The Getaway PS2

Plasmatics · Aug 26, 2002

MGS2 as art =

Anyway, I think the game looks great, particularly for a PS2 offering. The animation is nice, but nothing compared to Zelda GCN, IMO.

As far as the gameplay is concerned, I'll be happy if it reaches Max Payne level. I'm worried that "realism" is going to detract from this game in a big way. They're not including a map with the game because they felt in GTA3 that it took away from the experience.

iscariot · Sep 14, 2002

british preview:

Front Cover
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DVD Case Back Cover
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iscariot · Nov 19, 2002

Well it's finally official, the game has gone G0ld, and with that, here are the latest impressions of an almost final build.

http://www.totalvideogames.com/?section=Read Previews&id=495&gameid=262&format=000006

Reportedly one of the most expensive videogames ever created and having been in development for the previous three years, you can understand why SEEE wanted to get The Getaway out in time for the lucrative Christmas market.

Billed as GTA in London, we recently received preview code and have been putting the game through its paces; can it live up to GTA3, is the hype surrounding the quality of the cinematics to be believed, can The Getaway recoup its massive development costs???

Anyone who has followed our previous coverage on this title will know that players take the role of ex-crim Mark Hammond. Forced back into the game by gang leader Charlie Jolson when his wife gets murdered and son is kidnapped; Mark finds himself set up for the murder and blackmailed to undertake a series of jobs for the notorious crime boss and king of the London underworld in order to see his son again.

To be fair The Getaway is more like Headhunter then GTA3, instead of presenting the gamer with a free-flowing adventure where their choices have a direct consequence on the progress of the game; The Getaway is a tightly-nit experience with a strong storyline and distinctive missions that follow one after the other. Although this type of gaming structure isn’t as appealing for long-term play, The Getaway presents a cinematic experience that is unrivalled in the videogames industry. The moment you see the first cut-scene, you’ll find yourself scraping your jaw from the floor; never before have we seen a computer game look so realistic, everything from the perfectly crafted motion-capture animation to the attention to the smallest details such as proper volumetric fog to recreate cigarette smoke will astound you. The Getaway is the first time that actual actors have been digitally recreated for inclusion in the game, providing both the motion capture and voice-acting to ensure the overall look is as accomplished as could possible be hoped for. Having watched the introduction, you’ll also realise that this is one of the most adult orientated titles created; copious amounts of violence and swearing decorate the intro, however it’s not just in there to boost sales, it plays a crucial part to setting the atmosphere of a classic London gangster film throughout the game.

The first mission saw us having to visit our old haunts in SoHo; to prove your allegiance to your new boos you’ll have to torch your old friends nightclub, killing your old mates in the process. Of course you’ve got to get there first, which is quite a task considering that Team SoHo have recreated over 40Km of inner London to splendid detail. We were amazed when both Metropolis Street Racer and Project Gotham gave us digital representations of famous cities, however The Getaway takes it all one-step further. Once again it’s the attention to detail that stands out; a huge amount of famous shops from Burger King to The Link populate the pavements of Oxford Street, whilst the East End looks as dirty and seedy as you’d expect. Driving through London is a tricky affair as the developers have managed to cram the streets full of traffic and pedestrians, perfectly recreating the congested nature of London. Again the attention to detail is marvellous; civilian traffic acts the way it should, stopping for red lights, getting out of the way for Ambulances and Police Cars; we witnessed one crash scene and were amazed to see the police waving the traffic through the narrow gap.

The actual driving is a great mixture of arcade physics and authentic realism, each of the games 50+ cars all handle and respond differently, however the best aspect is the portrayal of loosing control at high speeds; whip around a corner at 50MPH and you can expect to be slip-sliding all over the place, fortunately you never seem to lose total control, it’s been designed to heighten the adrenaline levels but still keep it fun by ensuring you’re not crashing all the time. Of course crashes are inevitable, and despite featuring a whole selection of licensed cars, they all feature a great damage system that sees bodywork crumple, tyres blow out and windows crack then shatter to pieces. As with GTA3, if it all goes wrong you can jump out of the car and hijack another; everything from Citroen’s to London’s famous Red Buses can be stolen to help you through the adventure.

