graffiti invading video games...

[flippingreat]

[The Leader]

yeah but that's just a spray flippin.

 

also, aztec sucks the balls.

[imported_dowmagik]

anybody notice that the commentater on nba street3 says "king of what? king of styyyyyyyyle"

[48:16]

pink and erni on the apprentice tonight hawking GT4.

 

it tripped me out to see them on national TV. not only did they have to deal with the sony execs but goddamn it wouldve driven me crazy to have all those apprentice goons trying to tell me what they want:

 

"OK see, the car is breaking through the wall and there's all these scary buildings in the background, and an urban jungle and papa smurf coming out of a mushroom:

 

that would be the worst client ever.

[Poop Man Bob]

Originally posted by <KEY3>@Feb 17 2005, 10:43 AM

I'm going to Antigua next month, maybe I can change my ticket?

Quoted post

 

You son of a bitch.

 

You better bring your damn camera and let us live vicariously through you.

[Nekro]

Always cool to see known writers in a graffiti video game. Wasn't bates in Enter the Matrix?

[Dirty_habiT]

Nobody wants to get whooped at CS Source though.

[Guest imported_Europe]

Originally posted by Nekro@Feb 25 2005, 06:03 AM

Always cool to see known writers in a graffiti video game. Wasn't bates in Enter the Matrix?

Quoted post

 

Yes he was.

[Guest imported_Europe]

Danish produced Gangland has danish graffiti in it

 

Clean

 

Ken 20

[Poop Man Bob]

That Danish game looks really similar to "Gangsters."

[HAL]

I don't know about the rest of you guys, but I had a blast doing the tagging missions in GTA. The theme of the game was gang turf, and the tags reflected that. I loved how it didn't involve "hip hop" style graffiti at all. They got it right in my book.

 

The tag color could have been a little more realistic, though. I don't think CJ was out mail ordering belton and montana, and every writer knows that lime green spray paint doesn't exist domestically, unless he's tagging with fan tip plastikote or testors pony cans. It probably should have been PT Meadow Green, for that extra realism. Hahaha.

 

I personally have no problem with a graffiti video game. In terms of this Ecko game, I'm curious as to why Ecko didn't team up with someone like Belton, Montana, On The Run or even 12 oz to add some serious "street cred" to the game's name. As far as I know, Ecko has never been involved in graffiti aside from this game and maybe sponsoring an event or two. Are they cashing in on the culture, or trying to move it forward?

[Poop Man Bob]

Originally posted by Old Growth@Feb 25 2005, 09:31 AM

As far as I know, Ecko has never been involved in graffiti aside from this game and maybe sponsoring an event or two. Are they cashing in on the culture, or trying to move it forward?

 

Cha-ching. Ecko is a cash cow. I expect that people are going to be able to see right through their attempts to make a buck off of graffiti. Prime example: The Apprentice's "graffiti battle". I think 9/10 kids polled will just laugh their asses off and say that's a damn shame (other than the writers involved getting paid).

[GLIK$]

PT Meadow Green? BLECH eat my ass.

 

American Accents Apple Green with a NY Fat son, HOLLER.

[johnny]

ecko fronting like he had any real parcipitation in the graffiti scene is weak. i spent nearly all of my time in the city he went to college in at that time frame and guy was nobody in the graffiti scene there. he spent some time doing stencils and putting up stickers but by and large he was a flash in the pan. it's ridiculous that he's being labeled as a street kid. the name mark ecko should be synonymous w/ cashing in. he was doing it back then and now he's eroding further into the culture that's a lot of blood, sweat and tears.

[GLIK$]

There are some points where this game is pretty nice, but there are others where it just needs some help.

 

And the spots where it needs help, it needs a lot of fucking help.

 

 

Done right, this game could be really fun and interesting to play, see how shit unfolds.

 

Other than that, if I wanted a high paced "bad ass" action game, this shit wouldnt be it, GTA has that covered.

