Review: Lara Croft Tomb Raider: The Angel of Darkness (PS2)

The original <i>Tomb Raider</i> was a dazzling release, but subsequent versions failed to emulate the original’s panache. <i>Angel of Darkness</i> promised to be the most radical departure from the series to date, but could this detour revitalise a flagging franchise? The answer is one that arguably fans and critics will have already asked and (many more) will have prejudged.

Summoned by her former mentor (Werner Von Croy) to the urban landscape of Paris, Lara becomes embroiled in a 'whodunit' saga, where she is the prime suspect. Only through undertaking Von Croy’s current assignment can she hope to clear her name and find the killer. Von Croy, it seems, was hired by a client to locate one of five 14th century Obscura paintings. Each painting is extremely distinctive and linked to dark, evil powers that are obviously best left alone. While the initial premise sounds similar to The Ninth Gate (Johnny Depp), the game really develops when you leave the pawnshop. 

Atmosphere, dialogue, fear of the unknown; these elements woven together form an integral part of any <i>Tomb Raider</i> release, often overshadowing the limitations of the game itself. There is no denying that <i>Angel of Darkness'</i> backstory plods and stumbles, lacking the pace and dynamic nature of previous releases. The cut sequences display the most exciting set-pieces; all played out for you to watch rather than experience... drip-fed as you toil along the breadcrumb trail. The sense of disappointment is writ large as you return to the game world, and find sequential moments being no better than the PSone releases - further highlighted by a lack of detail, facial expressions and variety in character models.

There are numerous demons to subdue within <i>Tomb Raider</i> yet the most prominent and frustrating is the botched control method; surely self-evident through any form of testing? With no other option apart from using the analogue sticks, the game lacks the precise control, which it so requires. Unfortunately, jumping relies purely on luck as you struggle to find a suitable angle by tapping the stick in a merry and repetitive fashion; for all her sublime looks Lara pivots and moves like a stilted Bernard Manning performing Swan Lake. Having controlled a miscellany of characters over the years, <b>Gamestyle</b> can declare that no control system comes close to the one utilised in <i>Angel of Darkness</i>. And having succumbed to one 'leap of fate' on the first level fifteen times - not through inexperience, but rather a combination of bad animation, controls and camera - you have to ask the question: is such a game meant to be pleasurable? 

There is no skill attached, only persistence and hope that the gods will grant you safe passage over the gap, otherwise you are clean out of luck. While there are no sweet-spots for jumping, climbing in and out of situations can prove hilarious. Lara will on occasion refuse to enter a building until you have hit the button at the correct time, or unless she is positioned correctly. The lady can duck, flip and clamber like no other, but such a simple function has again been poorly implemented.

As a form of recompense you are able to save anywhere, and in itself this is admission that the difficulty curve is nowhere to be seen, thanks to the terrible execution. Cue the time-honoured tradition of saving before and after any difficult obstacle (which further massages a need to reload the level once more when you plummet to your doom). Thankfully, the levels are linear and quite often extremely short, as it almost feels as if the videogame was sandwiched around the story. Locked doors, dead ends and cut sequences that begin at the most inopportune moments, all contrive to spoil the flow and atmosphere that the game strives hard to create. You can engage in discussions with characters by selecting pre-determined answers. This does raise your interest level slightly, as Lara comes across as a tough bitch and the wrong answer can have drastic consequences. Responses can change the path of your journey, but only in the form of a small detour or new task on rare occasions.

Much has been made of changes to the series and these include the fashionable inclusion of stealth and the ability to grow in strength by performing tasks. Neither has been implemented with any true sense of purpose or originality. By breaking down doors or moving boxes, Lara will accrue in ability - yet there is no meter to gauge your current level. The system here is restrictive in many forms, as firstly there is no alternative to increased strength; without it you won’t progress. Laughably, on numerous occasions when Lara prompts you for the need to improve her physical prowess, a nearby door or bridge awaits to provide the necessary boost. As they are typically within close radius, you (laughably) question why Core Design bothered. Another example: <b>Gamestyle</b> pushed and pulled a crate in an attempt to build up strength, but because we were doing so in the wrong direction, no reward was granted. Instead, one single shove in the pre-determined direction was enough to receive the bonus of extra strength - natty idea, nasty execution. 

Similarly, stealth elements also fail to convince and the lobotomised enemy AI hardly requires such a tactic. The combat - given the automated locking - requires nothing more than the rapid pressing of a button whether in possession of a firearm of not. Here lies a combat system shallower than <i>Enter the Matrix</i>. The inclusion of another controllable character does little to change proceedings as even Master Chief, Mario or Joanna Dark would fail to shine in such surroundings.

Still, <i>Angel of Darkness</i> is not a total loss. The resonant soundtrack is neatly structured, and when combined with the passable voice acting and solid soundstage, reminds you of what <i>Tomb Raider</i> once was. Visually the game is showing its age, and if Eidos plans on using this technology for future updates, then seriously a great deal of taxing revision needs to be done. Premature code or not, the game is marred by several glitches and bugs that erode any of the polish Core Design aimed to achieve. The engine at times struggles to maintain a respectable framerate and the long loading is detrimental; this is an outdated Playstation 2 release which should have seen the light of day two years ago. The visuals and details together impart a 'plebeianic' look, which further sours the experience.

<i>Angel of Darkness</i> is an attempt to move the series forward, but one that neglects the 'core' strengths which have defined the series. Couple this with the poor overall execution and Eidos is left with a game that will disappoint fans and fail to attract new enthusiasts.

Rating: 4 / 10

Words by Jason Julier