I played a game: Pyre

Pyre is a good game.

“What does freedom mean to you?”

Pyre is an absolutely outstanding game, and yet another gem from Supergiant Games.

The game is set in the Downside, where criminals are cast out from the Commonwealth. You are such a criminal. See, you’re a Reader, and reading is forbidden in the Commonwealth. So, out you went.

In the Downside, you run into a group of characters. Rukey, the sketchy businessman Cur (pretty much a humanoid dog); Jodariel, the physically imposing Demon (which is what becomes of humans left in the Downside for too long; and also Hedwin, the benevolent human nomad. Every character in the main group is very well-developed, and end up developing bonds with both you the reader, and each other, resulting in some absolytely wonderful monents of comedy, sorrow, happiness, beauty and so on. There are a lot of interesting characters in the other teams you come up against in the Rites to come, and there are even some interesting relationships in-between members of different teams.

As a Reader, you are one of a few capable people able to conduct Rites, where two teams compete in a sort of Capture the Flag, where you race to collect the orb that spawns in the middle of the map and strive to drop it into the opponents’ Pyre. This douses the Pyre, and whichever teams’ Pyre is extinguished first – loses.

This is complicated by the fact that you can only move one character a time, so you switch between characters and find opportunities to dart forward when an opportunity presents itself. Every character has ways to mess with the opponents – some can throw their aura (pretty much their spiritual power manifesting around them), jump around (some can even fly) and charge into players. Every character has something that’s special for them. It might sound a bit daunting, but it’s quite easy to pick up, and you’ll find preferred teams and ways to play out the game.

The artwork is awesome, as you can tell by any of the preview images. Every frame is absolutely gorgeous, so I probably ended up with well over one thousand screenshots. The character designs look great, as does the backgrounds, etc. It’s very easy to figure out what’s happening in battles, as the visuals are very distinct, even when it does get really chaotic.

Supergiant have been celebrated in the past for their amazing soundtracks, and they’ve done it again. I never tire of hearing the multitude of tracks they manage to come up with. Each setting, whether it’s exploring the map, being in a discussion, or hammering fools in combat, the songs fit brilliantly with the mood.

There is also a story in Pyre, which is quite brilliant in both simplicity and its subtlety. You and the group you travel with seek a way back into the Commonwealth, and you get there by competing in Rites. Supposedly, there’s a way to fight one’s way back home, but how much will it take, and will everybody be able to go back home? In the end – What does freedom mean to you, and what would you do to attain it? It’s much more emotional than I had expected when I initially picked it up, and I was more than a little misty-eyed when the end was approaching.

I was pleasantly surprised with how much we, the players, are allowed to have a voice as the Reader. You get to have your views heard in arguments, get involved with other characters and build relationships with them, and as the groups star-navigator, you are its guide and choose where to go next. It’s a really ingenious way of involving the player very directly in the story, without having us be THE HERO.

One of the most defining things that happen when I finish something truly spectacular, like a good book/film/game/etc is that I feel a little empty inside afterwards. Like I invested a little part of myself into whatever awesome media I just devoured. Such was the case with Pyre, and if it isn’t abundantly clear at this point, I wholeheartedly recommend this wonderful game. It’s a terrific journey, that leads to a very impactful ending. Pyre is Supergiant Games’s strongest game yet, even beating out the wonderful Bastion, and definitely certifies them as a developer whose games are absolutely must-play.



Plaid Games: Watch_Dogs

Watch_Dogs is a good game,

but hold your horses, don’t let that be the one thing you take from this. While well-designed and at times a pleasure to play, Watch_Dogs is riddled with enough problems to warn of a lot of players.

So pretty, unlike most of the actual game, which is passable for the level of technology involved.

So pretty, unlike most of the actual game, which is passable for the level of technology involved.

So, I read that Watch_Dogs is Ubisoft’s quickest selling games or something like that, and I feel that’s down to a lot of misinformation. What I got from most of the teasers and game-play videos was that we’d be up against a crooked system in Watch_Dogs, and take it down with a clever use of hacking (and guns, since it’s basically a GTA-clone) and wit. Well, the system is barely touched upon, and the hacking is boring and easy. At least the gun-play is decent. Let’s get more into it, then.

