny. It just needs to be imitative and in some way comment on it's subject. Act 3 is when Lake starts laying into X-Files (Alfred Woden's inner-circle conspiracy) and The Matrix (you get to replay the lobby scene when you first enter the Aesir Corporation building and fight what amounts to Agents).

Nicola Horne herself is another caricature. She's evil for evil's sake; the Wicked Witch of this story. I think she's even referred to as The Witch and Baba Yaga. She has no more motivation than simply being evil. Christ, her nature as the great evil of the story is in her name:

Nicola = Old Nick AKA The Devil
Horne = Horn

XD

Parody is what Lake does best. He plays with conventions we all know and love expertly. Look at Alan Wake, it's basically a Stephen King story as directed by David Lynch (he loves his Lynch, doesn't he) with Lovecraftian monsters. Then the mini-sequel starts tearing through things like The Twilight Zone and 50s B-movies.
 
B

Bandit1

Member
Screaming Meat said:
Nah, it definitely is. I mean, a parody doesn't necessarily have to be outright funny. It just needs to be imitative and in some way comment on it's subject. Act 3 is when Lake starts laying into X-Files (Alfred Woden's inner-circle conspiracy) and The Matrix (you get to replay the lobby scene when you first enter the Aesir Corporation building and fight what amounts to Agents).

Nicola Horne herself is another caricature. She's evil for evil's sake; the Wicked Witch of this story. I think she's even referred to as The Witch and Baba Yaga. She has no more motivation than simply being evil. Christ, her nature as the great evil of the story is in her name:

Nicola = Old Nick AKA The Devil
Horne = Horn

XD

Parody is what Lake does best. He plays with conventions we all know and love expertly. Look at Alan Wake, it's basically a Stephen King story as directed by David Lynch (he loves his Lynch, doesn't he) with Lovecraftian monsters. Then the mini-sequel starts tearing through things like The Twilight Zone and 50s B-movies.
Click to expand...


Ah okay, I've never seen The Matrix and only remember watching a small bit of The X-Files as a kid. So I should probably submit to you that it's a parody. You seem to know what you're talking about, I mean I had to look up the definition of some of the words you used. XD

I think Horne's name refers to Gjallarhorn in Norse mythology. As you probably know there are many references to Norse mythology throughout. Gjallarhorn was a horn sounded that set off a series of events that led to an apocalypse. (Yes, I had to look this up XD) Similarly Nicole sets off a series of events that leads to an apocalypse of sorts.
 
S

Screaming Meat

Unconfirmed Member
Bandit1 said:
Ah okay, I've never seen The Matrix and only remember watching a small bit of The X-Files as a kid. So I should probably submit to you that it's a parody. You seem to know what you're talking about, I mean I had to look up the definition of some of the words you used. XD
Click to expand...

Ah, you gotta watch the first Matrix, it's outstanding, particularly if you like the kind of action in the MP series. The way the camera shows a slow-mo of the bank vault door being blown off is a direct reference!

Bandit1 said:
I think Horne's name refers to Gjallarhorn in Norse mythology. As you probably know there are many references to Norse mythology throughout. Gjallarhorn was a horn sounded that set off a series of events that led to an apocalypse. (Yes, I had to look this up XD) Similarly Nicole sets off a series of events that leads to an apocalypse of sorts.
Click to expand...

Ooooo I didn't know about Gjallarhorn! Nice find! I wouldn't put it past Lake to mean all those things though, he loads his stuff with so much symbolism.
 
B

Bandit1

Member
Screaming Meat said:
Ah, you gotta watch the first Matrix, it's outstanding, particularly if you like the kind of action in the MP series. The way the camera shows a slow-mo of the bank vault door being blown off is a direct reference!
Click to expand...


I'll have to watch it. You have me interested. And I always expect there to be a bad guy crushed behind that door when it falls off the opposite wall! XD
 
N

NotTheGuyYouKill

Member
Sorry for the bump, but I got another idea:

One of the assassins after Max is someone as skilled at gun ballet as him. And who plays him?

chow-yun-fat-hard-boiled.jpg


Not sure how slow-mo would work against him, but I'd love to see him come up against someone as skilled and deadly as him.

CFJ3vkh.gif
 
N

NotTheGuyYouKill

Member
Idea for a scene midway through the game:

Max takes a breather in a roadside diner in the middle of the American heartland. Who is sitting on the stool next to him?

alan-600x337.jpg


Now, I'm not saying they engage in a bullet-strewn time-slowed-down gun battle against Taken gangsters. But I imagine a great, weird little conversation that these two have, a detective and a writer, about human nature and what it is that drives them despite the madness that they are plunged in. They wouldn't go into their respective situations, but they'd reach a sort of common ground.

