Time Reflection – Jet Set Radio review

The motley, catching and provoking game about the funny everyday life of street punks, which has become part of the playing cultural code of the beginning of the zero.

Hello, my good! On the occasion of the quick and long -awaited exit of Bomb Rush Cyberfunk, let’s recall a small series of roller insanity from Sega Smilebit, which formed it basis. Talking about Jet Set Radio is a ghhoux matter, because it came true in it the aesthetics of the SEGA games as a mastodon of arcadian construction. That is, everything for the sake of gameplay and for the sake of style – if only it was not boring. Well, most importantly-a sense of constant action sewn into the game somewhere at the subatum level. Jet Set Radio lives in motion, and therefore it is so difficult for me to view it. But I’ll try!

In general, my first acquaintance with JSR took place much later than the years of its immediate relevance, but I still managed to catch up with the missed Dreamcast. In 2012, against the backdrop of the formation of retro tests on YouTube, when everyone was carried by Dendy to nostalgia, then the mountains of the old game iron were buying up, I myself fell under the thawing influence of these guys, having first dragged Game Gear, and then-the main culprit of today’s review. In general, seriously updated the SEGA fan park. It remained only to get the toys themselves, and in one of the first parties I came to the European Jet Set Radio – unfortunately, without a box and instructions, but at a price that will seem implausible today today! But although I love the original version, for the review, we still limit ourselves to the port/remaster, which in 2012 published on all teapots. But periodically refer to the classics, of course, we will be if the narrative requires.

What the game does immediately after starting – it affects with its appearance. But not graphics, as it is usually expected after such words, namely, how all this was drawn and forced to move. Now, of course, you will not surprise anyone like this, and the textures in reprints shoise their eyes with their soapiness due to their compulsory stretching to modern permissions-however, all age-related sores are vividly compensated by the riot of colors, bright and richly animated heroes and the general sensation of some endless party.

Now, perhaps, there would be the best moment to move on to listing Wikipedia facts, they say, “this is one of the first games that use the villagers and essentially set the fashion for the style of the“ revived cartoon ”in 3D,“ it was very actively PR in the United States, even despite the sings of the main characters in it ”,“ over graffiti for graffiti for graffiti for graffiti for graffitiThe game itself tried the legend of the graffiti art of the Inkie ”and so on-but, you know, to hell. I’ll just say that the game is damn stylish. Moreover, “stylish” in a showdown sense. Everything in it simply shouts about the desire to stand out from the mass of “gray and ordinary”, make the Jet Set Radio call “Dreamcast” games, but “that game on DreamCAST”. Colorful and not always prudent designs of characters, quite, by the way, corresponding to the Japanese teenage fashion of those years under the title “Naepepa Anything, just to be bright”, the soundtrack collected both from a very local underground and from the own works of the sega composers. Even sound effects are taken from the epoch-tree of the 80s-90s Roland TR-808.

No, look!

This is what it means to completely invest in the style. Sometimes I don’t want to drown strictly ahead of the game, but calmly consider bright city species, admire the posters, signs of all colors and styles-in general, enjoy the immersion of a small Tokyo, where any flat wall is a prayer, and your controller is a brush. But a logical question arises – whether Jet Set Radio is also well played, actually playing? Now we will find out.

Well, since the game is dedicated to the life of homeless graffitors, our main tasks are clear from the threshold. The main lesson for the brave Japanese punks is in conditions of constant lack of time to look for spray cans with paint, grind as many walls as possible and at the same time put on the mockery of police raids and the ubiquitous inspector Onisim, who is still unable to catch villains who spoil municipal property with their rice. It is necessary to paint where the red arrows indicate, painted everything – the level has passed – that’s the whole short. Sometimes the process is diluted with battles with other gangs and competitions with characters that express a desire to join the player’s gang, but the game core does not change from this: in a limited time you need to do something and do this “something” in the best way. And in this, JSR is especially close to slot machines and console classics, since the only visual indicator of your progress in the development of the local mechanic will be the good old glasses, and lovers will pass all in the hunt for maximum ranks no less than the main plot.

If I mentioned the script, a few words about it is worth saying. It will not work anyway anyway, because it does not apply to the pure and immaculate arcades to word. The essence is simple: the main character (who loses his gameplay “mainness” after a couple of training missions, but let) named Bit scores out of the house, collects a group of Rollers-Graffers, called the GG’s, and begins a hard Mahach with the bands of the same street artists for creative superiority on the streets of Tokyo. Professor Kay, the host of the Jet Set Set Radio pirate radio, voiced by actor Billo Brown, will tirelessly broadcast to the whole district.

