Grande série da Angelina Jolie
Os controles são duros que só, e quase não melhoram nos 3 que saem a seguir, mas é algo que dá pra se acostumar.
Grande parte do jogo se passa em lugares fechados sem música alguma, o que ajuda a deixar tudo mais macabro, eu tinha muito medo desse jogo quando criança. Só digo que é muito fácil de criar creepypasta com jogos 3D antigos assim.

Angelina Jolie nunca mais foi a mesma depois dessa

Its atmosphere and control scheme really work their way under the skin. It starts off feeling plain, cumbersome, but once one learns the rules and begins to believe in its spaces, it's an absorbing and memorable experience. We're so used to user friendly, context-driven control schemes, and environments we look past or through or around with markers and maps and UI. It's you, Lara, and the world; it's navigation above all. This game has some puzzle solving and too much combat, but the first is really just understanding your surroundings and the second is usually finding a spot where you can shoot whatever is threatening you without getting close to it. It all comes back to moving around---understanding the space, and the controls are in total support of aiding that understanding. Setting up jumps, the hang-time in the air, there's a tension and reward to it all. It's 3D platforming, baby.

And while navigating, almost all we hear is Lara's footsteps and voice. Very little music. There's a real sense of solitude to it. When we hear something other than her, it puts us on edge, and it probably should because the enemies feel like they're out of a fixed-camera survival horror game. Those environments too, huh? Always emerging out of the darkness, always larger and more ominous than you think they're going to be. I love the pulsating, emerald tones of the water. Its Egypt, with its layered underground somehow illuminated and spotted with palm trees for contrasting colour. It's a rude surprise that it decides to end like System Shock 2.

It's tough to care about whatever the story is with those bowling alley cutscenes, and the horror atmosphere is unsupported by the plentiful resources, but it's easy to put those aside when the design brings you close to its space like this. I've played the 2013 reboot so I know it gets worse, but I'm curious about the other early entries now.

It is mindboggling how influential this game and its PS1-era sequels weren't. They sold countless copies and embedded Lara as a character into the wider pop culture, yet the number of notable games that take direct design inspiration from how they play can likely be counted on one hand. If it has any true lineage to be found it isn't in the likes of Uncharted or the post-Sands of Time Prince of Persia games but rather the work of indies like Bennet Foddy or Anders Jensen's Peaks of Yore. Works that attempt to reinject the feeling of tension into a player's movement abilities. Keeping the level of friction high at all times. However even those games evoke the same sensations via very different control schemes. I am obsessive about discovering new games. I regularly scroll through the ocean of noise that is the Steam new releases queue, hoping to find something neat in the endless procession of porn games and Vampire Survivors clones. I keep track of a million in-development indie projects. I would confidently say I am about as up on what's being made as a single person can get. Yet I never see anything even close to a 'Tomb Raider Clone'. Which is not to say some don't exist somewhere, deep in someone's itch.io page. But the fact that one of the biggest runs of success a series has ever had hasn't spawned a visible scene^ is remarkable in an age where every possible trend from gaming's history, no matter how archaic, is being explored by both indies and megacorps alike.

TR's controls were, are, and forever will be, exceptional. Yes, obviously they are somewhat awkward. But they are also also extremely precise with reliable rules about what works in what situation, how many steps you can take before a jump, which button presses have priorities over others, the exact timing for that last-second leap. Each jump feels chunky, weighty. Even just pulling yourself up onto a ledge has serious tactility to it. It all makes cutting corners with your decisions a no-no, instead nudging you to work through the proressions of your movement thoughtfully - often with pre-planning - or face the neck-breaking consequences. From the beginning of the game till the end there is heart-in-mouth excitement in even the simplest of challenges. This is the ideal. This is how it should be. Make no mistake: the controls can be mastered. It's just that 'mastery' here means a confidence in your actions, becoming more fluid in your transitions between movement states. Not an ascension to platforming godhood. I am both terrible at games and easily annoyed yet no fibre in my being would ever consider these controls 'bad'. They achieve exactly what they aim for and, more importantly, what I desire from them.

