Shortly after the release of a new trailer for the upcoming Tomb Raider remake, Legacy of Atlantis, some folks spotted on the game's Steam page that there was a disclaimer outlining the team's use of AI in its development.

It reads:

AI-assisted tools were used during development to support some early exploration and temporary development content. Any AI-assisted assets were either replaced or refined by humans in order to maintain the creative and artistic vision of the development team.

No thanks! I feel like we've been through this, a bunch of times now, but it bears repeating: I don't want AI-generated content anywhere in my video games, but I especially don't want it anywhere near things that can be described as "creative and artistic".

One of the great delusions with the AI bubble is that the executive class feel compelled to argue that its implementation is about eliminating waste, cutting corners, streamlining processes, no matter where and no matter the cost. And one of the great battlegrounds in the fight against the adoption of AI tech is that, when it comes to art– even the most mundane aspects of it--there are no corners to cut. The iterating is the point.

One of the real joys of this medium is that, as chaotic and broken as the development process can be, video games are works of art. Every line of dialogue, every wooden crate, every colour palette you see in a game is the result of decisions made by a person, drawing on their own ideas and values and collaborations with their colleagues.

And those things you're seeing in a game didn't just magically appear there. They were workshopped, improved on, drawn up then thrown out then drawn up again. That's the artistic process; it's how everything we've ever made as humans has been made. That's how it works! You can't cut corners on ideas! It'd be like me asking ChatGPT to provide an outline of this blog, then me saying I'd gone over it and made some edits, added an extra paragraph or two; I could put my byline on it and add a disclaimer, but...this wouldn't be my blog anymore.

I realise we don't know the degree to which the team have made use of this tech; it could have been extensive, it could have been used on a single lamppost. But in many ways that makes it even worse; like I said with The Alters, the suspicion and uncertainty over AI's presence in a game is exhausting in its own right.

In response to swift backlash online, co-developers Crystal Dynamics provided a statement to Eurogamer that basically repeated the disclaimer:

At Crystal Dynamics, we leverage AI tools to help our teams iterate on ideas faster and more efficiently, while ensuring that all finished content in the final product is human-crafted. Our goal is to empower the creativity and flexibility of our developers to deliver the highest-quality experiences for players everywhere.

Come on, your goal is to cut corners and save some cash, maybe lay off some artists down the line. You could at least be honest about it.

The PS5 era has been in some ways disappointing for Sony – on Tuesday, the company revealed a slate of games they hope will change that

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PlayStation’s future has looked a little uncertain these past few years. Although the PS5 has sold well and been very profitable, the brand is far from the runaway market leader it was in the PS2 days. Earlier this week, Game File dug into Sony’s most recent earnings reports to illustrate how PlayStation has been selling fewer and fewer of its own flagship games since a peak during the pandemic. About 54.1m copies of games either developed or published by Sony were sold in the 2018 financial year; in 2025, it sold 32.1m.

Sony has put out some great homegrown games since the PS5 was released in 2020, from Astro Bot to Ghost of Yōtei, but it has also had some expensive and very public failures and cancellations; PlayStation boss Jim Ryan, who retired in 2024, placed big bets on live-service games and only a few panned out (hello, Helldivers). Sony also seems to have rolled back on releasing its single-player PS5 games on PC after a polite interval of time, suggesting it wants to preserve what advantage and exclusivity it has.

The Thursday letters page is cautiously optimistic about Tomb Raider: Legacy Of Atlantis, as a reader is worried about the sequel to 007 First Light.

Games Inbox is a collection of our readers’ letters, comments, and opinions. To join in with the discussions yourself email gamecentral@metro.co.uk

Expected response
I think I agree with your summary of the State of Play, in that it was solid, didn’t do anything wrong, and yet I wasn’t excited by it at all. The problem is, and I think you hinted at it, is that while I’ll probably even buy Wolverine and God Of War Laufey, I already know what they’ll be and while I’m sure they’ll have unexpected moments they really don’t seem to be doing anything we haven’t seen before.

It’s the problem with sequels and using existing IP and while I understand it, and even encourage it when it comes to something I really like, they almost seem like wasted games, in terms of not moving anything forward.

I’m sure they’ll rake in the money, because tried and tested is what sells, but I feel Xbox has an opportunity here, to have a much more surprising showcase, with some games that aren’t just the obvious go-tos. They’ll probably miss the open goal though, they usually do.
Gazza

Logan Drake
I’m getting some serious Uncharted vibes from Marvel’s Wolverine. The whole thing with the chase on the bike reminds me of the Madagascar chase from Uncharted 4. That was probably the best bit in the entire game, so you can’t blame them for trying to copy it, but it doesn’t give me much hope that Wolverine is going to be very original.

Especially when they had that bit where he’s looking down at the soldiers below and he’s doing some simple stealthing about (like Batman: Arkham Asylum, again). I just don’t know what’s going to be special about the game other than its production values. But then I suppose Wolverine doesn’t really have particularly interesting powers from a video game perspective.

He’s just got short daggers in his hands really, and there’s probably only so much he can do with that, so I’m not entirely on board yet.
Goldie

Direct cycle
There’s got to be a Nintendo Direct next week. I don’t care how obstinate Nintendo are, you can’t go half a year without announcing a single big game or saying what’s coming out at Christmas. Especially not with a price rise coming up, where you’ve really got to justify why people should be buying the console.

I agree with GC though, in that it’ll be a minimum effort and probably only announce one or two big things, then the rest will be already announced games, DLC, and Switch 2 editions. Then we’ll be right back into wondering if there’s going to be another Nintendo Direct and if there’s a secret Christmas game they haven’t told us about yet.

I get why things are like this now but it’s kind of exhausting and not as much fun as it used to be.
Zeiss

Email your comments to: gamecentral@metro.co.uk

Modern gaming
I recently purchased 007 First Light for the PlayStation 5. I put the disc in and downloaded what popped up to get everything ready for when I could start to play. I sat down today to begin and there was an update, just seven minutes – so annoying but not too bad. I played through the first tutorial mission. All pretty standard but I was keen to see what was next after all the positive reviews.

The game halted suddenly after the intro music, a pop-up stating ‘content downloading, returning to main menu’. I look in the PlayStation 5 downloads and I have more stuff downloading, three hours worth (yes, I have slow internet where I live but nothing too unusual).

I was quite underwhelmed with the early stages of the game, thinking that it continues the trend with modern triple-A games being mildly interactive unimaginative movies rather than actual games. Add to this the fact that I can’t actually play any more of the game today and I really do think that modern gaming is finally becoming not for me.
Alex

GC: You really should’ve waited until it had finished downloading before starting it, as it’s colouring your view of the game.

Traffic jam
Really looking forward to Onimusha: Way Of The Sword continuing the Capcom quality run, but that last week of September period is an absolute nightmare. All those games coming out at the same time, all trying to stay out of the way of GTA 6… they’re all going to suffer and some of them are going to flop completely.