Nevertheless, it’s just every day to be on the verge of life and death in skirmishes with competitors and evil cops-it is somehow boring, and ultimately the gg’s gang will, of course, have to save the world from evil mafiosi with Afro-racks, trying to drown the world in soulless corporative and calling the devil with the help of a demonic vinyl record. Here, in general, and all. Despite the people who have established the people that the JSR script is an ideal model of the Japanese game, he for the most part reminded me of a cheerful but structured booth from the musical Blues Blues. Well, behind the blues. Here the heroes will chase the police, and the army on the tanks, the notorious mafiosi, and hired killers, and the devil knows who else there. Let the plot is not enough, but it is very pleasant and fun to go crazy.

But back to the game process. It is important to immediately understand one seemingly obvious thing that is still worth talking about – you are not playing Tony Hawk’s Pro Skater. JSR is so arcaden that a series about the famous skateboarder will seem not even a simulator, but by a training app for beginner skaters. Everything that can be done here is simplified to such an extent that the player can only not stumble upon obstacles, avoid policemen and engage in some planning of his route in the city for maximum saving time.

The most striking example: when sliding along rails and all sorts of cables and wires, there is no such concept as “balance” – the character simply rolls forward, only losing a little speed in the process. Well, unless it slides at an angle, then gravity will still do its job. Because of this, you can fall off during sliding only in two ways-either your protege stupidly stood in place, or it caught a bullet. Square, of course, are able to add a little acceleration for sliding further, but, due to the analogy of management, no one guarantees that you will successfully land exactly where you jumped, and do not stumble and do not fly down with a whistle down. And kissing the asphalt in JSR is straight unpleasant: not only it hurts, you will also have to climb back, if, where you fell out, there are incomplete business.

Graffiti drawing also does not look closely like how it happens in reality: the hero rolls up to a large red arrow, plays a simple QTE, and-op-sa! – Art is successfully applied to the surface. There are three types of drawings: small ones that are immediately drawn “on the fly” and spend only one spray can, medium, consuming three spray cans, and large, seven cans that burn at once. Given that the characters can carry only a few bottles of paint with them, its shortage will be felt constantly.

Well, yes, the characters differ not only in the capacity of pockets. Each of them has three characteristics: strength, technicality and graffiti-though they are some strange. Strength is, roughly speaking, your health. Technicality reflects the skill of heroes to make tricks. The character with the best technique will receive more points – and that’s it! A little more difficult things are with the parameter of “graffiti”. He also determines how many points the player will receive, only now for lifting walls-however, characters with high ability to draw will also have more complex QTE-Mini-Gigs. It is ironic that the best artists in a gang often cannot carry many spray cans with them with them. In general, the heroes differ not only in this: someone is faster, someone is better controlled in the air, someone is so massive that the roads are not visible behind him, and so on-but these features for some reason remained overboard of normal visual indication. Apparently, the developers suggested that the player would be the method of trial and mistakes to look for the most comfortable character for himself.

And go to the town of Iskulesi even from edge to edge. Tokyo consists of three large regions: Benten-Te, Sibuya-Tyo and Kogans, and each region, in turn, consists of several areas connected to each other. At first, events will occur only within the same area in each region of Tokyo, but then, when you already show your skill to paint the walls under the aim of the lawyers of the law, you can directly jump along them in the course of the game. But the task remains the same: you need to ride on the picturesque beauties of the city and make them even more picturesque where the red arrows indicate. But with large spaces for research, this is far from so simple. Well, at least there is a map showing the location of the missing graffiti.

By the way, about them. Inkie was straight in the blow and composed a lot of drawings for any color and taste for the game. And at first only an insignificant part of them was opened;The rest is assembled at levels in the form of flying JSR logos and opens as GG’s gang expands. You can even try and the art itself to be painless, since the game is built into the game. I-and-and I would like to look at the one who can draw something in it from the controller, damn it. Moreover, this applies to both the original version and the HD-transformation, the authors of which did not spit so much that they did not even screw the mouse support regime. Technically, you can indulge in the replacement of gaming resources: that is, draw graffiti in more civilian conditions, and then import it into the game, but this is a pervert. And in general, Smilebit had to release a tablet for Drymkast – another strange accessory more!