The problem, then, is that Core Design... Well they didn't understand the core of what they had designed. There are issues in level design and pacing, yes. Some of the puzzles are a nonsense. But all of that is small potatoes. The main downer is that this game and all of its direct successors are plagued by combat that is fundamentally at odds with the rest of its makeup. Lara moves deliberately. Her enemies move quickly, have wonky hit/hurtboxes and are often sprung on the player out of nowhere. Sometimes they have guns which operate on the same laser-accurate rules as Lara's. They are seemingly made for a different game entirely.

It's not that combat is difficult. Health and ammo is plentiful, dying only ever really happens when taken completely offguard. It's that it's stunningly annoying and fuck me there is a lot of it. Running around in circles holding the shoot button, sometimes doing a flip, the height of strategy being to position yourself directly behind your opponent such that they literally just can't do anything because they have to turn towards you before they inevitably do and grind another chunk off your healthbar. Your healthbar outlasts theirs, they die. You feel nothing other than a pissed off sense of 'thank god that's over'. Rinse, repeat for 15 hours. It only becomes tolerable when avoiding it entirely by just standing on a platform where the enemy cant reach Lara.

It's this aspect that makes the lack of extrapolation on the format from other devs even more unfortunate. I don't blame Core Design for how they formulated things. There's still plenty else it did well (the atmosphere, so thick at all times!). They were doing something new out there on their own when the industry was in a more nascent stage. We've a wealth of knowledge now about this type of game is best handled - hell just take out the combat entirely lads, it isn't absolutely necessary - and few out there keen on putting it to use. Here's to hoping the remasters spark a little something.

^I should note that the early TR games have a wonderfully vibrant modding and level-creation community. Amazing work is being done by a super dedicated group. Eg: https://www.pcgamer.com/meet-the-community-creating-classic-tomb-raider-adventures-in-2021/. Probably the most straightforward partial answer to the question 'where are all the new takes on old Tomb Raider' is 'the people who would make them are making them in Tomb Raider'

Nostalgia is meaningless to me. Useless at best, poisonous at worst. But I like old games. I like the ways in which they are idiosyncratic, coming into existence before dull, insidious ideas about so-called design best practices could shave off the rough edges. Tomb Raider showcases an ingenious and unique solution to third-person navigation in a 3D environment. Every movement Lara makes is exact and if you take the time to learn the controls they will serve you, and the game's level design, perfectly. That level design is what almost single-handedly makes this game great. It requires you to think for yourself. The environment isn't over-telegraphed and the UI isn't intrusive. But it also isn't inscrutable. You'll get lost but if you've been paying attention you won't get frustrated in that process. Tomb Raider respects and trusts the player enough to demand that you pay attention while playing the game. If you can't do that, then why are you here?

This is the same case as Metroid 1, the remake is so much better that it doesn't make sense to start with that one (I only started out of stubbornness), the problem with this game is the graphics that make it look like you're inside a cave made of poop , the camera which is obviously at the beginning of the 3d era and also the textures that will allow you to know what is graspable and what is not,
the game is so ugly that I can't tell what's entry and what's solid (I don't know), the combat is very slow and sometimes it's hard to know what you're doing and, yeah... I dropped this game at one stage boring with running water where I needed to get 3 contraptions to make something work, but it's that thing I already knew what to do,
but imagine me going to the "right path" taking the contraption without knowing about that thing that makes that other thing appear (maybe that broken bridge) and then I ask myself "okay now what? what do I do, where to go?", yeah very enigmatic and the camera as always doesn't help at all, I tried to get these 3, but it didn't work,
I felt tired in the game and look, I continued and was at that stage and if I continue the game and I'm already tired of that stage it's because there's something wrong with it.

Anyway, just like Metroid 1, play the remake (Anniversary Edition), only play this one out of curiosity or difficult access to the remake.