Nobody has enough time or money to play them all even if they wanted to, so hard choices are going to be made. In this case it doesn’t seem publishers had much choice about what to do, but I hope some of them change dates now that they see how things have shaken out.

It’s Control Resonant I fear the most for. Remedy games just don’t sell and this one isn’t going to either if it’s like the sixth most high profile game of the week.
Grackle

Bubble Raider
So what they’re saying about AI in Tomb Raider is that you can guarantee people are going to find AI stuff in the game, in the first week or so, and then we’ll get the usual apology tweet saying they thought they’d removed it all (aka they were hoping nobody would notice).

I would love to know how much time they think they’re saving by using AI for temporary graphics and then going to all the trouble of removing them (or not) and/or changing them. That sounds like a faff to me and unlikely to save much time, while also generating bad publicity.

What did they do before? Presumably used graphics from older games, which considering Crystal Dynamics has been making Tomb Raider games for decades now they must have plenty of by now. Just use ones from Tomb Raider: Anniversary, which was the first time they did a remake.

I understand that AI can help with programming but we’ll probably never know about that, so you can’t say anything about it, one way or the other.

But in terms of anything else I don’t see how it’s helping at all, other than making the developers look incompetent and heartless. The sooner this ridiculous bubble bursts the better. I’d almost wish NFTs had caught on instead at this point.
Sharkton

Thunderballed
As much as I’ve loved 007 First Light, I have big worries about the sequel. It turns out the reason Amazon, who own the Bond licence, weren’t involved in First Light is that they hadn’t bought it when it started. But now they own it they want to publish any game in the future.

That has me very worried, as IO published First Light and that seems to be one of the main reasons they did it. If Amazon kicks off IO from being the developer that would be an absolute disaster.
Private

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Top two
Being firmly in the camp that believes Returnal was the best PlayStation 5 game by a country mile, I’ve been looking forward to Saros more than any other game in a long while. Now that I’ve completed it, I can say without a doubt: this is easily one of the top two games on the console.

Like many others, I was mildly disappointed at first. The atmospheric, abstract storytelling of Returnal is a bit more prescribed here (though, ironically, many complained that Returnal was too abstract). However, once I got over the fact that it’s different, I came to enjoy it immensely, possibly even more than its predecessor.

The combat, as always with Housemarque, is second to none; for my money, it’s the best shooting in any game ever. The new mechanics, like using your shield to charge up power weapons and parrying red bullet, add brilliant, fun layers to the loop. The guns are as good as ever, with each class possessing its own distinct style and playing completely differently to keep things fresh.

At first, I thought the shotguns were duff, but once you unlock the enhanced melee attack, staggering enemies with a blast and smashing them to pieces becomes extremely satisfying. Personally, my favourites are the Chakrams, reminiscent of the Dreadbound in Returnal with a few twists, which can absolutely melt through enemy health bars. The bows are great fun too.

When you’re in that flow state, juggling standard fire, alt-fire, shields, power weapons, and parries, it perfectly captures the intense bullet hell arcade action of Ikaruga or Housemarque’s older titles, but blown out into a big budget, 3D space. The sheer drama of each fight leaves you breathless, and the boss fights are extremely impressive. It is a non-stop rollercoaster ride; a sci-fi, bullet hell space opera extravaganza.

I also enjoyed the narrative and found myself genuinely looking forward to the cut scenes to unpick what was going on. The endings are great too.

Is it better than Returnal? The combat is absolutely better. And while I preferred Returnal’s atmosphere, I still really invested in this story. Ultimately, the reason I keep playing these games isn’t the plot; it’s the gameplay, and in that regard, Saros just pips it to the post.

Either way, both games are entirely unique. No other titles on the market feel like them, which is incredibly rare in this day and age, and exactly why I love them both so much. Choosing between them is like picking a favourite child. Either way, Housemarque has proven once again that they are the absolute kings of modern arcade action.
Mud

GC: We think you liked the story a bit more than we did but generally, we agree – especially in terms of the combat.

Inbox also-rans
Anyone want a Metal Gear film? Give War Machine a go. Obviously, there’s a lot less history, dialogue and confusing plotting. Best thing is, its runtime is a lot shorter than some Metal Gear cut scenes.
Bobwallett

The announcement trailer for the Tomb Raider remake looks absolutely incredible. I’m in awe! One of my favourite video game franchises. They can’t mess this one up, can they?
Paul C.

GC: Anything is possible.

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MORE: Games Inbox: Will God Of War Laufey be a good game?

MORE: Games Inbox: Will tonight’s State of Play be a good one?

MORE: Games Inbox: Is this the most important week for gaming in 2026?

Developer Crystal Dynamics has confirmed it used AI tools during development of its Tomb Raider remake, ahead of the game’s launch.

Between God Of War Laufey and Marvel’s Wolverine, you might’ve missed the new trailer for Tomb Raider: Legacy Of Atlantis during the latest State Of Play. 

The game is another remake of Lara Croft’s original 1996 adventure and revealed a new release date of February 12, 2027 across PlayStation 5, Xbox Series X/S, Nintendo Switch 2, and PC. 

A new trailer, however, wasn’t the only surprise Amazon had in store, as an AI disclaimer has since popped up on the remake’s Steam page. 

‘AI-assisted tools were used during development to support some early exploration and temporary development content,’ the disclaimer reads. ‘Any AI-assisted assets were either replaced or refined by humans in order to maintain the creative and artistic vision of the development team.’

While Tomb Raider: Legacy Of Atlantis certainly isn’t the first game to use temporary AI assets during development, there are many instances where these assets are ‘accidentally’ left in the game come launch – usually to considerable fan outcry. 

The disclaimer does say the assets have been ‘replaced or refined’, so developers Crystal Dynamics and Flying Wild Hog may have solved the problem already, but it’s nevertheless a disappointing thing to have to worry about ahead of the game’s launch. 

AI disclosures have become more common over recent years, although not everyone believes developers should have to disclose generative AI’s use during a game’s creation.

Epic Games boss Tim Sweeney said it made ‘no sense’ and compared it to disclosing what shampoo each developer uses, although he’s very much in favour of using generative AI tools during development, unlike many in the industry.

Earlier this year, Crimson Desert found itself in hot water over its use of generative AI, which later led to an apology from developer Pearl Abyss. A similar disclosure is now on the game’s Steam page, confirming it used the tool in a ‘supplementary capacity’ to create ‘some 2D prop assets’. 

The use of generative AI in Tomb Raider: Legacy Of Atlantis might spark some concern around Lara Croft’s next game, Tomb Raider: Catalyst. The game, also developed by Crystal Dynamics, is slated for 2027, but with this new release date for Legacy Of Atlantis, it could be pushed back to 2028. 

