John Gillooly watches darkness descend on the Tomb Raider franchise.
Despite the tendency for average gamers to dismiss Tomb Raider because of its mass market breakthrough, it still stands as a milestone series. The first Tomb Raider introduced a whole generation to the world of 3D and provided a tricky yet satisfying experience.
With this in mind, the concept of Tomb Raider: Angel of Darkness sounded like it could work; drop Lara into an adventure game, trying to solve some mysterious murders for which she is the main suspect. Rather than pure push block, back flip over there type puzzles, Lara begins the game in Paris, where she soon has to roam the streets finding and conversing with people, doing quests and occasionally flip flopping her way out of trouble.
Angel of Darkness brings a few other things to the series, namely another playable character called Kurtis Trent. This is a refreshing change to the previous fixation solely on Lara's perfectly formed buttocks. The save, inventory and control systems have also been changed significantly and the graphics engine has been given a major spit and polish.
It's nice to see Core Design still remembers that it is considered one of the 3D graphics pioneers. The PC version of this game has the most comprehensive configuration menu we have ever seen and the PS2 version is one of those games that remind you just how powerful Sony's console is. Paris and Prague look alive, with amazing lighting effects and some slick texturing work. It is just unfortunate that Lara herself seems blessed with a face resulting from some bizarre cel-shading experiment.
But it is the revamped control system that makes this game; makes this game a frustrating simulation of being on mildly hallucinogenic sedatives, that is. Frankly, this is one of the worst control systems seen in a big name game. By her very nature, Lara is a lithe, agile, buxom... oops, got sidetracked. Lara's very gymnastic ability demands a control system that gives instant response, which is fast yet precise. The new control system is nothing like that. Trying to manipulate Lara is an exercise in Zen-like patience as the analog-only control has her swimming backwards, forwards, left and right as you try and position Lara for some feat of aerobatics. There is a walk function which makes things slightly less painful as you cannot fall off something when it is on, but positioning is even more of a bitch when walking.
Reasoning for the change is understandable but indicative of what plagues the whole game. There are just too many good ideas implemented in a half-arsed way. Core has added stealth elements as another way of deepening the Tomb Raider experience. This consists of a sneak button and a Solid Snake style wall sneak. Unfortunately these are rarely needed, and the wall sneak in particular is frustrating and clumsy.
Other examples of half-arsed implementation are the simplistic hand to hand combat system and the highly linear conversation system. In one of the first conversations in the game with Madam Margot Carvier, Lara can screw up so badly that Madam Carvier is convinced that Lara is the killer but in a strange cutscene jumpcut moment still gives her the notebook belonging to Lara's last alleged victim. It just doesn't make sense.
It is not hard to see the game Core Design was trying to make. As long as it didn't end up with a control system useful only to the precogniscent it could have been amazing; a new generation of adventure platformer; non-linear storyline; the ability to choose stealth or pursuit; combat not involving the brutal slaying of endangered felines. In the end it looks like a game that despite constant delays was still rushed out the door. In fact EIDOS is so unhappy with the game it has since handed over control of the franchise to US development team Crystal Dynamics. Even producers of the second Tomb Raider movie are blaming Angel of Darkness for poor box office performance.
Tomb Raider fans will either love or hate this game, but what enjoyment to be had is marred by the control system. Its nice to see Lara back again in a more badarse role than before. How we wish the original vision for the game could have been seen through to the end rather than rushed and left partially completed
Issue: 133 | February, 2012