Tomb Raider 2 the myth, the legend, the legs. Tomb Raider 2 the boom, the bombast, the breasts. Tomb Raider 2 the guns, the female empowerment, the poor fashion choices (shorts in the Tibetan foothills, really?). It was a far more confident outing than the original, increased graphical fidelity, tighter storyline, new abilities, less rigid controls, vehicle sections and of course the ability to lock your butler in a freezer at Lara’s mansion – with his groans sounding like a whoopie cushion with a slow puncture – it was legendary! My all-time favourite level in all the entire Tomb Raider franchise features in Tomb Raider 2, Venice, tearing around the canals in a speed boat, whilst solving water puzzles and leading to the crescendo of smashing though the windows of a building and leaping from your boat as it detonates a load of water bombs, it’s absolute perfection.

Tomb Raider 2 often ranks as a favourite among fans and critics and I personally prefer it over the original. I think this is down to variety – where the original game had an incredible sense of awe and isolation, Tomb Raider 2 felt far more like the Indiana Jones experience it was obviously emulating. There were more varied enemies, the platforming was trickier but more finessed, it challenged the players in new and exciting ways especially with the underwater levels. The puzzling was also the best it has ever been, Tomb Raider 3 and The Last Revelation’s puzzles were incredibly tough to the point of barely being puzzles as some of the solutions were so obtuse, but in 2 they made sense and relied on the players reading the environment rather than a walkthrough. Then there’s the soundtrack, one word – sublime. From the iconic theme song (why this was removed in later games is anyone’s guess), the classical piece that plays in Lara mansion, the dark foreboding string sections in a darkened cavern or the 90’s thudding electro when you discover the snow mobile. Judith Gibbons provided the voice of Lara, her perfect delivery of Croft’s snarky no nonsense attitude has yet to be beat, plus who could forget the toe curling screams as Lara plunges to her death because you were 1mm off course (I know some of you killed Lara on purpose, you animals!). This is the Lara we loved, she’d shoot a tiger in the face and make a witty remark, she’d destroy an ancient building and do nothing but pout, she’s just like Judy Dench but instead of Shakespeare there’s mass murder. (Petition for Judy Dench to play/voice an elderly Lara Croft… anyone?)

By today’s standards Tomb raider 2 is rather dated, though it’s level design is still genius, it’s also a victim of its time. The grid based “tank controls” were perfect for what the game was setting out to do, but in the modern era the game just feels clunky and unforgiving. Plus those graphics have not aged well, Lara my have lost her cone-like bosoms from the first game and gained a moving ponytail but she still looked like sexy version of a sleep paralysis demon. And this is why Tomb Raider 2 deserves a remake, not remaster, not a reboot, a remake.

Tomb Raider can learn from it’s past while embracing it’s future. Combat was never Tomb Raider’s strong suit, but finally the developers mostly nailed it with the 2013 reboot onwards – add in the incredible graphical fidelity of these newer games, the smooth platforming but with the level design and pacing mostly intact from the original and we could be onto a winner. Plus there’s the vehicle sections which in the original game handled like a lorry with square wheels, give them a modern control scheme similar to the jeep sections of Uncharted 4 and the varied levels of Tomb Raider 2 could be transformed into a thrilling rick-rollicking action adventure game of the next generation.

The recent Resident Evil 2 remake has shown that a game from the 90’s can be updated for the modern era, not only was that game one of the best remakes of all time, it was one of best games of 2019 – this is a game that was created in 1998 competing and succeeding against games created with a modern audience in mind and yet it remained very faithful to source material. The first Tomb Raider game had a remake in similar vein to Resident Evil in the form of 2007’s Tomb Raider Anniversary. Utilising the control scheme and revamped platforming of Tomb Raider Legend – it was great game marred by the eras reliance on QTE’s and the aforementioned auto-aim combat. Still fun and certainly more accessible than the the 24 year old original, but when you defeat a T-Rex by making it run into a wall like Wile E Coyote you start to realise 2007 game design had some issues.

Square Enix’s unwillingness to make a proper remake of the game has prompted fans to take it into their own hands, with fan Nicobass remaking the game in Unreal Engine 4 using the controls from the Tomb Raider Legend era of games. It’s fantastic that a fan has created such excellent work, but it’s difficult not to imagine what a big budget remake could look like. The rebooted Tomb Raiders while great in their own right have faced a lot of criticism mostly their drab and melodramatic tone, a humourless Lara Croft and samey structure. Sometimes publishers and developers need to look at what made the games special in the first place and the best place to start is with fan-favourite Tomb Raider 2.

Square Enix, Crystal Dynamics, Edios Montreal if you’re reading this, you probably need to find better things to do with your time…. but anyway I beg of you please remake Tomb Raider 2, the fans want it, Angelina Jolie wants it, Karen from finance wants it, even Jesus wants it! Now don’t you think you’ve seen enough. If you want to see my Top 10 Tomb Raider games go to https://draggedgaming.com/2020/07/10/top-10-tomb-raider-games/

By Jay Johnson

Originally posted on metro game central


Console and high-end PC gaming will always have its place in the gaming pantheon, but there was a time towards the end of the Xbox 360 and PlayStation 3 generation when analysts believed mobile gaming might completely eclipse console gaming. That obviously did not happen, and AAA gaming is as strong as ever, but that hasn’t stopped the growth of mobile gaming. Games like Candy Crush and Angry birds have been cultural phenomenon’s spawning films and various other types of lucrative media and merchandise. Console games like Fortnite and Playerunknown’s Battlegrounds have found a home in the mobile space too with both games now ported to Android and iOS, they have been huge successes even allowing cross-play with console and PC. But the AAA console experience hasn’t quite translated over into the mobile just yet, despite fairly capable mobile hardware and attempts from free-to-play games to blur the lines we’re yet see any real strides from major publishers, until now.

