#Tomb raider pc game tv#

#Tomb raider pc game tv#

Conversations between Lara's fellow survivors are believable despite their rote characterisation: nerdy twenty-something male, tough black woman, untrustworthy TV personality, spiritual Maori, and so on. It relaxes back into the series' matinee adventure comfort zone, and some of its later set-pieces are genuinely spectacular as a result. When the game gives up on being a story about a young woman having an absolutely terrible time, it improves. The memory of that first traumatic kill fades as you kneel behind another piece of waist-high cover to ping arrows into the cranii of obliging brotherhood warrior after obliging brotherhood warrior.

You stop wondering if pressing the buttons to make Lara go through this carnival of horrors is not an act of cruelty in and of itself. You forget about the multiple times you watched Lara's throat be ripped out by a wolf because you kept fumbling a quicktime event. Tomb Raider becomes about gentle exploration for a while, and there's nothing particularly traumatic about it. There are letters and relics to find, and secret tombs to plunder for bonus skill points. Your options for traversal have been expanded by the acquisition of rope arrows that allow you to pull down certain doors and affix zip-lines to particular posts. Then, after another calamitous mountainside descent, Lara emerges out onto a familiar landscape - a hub area - from a new vantage point. Adventure game sleight-of-hand, as taught at Uncharted's School of Seven Bells - what is being pickpocketed, in this case, is your right as a player to have your agency reflected in the events taking place on-screen. Let go and Lara will keep climbing without you. There's a point where the game slips into a cutscene but pretends that it hasn't: nothing changes, with the exception that it's no longer accepting your input. There's no way to fail, though a few pre-canned moments will have a rusty rung give way and leave her hanging. Press forward and Lara climbs: press anything else and Lara stops. Once you're on that bottom rung, the game will only accept one input: forwards. Shortly afterwards, Lara hops onto the bottom rung of a ladder leading up a rickety radar tower whose topmost transmitter is her crew's best hope for rescue. Play on for another few hours, however, and you'll find yourself in a hybrid of third-person shooter and linear platformer, Lara trading the bleak little lethalities of life as a shipwreck survivor for a parade of regulation set-pieces: an escape from a burning building, a helicopter crash, a section where your guns are taken away, a climactic assault on an enemy stronghold. It's certainly what they've been talking about until now. Give it a few months and I suspect these opening hours will be what people will be talking about when they talk about Crystal Dynamics' reboot. Her first human kill leaves her blood-soaked and distraught.

Her elbows shake believably when she mantles up onto a ledge. Hunger necessitates finding a bow and hunting deer. Lara sobs and trembles, and evident effort has been made to slow down and focus on the details of her experience. This early cruelty is the game's most strikingly idiosyncratic feature. Fail any of these and you'll also watch her be crushed, impaled, strangled, mauled and so on. In the opening hours of Tomb Raider she is stabbed, burned, drenched, assaulted and almost freezes to death: that's if you're doing well, meeting the demands of every linear climbing section, gunfight, finickety stealth sequence and quick-time event that presents itself. Stranded on the mythical island of Yamatai following a freak storm, 21-year-old Lara Croft's career as a videogame protagonist begins with suffering.