Marc Ecko's Getting Up: Contents Under Pressure
- February 14, 2006 13:16 PM PST
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Despite some inspired attempts, it seems that "Getting Up" is sometimes harder than it seems.
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Getting Up is Hard to Do
Despite its end result, Getting Up had promise. With the cultish Jet Set Radio (Dreamcast) paving its tagging path, and Ecko's worldwide popularity to back it, Getting Up had enough to, at the very least, spark interest in a graffiti-based game. And Ecko's first-hand involvement in the project was a definite plus. But it takes much more than a good track record and celebrity contribution to create a niche title.
And that is ultimately where Getting Up goes wrong. Instead of providing a unique artistic experience along the lines of Capcom's upcoming Okami, at the end of the day, Getting Up feels like a worn out action game. Focusing the majority of gameplay attention on the actual art of writing, rather than on a hackneyed up-from-the-streets story, would have been a good start. And, regrettably for Ecko, development just couldn't work the kinks out of the shoddy Getting Up game engine. Frame rate consistently dips to horrific lows, and many in-game objects and actions break frequently during gameplay.
For example, in a subway boss battle, we threw the leather belt-slinging (no, seriously) boss up against the window of a subway train, shattering the glass and indenting the frame. And when the battle ended, the train drove off without the window, and it remained suspended in mid-air! My camp counselor told me ghosts were real!
To further specify, the game is downright clunky. Fighting maneuvers and other movements are jerky, and jumps and damage results are entirely unrealistic. The game requires a decent amount of platforming with Prince of Persia style wall climbs and dangerous jumps that lead to out-of-reach spots. Although this seems like a fun concept, the restrictive camera and unresponsive controls make reaching these hits a lot less thrilling than chasing after Farah through the streets of Babylon.
Another No-Name
In Getting Up, you'll play as Trane, solo tagger who is out to make a name for himself. He'll scuffle with gangs, bosses, and other baddies throughout the game, so learning the proper fighting moves is essential to keeping up. The general idea is to spread your art throughout the rundown city, and in due course, build a legend's reputation. You'll unlock several pieces and throw-ups as the game progresses through episodic story missions. Each mission is usually a blend of fighting, tagging, and platforming, though there are also rail sequences and boss battles that add variety.
The tagging mechanic is arguably the best part of the game, though it's far from enthralling. The idea is to move the left analog stick around a piece, keeping as fluid as possible, in a set time limit. Points are rewarded for factors such as neatness, time, and size, which increase your reputation. Any unlocked art can be viewed from the menu in your Black Book, and any unlocked tag can be swapped out for use in missions.
Even with more development time, Marc Ecko's Getting Up would still be destined for mediocrity. This one needs a fresh start, and I would plan the sequel to be much more Jet Set than GTA.
