"Apparently there’s life after Tomb Raider III"
Like the sun and the moon, video games come and go. In our polygon and pixel fueled bliss (and frustration) we often overlook the signs that tell us what will be continuously embraced and what is down for the count. For example, if you had told me in 1998 that Tomb Raider III would be the last Tomb Raider title to grace my TV until 2007's Anniversary, I wouldn't have believed you. Sure, I didn't exactly enjoy everything Tomb Raider III threw at me, but there was no clear-cut decree that I was through with the series. Regardless, the damage had been done, at least in a covert, subconscious manner. Because of this the last two games on the PlayStation, The Last Revelation and Chronicles, didn't even register a blip on my gaming radar despite the fact the PS1 was alive and well. While it's only natural to leave certain things behind, there are times were we can't help but wonder what we missed out on, or see if a somewhat conflicted franchise can change its fortunes for the better.
This was the central question I faced as I placed Tomb Raider Chronicles into my PlayStation 2. Ten years late to the party, could it mend the bridge one of its predecessors unceremoniously burned long ago or would it only add insult to injury? An interesting proposition to be sure, I can't even begin to explain how the game managed to span such a crevasse. All I know is it did regardless of its problems. That said, in an effort to uncover how things went so right even when they could have gone so wrong, let's take a look at this potluck of mini adventures Ms. Croft's closest friends share with us:
Rome:
The first story presented in Tomb Chronicles takes place in Rome. Here, we are reintroduced to Larson Conway and Pierre Dupont (from the original Tomb Raider) as they attempt to swindle Lara out of her payment for the Mercury Stone, the lesser half of the fabled Philosopher's Stone. Outside the fact we are faced with another series recon here (the idea that Lara never met Larson before the opening of 96' original being "shot to hell" in a matter of seconds) I couldn't be more pleased with the return of these characters. Well, almost. Was it really necessary to lower Larson's intelligence quotient that far? I think we already knew he was an idiot. Overdone as the characterization really is, by the time “Frenchy” promises to buy him a milkshake, all is forgiven. Unfortunately, while Core gets away with hitting the easy button when it comes to characters, the same can't be said of the level design. While it's great to see the whole “there needs to be a deathtrap around every corner” thing from Tomb Raider III has been put to pasture, we now have levels that are too safe (creatively, not figuratively) and are still uninspired. This starts to change once the player reaches The Coliseum - a level that almost recaptures the spirit of those in the original – but ultimately fails short due to its length, which is ironic considering most of Chronicles levels benefit from their short stature.
Russian Base:
Lara's second quest takes place in levels that are as cold and as hardy as the most sea weary commander. In short order, this journey takes one through an indoor dockyard, the tight quarters of a ship (submarine), a somewhat forgettable underwater skirmish and back again. Generally speaking, the Russian Base is a very peculiar section of the game and it's not particularly easy to explain why. The gradual improvement in the level design combined with the rather stereotypical characters makes it seem like this story is stuck in traction most of its duration, but the experience never really grinds to a halt even though it feels like something's missing. That thing? The narrative is simply in hibernation here, and it only comes out of its sleep during the final level. It's here where the build up from the previous levels is finally justified, and while the game is not going to win any awards for original storytelling the payoff at the end is substantial enough to overshadow the fact you've seen this story in every submarine themed movie ever shot. As silly as it seems to applaud a game for successfully mimicking an overused plotline, Chronicles success here is a prelude of things to come.
Black Isle:
This is where the game really starts to shine. While this adventure is more or less born out of the first recon that allowed Von Croy to teach the young Lara about spelunking in The Last Revelation (personally, I always liked how Lara's parents originally disowned her because of her appetite for adventure) The Black Isle has more in common with a MediEvil game than a Tomb Raider game. While most people would laugh at the mere idea of ghosts and goblins showing up in any kind of Tomb Raider narrative, or that it could be enjoyable to go around without any weaponry and focus on puzzles, such ideas quickly prove their worth. Still, what really brings these levels to life are the two ghouls the story focuses on and Father Patrick Dunstan, an Irish priest/demon hunter. Not since the original Tomb Raider has such an interesting character been introduced. Quite honestly, I couldn't get enough of the guy, from his cool and collected demeanor to his getting bitched slapped for mouthing off to damned spirits, he literally brought everything together. The only bad thing is as high as Dunstan raises the bar there are other characters that insist on limboing under it.