The story of Watch_Dogs is an abomination. Or in more colourful terms, it’s wank. It revolves around Aiden Pearce, and the whirlwind of disaster he brings everywhere he goes. The game would have you think it’s a conspiracy against him, but really he brought nearly all of it on himself. Oh well. Aidan and his mentor, Damien Brenks, perform  a digital heist on the Merlaut hotel, presumably for money and information, with Aiden as point man and Damien doing the actual hacking. Damien notices that there’s another hacker on the system and tries to find out who, despite Aiden telling him not to. Aiden runs out, but him and Damien are already noticed by the system. Aiden and Damien are found and hurt by the people they tried to take stuff from. Damien gets away with a bum leg, but Aiden loses his niece, who is caught in the crossfire (CROSS-FIRE!) when fixers (supposedly hired guns, but they seem a bit too organised in general to be just that) come for him. Aiden can’t let go, and wants to get the people responsible. Then he sets off a chain of events that’ll leave everyone around him worse than before, and himself a shallow, broken sociopath. Yaaaaay. More on the spoilery bits later.

The game-play is probably the one thing that escapes the game with its dignity intact. It’s very good, but that’s expected from big budget games, isn’t it? No bonus points here. The car driving mechanics and physics are enjoyable enough to have you taking detours and joyrides. There’s a lot of different vehicles to choose from, including motorcycles and boats. The cars are on the slippy-slide side of the scale though, which can make for some frustrating high-speed driving. The gun-play and general combat is excellent. The cover mechanics, which are in just about every game ever today, are well done and the shooting feels great, if not too easy. Some enemies can tank a frustrating amount of damage, especially enervating when they run up to your face despite you offering your complaints with a semi-automatic shotgun to the face. Stealth works well usually, with the AI sometimes a it too dumb to be realistic, allowing you to use a combination of nifty hacking and clever movement to take down multiple enemies without being detected.

There are several activities you can give a go at. Some of the more mini-game ones I’ve heard are pretty bad and a waste of development time, which I have to agree with, considering how little time must’ve been spent on the story and characters. Others like Fixer Contracts, are pretty decent, giving you a break from the story and just driving around or whatever the objective is. Then there are Gang Hideouts, which are pretty stupid missions where you have a gang lieutenant to take down and then wipe out the rest of the gang for no reason other than why the fuck not. Then Criminal Convoys, where you’re supposed to take down convoys of criminals (no surprise, right?), but it’s ridiculously hard until you get extremely overpowered weapons later in the game. Finally, one of the the best parts of the game is being a vigilante, as ctOS (central Operating System, which runs most of the city’s electronic stuff) detects crime – which allows you to track down potential crimes. You then scout the location and try to intervene when shit goes down. Sometimes it’s just simple muggings and then at times it’s straight up murder you have to stop. It was really fun at the beginning, but as the story escalated, it felt a bit bland and uninteresting. Good effort, though.

The game is pretty. Not much else to say. It’s funny that it’s been billed as a next-gen game, but looks a couple years old, in all honesty. The characters themselves look pretty decent but then again, that’s to be expected.

Sound direction is decent enough. The radio has a good selection of tunes to listen to (yay for some Rise Against). The voice acting is generally good, but some characters are miscast, especially Aiden, who feels like he’s hardcore channelling his inner Bale Batman (“Swear to meeeeee!”). Guns and vehicle sound effects sound rather decent, I’ll say and be done on the subject.

The characters are fucking atrocious. Aiden is terrible, and he’s the lead character, dammit. He has virtually no personality and is hell-bent on fixing something he clearly brought on himself for being a greedy son of a bitch. He’s got one reaction to anything, and it’s silent rage. He almost never tells the player his rationale, instead he just sits on the rail-road towards the next checkpoint. His family have basically no characters themselves. His sister seems like a well enough person, but seems a bit too easy on accepting shit coming her way. Her and Aiden have a hilariously bad conversation, breaking out sibling banter when she’s allowed a minute on the phone by her kidnapper. Oh yeah, her kidnapper, Damien. Remember him? Yeah, that’s the guy who was Aiden’s partner. He’s an even worse sociopath than Aiden and seems to have lost track of any semblance of morality. He kidnaps the sister to have Aiden dance to his flute, and does some of the most unexplained shit I’ve ever seen in a game. Oh, and he’s a mega haxx0r, brah. Then there’s Clara, the tattoo artist slash bad-ass hacker (because nobody in this game will conform to the average hacker stereotype) and love interest by virtue of being the only female character. And also T-Bone, the game’s only likeable character and goof-ball. Then there’s Jordi, who the game continually forgets is available, so don’t feel bad for forgetting about him. He’s kind of funny, but an arsehole.