Netflix has revolutionised how we consume media and every entertainment medium would like a slice of that pie, game streaming might be in its infancy but it’s also becoming more viable with widespread 4G connectivity and easily accessible high-speed broadband. Google’s Stadia has stumbled out the gate with a small selection of games and a bizarre pricing structure, but Microsoft’s game streaming service XCloud looks like it could be the service to bring game streaming to a mainstream audience.

XCloud is a unique proposition, positioning itself as the true “Netflix of gaming” with Microsoft first party content releasing day one on the service with no extra costs incurred. With AAA games like Halo Infinite and Gears 5 playable on the service along with a huge variety of 3rd party games from studios big and small all for a low monthly cost. Removing the barrier of entry of a £400+ console, is a genius play by Microsoft meaning at last mobile gamers can play console games with an ease they’ve never had.

What elevates the service beyond the others is it allows for multiple control schemes with touch screen controls, as well as 3rd and 1st party controllers and a rumour of a “Switch style” add on for ultimate portability. XCloud is currently in its infancy and is still in BETA with a full release date rumoured for September. Despite this it still works rather well, its main drawbacks being slowdown, buffering and input lag, the latter of which can be especially frustrating when playing faster paced games. But for the most part XCloud is the first service to truly bring the console experience to a mobile phone, and it will only get better.

None of this would matter without the games, which is another area Goggle’s Stadia has struggled. The line-up on Gamepass is incredibly healthy and the upcoming slate coming from Xbox first party looking extraordinarily strong. XCloud could usher in a new era of mobile gaming – with games having near parity with high powered consoles, it’s an exciting time that’s for sure. Whether mobile gamers will embrace this new way to play remains to be seen, but with console gaming about to become the most accessible it has ever been, maybe a mobile gaming revolution is on the (Forza) horizon.



The landscape for LGBT characters in the media has exploded in recent years and the representation of diverse and realistic gay characters has come a long way. TV has always been ahead of the curve from Mikey and Ian in Shameless to Lavern Cox’s trans character in Orange is The New Black, the stories have been varied and interesting, and with the recent popularity of Rupaul’s Drag Race, it’s almost as if the gays are taking over your screens and lets face it things are far more fabulous that way.

But the gaming landscape has been slow to pick up on the hype – both PlayStation and Xbox put out social media posts in support of Pride last month, to the dismay of the more backwards right winged gamers. But even with both platforms outward support of the community, there has been surprisingly few LGBT characters in videogames. Sam Greer of Gamesradar found that in 2018 there were only 8 playable LGBT characters in videogames, where the characters were pre-written as a queer instead of a character creator. So I’m looking back over some of the more popular characters that represent the rainbow flag and how we may be going into a golden age of LGBT storytelling.


The 1980’s was a strained time for gay relations and the general public, an era with the rise of AIDS and very little support from those in power, general LGBT representation was low across all mediums and was often demonised especially in the USA and UK. One of the earliest examples of representation came from Nintendo and Super Smash Brothers 2 where the character of “Birdo” was described as “a male who thinks he is a girl”, it’s not the most politically correct terminology, but for 1988 it was a pretty bold choice. Japanese developers were really the only ones who were willing to represent the community – with various examples of side characters being gay. Pretty much any western characters at the time were treated with ridicule or jokes and more often than not were censored, with their “gay tendencies” being taken out. An example being Phantasy Star’s USA and UK version of Usvestia saying male characters “look smart” instead of “look cute” as in the Japanese version. Another 1994’s Streets of Rage 3 had mob boss named Ash who was portrayed with tight clothes and ‘effeminate’ movements but he was still censored in many western versions of the game.


Role playing games have been the best place for representation with Bioware’s Jade Empire and Lionhead’s Fable were some of the first western games to allow the playable character to engage in homosexual activities – Fable even allowed gay marriage in its world before the UK or USA did. As the world was starting to turn in favour of the LGBT community so too did game developers – but as games were still portraying women with oversized proportions, appealing to a predominantly heterosexual male audience, the characters were still underdeveloped and rarely playable. Major Japanese publisher From Software had openly gay character Makoto in the 2006 Xbox 360 RPG Enchanted Arms – Makoto openly admits his love for a fellow male character and though he is portrayed as a stereotypical camp man, he is a leading character with a major influence on the games story and playable in combat sections later in the game.

Rockstar surprisingly haven’t shied away from featuring LGBT+ characters in their games both Bully and Grand Theft Auto have featured them, The Ballad of Gay Tony from GTA 4 being the most famous example. Playable character Trevor in GTA 5 is presented but not confirmed as being pansexual, though not necessarily a positive representation of the community, to have a multi-layered character feature in one of the biggest games of all time is a big deal.


Huge strides have been made in recent years, Mortal Combat featured their first gay playable character with Kung Jin, nephew of Kung Lao. The Life is Strange’s Chloe Price is a deep and flawed character, whose mental health problems will resonate with many LGBT youths as she struggles with her sexuality and her place in the world. Obsidian Entertainments The Outer Worlds gave us the delights of Parvati; a sweet, caring and shy young woman but also a capable mechanic and fantastic friend, she quickly became the most popular character in the game. Even more impressive was her relationship with Junlei and the difficulties they face with their physical relationship, something rarely explored in any kinds of narrative and depicted with the utmost respect.   

