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Critical Consensus: Tomb Raider

Critical Consensus: Tomb Raider

Tue 26 Feb 2013 8:31am GMT / 3:31am EST / 12:31am PST
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Tomb Raider rises above troubled marketing to fuse together some of today's best games

The last few games in the Tomb Raider franchise marked a crossroads for the series as the game's development shifted hands: the Tomb Raider Trilogy - Legend, Anniversary, and Underworld - had new developer Crystal Dynamics presenting a Lara Croft slightly evolved from her handling by original developer Core Design. Since the original launch of Tomb Raider in 1996, the third-person adventure genre has seen a number of new contenders, including Tomb Raider heir apparent Uncharted and Ubisoft's Assassin's Creed. With the series feeling its age, Crystal Dynamics decided to throw out the rulebook and re-envision Lara Croft for a new generation.

This reboot - simply titled Tomb Raider - shows off a neophyte Lara Croft and tells the tale of how she became the powerful, confident Lara Croft from previous titles. Previews outlined a new, realistic design for Croft, who finds herself stranded on a deserted island, forced to pick up the tricks which we've seen serve her so well. Many have likened the experience to an open-world Uncharted, pitting Lara against a hostile environment, cultists, and even starvation.

Tomb Raider's marketing hit several bumps along the way, with early previews described by some as 'torture porn', what looked to be an attempted rape scene, and a developer who said that players would "want to protect" Croft. Did Crystal Dynamics survive the slings and arrows to deliver a fully-realized Tomb Raider reboot?

According to Tomb Raider's current Metacritic rating of 88 for PlayStation 3 and 86 for Xbox 360, yes it did. (Reviewers have yet to receive review code for the PC version at the time of this writing.)

Lara's emotional journey was handled by writer Rhianna Pratchett and together with voice actress Camilla Luddington, the game carves out a compelling lead character. Unfortunately, with so much focus on Croft, other characters suffer in comparison.

"Over the course of the game we see this intelligent, resourceful young woman become something closer to the Lara Croft we know, fearless in the face of danger. It is a greatly successful origin story, a series reboot that feels both authentic and hugely exciting," wrote IGN's Keza MacDonald, who gave the game a 9.1/10. "Camilla Luddington's performance as Croft is impressively convincing, and throughout this adventure you'll really feel for Lara - she is just not having a good time out there. It is a compelling reading of the character; we see Lara's vulnerability, but she is never disempowered, and never less than totally capable in extreme danger."

"At times, the emphasis on Lara's pain borders on the obsessive, dishing out punishment to a relentless degree."

Jim Sterling, Destructoid.

"The supporting cast is less developed, though. Lara herself is so well-realised that her friends and enemies feel two-dimensional by comparison. Lara is shipwrecked alongside a crew of friends, and her guilt over bringing them along on this expedition provides much of the plot's emotional thrust, but it's difficult to feel as much for them as you do for Lara."

Tomb Raider is not scared to dish out punishment to its main character in service of the story. The 'torture porn' noted by some in the previews is in full swing during the early part of the game.

lara01

Crystal Dynamics throws a great deal of pain Lara's way.

"In the first two hours alone, Lara Croft is battered, smashed, punched, impaled, practically molested, nearly drowned, scraped, scratched, and thrown. Every time she manages to patch herself up and get cleaned off, you can be sure she'll be covered in mud, blood, and searing wounds within moments -- and she'll scream in anguish at every brutal step," wrote Destructoid's Jim Sterling alongside his 8.5/10 rating. "At times, the emphasis on Lara's pain borders on the obsessive, dishing out punishment to a relentless degree. In the early chapters, this carnival of trauma is almost comical in its overabundance, but once it gets over its initial hump, Tomb Raider settles into a solid story about overcoming terrible odds and finding one's place in the world - a fitting allegory for the series as a whole."

Eurogamer's Ellie Gibson, who gave Tomb Raider an 8 out of 10, has some more pragmatic advice for those with thin walls. "The first hour of play is pretty depressing. It's also embarrassing, unless you have thick walls or neighbours who will regard the noise as adding ambience to the violent pornographic film they're making.

When Lara's not screaming, shrieking, panting or squealing, she's busy getting chased, groped and tied up. When she dies, it's with the kind of orgasmic groan that would make Ben Dover demand another take that's less over-the-top. All this takes place against a background of mutilated bodies and ritual sacrifice. The gory imagery is so prevalent and overblown it soon loses any power to shock or scare."

"Tomb Raider strikes a near-perfect balance between traversal, exploration, and combat, and it does so by letting players set that balance themselves."

Matt Miller, GameInformer.

Once the player passes the early part of the game, Lara begins to come into her own combat-wise. Tomb Raider splits its gameplay between exploration, cover-based gunplay, stealth, numerous quick-time events, and item collection. GameInformer's Matt Miller heaped praise on Tomb Raider's gameplay and gave the game a 9.25 rating.