A very neat touch that heightens the cinematic nature of the game is the complete removal of any type of HUD or icons on the screen, instead your blinkers will tell you which way to go, whilst your health is depicted by increasingly dark patches of blood appearing on your character. Of course you’ll not find any health pick-ups throughout the game, so to increase your health all you’ve got to do is wait against a wall and your character will rest against it and begin to replenish his health, very neat!!!

The typical mission structure usually revolves around driving to the scene, getting out to complete the mission objective and then hot-tailing out of there before the cops arrive. The on-foot sections again take a little while to get used to, but once you get used to Mark’s full repertoire of moves you’ll be shooting people off from distances, crouching up and peering around walls like a certain Solid Snake and grabbing hold of hostages to use as human shields. The on foot sections put GTA3 to shame, 22 indoor locations have been wonderfully recreated, usually for you to destroy in some possible way. Mark becomes a fluid character to control after a short while, you’re given two targeting options which really help during the heated gun fight scenes; R1 pulls the camera just over the characters shoulder giving you the ability to manually target, whilst taps of R2 target enemy characters in a similar fashion to Z-Targeting; it works wonderfully and makes the aiming system of GTA3 and even Vice City look woefully inadequate. Other moves allow you to cling up against a wall to remain hidden, here you can peer round corners and use the two types of targeting, or simply whip your gun around the corner without peering around yourself, thus reducing the risk of getting yourself shot at the cost of reduced accuracy. You can roll around to dodge bullets or roll into a wall and assume the cling position, duck behind objects and whip your gun above it in a similar fashion to whipping it around the corner. By pressing X when you’re near to another character, you’ll take them hostage to use as a human shield, by whipping out your gun you can put it to their heads or shoot other characters that pose a threat. The controls during these sections are everything we could have hoped for resulting in a perfect mixture of HeadHunter, MGS2 and GTA3 that gives you more freedom then in any of these titles.

The only stumbling block between The Getaway achieving success and all it set out to do – not simply a GTA clone set in London – is a lack of coherence; we’ve encountered a number of vital gameplay bugs (some critical), whilst the game doesn’t gel fully at present suffering from a lack of continuity when transferring between cut-scenes and in-game action. This did break up the flow, something that does have an impact on such a cinematic game, however we’re hoping to find that the final version amends these errors.

There’s so much to say about The Getaway, but we had better save some for the review; for instance when you’ve finished the game with Mark, you can take control of Frank Carter, a ruthless copper who you’ll come across half way through Mark’s adventure. This design allows you to see both sides of the coin, exhibiting a style of game design more akin to a film then a videogame.

The Getaway is certainly different to what we were expecting, playing nothing like the GTA3 clone that we believed it would. Despite the surprise, The Getaway impressed us with its amazing visuals (arguably better then anything else on the PS2), it’s strong cinematic nature (which really does feel like the next Guy Ritchie flick), its intense action sequences and attention to detail.

We’ll have a review soon, so make sure to stick with TVG for all the latest information on The Getaway.
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Vince · Nov 19, 2002

iscariot said:

Well it's finally official, the game has gone G0ld, and with that, here are the latest impressions of an almost final build
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Yeah, it's about bloody time.. heh

Proof: Launch Party/Rave Pictures

This game seems to be like R&C - everybody bad mouths it at first, then it comes from nowhere and recieves praise when it launches - lets hope it really is the real deal.

iscariot · Nov 21, 2002

tonites ign update:

November 20, 2002 - In being one of Sony's most ambitious and awaited games of the year, The Getaway is in a very precarious position. It's one of the few to have made the transition from SCEE's earliest game lineups to the US, and having slipped from fall 2002 to January 2003 Team Soho has enjoyed immense amounts of money and time to make this game right.
I had high hopes for it when I first saw the game earlier this year, and even now it takes a while to sit back and count up all the frankly amazing things that Team Soho has created here. There is the jaw-dropping virtual city, dwarfing Driver or the Grand Theft Auto games with its size and level of detail. There is the compelling story, a straightforward revenge tale lifted up by a sympathetic hero and a genuinely hateful villain. There is the perfectly natural and laudably frequent use of the word "f---" which could have been handled in a terribly overdone fashion. And there is the pure joy of ripping off a Lexus SC430 and cruising past the verdant scenery of Hyde Park.