Naughty Dog have been pioneers of storytelling in the videogame medium and with The Last of Us Part 2 we go on a journey with lesbian character Ellie. What makes this game so special is Ellie’s sexuality is never exploited, it’s also not shied away from either. We see her as a powerful woman with a lust for revenge, as a mother navigating a broken world and as a human coming to terms with her grief. It is an excellent character study from Naughty Dog, it will hopefully lead the way with more playable gay characters in future AAA games. Things are progressing slowly and some vocal minorities would like to see LGBT characters erased. It doesn’t seem to have affected game sales with both The Outer Worlds and The Last of Us Part 2 selling well – so it looks like going ‘Woke’ doesn’t lead to going ‘broke’ after all. Dontnod’s upcoming Tell Me Why will feature the first prominent playable trans character in a videogame, which will hopefully tell a unique story with different point of view – it’s a bold move and one that will be scrutinised by those on both the political left and right for different reasons, it’s a balancing act for any game studio willing to take on the challenge. To see my list of Top 10 LGBT characters in Videogames go to https://draggedgaming.com/2020/07/09/top-10-lgbt-characters-in-videogames/

By Jay Johnson or Ladonna The Drag Queen

Originall published here https://metro.co.uk/2020/07/18/history-lgbt-characters-video-games-readers-feature-13005976/


The success of the Assassins Creed franchise has ushered in a plethora of stealth action and horror games, from the brilliant Batman Arkham Games to the terrifying Alien Isolation, each have their own unique take on stealth and how it works. Now even games like Shadow of the Tomb Raider have shoehorned in stealth, often to the detriment of the game itself. The recent release of The Last of Us Part 2 (click here for my review) was a masterclass in refinement of stealth gameplay, but one that still lacked the deep immersion of gameplay systems which feature in games like Hitman, or smart AI that the Xenomorph possesses in the aforementioned Alien game. For The Last of Us the narrative hooks far outweighed any shortcomings in gameplay. A Plague Tale: Innocence attempts something similar and with a team of around 40 people at developer Asobo, it’s a valiant effort and well worth your time. Here’s my review for A Plague Tale: Innocence.


A Plague Tale’s setting of 1348 rural France is certainly unique, following Amicia and her brother Hugo during a time of disease and famine. Early in the game you learn that Amicia and Hugo barely know one another, with her brother suffering from a strange disease that means he’s been isolated his entire life. When the inquisition come looking for the young boy it sets the adventure in motion as Amicia is tasked with protecting her brother whilst trying to find an alchemist to help with Hugo’s condition.

It’s an intriguing premise for a AAA game to have two children as it’s protagonists and their relationship is definitely the most interesting aspect. Hugo and Amicia build a bond over the course of the narrative going from annoyance and lack of trust to sharing a traumatic experience that binds them forever. Amicia’s protectiveness over her little brother is believable and will certainly resonate with other gamers with annoying younger siblings. Other teenage characters join the story as the game progresses, which ties into the stories theme of innocence brilliantly – all of them are likeable and mostly well developed. The game gives off a historic Stand By Me vibe in some ways, with these kids learning what their capable of and having to grow up quickly well before their time.

The Plague aspect of the game features heavily throughout with towns and villages ravaged by rats and disease – it’s a brilliant re-imagining of real life history and something I’ve not seen done like this in a videogame. It’s a bit of a shame that the last third of the game does away with the realistic approach and decides to go on a supernatural route – it doesn’t make the narrative fall a part but it does make the game go from an intriguing real world drama that uses alchemy for the games mechanics to a cheesy wannabe blockbuster complete with a truly terrible villain whose motives are completely ridiculous. It’s a massive missed opportunity with the setting, time period and characters there could have been a real moral quandary at play with the antagonist that could have tested characters resolve and their newly formed bond, instead it does what almost all typical videogame narratives do.


As mentioned A Plague Tale is a story driven stealth game and it does an OK job of maintaining an interesting gameplay loop through its 15 hour campaign. It’s a perfectly passable stealth game, where hiding and learning enemy routes is important for succeeding in each section. Amicia is initially only armed with a rock sling shot, it’s slow to load but packs a satisfying punch as you head shot enemies – her arsenal increases over the course of the game, but only the sling shot provides the player with an aggressive approach to combat, everything else helps you turn the tide using your environment. The rats are a huge aspect of the game and are brilliantly rendered, 100’s of the critters can populate the screen at a time – it’s skin crawling and the feeling never subsides. The rats are scared of light, which provides the game with its biggest mechanic, extinguishing lights and breaking lanterns so the rats will feast on your enemies is a seriously twisted and gratifying way to dispense of them.

The rats provide clever but pretty easy puzzle solving as well, it breaks up the monotony of constant combat but barring one genius moment at the mid-way point involving clearing rats out of a castle, it’s a real shame this wasn’t a bigger focus as it was the most memorable aspect of the game and it’s largely ignored in the latter half of the game.