Tower Block:
The last set of levels is where Tomb Raider Chronicles plays a perilous game between positive progression and past pitfalls. Starting off in some air ducts above the fabled Iris, we're quickly introduced to several things that scream Tomb Raider III: laser traps, turrets, and the HK gun which looks a lot like the MP5. Truth be told, the last thing this game – or any game – should do is remind me of Tomb Raider III. It's just a bad idea. The second thing on the not to do list that is done is throwing the concept of creating likable yet stereotypical characters to the wolves with the introduction of (a somewhat insulting take on the quintessential African American hacker) Zip. For every line of dialog that is actually funny (“guns is metal”) there are fifty lines that are just terrible, and by the time Lara asks him why she's even bothered to hire him I'm asking myself the same freaking question. Of course, Zip's answer to that particular question is pretty excruciating, but when it comes to shades of Tomb Raider III that appear, it's surprising how the game takes those elements, makes them its own and makes them ten times better. Things almost fall apart during the final level (Red Alert!) for a multitude of reasons, but things miraculously come back together again before it's too late.
General Observations:
In its final incarnation on the PS1, it's nice to see that some of Tomb Raider's graphical deficiencies have been addressed. The polygonal breakup that ran rampant throughout the first three installments is nonexistent here, leaving clipping as the only occasional issue. Such an achievement really isn't Chronicles doing since this revision of the Tomb Raider engine was first featured in 1999's The Last Revelation. Still, the cleaner experience is appreciated. The only other gripe to be had is when the game shifts to an unchangeable, preset camera angle that makes it difficult to control Lara. I'm sure Core would love for me to believe this is to add a cinematic quality to certain areas, but in reality I think we all know the main reason behind it was to lighten the burden on the design team so certain objects didn't even need to be rendered. Still, things like this are easy to overlook when each area of the game finally has a look and feel to call its own.
CONCLUSION:
While it suffers from most of the problems present in every game the series has seen thus far, I have to admit that I enjoyed my time with Tomb Raider: Chronicles, and I'm sorry that I allowed Tomb Raider III to keep me away from it for all these years. Chronicles doesn't really succeed because of its gameplay however, relying more on intriguing characters (old and new) than anything else. That said, fans who gave up on the series like I did should give this a go; they may end up just as surprised as I was to find out there is another game in the series worth their time.
Overall Score: 7/10
"A Letter to Tomb Raider III: Lara Croft and the Search for Fun"
Dear Tomb Raider III,
I've been waiting for this day. While you were a no-brainer of a purchase for those that enjoyed Tomb Raider I and II, you and I have not been the best of friends. I mean really, how else could you explain the ten plus years between my initial play through when you debuted and the one I partook of for this review? I can easily take pleasure in what your predecessors have to offer, but when it comes to you I hesitate. It shouldn't take two days of ceaseless mulling to get a game into my PlayStation. So why, why do I cringe at the mere thought of playing you? How did you turn me away from your future successors? Alas, it's a long story, but a story that needs to be told.
Things weren't always this complicated. In the early going, you touted your slightly crisper graphics and touched up effects (like rain, water ripples, gun smoke, footprints, blood and fire) in an attempt to dress up and look sharp for your friends, as well as changing in-game secrets back to their former glory (ammo and health pickups) once again. Such high points aside, it's somewhat hard to pinpoint where it all went astray, so let's start out small. Why is it when I pick up some goodies, you no longer feel the need show me what I just picked up? Why so greedy with the info all of a sudden? Often times it's hard to determine what I just added to my inventory because your treasures are so dark and dingy – and small. Let's not forget small. What's up with these new, anorexic medi-packs? Were they too noticeable before or something? And what's up with the game's first key? Talk about lack of defining contrast! Combine this with your constant need to manipulate light and shadow and you can see how you're not exactly the most forthcoming game on the face of the planet.
