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Jet set radio graffiti tool11/9/2023 ![]() Everything just ends up feeling rather clumsy and forced. For one, the mouse buttons don't feel responsive enough, so most of the battles rely on the user simply mashing away at the mouse in hopes of timing a well-placed hit. There are some rather unforgiving problems with the combat system. At that point you mash the punch and kick buttons as rapidly as possible to gain the advantage, and then Trane is able to deliver the appropriate knee in the face or jaw-dropping elbow to their backs. As for grappling, hitting the punch and kick buttons at the same time will make Trane grab his enemies. When the skill meter runs out, you can no longer pull off power moves, so you have continuously feed the bar by getting your hits in. In brief slow motion, this move flings a walloping punch or kick at the enemy, taking a chunk out of his life bar. By holding the punch or kick button at the end of a combo, then letting go, you can deliver a power move that drains some of your blue-colored skill meter. For those of you who've played Devil May Cry 3, and managed to use Dante's Beowulf weapon, some of the techniques used there might look familiar here. On top of this, Trane can humiliate enemies by smacking them when they're on the ground, and even go as far as shoving them into pits or throwing them into oncoming traffic. ![]() Trane can deliver a host of punch and kick combos, roll maneuvers, blocks and grapples. One of the more curious elements in this game about art is the combat system. If you're dying to know, play the game, or go rent the movie "Beat Street." In sum, the game takes an opportunity to educate the players on the nuances of graffiti and what the art is all about. Other legends offer up sage advice, like when Cope2 tells Trane to "stay off the third rail." Any real graf artist knows what this means as soon as they hear it. It's a moment that made me smile because it reminds me of the first time I met Dream.Īnd just like Dream told me, Futura tells him to "know his history." He explains that every time he sees a legend's piece around the city, he should take a snap-shot of it and put it in his Black Book. When Trane first meets the legendary Futura, he makes a request for him to hit-up in his Black Book. It's not only what you use to practice your art in, but whenever you run-up on another cool artist, you want them to put something in your book. If you know anything about graffiti, you know that a piece book (or black book here) is a tagging necessity. Awesome!Īnother great element is how the designers have incorporated graffiti legends and black books in this game. This not only made me want to start breakdancing on the spot, but it made this scene in the game adventurous with hip-hop flavor. In the background, I hear the beat from Grandmaster Flash and Melle Mels' White Lines. At one point, Trane is riding the roof of a subway and has to tag on it without getting knocked-off. That's some serious hip-hop talent right there, and it truly adds to the atmosphere of the game. Just to give you a taste, the game features songs from Talib Kweli, Mobb Deep, Pharoahe Monch, Del The Funky Homosapien, Eric B and Rakim. One of the coolest things this game has going for it is the kick-ass soundtrack! If the same scrutiny given to the soundtrack was applied to the control scheme in the game, Getting Up would've been an extraordinary experience. ![]() In the real graffiti world, that's enough to get almost anyone beat-up. In fact, almost everyone he meets wants to kick his ass, probably because he crosses out others' pieces he sees on the wall. But he's not going to let any of that get him down. Rival crews and fascist-like police officers called the Civil Conduct Keepers (CCK) are very much interested in destroying young Trane. He lives in the oppressive city of New Radius and is ambitious about becoming a star graf artist, but there are a ton of obstacles to contend with. The story revolves around a young urban phenom named Trane.
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