"Oh, an RPG maker horror game, i love those"

it's eroguro

"FUCK"

I didn't expect this to be a fetish game. I still really liked it mostly because of how completly crazy the last 20% of the game and ending is. There's also a bunch of cool monsters and weird shit. I'm a sucker for that kind of garbage even if it's not very good, i really liked it.

Steam delisted this game and now no one can see i have 100% achievments. Not sure if i should be mad about it or not.

Something about this game really clicked with me; the antiquated graphics dressed in garish colour palettes, the absurdist tone of the game and how, despite seemingly random things being thrown together at first glance, there is a rhyme and reason to all of it that speaks on a subliminal level.

About what? Nobody seems to really know, but I liked to always think of it as an allegory for how life, and its many hurdles, can shape and change us as people and how, if we stay complacent for too long, we will never become something better.

This philosophy can be applied to not just who we are as people, but our passions and professions; Artists staying complacent in their skill level stagnate and cannot become better at their craft, as an example.

Settling for a minimum instead of reaching for something further.

If you want to make something of this life, you cannot be complacent; lest you will never reach your full potential.

Some people would look at this and probably think it's worthless garbage but to me, this is yet another example of what games as an art from could achieve.

It's ugly, it's flawed and it's indescribably beautiful.

One of my earliest memories is being a toddler and thus too stupid to know how to double-click an .exe file. "Auntie's game," I would tell my elder sisters. "I want to play Auntie's game." I don't know why I called Lara Croft my auntie, but I did. Today we'll be reviewing Auntie's game, kids.

In fact, a lot of my childhood memories revolve around 'the real Lara Croft,' as I have to call her now to differentiate her from Square Enix's stock protagonist. At the time, Lara was a celebrity - an actual celebrity - on a level I don't think I've seen a video game character be since. Being played by the gorgeous Angelina Jolie in two feature films sure helped, but even before that, there was something about Lara's design and attitude that imbued this primitive pack of polygons with a charismatic charm. The actual plot of Tomb Raider may be somewhat thin on the ground, but it was enough to establish Lara as a badass heroine, while the game's blocky but practical, rough-hewn yet well-researched environments did the rest.

Another childhood memory I have is telling my sister, "We have half an hour before school. We can both play Tomb Raider for 15 minutes each." I was a very kind child, you see. At the time, actually beating a video game was a distant thought for me - as achievable as climbing a mountain. It's only now, 20 years later, that I've finally finished this game by myself - no walkthroughs. I feel like mentioning that because Tomb Raider is actually a pretty tough game. If you clear a risky jump, you better save. If you come to a place with branching pathways, you'd better save. If you walk a few steps without dying, you'd better make two separate save files to account for two separate universes where you fuck up by a centimetre and fall to your death. By the time I finished this game, I'd saved exactly 380 times, but by golly I finally did it. Pity the people who played through this on the PS1 version, which doesn't let you save anywhere.

Yet even if my mentality about video games changed, the principles of Tomb Raider didn't. Both when I was 4, and now when I'm 25, it was all about the joy of exploration. Tomb Raider provides this joy in spades. The platforming, the puzzle-solving and the slow yet definite resolution of a level that at first looked impossibly complex - Tomb Raider was an early champion of these elements in a 3D space. There is combat, of course, but it's merely serviceable because Lara needed something for her iconic dual pistols to shoot at.

I don't know when humanity's collective IQ dropped to the point that tank controls became too big an ask for players to grasp, because they always felt intuitive to me. That isn't to say Tomb Raider isn't unforgiving as fuck, because it is. It requires precision platforming, lateral thinking and a good deal of patience. The game is mostly fair - with only a few bullshit moments reserved for the endgame when you're already attuned to its deceptions - but it plays by its own rules, which are hard and fast.

However, I'm only saying all of this now because I've already had my love rekindled. Despite my childhood memories, there were some moments early on where I said, "Fuck this game," because Tomb Raider has aged. Its design is archaic, and its graphics are nigh prehistoric. Even with some fanmade patches that modernize the game as best as they can, there's no hiding the fact that this is very much a 1996 game.

I entreat you to give this game a fair shake in spite of this. I said the game has aged, not that it's aged badly. With enough patience - juuuust enough to let the Stockholm syndrome set in - you too can discover the joy of Tomb Raider, of its hypnotic cycle of exploring levels with sparse musical cues and only the sepulchral ambience, the thumping of footsteps and the occasional ding of a secret discovered to keep you company. And every now and then, the sound of bones breaking as Lara falls to her death for the dozenth fucking time.

Before the Tomb Raider I-III Remaster trilogy was announced, I had long given Lara up for forgotten - that the only people who would even remember the PS1 Tomb Raider games would be the ones who grew up with them, because who has the time or patience anymore? But look past its flaws, I assure you. This was a revolutionary game then, and it's still a great game now. Tomb Raider in 2024 takes the act of exploring something ancient to find a hidden treasure to a very meta level.