The Getaway

UPC: 711719713326

Platform: PlayStation 2

Publisher: Sony Computer Entertainment America, Inc.

Developer: Sony Computer Entertainment Europe

Category: Racing

Style(s): Mission-Based Racing

Synopsis: Originally conceived as a PlayStation title, The Getaway is a mission-based game set in London, England. Inspired by such films as The Long Good Friday and 1968's Get Carter, The Getaway has players slipping into the shoes of an ex-con named Mark Hammond. Hammond finds himself reluctantly drawn into a life of crime again after his wife is brutally murdered and his son abducted by the Bethnal Street Mob. Now Hammond must complete 12 missions on behalf of a once-powerful crime boss named Charlie Jolson, whose control over London's East End is as frail as his health. If Hammond fails to comply, he'll never see his son again. The result is a cinematic adventure encompassing car chases, gunfights, stealth, and a second playable character in the form of embittered Detective Frank Carter, whose 12-mission storyline runs concurrent with Hammond's. The 3D city captures an estimated 20 square miles of London, complete with authentic storefronts and landmarks. Players will also be able to walk into mission-related buildings such as restaurants, pubs, warehouses, and hotels during the course of the game. Actors were filmed using an advanced form of motion-capture technique, where up to five people could be recorded at once (along with their dialogue) inside actual sets. Each actor's face was also digitally scanned and mapped to his or her character model. The main adventure in The Getaway consists of 52 objectives spread across the 24 missions, with driving representing nearly half of the action. The game distinguishes itself from others in the genre by its lack of on-screen indicators for targeting enemies or viewing health. Instead players must rely on subtle visual cues rather than obvious meters to advance through the game. Once the main mode is complete, players can embark on a scenic tour of London to visit various landmarks and notable attractions without worrying about time or having to complete objectives. ~ Scott Alan Marriott, All Game Guide

Package Contents: 24-page Instruction Manual

Controls: Joystick/Gamepad

The short manual explains the controls, offers brief character bios, and has a one-page glossary of London slang. There's not much here describing the cars or the city itself, especially the notable landmarks that were recreated for the game. ~ Scott Alan Marriott, All Game Guide

The level of detail is impressive, and players can walk into fully stocked art galleries, warehouses, restaurants, strip clubs, and more. Great use of pedestrian traffic makes driving an often nerve-wracking experience. Unfortunately, players cannot skip the cut-scenes even after repeated viewings. ~ Scott Alan Marriott, All Game Guide