Your phobia of being pilfered by big breasted, item raiding adventurers brings us to your weapon selection. Despite the lack of variety, things were great during your original incarnation: from the punch of the Magnums to the chatter of the Uzis, you provided great guns that complemented Lara's great mobility. Unfortunately, things started to go a bit south with the M16 and Harpoon Gun in Tomb Raider II. With an increase in gun wielding enemies, a gun that pretty much glued the player's feet the floor was a rather ill-conceived addition. Still, the M16 - and its newer counterpart the MP5 - look great when compared to the harpoon gun. Who in their right mind is going to engage enemies underwater when gaining the high ground is so much more effective? Let's not forget that piranhas, the greatest underwater threat in the game, can't be killed.
Okay, so it's not as bad as I'm making it out to be. The Desert Eagle is a fun little toy that doesn't feel as desperate as the Rocket Launcher, but when discussing your somewhat haphazard collection of firearms, let's not forget how important dual wielded weapons are to Lara. Even the vast majority of artwork Ms. Croft has posed for depicts her with the Pistols (the classic mainstay) or the Uzis. Sure, there are others like the one with the Harpoon Gun (laughs), the M16 and Automatic Pistol (which is part of a set) but unlike past adventures, it takes an incredibility long time for majority of your arms to prove their worth, if they ever do at all. That snazzy new shotgun is a great example, the orphan of the group that is never really allowed to come into its own. Such shortfalls are mainly due in part to the “mandatory loss of weaponry” segment that's a part of every Tomb Raider experience. First of all, this was clever the first two times it happened. Now that we've reached part three, it's no longer clever. Second, why do you feel the need to flitch all my ammunition and medi-packs? Like any wise spelunker, I spent most of my time in India conserving my supplies for long haul ahead only to be reminded you can be quite the kleptomaniac when you want to be. What if Nevada was the last area I explored before Antarctica? Thankfully it wasn't, but what about players who aren't so lucky and wind up at the end of the game with a depleted inventory? In all honesty, just admit that the “select adventure” feature is a bust and does nothing to make the game non-linear.
Another illusion masquerading under the guise of freedom is the Save Crystal system. While most of the discontent in this area is more-or-less born out of your indecisiveness throughout the years - three different titles with three different save systems – it's not hard to see how the portable save crystals were viewed as a novel idea. But with every new idea comes (unintended) consequences. With you throwing everything from A to Z at the player, it's not long before life and death paranoia sets in and questions like “how much longer can I press my luck before I screw up and die?” start weighing on the players mind. It rarely takes long to cross that line and when the greatest judge of what's been accomplished - you, the game - fails to gauge the player's progress a certain amount of liberty is lost.
Speaking of liberty, let's get to these massive playgrounds called levels. If the tone of this letter has been any kind of indication thus far, it shouldn't be any surprise that trouble rears its ugly head here as well. Your frills are quickly gunned down by India's flaccid jungles, rigorous waters and lifeless ruins. Now, you may just at the idea of ruins having any kind of life to them given the definition of the term, but there is a difference between creating something that is lifeless and something that employs lifelessness to create an abstract type of energy. There are small glimpses of this to be seen every once in a while, but it's often derailed by things like redundant backtracks, half-baked vehicle segments, blind jumps, questionable settings (Area 51?!) and contrived boss fights. Unfortunately, this body of problems only fosters disappointment once one realizes the variety presented by your locals is a facade. The London levels may come awfully close to forging their own identity but they eventually fall into the realm of interesting and interesting does not always mean good.
The final hurdle you seem to have trouble clearing is narrative. While none of the Tomb Raider games have had a story built for the ages, there's another concept (similar to the one we talked about when talking about level design) that seems to be lost on you. That concept? Presenting something cliché doesn't necessarily have to feel cliché. In fact, one of the most impressive things one can do is take something that's been done a million and a half times and make it feel like new. Tomb Raider's Natla and Atlanteans did this despite their obvious “been there, done that” vibe. Your own angle, the old “scientist obsessed with evolution becomes a big, grotesque monster bent on making his ultimate dream a reality with angry, poison spewing sea otters” never becomes anything, not even a tongue-in-cheek parody of itself. Adding further insult to injury is the fact Lara seems incapable of learning from past mistakes; working for other people never seems to work out too well for her or the world, does it?
