The Getaway: Black Monday Riding Guy Ritchie's successful wave of English thuggery is this Getaway sequel, Black Monday. Two years following the conclusion of the first PlayStation 2 exclusive, the.

The Getaway: Black Monday is the PlayStation 2 version of the Guy Ritchie film Snatch: it tries to be hip, cool, and most of all, British. Snatch succeeded in these ways, Black Monday does not.

While it does try for refined cinematic storytelling, Black Monday doesn't have a strong story to back it up, nor is it told too well. With three different characters to control, the narrative is often tossed around, convoluting the plot to the point of incomprehensibility; in fact, it's even hard to say just how all three characters relate to each other in the story.

However, Black Monday's biggest fault is that it tries to expand upon the original Getaway without fixing the original problems that plagued it; and there was a long laundry list of issues with The Getaway. First among them: the camera. A lot of the action in Black Monday takes place in tight, cramped corridors, but the camera doesn't facilitate to these situations; frustration often ensues. And like its predecessor, to achieve the lofty goal of making Black Monday a cinematic experience, a lot of modern gaming conventions are thrown out the window: no visual display for your health or ammo and no in-game mini-map for driving the streets of London. Instead, you have to rely on verbal or visual clues, like how much your character is bleeding to judge what his health is at, or listening to your character for when he's low on ammo. It's a novel concept, but it doesn't make the game any more convenient, immersive, or, most importantly, fun.

You play THE GETAWAY: BLACK MONDAY as three characters: Sergeant Mitchell, a troubled cop with a dark past; Eddie, a small time thug who uses his fists as well as weapons; and Sam, a female hacker and gymnast who accomplishes missions by stealth. The game begins with Sergeant Mitchell pursuing the Latvian mob and trying to rescue a reporterAfter eight or so missions you play as Eddie (with Sam leading you), involved in a failed bank heist and then up against the Russian mob and a London gang, and then you play as Sam in a game of infiltration, after which you once again play as Eddie with the option of leaving or helping Sam. There are a total of four endings based on whether or not you helped Sam and/or rescued the reporter as Mitchell. While the various endings of the game are innovative and support the movie-like feel, the storyline gets lost. The dreary, rainy London backdrop is well-drawn, and the dialogue of the cut scenes is impressive, despite often incomprehensible British slang and excessive use of the F-word.

But the linear gameplay grows boring, and the characters must be 'steered' using a limited camera swivel that can make you nauseous. Enemies are easily dispatched with very little skill. And like a movie, the action feels far away.The killing is not the kind of close-up goriness found in first-person shooters, but the game combines mature themes. There is nudity (bare breasts) and sexual suggestion; characters smoke cigarettes; and the cussing includes use of the F-word, C-word, and other genitalia references. Overall, though the novelty of multiple plots and the blurring of lines between video games and movies are compelling innovations, the mature material makes this a bad choice for young players - and even older teens will be bored.

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