The Getaway
Released exclusively for the Sony PlayStation 2 in December 2002 in Europe and January 2003 in North America, The Getaway is a single-player action-adventure game developed by Studio Soho (you know the people behind Singstar) and published by the monoliths known as Sony Computer Entertainment.
Split into two campaigns of 10 chapters each, The Getaway tells the stories of Mark Hammond, a former bank robber turned legit, forced into a violent version of Simon Says across half of London by his former gang, the Bethnal Green Mob. And Detective Constable Frank Carter, a sharped-tongued, non-nonsense copper – who’s dedicated half his career to taking down those mentioned above.
The Getaway was a commercial hit, selling four million copies in its lifetime and receiving a Double Platinum sales award by the ELSPA (the people behind those clapped rating stickers on PS1 and early PS2 titles – before PEGI took over the ting).
Although it didn’t get the same credit as insanely popular (and rightly so) titles at the time, such as Grand Theft Auto: Vice City, Splinter Cell and Timesplitters 2 – how The Getaway presents itself in terms of its open world, gunplay and dialogue is something that should be marvelled at, even by today’s standards.
Although The Getaway’s in my top 5 favourite PS2 games of all time, it’s by no means perfect– in fact, its lukewarm critical reception’s justified due to it’s dodgy driving sequences and choppy stealth sections. But there’s so much it does right in terms of story-telling that, despite 20 years on, I continue to reminisce it about each time I’m feeling starved for a good single-player title.
Background
It should be no surprise that an outfit such as Studio Soho was responsible for The Getaway. Known at the time for their This is Football series, a serious competitor to FIFA before PES came in, Soho would later go on to create the incredibly popular Singstar and Eye Toy games. True innovators in the gaming medium.
However, how they created an authentic British Gangster Classic in The Getaway isn’t recognised enough. This game has made such a lasting-impact on me through it’s charm and charisma, that I put it up there with the likes of Snatch and The Long Good Friday. It was also this title that prompted me to dig out my PS2, and start this retrospective journey.
One thing that had stuck with me over the years was The Getaway’s soundtrack, specifically the opening theme. It’s an orchestral bop and, in my eyes, lets the player know how ambitious this project really is. It’s worth noting that one of the game’s key composers, Shaun Lee, was also responsible for Bully’s soundtrack, and if you’ve played that game, you’ll know how infectious those tunes are too!
As the opening credits roll, you can prompt the menu to open, panning the screen into a 16:9 aspect ratio. It’s pretty badass as the game does this without interrupting the flow of the credits, something I’ve never seen in a game since. I’d even go as far as to say The Getaway is the only PS2 game I know with actual widescreen support, but please correct me if I’m wrong.
Story
You start as Mark Hammond, a former bank robber who went straight after a stint away in prison. He’s settled with his family and manages a Soho nightclub. Sadly, the opening cutscene sees Mark’s partner get gunned down, and his son kidnapped by subordinates of the Bethnal Green Mob boss, former associates of Hammond. Six year old-me in 2002 was left mortified by this scene – explicitly the bloodstains on Suzy’s abdomen – there’s a reason this game came with a parental advisory sticker!
Unfortunately for Hammond, who’s late on the scene, he’s seen handling the murder weapon by witnesses and becomes the Met. Police’s Most Wanted Man. There are flaws in this, as you’ll come to see, but not only does it set the tone of the game: urgency and vulnerability; it also succeeds in getting the player pumped for vengeance.
The game throws you right into a chase sequence across Southwark as you close down the kidnappers. You end up at a warehouse where after a small shootout, you meet the main antagonist, Charlie Jolson. This National Front-supporting sack-of-shit has a grand scheme to take over London’s criminal underworld, using Hammond as a pawn to execute his plan.
This is presented in the style of Simon Says, except this time it’s coined ‘Charlie Says’ – if Hammond fails to do as he’s told, his kid dies. Get the gist? This makes you appreciate how simple the premise is; and even realise how unnecessarily complex video game plots and lore are as a whole in 2022. I understand there’s a need to raise the bar and create unique experiences, but I don’t get why developers are afraid to recreate real-life worlds and scenarios.
Real-Life
This doesn’t mean to say real-life games can’t be outrageously over-the-top; take Hammond’s campaign for example, he’s thrown into constant suicide missions across half of London; one of which even has you shooting up a police station. Would such a thing happen in real life? Absolutely not, but there’s where video games can blur the lines between fiction and reality.
Every game today doesn’t need to have God-like abilities and fantasy elements. There’s a reason why GTA and Red Dead are two of the most successful single-player franchise of all time – because those titles are as close to real-life experiences as they get, as is The Getaway.
I did enjoy Frank Carter’s campaign more as he closes in on the Bethnal Green Mob. I’d be lying if I said it wasn’t because I didn’t have to worry about the Met. Police tailing my ass, however, Carter’s punchy quotes and bold attitude towards taking down Jolson make him likeable. However, he does lose points for his double denim ensemble. Really, Carter?
