
Inside the scrapped GTA 6 story featuring a corrupt cop and a cartel lieutenant
Source: Rockstar Games
In a twist to the long history of GTA 6 development, several credible leaks have disclosed that Rockstar Games initially had in mind a much darker iteration of the game. In creative direction by Dan Houser, the abandoned 2016 narrative had a morally conflicted Vice City police officer, his troubled son, and a cartel lieutenant, each with personal motives and a common fall into crime.
But this ambitious vision never materialized.
A gripping crime story filled with corruption and creative disagreements behind the scenes
Source: Rockstar Games
The canceled plot was a significant departure from GTA's usual satirical bent. Centered around it was a moral Vice City police officer who becomes involved in organized crime to rescue his son from drug addiction. The son, a Cuban-American attempting to flee the world of drugs, provided an exposed, personal viewpoint. A third lead was the second-in-command of a Colombian narcotics lord, running Vice City-based narcotics trafficking while working on launching his own empire.
The tale, informed by the characteristically storytelling-driven Houser, envisioned a slow-burning thriller predicated on moral decay, family obligation, and ethical ambiguity. It was said to be more realistic and more dramatic than any GTA game before it, being likened to crime sagas instead of open-world mayhem. Insider sources alleged the tone of the story was
"too dark"
for the direction of the franchise, which in turn saw it cancelled by Take-Two Interactive in late 2016.
Why Rockstar dropped its darkest game so far
Source: Rockstar Games
It has been reported that the story had been in production for more than a year before it was canceled. The creative conflicts between Rockstar's writing staff and Take-Two's executive ranks are named as the primary cause. Another reason was a need to rebrand GTA 6 with a wider, perhaps lighter audience in mind, leading to a complete narrative overhaul.
Following this cancellation, Rockstar pursued several new directions: one with a female police officer and a smuggler in 2018, and the other with an ex-military protagonist in 2019, both were ultimately abandoned.
Dan Houser's 2020 exit from Rockstar is generally thought to be linked to these constant rejections.
Now, GTA 6 has Jason and Lucia, a Bonnie-and-Clyde-like pair of criminals. Although intriguing, it's a definite divergence from the lost vision of the franchise, a rich, character-centric crime epic that could have been Rockstar's most audacious tale to date.
The 2016 draft of GTA 6 is an interesting
"what if"
moment in gaming history. Though its storyline's dark elements may never find their way to players, it shows the creative bets Rockstar once weighed and the trade-offs behind each megahit game.
Also Read:
GTA 6 trailer 2 shows Lucia attacked mid-heist on a plane, fans spot betrayal plot
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Hans India
25 minutes ago
- Hans India
Two arrested for ‘'poisoning'' tigress, 4 cubs
Bengaluru: Two people were arrested on Saturday in connection with the death of a tigress and her four cubs in the Hugyam forest range of Male Mahadeshwara Hills, police said. The big cats were found dead on Thursday, and subsequent investigation revealed they were poisoned. The breakthrough came after the carcass of a poisoned cow belonging to Maada alias Maaduraju was found. According to police, Maaduraju was reportedly enraged after his cow named 'Kenchi' was preyed upon by wild animals. To avenge the loss, he sprayed poison on the cow's carcass. His friend Nagaraju too is believed to have accompanied him during the act. The tigress, which had initially preyed on the cow returned with her cubs to feed on it again and died after ingesting the poison, sources said. Both the suspects have been taken to Meenyam-based 'Aranya Bhavan' in Hanuru Taluk of Chamarajanagar district for further interrogation. During investigation, Maaduraju's father Shivanna approached the police claiming that he was responsible for the death ofthe big cats. However, he was let off after the investigation revealed his son's involvement.