Arrayed against all these fine points are imprecise controls, unpredictable camera direction, repetitive mission design, cast-iron level scripting, and some kind of malevolent god standing on high and commanding "thou shalt not implement a graphical user interface." At present, I'm not particularly pleased with this commandment. It's on that account that I have to constantly stare at my turn signals when driving, instead of the lovely city around me.

Welcome Back

Before this devolves from coherent preview into a laundry list, it couldn't hurt to provide some background information for those new to the game. The Getaway is a blend of 3D action (like a slowed-down Max Payne) and urban car-chasing (a la Driver). It is set in an accurate re-creation of the city of London, from east to west and including both sides of the Thames.

Our hero is Mark Hammond, a former bank robber gone straight after a stretch in prison. Two months out of the slam, his stable life as a nightclub manager is torn to pieces -- his wife is murdered, and his son is held hostage. Behind it all is Charlie Jolson, once boss of the London underworld, who has a grand scheme to take over the city's now-fragmented rackets. With Mark as his disposable cat's paw, he's going to burn down every rival gang in town and take over as ruler of the ashes.

The story plays out through a series of cinematics, which advance the plot in between the car chases and shootouts. Though younger fans of games and film may come in suspecting something along the lines of Snatch or Guy Ritchie's other efforts, that's not quite the tone The Getaway's creators are going for. Instead, it hearkens back to older films -- Get Carter, more than anything else, and other classics of the deadpan British crime genre. The story is pitched straight and level, with no humor except a few moments of the blackest sort, while the dialogue is both solidly authentic and dead raw.

At The Movies

At present, the game's cinematic presentation is first-rate. The plot is simple enough, and you can tell it was conceived primarily as a means of stringing several disparate mission designs together, but the characters and the dialogue give it life. Upon reflection, I can't necessarily judge the authenticity of the dialogue, since I've never spent any substantial time in the company of cutthroat East End thugs, but I can say that it sounds pretty cool to my untrained American ears, flowing naturally despite a very un-PlayStation-like level of profanity and vulgarity. It's possible that there are more instances of the f-word in The Getaway than in every videogame ever made put together. The lip-synching, furthermore, is nearly perfect, down to that funny way people suck their lower lip under their front teeth before saying...well, you know.

As detailed in our previews around E3 time, the cinemas employ motion-capture for all the physical acting, allowing the actors in a scene to be captured at the same time. The quality of the cinemas has improved substantially since E3 -- the graphics are high-res now, and the collision detection is miles better -- so it's easier to see what the motion-capture techniques have done to make the game look better. The cinemas in something like Metal Gear probably still look more impressive, with more precise and fluid animation, but if you watch that game carefully, you don't see a lot of close physical interaction between characters. Each shot tends to isolate one character at a time. The Getaway puts its characters in close proximity, and if you pay close attention, it's possible to pick out the nuances of body English that comes through as a consequence. The opening cinema, with four characters in a crowded car, is an impressive showpiece for the technique upon close examination.

What's as impressive as the quality of the animation, both in the cinematic sequences and the game itself, is the tone it helps carry. Like Get Carter, this is a violent game, but the violence is not flashy, graphic, or exciting. It's ugly, harsh, and oddly low-key -- the dull thud of a pistol-whip stands in stark contrast to the cartoon carnage of so many other games.

Out On The Town

Eventually, however, it's time to stop watching and start driving. The Getaway is, if nothing else, a hell of a tourism simulator. Available from the start of the game is a "free roaming" mode, where it drops you in a nice little Lotus-alike roadster with the freedom to wander around town. Seeing the sights is a kick, and the option is always available to swipe another car or get in a mix-up with the police, if gawking at the Tower of London doesn't prove exciting enough.