It’s a good game, but nothing more. It’s not a game you’ll re-play and not one to sit glued to during the late hours. Pick it up on a sale if you really want to try it, but I don’t recommend buying Watch_Dogs, as it’s not a great load of fun compared to what’s on the market.

From now on there will be spoilers.

The story is written like some hilariously bad fan-fiction by someone who’s read some bleak sci-fi and watched a couple of episodes of Person of Interest. ctOS is hardly introduced or even discussed at all. It’s just there to be exploited by hackers. Damien kidnapping the sister (I don’t remember her name as she’s totally forgettable) is so predictable it make me face-palm hard enough to get a concussion. It’s made even more weird and dumb by him being all crazy and definitely intending to kill her and Aiden because he’s just such a bad fellah. Luckily Aiden is a bigger bad-ass and kills everyone else first. Woo. Lucky Quinn being the man behind the conspiracy is so dumb and uninspired it makes my head hurt. Why are there always really old men that are antagonists in techno thrillers, especially when set in present time. How the fuck do they even have the knowledge to do stuff related to technology? My grandmother can use Facebook, but struggles with anything more (I love her for trying, though). Then that gang-banger “Iraq” having blackmail on just about anyone in the city is so ridiculous. How does this hood-rat have so much computing talent and resources enough to do that? And the fact that they expect us to buy that he uses that to strong-arm the police of a huge city like Chicago away from his turf is laughable. Can’t they just use the ctOS to fuck him over? Nope, because hackers are cool, that’s why.Seriously. There’s another hacker called “Defalt” (lol, really?) that’s slightly foreshadowed and then owns your base up the arse. He’s then killed off a mission later, so that’s that. Epic villains in this game, Ubisoft. Let’s not forget the scene when Damien takes control of the entire ctOS and uses it against Aiden. He really hacks the entire city and brings it under his control. Of course, there’s a back-door where Aiden plants a virus, and then goes to find and kill Damien, in the most anti-climactic ending to a game in a long time.

The game should have been about Aiden and a small group of hackers fighting against the brutal ctOS and the corrupt officials hammering down on the common man. Not the most original, but effective and surely better than the mess that is Watch_Dogs. Oh yeah, you remember DeadSec? The hacking group you though would have a big part in the game. They’re hardly around, and in the end, Aiden just shrugs them off. Apparently he figures better at guarding the city. Cunt.

Don’t buy Watch_Dogs.

I played a game: RAGE

NOTICE: Hi. What you’re reading is an old review from when I was using a different template. It was kind of ugly, so I switched. If I make a mention of spoilers going to be blacked out, they won’t be. Sorry. It’s just so long ago I wrote this and it’s a bother to go back and edit it extensively. Sorry if you get spoiled, but I’m pretty sure I didn’t put any major spoilers in anything without giving big warnings about it first. Cheers.

RAGE is a bad game

So, chances are you’ve heard of RAGE. The computer-devouring creation of id, creators of DOOM, Quake and other famous franchises. RAGE was hyped to the moon and back. Did it live up to the hype? As the above statement points out, no it really didn’t. Not by a long shot.

What first attracted me to RAGE was that it looked like a vast world with tons of different factions that responded differently to you (like Fallout: New Vegas’ rep system, but actually working well). The post-apocalyptic world looked great and I was expecting a cool story. I was incredibly disappointed.

One of the reasons I decided to write about RAGE just now, is that it was absolutely broken at launch. Not just for me. Thousands of players took to the web in search of ways to fix the game they’d shelled out hard-earned dollars, pounds, etcetera for. id slammed the Graphic card developers for not releasing the correct build and there was probably shit flung the other way as well. It baffled me that how in this age a game was completely unplayable at start. The only thing more retarded is the “internet-oceans” events, where games are released at different times in the world. Digital downloads. Being released at different dates. Because you live in another country. Fuck off.