Combat doesn’t quite hold up through the latter parts of the game, enemy AI is incredibly poor, with communication between them almost non-existent barring some scripted moments. Enemies will completely ignore your presence where I could run up behind them with no one noticing and then another enemy will immediately see you from miles away. Amicia controls smoothly, but her speed varies and once fully seen by groups of enemies it’s pretty much a death sentence, turning the tide is next to impossible, especially in the late game with archers shooting at you from out of range of your sling. Taking an aggressive approach also means Amicia will automatically stand out of cover and is venerable to being seen, this started to cause a lot of irritation as it meant experimenting with different tactics was pretty much impossible – her sling is also slow and sometimes annoyingly inaccurate, using an auto-lock on that would slip from target for no reason, resulting in my death – it started to try my patience as I had to redo stealth sections that weren’t that fun the first time.

Graphically the game is really beautiful, scenery is dark and dank which is perfect for a place overcome with disease and plague. France is rendered very realistically, with stunning lighting. Sunrays shine through the tree tops casting realistic shadows, clothing fabric and environmental textures look true to life – it’s an incredible achievement for a game with a team this small. Character faces are less favourable with a serious case of uncanny valley, lip-synching is OK but once again isn’t quite up to the standard of say Hellblade. It’s a shame as the character voice work is mostly excellent, with believable performances all round. The games score is a fantastic, setting the mood with haunting strings that are perfectly in keeping with the games setting.


A Plague Tale: Innocence is manages to combine a tantalising narrative with unique stealth gameplay that proves satisfying and thrilling in the first two thirds of the game. Dumb AI, slow restrained combat and a narrative that falls a part by the end sadly hold the game back from true greatness. It’s still worth your time though especially while the game is available on Xbox Gamepass. If there is a sequel to the game (and I hope there is) I could see it being a proper alternative to The Last Of Us, the characters and mechanical foundations are there, but expanding and broadening all this with a better narrative could make for an exceptional sequel.

Rating: 3.5 out of 5.


  • Generally great characters which are well voiced acted
  • The rats!
  • Fantastic setting with beautiful graphics
  • A great puzzle at the mid point of the game
  • Superb music and atmosphere
  • Realistically portrayed sibling relationship


  • Narrative takes a silly supernatural turn
  • Long loading times
  • Poor and uneven enemy AI
  • Close quarters combat is messy and inaccurate
  • Poor villain


Games have the power to transport to worlds better than any other entertainment medium, they can make you experience things you don’t want to do – they can make you see through the eyes of a person you love and they force you see things you didn’t want to see. That’s the power of videogames, but so few developers even attempt narratives like this and will often go down the well worn path of a typical heroes journey with characters that have very little emotional impact. But every so often a game will come along and challenge the film industry and the game industry in tandem making us evaluate what you can do with videogame narratives. Hellblade did it, The Last of Us did it and Observation does it too.


Observation is a short game, clocking in at around 4 hours and it’s better for it, the narrative is tight and well paced – it never outstays its welcome. Taking heavy inspiration from 2001: A Space Odyssey, the plot centres around a crew working on the titular space station Observation as it orbits earth in the year 2026, an unknown event damages the space station and causes it to spin out of control meaning the crew loses contact with each other and earth. It’s here we are introduced to Doctor Emma Fisher and her AI assistant SAM (Systems Administrations and Maintenance).

As the story progresses we learn what truly happened in the accident, weaving an intriguing plot incorporating time travel, extra-terrestrials and the dangers of what advanced artificial intelligence could mean. It’s a thrilling and original sci-fi plot, one with touches of horror. Observation is a thriller in every sense of the word, slowly building to an electrifying and unexpecting conclusion.

The characters are all very well acted, Emma Fisher in particular conveys fear and uncertainty with convincing realism and voicework of Sam is perfectly unnerving and robotic. The acting is supported by a well written script that avoids the pratfalls of other sci-fi videogames and manages to weave exposition into the narrative without feeling like an information dump.


Observation is a indie game but it just about manages to keep up with a lot of it’s AAA counterparts when it comes to graphical fidelity. The space station is beautifully detailed, with the lighting in particular giving the game world a creepy and foreboding atmosphere that keeps pace with the narrative directions of the story. Character models are a big disappointment though, feeling stiff and emotionless with a bad case of uncanny valley in their eyes. It’s a shame as the rest of the game is so well rendered that this one aspect sticks out like a sore thumb and can’t keep up with the excellent performances of the cast. Occasionally characters would clip through scenery too, which just adds to the “Indie” feel the game has. The art design is superb and floating over Saturn is exciting, as you move towards its beautifully rendered hexagon polar storm providing an eye catching feature for the back drop of space walk elements of the game.

The gameplay was the biggest surprise to me, as I was expecting a typical first person walking simulator which couldn’t be further from the truth. This is a puzzle game where you take on the role of the AI programme SAM, from a gameplay stand point and narrative one it’s a perfect way to tell this story. SAM’s is integral to the mystery of the game and your actions have an adverse effect on the characters you encounter, it’s incredibly well thought out and I’ve never played a game quite like it. The moment to moment gameplay is different sets of minigames, from switching on back up power generators, to trapping an enemy in a room with different pattern locks and controlling various CCTV cameras to help characters get into blocked rooms. It’s a gameplay loop I thought I would grow tired of, but the different systems and smart level design meant it rarely outstays its welcome – offering challenges that never get too frustrating but provide a proper sense of achievement when you finally crack them. Some parts of the game task the player with having a fully mobile sentry, whereby you can free roam in first person perspective, this is the main aspect of the game I truly hated, whilst exploration of this beautifully designed world was welcome the controls are absolutely awful, meaning you’ll spend more time hitting into walls than you will solving puzzles.