It's hard to overstate how good this virtual city looks. Turn in any direction from anywhere on the street and it's possible to see some impressive new bit of detail, whether it's an obscure licensed storefront, a building site surrounded by containers and tower cranes, that massive IMAX theater in the traffic circle north of the Thames, or a drop-dead gorgeous Bentley driving your way. The amount of texture detail is amazing, considering what we've grown used to on PS2. Though there's a little bit of draw-in and occasional mip-mapping errors, the illusion of realism holds up surprisingly well, thanks to substantial variation in the population of the streets. Unlike the E3 demo, which tended to have a lot of cloned cars filling particular areas of the streets, the current version has more than enough different people and vehicles on the street.

The cars themselves are very well-modeled in all respects. A decent level of texture and model detail is aided by realistic environment mapping and window transparency, so the cars reflect the environment around them appropriately. What's much more fun for a driving buff, however, is all the different handling styles available. The game starts off with something nice and vanilla, an Alfa Romeo 156, and tosses Mark in a Range Rover for the second mission -- in other words, it's easy to get a little disheartened by the rides in the early going. A good eye, however, reveals some killer rides for the taking.

The Getaway lets you swipe anything on the road, just like GTA. See that Lexus SC430? Grab it. See that TVR Tuscan? Grab it. See that '70s-vintage Jaguar? Grab it. See that Bentley? It's all yours. The Citroen Saxo? Don't know why, but whatever floats your boat. The Nissan Skyline GT-R? Yep, you can get those in England, and there are plenty in this game to steal. Be careful, though -- those tend to be the favored rides of AK-packing Triad enforcers.

The more powerful cars in this game are a kick to drive. The differences in power and drivetrain type make a measurable difference in handling, so the Skyline is good for plenty of grip, while something like the TVRs can slide all over the map. However, it's not necessarily a good idea to grab the fastest thing in sight -- remember The Italian Job, after all. Something slower and more nimble can be better suited to avoiding the cops and navigating through the crowded streets. Like any old-world city, London has some ridiculously narrow roads.

Seeking Direction

The Getaway isn't just a pleasant Sunday drive, though. The in-game driving sequences, despite the inherent fun of the handling, tend to wear thin after a while -- at least in this preview build we have. While there are a couple of sequences which require Mark to run another vehicle off the road, the majority of the street-based missions consist purely of driving from point A to point B. When the cops get involved, a good chase can be powerfully exhilarating -- it's great to find that proper groove in a fast car down a crowded street -- but farther into the game, as the driving sequences grow longer and longer, the appeal fades and frustration sets in.

In large part, this is due to the game's navigation system. As always, the no-GUI commandment applies, so all cues have to come from sources in the game world. The system they've come up with is rather ingenious at first glance -- it uses the car's turn signals. A left blinker means take the next left, a right blinker means take the next right, and blinking hazard lights mean that the goal has been reached. After the novelty wears off, however, a few difficulties begin to arise.

The directions given only point toward the next immediate move. The game does not explicitly state where to go or how to get there, so even a player with an encyclopedic knowledge of London geography is still forced to drive as if they were playing Simon-Says. There is no in-game map (to our knowledge this far), and hence no way to plan a route in advance or work out an alternate route if the police or a wrong turn block the most direct route. Why is there no map? What constraint of realism or immersion forbids that? To a degree, I can see why there's no big fat arrow pointing the way in the middle of the screen, but a map in the pause menu surely couldn't hurt -- who doesn't keep a map in the glove box of their car?

There's one more real kicker as far as the turn-signal issue. The Getaway has a complex damage model to represent both cosmetic and internal damage to the cars. Body panels scrape, crumple, and detach all over the car; windows shatter and fall out; steam and smoke rise from damaged radiators and engines; tires flatten and bare rims kick up sparks. The effect of damage on performance is effectively conveyed, too, so frame damage or flat tires causes a car to pull to one side, and engine damage progressively develops after driving too long on a broken radiator. Eventually, the engine will explode and cook Mark, so smoke is a sign that you need to swipe a new car.