"Tomb Raider strikes a near-perfect balance between traversal, exploration, and combat, and it does so by letting players set that balance themselves. While the critical path is mostly linear, stages are large and have plenty of options for shaping gameplay. The game does an admirable job supporting quiet melee kills, enemy distraction, and distant bow shots that send opponents silently tumbling from cliffsides. The gunplay is precise, headshots are appropriately rewarded, and mobility is encouraged as you dodge and leap between cover points."

While reviewers seemed to have loved Tomb Raider, many could see that the game had a number of influences from competing games.

"Tomb Raider is arguably one of the best action games in recent memory, but it can't call the lion's share of its accomplishments its own. Yes it borrows heavily from Uncharted, the world design riffs on Zelda, and the cover shooting isn't new, but I think that getting too hung up on its inspiration is to miss the point. This is a thoroughly enjoyable game regardless," said VG247's Dave Cook.

"Games that wear their influences so openly can be off-putting at best, and at worst they can seem like cheap knock-offs of the source material, but Tomb Raider openly borrows, learns, and appropriates scenes and moments from a large number of well-selected pop culture artefacts. Tomb Raider isn't shy about aping some of the sense of scope and the gigantic set pieces from the Uncharted series, but Lara Croft and company put their own stamp on every piece of this diverse pie. Some artists sample, and others create something original and cohesive by using bits and pieces of old material and putting it together in new and interesting ways. Tomb Raider is the latter," added Penny Arcade Report's Ben Kuchera.

If raiding tombs was the whole reason you played Tomb Raider, you may be disappointed. The game contains a few optional tombs, but they're short and easy to conquer. Tombs and puzzles have taken a backseat to the game's combat and exploration.

lara02

There are tombs, but they're not the game's focus.

"Well, it was inevitable that Tomb Raider would find it difficult appeasing both puzzle-loving fans of the original game and COD-addicted action junkies, but in the end Crystal Dynamics doesn't get the balance quite right. The main story takes you through several memorable sepulchres, each with bags of atmosphere. These are places that recall the fiendish nature of the original game's tombs, except draped in sparkling, current gen visuals. The problem is, there's just not enough of them," said CVG's Matt Gillman, giving Tomb Raider a 9/10.

"Are there tombs in Tomb Raider 2013? Yes. They're entirely optional, though, and are mostly hidden, combat-free zones concerned with environmental puzzle-solving. Exploring tombs gives you secrets and rewards-like skill points for upgrades and maps that show where relics and other collectibles are-so it's worth the investment of playing through them. They're also a quiet remove from all the human/animal aggression on the game's main path," wrote Kotaku's Evan Narcisse.

Multiplayer is a new addition to the series, but not a welcome one. Reviewers felt the game would have been better served by skipping it altogether.

"A big part of me wishes that the game started and stopped with the single-player offering, but that's not the case. The multi-player isn't awful, but it feels like a whole different game in everything from the muddy textures of environments to the sloppy feel of the action. The combat feels loose and frantic, and character animation is choppy. Explosions are hard or impossible to detect, and often result in cheap deaths. The interesting idea of platforming during a multiplayer session is hamstrung because it just exposes you to attack. I enjoyed upgrading weapons and unlocking characters, but these systems don't deviate much from expected standards. Other dedicated multiplayer experiences are more worth your time," said Miller from GameInformer.

"It feels like there are two conflicting forces at work here - a story that wants to be told, and a game that wants keep reminding everyone it's a game."

Ellie Gibson, Eurogamer.

"Tomb Raider's multiplayer mode is a strange inverse of the single-player. The latter pulls together many of the best traits of the current generation of game design; the former, many of the worst - specifically shoehorning in multiplayer where it's not needed," wrote Polygon's Phil Kollar, who was on the high side of the reviews with a 9 out of 10. "Tomb Raider provides more mobility than the average online shooter, but that's only enough to make it feel novel, not good."

Though the Tomb Raider deals with forging of Lara Croft into an action-adventure heroine, the game does delve into some narrative dissonance.

"It feels like there are two conflicting forces at work here - a story that wants to be told, and a game that wants keep reminding everyone it's a game," added Eurogamer's Gibson. "The most obvious example of this occurs early on, after Lara performs her first kill. A short cut-scene shows her contemplating the gravity of what it means to take a human life, and realising she has crossed a threshold over which she can never return. The pathos of this moment is somewhat undermined by the fact she spends the next 10 minutes blasting away at everyone like a toddler in a water fight - one who has been promised extra biscuits for headshots."

"Within a couple of hours Lara has overcome her moral qualms to the point where she's blithely hacking enemies to death with a pickaxe, mainly in the head. This kind of excessive violence may be common in video games but it feels incongruous here, alongside a storyline that's trying to be subtle and realistic. Despite the narrative's best efforts, the transition from ordinary innocent to violent murderer happens with about as much thoughtful discourse on conflicting moral complexities as there is in an episode of The Wright Stuff."

lara03

Lara is not afraid to get her hands dirty. Over and over again.

Kotaku's Evan Narcisse digs deeper into Tomb Raider's subtext to find a story about what it means to be Lara Croft.

