Tag Archives: Raider

A New Wave of Unannounced Archaeology Games Inspired by the Forgotten Tomb Raider

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The game I’m eagerly anticipating at the moment is Big Walk, the newest creation from House House, the developers behind the beautiful Untitled Goose Game. This cooperative multiplayer adventure invites players to explore an expansive world, and I’m excited to see what intense gameplay arises from it. Will Big Walk allow for a unique form of community archaeology with friends? I genuinely hope so.

From the placement of objects to audio recordings and graffiti, if the game effectively employs environmental storytelling, it encourages players to embody the role of archaeologists. Game designer Ben Esposito characterized environmental storytelling in 2016 as “the technique of placing a skull near a toilet.” – This might have been a critique directed at games like the Fallout series, but his quick remark illustrates how an archaeological narrative can unfold within a game. After all, the contrast between the skull and the toilet can provoke numerous questions and interpretations about the past within that game world, albeit a rather absurd one.

I have worked as an archaeologist in the tangible world, where I was involved in excavations, fieldwork, and site evaluations across the UK. Currently, I’m pursuing a PhD in Computer Science with a focus on video game archaeology. We are developing innovative methods to document gameplay experiences, including conducting in-game interviews with players and tracking in-game messages in Elden Ring.

Given my background, I often find myself contemplating the games where you play roles akin to an archaeologist, whether as a grave robber or an unknown entity, as well as those that simulate the tasks we perform in the field. Games like What Remains of Edith Finch encourage players to immerse themselves in the environment and contemplate what the objects scattered throughout signify. Dr. Melissa Kägen, an assistant professor of interactive media and game development at Worcester Polytechnic Institute, refers to this type of interpretive gameplay in Walking Simulators as “archive adventure.”




Ready to play the role… Outer Wilds: Archaeologist’s Edition. Photo: Nintendo Switch

However, it’s not limited to Sims; there are various puzzle games where one can take on the role of an archaeologist, piecing together remnants of the past from archived materials and clues. While some may label these games as “Metroidvanias,” I have a personal affinity for them. Essentially, “information games” (a term coined by developer Tom Francis) require players to formulate theories based on available information and utilize those theories to gain further insights. Heaven’s Vault stands out with its core mechanic of deciphering ancient languages, while other information games like Return of the Obra Dinn, Her Story, and Outer Wilds (which even has a dedicated “archaeologist edition”) encourage players to excavate clues related to their environments and histories.

In my research, I aim to explore how modern gaming can be documented as meticulously as ancient artifacts. I’ve noticed numerous parallels in the gaming landscape. The methods players use to document their experiences—such as screenshots, mapping, and journaling—mirror techniques employed by real-world archaeologists. Some games integrate these documentation methods as central mechanics. A prime example is Season: A Letter to the Future, where players capture the world’s essence just before a cataclysm through their diary entries. Games that prompt note-taking certainly enhance the recording of gameplay experiences, such as the anticipated 2025 puzzle sensation, Blue Prince.

If you’re interested in becoming a video game archaeologist rather than just Tomb Raider-ing, look for the skull next to the toilet. Better yet, document your findings. Future gaming archaeologists will be grateful!

What to Play




Obsessive and stylish… Shinobu: The Art of Vengeance. Photo: Sega

In today’s gaming scene, many classic ’80s arcade titles are being rediscovered, with Gradius Origins delighting shoot-’em-up aficionados and Bandai Namco’s Shadow Labyrinth offering a fresh take on Pac-Man.

Next up is Sega’s Shinobu: The Art of Vengeance, a stylish platformer adventure heavily inspired by classic ninja brawler aesthetics. Players navigate a richly hand-drawn cyberpunk world with an impressive array of combat abilities, weapons, and combos. The French developer LizardCube has masterfully blended captivating visual flair with the nostalgic immediacy and modern enhancements of the original title. Expect to relive fond memories while executing fierce moves to dispatch enemies in a visually stunning ballet of violence.

Available on: PC, PS4/5, Xbox
Estimated playtime: 15 hours

What to Read




Switch and Bait… I’m waiting outside my Nintendo store for the release of Nintendo Switch 2. Photo: Kylie Cooper/Reuters

  • Curious about Nintendo‘s game design philosophy? The upcoming book “Super Nintendo” by Keza McDonald is available for pre-order. This in-depth examination offers a behind-the-scenes look at the legendary game and console maker, featuring insights from key figures, including Miyamoto himself. A must-read!

  • Over 450 Diablo developers have voted to unionize, as reported by The Communications Workers of America. Nav Bhetti, a senior software engineer on Team 3, shared, “Throughout my development career, I’ve observed my colleagues paying the ‘passion tax’ to work in the industry we cherish.”

  • Have you heard of “friendsslop“? Nicole Carpenter explores emerging genres in social gaming, such as Peak, Fatal Company, and Content Warning. Find out what developers can glean from focusing on cooperative experimentation with peers.

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Question Block




Console Wars… Indiana Jones and the Big Circle. Photo: Game Press

This week’s question comes from Richard B. via email.

“Does the console war still exist?”

This is a topic currently under scrutiny throughout the industry. In February, Xbox Chief Phil Spencer told Xboxera that he’s no longer focused on attracting players from PlayStation or PC. Just three months later, previously exclusive titles like Indiana Jones and the Big Circle have been announced for PS5, alongside Gears of War: Reloaded being linked to Sony’s platform. In return, Sony will release Helldivers 2 on Xbox, with more collaborations likely to follow. A recent Sony job listing suggests they are indeed open to this.