Back to turn-signals, though. A bad rear-end collision, the kind that happens very frequently when the cops are on Mark's tail, will break the brake lights and turn signals. Busted turn signals mean no navigational assistance whatsoever until you steal a new car.

Take This Shooter

Driving is only one-half of The Getaway, as we learned earlier this year. Points A and B are usually the location of a hellacious firefight, which must be survived through stealth, quick thinking, and the judicious application of human shields. Mark is ostensibly a nice guy, but that doesn't stop the body count from mounting well up into the triple digits.

The closest cousin to The Getaway's action sequences, though it may sound like an odd comparison, is probably Winback, the Koei third-person shooting game. Both have heavily scripted action sequences, and both also rely heavily on a jump-out maneuver. The best way to sneak up on enemies in The Getaway is to press up against a wall, sidle over to a corner (which pushes the camera around so it's possible to see what's around the corner), and then hop out to shoot at whatever bad guys lie beyond. Jumping out to shoot and jumping back into cover is easy enough, so getting the drop on the enemies this way is by far the best tactic in the game.

However, it's not always so simple as that. Your word for the day is "script." This half of The Getaway operates according to an ironclad script, which dictates enemy placement, enemy behavior, trap locations, and thus the actions necessary to get the player safely from one end of the level to the other. The script is always the same every trip through each shootout (as well as the one or two stealth-based missions), and so success is not necessarily based on quick reflexes or careful surveying of the situation so much as it is a matter of learning the script. Trial and error is the method, as it was in Max Payne to a degree. The camera is a significant issue here, because it rotates relatively slowly as Mark moves around. It's definitely possible to be shot by an enemy before the camera swings around to show where they are.

The automatic aiming system is a frequent source of trouble at present, because it is an absolute requirement in firefights. There is no option to simply hit the square button and fire at the nearest available target, a la GTA -- the player must zero in on a target with the R1 auto-aim before firing. R2 enables a free-look mode where it's possible to fire at any available target, but that isn't a viable option for a shootout due to the amount of time required to tick the analog stick over to the desired aiming point.

This would be an only minor limitation if the auto-aim always worked as desired. However, it still has some problems as yet. First, it interjects an extra button input between seeing a target and opening fire. The AI bad guys are not so constrained, which means that enemies frequently get a shot off while Mark is taking aim. He usually gets the last laugh, since the bad guys like to sit back and think for a bit before popping off a second shot, but that damage mounts up through five or ten opponents. Furthermore, the auto-aim has a nasty tendency to pick the exactly wrong target in a tight moment. Given the choice between a shotgun-toting bastard five feet to the right and some club-waving bobby ten yards to the left, it seems to prefer picking the more distant target, as opposed to the vastly more dangerous one. This is an issue that I very much hope will see some tweaking before the final version is released.

To be filed in the curiosities drawer along with the lack of an in-game map is The Getaway's curious method of restoring its hero's health. Of course, there are no power-ups of any sort, since those would apparently break the realism of the game. Instead, to get health back, you maneuver Mark up against a wall -- he'll lean against it and gradually gain some health back. His level of injury is subjectively represented by limping animations and bloodstains on his suit, which disappear slowly until he's back in fighting form.

Again, I can understand the desire to create an interface devoid of unrealistic elements. But I'm not sure this feature accomplishes that goal so well. For one thing, stretches of sitting around doing nothing tend to break the rhythm of an action sequence just as much as noshing a green herb or a roast chicken would. For another, how is it necessarily so realistic? Wounded people don't get better when standing still -- they bleed out, go into shock, and die.

As far as this preview version goes, The Getaway could also use some tuning as far as the behavior of the supporting cast. A couple of missions team Mark with an AI-controlled partner, and their level of smarts leaves something to be desired. Two commandments need to be implemented to guide their behavior. In the interior shootout missions, they need to avoid danger at all costs -- they should not stand around shooting while surrounded by poisonous gas. While on the street, they need to get in the car at all costs -- they should not stand around shooting while Mark is in a car waiting to take off.