So what does all of this mean? Well, to answer that question, we need to examine what you want people to notice about you. Since we've shot down the majority of additions already, we're left with what these additions were attempting to implement: an increase in challenge. It's a respectable goal given the relative ease of your predecessors, but it's how you get there – by trying to fire on all cylinders at once – that shows us just how ugly Tomb Raider can be. And while Tomb Raider has always had its share of problems, I don't believe anyone thinks this is the solution. Fun is not perpendicular to challenge here and you can't underestimate how important that is to a video game. This isn't to say that a challenging game can't be fun, but it's a slippery slope and the elements you surround it with can't provide enough traction to prevent the fall.
With everything you have to offer now laid bare, I can safely say my time with you was not in vain. This isn't to say it was a particularly good use of my time, or that every minute of it was enjoyable, but you know the old adage “it could be worse.” Quite honestly, it could be. There is little comfort in such words, but perhaps we'll run into each other again some day. Not too soon I hope; maybe in another ten to twelve years? Until then, you'll be leaving the light on for me, won't you?
Best Regards,
A PS1 junkie who values other elements over challenge
Overall Score: 5/10
"The best thing about Tomb Raider II? It's not Tomb Raider III."
Much like photographs, video games can be a gateway to a treasure trove of memories. While no piece of software could really trump the family photo album or a fictitious trip to the Grand Canyon, it is often ironic (sad) how a gamer can remember the first time they played a specific game but can't remember what eight times eight is. Anyhow, more often than not, games just don't define themselves, they define eras, technological advancement and consoles. For example, while games like Mortal Kombat 3 and Killer Instinct should probably be at the bottom of any system defining game list for the SNES, they are at the forefront of my thoughts when the console is mentioned because everybody I knew had them when I was in the sixth grade. And while they where popular for all the wrong reasons (well, Killer Instinct's combo system had more to offer than Mortal Kombat 3's violence) they were a part of the culture, and a part of my personal history despite how far they've fallen since.
A similar story reigns over Tomb Raider II and Final Fantasy VII, two of the biggest titles the PlayStation was packing around the 97' holiday season. After passing on the Nintendo 64 the previous year due to its scarcity, playing the original Tomb Raider on my cousins Sega Saturn and trying out the Final Fantasy VIII demo included in Tobal No.1, I was as hyped as everyone else. Who didn't want to play more Tomb Raider? Who didn't want to continue the adventures of that yellow, spiky haired character named after a particular atmospheric element? As enjoyable as both products ended up being in their heyday, what would the future have in store for them? When it comes to Final Fantasy VII, what can be said that hasn't already been said about its bizarre and somewhat overstated resurrection? Perplexing as that situation ended up being, what about game on the table here, Tomb Raider II?
While it hardly strays from the formula that made the first game the success it was, Tomb Raider II strays just enough in key areas to make topping the original impossible. Why isn't Tomb Raider II as good as Tomb Raider? The core reason has to do with an argument that has been made time and time again: the environments. Given that the name of the game is Tomb Raider, which of the following three locals would you least expect to explore: a tomb, a pyramid or... a... offshore oil rig? Like most, I just have question why you would take Lara out of the tombs when lightning clearly struck with that combination. Don't get me wrong, the level design it still very respectable, and I'll at least meet them halfway with the Maria Doria since it can be considered a makeshift tomb like the Titanic, but when you get the feeling that the game would be more appealing just by changing the texture mapping back to the colors that defined the original you have to admit there may be some problems brewing.
The other thing that drags down Tomb Raider II down is combat; not so much that there is a lot of it, but in what you're fighting: other humans. Supposedly, this change was born out of all the complaints Core received about the more natural enemies that populated the original, where actual gunfights were limited to the final few levels. Unfortunately, Core decided to listen to this idea so know we have every other loser cultist in the game running around with a sidearm, usually getting the first shot at you from a distance. Just perfect! I can't think of anything better than being turned into Swiss cheese before I have a chance to defend myself! Annoying as this becomes, it manages to balance out certain elements left unchecked in the first game.
Still, there happens to be another problem with Bartoli and his men. Does anyone even fear them or think they make are good villains? They may look pretty ugly, but that's about all. And while some of the game's cut scenes (like the one that concludes the Diving Area) would have one believe otherwise, the conflict between Lara and Bartoli never feels personal. Compounding this even further is the fact the danger experienced in the first level doesn't return until the end of the game in the Temple of Xian. Another issue that arises from Tomb Raider II's narrative has to do with keeping the Barkhang Monks on your side when raiding their monastery. Not only is this amusing, it saves a ton of ammo. Unfortunately, it raises an intriguing question: why would the monks leave Lara to her own devices in her quest for the dagger? They may practice non-violence until attacked, but letting Lara have such a dangerous item as a conversation piece is hardly the safest place for such an item; the hilarious, sexist ending proving her mansion is no Fort Knox.
