Tomb Raider: Underworld

"Lara is as lifelike as ever."

Of the three games Crystal Dynamics (herein CD) has produced for this series, Tomb Raider: Underworld (herein TR:U) stands as a formidable contributor to its predecessors. The question remains however, does it stand proud as the best in the series, or is it another collectible item sought out by only the most hardcore Tomb Raider fans? Does it tease the player with Lara's ever-so graceful fluidity, or does she venture into the realm of impossible, at times defying the laws physics? Regardless of it's implications, this game is indeed an achievement that deserves recognition, but just how much is up to the player's enthusiasm for this video game vixen.

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Gameplay: 7/10

"What Could Lara Do?"

CD's developmental philosophy of "what can Lara do?," sought to make Lara respond to whatever the player wanted her to do. This pushed the team to develop Lara not as a scripted and restricted character, but one that becomes fully functional with the environment. Lara can do everything she has done in the previous games, and more. She still jumps, clings, swings, walks, traverses, perches, flips, vaults, swan dives, tumbles, interacts, swims, shimmeys, grapples (including the brand new grapple rappel) and pulls out her signature dual pistols when the situation is threatening. She can still interactively take out foes with the brand new Adrenaline Headshot system (more about this later), vault over or off an enemy, or melee attack. Everything you can expect from the previous CD games is here, including the combination tumbles, and more.

On top of this she can now sprint, coming in handy when the ruinous environments crumble around you or to avoid enemies. Her new combat interactions include the ability to shoot two targets at once, the ability to shoot an enemy as she hangs from a ledge, pole, or other object, and an Adrenaline system. As she combats against foes her Adrenaline meter fills up. The player can either opt to fill it to its maximum level, at which point the player can initiate the Adrenaline Headshot interaction, or simply engage Adrenaline to deal more damage. The Adrenaline Headshot interaction allows the player to make quick work of a single foe (at the expense of the filled Adrenaline meter). Lara can also pick up objects and attack with them, but you'll very rarely be utilizing this feature since your pistols have infinite ammo. Nonetheless, it makes for a more interesting and dynamic combat experience and strays from the simply run and gun deal.

Lara can now also throw objects and remove swing bars and place them elsewhere, making it useful for solving puzzles and navigating the environment. The binoculars have returned, an easier free-look mode has been implemented to study your surroundings, and the PDA includes a rough 3D map of the area that reveals itself as you explore it. She is now able to climb atop swing bars and jump off of them, traverse across thin beams, and chimney jump (i.e. she launches herself up two, appropriately spaced, opposing walls).

Lara can certainly do more, but not everything imaginable.

What Could Lara... Not Do?

Just like any action-adventure game the main character must follow a predetermined path in order to complete a level. She is still restricted by obstacles and cleverly placed piles of rocks and debris, but this does not detract too much from the experience. More than likely, if a certain portion of the level intrigues you, it will be reachable.

Lara can't miss! Apparently CD saw fit to implement an auto-aim system (again). That's right, just wield your weapons and hold the fire button. The auto-aim system seems a bit overdone, and certainly distances the player from Lara; she becomes more of a robot responding to mere impulses. This is relieved a bit in the Adrenaline Headshot interaction, where the player must manually line up a red reticule with the enemy's head, but a more intuitive aiming system should have been developed. It almost feels like you're cheating.

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The dreaded camera! While the player-controlled camera from the previous CD games wasn't perfect, the camera in TR:U takes a step, albeit a minuscule one, in the wrong direction. It's liberal ease of use is lost and locks to Lara's rear (that's a bad thing?). But as soon as you've become accustomed to Lara's lifelike beauty, you will notice that you cannot pivot the camera around her as easily as you could in the previous CD games. The camera becomes particularly difficult as Lara rounds corners or nears obstacles. Regardless, it's a rather minor nuisance that most players won't find too troubling. Apart from this and the occasional twitches, the camera isn't too detractive from the gameplay.

The player can expect to come across puzzles of varying intricacy, some requiring you to travel throughout entire levels as you search for the solution. Interestingly enough, CD has included a superfluous feature accessible via Lara's PDA that will explicitly tell the player how to solve the puzzle and what to do. The implementation of this feature is contradictory to the essence of the game, and while it hints at the possibility of tediously difficult puzzles, they are in fact not as time consuming as they come off as. Such a feature should only be reserved for higher complexity.

With each release, the number of Lara's animations increases (game developers claim that there are nearly 2000 different animations in this game). That said, you will almost certainly never tire of Lara moving about and interacting with the environment. She flips over ledges with confidence, her eyes scan the distance with curiosity, she engages her combatants with ferocity, she walks across delicate beams and poles with great care, and she soars through the air as she reaches for the nearest object to grab. Her tumbling is most impressive. The player can have her perform different types of tumbles by alternating the jump and crouch buttons, and can also have her dodge her enemies by executing a series of rolls. Lara even gets dirtier with each flip, roll, or tumble and remains wet for a time after going for a swim. This is precisely where this game truly shines. CD devoted a great deal to making sure Lara moved as fluidly as possible, and it has indeed paid off. Lara truly navigates the levels with an exuberant confidence.