To Be Continued

With some tuning, The Getaway could be much improved. The camera and aiming control has come a long way since E3, so I hope to see it continue to get better, and the AI just needs some sharper pathfinding routines (especially that get-in-the-car commandment). I sincerely wish that there were an in-game map, if only just in the pause menu. It would improve the tourism aspect of the game immensely, in addition to adding more depth to the car chases. In that situation, the turn signals would be a supplement to navigation rather than the only guide available.

I'll keep a good thought as we work further into the game, then, because so much of it is so good -- the graphics, the story, the pure fun of driving. It has some of the sharpest presentation of any game around, too, with a perfectly clean interface, progressive-scan support, a 16:9 aspect-ratio option, and superb stereo sound (there's no Dolby Pro Logic II, but the basic surround is still excellent). Look forward to more substantial media updates on the later missions in the game over the course of the rest of the year.

-- David Smith
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PC-Engine · Nov 21, 2002

Where can I find info about the framerate?

LogisticX · Nov 21, 2002

Being an Insider, I had the opportunity of getting a response from Dave Smith regarding framerate on the messageboards.

During on foot missions, the game moves at a smooth 60 fps....in car, there are hiccups here and there but he said that its nothing major that interfers with gameplay.

Sindre · Nov 23, 2002

The movies at ign are free to all now. I've got them all It looks fantastic. I really can't wait to explore London. Never been there before.

Ozymandis · Nov 23, 2002

Progressive scan support? Hmmm. I need to buy at least one 480p game for my Ps2, just for the novelty of it

PC-Engine · Nov 23, 2002

Ozymandis said:

Progressive scan support? Hmmm. I need to buy at least one 480p game for my Ps2, just for the novelty of it
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Yeah I hear there's only about 5 games that support progressive scan out of a library of 400 games?

archie4oz · Nov 23, 2002

Off the top of my head...

Tekken 4
SOCOM
Burnout 2
Robotech
Bounty Hunter

Although I'm sure there's more. It'll probably start becoming more common now that the progressive scan libraries are available...

Johnny Awesome · Dec 13, 2002

Hands on impressions from Press Start magazine:

"Ok everyone who's read Press Start knows we were looking forward to The Getaway. It's Sony's attempt at blurring the line between videogame and movie, and is certainly R18... and it's been hyped as their game of the year for a long time.

Set in London, with every part of the city you drive around exactly like it is in real life, from the graphics, the game certainly seemed to live up to the hype.

Today I got my copy, and...

Yikes. Talk about difficulty. Restart after restart after restart on the first car chase... but zipping between traffic was exciting, so that's ok. But then I had to get out and move on foot. Oh dear.

Firstly the camera is appalling. Not just terrible, but appalling. Many a death was caused by the fact my character walks around the corner, but the camera doesn't follow him till 1 or 2 seconds after. That's a second or so my guy didn't have.

Gun fights are interesting and taking a hostage is a nice touch. There seems to be lots of different ways to approach each part of the mission too, but I have to admit I restarted at least 20 times at just the start of this mission.

The guy walking like an old Resident Evil zombie doesn't help, and is certainly annoying. Lara Croft or Solid Snake he is not, no matter how many sneaky positions he has. Plus aiming at the bad guys is very difficult indeed, meaning I almost hit as much as the bad guys. Quickly my character weakens and soon the final shot for the guy I couldn't see, or the fact I pressed down instead of up when trying to aim the gun finishes me off yet again.

First impressions: Very realistic, but must have the biggest learning curve I've seen in many, many, many years. Not too good at all."

zurich · Dec 13, 2002

Wow, I cant believe such a high profile title could slip with SCEE's quality control like that..

