Shadow Of The Tomb Raider shows us an imperfect image of Lara Croft in what could be her most revelatory adventure to date.
Lara Croft is in a very different place. Not that you’d know it at first – at a glance, Shadow Of The Tomb Raider is business as usual for the reboot series. There is climbing, as Croft leaps over gaps and traverses rock faces using pickaxes. Survival mechanics return, with a bow in the place of twin pistols. And, naturally, there are tombs: huge, echoing, fanged with traps and stuffed with treasures. It is strange to think that tomb raiding, the very thing that defines Croft, was relegated to an optional series of puzzle chambers in 2015’s Rise Of The Tomb Raider. In the very first hour of this game, we are forced to fight through one of the most terrifying iterations in the series’ long history. In Shadow, there is no escaping the tombs – and, by extension, there is no escaping Croft.
Much has been made of Crystal Dynamics and Eidos Montréal’s continued insistence that each of the reboot games marks the moment in which Lara Croft honestly, truly, for-real-this-time-you-guys, finally becomes the hardened hero we’ve always known. This time, in Shadow Of The Tomb Raider, we’re inclined to believe it. The tone and atmosphere belie something far more sophisticated below a very familiar surface: a real understanding of the parallels between these deep, dark structures and Croft’s troubled inner self.
Diese Geschichte stammt aus der July 2018-Ausgabe von Edge.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
Bereits Abonnent ? Anmelden
Diese Geschichte stammt aus der July 2018-Ausgabe von Edge.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
Bereits Abonnent? Anmelden
CHANTS OF SENNAAR
How Babel helped a world of stealth become a world of words
MEGHNA JAYANTH
Around the industry in eight games: one writer's journey through indie to triple-A and back again.
Tom Clancy's Splinter Cell: Blacklist
Sam Fisher's final outing is also his most enigmatic
Post Script
How low should a boss go?
TWO POINT STUDIOS
How a new studio rose from the ashes of Lionhead success not simulated
RAIDERS OF THE ARCHIVE
Wolfenstein-style shootouts are just a small part of the picture in MachineGames' maximalist Indy game
SPLITGATE 2
If it ain't broke, don't fix Split
KINGDOM COME: DELIVERANCE II
A bigger, better - and funnier Bohemian rhapsody
Narrative Engine
Write it like you stole it
The Outer Limits
Journeys fo the farthest reaches of interactive entertainment