Any way. Shit was fixed and I got to play it, finally. This was about a year ago. It played the first two hours (the intro clip is fantastically animated and executed, as I got to see like 50 times as I was trying to fix the game crashing right after) and just took a rest. Then I didn’t come back to it. Why? Because it’s not very fun. I don’t have a problem with playing it. I slog along and kill dudes left and right, but after you leave the first town, the game just becomes unbearably slow and formulaic. Maybe it’s with a gleam in their eye, but id created a shitty set-up for doing things. If you’ve played RPGs, then you recognise this:

  1. The player needs an object or needs to go to a location.
  2. The player is directed to an NPC for help.
  3. The NPC has some reason why they can’t help at that very moment, and sends the player on something that’s called a Fetch-quest (This is when you go to pick up an object and bring it to the NPC. It’s usually looked at with anger because they’re usually found in all RPGs and are continuous, in that there are several tiers to them, as in first you pick up 10 rabbits for the chef; then you pick up 25; then you pick up 50; and you get the rest.) leading to them finally being able to help you.

This is the entire fucking game. I shit you not. You go to Person A, who can help you with Predicament B, but first you need Objective C. It’s Mission by numbers, in the worst possible way.

If I could relate RAGE to any other thing in the world, it’d be this: Playing RAGE is like planning and then doing your shopping. It’s incredibly boring, but you do it, so you can go on.

The story is shit. An asteroid hit Earth, and apparently we had Ark Project running, so that we could repopulate later. Well, obviously that went to shit, as you wake up X years later and all the other dudes are either dead in their pods or dead in the huge wasteland that Earth has become. You’re saved by a random dude who brings you to his random town, where you help out. It is so unbelievably stale and formulaic you feel your brain trying to squeeze through your ears. The voice acting saves it from being downright hell. Then you move on to help other places do stuff. Because herp, that’s why. People trust you for being a silent dude with armour who is good with shooting things. Sounds legit. The set-up for RAGE is stupid and id should feel bad.

It doesn’t get better. It just continues the same way.

So, what positives are there to RAGE? Well, it’s pretty. Let’s face it: RAGE is just a tech-demo. id fucked us over real bad and marketed their graphics sandbox as an actual game. I mean, it is a game, but it’s a horribly bland one. It’s even more standard-FPS than fucking Call of Duty. It’s a rail-roaded shooting-gallery pathetic excuse of a game, and I now feel silly for even paying money for it. I’ll try to finish it, but at this point I don’t give a fuck.

Save your money, and skip buying RAGE. If you want a shooter, try Bulletstorm (really fun shooting gallery, play it with a friend) or Spec Ops: The Line (best military shooter of all time).

(I’ve been watching Kurozuka, so I’ll write about that soon)

From behind the GM Screen: Getting to know your friends again

RPG terms for the unknowing:
RPG: Role-playing game
GM: Game master (basically <the narrator>, the gm’s job is to keep track of the rules, explain the surroundings and events and play the side-characters)
PC: Player character (the players are the main characters of whatever story you’re telling)
OP: Over-powered (a rule of action or whatever that’s too strong to make much sense, and can end up breaking a game)

So, I’ve been running a campaign of Noir, a Swedish RPG for a couple of months now. I think we just passed 25 sessions, but I kinda lost count a ways back. Noir is just that, a Noir game. It’s set in a city where the state is everything and decides the fate of all. A world were most people can’t stand living and just blow their heads off. Most of the common man works in the gigantic factory districts or scrape by doing other jobs. Obviously there are detectives, crooked alcoholic cops and femme fatales. There just wouldn’t be a Noir setting without them. It’s got a nice, dark setting that’s great for character development and generally torturing your PCs. (Noir is a Swedish RPG and you can check for more info here: http://www.noir.nu/ Sorry to the non-Swedes, it’s only available in Swedish and the developers seem done with the product, so I doubt they’ll ever release a translate version.)

In Noir there’s a thing called “The Defilement”. It’s basically magic that used the caster’s life force. It’s extremely rare to be a Defiler, but some exist. The users suffer severe emotional traumas the more they use it, and I like fucking with my players, so of course I decided to center the campaign on characters that are Defiler and are trying to get rid of their affliction. So in general it’s a mix between investigation and action, finding the dudes that can help them figure out what to do, and drop-kicking evil in the face.

During the campaign, I’ve noticed that my players have a larger fancy for the action, and as such I’ve leaned towards more evil-punching than I had planned, and made the story into more of an epic struggle. Plans have rarely been made, and it generally goes like this when a plan is suggested.

  1. Look over the gathered information.
  2. Think up a basic plan, such as flanking or feigned charges.
  3. Disregard plan – kick down the door.

As a GM that doesn’t shy away from harming the PCs, I don’t complain much about it and reap the following results. I think there’s been 3 PC deaths thus far, and many occasions where players got just short of bleeding out. So it’s obviously ot the most lethal campaign ever, but I’ve been holding back a bit.