As for what's new gameplay wise, we have the introduction of flares, ladder climbing, the mid air/water flip, and Lara's first few set of wheels: the snowmobile and motor boat. For the most part, these are all rather safe additions; they don't make the game seem overly desperate to evolve like Tomb Raider III's crawl and sprint or fudge up the control scheme with a million and a half commands. The snowmobile and boat present their own problems, as if that's a shocker, but they could literally apply for sainthood when compared to those in the third installment.
CONCLUSION:
With that last paragraph pretty much reiterating the title of this review, Tomb Raider II's best quality is the fact it isn't Tomb Raider III. That doesn't exactly bode well for the future of the series, but it does mean Tomb Raider II is good enough for most people to digest without worry. That said, time has shown that it had nothing on the original, and that it still doesn't.
Overall Score: 7/10
"One of two games that lured me away from the Nintendo 64"
In the world of gaming, opinions vary as much as the food we eat and the drinks we drink. In picking and choosing what we play and experience, we sometimes forget how important contrasting views can be and how even negative ones can be blessings in disguise.
As if the ten out of ten didn't tell you, I love Tomb Raider. Well, I love the original Tomb Raider. The sequels are a different story altogether, and while my feelings towards them depend on which one we're talking about, there was something about Lara's quest to find the three pieces of the Atlantean Scion that simply seized the teenager I was in 1997 and continues to do so today. So why was Tomb Raider so attractive, why did it (and Final Fantasy VII) lure me away from the Nintendo 64? Why was it the right game at the right time?
A lot of it had to do with entering those teenage years. After partaking in what the Super Nintendo had to offer I was unknowingly looking for experiences that felt and looked a little more mature than, say, a Mario game. I'm sure Mario 64 was (and still is) a great game (that I should sit down and play someday) but when looking back at the games I missed by choosing the PlayStation, I don't have any regrets. What I do regret is people taking a good game (Final Fantasy VII) and sticking it up on a pedestal because a) they can and b) it's the in thing to do. As aggravating as that can be, it's something the Tomb Raider has never had to deal with. The series has had its fair share of detractors from day one whom, for the most part, offer legitimate points of view. Quite honestly, I thank them for that, for keeping this game tethered to the ground when. That said, let's take a look at Tomb Raider, the good and the bad, and how it easily overcomes most of its problems.
In almost any discussion about involving Tomb Raider, the first thing that comes up is the controls. Seriously, it's almost a forgone conclusion. I'm willing to admit that when things get chaotic (like when battling a small handful of Atlantean Crawlers or mummies that just love to jump anywhere) the rigid control scheme can become a liability, but these moments are the minority. Unlike later games where just about every goon you encounter has a gun (groan) the vast majority of foes in Tomb Raider are creatures with no distance attacks. One-on-one you might be able to gun them down before they close the gap, but in tight spaces or against large numbers, gaining a height advantage can tip the scale in your favor. Some may consider this kind of play cheap since the enemies capable of climbing (Gorillas) are very limited in their ability, but just when the player gets comfortable with such a strategy the final levels throw a well placed curve ball in the form of full-on, projectile based combat.
At this point, jumping back and forth from left to right in quick succession becomes the most effective from of defense/offense. While this seems like a rather straightforward strategy to implement, a moving target being harder to hit than a stationary one, it also comes with a few perils. Acute knowledge of the surrounding area is extremely important so one doesn't fall prey to a trap (most commonly a slippery slope that leads to a pit) that leads to one's doom. Sometimes there isn't much, or any, time to acquire that knowledge before an enemy attack. This isn't really a case of the camera failing to keep up with the action, although the camera can become an issue if the player ends up slamming their back against a wall - something that's a one-way ticket to suffering some cheap hits. Additionally, this technique requires a bit more finesse than one would initially believe because of the slight pause between jumps. If an enemy fires a shot at the player at this juncture, there's a good chance it will connect, meaning the player needs to adjust their timing with a slight pause of their own so future openings don't fall in line with the enemy's attack pattern.
