Aria of No Soul

Whee! I’m done! Now let’s quickly get out of here!

If this wasn’t much of a week then Rise of the Tomb Raider: 20 Year Anniversary at least follows suit. Even if it was still a cautiously entertaining adventure just last weekend, its latter half stumbled on so many clichés that it would have needed to be a self-conscious parody rather than a solemn action-adventure to work. It’s a real shame, too, considering that tech-wise Rise of the Tomb Raider is still nigh on impeccable. Both the overall imagery of the game as well as the detail of its heroine’s animation are absolutely spot on. When Lara admires the exceptionally gorgeous views, or quickly dries her ponytail after a quick swim, those are the moments when the player probably feels most in sync with the character. Movement is fluent, bullets fly true, and the environment is discreetly graceful at pointing out ledges that can be grabbed, vertical surfaces that allow an additional step, or cliffsides that can be leaped onto with a couple of climbing axes.

Even if the staff of Crystal Dynamics seem to be on the level from a technical perspective, the other aspects making up a game are a bit woeful. Two religious extremities – one strong but evil, the other weak but good – vying over an ancient secret really is a piss-poor motif to begin with, but it’s ten times worse approached seriously. Sure, Indiana Jones fights Nazis and Nathan Drake has his own treasure hunts, but at least those two know how to laugh at themselves. Lara does not laugh. Even if Rise of the Tomb Raider no longer treats its heroine in such a repulsive and sadistic manner than its predecessor (Tomb Raider of 2013), there’s still not even an iota of British charm present, as much as a treasure trove that would be. No one ever smiles, except maybe by accident, and when awfully stereotypical characters constantly end up in awfully stereotypical situations while spouting lines like “You do what you must”, or when Lara is sitting at a campfire, having a personal crisis of how awful it is for the good in this world to witness death and violence… It’s just plain cringe-worthy.

As for gameplay, it has similar problems. Whenever Lara can choose a stealthy approach, picking off her adversaries one by one from the shadows, the game shines at its brightest. To counter these occasions, however, there are tons of moments when you’re swarmed by alarmed bad guys and left with no option but to survive. At times, an endless rain of nades would put even Call of Duty in shame, and when all else fails there’s always the tired old cliché of slow but heavily armored baddies to fall back to. Rise of the Tomb Raider never finds a good balance between these two extremes. It’s either an enjoyable stealth encounter or a shockingly loud and chaotic skirmish but rarely ever anything in between. Towards the end, all gauges are turned up to eleven and everything is so flashy it no longer even matters anymore. Just a ridiculous barrage of unnecessarily dramatic explosions and close calls that are there only for their own sake (incidentally something that hampered the previous game, too).

I beat the game in 20 hours, including one of its story-driven DLCs, which was pretty much more of the same but with a hugely original twist of added chaos via psychedelic hallucinations. Oh FFS, game designers, get your act together already. If this is AAA, I’m happy to stick to the sidelines.

Auspicious second-stringers

Speaking of which, even if this time of year doesn’t sport that many new releases, a couple still caught my attention. Little Nightmares is, apparently, some sort of a dark puzzle-platformer that probably would’ve flown right past my radar without plenty of positive hearsay. As for Utawarerumono: Mask of Deception, it’s something I’ve briefly covered already, and really a game I’m really looking forward to. Now if only I could get that one remarkably time-consuming and, at times, aggravating DS puzzle game done and dusted… If anything, I’m thankful of not having to cover these as work.

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