Dominic Rozenberg goes hands-on with the most dangerous instructional crime-tool of 2006

It was a long journey, one that encompassed dank sewers, underground resistance and many a blindfold, but after it was proved without a doubt that we did not indeed represent "The Man", Xbox World Australia was able to get some hands-on time with the most deadly videogame, whose perverted pixels and virtual villainy was so terrifying that it was Refused Classification upon review. No, we didn't get one of the many copies of Manhunt floating around on eBay or accidentally buy the hot-coffee version of San Andreas from an unwitting EB lackey.

Gentle readers, you are urged to look away lest the very taint of this game forever and irreversibly mark you…still here? Then read on as we break a dozen laws to bring you our impressions on Marc Ecko's Getting Up: Contents Under Pressure

You've no doubt read about the banning of this game, which ironically was so far off most gamer's radar it might as well have been a submarine, but you may not know anything about the game itself, or more importantly, if it's any good! Well we went hands-on with the final version, and not only did we not tag up war memorials on our way home, we walked away pretty impressed!

Getting Up is the newest game by The Collective, whose work you should've enjoyed immensely in the form of Buffy, Indiana Jones & The Emperors Tomb and Wrath Unleashed. These guys make good games, they aren't the sort of fly-by-night operation designed to churn out controversial-but-crap games that sell based solely on hype. Nor does Getting Up deviate from the Collective's norm of providing a solid gaming experience.

Getting Up is really three games rolled into one: a fighting game, a platformer and of course the graffiti elements. While the whole graff thing plays a big part, you'll spend a lot of time brawling with rival gang members and the CCK police force, as well as climbing and jumping to reach the tagging "heaven spots." Trane, the game's protagonist, isn't quite as limber or dexterous as Buffy, but he's certainly no slouch. Controls are solid and responsive, and while the contextual changes can be jarring when you get too close to a surface you can climb, it rarely frustrates.

The combat is very reminiscent of Buffy, although not quite as in-depth in terms of move-list. It's still very satisfying, and with moves ranging from out-and-out street fighting to akido-esque grapples and reversals, it doesn't get old unless you keep using the same move over and over again. Like most fighters, it's entirely possible to get through by mashing the light attack button, and while you won't exactly be penalised for such graceless behaviour, Getting Up rewards finesse; the fights look better when you put some effort into it, and it's the only way to handle larger groups of enemies without dying.

On the subject of finesse, it's important when you're engaged in aerosol art: go too fast or over-spray one area and you'll get drips, which ruin your graffiti and cost you reputation points. You can compensate for that by "goin' large" and painting a larger mural, "goin' over" other people's work, or getting high and going for the hard-to-reach heaven spots. Reputation points will unlock extra content, including in-game goodies like new fighting moves or extra damage, and other treats like a versus arena, and concept art.

Speaking of art, Getting Up makes a lot of its graffiti source material. Along the way you'll meet and interact with actual graffiti legends, as well as take pictures of their most famous pieces. There's a wealth of material available about these guys available, which is probably why OFLC and its censors got so nervous. It probably doesn't help that the first half of the game is mainly about Trane learning the trade, picking up hints and tips from real-life taggers. But there is a story in there, about a corrupt mayor, a dark secret, and the use of propaganda- by both the government and the 'rebels'.

While there's definitely a strong political undercurrent in Getting Up, it's ideology-neutral; there's no overt references to real-world happenings or anything like that. At its core however, it's all about the game, which is pretty damn good. It looks great, runs smoothly, sounds sharp, and features some of the best looking pre-rendered cutscenes around. Hopefully one day Aussies will get a chance to see Getting Up without having to resort to the grey market.

Article by Dominic Rozenberg