With just a few sessions to go, I decided to have a more social game, because I had to write an essay during the week and couldn’t be arsed to write up a slew of dudes to feed to the power-gaming PCs.

I thought the game went so-so. A common problem for GMs: Getting players to bite the plot hook. Mine just weren’t going for it, initially, so I kind of had to force interaction with NPCs to give them story information. It worked, and the show was on the road again. A thing I’ve noticed during the campaign is that The Defilement is ridiculously OP. It’s basically everything two of my players ever do. One of them has a Defilement that lets him become practically invisible, and the other one has one that lets him dominate NPCs (read: mind-control). Basically, The Defilement is the central game mechanic in this stage of the campaign. Which is fine, since this is just a thing I did to play-test The Defilement. Instead of talking to NPCs, they usually capture them, kill them or dominate them. That’s a problem, because The Defilement becomes a crutch to lean on instead of role playing.

Anyway, the players end up at a sort of gala for the famous aristocrats they have a problem with and infiltrate (of course, by dominating a nobleman to gain entry) and find information from an earlier antagonist. As trigger-happy as these guys are, I’m surprised they didn’t just pop him instantly. They find out that one of the party guests is an opponent of the real bad guys and they find him. Guess what: They fucking dominate him as well. Well, whoop-de-do, several hours of coming up with the character and dialogue go out the window and mind-control gets one more point.

Anyway, the session ends in bloodshed, as the old antagonist decides to fuck the place up (which was mostly me being an arse-hole, but whatever.

Anyway, what surprised me, was that after the session one of the players hit me up on Skype and thanked me for “a very good session”.

“A good session?” I thought to myself. I though it was a cluster-fuck of me fumbling over myself to throw the story at my players without them biting and making contrived plans, but I’ll take the compliment. Apparently at least he thought it was a nice change of pace to have a slow, talky session instead of shooting the place up all the time.

I’ll tell you this: If you think you know your friends exactly, think again, mate. Throw them into an RPG and be shocked at what they’ll do. I’ll get a post up on the amazing game The Quiet Year, by Joe Mcdaldno, soon. That game will have your head spinning at what your fellow players do.

PS: Funny thing, the players lack of planning bit them in the arse again as two PCs bit it in the last session. Going into a random boss battle before the Big God Damn Boss Battle cost them dearly, as one character got killed by a grenade, and one was mortally wounded when the boss battle arrived. Hopefully this’ll lead to some better planning in the future, but who knows? All I know is I’ll still get some sadistic pleasure when I snuff their three-step plan.

I Played A Game: Tomb Raider

NOTICE: Hi. What you’re reading is an old review from when I was using a different template. It was kind of ugly, so I switched. If I make a mention of spoilers going to be blacked out, they won’t be. Sorry. It’s just so long ago I wrote this and it’s a bother to go back and edit it extensively. Sorry if you get spoiled, but I’m pretty sure I didn’t put any major spoilers in anything without giving big warnings about it first. Cheers.

Tomb Raider is a good game.

So, I gave in, despite my starving wallet’s futile pleads, and bought Tomb Raider on Origin. I thought it looked great, but as I’m kinda low on cash at the moment I intended to let the price drop before getting it. Origin had a pretty good price so I picked it up. Funnily enough it uses Steamworks, so I had to install it on Steam anyway. WTF? Not that I mind, I have tons of games on and greatly enjoy using Steam. That sounded a bit corny. Anyway. ONTO THE TEXTING OF THINGS! Let’s begin with a run-down of the plot. I’ll try to keep this all spoiler-free. If there are spoilers, I’ll try to put them in red text.

While on an archaeology expedition with… other archaeologists, the ship Lara’s on (The Endurance, if my memory is correct) goes down and wrecks and the crew escapes. Most of the crew looks like they survived. Lara gets snagged by some guys as she crawls onto the beach. She wakes up upside down in a cave. Looks like she’s run into a cult of crazy dudes. After some burning of wood and a few QTEs, she makes it out and rejoins her friends. More things happen and Lara and the Endurance’s survivor’s are put against the cultists and try to find a way of the accursed island. Supernatural stuff are abound as Lara explores tombs and learn to survive on the island. The story is pretty simple but does a good job at taking you with it and making you care. The writing itself is a bit wonky at times. It goes wildly swinging from great and involving to horribly weak and redundant. It’s mostly good, but more consistency would have been nice.