Sony's first high-profile game of 2003 comes courtesy of the talen'ed geezers across the pond at Team Soho. Although its combination of driving, organized crime, and on-foot missions rightfully draws comparisons to Grand Theft Auto III, The Getaway manages to carve an identity all its own with an emphasis on cinematic storytelling in the vein of Guy Ritchie or Danny Boyle. Players are immediately drawn to the lead character, Mark Hammond, who is an unwilling participant in a life of crime after his wife is murdered and son abducted by a ruthless mob family. The most striking aspect of the game is not its detail of London streets, which is quite impressive, but its lack of onscreen meters, maps, score, or any other indicator present in, well, just about every game released. What better way to immerse players in the world and storyline than to remove reminders that it's a merely a game? While this sounds like a great idea in concept, it isn't implemented very well in this title. In an attempt to make the game feel more realistic by eliminating traditional meters, the developers had to include features that ultimately make the game seem more <I>un</I>realistic. The Getaway is broken down into a series of 24 missions (12 for each character), all of which involve driving to a particular destination, stopping the car, and then carrying out a sequence on foot (which often includes shooting a group of thugs). While there are twists along the way, such as smashing a van, escaping the police, or dropping off a bloody corpse to send a "message," the basic formula remains the same. Drive to a destination as quickly as possible then take out enemies before they return the favor. Now, how are missions accomplished without the use of a map, radar, or targeting cursor? This is where players will either appreciate the game for its distinct style or lambaste it for making things needlessly difficult. Driving around in London is not easy when you have no idea where you are going, and American audiences have to do it on the "wrong" side of the road. To help players reach their destination, the game borrows a page from Crazy Taxi. Arrows are used to point players in the general vicinity of their target location, but the developers cleverly (or foolishly, depending on your attitude) integrated them into the car's rear blinker lights. If the car's left blinker flashes, for example, you have to make a left turn at some point. It doesn't necessarily have to be at the next intersection, but players will have to eventually make a left turn if they want to carry on with their objectives. Because of this system, there isn't a way to drive from a first-person perspective, which may or may not be a concern. The blinkers also tend to be on the small side and can be difficult to see when traveling at high speeds during heavy traffic. Fortunately, you will become accustomed to it over time, although it's silly to think the character wouldn't be able to use a map to plan the most direct route. Making the problem easier to swallow is the excellent driving physics -- this is not like driving in Grand Theft Auto III, where players can barrel through lampposts, traffic lights, and people without slowing down. The vehicles in The Getaway all have a realistic sense of weight and acceleration, plus the car damage modeling is some of the best yet seen on PlayStation 2. Smashing into a car from behind will result in either the lead vehicle's bumper denting or back windshield shattering into thousands of fragments and sprinkling to the ground; run over the glass and you could puncture a tire. Keep hitting objects and the car will start handling like a tank, ultimately leading to black billowing smoke and a fire. The streets of London are filled with interesting features like concrete roundabouts, one-way lanes, bus lanes, give-way signs, and more, so players will have to make quick decisions whether to weave through the traffic, move up on the sidewalks, or cross into oncoming traffic. Breaking traffic laws will have the police coming after you, and the simple fact you don't know where you are headed gives the driving segments a dangerous thrill. While having a car automatically "blink" to tell you where to go doesn't seem any more realistic than a giant arrow on the screen or a map, the missions on foot are stranger. Third-person action games are arguably the hardest games to create effectively due to the myriad of problems associated with creating the best vantage point as well as a system to take out multiple enemies. And The Getaway immediately shoots itself in the foot by removing helpful tools, such as a health indicator or a targeting reticule to isolate individual enemies. Instead players target foes by pressing a shoulder button when an enemy is near, which automatically causes the character to steady his arm at the nearest enemy in sight. Thus gunfights involve constantly tapping on a button to extend the arm, trusting that he's pointing in the right direction, and then pressing another button to shoot. It's imprecise, it's awkward, but it can be tamed over time by using it in combination with the character's roll move. Of course, it doesn't help that the character moves like 100-pound weakling trapped inside a 300-pound body, that walking up a flight of stairs has the character acting like a marionette, or that there's no clear-cut way to see how much damage he can take other than looking at red splotches on his clothing. The most surprising aspect of the game is healing -- the character, wheezing like an asthmatic, can prop himself against a wall and magically recover from his wounds (the blood splotches disappear). Okay, now <i>that's</i> more realistic than a health kit. The Getaway is often frustrating due the limitations associated with a linear narrative, its lack of incentives to replay missions, and its stubborn attitude in not providing clear visual feedback on how well the player is doing at any given stage. While this would be enough to send lesser titles on a one-way trip to the bargain bin, The Getaway earns points for its violent storyline, British setting, and thrilling driving sequences. Character control is the game's weakest aspect, and it pales in comparison to titles like Vice City, Dead to Rights, and Splinter Cell. Some will turns round and says it's bloomin' awful, some will turns round and says it's bloody brilliant. Most'll prolly rank i' somewhere in da Hey Diddle Diddle. ~ Scott Alan Marriott, All Game Guide

While many extra features were planned, they seem to have been left on the cutting room floor. Players can unlock a Free Roam mode after completing the game, which lets them drive around London without any mission constraints, but that's it. The main game takes around 20 hours to complete. ~ Scott Alan Marriott, All Game Guide

The dialogue is memorable and filled with profanity that never seems out of place. Voice acting is all-around excellent, sound effects are crisp and realistic, and the music fits the mood. ~ Scott Alan Marriott, All Game Guide

The control, interface, and camera could use some work, and the character moves like a sloth. Another gripe is you can only save after the entire mission is completed. Yet the story draws you into the game, and the driving sequences alone are worth the price of admission. ~ Scott Alan Marriott, All Game Guide

the game requires Joystick/Gamepad.