I’m
not proud of this, but I’ll be honest and say that I wanted to dislike Tomb Raider. I’ve never been a fan of
the franchise in the past, and the knuckle-headed pre-release PR, coupled with
my general dislike for reboots meant that I was positively looking forward to this
game being mauled by the press. Imagine my annoyance, then, when I found
myself enjoying Lara’s origin story more than any other game so far this year.
I’ve always seen the Tomb Raider series as a cynical play for the hormonal teenager market, so I was pleasantly surprised to see that this latest entry avoids the lechery of its predecessors. While Lara is obviously supposed to be attractive, the game never sets out to titillate, avoiding leery camera angles and improbable breast physics. Instead of her body, the focus of Tomb Raider is Lara’s extreme bravery and resourcefulness. Little touches such as Lara psyching herself up before tough jumps remind us that she is new to adventuring, but it’s clear that she’s far too capable for anyone to feel the need to protect her. My only complaint with Lara is that she is a stiflingly humourless character. Of course, her situation is dire, but the game could have benefitted tonally from some well-placed gallows humour.
As
well as presenting a believable character in Lara, Tomb Raider employs a clever design that accommodates divergent
play styles. If you want a focused third-person action-adventure game, you can
play it in a strictly linear fashion, allowing the game to funnel you expertly through its serviceable but bland story. But if you choose to go off-piste, Tomb Raider rewards exploration, with
new items often allowing access to whole new sections of previously visited
areas. Exploration is essential for collecting the parts necessary for
upgrading Lara’s weapons, and doing so confers significant benefits in combat. Deviating
from the game’s path also allows you to access the game’s optional tombs. These
usually consist of a single, self-contained puzzle, and can often be completed
in under a minute once you hit upon the solution. This is probably
disappointing for long-term fans of the series, but I found them just
substantial enough to be satisfying.
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| It's baffling that Lara never thinks to pilfer a jumper when looting dead enemies (Picture: Tomb Raider) |
There
are some distractions from the main quest that add little to the game, however.
Trinkets, letters, and diary entries fill in the story, but sitting through the
grating voiceovers that accompany them is a chore. Hunting animals also proves
to be a disappointment. I had hoped Tomb
Raider might have included some interesting survival elements similar to
those seen in Metal Gear Solid 3.
Unfortunately, slaying animals is simply a way to farm meagre amounts of
experience points, and feels unnecessary as a result
For
all the pre-release talk of survival on a remote island, then, it turns out that combat makes up
the most substantial portion of Tomb Raider, so it’s a relief that it’s
been handled so well. When enemies are nearby, Lara readies her weapon and
adopts a low profile, ramping up the tension even before threats are visible to
the player. When Lara is spotted by her foes, the pace of the game becomes noticeably
frantic. Driving congas are added to the soundtrack, and bullets whistle
menacingly through the air as Lara scampers on all fours to get to cover. Without
access to body armour, Lara feels appropriately delicate when under fire, meaning
even small groups of foes can be dangerous. Enemies regularly throw explosives your
way, which is frustrating, but it keeps combat dynamic and prevents you from
finding a safe spot and staying there until you've cleared the room. When you do get
the chance to line up a shot, Lara’s weapons feel extremely satisfying to use.
It’s a shame that some shootouts outstay their welcome, with combat fatigue
doing much to kill the drama in the later portions of the game.
Much
has been made of the disconnect between Lara’s tearful first kill and the
bloodbath that comprises the rest of the game. It’s true that Lara’s reflection
on her actions is rather fleeting within the narrative, but subtle factors beyond
it add to the feeling that Lara is developing into a killer, rather than having simply flipped a switch. Lara’s finishing moves, for example, go from desperate
lunges to cold executions as they are upgraded. That you’re unlikely to unlock
the most violent takedowns until the game’s final act gives a convincing sense
of Lara increasingly abandoning her morals as she faces a more and more hostile
environment.
After
I saw Tomb Raider at E3 2012, I was
convinced that it was destined to be a second rate Uncharted clone. Having
played it now, while there are similarities, Tomb Raider surprised me by holding
its own against Uncharted, even bettering
it in some cases. For example, like
Drake, Lara spends much of her time climbing. However, climbing in Tomb Raider lacks the predefined paths
and glowing ledges that sanitise the experience in Uncharted, and Lara’s adventure
feels far more satisfying as a result.
Uncharted’s trump card, though, is its
memorable cast of characters. Little more than a checklist of lazy stereotypes,
Lara’s friends are badly acted and unlikeable in the extreme. Clearly, there’s
still work to be done if Lara is to steal Drake’s crown when Tomb Raider returns for a sequel.
Since we’ve established that previous Tomb
Raider games haven’t appealed to me, it’s a testament to the excellent work
that Crystal Dynamics have done on this reboot that I’m excited for Lara’s next
adventure. Brilliantly believable, the Lara of 2013 is a world away from the
caricature that became a pop culture icon in the 90s, and to my mind Tomb Raider is immeasurably better for
it.
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