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As Sony announce Until Dawn 2, they also reveal release dates for multiformat games including Onimusha: Way Of The Sword, Silent Hill Townfall, and Ace Combat 8.

It may have been one of the longest State of Plays ever, at over an hour, but Tuesday night’s showcase was a little short on surprise announcements. There was God Of War Laufey, which took up 20 minutes at the end, but that had been heavily rumoured beforehand – not that that took anything away from the actual reveal.

In fact, almost everything shown, including both first and third party games, looked interesting and the one thing the event did provide was lots of release dates, with games such as Silent Hill Townfall, Control Resonant, Ace Combat 8, and Onimusha: Way Of The Sword finally revealing their schedules.

Tomb Raider: Legacy Of Atlantis was also dated, but unfortunately it confirmed previous rumours that it has been delayed. Either that or it’s trying to get out of the way of GTA 6 in November. It’s hard to tell, but at least it didn’t go with a September release date, unlike seemingly everything else.

Marvel’s Wolverine – September 15

Surprisingly little time was spent on Wolverine, which may mean there’s a dedicated State of Play coming up in the future. It looked great, just as you’d expect, and extremely gory, with a cameo from Jean Grey and confirmation of villains such as Mystique and Sabertooh. Its release date wasn’t news though, as that had been previously announced.

Marvel Tōkon: Fighting Souls – August 6

The release date for Arc System Works’ one-on-one fighter also wasn’t a revelation, although Sony did announce a number of villains for the game, namely Doctor Doom, Magneto, Green Goblin, and Carnage. We weren’t sure who the character sitting on the throne was but apparently he’s called the Champion of the Universe (aka Tryco Slatterus) and he’s the big bad of the whole game.

Rayman Legends Retold – October 1

There’re almost no surprises in preview events nowadays, with everything being leaked out weeks and often months in advance. The reveal of a 3D remake of 2013’s Rayman Legends was a surprise though, in the fact that it looked really good. There are a few new into-the-screen sections but the gameplay is still mostly 2D and the new 3D visuals look really nice, and seem to maintain the same charm as the original.

Bancho The Chef – TBA

Speaking of charm, we’re not sure it’s a good idea to create a spin-off from not-indie game Dave The Diver that doesn’t maintain the same pixel art style graphics. That made the visuals look rather bland in comparison, but nevertheless there was a good energy to the trailer, with a prequel that shows how Bancho became the talented sushi chef you see in the original game. There was no mention of a release date though.

Kemuri – 2027

One of the only major surprises of the night was the latest from The Evil Within’s Ikumi Nakamura and her new studio Unseen. It seems to be a co-op action adventure, somewhat in the style of Devil May Cry et al. There’s lots of jumping and gliding around, as you fight yōkai and then… turn them into clothes you wear in order to use their powers. Because why not.

Tomb Raider: Legacy Of Atlantis – February 12, 2027

A delay for the (second) remake of the original Tomb Raider seemed inevitable after the rumours began but at least it still looks good, with some impressive visuals and lots of focus on dinosaurs. There was also lots to suggest the game is sticking pretty close to the original story, although we’re yet to see much evidence of how it will handle platforming, which was originally the antithesis of the Uncharted style action from the more recent games.

The Lost Wild – 2027

Speaking of dinosaurs (and there’s few things we enjoy doing more) this new game comes from Annapurna Interactive and is by a new British studio called Great Ape Games. It seems to be some kind of survival games, and a lot more scientifically accurate than most dinosaur media, with a lot of feathered dinosaurs and some gigantic Quetzalcoatlus flying reptiles (pterosaurs are not dinosaurs, ackchyually).

Dune: Awakening – September 22

A survival game and MMO that takes influences from both the books and movies, this has been out on PC for almost a year now. It’ll come to PlayStation 5 this September, bringing with it a new single-player story mode, which we imagine will also be made available for the PC and Xbox Series X/S versions.

Dynasty Warriors 3: Complete Edition Remastered – October 1

Not a remaster we look forward to with much enthusiasm but there you go. Like most of these games it’s available on Xbox Series X/S and PC at the same time, although unsurprisingly the State of Play made no reference to that.

No Rest For The Wicked – October

Despite what we just said this is coming to PlayStation 5 first, sometime in October, with Switch 2 and Xbox versions arriving only at a ‘later date’. This will be the final 1.0 version of the game, which will hopefully improve on the slightly questionable impression made by the early access release.

Onimusha: Way Of The Sword – September 25

This release date would’ve been one of the bigger reveals from the State of Play, except it leaked out early too. Either way, Capcom’s Resident Evil-esque zombie samurai game was already one of our most anticipated games of the autumn, as we were very impressed by our hands-on preview last year. Although you can give it a whirl yourself now, as there’s a free demo out today.

Silent Hill Townfall – September 24

For a game set in Scotland we’re still yet to hear a single Scottish accent in any of these trailers, which is weird because developer Screen Burn are actually Scottish. They’re responsible for the excellent Stories Untold and the awful Observation, so we’re not sure what to expect with this one, although in terms of Silent Hill atmosphere everything does seem to be on point.

Ace Combat 8: Wings Of Theve – October 2

Available in early access from September 29, presumably if you buy one of the more expensive editions, you can see what we mean about September getting very busy. It’s all obviously GTA 6’s fault but we hope this doesn’t get lost in the shuffle. Although there’s a pre-order bonus of a port of PlayStation 2 game Ace Combat Zero: The Belkan War on offer, to tempt you into making an early purchase.

Stuntman: Hollywood – TBA

It probably says a lot about us that the only licensed car we didn’t instantly recognise was the first one, which is apparently from Fast & Furious. Although apparently that’s not Mad Max towards the end, but the Jason Statham version of Death Race. The game itself is a revival of the old Stuntman series from Driver creator Reflections, which is surprising as the original’s trial and error gameplay made it an acquired taste.

Ill – 2007

There’s no doubting the craft in this first person action horror game but it is a very grim prospect, with some truly horrible imagery and some extremely difficult to kill zombie style enemies. It’s certainly going to scare off a lot of more casual Resident Evil fans but in terms of hardcore horror thrills this is definitely one to watch.

Control Resonant – September 24

A lot of these publishers will be finding out about the release dates of other games at the same time as you, so if they’ve any sense some of them will change them pretty quickly, because at the moment Remedy’s Control sequel is coming out on the same day as Silent Hill Townfall and a day before Onimusha: Way Of The Sword – which isn’t good news for any of the games.

Sony officially kicked off the Summer showcase season with a packed June 2026 State of Play, delivering over an hour of announcements, gameplay reveals, release dates, and a few genuinely unexpected surprises. From the long-awaited return of God of War to fresh gameplay from Marvel’s Wolverine, alongside new entries in iconic franchises such as Tomb…

The post PlayStation State of Play 2026 June : God of War Laufey, Marvel’s Wolverine and Major Surprises appeared first on Invision Game Community.

