THE GETAWAY (PS2)
Ambition can prove both a blessing and a curse. Developers have to take the plunge on new ideas to helpkeep audiences engaged, but it’s often a gamble, because if their innovations don’t pay off, the game can suffer as a result. The Getaway, part of a glut of open-world action games that followed the success of the Grand Theft Auto series, cannot be faulted for a lack of ambition. It bears several innovative features which helped it stand out immensely, but these ideas are often squashed by clunky, frustrating gameplay.
The Getaway’s strongest element is its story. Aiming to capture the look and feel of British crime dramas like Snatch, the game follows Mark Hammond, an ex-convict who thinks he’s escaped a criminal life and settled down with his family. But after his love is killed and his son kidnapped, Mark is blackmailed by mob boss Charlie Jolson into doing his bidding, igniting tensions between rival gangs and causing an incomparable amount of mayhem. Impressively voiced and well-directed, it still lapses into cheesy territory at times, but nevertheless amounts to an engaging tale that was (especially for its time) cinematically impressive.
The Getaway’s strongest element is its story. Aiming to capture the look and feel of British crime dramas like Snatch, the game follows Mark Hammond, an ex-convict who thinks he’s escaped a criminal life and settled down with his family. But after his love is killed and his son kidnapped, Mark is blackmailed by mob boss Charlie Jolson into doing his bidding, igniting tensions between rival gangs and causing an incomparable amount of mayhem. Impressively voiced and well-directed, it still lapses into cheesy territory at times, but nevertheless amounts to an engaging tale that was (especially for its time) cinematically impressive.
The Getaway scores highly for its presentation, which sees a notable, gritty recreation of London
The ambition for a film-like experience carries over to aspects of the gameplay. There is no HUD, with everything important displayed through subtle hints within the game world. No mini-map or arrows direct you; rather your car indicates which direction you must turn. Health is indicated through Mark’s staggered movements and blood stains that emerge upon taking damage. There are no medpacks or regenerating health, as you instead lean against walls to regain status. The lack of gaming clutter is impressive considering rival games suffered from this issue regularly, inching closer to its movie ambitions.
Unfortunately, The Getaway comes apart at the seams when you try to play the game, because the driving and shooting are both clunky and infuriating. Driving is dogged by challenging chase sequences that often see hostile vehicles trying to ram you off the road. The realistic car physics and damage can be appreciated, but from a player standpoint, they regularly lead to your car becoming irreparably damaged after a few minutes of driving. Navigation, while realistic, is also hard to manage, often leading to the player getting lost. When you factor in strict time limits in a good majority of the missions, it will have you pulling your hair out. It’s the more infuriating parts of sandbox mission design amplified.
Unfortunately, The Getaway comes apart at the seams when you try to play the game, because the driving and shooting are both clunky and infuriating. Driving is dogged by challenging chase sequences that often see hostile vehicles trying to ram you off the road. The realistic car physics and damage can be appreciated, but from a player standpoint, they regularly lead to your car becoming irreparably damaged after a few minutes of driving. Navigation, while realistic, is also hard to manage, often leading to the player getting lost. When you factor in strict time limits in a good majority of the missions, it will have you pulling your hair out. It’s the more infuriating parts of sandbox mission design amplified.
Moving your character doesn’t feel much better: manoeuvring Mark can be extremely awkward. By default, you sprint automatically when pushing the stick forward, but limited stamina leaves Mark out of breath quickly. Shooting allows for either a manual aim without a reticle, or auto-lock, but neither is particularly satisfying. The cover system is by far the weakest element, as taking cover feels far more arduous than it should. Sometimes, your character will refuse to stick to a flat wall to either regain health or take cover, putting you in harm’s way. Unfortunately, The Getaway’s another instance of an early 2000s PS2 title blighted by woeful forced stealth, with a limited camera making these sequences infuriating. The shooting isn’t as bad, with cool touches like the ability to dual-wield weapons, but poor checkpointing can still cause headaches.
If you can stomach the large amounts of frustration, there is a whole lot of content to get through. Hammond’s story lasts 12 missions in total which, upon completion, unlocks a further 12 missions that take you through the arc of a renegade cop called Carter, whose story intertwines. The gameplay is admittedly similar, but it offers new environments and story moments to explore. Every mission can be replayed at any time and upon full completion, you can free-roam around the entirety of London without mission penalties. Though maybe some extra content would not have gone amiss, it’s a welcome feature that allows you to explore this recreation of the city.
If you can stomach the large amounts of frustration, there is a whole lot of content to get through. Hammond’s story lasts 12 missions in total which, upon completion, unlocks a further 12 missions that take you through the arc of a renegade cop called Carter, whose story intertwines. The gameplay is admittedly similar, but it offers new environments and story moments to explore. Every mission can be replayed at any time and upon full completion, you can free-roam around the entirety of London without mission penalties. Though maybe some extra content would not have gone amiss, it’s a welcome feature that allows you to explore this recreation of the city.
No HUD means the player will need to look to the environment for directions, health etc.
The Getaway’s chief strengths lie in its presentation. Despite an inconsistent frame rate dogging both gameplay and cut-scenes at times, the faithful recreation of London is technically impressive, with recognisable landmarks and roads. Characters look detailed, boasting realistic facials and good animation during cut-scenes. There are a lot of cool little touches that many games of the time didn’t feature, like how bullet cases fly from the guns as you shoot them. The sound is equally strong, with great, if sometimes clichéd, writing and good voice work from the likes of Richard Hards and Joe Rice. There’s also a cool soundtrack which ascends and mellows with great efficiency. The sounds, such as raging sirens and squealing tyres, do well to immerse you in the world.
The Getaway can’t be faulted for a lack of ambition, as its impressive recreation of London, cinematic immersion and great production values bring a well-written story to life. It would be an enjoyably dark movie, but when it comes time to actually play The Getaway, it becomes a more tedious and clunky affair. The shooting isn’t great, the stealth is downright painful and driving is beset by its own woes. It’s still recommendable if you can overcome its gameplay flaws, particularly if you love British crime dramas, but others may find its flaws too great to bear.
The Getaway can’t be faulted for a lack of ambition, as its impressive recreation of London, cinematic immersion and great production values bring a well-written story to life. It would be an enjoyably dark movie, but when it comes time to actually play The Getaway, it becomes a more tedious and clunky affair. The shooting isn’t great, the stealth is downright painful and driving is beset by its own woes. It’s still recommendable if you can overcome its gameplay flaws, particularly if you love British crime dramas, but others may find its flaws too great to bear.
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VERDICT
"The Getaway can’t be faulted for a lack of ambition, as great production values bring a well-written story to life. Sadly, to play, it's a more tedious and clunky affair... Notable if you love British crime dramas, but many may find its flaws too great to bear." OVERALL: 6/10 |
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