[Tesseract]

I think this whole discussion is played on details, damn important details at that. When kubrics 'eyes wide shut' was released i went and watched it before i read anything about the film. Naturally, i always have an eye for tags and pieces in movies, so i noticed a tag somewhere in what is suposed to be NYC in the film. By the end of the film i noticed the same tag in several spots within the 'city' only to find out that it was the exact same tag, in the same angle, same color, same mistakes everywhere.

When i read that the film wasnt shot in the city but a studio it all made sense to me. The art director or whoever takes care of that shit had a tag photographed and applied in several locations within the 'city' so it would look bombed...thats the second i really lost some respect towards the man who's detailing in films is fuckin legendary.

Same happened with that key3 tag in 'sugar' (remember the thread?) Some jackass photographed his tag and had some non writer reproduce it REALLY badly..the result? jessica alba's ass never danced infront of our dear friends tag (such a shame) and its obvious to a writer that the film was shot in canada instead of NYC again.

 

Thats 2 bad cases, on the bright side i loved the raven throwies IN MIAMI while playing driver and i loved the dope handstyles in that nelly furtado video.

 

Up until now i just talked about things that are meant to touch a very wide audience so the authenticity of graffiti that appears in there is just either something that pisses off a writer or gives a dope 'inside joke' feeling.

 

When it comes to a graffiti video game though, things change...noone involved in that culture is going to take things so lighthearted and it aint gonna gain respect if its lame. Infact, if it aint done properly its gonna get unconciously sabotaged and thrown out at once...kinda like fubu, haha. I'm not gonna get into the ethics of writers milking out graffiti for money but i'll just stay to this, you have to have respect in order to lose it. I can tolerate a graffiti legend making money out of stuff but to me its unacceptable for someone that has been always sidebusting a culture to go and make money out of it...infact, i have faith that he wouldnt even succeed at that seeing how nomatter the promotion once the people that would actually make it cool stepaside its all 14 year olds with a tedency to follow anti-trends...We'd all have some reservations towards a videogame presented by some bigshot writer but mark ecko's signature doesnt say much to even get you seriously curious

[Christ Puncher Oner]

sonik and ecko should put out a game together. they could call it 'NEVER WAS NEVER WILL BE'.

ha.

 

this game should come with a mop full of etch.

[Nekro]

The attention to detail and authenticity simply have to be there. Take a look at the skateboard games that came out for playstation. On one hand you have a game like STREET SK8R 2. This game is terrible; the tricks aren't realistic, the physics are off, the levels are ridiculous. It's transparently obvious that real skaters were not involved in the production of the game, and the game and its sales showed that. Now compare that to something like Tony Hawk's Pro Skater or Grind Session. The games that actually mimicked real life were more fun to play and thus sold more copies.

[HAL]

You think Tony Hawk mimics real life? I don't think anyone can do three separate kickflips off one ollie, nor will they ever be able to. What about the 50 foot airs? I don't think it's in the cards, when you add in real life physics and gravity. The video game industry is reliant off a certain level of exaggeration, which is what I thought would happen if graffiti were ever the subject of a video game. The problem and trick to it is maintaining a suspension of disbelief. You can't push that imaginative threashold too far, or you lose the interest of the core audience which will ultimately push the game to success.

 

I honestly don't think it's important for Atari or Ecko to have our seal of approval. I can remember skateboarders grumbling about the unrealistic, arcade like aspects of the Tony Hawk series when it first came out. The thing is that they played it light, and added more and more unrealistic aspects as the series went on. (reverts out of 1/2 pipe tricks and then to manual) Players can accept it a little at a time, while a game like Street Sk8r puts out too much bullshit at once, and your threshold for unreality is strained.

 

You don't know about the PT Meadow Green. Sick, sick color. Apple Green is already played out like whoa.

[Guest]

^ the only green I care about is Krylon Shortcuts Neon Green.

 

Grove St. 4 Life !

[Guest BlUR!!]

