Just finished it. My god, what a game. Taiso, I look forward to your thoughts upon completion. I wont spoil anything though.
O.
I managed to finish the game up earlier this week.
In terms of intrinsic gameplay (I.E. 'is the game fun to PLAY'), I would have to say that the combat is smooth, the platforming is engaging, the controls are generally responsive and the treasure hunts and tomb puzzles are not only challenging but rewarding to complete, both in terms of satisfying a player's need to succeed and at the in game rewards of loot revealing maps and big XP rewards.
The aesthetics are spot on, from the voice acting to the graphics and textures to the BEAUTIFUL environments and the soundtrack. The sense of vertigo I experienced when I was in the harbor in the later stages of the game, navigating all those gigantic shipwrecks, really generated a feelilng of 'scale' within me. I realized just how big this island and its mystry was, and small and insignificant I was against it. How will one battered teenage girl overcome an island acting as home to a power that can beach battleships? These immersive elements are part and parcel of any video game experience that is fixed on narrative. It's not just about advancing the story to the next chapter, but
feeling the current chapter. This is not an easy thing for game developers to establish, and it needs to be recognized when they do it.
In terms of the extrinsic gameplay (I.E. 'playing to achieve a particular in-game state/status' such as seeing the story unfold, leveling up, etc), I enjoyed modifying the weapons and gathering the resources to improve them. I also liked how stylish you actually become with Lara as the game goes on. As she gets stronger and more confident, so do you.
The game gets easier as you go along, and I believe this is a good thing for this type of game. Purists may argue that the gameplay 'isn't hard enough' but my personal view is that this is in willful ignorance of what this game actually is.
If you look at what this game is, there is a clear attempt on the part of the devs to revitalize an IP whose resonance is about 75% in the public consciousness and only about 2%5 in the quality of the games themselves. There really aren't that many 'great' Tomb Raider games. In fact, I think it's fair to argue that after the first game, none of them really justify the character's position in the industry if you look at it from a sheer 'game quality' standpoint. Lara's been a one trick pony for a long time now.
But still, Lara persists. She is an icon, undeniably one of the most recognizable female protagonists from video games of all time. You could argue that, given her pop culture exposure, she's the MOST recognizable, certainly moreso than Zelda, Samus or Chun Li to the lay person. And it can't be denied that she is one of the most significant characters, male or female, because of how she's been used in pop culture since her introduction. The first live action film remains the highest grossing movie based on a video game ever, and that kind of mass market penetration means something. If you call something 'Tomb Raider', people are going to know who it's about and what it is.
So it's clear that the mission with this new game was to focus on the character's growth through the course of the game from an ability/maturity standpoint, which necessarily creates an emotional bond with the player, and this is something that goes beyond the observation of Tomb Raider as a 'game'. If you look at the focus on cinematic storytelling and the harsh circumstances she's forced to endure, CD is definitely trying to get you to care about this character and to want to get her thorugh these trials.
This is why, in my opinion, the death scenes for failed QTEs are so violent. Whenever Lara gets impaled or choked to death or crushed,, and it's all right there in front of me, I feel really bad. Instincitively, because of my own human nature, I am thinking 'she's so young and she'll never live all that life and have all those adventures.' It's more frustrating to me than when, say, Nathan Drake or Kratos dies. Those people have had their day in the sun and if it's their time, the only tragedy is that 'evil prevails.' This will obviously not affect all players. Some people will just be mashing buttons as fast as possible to give it a second, third or fourth try. But for me, observing the game as a narrative experience and not purely as an exercise in hand-eye coordination, I take all of these elements into consideration and feel all the more rewarded for enjoying the game on
all the levels it has to offer. I am, at the very least, getting far more bang for my buck than the impatient twitch based gamers who only care about 'gameplay' and 'challenge.' This game is not for them-it's for the rest of
us.
But with Lara, there is an extra desire to help see her through it because I want to help her get off that island, stop the bad guys, save her friends and go on to do great things. The character has no cynicism in her at the start of the game, and despite all the marketing of this dark, gritty heroine that emerges from hell transformed, she remains hopeful, optimistic and vulnerable. I've read one review that criticized the cinematic portrayal of the character in stark contrast with the violent methods of eliminiating enemies at the player's fingertips, but I feel this odd juxtaposition of gameplay versus presentation is perfectly fine. Audiences will generally remember Lara for the person she is supposed to be, not the violent killer some of us have made her through our own actions. This type of selective ownership is something players can generally sort out for themselves with little concern.
To further illustrate that Lara is Lara and we are just shepherds on her adventure, at the end of the game, the 'meta' element of going back to complete the island at 100% is that 'she's not going back' when the others are relieved to finally be going home. But even there, her internal motiviation is not like that of Martin Sheen's psyche blasted soul from
Apocalypse Now. She hasn't grown harder, as Sheen did. It can be argued that Sheen became weaker as a human being at the end of AN, whereas Lara's grown
stronger for staying pure, and that island still has secrets to discover. And you want to help her discover those secrets. Just as Lara, this virtual identity, wants to unearth the secrets because of her archaeological roots and to see all truths laid bare, you also want to revisit the island and uncover everything because at your heart, you too are a completist. If you weren't, you wouldn't be playing 'New Game+' mode.
And it is significant, and important, for Lara to retain her own identity, rather than let the audience shape her. This is what creates the narrative attachment that so many of today's gamers need to return to a series that features beloved characters. This is not to discredit games like Fallout 3 or Elder Scrolls, but those games don't rely on a signature character to exist. Tomb Raider, on the other hand, exists because of Lara's enduring popularity, not the other way around. Because of that, player ownership needs to be provided in other areas of the game and not necessarily in plotting her life course.
This type of psychological connection between the game and the player is a very difficult tightrope to walk. It's an element of 'theme' that is being pushed in order to create a compulsory connection to the game and the character. This makes you want to play the next game, have the next adventure.
I've seen this trend fairly often in games this year: games that are eminently fun with engaging, if easy, gameplay, compelling characters and narrative and amazing aesthetics. DmC, Castlevania: Lords of Shadow Mirror of Fate and now Tomb Raider all are a part of this trend, as is Fire Emblem: Awakening if you count the casual mode gameplay. They've also been four of the most fun games I've played this year. None of them (except FE: A) has the replayability or polish of Metal Gear Rising: Revengeance, but I take them a whole lot more seriously as entries respective to their IPs because they are creating a greater sense of attachment to EVERYTHING about them. With MGR: R, the gameplay is the
only thing I care about and with all that wonderful aesthetic polish (graphics, music, immersion, etc.) being so completely forgettable, it's such a tragic waste.
As an accomplishment, I give this new TR 4.5 out of five. I think CD hit every mark they were aiming for. If players don't like it, it's because this game just isn't for them and is not a mark against the game itself at all. My only quibble is that there is no way in game to reveal the locations of the 'treasure hunt' item locations. I don't want those locations HANDED to me, but another map, a harder to find map, or at least a marker showing the ones I've found as I check the map, would have been appreciated.