Music and sound are handled very well, with the vacuum of space convincingly portrayed, alarms and noises inside the space station helping to generate thrills as the story begins to unfurl. The score adds the perfect amount of tension to scenes and knows when to ramp up and pull back. All in all this is a very well directed game.


Observation is a perfectly paced, beautifully realised, story driven puzzle game that manages to create a lasting impression even in its short run time. An intriguing story with immersive gameplay make it a must-play for fans of twisted sci-fi stories and unique puzzles. If you have Xbox Gamepass I would highly recommend giving it a go.

Rating: 4 out of 5.


  • Excellent script and intriguing story
  • Well realised environmental design
  • Accessible but challenging gameplay
  • Great performances from the entire cast
  • Well paced and perfect length


  • Poor character models that can’t keep up with the actors
  • Awful and frustrating first person controls
  • Useless map and navigation when in first person perspective


Comic book films are two a penny these days – Marvel and DC have carved out their own universes, with the former creating an intertwined and grand narrative unmatched in the film making, while DC have changed tactics by releasing individual unique experiences to varying degrees of success. With these two juggernauts dominating the conversation to such a degree that sometimes other comic book adaptations can get lost in the noise. The Old Guard comes somewhat from left field, it’s a violent mid-budget comic book film adapted from source material barely anyone has heard of and released immediately to stream on Netflix.

The Old Guard immediately grabs the views attention with its striking and exciting opening fight sequence, it’s far better than the typical action movie fayre, this sequence gives the viewer immediate character development and introduces us to what makes this film unique. We meet Andy (Charlize Theron), Booker (Matthias Schoenaerts), Joe (Marwan Kenzari) and Nicky (Luca Marinelli) as they attempt to save a group children being held hostage in a military camp, but the kids they are trying to save turn out to be a group of mercenaries whose purpose is to reveal their secret – we learn in this first sequence that our protagonists are immortal with their gun shot wounds immediately healing Wolverine style, their centuries long lives as warriors mean they’re skills in battle are unmatched – they can dispense of their enemies easily. The frenetic action is well shot, director Gina Prince-Bythewood in her first action film has great skill with capturing the crunch of a punch or the fluid movements of a dodge.

This opening sequence sets the story in motion as some evil conglomerate tries to exploit these powers for evil deeds, but in the guise of helping others – it’s here we enter mundane and well trodden territory of comic book films and the villain played by Harry Melling is unconvincing and silly, when he should be menacing and complex, he comes across like villain from a different film, all he would need to be a more obviously sign posted “bad guy” is a moustache to twirl. We also encounter a new member in the immortal fold Nile (KiKi Layne), a US marine serving in Afghanistan – whose introduction enables the audience to experience the much needed back story for the heroes and enables the script to delve deeper into the moral quandaries of morality and immortality. Charlize Theron is the stand-out of the film, her performance as a 7th century warrior whose devotion to her adopted family is poignant, you can see the pain in her eyes from the ones she’s lost over the the years – it’s the multi-layered performance you’d expect from an actress of her calibre, Theron would be forgiven for phoning it in here, she doesn’t and she holds the film together even when it threatens to fall a part. Supporting characters do a mostly admirable job, Kiki Layne proves convincing as a hard as nails marine, whose morality is tested after killing someone for the first time – the script sadly doesn’t quite explore this as well as it could, but it’s a decent effort none-the-less.

The Old Guard’s surprise is the gay relationship between Joe and Nikki, it’s a sad moment when it takes till 2020 for Hollywood to feature completely out gay characters, that even share a kiss – but at the same time the characters are handled excellently and major props to the creators for the representation and how well the characters are handled. These are side-characters whose relationship is treated with as much respect as any romance from a comic book film – it’s satisfying.

The film feels ever so slightly too long and occasionally exhibits moments where the lower budget becomes more obvious. Some of the sets can feel empty, especially in final showdown where they feel cheaply put together. The music choices are… interesting, a forgettable score is made worse by the inclusion of modern pop and hip hop that feel incredibly out of place. It’s a shame as there are plenty of opportunities for the music to heighten both the action and the drama, instead I found the music made me raise my eyebrows with how out of synch it was with the film.


The Old Guard is a brilliantly directed action film, with fantastic LGBT representation and a stunning performance from Charlize Theron rarely seen in comic book adaptations. Despite a by-the-numbers plot, the unique protagonists and interesting fight sequences keep the film engaging. The biggest issue I had with the film was the horrendous music choices that come out of no-where and don’t fit the film at all. I would love to see where a sequel will take the franchise and I hope with the films streaming success we get to see one.

Rating: 3.5 out of 5.