Originally posted by Old Growth@Feb 25 2005, 10:14 PM

I honestly don't think it's important for Atari or Ecko to have our seal of approval.

Quoted post

 

Your way off on that. Tony Hawk was a big game because skaters bought into it first and then everyone else. This is no different, unless it's on some jetset radio bullshit. The game can be exagerated and all that, but if shit isn't respectful to the culture in every sense they risk losing credibility with the kids that matter most - the writers. Writers are a loud ass bunch of people that love to talk shit and network. Info gets passed world wide real quick with writers cause how networked they are. If this shit is wack, words gonna spread quick. And once it does, all the toys at school and around the way are gonna pick up on that cause they all love to sit around and jock writers anyhow. On the other hand, if shit is legit and dude pays his dues with the culture, writers are gonna support, and that shit will trickle down to all the jits around the way and to heads in general. I doubt anyone would be stupid enough to turn their back to the culture, but you know we'll smell a fake froma mile away, and personally, this shit is already starting to stink a bit.

[One_in_Ten]

12oz is still my favorite Video game

 

What more can you ask for its free, its got all the writers i love to love and hate, tons of wall flower extras. And with the added use of the [attachmentid=8817] button shit is sweet pete.

[Nekro]

Originally posted by Old Growth@Feb 25 2005, 05:14 PM

You think Tony Hawk mimics real life? I don't think anyone can do three separate kickflips off one ollie, nor will they ever be able to. What about the 50 foot airs?

Quoted post

Yeah, but that's what makes it fun. A video game where you try one trick 15 times before you get it isn't fun.

[Guest]

Tony Hawk's Pro Skater 6

3 years to learn a heelflip varial

[The Hipster]

http://www.bombtheworld.net

[trackstand]

I was in the shower the other day and my grandma came in saying "THE PINK LADY IS ON TV, ON THE APPRENTICE, COME LOOK!"... It was funny.

[Guest imported_b0b]

That game lots a more fun than actually painting.

[STYLEISKING]

marc ecko(clothing brand)

 

First announced by Atari in May of last year, Marc Ecko's Getting Up: Contents Under Pressure is a futuristic third-person action game in which you'll assume the role of Trane, a graffiti artist attempting to use his talents to free the city of New Radius from an oppressive mayor. Information on the game has been scarce since we were afforded a brief glimpse of it at last year's E3, so we recently contacted Marc Ecko, the hip-hop fashion mogul and executive director on the game, to check on the game's progress.

 

GameSpot: We haven't seen the game since E3. What have you been up to?

 

 

Marc EckoMarc Ecko: The rest of 2004 was crazy. I continued building our apparel business with G-Unit Clothing Company, Ecko Unlimited, Zoo York, and others; watched my first project in the publishing business, Complex, continue to dominate the men's magazine market; started working on a huge retail project in New York's Times Square scheduled to open next year; and moved all our operations into one 275,000-square-foot location in Chelsea. But Getting Up was, by far, my primary focus--from reworking characters in my mind in the shower every morning to tweaking the script in bed every night. This has been my dream for seven years, and I want to make sure that we do everything possible to execute it right.

 

GS: How did Marc Ecko, Atari, and The Collective get together?

 

ME: I managed to meet up with Atari when they were still Infogrames. I became friendly with Bruno Bonnell, and he believed in my concept and game idea. He simply gave me the shot. We did a world tour searching for the right developer to help bring this to life. We were impressed by The Collective's execution on nailing details on Buffy and Raiders of the Lost Ark that were crucial to the culture of those worlds. I needed a team who was willing to play anthropologist and be open to learning about graffiti culture, not simply fall back on doing a candy-coated version of that world. Not to mention that The Collective is a solid partner for delivering great fundamental gameplay, from fighting to platforming. It was the right fit all around.

 

GS: Why did you choose to go with The Collective for development?

 

ME: We considered a number of possible scenarios, including the creation of an internal development team. While meeting with The Collective, I was blown away by the excitement they showed toward this project and their willingness to immerse themselves into the graffiti culture and the world of New Radius. I particularly appreciated their openness and willingness not to dismiss me as an "industry outsider" or as merely "a guy who makes sweatshirts." They listened and continue to teach me and my team.