“This is what happens – the game is practically passing by itself?” – Perhaps you think. Yeah, figures! After the first. No, the first level comes the realization that JSR has not only a face, but also eggs of hardcore games from arcade machines. Moreover, its complexity does not increase gradually, but throws it into the cliff immediately after symbolic training in the basics of management, during which the bone of the gang is formed. The real game will begin with the fact that you will break the bullet from Captain Onisima, then break a couple more and safely roll back to the beginning. The game does not care at all how well you get used to the buttons, adopted to a naughty camera and learned to take into account the features of the local physics. It is incredibly difficult to perform elementary actions when cops are squeezed from all sides, the last spray can end and the last seconds are leaving for the last seconds.

By the way, about the notorious police captain. The entire first half of the game, the main needle in the ass will be captain Onisima – a source of a bunch of problems for heroes and player. Firstly, from his gun he beats very accurately and very painful. Secondly, he runs to fuck as quickly;It’s so easy to hit the corner of the building from him, which is why you have to hide where it is guaranteed to not get. Well, or even paint his back from the spray can and thus disable him for a short time-but Onisima still comes to his senses too quickly, and to get close to him, without eating lead, in principle, in principle, impossible. Plus everything will have to get used to physics for a long time, which can be called anything, but not human.

The first and most https://nonukgamblingsites.co.uk/usa-casinos/ significant problem will be attempts to jump from the railing in the right direction. The fact is that it is worth at least slightly moving the analog stick to the side and jumping, the character will rush to the side so that neither the camera nor the player will have time to keep track of him. And if under it a water surface or kilometer of flight to asphalt, then you can already begin to calculate the resulting damage and wasted time. The game implies that you will jump off them with an even vertical jump and then take the character in the air to the air. Such a seemingly trifle, but if you don’t know about it in advance, then you can turn gray in an attempt to do something right in the game.

The second and no less important nuance – jumping. They are divided into simply short -term teping the legs from the ground and high jumping with stylish feints in the process. Just how to do them? Logical thinking suggests that the height of the jump directly depends on the duration of pressing the corresponding button, but as if not. In fact, the height and range of the jump depends on the current speed of the hero, which is why you have to literally pretend to the eye, whether it will jump now normally or only half a pill. “PRE-E-EXTROT” GEM-design decision, because of which flights through something happen as often as short-lived.

But the gold medal of ridiculous game flaws leaves the camera. Lord, what kind of insanity sometimes she does. Moreover, I’m talking now about the HD-Remoer, for which the developers had to cross the entire game logic in order to confuse this moron-operator to the right stick, while in the original on DreamCast it was even sadder. In particular, the camera really does not like walls and narrow spaces, in the process regularly flying over the textures and showing a graphic mess. But my favorite is the effect of repetition, which happens in rare moments when you get some particularly spectacular trick. The game simply selects control while you are flying “somewhere”, shows a repetition of your success (or failure) and returns back to the game. Yeah, good luck in time to react to sharply returned management.

Yes, it’s so easy to become a professional in Jet Set Radio, but if you get used to it at least in its main features, the game will begin to unrealistically delight with gameplay, and not one stylist. In particular, much attention in JSR is given verticality, and if desired, you can climb on any more or less horizontal surface. Ride through houses, ride on the roofs, slip along the power lines, go down the subway and become yourself by train – all these are just the colors with which you will draw your personal passage style.

And the game itself gradually acquires quite reasonable and adequate gameplay features. In fact, every situation in which you find yourself in the course of promotion on Tokyo is a small problem, which only a quick reaction and cold calculation will help to solve. Here you slip, for example, on the railing, and they take and end. Where to go from them? This is a task. The answer will already depend on how quickly you evaluate the situation, take the decision and do not get confused in the buttons in the process. And with frankly vile moments it is also really possible to cope. The cursed captain Onisima calms down for a while, if you paint it, to the military helicopters, which slips self -supporting missiles, you can paint over the glass and take them out of the game forever – although we are weak against the backdrop of guns and machine guns, it is by no means helpless!