One of the first thing you’ll notice is that the game is very beautiful. Very nicely crafted surroundings and impressive models make for a very pleasing visual experience.

Another thing you’ll notice is something that’s become a pet peeve of mine the last years. Quick-time-events. There are a TON of QTEs all over this game. Especially in the beginning of the game. As the story progresses they begin to thin out, but they come back in boss-battles and such. One of the reasons I don’t like QTEs are the way they’re often used, like in this game. Especially in boss-fights, where you try to find the right angle to shoot an enemy. However, you can only defeat the enemy in a specific way. First you dodge, and then you shoot his back. Then comes the QTE. Hit the button at the right timing and you cause damage. Rinse and repeat. I’d rather have a free-flowing battle where you wear down the enemy or find different ways to hurt him. For example:

  • Shoot the guy in the leg with your bow to slow him down.
  • Use the shotgun to blow his helmet off.
  • Dodge near a wall to make him get his hammer stuck.

And more possible things to do, instead of being tied to the one and only way to win the battle. It’s just lazy design to have it come down to a QTE. Slight spoiler: The final boss even comes down to a QTE.

And hey, the soundtrack is really good.

Jason Graves has composed a fantastic soundtrack that gets you caught up in the action. I’m definitely ordering this soundtrack ASAP. Great emotional, epic and action-y scores help the game have that much more impact. He even had a crazy instrument sculpted for the game. Check it out:

When soundtracks are this good, they enhance the entire experience, and Graves managed just that. Hats off to you, mate.

On the topic of audio, the voice acting of this game is absolutely bloody amazing. Especially Camilla Luddington, who of course plays the part of Lara. None of the bigger roles are anything but good, and apart from some very minor characters having some sketchy acting, it’s great all around.

Speaking of characters (nice segue, bwaha), most of the characters beside Lara are pretty bad. Except for Roth, who is pretty excellent, although clichéd, Jonah and Alex are pretty decent but are pictured as being pretty stupid. The female side-characters Reyes and Sam are absolutely worthless throwaway characters. Reyes is angry at Lara at the beginning of the game because Lara suggested going to the Dragon’s Teeth spot (presented as some Bermuda Triangle) and continues to be a massive bitch throughout the game until the final act, when she comes around and becomes nice and trusty. If she’s going to be a bitch, at least give her a good reason to be vile, instead of temporary setbacks. Also, she has a daughter, so that makes her near invincible, because of the sentimental value. Sam, on the other hand is just completely worthless. I get that she’s Lara’s friend, so Lara wants to save her, but she’s just such an idiot. Always getting stuck and kidnapped by the antagonist and then being horribly one-dimensional. In one of the few exposition-pieces she gets, she talks about taking Lara to bars and meeting cute guys. Yay.

Gameplay-wise, it’s pretty good. Besides the QTEs, there’s a lot of free-running and jumping around. I would have wanted it to bee more free, though, as there are usually only one way up to certain areas. My main anger is that there is a huge emphasis on action. You rarely get to go anywhere without stumbling into a ton of enemies, who are lying in ambush pretty much all over the island. I’d have rather seen more of an emphasis on exploration, as well as being given alternate paths to deal with eventual problems. Some are given, but it’s almost never an option to avoid direct combat, which is a bit sad. Also, this makes the tone of the game suffer a bit as well, as you get dulled by the amount of deaths.

Speaking of tone, (segue-master 9000) this game is gritty as fuck. Lara is a pretty girl, but she gets abused, dragged through the mud, falls of cliffs and all sorts of violence. She’s dirty, bloody and bruised throughout the game, which makes her a more interesting and real character and helps the game produce its dark atmosphere.

Regarding Lara, she’s obviously the best character of the game as it’s all about her. Strong-willed, smart, beautiful and the list goes on. Lara’s the star of the show, and you get a lot of time getting to know her.

To wrap up: Tomb Raider is a very good game and fun experience. It should have been better but lack of focus on writing and things that aren’t Lara stops it from being a possible contender for GOTY. If you have the dough, pick it up. Recommended.

Points and stuff:


  1. Kinda interesting story
  2. Beautiful scenery
  3. Fantastic soundtrack
  4. Lara Croft
  5. Voice Acting
  6. Gritty as fuck

In between:

  1. Roller-coaster writing (swings wildly from horrible to very good)


  1. Dreadful side-characters
  2. Too much action