  • Excellent action sequences
  • Incredible performance from Charlize Theron
  • Fantastic LGBT representation
  • Mostly adept character work
  • Interesting mythology


  • Awful music choices
  • Been there done that plot
  • Cheesy villain
  • Missed opportunity with exploration of morality and mortality


Microsoft have had a turbulent time when it comes to their hardware, Windows Phones failed to take off, the original surface convertible was a clunky mess and only their software managed to capture any kind of mass audience. But their one success is in their incredibly popular Xbox console, but it’s not been a smooth ride. I decided to take a look back at Xbox from it’s inception through to it’s current iteration

Announced in March 2000, Microsoft’s aim was to stop Sony’s PlayStation from getting monopoly on the gaming industry, an admirable cause for a company with a monopoly on the PC market… Released in November 2001 with a slew of top-quality exclusive games like Dead Or Alive 3, Project Gotham Racing, Jet Set Radio Future, and of course the legendary Halo: Combat Evolved, the console was ready to take on its rivals. But this wouldn’t be an Xbox console without some pratfalls. The original controller, the aptly named ‘The Duke’ was so large that eventual first party developer Lionhead stole the Japanese ‘S’ controllers without the Microsoft’s knowledge. The Xbox could not have felt more American compared to the svelte designs of its Japanese rivals; it was big, bombastic and powerful – it may be one of the reasons the Japanese have never embraced the Xbox brand. The internet capabilities of the console were its proper unique selling point, it seamlessly incorporated online into the system and Halo 2 provided game-changing matchmaking capabilities that are still used even to this day. The original Xbox did a lot right, it was a powerful system with must-play games, excellent third party support, and forward-thinking online features but it had only modest sales of 24 million and was largely ignored everywhere except the USA. Dethroning the PlayStation 2 was always going to be a tall order, especially with Xbox releasing 18 months later. The launch of the original Xbox is estimated to have lost Microsoft $4 billion and only managed to turn any kind of profit at the end of 2004.

See the source image

Microsoft went all in on their follow-up, the hugely successful Xbox 360. Releasing in the winter of 2005, the Xbox 360 felt like a much more calculated approach to console gaming than its predecessor. It was a massive leap in graphics over the previous generation, Xbox Live was fully integrated with dedicated friends lists, the design was contemporary and sleek, and the controller was refined – becoming one of the best controllers. Releasing a year before the PlayStation 3 and at a much more digestible price, the Xbox 360 enjoyed massive sales and was the market lead for the majority of the generation. Despite the hardware issues that arose from the Red Ring of Death and the lack of a Blu-ray drive, the Xbox 360 still managed to eat away Sony’s huge lead from the previous generation. The release of the Kinect gave Microsoft a small taste of the Wii’s success, however this is also where things started to go south. Game development shifted dramatically away from traditional console games and despite acquiring Twisted Pixel and Press Play in 2011 and 2012, respectively, Xbox started relying heavily on third party games and partnerships which would cause severe consequences going into the next generation.

See the source image

Most gamers will remember the shambolic reveal of the Xbox One in May 2013, its DRM policies, mandatory Kinect, lack of power, high price, and emphasis on its television functions did not sit well with the gaming community. After the reversal of much of these criticisms and despite a reasonable launch line-up and the promise of stellar-looking games like Sunset Overdrive, Titanfall, Fable Legends, and Project Spark coming soon the Xbox One looked like it might be OK. But the mandatory Kinect inflating the price of a less powerful console was a tough pill to swallow and with the memory of the Xbox boss telling gamers to buy an Xbox 360 if they didn’t like it were still very fresh. Add to this, Microsoft Studios was in utter disarray. Bungie (arguably Microsoft’s crown jewel) had already flown the nest during the Xbox 360 generation; Lionhead, Press Play, and Ensemble were shuttered; and Twisted Pixel went back to being independent. Microsoft had 343 Studios, Rare, The Coalition, and Turn 10 to make games in what was becoming a rather embarrassing exclusive line-up, relying on their solid but increasingly tired franchises. Xbox One sales haven’t been officially revealed, but sales are thought to be near the 50 million mark, by no means the failure some would have you believe, but certainly a fall from grace from the 84 million the Xbox 360 achieved. Announced at E3 in 2018, Microsoft put their cards on the table as to what their future might look like. They acquired four new studios, including Forza Horizon developer Playground Games and Ninja Theory, developers of the critically-acclaimed Hellblade: Senua’s Sacrifice, as well as forming a new studio called The Initiative. Later in the year they announced three other acquisitions including Obsidian Entertainment, one of best western role-playing developers in the world. Their decision to bolster their first party output has yet to yield results, but the future certainly looks brighter than it did.

See the source image

The Xbox Series X was revealed in December 2019 and Microsoft seem to be going all in with their Netflix style service Game Pass, a fairly genius play considering where the film and music markets have ended up – first party games releasing day one could be their trump card if their games are worthy. The announced games Halo Infinite, Hellblade 2: Senua’s Saga, Project: MARA, and Everwild all look incredibly promising. Looking to Xbox’s July event we can truly see if Xbox is back in the game or if they are destined to limp along beside their rivals. I am hopeful they can pull it back. I believe Sony, Nintendo, and Microsoft need each other to thrive and to count Xbox out of the game this early would be a mistake.


Over the course of 24 years Tomb Raider has been a pioneer of action adventure videogames and heroine Lara Croft has cemented herself as an icon. One of the most successful franchises in gaming, Tomb Raider has had peaks and troughs with 12 mainline console games and numerous handheld and spin off titles, Lara has been through many different adventures and ranking my favourites is a difficult task.

The thrills of shooting a T-Rex in the face and the fear of missing a perfectly timed jump and the bliss of locking your bumbling butler in the walk-in freezer – Tomb Raider provides an experiences unparalleled in the genre.

Here is my Top 10 Tomb Raider games.


See the source image

Coming in at number 10 is the game that is often held responsible for the downfall of original Tomb Raider developer Core Design and for good reason. The tank controls from the original PlayStation era returned and were somehow made even more clunky, the game was riddled with bugs, featured bizarre levelling up elements, awful stealth gameplay and dialogue tree’s which while good in theory were completely superfluous.