It's pretty great in my head, but might seem too gimmicky.
 
D

Digital Snake

Member
As much as I love this series...I think it should just end at 3.
I can't think of much of a direction they can go with it that wouldn't be super contrived.
MP3 was good, but the writing and tone felt way off from what Remedy originally made, obviously because of new writers, but as much as I don't want to say it, its probably done :/
 
A

AuthenticM

Member
They should make the story stand-alone just like its predecessor. Don't bring back closed story threads from the first two games. Have Max in Japan or southern Asia in the middle of another conspiracy.
 
DOWN

DOWN

Banned
he definitely isn't retired. Rockstar already said that while they don't decide on sequels right away, Max didn't join the Rockstar family just to say goodbye right away.

If he is going to retire, his last outing should be urban again. Back to the Big Apple. One thing I love about Max Payne is how different his NY is from other game depictions. His is very Matrix dark.
 
Aces&Eights

Aces&Eights

Member
NotTheGuyYouKill said:
I decided to bump this cause I was curious if anyone else got any cool ideas for a future MP game?
Click to expand...

Max is just Noir at its core. 3 went for an adult miami vice style and I don't think it fit. If we must have a jump forward then I would say something along the line of Sin City. Great voice over narrative, less words to describe more and grit, godamnit. Max Payne is gritty.

Javier Bardem's character from NCFOM would make a great nemesis. Hell, that whole movie is a perfect script for Max Payne. Dusty, old southwestern towns, dingy hotels, gritty scenes of deals gone bad. Basically, the opposite of flash and crazy camera shaking. Anti Michael Bay, if you will. Django meets a burnt out, drug addicted cop with nothing to lose but doesn't give two shits for even really trying, either.
 
Robot Pants

Robot Pants

Member
Max Payne 3 was my favorite Rockstar game last gen, and one of my all time favorites, but I don't want to see it continue.
 
M

Montresor

Member
I want it to be just like Max Payne 3 - but with skippable cutscenes.

I like the hundreds of cutscenes in the game. I don't care that control is taken away from you whenever you enter a door or go through a ladder. Put the Michael Bay cinematic explosion fest right in my veins. I love the gunplay. Slow-motion gunplay is the best thing in this industry, and Max Payne 3 is the master at slow-motion gunplay.

But what matters most of all is that the cutscenes can be skipped. This game has replayability hardcoded right into its DNA. I played the game 12 times. After the 5th playthrough it becomes a little tiring to watch the same cutscenes over and over.
 
S

sn00zer

Member
Whatever they do, expand on MP3 gameplay. Easily the best in the series. Also a great series to do "cinematic" gameplay with....fairly linear game series that deserves more pizazz
 
S

Spring-Loaded

Member
Spring-Loaded said:
There needs to be more sliding in general. A crouch-slide like in Wolfenstein: TNO and Dishonored, a non-shootdodge jump, "slick" surfaces for sliding (e.g. run toward a carpet, crouch while running then slide on it as it bunches up), controllable sliding after shootdodging (hold a button/key to keep sliding), better "prone/sliding-to-standing/cover" transitions, rolling while prone and better vaulting — all coupled with more environmental interactions like the escalator — would make for an even better experience.
Click to expand...

.

Look to Double Action: Boogaloo for environment interaction (obviously much less ridiculous than it though).

Better shotguns. It's great that MP3 shotguns can kill from almost any range, but they're underpowered unless the reticule is right over an enemy's head. I want RE4's shotgun-level power — risk making them overpowered.

Better gun sounds/shot effects. Have some weapons produce so much smoke/have such recoil it fucks up the player's aiming, yet have that applied to enemies too.

Enemies need to be as fragile as GTAV's, yet also experience injuries/limping/crippling the way RDR enemies do.

Make it a spiritual successor to Max Payne at most. Whether MP3 was a good note to end Max's story, either way, it's best the character gets retired.
 
You must log in or register to reply here.

Similar threads

What is the deal with the Max Payne IP? Will we ever get a Max Payne 4?
2
64
4K
AeonGaidenRaiden replied
  • Poll
Did You Enjoy Max Payne 3's Presentation Style vs Max Payne 1/2
2
74
3K
dcx4610 replied
Alan Wake 2's Sam Lake wants to make a "crazy, huge budget, dark gothic fantasy"
News
47
3K
MCplayer replied
  • Poll
2001: Max Payne or Metal Gear Solid 2?
2
70
3K
Mozzarella replied
Fan Video Shows Max Payne With HD Textures
Trailer Indie
12
2K
ShadowNate replied
Top Bottom