You want to play through to get to the game, but instead you come to the uncomfortable realization that you’re spending your time sitting on a couch watching a young girl savagely abused. The first hour, in particular, crosses handily into sadism. She will have to bleed to earn her place as a hero. Lara isn’t the bulletproof charmer that is Nathan Drake. The only exception is the relentless darkness – there are flayed bodies and rivers of blood. To leave the island, Lara will need to face it down. It’s a supernatural story of an island under the dark control of an ancient evil and the legions of bloodthirsty followers that protect it. It has the sort of narrative drive you come to expect out a well-paced third-person title – again, Uncharted comes to mind, except that this is a much darker story – one-liners are few and far between. There are moments where you feel for them, and they are not forced. None of the characters flesh themselves out past their archetype, but they do a fine job in their little roles. One wishes for more, longer puzzles, but they’re satisfying and short where you get them.
The notable exceptions are the optional tombs (yes, the only actual tomb raiding is optional), which provide a quick break from the action with some well-made puzzles.
Completionists will find themselves tempted by vases, masks, documents, GPS caches and a glut of challenges that feel out of place in a game that’s otherwise so tight. It’s largely point A to Point B, except in between there’s an ungodly amount of collectibles. The game is what you could call linear-plus. That’s all augmented with a dash of metroidvania – you find yourself collecting new tools right up to the end, occasionally revisiting old locations and seeing them open up with your expanded skillset.
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