Lara gets caught up in mudslides and earthquakes, scrambles from collapsing buildings and blows up attack helicopters, but instead of hiding behind cover with an assault rifle, more often she crouches unseen in long grass or presses herself against walls, hunting oblivious militiamen in the darkness. Like the first two Tomb Raider games in this modern trilogy by Crystal Dynamics – though this concluding entry was developed by a different studio, Eidos Montréal - Shadow of the Tomb Raider relegates slower-paced exploring, treasure-hunting and puzzling around ancient tombs to make way for high-adrenaline action-movie-style play.
It is so silly that you can’t explain it without sounding ridiculous: Lara is chasing a secret militia organisation across the south American continent to prevent them from stealing a silver box and bringing about the end of the world.
But it does Lara a disservice, turning her into a deadly mud-camouflaged jungle warrior without much interesting to say, pushed along by a plot that’s more concerned with prophecies and supernatural artefacts than with its main character. Shadow of the Tomb Raider nails the former, with sumptuous South American locations to climb, dive and rappel around, ranging from ancient Inca cities and missionary crypts to modern-day Peruvian jungles and towns. T here are two things I’ve always loved about Tomb Raider in all its incarnations over the years: beautiful, exciting and dangerous places to explore, and Lara Croft herself.
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