Tomb Raider '96 has been on my bucket list for a few years, and it feels great to check it off the list! It's a thrilling cinematic platformer, with presentation I honestly feel still stands up overall, and still feels good to play! Platforming is the star, here; the combat is serviceable, though clearly an afterthought. This does sort of feel like Mario 64's estranged older sister. This is Core Design's answer to the "movement in 3D space problem", though with a d-pad, instead of an analog stick. It's honestly way too long for its own good, but other than that, I don't have any major complaints. Not a must play, though if you're curious about games from a historical perspective, I think this one is definitely worth checking out.

the best game you can play while listening to an audiobook
just hours upon hours of slow clumsy, yet deliberate platforming with not much else going on besides the occasional enemy to shoot. but its perfect for when you need something to do while listening to something that won't really distract you too much from the thing you're listening to
that said, i think i would have died from boredom if i wasn't listening to something more engaging while playing this, partially due to just how labyrinthian some levels can be, and idk about you but running around in circles looking where to go and what i missed just isn't fun. and im sure i would have given up if not for speed up and rewind via emulation, especially with how precise and lethal some jumps can be
that said, the last few levels do redeem the game in the end, and i am glad i played it

Joguei pela primeira vez via Steam, e o port (se é que dá pra chamar disso) é tão malfeito que chega a ser injogável. O jogo roda emulado via DOSBox, e nada contra o emulador, que fique bem claro, mas transferir um jogo clássico via emulador open-source, sem se dar o trabalho de converter e atualizar mecânicas antiquadas pra um funcionamento melhor e mais fluido aos novos jogadores é um tiro no pé. Os controles péssimos podiam ser divertidos e podiam fazer mais sentido na epóca, mas como o jogo é obtido de forma oficial, cabia também um port oficial que tivesse sido trabalhado pra caber nos tempos atuais e dar mais jogabilidade e conforto aos jogadores que querem se inteirar de jogar os clássicos da era de ouro.
Lara muitas vezes não responde aos comandos de pulo, o controle de camêra não funciona e o jogo vive um meio termo entre o fluido e o manual. As ambientações e trilhas sonoras são ótimas e casam perfeitamente com os gráficos, esses que não deixam a desejar no sentido de mostrar a evolução dos jogos de computador em seus primórdios e chegando até aqui. Sinto que o jogo funcionaria bem se um port atento e profissional tivesse sido feito.

(First time playthrough as part of Tomb Raider I-III Remastered)

The first Tomb Raider is a solid 3D platformer that, while it definitely shows its age in some areas, excels in others. Above all else, it is a unique game that could unfortunately not be made today -- not for any stupid culture war reasons, but because its game design, as compelling as it may be, is decidedly at odds with that of modern action/adventure games. The fact that these games even got a (great) remaster at all is a surprise, but certainly a welcome one.

Like many early 3D games, Tomb Raider is light on story, sending Lara on the hunt for an artifact in Peru after a short introductory cutscene. There's probably about five minutes of dialogue across the entire game, if that -- and most of that occurs in the final level. Still, cheesy as the writing may be, Lara and Natla's personalities come through well, and I imagine Lara is given a bit more development in the later classic games.

With the story almost entirely in the backseat, the clear focus of Tomb Raider is in the gameplay. I had heard the horror stories of the game's tank controls, but as a big fan of the original Resident Evil, I found them quite comfortable, and quickly gave up trying to use the new "modern" control scheme included in the remaster. Unlike the newer Tomb Raider or Uncharted games, platforming is the main source of difficulty. You don't just tap a button to automatically grab the next platform, you have to manually line the jumps up with the D-Pad and the jump button, accounting for distance if necessary. There's little handholding, and jumping too far or too short will usually mean Lara's untimely demise. This might sound miserable on paper, but in practice, it just works; as you practice the platforming and controls, you gain enough confidence to bounce through levels without taking time to line your jumps up. It's a simple system that rewards mastery, and the precision of the tank controls means that any platforming-related death is firmly the fault of the player.

