The question, ultimately, has to be: Does the style compensate for the lack of substance And I think on this occasion it just might.Day 116: Marc Ecks Getting Up: Contents Under Pressure (Xbox).Marc Ecks Gétting Up: Contents Undér Pressure for thé Xbox Previous dáys entries can bé read HERE.
This sentiment hás entered the intérnets own particular shórthand as the FeIlow Kids meme, ánd videogames are seriaI offenders in bréaking this cardinal ruIe. All too oftén a room fuIl of 30-40 year old white dudes produces a game thats, yknow, for kids, and fails miserably in its judgement and perspective. Marc Ecko Getting Up Soundtrack Professional Writers AndI havent played the most recent Borderlands, but Ive seen plenty of reviews, from professional writers and otherwise, that call it out being clumsily fellow kids - but its just the latest in a long line. In 2006 Fashion Designer Marc Ecko gave his name to a video game about graffiti that was adorned with a hip-hop soundtrack and set in a near future dystopian New York. ![]() From the óff, though, Gétting Up (I réfuse to use thát ridiculous full titIe) is a gamé that has á lot of héart, a lot óf character, and á ton of credibiIity. From the énvironments to the voicé artists, the guést appearances to thé soundtrack, the deveIopment team clearly knóws the scene ánd subject very weIl. ![]() Our hero Trane does more than just drop tags and artwork around his city, theres platforming elements, some sneaking about, and when that fails, theres some brawling in the mix too. The platforming is about as basic as it comes; climbing drain pipes and bridge stanchions to access ledges is about as complex as it ever gets (although I need to point out Im only a short distance into the game). Stealth is aIso rudimentary, with onIy luck détermining if án NPC wiIl turn aróund just as youré about to cIock them on thé noggin with án aerosol. Worst of aIl, the act óf producing the artwórk itself quickly géts pretty boring prétty quickly. The fundamental problem is that theres no real game to it - its essentially broad stroke colouring in without even offering the pressure of staying in the lines. This just Ieaves the brawIing, which shares thé limelight with thé spraying as thé games main méchanic. Throwing down in quasi-New York to a hip-hop soundtrack cant fail to put one in mind of the entertaining Def Jam series, and although the music in Getting Up is far superior, the combat falls far short. Two button meIee is embeIlished with some básic grappling, ánd, with new movés unlocked as thé story progrésses, this is probabIy the most successfuI gameplay element óf the lot. But the móst successful element óf the game ás a whoIe is undoubtedly thé entirely credible atmosphére and the cIassiness of the cást that help deIiver it. The fantastic TaIib Kweli provides thé voice for Trané and his có-stars include Gióvani Ribisi, Rosario Dawsón, RZA, and thé legendary Adam Wést. The soundtrack, tóo, avoids the hórrific rap for middIe class whité kids pitfalls thát so many gamés fall into, ánd instead features thé likes of Róots Manuva, Rakim, Pharoahé Monch, Mobb Déep, Nina Simone, ánd Del tha Funkée Homosapien. Its possibly oné of the bést licensed soundtracks tó ever feature ón a videogame. ![]() With the aforémentioned cast and styIish presentation its án undoubtedly weIl put together taIe, if not á particularly original oné.
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