Lara Croft is back in Tomb Raider: Legacy of Atlantis, the highly anticipated reimagining of the original 1996 Tomb Raider game. The game has now been confirmed for release on Nintendo Switch 2 on February 12, 2027, the same day as other consoles.

The announcement came during the recent State of Play event, along with a brand-new trailer. You can check this out below.

The Switch 2 version promises the same cinematic scale and fluid gameplay as other consoles. Legacy of Atlantis is being fully optimized for the Nintendo Switch 2 hardware so we can enjoy taking the adventure on the go or playing at home.

In Tomb Raider: Legacy of Atlantis, players step into the role of the legendary Lara Croft as she embarks on a globe-trotting quest for the lost secrets of Atlantis. The game boasts modern visuals and gameplay, promising new surprises that “honor the spirit of the original game”.

Tomb Raider: Legacy of Atlantis features:

• classic story expanded to connect Lara Croft’s adventure to her future
• treacherous landscapes filled with ancient artifacts and hidden secrets, from the jungles of Peru to the crumbling ruins of Greece, the deserts of Egypt, and a mysterious island shrouded in myth
• deadly environments requiring Lara to use her strength, agility, and grappling hook to traverse
• puzzles that reveal locked-away secrets
• Lara’s signature dual pistols and other unlockable weapons to fight off savage wildlife, mercenaries, and mythological creatures.

Tomb Raider: Legacy of Atlantis is described as the definitive version of this landmark game. Long-time fans can relive the original adventure with a fresh perspective, while newcomers will be able to experience one of gaming’s most celebrated adventures with a modern lens. It’s the best of both worlds!

Are you excited to see Lara Croft’s original adventure heading to the Nintendo Switch 2 in all its revamped glory? Let us know in the comments!

The post Tomb Raider: Legacy of Atlantis is heading to Switch 2 next February appeared first on Pure Nintendo.

Builds Tension and Absence of Focus

Rather than informing the player, ARC Raiders aim for them to be lost in the game. Its lack of a mini map is not a blunder. It's the intentional design to ensure players care about the game and not surface. Instead of being passive skimmers, they should be active participants in a world of uncertainty. The footsteps, machinery sounds, and distant activities should be enough to guide players in a direction.

This ability to be so susceptible to sound should be considered. For most shooters, noise is a tactical nuisance. Here, it is a question of existence. A reckless dash over gravel can leak your position, while going through your inventory is an almost guaranteed call to battle. You are not evaluating whether the environment will allow the luxury of organization. You are taking a bold gamble. The pause needed to control resources is not a neutral moment.

The outcome is a rhythm that is close to horror. Waiting, scavenging, and hiding in ruined buildings to avoid the ARC's mechanized movements is more about survival horror than other forms of extraction. Unlike other worlds, this one is constructed through control, simulating a post-apocalyptic world with no need for splendour. Rather than convenience, the game wants players who buy PS5 shooting games to understand the tension that comes with fragile existence.

The Enigma Of Player Morality

If the environment is unwelcoming, the players will be unpredictable. This game relishes the mystery of human behavior, where cooperation is momentarily rewarding. ARC Raiders focuses on the paradox of trust, which is needed and always vulnerable. This is where teamwork is achievable, but very rarely. I remember times when a handshake was a sign of loyalty that would later be on the other end of.

Players' moral codes are vicious, not because the game requires it, but because the systems permit it. Teammates may casually watch you bleed out, not out of malice, but out of careful calculation, realizing your gear is worth far more than your life. Of course, you are left to suffer the feeling of utter betrayal, only to find pity in yourself for the incredible sensation of outsmarting your opponent and claiming the resources by sheer opportunism.

But the most powerful emotion is not in the betrayal, not in the targeting, but in the sheer act of existence. The sheer act of "Returning to Speranza" after a stressful run is pure electric relief. It is not the mere looting of the loot; it is the looting yourself, protecting oneself in a designed system that is meant to take it away. The ARC Raiders, in this sense, is a game in which the morals of the players who buy PS5 games are explored at length, with the ease of exploitation at their fingertips. It's a game where the players' instincts are out in the open.

The Skill Tree and the Grind of Progression

In the case of ARC Raiders, the Progression is anything but instant. It is the Skill Tree that contains the most branches and requires the most patience. The tree that contains the most branches is divided into Condition, Mobility, and Survival. Conditioning reinforces endurance, Mobility, and survival, improving the efficiency of resources.

Mobility, specifically Stamina, becomes the most crucial focus early in the game. Without it, the player becomes vulnerable, incapable of escaping and repositioning themselves.

This grind is purposeful. It slows character growth to ensure that progress feels earned and not granted. This, however, starkly contrasts with the selection and upgrade of weapons and workstations, which are done instantly. While the Skill Tree is a long-term investment, the arsenal is a source of instant gratification. Unlocking a new weapon or a crafted tool can radically change a run, providing instant reward amidst slow developmental change.

The imbalance of grind and instant reward captures the essence of the philosophy of the game: Increments define survival, instant adaptation defines it. Players need to manage the trajectory of progress strategically, while bursts of tactical advantage need to be realized. Resilience, however, is built over time, while survival is defined within moments.

The Resource Loop: Crafting, the Arsenal, and the Workstation

In ARC Raiders, crafting is not a choice- it is an imperative. The workstations act as the transformation tool, while blueprints located in the field unlock potential. The process resembles Fallout, where weapons are makeshift, yet feel obligatory. Players are able to upgrade their workstations, which in turn expands the arsenal and enables the crafting of new tools and weapons, forcing players to scavenge and manage resources.

The arsenal has a range of options, but its true strength stems from how it adapts. There's a need for strategic variation. Different environments, ARC presence, and even the actions of other players call for a distinct approach. A weapon effective in the open may struggle in tight corridors, and a weapon effective in one run may be useless in another.

"This loop" scavenge, craft, adapt"anchors the game 's identity." It's not about gaining resources. It's about how you can prepare for the unpredictable. This resource loop becomes a meditation on adaptability. It's a simulation of the fact that having the right gear, at the right time, is what counts in order to survive.

The term "casual" has been used for ARC Raiders, and it has been called a "casual extraction shooter." That label, while contradictory due to how tense and difficult the game can be, serves a purpose. Other games in the genre do not.

One example is the free loadouts offered after each failure. While most other extraction shooters punish defeats with total destruction, ARC Raiders hands you a lifeline. This design choice does not trivialize the challenge; it preserves the loop. Players are able to engage and return to try again without the tremendous defeat of having to restart from scratch.

This level of forgiveness does not remove difficulty. Consider the Rocketeer, a higher-tier ARC unit. Players will have to pay more ARC coin and prepare more, as each is harder to obtain. Progression and adaptation are still required. However, by easing the consequences of failure, it expands access without losing the level of tension. The "casual" label does not reflect a lack of challenge, but a design philosophy that celebrates the persistence over punishment approach.

