"Tomb Raider", the restart of the franchise in 2013, began with a literal blow, wrecked Lara Croft on a remote and mysterious island. Its sequel, "Rise of the Tomb Raider", raised the bet, placing the young heroine in the way of a furious avalanche. The next trilogy, "Shadow of the Tomb Raider", begins with a parade.
Specifically, Lara and the returning companion, Jonah, are in Cozumel, Mexico, where the Day of the Dead celebrations unfold in the streets that surround them. The kinematic openings driven by natural disasters and adrenaline pumping from the two previous entrances have been exchanged for a party, complete with dancing, drinking and fireworks.
The drastic tonal change is intentional, part of the Eidos-Montreal effort to side-step potential franchise franchise. "Tomb Raider" was a successful reboot, a fantastic reinvention of both the series and its titular speleologist. His follow-up took the biggest and best approach, preserving and polishing the formula that worked so well the first time. But successful formulas can betray you as quickly as a grave full of traps; Trust too much in ideas that were once fresh and run the risk of becoming formulas.
The director of the game Eidos-Montreal Dan Chayer-Bisson tells him Variety "Shadow" will be significantly separated from his predecessors with his narrations and characters. "What is at stake is much bigger," he says. "It's not just about Lara anymore … it's about the world." Of course, Chayer-Bisson also promises many adjustments to the proven and true template, from the jungle combat inspired by "Predator" and the mechanics of deeper journey to more deadly, more sober tombs.
When immersed in the demonstration, the more moderate opening of "Shadow" continues to subvert expectations. Lara, hidden under a poncho and a skeleton mask, does not sail through a deadly crypt, but through a crowded street. While tracking Trinity, the group of antagonists responsible for the death of her father, she pushes men, women and children, all celebrating / lamenting their deceased loved ones. Seeing Lara among so many strangers definitely emits an unfamiliar environment, one that immediately reminds murderers wrapped in a layer of "Assassin's Creed" who sneak through the crowd. Normally, when Lara is surrounded by so many people, they are about to end up with an arrow placed between her eyes.
Soon he leaves aside the disguise of his bow and double-climbing axes, however, and some of those changes Chayer-Bisson talked about starting to reveal himself. Before stealthily removing some marks, it can be completely mixed in a cliff covered with foliage. The ability to become essentially invisible sources in a new approach to combat the creative director is called "becoming the jungle." This trick is apparently one of the many that will make Lara one with its leafy surroundings.
Lara still climbs a lot of rugged rocky surfaces, as she did in the previous two games, but now players have the option of rappelling down and even walking with ropes along vertical walls. The demonstration only included the taste of this new skill, but it definitely hints at greater opportunities for free-form navigation and exploration, perhaps giving it a set of skills that could embarrass Nathan Drake's maneuvers.
These adjustments to fight and to cross seem subtle changes, in comparison with the new tombs of "Shadow", where, according to Chayer-Bisson, "Everything wants to kill you". Lara will swim much more in "Shadow", but her walks through the water will not be of the calming and serene variety. As experienced during the demonstration, many of the tombs, both optional and on the critical path, will have elaborate underwater sections and puzzles.
Lara's deadly beaks and other contraptions could be avoided in the tomb she sacked, but the most terrifying encounters occurred when Lara plunged into her murky depths. The massive eel-like creatures swam, occasionally snaking around Lara in a full-body choke, while the narrow, claustrophobic cracks had to be navigated. Climbing the dive is the look on Lara's face, as her swollen and swollen facade strongly suggests that she is about to consume all the air she had sucked deep into her lungs. Reaching one of the few "air traps," where you can temporarily catch your breath, provided some of the most exciting moments of the demonstration.
After multiple narrow escapes, both above and below the water, Lara reached the prize of the tomb: ancient Maya dagger apparently capable of great power. However, in Lara's haste to recover the artifact before Trinity can claim it, she ignores the warning that her cataclysmic potency must be tempered and balanced by a mysterious box. It is said that taking one without the other triggers a series of catastrophes, beginning with a flood that quickly turns the tomb into a deadly bathtub.
Lara escapes, of course, but what she discovers outside the grave is much more frightening than anything she had just found in the crypt. The small city that had been celebrating moments ago is now consumed by crushing waves. Lara tries to save a child, clinging to a wall as if it were her life, but can not reach it before it is swallowed by the running water.
The demonstration closes with Lara arguing with Jonah. Feeling responsible for the mortal disaster, your instinct is, perhaps selfishly, to go after Trinity before you can do more damage; However, Jonah wants him to stay behind and help the recent victims. It is at this moment, when she is visibly struggling with what her next move should be, that we see a different and conflicting side of Lara, and we also have our first promising glimpse of those "big interests" that Chayer-Bisson hinted at.
"It's the last chapter of his survival," he said. "She needs to survive herself, understanding that actions have consequences and how to deal with them"