&w=3840&q=100)

Business Standard
29 minutes ago
- Business Standard
How Anna Wintour reshaped fashion over 37 years at Vogue magazine
After 37 years at the helm, fashion industry heavyweight Anna Wintour is stepping down from her position as editor-in-chief of American Vogue. It's not a retirement, though, as Wintour will maintain a leadership position at global fashion and lifestyle publisher Condé Nast (the owner of Vogue and other publications, such as Vanity Fair and Glamour). Nonetheless, Wintour's departure from the US edition of the magazine is a big moment for the fashion industry – one which she has single-handedly changed forever. Fashion mag fever Fashion magazines as we know them today were first formalised in the 19th century. They helped establish the 'trickle down theory' of fashion, wherein trends were traditionally dictated by certain industry elites, including major magazine editors. In Australia, getting your hands on a monthly issue meant rare exposure to the latest European or American fashion trends. Vogue itself was established in New York in 1892 by businessman Arthur Baldwin Turnure. The magazine targeted the city's elite class, initially covering various aspects of high-society life. In 1909, Vogue was acquired by Condé Nast. From then, the magazine increasingly cemented itself as a cornerstone of the fashion publishing. The period following the second world war particularly opened the doors to mass fashion consumerism and an expanding fashion magazine culture. Wintour came on as editor of Vogue in 1988, at which point the magazine became less conservative, and more culturally significant. Not afraid to break the mould Fashion publishing changed as a result of Wintour's bold editorial choices – especially when it came to the magazine's covers. Her choices both reflected, and dictated, shifts in fashion culture. Wintour's first cover at Vogue, published in 1988, mixed couture garments (Christian Lacroix) with mainstream brands (stonewashed Guess jeans) – something which had never been done before. It was also the first time a Vogue cover had featured jeans at all – perfectly setting the scene for a long career spent pushing the magazine into new domains. Wintour also pioneered the centring of celebrities (rather than just models) within fashion discourse. And while she leveraged big names such as Beyonce, Madonna, Nicole Kidman, Kate Moss, Michelle Obama and Oprah Winfrey, she also featured rising stars as cover models – often helping propel their careers in the process. Wintour's legacy at Vogue involved elevating fashion from a frivolous runway to a powerful industry, which is not scared to make a statement. Nowhere is this truer than at the Met Gala, which is held each year to celebrate the opening of a new fashion exhibit at the Metropolitan Museum of Art's Costume Institute. The event started as a simple fundraiser for the Met in 1948, before being linked to a fashion exhibit for the first time in 1974. Wintour took over its organisation in 1995. Her focus on securing exclusive celebrity guests helped propel it to the prestigious event it is today. This year's theme for the event was Superfine: Tailoring Black Style. In a time where the US faces great political instability, Wintour was celebrated for her role in helping elevate Black history through the event. Not without controversy However, while her cultural influence can't be doubted, Wintour's legacy at American Vogue is not without fault. Notably, her ongoing feud with animal rights organisation PETA – due to the her unwavering support for fur – has bubbled in the background since the heydays of the anti-fur movement. Wintour has been targeted directly by anti-fur activists, both physically (she was hit with a tofu cream pie in 2005 while leaving a Chloe show) and through numerous protests. This issue was never resolved. Vogue has continued to showcase and feature fur clothing, even as the social license for using animal materials starts to run out. Fashion continues to grow increasingly political. How magazines such as Vogue will engage with this shift remains to be seen. A changing media landscape The rise of fashion blogging in recent decades has led to a wave of fashion influencers, with throngs of followers, who are challenging the unidirectional 'trickle-down' structure of the fashion industry. Today, social media platforms have overtaken traditional media influence both within and outside of fashion. And with this, the power of fashion editors such as Wintour is diminishing significantly. Many words will flow regarding Wintour's departure as editor-in-chief, but nowhere near as many as what she oversaw at the helm of the world's biggest fashion magazine.