Conclusion: A Simulation of Human Fragility

ARC Raiders is more than an extraction shooter. It is as much an analysis of human behavior as it is a simulation of scavenging in a world after a cataclysm. It is also a study in survival. The immersion comes from the absence of " no mini-map, no hand-holding," players are required to exist in the world. The morality of the game is cruel; it exposes the mysteries of trust and betrayal that exist in multiplayer spaces. Although the progression is centered on long-term resilience, it is also deliberately grindy, forcing the player to strike a balance of immediate adaptation. The crafting loop is strategic, and the player is subjected to a demanding level of foresight and variation. The game is also forgiving, which is a redefining feature of accessibility to a genre that is often punitive in nature.

What manifests from the above is a gaming experience that simply "feels alive," lacking in spectacle, yet abundant in tension. Every sound is significant, every choice made has consequences, and every "run" is a new tale of fragility and resilience. You do not "play" ARC Raiders as much as you "dwell" in it. You have not only made the journey to Speranza; you have also understood that conquering a system is not the primary objective; rather, it is the stories you bring along from your journey that matter.

This is a transcript excerpt covering the score awarded to Cairn on the So Videogames Podcast, Episode 473. For further coverage and a second take on the game, please see Ryan Nalley’s official GameCritics review.

Brad: [Following the review with Game Bakers creative director Emeric Thoa] So we’ve talked about it quite a bit. There’s a lot of this game that I don’t want to spoil, especially. But again, just to recap, Cairn is the third person mountain climbing game which has more to it than just mountain climbing. it took me all together about 15 hours. I fell about 200 times. and I did roll credits before the game launched, so I had the pre-release experience.

God, what do you even say about a game like this? It’s really hard to say. the mechanics, I think, are great. It really does approach mountain climbing in a way that I have not seen done in any other game of this kind. And strangely, there have been a few mountain climbing games recently. It’s been kind of a popular sub sub sub subgenre recently. but it’s not. I almost feel like it’s not even really about that. I mean, it is about that, but it’s not about that, because as I mentioned a little bit in that interview, it was really also kind of an adventure game, which was really, really surprising to me. And it also even more surprising was the time that we spend with Ava, the main character.

in that sense, it’s like those three things done at the same time and each of those builds on the other. I think every leg of that stool helps support the overall experience, and I think it would be lesser without any one of those pieces.

let’s talk about the mechanics for a second. I think the mechanics are really good. I think the individual control of each limb is unique, and it does feel good in general. Now, I definitely needed all of the assistance. I turned on the visual feedback and I turned on the time rewind. Visual feedback is when you get a “good” grip. A little white square appears around your hand or foot to let you know. Yeah, this is a pretty solid grip. without that feedback, I wouldn’t really know if my grip was good or not. I don’t think there’s enough feedback there. I’m a pretty, I don’t know, fact-oriented kind of guy. I want to play a game like this and I really want to know exactly how much stamina do I have? Exactly how much strength do I have exactly? You know, how much time do I have before my hand slips or whatever? And this game doesn’t doesn’t really do that. Like they don’t really play it that way, which I think is fine. That’s a legit way to go.

But you do fall a lot and the game is really difficult. And so I think the physicality of being on a mountain, and you know, quick side note, like I mentioned earlier, I have done some rock climbing. Not much, because I’m scared, but it’s tough. It’s really hard. It’s grueling. You know, you feel things on the mountain and there’s a lot of that feeling you just don’t get in a game. And so in my mind, the way to compensate for that is having enough information. And I don’t mind having it be optional. You know, maybe people want the purest experience so they can turn off all the meters and all the numbers and just look at the screen and look at Ava’s, the main character’s feedback. But for me, I want more. I want more stuff. So I felt like the stamina system was a little bit too opaque for me. I felt like the climbing mechanics were also a little bit too opaque. Without the visual feedback, I wouldn’t know the difference between a good handhold and a bad handhold. And sometimes that’s… I mean, that is the difference between falling and not falling. So I felt like I needed all the assistance the game could give me. And even with everything turned on, it was still an incredibly difficult experience.

it’s hard and slow to get anywhere. You’re fighting for every inch of the climb, and so that’s the thing that you have to contend with. It’s really tough. I think in, in some ways it’s kind of analogous to a game that came out recently, baby steps, in that nothing in the game is easy. You have to really, like master the physics. You have to really think about where you’re going. You can’t just jump around and do things. So it’s it does ask something of the player that I think is quite different than what we’re used to. So in that respect, I think it stands out. I don’t think it was entirely successful because I do think there were some times when I just felt like I was in a good position and my stamina wore out with, you know, with, with no warning or at least not if warning for me. And so I did fall a couple times. There’s definitely some sections that are tougher than others. As we covered in the interview, there’s different routes. You can take, certain parts you can, you know, that are optional. You can choose to do these or not. so and also there was a few times when it felt like things would just get really wonky all of a sudden. I would never want to play Iron Man mode in this game because I don’t think it’s reliable enough. It’s like reliable like 90% of the time, but then 10% of the time something goofy unexpected would happen and I’d be like, you know, fall or something, and I’d be really, you know, like, ah, man, I can’t believe that happened.

So that’s that’s the thing. I would like to see a little bit more specificity, a little bit more granularity, but I can see how that is in contrast to the vision that the game bakers were, were after. And I think them adding the accessibility options that they did really did make the difference for me. As I said in that interview, I don’t think I would have gotten through this game if it wasn’t for the time rewind and for the the grip indicator, I just don’t. I think it would have been too frustrating, and I’m not sure that it would have hung in there. So I’m glad that they did that and I wouldn’t mind a few other options just to make it a little bit more playable, I think a lot of people are going to bounce off of this game, but, you know, it was like Emeric said, this game isn’t for everyone. Not everybody is gonna enjoy this game. And I think that’s absolutely true. Even though I really do enjoy this game, I think it’s pretty monumental. It’s not something I would just recommend willy nilly. I would have to really know that person.

