Tomb Raider: Underworld

Then it's below decks, past a few close-quarters encounters and into a large, round room, seemingly built to house a gigantic glass cylinder. On a balcony above there's a familiar face whose every breath was a gift from Lara in the first place, and inside the glass there's another character you may remember. Lara points out she's a hard woman to kill. And, again, we'll leave it at that, because some of you don't want to know what happens. (Perhaps we can distract you by noting that there are 80,000 lines of dialogue in Underworld, most of which is from Keeley Hawes. We've also discovered that you can hire Keeley for a few thousand quid a day, but sadly not like that.) Suffice to say, Lara is told she needs to go somewhere else to find what she's looking for, and Thor's hammer comes up again. We're also told during our demo that Lara will encounter a number of relics and temples around the world that are in the wrong place...

Before Lara can be on her way, though, her renewed acquaintance is hoisted clear by a helicopter (rather more obscure than it sounds, given her enclosure and physical appearance), and it becomes apparent that the ship is not in the best of health. It's listing at pace, and things are starting to disintegrate. Lara scampers back the way she came, as time aquaplanes on explosions and forces her to manoeuvre past flying crates in slow motion, and the corridors rotate until she has to climb rather than run back the way she came. Bulkheads and loose flaps become handholds, debris tumbles past her and the line between the regular ledge-hopping and Assassin's Creed-style free-climbing elements is blurred sufficiently to disguise some of the seams. It helps that the scene is dynamically lit, and has no difficulty struggling with the ship's plight.

Eventually she emerges, and that's it for our latest look at Tomb Raider: Underworld. Deus Ex fans, tangentially, can draw some comfort from how well the Crystal Dynamics engine copes with diverse scenes - whether it's the oil-painted landscapes of outdoor Thailand and the amazing textural depth of the much-improved interiors, or the sterile industry of a container ship. Tomb Raider fans, across almost as many previews as there are massive levels in the game, can look forward to some refined mechanics, interesting puzzles with multiple solutions, and getting to the bottom of all that Avalon business from Legend. Should they care to, they can also seek out around 300 new hidden objects, some of which are so intricately concealed behind optional, corner-of-the-eye platforming that we were told it would take around 25 hours to uncover them all in the process of finishing the game.

As Christian remarked in one of our other previews, Tomb Raider's recent reboot - albeit now three games ago - goes some way to shielding it from criticism that it hasn't moved on a great deal. Our latest spell with the controller reveals a few reachable edges that aren't interactive, and it's hard to argue that the changes to the weapons combat elevate that element of the game to equal footing with the generally sublime platforming, but a few creaks here and there are tolerable blemishes on an otherwise promising, increasingly old-school game concept: walk into a room, collect things, and climb all over the place until you trigger the way out. A refined, updated extension of Legend would be welcome, and that's what Underworld resembles.

Anyway, we'll now shut up about Underworld until it comes out. And we'll never mention Angel of Darkness again.