Shadow of the Tomb Raider

By | September 28, 2018

Shadow of the Tomb Raider

Shadow of the Tomb Raider is doing very well thanks to its atmosphere, closer to that of the original episodes than the last opus in date, while closing the trilogy started in 2013. Enjoying a sumptuous art direction, sequences of Better-crafted platforms and Tombs built around more interesting puzzles, the title, unfortunately, loses a little foothold when it comes to telling his story or fully immersing the player. The fault at an uneven technical level, very good game that will make vibrate the rope of fans through beautiful an unbroken view of the whole game  Shadow of the Tomb Raider with another game, it would be without a doubt Batman Arkham Origins with Shadow of the Tomb Raider was central throughout the communication plan, it is not a coincidence. Indeed, what best represents this new episode is undoubtedly its atmosphere and its absolute desire to return to the origins of the saga through a story much more anchored in an exoticism of every moment sometimes returning to the early hours of Tomb Raider III. However, Shadow wants to be much darker, this through her title, the first stone announcing a scenario highlighting a dark Mayan prophecy where Lara will have a central role both in its desire to prevent the evils of a harbinger. end of the world than in that of stopping Trinitarians. The basic idea is therefore quite legitimate and very interesting especially as the whole is documented. At the same time, there is the desire to linger more on Lara, haunted by her past and her parents.
    
The story of Miss Croft (very fluctuating since 1996 according to the episodes and the supports) is thus exciting, especially when she is inspired by good ideas coming from Uncharted 4. Unfortunately, she often faces many problems. First, the technical level of the title sometimes serves sequences based on strong emotions related to awakening. Lara having finally only two, three facial expressions (often too much supported), we will be inclined to smile at certain reactions not always connected with the feelings supposed to be conveyed. It should also be understood that the staging during the dialogue scenes is not very mobile, sometimes uses clumsy ellipses and very often opts for the classic field / counter-field not really helping to delve into the story that, paradoxically, proves to be the most interesting of the trilogy. Conversely, we salute the scripted chases, not overexploited, rather impressive and ideal to boost progress.
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Finally, the twilight atmosphere, sometimes leaning towards the sacrificial fantasy, offers the game a real personality by accentuating its darkness as it should. In fact, if we follow the scenario distractedly, we enjoy wandering in this semi-open world consisting of two gigantic hubs around which are articulated main missions and Tombs to visit. Although the work to make Paititi alive and credible is palpable, Eidos will be blamed for not having been at the end of things. So, if one can opt for an immersive audio mode (in which native speakers speak their native language), it’s a bit silly that Lara continues to speak French (or English) as if the villagers (except the main ones) had an understanding perfect language while not speaking a word.
Shadow of the Tomb Raider

The game once again enjoys a sumptuous artistic direction. While the superb panoramas succeed one another without interruption from the beginning to the end, the interiors are not in remainder and certain plays of light embellish extremely studied compositions to immerse the player.
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Shadow of the Tomb Raider is beautiful in both terrestrial and aquatic environments. Those who own an Xbox One X will be in front of the most impressive game of the console. Villages are teeming with life, the jungle is full of details and the underwater sequences are impressive, thanks to the clever use of the depth of field. A final layer of polish would have been welcome in order to avoid the various visual bugs encountered (even in cutscenes). We noted, among other things, sequences without lip synchronization, a flashlight that no longer lights, and concerns of sound mixing. In addition to the main quest, the player has access to tombs and various side quests in the purest line of what was proposed in the previous part. We note, however, a progression in the level design of crypts with fewer approximations and more logical puzzles. The secondary missions are not crazy originality, but they report material that can be very useful to facilitate progression. Budding collectors wishing to tear it off will be delighted to learn that the many usual collectibles are still to find in order to dig up the Sacro-saint 100%, much more difficult to obtain than any pre-Columbian relic. This change of tone is the real engine of this Shadow of the Tomb Raider, it was logical that it re-emerges through the gameplay. A very good thing because from now on, we will be encouraged much more at the discretion than at the entrance firearms (shotgun, submachine gun, gun) to eliminate creatures or Trinitarians particularly numerous and tenacious. This, of course, does not mean that you can not use the strong way throughout the game but at your own risk, hiding once spotted is not that easy, especially depending on the topography more or less open places. Nevertheless, the level-design being built and thought for infiltration, In addition to the natural elements.
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Shadow of the Tomb Raider is, therefore, most convincing when it comes to setting an atmosphere and this as well through its Tombs as infiltration sequences or exploration. It is simply a pity that a good idea often resonates with a concern. While revolving around a construction slightly redesigned to make more alive its semi Open World, the game locks itself up in a certain partitioning, at least when it is necessary to progress in the Peruvian jungle. However, by taking care of its visual, its atmosphere and by proposing a more effective gameplay as well in its action as its phases of platforms.
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It is clear that with the Tomb Raider episodes released since the 2013 reboot, Lara Croft is gradually becoming the ultimate predator, able to silence an army of bloodthirsty soldiers by sneaking coldly between the foliage. Sound design highlights this animal side. While the mechanics of confrontation insight in the third person have evolved little, infiltration aspect as platform know a series of additions. Being able to blend easily into the background and create traps to frighten or annihilate opponents is a cheering component of this episode. We quickly get caught up in the game of the hunter trapping his prey, not without paying attention to break the lines of vision so as not to rally the opponents. The heroine’s new abilities during the climactic moments are welcome and bring the gameplay to the point of not feeling that they are following an easy path. Special mention to abseiling which is well used and brings more to the exploration. The scripted phases of prosecution are, for their part, rarer, but gain in intensity as the progress to present particularly memorable moments on the last hours.

  • An atmosphere much closer to that of the original Tomb Raiders
  • A story with good potential
  • Beautiful panoramas
  • Some interesting gameplay novelties
  • The more central platforms aspect
  • The infiltration side works well
  • Many thoughtful puzzles
  • Tombs with studied architecture
  • Classic or clumsy staging
  • Not always very convincing, technically speaking (bugs, interiors sometimes too dark)
  • Audio mixing problems
  • The impression of evolving in corridor levels is stronger
  • The gameplay tips present throughout the game and impossible to remove