"Even if you know nothing about the earlier controversies that swirled around this game last year, it's impossible to play 2013 Tomb Raider and not breathe in all the subtext in its atmosphere. It's irresistibly ripe for interpretation: a cult of violent, trapped men forming around the myth of a vengeful Sun Goddess and a young, outmatched woman who gets bruised ad infinitum on her Hero's Journey. On its face, Tomb Raider doesn't appear to be about the portrayals of female characters in popular entertainment. But it's certainly ready to be read that way," he writes.

"That layering-like the overall shift in tone-serves to gin up the experience in a counter-intuitive way. It's the kind of feel-bad that feels good. If you miss the old Lara, you're compelled to finish this title to get her closer to the snarky, actualized persona of the PS1 era."

Together, the reviewers paint a picture of a game inspired by some of today's best titles. Crystal Dynamics pulled features from Uncharted, Batman: Arkham Asylum, Assassin's Creed, and more to form Lara Croft's reboot debut. Tomb Raider might not be the most innovative title, but it is a well-crafted start for a new heroine.

9 Comments

Andreas Gschwari
Senior Games Designer

556 607 1.1
Crystal Dynamics have always been a top developer. Taking the franchise from Core, who clearly squandered their mandate (Angel of Darkness *cough*) and giving it to CD was the best thing Eidos could have done with Tomb Raider. It's good to see that move seems to have paid off and hopefully sales will underline this.

Posted:A year ago

#1

Phil Lynch
Product Manager

1 0 0.0
I know it's only semantics (and PR is a function of marketing etc.) but it feels like the intro should say;

"Tomb Raider rises above troubled PR to fuse together some of today's best games"

Posted:A year ago

#2

Kevin Strange
Developer Relations Account Manager

15 7 0.5
Did you guys see the TressFX hair in the PC version :-) stunning!!
http://blogs.amd.com/play/tressfx/

Posted:A year ago

#3

Greg Wilcox
Creator, Destroy All Fanboys!

2,153 1,070 0.5
Popular Comment
Mutiplayer should have been dumped from the beginning so the single player mode could have been tightened up a bit with more focus on some of those secondary characters and yes, perhaps a bit more tombs to raid. Still, stellar work by Crystal Dynamics.

I still think the "protect" Lara comment was taken out of context by some in the games media, as if you're playing her, you'd want to keep her alive throughout the game unlike in the older TR games where it seemed some of the deaths were sudden and violently comical if you weren't paying attention (getting turned to solid gold in that Midas trap, zapped by lightning, chomped by a shark, crushed by scenery, spiked, killed by mean monkeys and so forth and so on)...

Posted:A year ago

#4

Kevin Danaher
Associate Producer

45 62 1.4
@ Greg
Yeah I think that was misinterpreted too. What he probably meant was that you'll see these terrible, scary events occur and present obstacles for her to overcome. You'll empathise with her, wish you could prevent it as you would for anyone, male or female. Then you'll be itching to take control of her as your avatar in this world and show that she's Lara Croft damnit, she can protect herself!
It's a human thing, not a gender issue, everyone has low points from which they recover, overcome their obstacles and achieve some form of vindication. I think it is unfortunate that in this case that does mean unloading an incalculable amount of ammunition into those that oppressed the heroine to begin with but that comes from trying to balance a good story with emotional depth with a necessary action dynamic for the genre.

Posted:A year ago

#5

Kieren Bloomfield
Software Engineer

92 79 0.9
As soon as I saw the game play video review up on GT and I saw XP rewards popping up for head-shots I realized this wasn't the game I'd been looking forward to :(

Posted:A year ago

#6

Brandon Hofer
Editor in Chief

16 11 0.7
I don't really think there was anything wrong with the marketing or PR for the game. I think it was yet another case of something getting twisted on the internet and in typical internet kneejerk fashion everyone got mad over absolutely nothing.

Posted:A year ago

#7

Greg Wilcox
Creator, Destroy All Fanboys!

2,153 1,070 0.5
@Kevin- Yeah, I think the whole "get a gun, get REVENGE" thing is getting old in games because it seems as if it's the ONLY solution and it only (pardon the pun) triggers players to expect it to be the only way to resolve a virtual conflict.

Granted, yes, yes, it's probably why some people buy these games, but I think you can get MORE tension and suspense in situations (and TR provides plenty of both early on) where danger from the environment or enemies who can do you in if they as much as see you is presented as the thing to be scared at.

Imagine a game where the horror comes from finding out your weapons are useless against an enemy that can't feel pain (or wasn't a zombie, alien or other normal game creature). Or finding yourself as the only person who can fly a plane after the crew is rendered blind from watching that meteor shower a half hour ago. Having to be talked in by a control tower while you're panicking at the initially confusing instrument panel seems to me like a priceless opportunity for a game sequence for the ages.

Posted:A year ago

#8

Yiannis Koumoutzelis
Founder & Creative Director

360 203 0.6
Awesome game!
Highly recommended! It re-ignited my interest for TR and i knew it since the very first trailer it would be awesome!

Posted:A year ago

#9

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