Well, my favorite – planning the most effective route. The outcome of the passage of one or another level will already depend on this. The fact is that, as you make up the red arrows of the cops, the cops will become more and more aggressive. At first, it is worth expecting only ordinary policemen and the ubiquitous to Onisim, then the shelling of flue grenades will begin, and if you continue to stubborn and live in this light, heavy artillery will be connected to the mission at all costs. Therefore, it is necessary to first evaluate the situation until no one bothers, and start creating art with the largest and most complex graffiti, leaving finally those that are drawn “on the move” by one spray. The “simple” graffiti also includes those that are located on the hills, t.To. In most cases, cops cannot climb there, so they should also be left for dessert.

Alas, even in something so simple and understandable, it was not without frank “what” moments. Tell me the mercy of what a bright head the idea came to combine such things incompatible with each other as drawing graffiti and centering the camera? Even on Drimkasta controller there were three more free actions buttons and one cross. Was it really so little that I had to shove everything on one unfortunate left trigger? Yes, in a reprint, the authors transferred the admir operator to the right stick, however, the centering and drawing of graffiti remained on the left trigger, and if you are too often pounding on it, trying to go into the drawing mode as soon as possible, the camera will begin convulsions.

You will feel especially acutely in duels with other gangs. The goal, it seems, sounds unsuitable: you just need to get close to them and paint their backs ten times – however, for this you will just have to stick the left trigger, which will appropriately affect the camera. In general, “catch-ups” with competing groups incorporated all the shortcomings of the game, and even in HD-interviewing instead of excitement and pleasure they cause only irritation.

It is worth noting another important difference between reprinting and the original version. In the original, DreamCast cannot be replayed already passed levels in any way, only if you press on Reset and load with the last conservation. And since some additional characters open only through the receipt of the highest ranks, the hunting for glasses in the game in its original form turns into a test for nerves.

The most interesting begins when the music turns on. Far from everywhere you can hear such a stunning mixture of hip-hop, pop music of the late 90s and Fank! Despite the fact that at the head of the table was the composer of Hideki Naganum, who wrote about half of the entire game background, the list of additional performers inspires respect. Even the notorious Richard Jacques lit up with one track, as well as my favorite Sonic Riders composer Tomonori Savada, who wrote one track under the nickname Toronto.

But when it comes to regional differences, here the hell is already breaking his leg. Three iterations of the original soundtrack came out all the time, and even in total they do not give all the music that you can hear in Jet Set Radio. And all due to the fact that the gentlemen-marketing thoughts came up with a brilliant thought to diversify the musical background of the original Japanese version of the game by adding compositions behind the authorship of some famous groups. The total is approximately as follows:

The American version of the game is released, which loses one track from the Japanese version and receives a handful of songs from Rob Zombie, Jurassic-5 and other groups in return;

The European version comes out, from which half of the American tracks fell off, but several new ones appeared;

In the United States, the Jet Grind Radio Music Sampler promotional plate is published, which consists of half the songs from the American edition of the game and half of the tracks that have never sounded in the game;

Japan receives already an original soundtrack, consisting of about half of what was even in their own version of the game;

Everything in the same Japan in a small edition is a reprint of De La Jet Set Radio, made on the basis of the most complete European version of the game and including almost all the music that has gone through the game all the time;

The HD-radiation of games in online services is paired with a reprint of the soundtrack, which was decided to combine with compositions from the Jet Set Radio Future sequel, which is why it turned out even less than before.

Confuses, true?

As a result, in the normal way to find all the music is strongly impossible. Part will have to be pulled out of the game itself, some of the discounts of individual groups. And I nevertheless confused and collected in one playlist the full stuffing of the gaming tracks from all versions, which (without taking into account the exclusives of Music Sampler) turned out to be 35 pieces-that is, almost twice as much as it turned out in the first official and type of “most complete” soundtrack.

JSR soundtrack primarily amazes how it harmoniously combines his own and “imported” tracks, and to the state that the latter are not felt at all foreign against the backdrop of the works of Naganum, Jacques and other guys from Sega. The music of Naganuma, I think, does not need a presentation at all: a bunch of screaming, grumbling and sometimes singing Semlov mixed in the most amazing forms creates in total the atmosphere of constant party, which does not end in the game either with the police, or with the actions of soulless corporations. This is also heard in Sneakman, where the Wah-gitar passes through the background through the entire track, and in the relaxing Sweet Soul Brother, which gives a rest from constant seeds in other tracks.