London Geezer · Dec 13, 2002

well it seems that these games are THE ONLY ONES to support Prog Scan here in Europe. i mean for any platform, be it ps2, xbox, gc or anything...

funny isn't it....

alexsok · Dec 13, 2002

Frankly, I didn't like the game at all...

iscariot · Dec 13, 2002

wow, nice post johnny! Comments that good finally enticed you to contribute to the thread eh?

some more credible review sites...

http://www.irishplayer.com/reviews/thegetaway.html

http://www.eurogamer.net/content/r_thegetaway_ps2

http://www.gamesdomain.com/playstation2/reviews/The_Getaway.html

sounds decent but unpolished. Hopefully, the technical obstacles will be vastly subdued for the sequal so they can put more effort into it's gameplay and the sorts...

Vince · Dec 13, 2002

Wow, Johnney, thanks for posting such an indepth and exciting review. Since when did reviewers start writing their pieces on the toilot?

Due to your blatenent attempt to find the worst possible review, doesn't matter that the game has flaws, just how you went about doing it, I must award you with:

haha

Johnny Awesome said:

Firstly the camera is appalling. Not just terrible, but appalling. Many a death was caused by the fact my character walks around the corner, but the camera doesn't follow him till 1 or 2 seconds after. That's a second or so my guy didn't have.
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Um, the idea isn't to just walk around corners with guns blazing. Try that in real life and of course you'll die.

The game gives you the option to swing around a corner Snake-style and take aim, while risking damage - or you can just poke your gun out the corner and shoot blindly, risk no damage, but have low accuracy.

Plus aiming at the bad guys is very difficult indeed, meaning I almost hit as much as the bad guys.
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IIRC- R1 is autoaim and R2 is manual aiming. What's the problem. From every other review on gameranking, they said that the autoaiming was near perfect. Infact, untill many a people on GA realised there was auto-aim, they thought the game sucked - and it seems to allow for the John Woo type battles.

Quickly my character weakens and soon the final shot for the guy I couldn't see, or the fact I pressed down instead of up when trying to aim the gun finishes me off yet again.
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Auto-aim!!! What a tool.

First impressions: Very realistic, but must have the biggest learning curve I've seen in many, many, many years. Not too good at all."
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First Impressions: Online Journalism has again taken a blow as this guy's piece has replicated and found itself on B3D. Lets kill this off before our children see stuff like this and we're forced to blush.

zurich · Dec 13, 2002

Vince,

isn't it possible at all that the game just isnt very good?

Vince · Dec 13, 2002

zurich said:

Isn't it possible at all that the game just isnt very good?
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Of course. But, I object to finding a review like this (Which, if you've followed the game at all is blatenely wrong) and posting it like, "Ha! eat this." The review was short, not very relevent and didn't explain a fraction of the game. We're suppose to be of higher stanadards here - I think we can handle a longer review.

zidane1strife · Dec 13, 2002

During on foot missions, the game moves at a smooth 60 fps....in car, there are hiccups here and there but he said that its nothing major that interfers with gameplay.
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If it really is 60fps... then WOW!!!! I mean GTA is below 30fps many times, and it has significantly less detail... If this game is running at 60fps and looking significantly better... it must be getting over 4X the h/w perf. that GTA is getting... simply amazing and i thought it's dev. wasn't too good.(This means that if GTA 4 gets better perf. than Vice city and still runs at 30fps... It will look even BETTER!!!)

This must be the work of the performance analyzer!!!

The Getaway PS2

Plasmatics
Newcomer

iscariot
Newcomer

iscariot
Newcomer

Vince
Veteran

iscariot
Newcomer

PC-Engine
Banned

LogisticX
Regular

Sindre
Regular

Ozymandis
Regular

PC-Engine
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SCEWWS new boss speaks: 8 Days/Getaway, profitability, strategy for PSP

Whatever happened to Getaway?

Was the Getaway at E3 2006 real time?

The Getaway (PSP version) with pics!

A little question about demo the getaway ps3 from E3...

The Getaway 3

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SCEWWS new boss speaks: 8 Days/Getaway, profitability, strategy for PSP

Whatever happened to Getaway?

Was the Getaway at E3 2006 real time?

The Getaway (PSP version) with pics!

A little question about demo the getaway ps3 from E3...

The Getaway 3

Share This Page

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