Mint
an hour ago
- Mint
Zarna Garg's memoir: The super-sad story of an immigrant comedian
It is a truth universally acknowledged that if you are a female American comedian of any standing, you must write a memoir. Tina Fey and Amy Poehler have written best-selling ones, Mindy Kaling has written no fewer than three, and chances are every female comic you've heard of, from Ellen Degeneres to Hannah Gadsby, Caitlin Moran and Ali Wong, has had a memoir out. Obviously, at some point, someone in publishing decided that this was a bankable genre and guided by the spirit of the late, great Nora Ephron, went full steam ahead. I'm not complaining here; I've read Fey, Poehler and Kaling and they were all immensely satisfying. Beyond such cynical calculations, however, I think the reason comedy memoirs work is because all of us who consume comedy are seeking to answer one question: where does comedy come from? Male comedians observe people around them from a great height and find them absurd; female comedians examine the absurdity of their own lives with a microscope and turn the sad bits into funny bits. This is what Zarna Garg does with This American Woman: A One-in-a-Billion Memoir, and she has so much material to work with. Those who have watched her standup routines might be already familiar with parts of this story: Garg grew up in an affluent, traditional, steeped-in-patriarchy business family in Mumbai as the youngest of four siblings in what we today call a 'blended family" (her mother was her father's second wife whom he married to look after his three older children). She was the pampered youngest till she was not—her mother died when she was 14 and her father immediately wanted to marry her off. Also read: 'Gunboy' review: A bloody good thriller set in the badlands of Maharashtra Garg ran away from home and couch-surfed for two years, drifting between relatives' and friends' homes till she gave up, returned to her father's house and agreed to get married. Then, a miraculous call from a US college allowed her to get away to her step-sister in Akron, Ohio and start life all over. In someone else's hands, this could have turned into a very different kind of memoir. Though Garg was a late bloomer, having started her comedy career less than a decade ago, she decided to mine her story for its comedic potential. All female comics need a narrative Garg with her daughter Zoya. (male comics? They can get by with disjointed jokes and stray observations) and Garg's became her transformation into an American woman. If our idea of NRI women is shaped by popular culture (and embarrassing videos of our NRI friends dressing up and dancing to Bollywood songs on every suitable and unsuitable occasion) as largely conventional people who did well in engineering college and work in IT while dealing with crushing cultural isolation, Garg defies the stereotype. Her story is full of dysfunction and uncertainty. This material works great on stage— Garg clearly knows how to land a joke and play the audience—but does it work well as a book? Well, broad generalisations about life in India tend to do better in a stand-up setting, whether it's something as banal as bathing out of a bucket because of water rationing or more readily come dy-friendly material, such as arranged marriages. Garg is 50 and it is difficult to accept when she says, in the book, that 'in India" everyone gets married in their teens or that it's unusual for chil dren to be inter ested in books and magazines, as she was. The parts of the book that are really riveting and bene fit from Garg's sharp observation skills are the account of her relationship with her husband and their harum-scarum wed ding, and then, later in the book, the story of how she became a writer and performer of comedy. Also read: The continuing stranglehold of Indian film censorship This section of the book—a quintessential American success story about an Indian housewife who becomes a stand-up sensation opening for the likes of Poehler and Fey—is not quite stage material, but works fantastically in this form. These are the bits comedy lovers will lap up—the kind of stuff watching five seasons of The Marvellous Mrs Maisel, about a 1950s housewife who becomes a standup comic, and Hacks, about a legendary female comedian's comeback, has primed us for. There's the story of how Garg's teen age daughter Zoya convinces her stay at-home mom to start working on comedy; the one about doing open-mic at a New York comedy club; and the details of finding her writing voice and winning a prestigious award for her first ever screenplay. What could be more American than the story of a woman who tries her hand at match making and ends up making fun of arranged marriages? And yet, her growing up years are where her comedy essentially comes from, I think. In fact, one does not work without the other—among the first jokes Garg ever wrote was 'I am an immigrant living in America. People often wonder if I have some sad, depressing backstory. And I do."