Luckily, while the above works well enough despite not being bulletproof, gunplay is only half of what Tomb Raider has to offer. In general, the controls hold up a bit better when the player is dealing with platforming where they have a little more time to plan and execute their moves, and is where the perks of the grid based system the game is built on makes up for it's graphical deficiencies. Lining up jumps is a breeze and unlike Tomb Raider Anniversary, where there is that feeling that something can go horribly wrong at any second, there is little to fear once you have the controls down. The concept of a walk button may seem archaic in this day and age, but it works and gets the job done. The only time the platforming sections really get into trouble is when obstacles require multiple, consecutive jumps (but these sections tend to occur above water filled areas that safety break any falls) and when the game baits you with an item that requires a specialty jump like a backwards jump and its lower trajectory. Typically, these will result in a few game overs until the player figures it out or just continues on their way.
Along with the running, gunning and platforming comes graphics and level design. As was mentioned before, the grid based system Core implemented does leave some things to be desired. Things like flat scenery, pixilated surfaces and box-like structures are commonplace, but then those things are commonplace in a lot of PlayStation games. That said, I have to lump Tomb Raider's level design with that of another prominent title, id Software's Doom. Even with all the limitations, the levels just pop from the screen and it really took a play through Tomb Raider Anniversary for me to realize how impressive even the lesser known parts of the game really are. Everything Crystal Dynamics set out to replace because it wasn't as "memorable" as the rest actually ended up being better than what they replaced it with. One of the best examples is the Lost Valley where the darkness that defined the level was completely disregarded with a sky and sunlight. In fact, Anniversary ditched a lot of what made the original game work, one of the most important aspects being the cramped and confined hallways.
Another thing the original Tomb Raider got right and the remake got wrong was the music. I'll just come out and say it, Nathan McCree totally hit the nail on the head here, he really did. Many criticize Tomb Raider for using music so sparingly, for its world being so quiet, but in reality it's actually quite brilliant. There may be one of four ambient tracks playing at any given time in a level, which aren't exactly impressive own their own, but it allows sound effects like gunshots and enemy screeches to pierce the silence and make their deafening impact. It's also makes the appearance of one of McCree's full-fledged pieces like "Battle in the Ancient Courtyard," "Ruins of a Lost Civilization," and "Architecture of the Past" so special, especially when the last two are played during moments of reprieve. Unfortunately, while some of these pieces made the transition to Anniversary, Troels B. Folmann drowns them in that over-bombastic orchestral crap that finds its way into many games produced outside of Japan.
Last but not least, we reach the focal point of Lara's quest: the storyline. While Tomb Raider's use of in-game and full motion videos is competent enough in fleshing out what is going on, most will still find it bare-bones, save the world fare. For the most part, they're right. Still, even with all the bad voice acting and one-dimensional foes, it's doesn't take much to realize that Natla is probably the best villain the series has ever seen. I mean who can you compare her to? Tomb Raider II's Bartoli? The best thing is it doesn't even end with Natla; even The Bald Man, Stakeboard Kid, Cowboy, Pierre and Larson beat the tar out of any baddies presented in any of the future games, and they are never really explored as characters. What's ironic is how much went wrong when Crystal Dynamics did explore these characters. I don't really need to know that Kold (the Bald Man) is a murderer; all I need to know is that he has my shotgun and I need it back. I don't need a scene where Lara feels bad for wasting Larson, and I don't want Cowboy nuked out of existence and combined with him. I didn't like it, and I took it personally.
CONCLUSION:
While some will obviously question whether or not my opinion of Tomb Raider teeters on the edge of fanboyism, I honestly feel it's more of a case where a fan is able to except the problems within without letting it taint all that was done right. Ten out of ten may seem generous, but it really doesn't when reflecting on how the game makes me feel when I play it, and when you think about it, isn't that what truly matters? Everyone has a guilty pleasure or two, and while Tomb Raider is guilty of a lot of things, I certainly can't hold it in contempt in my court.