Even the final track Grace & Glory, sounding at the moment when everything in the plot becomes completely dangerous for the world, continues to bend the line of the endless party, even if you add to the cocktail the emotional gravity of a kind of last confrontation, they say, “this time we are without jokes: either you, or you” ”. Only one composition fell into the game from Richard Jacques, but it is still very funny – because it is the topic of learning the basics of management. And believe me, there will be a lot of vulgarity to hear it if you want to master the control of the characters in perfectly. And the most even techno-track Electric Tooth Brush from Toronto gives a minute of break from any votes in music.

The second half of the soundtrack – licensed compositions of third -party musicians, often so niche that not all over the past years even on their own albums have matured, and remaining an echo of the history of Japanese dance floors. The Guitar Vader team shines with a bright spot on the soundtrack – one of the few “imported” groups with a full -fledged reliable history behind the shoulders. Their music is just an ideal reflection of the game itself: a little clumsy, noisy, but so attractive that you yourself do not understand why it clings to you at all. And if someone suddenly appears, the supplement will be quite realistic.

A no less important addition to the overall musical boiler was Deavid Soul – the duet Masaomi Yatsuzuki and Taji Takahashi, who released only one SPARKLING MUSIC album under this tag in the year of release, but the separately appeared in a few more records, so that in 2013 there was another studio album of The Other Side Side. Their saturated with seven-wrapps and rhythmic sounds, the music fell so successfully on the game background to a heap of my own works by Naganum, which at one time surprised me that it was “just” licensed tracks.

Of course, this is the insane in our diversity of the player of the game does not end, and we should still talk about REPS tracks, Castle Logical, and so on. But I am at all without the idea who it is! Naganuma here tried to dig up such niche game that her roots now simply could not be found. And if reps Bout The City is a good “classic” track that brings a little coordinated guitars and pleasant vocals to the music, then the two compositions of Castle Logical continue to come off to the fullest.

And back in 2000,.Rock-musicians of the New Wave Vulgar Unicorn released an album called Jet Set Radio, which became their last work under this tag. What does he have to do with our conversation today? Yes, in general, no-just coincided. Nevertheless, in the credits of the album, Yu Suzuki himself from Sega, who played for him on which. Why is the album called the same as a game that has published almost the same second, and even has a far from the company that released this very game in the credits of the far from the credits – a mystery. Some very strange series of coincidences, which still in the end leads to nothing.

The Memories of Tokyo-to-to-to-toe, released by Matthew Hopkins, better known under the pseudonym 2 Mello, is much more interesting for us. And he is interesting because he decided to stand out against the backdrop of simple arrangements and proposed not a real, but a hypothetical soundtrack, which transfers not shape, but the spirit of Jet set radio. To convey to one pair of hands all the musical diversity of the game, especially if you take into account the still licensed tracks, of course, that is still a task, because 2 Mello chose a slightly safer way and crystallized in the album a certain general “feeling” of a game soundtrack. Probably, the Memories of Tokyo-to turned out to be too excessively clamping, and the atmosphere of the undergrand of the 2000s is almost not felt in it, but this is still a very cool record, balancing not only between vocal tracks and compositions built on mixing of various short seeds, but also between two eras of music as the same. A kind of retrovium, where the idea of ​​time is served through the prism of pink glasses, which is why its own separate style is formed in general. The album even has its own analogue Grace & Glory, which begins as something very unkind, but as it overclocks it turns into a classic JSR party.

And on this review, in general, could be finished, but.

You didn’t think that that’s all? No. Even Professor Kay himself, after the credits, says that there is no such thing on the streets of Tokyo as “The End”. Now we will rejoice to the bottom of the gaming industry and pull out Jet Set Radio for Game Boy Advance!

Yes, and that was. To the sequel called Jet Set Radio Future, which still remains exclusive of the original Xbox, we will also get one day, but for the time being, we will continue to trash the first part, which we safely reported. Thanks for this Vicarious Visions, thanks to which in 2003, Portable console users from Bolshoi N were also able to join a piece of the library of the already deceased Sega Dreamcast. And therefore, so to speak, from a scientific point of view, it became interesting to see what kind of macar they were going to transfer such an artistic game to the platform so close for self -realization.

Since the GBA is practically unable to pull 3D graphics (although technically it can quite-I still recall the passage of the portable Driver 2 with a slight nerve mix), the game about street rolls has transformed into an isometric arcade with a fixed camera. Moreover, Vicarious Visions already had some experience in working with pocket iron in general and the adaptation of large projects under it in particular: they transferred the same Tony Hawk’s series to GBA, and then to Nintendo DS with enviable perseverance-therefore, it is still worth hoping for something good. True, we are now talking about the festival of paints and style called Jet Set Radio, and the task of adapting it to low -power iron may not be such a trivial. And what did Vicarious visions work out?