I would have to know what they liked, what they didn’t like, and I’d have to, you know, consider how good a friends we were. Friendship might be tested, if I recommend this one, but to the right kind of person, I think it’s going to be pretty amazing. So I think the climbing is really unique and I think it’s good. I’m not trying to slag it or anything. I think I have some quibbles with it, but I think overall it is quite compelling and feels very satisfying when you do something. And, you know, uh, Emeric mentioned that they, they plotted out routes, but then people would always try to do their own route. And that was true for me as well. Like, I mean, some places were pretty obvious they wanted you to go that way. But there was a few times when I’m like, well, I’ve got enough, uh, pitons, pitons, pitons, pythons — I’m not sure how to pronounce that — in my backpack. And I see a place and I don’t see another way to go. I’m just going to go for it. I mean, in one part of the game, I was, um, crossing a bridge and there was a big statue underneath the bridge, but it was like under an overhang. And I’m like, how the hell do I get down there? I don’t understand, And so I just tried screwing around a little bit. I would crawl over and try to, you know, climb down under the overhang. And at one point I’m like, fuck it. I just put in a piton or a python and rappelled down, and I kind of swung to get like into that area. And I made it and I was like, oh my God, I made it. I can’t believe I didn’t die. I don’t even know if that’s how you’re supposed to get down here, but like, it totally worked. And like, it was like a real thrill. So I think there’s definitely some mechanical thrills to be had for that, for sure.

talking about the other aspects of the game, I think the adventure section is a big surprise. I was really surprised at how much adventure elements there are in here, how much it does feel like a Tomb Raider game. It feels like you’re finding this disappeared civilization. You’re finding relics. You’re finding rooms, artifacts, ruins, uh, notes left behind. It’s pretty compelling stuff. And I’m not like, you know, I’m not a guy that reads every notebook entry. I don’t listen to the audio logs, but in this game, I did feel like they were spaced apart. They were all pretty significant. They all helped paint the picture. They weren’t like overly done. A lot of that too, was just environmental storytelling where you see a scene, you see what people left behind, or you find the people themselves. You find their dead bodies sometimes and you just see this stuff and it’s just really great. And I don’t want to spoil anything. But you were not alone on the mountain, which I think even saying that in itself is a little bit of a spoiler. So I’m not going to say anything else, but you’re not alone on the mountain, so when you have those interactions, they’re really surprising and they’re really compelling and they really lean into those, uh, those interactions very well. And I’m trying really hard not to spoil anything. I’m sorry. Um, but like that was a really compelling part also where I just felt like, wow, I feel like this game has so many more elements to it than I was expecting. Not like I was expecting it to be super shallow, but I was. I was here for like, mountain climbing, you know, I figured that was what it was going to be about. But there’s way more to it than that. And I think unraveling the culture that lived on this mountain and how it influences the rest of the area, how it integrates to the surrounding areas was really fascinating, really compelling, like just really, really masterfully done. There weren’t too much, there weren’t there weren’t too many instances. There weren’t not enough instances. I felt like it was just right.

And every time I needed a mental break, or every time I needed to get off a cliff face or something, there was something nearby or something to shoot for. And whenever I did those things, almost always I felt like they were worthwhile in some way or another. Maybe I got a reward. Maybe I learned something that was pretty interesting. Maybe I just got some more water and it just it just was really worthwhile. So I think the adventure part is really well done. I loved the adventure aspects of it. It just enriched the entire thing so much.

and then finally the last leg is, as we discussed, was the character development. It was super, super compelling. Ava, the main character, is just she just feels like a real person. She feels broken and she feels unbalanced, but she also feels fully formed and she feels complete and she feels like real in many ways that I just don’t find in other games. And you had to go on this journey. Like if you just watched the cutscenes, it wouldn’t really it wouldn’t hit the same, you know, kind of like the same thing with the ending. Like again. The ending. Fucking tremendous ending. So emotional. Literally crying like tears and just feeling. Feeling everything that happens at the end. The voice actor like an amazing job. The voice actor fucking leans into that shit so hard and it’s just, like, impossible not to feel the emotion that actor’s putting out.

And that in combination with the last 15 hours of gameplay, of climbing up the mountain, every inch that you fought for, every time you, you, you went for the hard decision, every time you tried to get somewhere and you made it. I mean, it just all came together. Everything the game bakers try to do here, I feel almost all of it just came off, like, flawlessly, which is really an achievement. it just really came together in a way that was just so memorable. I felt like. Like I was climbing that mountain. Like I was suffering right along with Ava. You know, I almost wanted to put some tape on my fingers because I’m like, man, I surely have blisters after all the climbing I just did.

This is really tough. it just was so, so amazing to go through this, this very carefully curated, very measured experience that just really hit me unlike anything else that I can think of in recent years. Like I just was so invested in the physical struggle of like, actually holding the controller and climbing up these incredibly difficult, you know, these steep inclines and also just thinking about who Ava was and how she grows and changes, who she meets, who she talks to, and then just spending time in this mountain, which was like, really a pretty amazing, pretty amazing environment.

Mount Kami is pretty fucking cool, just the way that it looks and the way that it it articulates with all its secrets and pockets and nooks and crannies and everything. So everything here has just been just really fabulous. I had a wonderful time. there’s just so much to say and do and feel and think. And I just it just really kind of blew me away. yeah. I mean, this is this is going to be on my Top ten list at the end of the year for sure. Like it’s a lock, it’s a lock. And I feel like, um, this is just a real achievement. It’s a real achievement.

I really want to do extend my my heartfelt congratulations to the team. I think they’ve really done something special here. And, again, Cairn isn’t going to be for everybody. I imagine that a lot of people will be put off by the difficulty or how grueling it can be — sometimes it just does not give you an inch — so I felt the tension and the triumph, and it felt like I, personally, was going through this journey in a way that just landed so hard. I just really enjoyed every aspect of it, every minute of it. And again, when you get to the end of that journey, what man, what a finish. And it just was a perfect encapsulation of everything that had been leading up to that moment physically with Ava, in terms of character, spiritually, everything about it, everything about it. Just fucking fucking fantastic. I love this game so much.

so I guess that’s it. I feel like I’m blathering. I feel like I need to heap more praise on it, but I don’t know what to say other than stuff I’ve already said. And I don’t want to spoil anything, so let me just end with a score. Final. So videogames official score ten out of ten, ten out of ten. I would give it an 11 if that made sense. But mathematically, the numbers don’t math, so I’m going to have to settle for a ten out of ten.

Folks, I think Cairn is as perfect an experience as one could possibly hope to produce. It doesn’t mean the game is perfect or flawless, but it reached for something beyond what other games reach for and achieved more than others have achieved. It had a vision and a strength. It had a voice. It went places confidently, assuredly and correctly, and it got there in a way that very few could have pulled off. So it’s a ten out of ten — I just don’t think you can do better than this. This is going to be absolutely a high watermark for the year for me. And, that’s that’s the best I can do. That’s the best I can do. Top marks.

And y’all know I don’t give out tens very often. I think I hand them out on an average of like once every five years or so. So here’s here’s my one for this year. And I guess you’re not going to get another one for another four years. So congratulations to Cairn and congratulations to the game bakers.

SVG Score: 10 out of 10

Disclosures: This game is developed and published by The Game Bakers.  It is currently available on PS5 and PC.  This copy of the game was obtained via publisher and reviewed on the PS5. Approximately 15 hours of play were devoted to the single-player mode, and the game was completed. There are no multiplayer modes.