Overall Score: 10/10
It’s something that doesn’t need to be said. It’s something that is nowhere near surprising. It’s something that everyone knows is there, and exists in every facet of life. The concept of debate is alive and well in this world and in its people, from subjects ranging from politics to religion to gaming. Like politicians, most gamers can usually hold their own in conversation, unloading salvo upon salvo of ammo when it comes to explaining or defending a point of view. Sometimes, getting some of them to stop is harder than providing a constructive counterpoint to the point they’re trying to make. As intense as such conversation can become, would anyone want it any other way? But really, what sparks these battles of pros and cons? From the vague, off-the-wall reference to a full-blown decree of love or hate for a game itself it often doesn’t take much, yet does anything draw a line in the sand quicker than uttering a phrase like “the golden age of gaming?”
Such distinctions are relative for obvious reasons, but in writing this, I can’t help but feel a soft spot in my heart for the original PlayStation and how it introduced so many players to the third dimension. However, in my case, this wasn’t the real draw behind the console. An emerging teen at the time of its launch, the gritty worlds presented in games like Final Fantasy VII, Resident Evil and Tomb Raider seemed more appealing than the bright and colorful ones presented in games like Super Mario 64. Such a statement is not an attempt to downplay the impact Mario 64 had on the industry and its players, but for someone looking for an edgier and more adult oriented experiences, it wasn’t the answer. Tomb Raider and its protagonist Lara Croft were. As cut and dry as it would seem for the game to become a personal favorite, there was a lot more to the equation than the above would imply. There was also the music of Nathan McCree.
~ Redbook Audio to the Rescue! ~
As most game music followers know, “redbook audio” is a term that refers to music from CD-ROM based games that can be read and accessed through normal, traditional means like an everyday CD player. Because of this, most of the music from Tomb Raider is right there for listeners to enjoy outside the game as long as they have a copy of the game itself. However, it should be noted there is a painful exception for PC players here. Due to performance issues related to the slower speed CD-ROM drives in use around the game’s launch in 1996, the music was omitted from this version of the game outside a few ambient themes and the opening number. Bummer! On the other hand, in a somewhat decent tradeoff, PC players would have the ability to save their games on the fly unlike their console counterparts who would have to make do with strategically placed, one-shot save crystals.
While the CD-ROM format may have limited this particular iteration of the game, it would only open it up further on the aforementioned consoles. The limited application of music in Lara’s world, coupled with the expansive amount of space granted by compact discs, would allow the game’s developers to bypass the use of sequenced music. Famous, early examples showing the limits of such programmed music on the PlayStation would include games like Final Fantasy VII and Wild Arms, games with so much music that redbook audio would not be a plausible solution. With such freedom in hand with Tomb Raider, Nathan McCree and his Roland JV-90 synthesizer (outfitted with an SR-JV80 orchestra expansion board) would more or less be uninhibited in their quest in bringing key parts of the game’s quest alive beyond their visual representation. But in the real world where progress is a necessary evil, how well do these musical moodscapes fair today? You may be surprised.
~ Heeding the Call of the Tombs ~
First, let’s heed the advice of Alucard and skip right past track number one which is roughly thirty minutes of “computer data” that is of little value without the console itself. Starting with track number two, we find the first piece of actual music, a tune that has become known as “Lara’s Theme.” Warm and pleasing in nature, its job of inviting the player into Lara’s world on the game setup screen is more than familiar to most. A beckoning call from the brass section kicks things off, with the gentile stings of a harp and a haunting - yet relaxing - choir joining the proceedings in quick order. There's a certain aquatic feel to it which is most likely born out of its serene quality and that the edited, game play version of the track (track 4) usually crops up around bodies of water. This in-game edit ingeniously dumps the section where the chants come together in their effort to form a mid-piece climax, allowing it to dissipate cleanly when the game goes back to its cryptic, moody self with “Ambient Noises” (track 5) lurking in the background.
When things require for the silence to be shattered by the threat of danger, McCree offers up a two pronged attack. The methodical advancement heard throughout “Battle in the Ancient Courtyard” (track 8) and its shortened counterpart (track 16) bring an impressive amount of power and drama to the fold while avoiding the problems that come with presenting intensity in an orchestral style. Generally, these are reserved for more organic threats like creature attacks where something is actively tracking you down, although there are a handful of exceptions where this doesn’t hold true. The same can be said for compositions like “Escaping Danger” (track 6) and its edit “More Danger” (track 20) in that they are not regulated to environmental hazards and traps, but are geared towards such a purpose with their uneasy nature. A similar sensation runs through “The Trapped Hallway” (track 9) as well, though it is more forthright with its plan to lead the player into a false sense of security – something that can be quite deadly.