But looking back many people overlook what Angel of Darkness did well, a challenging puzzle game, varied locations bought to life with vivid and beautifully realised graphics for the time, along with one of the most accomplished and incredibly tense stories Tomb Raider has ever done. Combining a film noir style of storytelling with a sweeping orchestral score sets the mood beautifully, along with Core’s excellent level design, Angel of Darkness succeeded where it mattered for a Tomb Raider game.

Though the game certainly feels rushed and an extra 6-12 months in the oven would have resulted in a far superior product, Angel of Darkness is worth your time – once you get past the games many quirks.


See the source image

The most recent entry in the long running franchise is a solid game and builds well off the two games that preceded it in the reboot trilogy. Shadow of the Tomb Raider is an incredibly refined experience, with tight controls, beautiful graphics and striking soundtrack.

There’s a lot to love about the game, the real stand out of the experience is the actual Tomb Raiding and puzzles that make a massive comeback in both side quests and main questline, as well as excellent difficulty settings so you can tailor the experience to your liking. The tombs themselves are tricky and give an excellent sense of achievement when they’ve been solved.

However the Shadow suffers in a couple of areas, mainly the story telling, a poor script that tries to explore Lara’s mental state with all the subtlety of jackhammer, poor pacing, a silly plotline and an underwhelming villain. Add to this a boring open-world hub where costume changes are limited and an over abundance of stealth over shooting add up to make Shadow the poorest entry in the reboot trilogy – sadly the balancing act of making a Tomb Raider game the best it can be wasn’t met with this entry, Shadow was a boring conclusion and a bit of missed opportunity.


See the source image

The third and fourth entries in the original Tomb Raider run are both guilty of the same sins, both have puzzles that are virtually impossible to work out without a guide. Tomb Raider 3 is better than it’s successor mostly because it still feels like a bold globe trotting adventure, where Last Revelations Egyptian setting becomes monotonous over its long running time.

Tomb Raider 3 operates in a similar fashion to its predecessor adding a couple of extra moves to Lara’s arsenal including a sprinting and crouching. Though the new moves don’t quite provide the gameplay diversity they should, only used sporadically. Also returning is vehicle sections, but an awkward kayak mission makes their inclusion more of an annoyance than welcome distraction.

Tomb Raider 3 is still an enjoyable romp despite its drawbacks, with a mission in Area 51 being a personal favourite, plus the best implementation of Croft Manor in any of the original Tomb Raider originals.


See the source image

Tomb Raider Underworld took what worked in 2006’s Tomb Raider Legend and opened it up – sprawling levels that were beautifully realised on the Xbox 360 and PlayStation 3’s superior hardware. It’s a thrilling conclusion to the Crystal Dynamics first games and in some ways is the best of first reboot trilogy.

The game is more open than Legend, so exploring is a more viable option than before, though the game still very much retains a linearity that the previous games also had – meaning the openness can feel somewhat hollow which is disappointing – exploration doesn’t amount to much more than seeing more of a level. Combat is refined with its auto lock-on shooting incorporating melee into the proceedings, so encounters can be approached in various ways.

The story manages merge Legend and Anniversary pretty well, with legendary character Jacqueline Natla returning from the first game and Amanda from Legend. Exploring Norse mythology has never been so fun and the game cleverly intertwines many myths believably. Issues with the camera, minor bugs and awful quick-time events mar what is a stellar action adventure title.


See the source image

Legend followed Angel of Darkness at a time when Tomb Raider could have been finished, taking over from Core Design, Crystal Dynamics built legend from the ground up creating a completely new style of Tomb Raider with an emphasis on story and free-flowing platforming.

Leaving the tank controls of the original games in the past where they belong, Lara’s 360 degree movement was a change the series desperately needed – taking heavy inspiration from the Prince of Persia series, platforming went from the originals static precise grid gameplay to leaps, bounds and swinging that smoothly connect together in an almost balletic fashion.

Legends story is tight, interesting and well paced, the game delves into Lara’s past and gives her a much needed personality boost. She’s still a English explorer with a twinkle in her eye, but her motivations are more interesting and her backstory is enticing – Tomb Raider finally has an emotional pull and it’s all the better for it. Legends biggest drawback is it’s incredibly linear structure, feeling more like a set of corridors rather than open explorable spaces and a short length – with the game taking a mere 6 hours to complete.


See the source image

Tomb Raider Anniversary is faithful adaptation of the very first Tomb Raider game, the story, the puzzles and the pacing are nearly identical, but with Legends updated gameplay and the graphics now more closely resembling real places instead of the pixelated triangles of the original.

What elevates Anniversary above the likes both Legend and Underworld is it sticks to the originals games structure, so the the game retains the more open structure that was absent in the aforementioned games as well as far higher difficulty – it has a better balance of gameplay with a more adequate running time.

Anniversary is a stellar entry and one the series best, QTE’s being one of the few drawbacks – turning some of the most thrilling moments of the originals into annoying button presses, it also removes the shock and awe of encounter with the T-Rex which is a shame. It’s a minor gripe with a game which pretty much defines what it means to be a Tomb Raider game.

