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But even though it's all sort of silly, it still manages to feel authentic.
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All that's missing is Master P and a truckload of stolen cell phones. Things escalate so much that it becomes completely comical, almost like a so-bad-it's-good hood movie. For example, as the money coming in increases, things get very serious, very quickly complete with dirty cops who love to plant evidence, rival record execs who want to steal your artists, and scandalous women. There are also plenty of twists and turns. Along the way, you'll get stuck with plenty of bills, including Mike Jones' phone bill, The Game's paternity tests, and Ghostface Killah dropping off of his tour so that he can go make "a video game with gorillas and ninjas and s***." You can opt out of making these payments, but that's no way to keep your artists happy.Īs you rake in more money and purchase fly-looking clothes, you'll start to attract women, who also suck money out of you to stay happy. As you sign artists, you'll use your income to set release budgets for their songs, which is an investment that can earn you even more money. You interact with characters via e-mail, which is often read aloud by the involved characters. From there, you rise up to become an A&R man, which in game terms means that you beat people up so that other people will sign to your label. You defend Carver, a hotshot record exec and are quickly welcomed into the fold for, you know, keeping it real. Called "build a label," this mode opens with your created character as a nobody. The atmosphere and over-the-top story mode is the best part about Def Jam: Icon. The game has a passable create-a-character mode that works just like every other EA game these days, which includes all the weird sliders you can use to make your characters have awful-looking foreheads and jaw shapes. Dre and Dee Barnes beat the heck out of each other at a gas station would have been worth the price of admission on its own. Seeing Jay-Z and Nas, The Game and 50 Cent, or even Dr. On top of that, there have been plenty of often-controversial wars in hip-hop over the years, and it's unfortunate that you can't re-create some of those rivalries here. These days, the label is better known for its president and CEO, Jay-Z, who's also missing in action. For example, such acts as LL Cool J and Run-DMC are still synonymous with the label's origins, but you won't find them here. While there's plenty of people in the game, you'll probably come up with more than a few omissions if you think about it for very long.
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Def Jam/Warner Music Group exec Kevin Liles also plays a character in the story, and there's a pretty good cameo from another hip-hop mogul as well. A few nonrappers make appearances as characters in the story mode, including actor Anthony Anderson, who's great as the seemingly evil record exec, Troy Dollar. The game includes Big Boi, Bun B, E-40, The Game, Ghostface Killah, Jim Jones, Lil Jon, Ludacris, Method Man, Mike Jones, Paul Wall, Redman, Sean Paul, Sticky Fingaz, T.I., and Young Jeezy, among others. The game's roster of licensed rappers is deep and varied, representing the coasts and everywhere in between. The roster is mostly focused on rappers who are making an impact today, though a few older guys might have been interesting.īy clicking 'enter', you agree to GameSpot's All around, it's a good, if somewhat simple, time. But EA also seems to have come to this conclusion because as the third game in the Def Jam series, Def Jam: Icon, trades in the wrestling for a unique fighting style, coming up with an even more ridiculous and fun story mode. Unless you count Macho Man Randy Savage's 2003 rap album as a success, rap and wrestling just don't mix, even though the previous Def Jam games somehow managed to be pretty cool in spite of that. But the first two games took the nuts and bolts of a wrestling game, put it on the street instead of in the ring, and threw in a whole bunch of rappers. EA and hip-hop record label Def Jam teamed up a few years back to make hip-hop-themed fighting games, which made sense at the time. Going back to the '70s and '80s, with such crews as Cold Crush or Grandmaster Flash and the Furious Five, a big part of rapping has always been about telling the world how great you are, especially if it comes at the expense of a rival emcee. Hip-hop has always been a competitive form of music.