Other numbers devote themselves more to depicting the splendor and scale of given locations rather than the various pratfalls within them. The tag team punch thrown by the reflective sadness in “Ruins of a Lost Civilization” (track 10) and the inquisitive grip of “Architecture of the Past” (track 7) is hard - if not downright impossible - to ignore, and leaves less, all encompassing numbers like “Another Deserted Place” (track 17) and “An Abandoned Chamber” (track 3) behind when removed from their in-game context. A similar fate awaits the darkness found within the event driven “Derelict Mechanism” (track 18) as well, its elements ultimately put to better use elsewhere even though its male dominated choir brings plenty of interesting aspects to the table.
Another area that falters outside the scope of the game is the small collection of musical cues or jingles. “Secret” (track 13) is the least susceptible to such a “fish out of water” syndrome in that it’s a classic in and of itself. The remaining pieces “Danger” (track 11), “An Ancient Door Opens” (track 12) and “Age Old Artifact” (track 15) all serve their purpose when certain keys, objects and doors are found and activated but make for dry and jumpy listening experience otherwise.
~ A Few Spare Cogs and Fuses: ~
Last but not least are a few remaining outtakes and voiceovers. Track 19 presents an alternate, unused version of “Lara’s Theme” that has been fitted with a musical prefix born from either “An Abandoned Chamber” or “Another Deserted Place.” Also included and abandoned is an additional, shorter take on “Architecture of the Past” (track 21) with some subtle instrument changes and a fainter conclusion. The nuttiest outtake has to be the slower, deeper rendition of “Secret” found on track 14 which quickly makes one appreciate the inflection of the final version. Beyond the music itself, one can also find the voiceover tracks for four of the games in-game cut scenes (tracks 22~25), Lara’s vocal instructions from the mansion training level (tracks 26~50) and some rather amusing quips from the game’s human antagonists in the remaining six. As expected, much like the original Resident Evil, the voice acting in Tomb Raider leaves a lot to be desired (especially in this day and age) but there is something that just feels right even when listening to such crude dialogue. Rest assured, it “ain’t nothing personal” against good voice acting.
~ A Decade Later: Tomb Raider Revisited ~
As most know, along with a few other classic games from the 32 bit era (e.g. Wild Arms) the original Tomb Raider was re-imaged for the next generation of consoles a little less than ten years after its original release. However, with the panning of Angel of Darkness by players resulting in Eidos switching development teams, one couldn’t help but wonder what Tomb Raider Anniversary would offer even though a heavy dose of fan service was expected. This would apply to the music as well, but unlike the game itself - whose best moments where those taken and adapted from the original – the orchestral bombast that Troels B. Folmann presented throughout the soundtrack added nothing to McCree’s pieces when they made an appearance. Folmann’s work in Anniversary pretty much hits the nail on the head when it comes to my distaste for western composers and their over reliance on orchestration. Of course, there is the obvious hypocritical aspect of such an opinion given the original score was orchestrated as well but at least McCree knew how to keep it tasteful and balanced. In the end, not only did McCree craft something that avoids embracing the stereotypes that come with the style, he created something that will easily outlive that which shamelessly does.
~ A Game and Score Not To Be Forgotten ~
Despite the ebb and flow of time, Nathan McCree’s original musical portrait of the adventures of Lara Croft stands as tall today as it did over twelve years ago, and was an integral part in what brought the game to life. Its short length and limited in-game application may appear to be strike against it but nothing could be further from the truth, as these musical asides only emphasizing the importance of the silence in Lara's world. In other words, what the game’s music doesn’t do is just as important as what it does and there are few soundtracks where such a statement seems appropriate. Video game music fans that were never enticed by Lara’s third person adventures (“enticed” perhaps not being the best choice of words here) should still check it out as copies of the game are relatively inexpensive.
Overall Score: 8/10
Editor’s Note: The track titles used above are unofficial and are not endorsed by either the composer or Core Design Ltd. To date, there has never been any official declaration of what these compositions should go by, the titles above used mainly for clarification purposes.
"Apparently there’s life after Tomb Raider III"