Parents: According to the ESRB, this game is rated M and contains Strong Language, and Use of Drugs. While there is no direct violence in this game, the player character often falls from a great height in a ragdoll fashion.  Arms and legs can twist in the process, leading the character’s body to become contorted.  These falls are physics based and do not feel gratuitous, or violent in nature. Though there is no gore, the character’s fingers can suffer cuts and will bleed from climbing, requiring players to bandage them, and her feet will show spots of blood if her health is low. The player character will occasionally scream profanity when falling, including most four-letter words.  At one point in the narrative, two characters consume an old bottle of alcohol resulting in a hallucination.  Additionally, alcohol can be consumed during play, although I did not personally come across it during my playthough.

Colorblind Modes: There are no colorblind modes available.

Deaf & Hard of Hearing Gamers: This game offers subtitles. The subtitles can be resized with three available options – small, medium, and big.  Additionally, an optional background is available. While most audio cues are accompanied by a visual component, one glaring omission is in Aava’s breathing.  During play, I found myself relying on changes in her breathing to indicate when her stamina was low, and these elements are not subtitled, nor are they visually indicated. Though there are other visual indicators for Aava’s stamina, her breath was often the first sign that her energy was low, and I found it more difficult to assess her condition when playing without sound, and for that reason, this game is not fully accessible.

Remappable Controls: Yes, this game offers fully remappable controls.

The post SVG REVIEW: Cairn appeared first on Gamecritics.com.

A new teaser has been unearthed from Prime Video’s live-action Tomb Raider adaptation, and it shows Sophie Turner as the series lead, Lara Croft.

Earlier this month, Prime Video let the cast out of the bag with the live-action Tomb Raider.  Phoebe Waller-Bridge’s live-action project has confirmed that Jason Isaacs and Sigourney Weaver will star in the upcoming series adaptation, alongside other notable cast members with roles plucked from the video games. At the time, Sophie Turner had already been confirmed as the series lead (shortly after the series was greenlit in 2024), and today, Prime Video has given fans a first look at her portrayal of the legendary video game archaeologist. Amazon MGM Studios released the photo as it announced production is underway on Tomb Raider. The full image can be seen below, courtesy of Prime Video.

Prime Video’s Tomb Raider is based on the iconic video game franchise, which follows the adventures of Lara Croft. In an interview with SiriusXM (posted to Instagram), Sophie Turner revealed she’s playing the video games and reading the comics to prepare for the role, but she’s avoiding watching the previous on-screen versions of the characters, saying “I’m kind of doing all of it, but not really focusing on the previous iterations, because I don’t want to imitate, I’ve gotta create my own thing. So, as much as I love those movies, I can’t watch them right now.”

Phoebe Waller-Bridge serves as creator, writer and executive producer on the series, and Chad Hodge is an executive producer and co-showrunner. Jonathan van Tulleken will serve as director and executive producer. Alongside Turner as Lara Croft, the cast includes Sigourney Weaver, Jason Isaacs, Martin Bobb-Semple, Jack Bannon, John Heffernan, Bill Paterson, Paterson Joseph, Sasha Luss, Juliette Motamed, Celia Imrie, and August Wittgenstein. 

Prime Video’s live-action Tomb Raider has just entered production, so it may be a while before it hits the screen. Until then, Crystal Dynamics’ Tomb Raider: Definitive Edition is on Xbox Game Pass.

After several incredible releases, big-name titles, and surprise hits, 2025 in gaming is rapidly coming to an end. It's time to look forward.

Below, we've gathered just some of the games we're looking forward to playing in 2026. Make sure to let us know what you want to play, which games you're curious about, and which ones you'll pre-order the moment it's possible.

And you know what the best part is? These are just scratching the surface. There's a whole calendar of 2026 titles to look forward to, plus plenty more surprises that will drop and take the gaming world by storm.

Most anticipated 2026 video games

Grand Theft Auto 6

It starts and ends with GTA 6 in 2026. It's currently slated to finally launch on Nov. 19, and is not just the most anticipated game of 2026, but probably of all time. It's got impossible expectations, and its pricetag will be a point of discussion up until it's finally out (will they actually charge $100 for it?), but everyone in the industry and world is waiting for this one to drop.

Resident Evil Requiem

First-person? Check. Survival horror? Check. Third-person? That too. Action gameplay? You got it!

Leon S. Kennedy and newcomer Grace Ashcroft take the stage in what's being described as the end of an era in the Resident Evil franchise for its 30th anniversary. Whatever comes next will be different, but for now, RE9 is looking and sounding like the best of both distinct identities the series has had.

Marvel’s Wolverine

Get ready, bub, because Insomniac Games' follow-up to its Spider-Man games is finally coming in the fall of 2026. The action-adventure game promises lots of rage, even more blood, and a whole lot of mutants and X-Men cameos.

Lego Batman: Legacy of the Dark Knight

Imagine a LEGO Batman game that's based on several different movies and appearances of the character (like The Dark Knight and more), but with the open-world, action combat gameplay of the Batman Arkham games. We can't wait to visit LEGO Gotham in this one.

The Duskbloods

From Software's next title is a Switch 2 exclusive that features both PvP and PvE in multiplayer fashion. It's still unknown what this game truly is all about, but Elden Ring: Nightreign has shown that the Dark Souls maker is venturing into full-fledged multiplayer a bit more.

Tomb Raider: Legacy of Atlantis

Lara Croft is officially back in 2026, with a "reimagining" of her original 1996 PS1 classic. Crystal Dynamics promises some surprises in this remake-that's-not-a-remake, so franchise fans everywhere will be booting this one up with excitement and curiosity.

Marathon

This one may turn some heads, but I'm looking forward to seeing what Marathon accomplishes as a new extraction shooter when it drops in March. Will the game be good? Will it matter, after months of bad PR? Will ARC Raiders' popularity have a negative or positive effect?

After months of feedback and testing, once the game was delayed, it's looking and sounding like a better title than what players experienced in last year's closed alpha. It remains to be seen just how the game will feel on day one.

The post Destructoid’s most anticipated games for 2026 appeared first on Destructoid.

Upset at the lack of progress on a new Tomb Raider game, a reader makes some suggestions of how to improve Lara Croft’s next adventure.

There was an update this week on the new Tomb Raider, and it did not shock me when it turned out to be bad news. For the third time, developers have been laid off at Crystal Dynamics and there’s still no sign of the game being announced any time soon, let alone released.

The new game was announced back in 2021 and we’ve seen absolutely nothing of it so far. There’s no word on what it will be like, just that it will ‘unify the classic and reboot timelines’, which tells you nothing. I’m of the age that the original Tomb Raider on PS1 was a very formative game and at the time I always imagined it would be one of those series that would go on forever.

At first it did but then we got to Angel Of Darkness and everything started to go wrong. Things picked up again with the reboot trilogy but by the end of that I’d become sick of psycho Lara and turning the whole game into a generic third person shooter, with a little bit of stealth. I wanted a new game to go back to the series’ roots but I’m starting to worry it’ll never happen at all.