 

GS: There hasn't been a whole lot revealed on Getting Up's gameplay. What can you tell us about how it's going to play?

 

ME: This game asks the questions, "What if graffiti could change the world?" "What would that feel like?" "What sort of events would transpire?" I didn't want to make a "graf simulator." I have been focused on enhancing the experience, continually heightening the anxieties and drama situated within that world. That is why it takes place 15 minutes in the future in New Radius. I developed New Radius to have the cultural and architectural sensibility of New York City and its boroughs while blending it with the verticality of Kowloon, Hong Kong. This alternate universe with its treacherous landscape makes a great home for the sort of action that we wanted.

 

What drives the game is the concept of "get in, get up, and get out." Graf artists don't take the front door, and they certainly don't leave by following the exit signs. "Getting in" will task the player to assess how best to physically get to his or her objective. Do you anxiously stealth your way in? Go balls to the wall? Exploit your athletic capacity and risk life and limb?

 

To "get up" is not merely about writing your name with aerosol paint. It will be about going as big as you can go with painting your name, all while assessing how much time you have to do so. The bigger you go, the more time it will take, thus exposing you to a greater risk of getting caught or catching a bad one. The player will have a character arc that teaches him or her all about the different conventions of proper street art--from tagging with a shoe-polish mop all the way through wheat-pasting a poster. It is a rich experience that really pays an homage to graf culture, much in the same way that Tony Hawk put the details of skate culture on a pedestal. Besides making for great gameplay, it will allow the player to learn about all the nuances of the graf medium.

 

New Radius is not very friendly to graf writers, so "getting out" is no joke. These three elements of "get in, get up, and get out" are constantly in rotation, and the player is free to experience the game based on his or her style of conquering New Radius while progressing toward "legend" status

[STYLEISKING]

GS: What can you tell us about the story and characters?

 

ME: I am very excited about them. I have always dreamed of blending a science-fiction narrative with an urban experience without having to be all cliché with spaceships or new-age jargon flying about. That has been an exciting and inspiring challenge.

 

 

Talib KweliOur lead character, Trane, is a reluctant hero. You see him evolve and come to terms with his almost superhero-like skill set. Trane is played by my good friend, the rap star Talib Kweli. Kwa is the perfect voice for Trane in so many ways. Many of Trane's personality traits were based and cast around Kwa. Trane is a rebellious intellect. He is young with an old soul. His sarcasm is razor sharp. He does not depend on a crew to boost his ego--he can fly solo and stand out in the packs fighting for his spot. He marches to his own beat and puts his money where his mouth is. Do not sleep on Trane, either--don't underestimate his lean, lanky physique. He is nice with the fist game and won't feel bad for bruising up your pretty face.

 

GS: Will you be using any other celebrities to do voices or as cameos in the game?

 

ME: I am very excited to have Kwa on board. Stay tuned for more details. We are in advanced discussions with many other cultural luminaries.

 

GS: What can you tell us about the technology behind the game?

 

ME: Unfortunately, it's too early to reveal, but stay tuned.

 

GS: Are you planning any exclusive content for the individual platforms?

 

ME: Still too early to say.

 

GS: Will there be an online component to the game?

 

ME: Not in the launch version.

 

GS: What can you tell us about the game's soundtrack?

 

ME: Music is as integral to this world as graffiti is, so we have made a dedicated effort to showcase it prominently. All I can tell you at this point is that the role of the music placed in the game will be a breakthrough, and it will be coming from a very unusual angle.

 

GS: If there's one misconception making the rounds about the game, what is it and why is it wrong?

 

ME: Yes. This is not Jet Grind Radio. That is not to dis what that game was, because I respect it. But our game has as much relationship with that game as Kelly Clarkson does to Andre 3000.

 

GS: Thanks for your time.