You don’t know much about Carter’s background, other than he’s been chasing Jolson for years, which is a shame. The game could’ve done a better job building backstories to make the player emotionally invested in both Carter and Hammond. However, you’re still informed enough through small references made in cutscenes to not feel in the dark or totally disconnected from these characters.
Gangs of london
The Getaway heavily emphasises multiculturalism as you take several gangs: The Yardies, 14K Triads, Collin’s Gang, and the Bethnal Green Mob. All of which are presented brilliantly.
Starting with The Yardies, they are proper! They’re seen rubbing shoulders with The 14K Triads throughout the game as two massive shootouts ensue – one in Shoreditch, the other in Chinatown. Leader Jamahl reminds me of Vas Blackwood from Guy Richie’s adaptation of Lock, Stock, and Two Smoking Barrels – which is a phenomenal film for those who haven’t seen it.
The 14K is a Triad group initially based in Hong Kong – led by Shan Chu Lee. They most notably own the art gallery in Hyde Park; however, what stood out to me most about this mob is that Mr Lee’s translator, Fu Shan Chu. Fu Shan sounds fantastically authentic – like any East Asian I know raised in London.
London’s open world in The Getaway is phenomenal, even for a 2002 title. The skies are gloomy and grey, but that’s London to me! Despite only being able to recreate roughly half of the capital, Studio Soho’s level of detail applied to the game’s sandbox is brilliant. The real-life branding used for shopfronts adds to the realism; seeing the likes of JD’s old logo or The Link (before they became Carphone Warehouse) is bound to fill any UK player with nostalgia.
The indoor locations themselves are packed with plenty of personalities. Whether a run-down crack den or a Mayfair mansion, each site feels unique and stops the story from running stale.
Gunplay
Not only do the character models look great thanks to the facial capture technology utilised by Studio Soho, but the cinematography really gives this title an authentic feel; This is reinforced by the game’s omission of a HUD. Whilst I think this was done deliberately, many believe this to be the cause of the game’s technical limitations, and there is an argument.
The fixed camera sometimes makes the game stiff, making combat a pain; however, it’s worth noting that The Getaway started life as a 32-bit project for the PS1 – and it’s evident by the absence of the R3 button. But its technical shortcomings pale in what the game achieves – one of the best stories told in a video game (period).
It’s bridged together by over-the-top, incredible gunfights packed with dialogue bursting with charm and charisma – the little taunts your character throws down as you’ve wasted someone brought me satisfaction each time.
The gunplay isn’t stellar by any means – you’ll often find yourself in the middle of a bullet shower because of clunky controls or little-to-no protection. However, you can appreciate what the developers were trying to achieve – and whilst it does look identical to GTA 3’s core design, little nuances help The Getaway stand out, such as the ability to regenerate health by propping your character against a wall.
The game also has basic cover mechanics, which I found to be more of a hindrance during gunfights as I would unquestionably get blitzed head-on by enemies forcing me to come out of cover so I could lock onto them. By then, I had soaked up half-a-dozen bullets. But I will say this, Hammond and Carter are absolute hard bastards (no one bullet-proof vest was worn the entire game).
The over-the-shoulder lock-on also adds another layer to the cinematic experience, and the different weapons each come with their own uniqueness. This makes gunplay extremely satisfying as a whole.
Driving
But if there’s one merciless thing about The Getaway, it’s the driving. Though the way vehicles are handled received a fair bit of flack, you could make the argument it’s incredibly realistic. If you smash the front of your car into something going at some speed, your engine will give out and even set on fire if you’re too stubborn to stop and get out. On the other hand, if your vehicle were to take hits to the rear, the axels will give out, making it hard (but not impossible) to control your car.
The number of enemy vehicles you’ll need to deal with between mission locations is unforgiving about the ordeal however. From the police to gang members, your vehicle will get gunned down and rammed into oblivion – you’ll find yourself having to change cars 2/3 times on journeys. Some of them take up to ten minutes with absolutely no checkpoints in between; this is a make or break for the game, which is why I strongly recommend using the Armoured Car Cheat.
Despite all this, the cars in The Getaway should be applauded. They feature 70 licensed cars from 30 different makes, with many bearing the same characteristics as their real-life counterparts. From the BMW 5 Series, Aston Martin DBS, even down to the car you start with, the Alfa Romeo 156, all the vehicles look phenomenal and have their own uniqueness when handling. It’s a shame they’re only really showcased during these bastard driving sequences.
Another thing I appreciate is the game utilising the vehicle’s indicators to navigate you between locations. Whilst it’s not the most intuitive mechanic, it’s still unique – and again, something you never see in games today.
Summary
While The Getaway’s not quite the technical powerhouse that 2001’s Metal Gear Solid 2 was, Studio Soho’s fierce storytelling and dedication to making London’s open world look and feel as authentic as possible are reasons for anyone to pick up this game in 2022.
Whether you’re playing it for the first time or as an ode to the past, all I kindly ask is that you use the Armoured Car Cheat! And turn the game volume down during Hammond’s driving sequences – those flipping police sirens, man! Take my word for it; it will turn a 6/10 experience into a 10/10 one.
