honoluluadvertiser.com

Sponsored by:

Comment, blog & share photos

Log in | Become a member
The Honolulu Advertiser
Posted on: Tuesday, February 11, 2003

VIDEO GAMES
Lack of player control bungles 'The Getaway'

By Marc Saltzman
Gannett News Service

 •  Game: 'The Getaway'

Platform: PlayStation 2

Genre: Action/Adventure

Developer: Sony Computer Entertainment Europe/Team SOHO

Web site: www.playstation.com

Price: $39.99

Rating: "M" for mature

Score: out of five

Sony's latest — and easily most ambitious — PlayStation 2 title blurs the line between video game and motion picture.

"The Getaway" does succeed in straddling both entertainment mediums, but this thriller for mature players is as flawed as it is fun.

Gamers will likely draw parallels between "The Getaway" and the best-selling "Grand Theft Auto: Vice City." Both titles require the player to carjack vehicles and drive through city streets, while engaging in shootouts with cops and rival gangs.

However, the British-made "The Getaway" looks and sounds more like a Guy Ritchie film, such as "Snatch" or "Lock, Stock and Two Smoking Barrels."

The story follows Mark Hammond, an ex-con who is framed for the murder of his wife. To make matters worse, his son is kidnapped and held captive by a disturbed crime boss, Charlie Jolson. Later in the game, players can relive the game's plot from the perspective of another character, Frank Carter, a suspended "copper," who is determined to clear his name and put an end to Jolson.

The game's dialogue includes a lot of colorful expletives, so this title is definitely for adults.

This single-player adventure includes about 20 missions, each one introduced with a scene that sets the tone and story. Actors were motion-captured for realistic animation and interaction. These convincing cut-scene sequences help explain why the player must complete a mission's objectives. Unfortunately, there's no way to skip these lengthy, noninteractive sequences. This is annoying because players might have to repeat cut scenes several times as they try to complete a particular mission.

The first half of "The Getaway" is played more or less in a car, chasing through downtown London. The game has re-created this part of the city, down to every monument, restaurant and subway sign. The second half of the game includes more indoor levels, played on foot, as Hammond (or Carter) works toward the end.

The biggest hindrance in "The Getaway" involves its user interface — or lack thereof — as the development team attempted to make the game look and play out like a movie. There is no on-screen information whatsoever, so when chasing a car through the winding streets of London, there is no map in the corner of the screen to follow, nor are there arrows pointing the way (as in "Grand Theft Auto: Vice City"). Instead, the car's left or right tail lights will flicker to indicate where to turn. While this seems like a clever alternative, these visual cues don't always indicate the best route.

The sparse user interface also presents problems when the protagonist is on foot. For example, there's no health meter, which means Hammond or Carter will limp when shot and blood will appear on their clothes. While this looks realistic, the way in which characters heal is not. They must lean against a wall until the blood vanishes from their clothes, a tactic that shatters the suspension of disbelief.

There are other minor issues, such as inconsistent camera work and difficulty in aiming weapons.

If you can live with these annoyances, "The Getaway" is an intriguing, ambitious game — and a lot of fun at times.