Call for Music Writers... Rock, Indie, Hip-hop, R&B, Electronic, Americana, Metal, World and More

cover art

Marc Ecko's Getting Up

Contents Under Pressure

(Atari; US: Jul 2007)

Organizing Crime

I remember being about 12 or 13 years old and swinging a radio around my head by its cord before smashing it against a driveway. There is something strangely sublime about watching tubes and transistors explode against concrete. In other words, I can appreciate the pleasures derived from vandalism. That is probably why I looked forward to the release of graffiti artist Marc Ecko’s first video game, Getting Up: Contents Under Pressure.

Given the popularity of games featuring chaos-brining antiheroes, I figured it was about time that someone gave gamers some good reason to cut a swath of destruction over virtual landscapes. However, after playing Ecko’s game, I am not convinced that Ecko or The Collective were the right folks for the job. Or, perhaps, the problem is simply in the fact that simulated worlds are fundamentally “framed” or organized ones.

The premise is antiauthoritarian to the core with the player taking on a “toy” (RE: novice) who’s set to make his mark as an artist and rebel through his tagger identity, Trane. The game is set in a fictional urban landscape run by a fascistic police state. Given that tagging, like many urban cultural movements, is largely focused on publicizing identity, this highly individualized expression of establishing your “name” by spray painting it on others’ personal property or over the “names” of other taggers seems an appropriate means of sticking it to a suggestively collective body politic represented through this police state.

This idea seems like one that fundamentally works. However, if only the gameplay could match the premise of individualized reclamation of the landscape instead of militating against it.

The manner in which this idea plays is both mundane and repetitious. The game consists of utilizing Trane’s artistic intuition (think spider-sense) to locate areas that are prime spots for tagging—be it with spray paint, magic markers, stickers, etc. Once you’ve viewed a landscape with this detection system (which conveniently X’s over areas to be tagged), you have to figure out how to climb to these spots and tag them. (So the “getting up” in the title has a double meaning, referring to raising your rep as well as the climbing.)

Tagging is done in one of two ways: in Free Form mode one must vandalize a wall (or whatever object your intuition has suggested to you) a set number of times by scrawling “Trane” (in one of a few optional forms) on it, or you can use an outline as a guide. So basically the object of the game is to color in between the lines, which sounds more like child’s play than rebellion.

Coloring in your tags consists of holding down a trigger and moving the analog stick up and down between the lines while trying not to spray any one area too much (which would cause drips, thus ruining your coloring page “masterpiece”). Indeed, the game doesn’t even allow you to color outside the lines, as the paint appears only in prescriptive areas and colors. The end result is no more fun than watching paint dry… feel free to insert a rimshot here.

Occasionally you’ll have to fight off cops and rival gangs; sadly, this, not the tagging, is the brightest spot of the game. The fighting system is fairly robust, what with loads of special moves and combos that are unlocked as you progress. Similarly, new tags and media implements are unlocked as your reputation as an artist improves; essentially, you upgrade from a box of eight Crayolas to 64.

Nevertheless, due to the lack of options and creativity required to vandalize the neighborhood, your “individual expression” always feels controlled and determined by the mechanisms of a bland and repetitious game design. What Getting Up suggests is that, perhaps, simulations really are limited in their ability to simulate the sort of sublime chaos inherent in disorderly behavior. All the game offers is a digital coloring book experience. Too bad one doesn’t have the option to tear the pages up when through.


G. Christopher Williams is a Professor of English at the University of Wisconsin-Stevens Point. He posts his weekly contribution to the Moving Pixels blog at PopMatters every Wednesday. Besides also serving as Multimedia Editor at PopMatters and writing at his own blog, 8-bit confessional, he has also published essays in journals like Film Criticism, PostScript, and the Popular Culture Review. You won't find him on Twitter, but you can drop him a line with that old fashioned thing called e-mail at

Related Articles
18 Nov 2008
"Atmosphere" is the key word when talking about Silent Hill, and Homecoming is no different.
By Blake Becker
31 Dec 1994
Sith feels more like a Star Wars knockoff rather than an official movie tie-in.
Now on PopMatters
PM Picks

© 1999-2015 All rights reserved.™ and PopMatters™ are trademarks
of PopMatters Media, Inc.

PopMatters is wholly independently owned and operated.