But possibly the largest change in this game is the lack of bosses. That's right, there are exactly zero boss battles in this game. CD instead opted to have antagonists become one with the environment. That is, to defeat these "bosses" Lara must manipulate her surroundings to her benefit. Depending on your take of what a boss battle is, you may find this enjoyable. But be forewarned: "bosses" in this game do not fit the standard convention of its definition. Enemies are varied, from tiny spiders to fantastical beasts, and will fight tenaciously. Often times Lara will have to fend off more than two at time, making for an engaging combat situation. Fighting against humans does get a bit flaky though, as there is no peek or cover system. You have to rely mainly on Lara's acrobatic maneuvers to dodge their bullets.

Weapons aren't too extensive, but it's understandable as they have never been a vital part of TR. You get the standard array of weapon types, including an automatic rifle, dual SMGs, a shotgun, a spear gun for underwater encounters, a tranquilizer that knocks out enemies in a single shot, and some sticky grenades. Don't expect any weapon customization, this isn't an FPS. On the plus side, Lara's archaeological adventures grant her privileged access to ancient relics capable of emitting supercharged energy blasts, making for fun light shows and amusing massacres.

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Story: 9/10

As one can expect, the story continues from Tomb Raider: Legend. But don't worry, in case you missed out, a special feature has been provided via the in-game menu that will get you up to speed. Lara investigates the loss of her mother, her father's connection to ancient ruins, and the growing threat from the antagonist, Natla, through her love for archeology and ancient myth. Amanda, Lara's former archaeological partner, also plays an important role, and hints are given at previous TR characters. One of the biggest questions provided by CD was the question of why Lara demolished her manor, and why one of her companions, Zip, turned against her. These questions, and more, are answered. Sadly, the ending is a bit abrupt and devoid of any epic overtones. Questions have obviously been left unanswered for future games, therefore there is no true sense of closure. Facial expressions and body gestures during the cutscenes are done very well, to the point where the player can "see" what a character is thinking, and certainly CD has graced the player with overly dramatic, yet intriguingly theatrical views of Lara's conspicuous assets. Cutscenes pack engaging and revealing dialogues and monologues and feature plenty of action that will have the player yearning for more.

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Environments and Levels: 7/10

In a significant shift from TR conventions, CD has incessantly introduced levels that place Lara in non-natural settings. TR:U takes no exception. There are a total of eight levels, and some certainly feel out of place and leave the player wondering as to their contribution to the TR series. If you didn't like the urban settings of some of the levels in Tomb Raider: Legend, you might be disappointed with some of the level choices for TR:U. Furthermore, as a consequence of the destruction of Lara's manor, the player will no longer have the option to roam it at will. The manor does appear as a level itself, but it's exploration is severely limited. Levels vary in length and size, some requiring only foot travel, others via Lara's motorcycle.

Despite these shortcomings, the environments are exquisitely rendered, complete with pristine waters, celestial washes of directional light, intricately textured architecture, towering temples, monuments, and statues, and expansive landscapes. Vegetation crawls up masonry walls, water trickles through cracks and lightly splashes on stone floors, and ruins crumble under Lara's weight. Ledges and swing bars seem out of place at times, but are nonetheless a necessity to navigate the levels.

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Sound: 9/10

Possibly the only aspect standing in the way of a perfect ten are the recycled weapon sounds from previous TR games; they still sound dreadfully bland and uninspired. Apart from this the level of acoustic immersion is sensational. The soundtrack changes from the tranquility of ambient music to a lively tempo whenever Lara engages an enemy. Soft vocals accentuate scenic moments. Sustained chimes, ceremonial chants, tribal percussion, harps, orchestral sounds, synth pads, and background choirs characterize the score. Depending on the level, a heavenly or downright hellish timbre permeates. Rain, thunder, and the sounds of nature are rightfully distinguished. Ominous booms, cracking beams, and collapsing rock give a sense of urgency. The voice acting is top notch, and just about every movement that Lara makes, from the largest leap to the slightest step, is audible.

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Replay Value: 7/10

CD offers many unlockables for the ambitious player. They can be obtained from acquiring hidden treasures, which range from as little as thirteen to as many as fifty per level, and by finding each level's relic. As previously mentioned, the lack of the Croft Manor reduces this score significantly. Regardless, the overall quality of the game will definitely warrant subsequent playthroughs.

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Gameplay: 7/10
Story: 9/10
Environments and Levels: 7/10
Sound: 9/10
Replay Value: 7/10

Final Score (not an average): 7/10

Buy the game even if you have a hint of admiration for Ms. Croft. This adventure is not worth giving up.

Reviewer's Score: 7/10, Originally Posted: 12/02/08

Game Release: Tomb Raider: Underworld (US, 11/18/08)