There’s lots of video game series that haven’t been looked after well over the years, but Tomb Raider has got to be the worst. Looking back at it now, with adult eyes, it’s clear that they were just churning them out as fast as possible back in the PS1 days, with no thought about where they were going or how they were going to stop people getting tired of the formula.

Angel Of Darkness was meant to shake things up, but it was a complete technical mess and I don’t think I really liked any part of it, including the story. The only thing I’d say for it is it was set a lot in ordinary locations, rather than only in rocky caves and the like.

I always felt that the obvious way to expand on Tomb Raider was to make Lara a more general action star, so she could have fights and car chases in cities but also tomb-raiding in remote places and weird locations. In the old days they always used to compare Lara to a female James Bond and on the PS1 you could see them try to expand the locations as they went along.

For some reason, the reboot trilogy was all very one note though, mostly just non-descript jungles and the odd snowy mountain. That’s a part of Tomb Raider, for sure, but it really needed to move beyond that. If you’re getting beaten by a PS1 game, for the variety of your locations, then something’s not going right.

A lot has been said about how boring and serious Lara was in the reboot series and I would agree with that. But I would expand that and say there’s basically no interesting characters in any of the games. For me, this is one of the main failures, that should’ve been easy to fix with modern consoles, especially the fact that there’s no recurring or iconic villains.

The stories are also super forgettable and the things she’s after are always uninteresting. I think it’s been a mistake to base things on various mythologies and lost artefacts, because it just feels like she’s after whatever hasn’t been used by Indiana Jones yet and it all comes across as dealing with the scraps.

What I’d do is make things more based on fictional things, like have her run into a Cthulhu cult or do something proper with the dinosaurs that used to appear in the early games. This was never explained and I really don’t know how she’s not gone to a ‘lost world’ or Savage Land equivalent yet. Instead, we got weird zombie samurai for some reason.

There’s so much more you could with Tomb Raider, but I’m worried that even if this new game does manage to come out it’ll be another reboot that’ll rerun the old games again with better graphics. As much as I Iove those old games they could be so much better today, if they expanded beyond what they were 29 years ago.

It’ll be 30 next year, so hopefully we’ll find out something about what’s going on then, but I’m not hopeful that it’ll be anything close to what I think the series needs.

By reader Cranston

The reader’s features do not necessarily represent the views of GameCentral or Metro.

You can submit your own 500 to 600-word reader feature at any time, which if used will be published in the next appropriate weekend slot. Just contact us at gamecentral@metro.co.uk or use our Submit Stuff page and you won’t need to send an email.

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It’s easy to throw around the word ‘classic’ when talking about games, but 2013’s Tomb Raider stakes a solid claim to the label. This is the game that reinvented Lara Croft for a new generation, setting in motion a great trilogy of action games, while also inspiring a new cinematic outing for the British heroine.

Some 12 years later, that original title has finally raided its way onto Nintendo’s consoles for the first time, for both the Switch 2 and the original Switch. Returning to the game in 2025 reveals just what made it so special, though you may want to experience it on the Switch 2, rather than its older sibling.

With the Nintendo Switch and Switch 2 release, Aspyr has ported across the Definitive Edition of the game with all of its original DLC, scrubbing the game up and enhancing it with a few Nintendo-specific bells and whistles. In 2025, it is definitely showing its PS3 and Xbox 360 origins, but that doesn’t diminish its status as one of the best action-adventure games of all time.

To be honest, just the fact that Lara is listening to wired earbuds in the opening cutscene is enough to date Tomb Raider, but her shipwreck and subsequent kidnap have lost none of their initial impact as she’s separated from her friends amidst some truly terrifying iconography.

The Nintendo Switch 2 version of the Definitive Edition is certainly crisp and sleek looking, and while the textures are showing their age, it’s still an eye-catching game, all these years later. It’s also running at a locked 60fps, making it feel as smooth and responsive as you could hope for a 12-year-old game. The original Nintendo Switch version sticks to 30fps and a lower resolution, but it’s otherwise the exact same game, just losing some of that sense of immediacy.

I’d forgotten just how brutal Tomb Raider 2013 was. Lara is impaled within the first five minutes of the game, she spends most of her time screaming, grunting, or dying, while she’s surrounded on all sides by dead bodies, walls covered in bloody smears and flickering candles.

Admittedly, most of the dead bodies here are of Lara’s making, and as a Lara Croft murder-simulator, Tomb Raider Definitive Edition is visceral, painful and without mercy. She is, of course, fending for her own life, and those of her friends, while trying to escape from a cursed island full of cultist soldiers, but at least once or twice you’ll likely wince with the impact of a few of the blows.

So much of what we think of in terms of the modern action-adventure was in place for Lara’s 2013 outing, and while some of the gameplay elements are definitely of their time – hello split-second QTEs with instant death for failure – there are other aspects, like the life-like climbing and clambering, dual-path skill tree, stealth kills and kinetic bow and arrow action, that remain as of-the-moment as anything else released this year.

The Rihanna Pratchett-penned tale also ekes out plenty of drama from the proceedings, and manages to make Lara feel both vulnerable and terrifyingly strong and single-minded. It’s been long enough since my last playthrough that I’d forgotten many of the story beats, and I was easily wrapped back up in the island of Yamatai.

Aspyr have opted to include some features that are exclusive to the Nintendo Switch 2 version of the game, but… well, they’re not especially useful, or impactful. First up are motion controls. ‘Great! That’ll work really well for lining up those head shots or hunting a deer’ I hear you say, but wait! These motion controls are only for spinning around artifacts that you’ve discovered, which isn’t particularly useful.

There’s also mouse controls, which is great when a lot of developers seem to have forgotten that they exist. Unfortunately, they’re so sensitive as to be completely unusable in their current form, which makes you wonder how much testing Aspyr put into them before launching the game. Perhaps the shadow launch was also a surprise to the development team?

Sarcasm aside, both of these things can be easily fixed with a patch or two, which I hope Aspyr will be willing to put the time into, and neither is integral to the experience. With the game sitting pretty in second place on the Switch charts right now, I’d hope it’s worth their while to finish things off.

A big part of that draw will be the budget pricing, with it retailing for a very reasonable £16.39, plus a 10% launch discount to knock it down to £14.75 on both Switch 1 and Switch 2. While the Switch 2-specific features offer literally nothing as it stands, it’s a great game to return to once more, and it still holds up visually, particularly on the smaller screen.

Impressively, Aspyr have even fired up the multiplayer servers, and while many players won’t even remember that Tomb Raider had a multiplayer mode, it’s here in its entirety, letting you sneak around, finishing off other players with abandon. Thanks to the game’s popularity right now, there’s also plenty of players to face off against, so if you fancy a spot of 2013-centric Lara Croft multiplayer, you can.

Tomb Raider Definitive Edition may offer returning fans a nostalgic run through one of Lara Croft’s best adventures, but in 2025 it’s still a remarkably solid experience, especially on the Nintendo Switch 2.