The jump into the gaming world gave us more of an input to be more creative, stimulate our minds, and meet different people who we thought were cooler and more honest.
He would call me all excited, and then he’d call me back later sounding like a ton of bricks hit him - but we’d always bounce back. Raphael Saadiq: I didn’t really know if we were going to get in and make a difference right away, but I was following Chuck’s lead, and it’s really great for us to be in this position after those 10 or 11 humbling years. I think we went into it thinking it would be easier than it was, and it was a very humbling experience. The company is going to be done,” and he would try to scrounge together whatever he could to keep the doors open and introduce me to people. I would call Raphael, like, “Hey, this is it. It was a lot of uphill battles, hard times, and struggle for the both of us. It was 10 years until we had our first success with Friday the 13th. We’ll get a game out in a year or two, it’ll do well, and we’ll be off and running with this company.” We were just wrong about that. Raphael was in music for a long time before I really got to be a part of it, but when we walked into games, I think at least I had a little bit of an ego, like “Oh, this’ll be easy. In the next 15, I want to work on an album that goes platinum.” And then I was working with some people who introduced me to Raphael, and I think all three of those happened within a year, which was a little bit surreal. In the next 10, I want to work on an album that goes gold. I was graduating college like, “In the next 5 years, I want to work on an album for a major label. SPIN: Coming from the music world - where you both have a ton of experience - how big of a shift was it into making video games?Ĭharles Brungardt: For me, timing became a big factor when I was getting into music. It’s not only their most ambitious effort in that it’s self-published (meaning they have no one to share any success or failure with), but also in the potential scale and scope of the party-friendly game. Now, IllFonic have surprise-released Arcadegeddon into early access, where eager gamers can check out the first chunk of the cooperative multiplayer shooter set inside the world of a classic arcade. A few years after that, they partnered with the giants at Sony Interactive Entertainment to release Predator: Hunting Grounds, another asymmetrical title centered around battles between human soldiers and the famous alien murder machines.
#ARCADEGEDDON REDDIT SERIAL#
In 2007, he and one of his favorite collaborators, fellow Grammy-winning producer Charles “Chuck” Brungardt, launched IllFonic, an independent video game developer with a name inspired by the classic Nas album.Ī decade later, the indie team got their first big break with Friday the 13th: The Game, an asymmetrical horror game featuring everyone’s favorite hockey mask-wearing serial killer. Over the next few years, EA put out a couple more Def Jam titles, and Saadiq decided it was time to take matters into his own hands. He’d landed hits throughout the late ‘80s and ‘90s as a third of Tony! Toni! Toné!, produced for a who’s who of R&B, and was just beginning to show the music industry what he could do as a solo artist. When Def Jam Vendetta dropped in 2003, Raphael Saadiq was only kind of joking when he expressed disappointment in not being included in the hip-hop fighting game.
0 kommentar(er)
