A Philosophical Review Of "Tomb Raider"

The second part of a twelve part series. This essay aims to explore the 'nihilistic devolution' of Lara Croft following the franchises 2013 reboot. 

Since the birth of Tomb Raider in 1996 we have seen Lara battle new heights, embarking on a journey of self-affirmation in an attempt to rediscover her "true" being. She constantly shifts perspective, thus being transformed according to Nietzsche, from a weak and inexperienced 'child' to a fierce and feminist 'lion.' The well renowned game, developed by Crystal Dynamics, acts as a prequel to the previous original series as we see Lara break with tradition and slowly develop into the female equivalent of Nietzsche's "Ubermensch." She represents great physical vigor, courage and strong will; pushing the limit of her comfort zone in order to demonstrate the highest moral standard for the good of the community. A hardcore heroine trapped inside a condemned world; destined to overcome it. 

Screenshots From Personal Gameplay. Image Rights Owned By Crystal Dynamics. 

"The most powerful individuals simultaneously 'give style to their characters, organize the chaos of their passions, and create a world of beauty here and now." (134) 

It becomes pretty clear through the course of the game that Lara’s character has evolved through a process of “Philosophical Nihilism.” She is no longer the idealistic “sex object” she was initially perceived to be and instead becomes actively detached from her roots; increasing her own element of freedom and overcoming personal self-violation. It was because of this quite obvious detachment that I didn’t particularly enjoy it as a Tomb Raider game, even though Lara remained to act on impulse much like a contemporary spin on Nietzsche’s “Good Man.” It was however enjoyable as a game-in-itself once you eventually learn to cut all cognitive ties to its predecessors. 

*WRITTEN AS PART OF THE UNIVERSITY OF WINCHESTER'S PHILOSOPHY MAGAZINE. READ THE REST OF THIS ARTICLE HERE. 

The Devolution of Lara Croft; A Review of Tomb Raider (2013).

Since the birth of Tomb Raider in 1996, we have seen Lara attempt to battle new heights, as the infamous archaeologists daughter returns in the reboot of the much loved gaming franchise.

[All Screenshots From Personal Gameplay. Image Rights Owned By Crystal Dynamics]

Aptly named the same as it's predecessor, the game, developed by Crystal Dynamics, acts as a prequel to the previous original series, aiming to take us back to the core of Lara's journey of self discovery; from timid teen to hardcore heroine. With awards for Most Anticipated Game of the Year (*Digital Spy) and Best Action Game (*IGN, 2011) under it's belt, I expected something utterly mind blowing following the anticlimax of Tomb Raider: Underworld.

After the events of the shipwrecked Endurance, Lara is thrown in at the deep end throughout her mission to regroup with survivors and escape the cursed island of Yamatai, Japan. But first she must battle the dreaded cult of Himiko as she is captured by satanic worshippers of the so called "Sun Queen". A storyline which was shrouded in potential, yet slowly became generic and predictable (with the odd occasional false scare, of course). It somewhat dragged at times and I found myself more admiring the scenery than the actual game itself.