Cross Play—features available in games like Fortnite and Apex Legends—allows players across different systems to compete. In an industry where mobile gaming is increasingly dominant, with NewZoo projecting a worth of $92.5 billion for mobile games in 2024, the competitive landscape is changing.

Still, gamers are inherently territorial in nature. Brand loyalty remains a significant facet of fandom (think Nikon vs. Canon, Nike vs. Reebok, or Android vs. iPhone). Technical specifications are merely one aspect of these rivalries, with style, image, and identity also playing vital roles. Thus, don’t anticipate Xbox and PlayStation to transform into mere apps across various platforms anytime soon. Some battles may come to a close, yet the war rages on.

If you have any questions or thoughts regarding the newsletter, please feel free to reply or email us at butingbuttons@theguardian.com.

Source: www.theguardian.com

Review: Tomb Raider 1-3 Remastered – A Fantastic Revival of Lara Croft’s Lost Ark | Gaming

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IWhile modern games are about sports cars, flashy, fast, expensive, and noisy, the original Tomb Raider is about shopping carts: clunky, slow, and not much to look at. It’s a pain to operate, especially if you’re used to automatic gears and navigation. It’s quiet apart from the odd wheel squeak. It’s really great at doing what it’s intended to do. And it can be yours for just £1.

Well, £24.99, that’s the asking price for Tomb Raider I-III Remastered. This product includes Lara Croft’s first three adventures and expansion packs from 1996 to 1998. Each game has received a complete graphical overhaul, with a fresh coat of paint rather than a complete re-plaster. Lara’s world still has a flat, polygonal appearance, full of sharp edges, origami enemies, and Toblerone boobs.

However, the lighting is now more natural, water effects have been greatly improved, and new high-resolution textures have added an impressive amount of detail. Vegetation looks more realistic and surfaces are smoother. Cracks in the grain of the marble walls of the Venetian Palazzo no longer look like they were built in Ceefax. These visuals would have been shocking back in 1996, when Tomb Raider was first released, but they don’t match modern gaming standards. The remaster makes him fall into the uncanny valley between the two. I think he was around 2005. But these graphics are a perfect fit for the dated gameplay, and are a clear improvement over the original version, which was so blocky and ugly that it would shatter the lenses of your rose-tinted glasses.




Harmful effects… The colonial stereotypes of the original version have been dispelled.
Photo: Aspyr Media

However, some of the series’ memorable moments are diluted. The appearance of the iconic Tyrannosaurus in the first game was quite frightening, as the dinosaur suddenly appeared in view from the endless pitch-black night. This was not an artistic choice, but a technical limitation that prevented me from drawing details in the sky and background. The showdown is currently taking place on a rainy afternoon, with the edges of the battlefield visible. As a result, the scene is still tense, but no less frightening. Just like in Jaws, it’s scarier when you can’t see the monster.

The good news for purists is that you can switch between the original and upgraded graphics at any time with the push of a button. You can also choose to play the entire game using the original tank controls, or use the new system that lets you run around with Lara like a modern-day action hero. This makes her movements more fluid and reduces those frustrating moments where the camera can’t keep up. However, accuracy is sacrificed when navigating grid-based environments. This is essential for completing the more complex platform sections. The solution is to keep switching between her two control systems via the pause menu, but this is difficult to use. Unfortunately, this also cannot be toggled with her single press of a button.

There’s no option to turn off problematic content that appeared in some of the original games, such as racist depictions of South American natives as dancing cannibals. Instead, the remaster includes a warning about these “extremely harmful and intolerable” stereotypes. The content remains unchanged “in the hope that we will recognize and learn from its harmful effects.” This seems like a reasonable argument. Recent Tomb Raider games have sought to move away from racial stereotypes, tackling issues surrounding colonialism and the theft of cultural artifacts. The remaster’s problematic scenes remind us why this is important.

There’s no doubt that the games in this collection feel outdated. When it comes to glossy graphics, intuitive controls, and fast-paced action, it can’t match today’s Uncharted or Assassin’s Creed. But they have something that many modern games lack: confidence.




It doesn’t look clear. Lara’s world is still flat and polygonal.
Photo: Aspyr Media

The original Tomb Raider never holds your hand. The environment is free of Tipp-Ex’s awesome doodles, highlighting where to go next. It’s not packed with random items to collect or boring letters to read. You don’t have to craft your own weapons, upgrade your armor, or choose an amulet to attach to your magical necklace to slightly increase the impact of your air kicks during melee combat.

You can’t climb everything you see. You can’t traverse an entire cliff face by just holding up the thumbstick and pressing the X button. Navigation requires precision, which means losing your life. There’s no strong soundtrack. In fact, there’s almost no soundtrack. There are no loud buddy calls in your ear, no maps, and no hints. Do what you like.

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This is what makes Tomb Raider so great. It’s a game that trusts the player. You’ll find that you keep moving forward, even through the frustrating and difficult sections, because the satisfaction of having achieved it is enough. There’s no need for constant gratification, and no promise of big prizes at the end, like big shiny swords or long cutscenes. New vistas and a few bars of sublimely beautiful strings are all you need. This is a game for adults.

So Tomb Raider Remastered isn’t really a shopping cart. It’s a classic car, well cared for and polished to a decent shine. Yes, the handbrake is sticky, the CD player is broken, and the butterscotch leather seats have cracks. But it’s still fun to take it for a spin. They won’t let them be like this anymore.

Source: www.theguardian.com