While the platforming is great, the rest of the gameplay has not aged so gracefully. There is plenty of combat, especially in the Egypt and Atlantis levels, and it is clunky at best, terrible at worst. There is (thankfully?) no manual aiming: Lara will lock on to targets in front of her and you can blast them apart with ease. The annoyances come in when there are multiple enemies or you have to fight in a tight space; the camera is a mess in combat, and the fact that you have to flip through the air to reliably avoid damage only exacerbates the issues. Some of the later enemies will also jump around you faster than the camera can keep up, leading to some headache inducing fights. I'm not sure how they could have done the combat differently here, but even when you're only dealing with one enemy at a time, it's more tedious than challenging.

Another issue I have with the game is the lack of variety. Although there are 15 levels, this is spread across four different zones, with each level largely having the same aesthetic and challenges as the other levels in the same zone. This is less of an issue in Peru and Atlantis, but Greece and Egypt feel repetitive and samey (Greece, in particular, has no reason to be five levels long). I would have liked to see more locations with fewer levels each for the sake of shaking up some of the monotony. Similarly, although I tend to like the obtuse '90s level design and exploration, it doesn't feel very rewarding once you realize that you're only going to be finding medkits and ammo that, in all likelihood, you won't need. Making ammo and health more rare, or having treasures to loot, may have worked better for me here.

Overall, I enjoyed playing through the first Tomb Raider and look forward to starting the sequels soon. Although there are a number of shortcomings due to its age and being the first entry in the series, I had a good time, and the platforming is fun and unlike anything else on the market today.

92

Tomb Raider in a few ways feel like the antithesis of Mario. While Mario is focused on fast and slick movement throughout zany and expansive worlds, Tomb Raider is more slow and methodical with its platforming and is more focused on grounded and atmospheric levels. They are wildly different in their goals, but that doesn't stop the both of them from being fun as hell.

Tomb Raider's style is not for everyone, but I never once thought the game was being too unfair. The most seemingly unfair mechanic that being the combat can be clunky, but as long as you're smart with your jumps and conserve the right ammo most combat encounters won't be that much of a problem. Everything else in this game is perfect, especially the save point placements. The person who placed them deserves a raise and a kiss on the cheek.

I have very mixed feelings about this game. Overall, I had a great time, but the road to the finish was definitely very bumpy.

The gameplay as a whole was fun, and very satisfying. I specifically enjoyed how predictable the platforming controls were. The consistency in what you know is possible with the various ways to jump, climb or traverse around the levels means that most of the time, any failure feels like your fault. This means it is rarely frustrating, with the exception of forgetting to save for a while and having to replay lengthy sections.

Some of the puzzles made sense, and were fun to solve - and the environments were interesting to explore. I especially liked the non-linear level design - it was very fun to explore a new area for the first time, seeing areas further into the level that are not yet accessible, and then progressing and finding your way to these secrets.

My biggest gripes with this game all came down to pacing, and the combat. A lot of the time, I'd be having fun with a tight platforming puzzle, enjoying the consistency of the controls, to be interrupted by tedious and annoying combat. The gunplay never really felt like I was fully in control, and the randomness of the enemy AI meant there were times where you'd easily get stuck with no way out of a situation. This wouldn't be a problem if combat could be avoided, but it is a huge part of the game, and never added to the fun of the game for me.

I also found the camera very frustrating. It was often difficult to see where to go in tight spaces, and this game seemed to love tight corridors with hidden platforms near impossible to see. I try to play games with as little help or guides as possible, and I had to look up solutions or directions various times throughout this game. While this may just be my own failing with my own abilities, most of the time when I was stuck or confused, it was due to not being able to physically see where I was supposed to be going.

This game of course is incredibly ahead of its time, and any of these failings are just examples of trying something new, which is always a messy road. The platforming is still satisfying all these years later, and you can easily see how this game has stood the test of time as a classic.

I'm intrigued to player further into the series to see how the gameplay develops - and I'm hoping to see the formula tightened and improved as things advance.