“The guy has just got endless crazy stories. “Bobbito introduced a lot of the culture and the slang and just the way it works,” Myhill said. 2 team identify the names and significance of various moves and regaled them with stories from the streetball canon and from his own experiences. Occasionally, they would step outside to play a game of HORSE, and Bobbito the walking streetball encyclopedia helped the Vol. I was just coming up with stupid shit, like, ‘IT’S A PIZZA SLICE WITH NO CRUST!’ Like, just anything, because their whole shit was, ‘Yo, people play this hours and hours and hours, we have to come up with 40 different ways to say the word ‘dunk.’ Because otherwise it’s gonna be repetitive.’ I’m like, ‘There’s only so many ways to say ‘Oh my god, from deep!’ So I added some Spanish, I added some imagination, I added some authentic New York lingo.” “It was a hit in the first 15 minutes, because the dudes were in there laughing. “I would be in the booth for eight hours, five days in a row, just screaming at the top of my lungs,” he said. Garcia was a man uniquely positioned at the intersection of hip hop and streetball, a DJ and baller himself who co-hosted the famous hip hop radio show Stretch and Bobbito and had been announcing streetball games in New York since 1982. We want it to be authentic.’ And I said, ‘Well, I can do that. We want that infused into the actual video game. We want all of that that you infuse into Nike’s work. My sons play, but I’m pinball.’ And he said, ‘No man, we want the culture. “I’m like, ‘You want me to do the advertising?’ And he was like, ‘No! I want you to help us develop the actual video game!’ And I’m like, ‘Dude. Mozell extended him an invitation to work on Vol. With the help of EA Canada’s Director of Marketing Glenn Chin, Mozell tracked down the mastermind behind the Nike Freestyle commercial: Jimmy Smith, a creative director at the ad agency Wieden+Kennedy.
We wanted to talk to whomever was responsible for being able to capture the essence of such skill and talent.” We wanted the moves in our game to speak for themselves, for the gamer to see them, feel them, and just be in awe of the talent on display. Just raw basketball and streetball talent. “No voice over, no special effects, no acting. “We were blown away with how the creative was all about skills and moves of the players,” Mozell said. In the commercial, anonymous streetballers and NBA standouts like Lamar Odom, Jason Williams, and Baron Davis take turns dancing and working the ball like a yo-yo in the spotlight of an otherwise pitch-black arena. Inspiration struck early in the form of the Nike Freestyle commercial, a two-and-a-half-minute spot that first aired during the 2001 NBA All-Star Game. “I kind of joke that I’m a method art director, I was just listening to hip hop non-stop when I was making that game.” “I was really into Jadakiss and Nas at the time,” said Gibbons.
(There was goaltending.) When you went to dunk, your player was temporarily subject to lunar gravity, and he glided to the rim like a ballerina, like Jumpman. 2 did not seek to faithfully capture regulation basketball, but rather the everyday soul of the sport. The gameplay was fluid, dynamic, fast-paced-each game a 3-on-3 sprint to 21 points by 1s and 2s at streetball courts located around the United States. It paid homage to basketball as spectacle, as art, as cultural lynchpin. It framed basketball not simply as a sport played in identical, sanitized arenas across the country, but as a vital civic institution with its own history, music, and sense of place. Sure, new technology has granted us games like NBA 2K and its hyper-realistic graphics and gameplay-but realism was never the point of Street Vol. Even 15 years later, the game’s sense of style and spirit (and not to mention its soundtrack) have never been matched. 2, the last truly great basketball video game. It’s been a decade and a half since Electronic Arts released NBA Street Vol.
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