But it turned out what happened. The notorious villager could not stand the torture of Dawngreding and turned into something that can best be described by the phrase “La item-Schooling”. All so slightly torn, angular. But the overall result, I must admit, turned out to be very viable. All the same GG’s, decorating the gray Tokyo, all the same captain Onisima with a faithful gun, obsessed with seeing street lads behind bars, all the same policemen, mafiosi and other muddy personalities. Even the music, it would seem, is not bad, but about it later. But the presentation as a whole jumps somewhere between “Normal” and “Well, this is some kind of hack: the developers simply tumbled screenshots from the older version, turned the characters into crooked GIFs and somehow sewed everything together. In general, instead of trying to endure the style of the original game by the methods of GBA, the guys from Vicarious Visions followed the path of the least resistance and made the next port of Tony Hawk’s. But these are trifles and costs of moving to a weaker platform.

Here no screenshot can display this obscurantism, it is better to see.

Nemchs begin when you try to play directly and in the process you notice things that should not be noticed under any circumstances. Management – a sore spot of the console JSR – here remains true to itself and again requires a lot of time to get used to it. First of all, it is necessary to understand that the crossman should not be kept for moving. It is enough only to press “up” once so that the character goes forward, and then it only needs to be turned and at times accelerated. Yes, the management works relative to the hero, not the camera, why make the brave Japanese weave roll in the right direction sometimes, well, it is simply impossible. With slipping on rails and wires, too, not everything is smooth. No, there are no problems with the “rails” process itself, but the characters are so tight that it is more difficult to jump off them than from a needle. But the speed of sliding does not decrease, therefore you can roll and roll yourself in pleasure.

And there are still a lot of such “nonsense”. The complexity of the game is not stably high, as it was in the original, but some sinusoidal. Classical levels of graffiti drawing are moderately complex, battles with enemy gangs are elementary, competitions with other characters are hellishly complex. On the latter it is worth stopping separately. Firstly, unlike the original, they can no longer be missed, saying “no” to a proposal to compete. Well, that is, you can refuse, only they will not be allowed to go further. And if the duel of the type “Repeat me” still went, then the competitions in the runs can undermine the faith in all the good. The developers, apparently, were so proud of these stages that even if you go through the game and start it in the second circle with all the open characters, you still have to re -go through all the calls of now current colleagues in the gang!

But if all this only gave reasons for irritation, then the final battle to some extent even upset. Why, instead of a psychedelic composition Grace & Glory, the developers placed there a refreshing light Sweet Soul Brother!? I didn’t even immediately understand that I was standing on the finish line. On the other hand, the last level itself is damn complex and requires almost the perfect passage. So perfect that in the process there may be a suspicion that you are doing something wrong.

And the rest of the music in the portable JSR is a rather strange subject. That is, in terms of sound quality, it stands out directly against the background of most typical soundtracks on the GBA, but, firstly, only a handful of tracks were transferred from the senior version to the game, and secondly, even those few compositions that fell into the portable port were cut up to 20-40 seconds. Because of this, they begin to feel sick from them after five minutes of gameplay. And when it is sick of music in Jet Set Radio-you obviously something is going wrong. But there was such a tank for quality, but, apparently, to invest not only in quality, but also in the number of a stiff limit in the cartridge prevented it from them.

This is the whole Jet Set Radio for GBA. Funny but stupid, and sometimes also crooked. But the game was able to boast of what was not even in the original! Firstly, this is a regime for two players, which, however, now only especially hardcore fans of retro will be able to evaluate, collecting iron themselves, and games for them, and all the necessary periphery. Well, and secondly, JSR for GBA has become the only game in the series where you can play for Professor Kay himself! He, of course, is secret and opens only after passing the game, but the fact itself!

Jet Set Radio. One of the latest SEGA reminders about his arcade greatness, when a pair of simple but thoughtful mechanics turned out to be enough to create a fascinating game. A quick, fleeting and damn difficult adventure on the evening or two, albeit requiring some time to get used to some nuances of gameplay. It is simply important to understand that Smilebit did not try to fence the simulator with realistic physics – they did what to look good at the TV at home and on the monitor in gaming rooms. Invigorating arcade clot of style from time when the game industry was completely different.