4. TOMB RAIDER (2013)

See the source image

The reboot trilogy is a touchy subject for Tomb Raider die hards, the games takes a big leaf out of the Uncharted playbook, going for grand cinematic storytelling rather than the platforming and puzzling of the original games. It may have fallen apart had it not been for the interesting story and well crafted character study – Lara is young and uncertain of herself but still fearless and capable. Though there’s an element of cognitive dissonance with the story, it’s a minor gripe with one of Tomb Raider’s most interesting plots. As the game progresses her “kill first ask questions later” attitude from the original games begins to come back and it’s great to see. But this is a fundamentally different Croft, she feels like a woman more grounded in her environment and lacking the wit and charm of the previous Lara’s.

The game goes in a different direction with it’s structure – choosing a semi open world Metroidvania style that opens up as Lara obtains the right gear. The Japanese influenced island in Tomb Raider is one of the games greatest strengths, this is a thrilling land to explore – combining tight linear corridors and open spaces with excellent design choices by Crystal Dynamics.

The combat in the reboot finally reaches the standard of the rest of the game, with it’s 3rd person shooting mechanics being near best in class for the time – the bow and arrow providing a satisfying weapon to take on enemies silently. Though I miss the dual pistols, at the time Lara’s bow was the best implementation of the weapon and has since been used in almost every game since.

3. TOMB RAIDER (1996)

See the source image

The original game, the one that started it all. A game that took the world by storm thanks to its ground breaking level design, its fiery protagonist and its chilling atmosphere. Lara Croft became an over night sensation as one of the first female protagonist in gaming, her oversized proportions were the big talking point, but it should have been her incredible confidence and cheeky wit, Lara was so much more than her looks.

Before the advent of the open world game, Tomb Raider’s enormous levels with hidden nooks and crannies were a world away from the other 2D games of the 90’s and the ability to explore them at your leisure was a joy. The controls were stiff and ridged meaning the platforming tasked the player with precision, lining up jumps perfectly could be the difference between life and death, it’s thrilling.

Tomb Raider is a challenging game, but one that feels rewarding to conquer and on a modern PC without the horrible save system it’s still a fun game to return to.


See the source image

A more confident Lara, a larger more beautiful world, a bigger emphasis on exploration and platforming, the sequel to 2013 Tomb Raider is better experience in almost everyway. Where Shadow fell down was in its attempt making the world bigger but it felt more empty. Rise expanded the world, however still feels dense with every inch of the map thought-through, all of the map was designed for a reason and not just to be larger.

Rise is still even now one of the best looking games of all time, the realistic snow deformation, the towering mountains and the realistic wildlife make it a beautiful lived-in place. Like its predecessor Rise’s story is tight and well told with good performances from the cast – the villain of the game is a notable step up from the predecessor with a personal attachment to them that makes their relationship far more captivating than a typical bad guy .

The combat encounters are far more varied in Rise, offering options to go all guns blazing or stealthily – both are viable, though stealth is still a largely simple with all enemies able to track your location once your spotted, which is a minor annoyance with the system. Rise of the Tomb Raider was everything a sequel should be, it added lots more Tombs to solve, refined the combat and told a fascinating story at the perfect pace.


See the source image

Tomb Raider 2 is a near perfect example of how to make a Tomb Raider game, it mixes combat, exploration, platforming, puzzle solving and a captivating story told across multiple varied destinations. Adding in the ability to control vehicles adds a new layer of gameplay that breaks up the gameplay loop nicely, tearing round Venice in a motor boat has never been so fun.

Far more human enemies in the game provide a serious challenge with them able to take you on from a distance as well as running at you with their dogs, better utilising Lara’s weapon arsenal and her acrobatic skills to stay alive. The puzzles in the game are tricky, but working them out involves reading your environment rather than an online walkthrough, it’s the mark of good design design.

With stronger narrative involving an ancient dagger that gives the holder command of a grand army and the power to transform a person into a ferocious dragon. Taking on a group of thuggish cultist has become a mainstay of the Tomb Raider franchise and Bartoli and his goons are some of the best. The final showdown at Lara’s home is a thrill and one of the most memorable moments from the entire franchise.

Tomb Raider 2 is the best Tomb Raider game of all time and a Capcom Resident Evil 2 style remake would be absolutely welcome – taking the excellent design of the original games with updated controls and the combat from the reboot games could be a match made in heaven. Come on Square Enix DO IT!


In a world where LGBT characters and personalities are becoming far more common, with shows like Shameless, Orange is the New Black and Rupaul’s Drag Race providing mainstream entertainment with queer people from all types of backgrounds. But as TV and film diversifies, gaming is a often a medium left behind.

It’s far more rare for a mainstream game to feature a female character let alone a gay one, though things are getting better and LGBT characters are beginning to worm their way into games providing diverse tales with the interactive and immersive storytelling that only videogames can muster.

So I have gone through videogames past and present to find my Top 10 LGBT characters in games, we’re sticking to games from Western developers as the Japenese could probably have a list all their own.

10. Trevor Phillips from Grand Theft Auto 5

See the source image

Grand Theft Auto is often lambasted by critics for it’s incredibly graphic violence and glamorisation of guns and gang culture, but many miss the nuances and subtext of the world and diversity of the characters within the games. There have been a few LGBT characters in GTA, but Trevor Phillips is the first time you take control of an (unconfirmed) pan-sexual character.

Trevor is a violent sociopath, killing without remorse, but he is also fiercely loyal to those close to him – a complicated and well written multi-layered person which is equally important for LGBT representation in gaming. He is certainly not a positive influence to the LGBT movement but having characters of all backgrounds is important especially with GTA being such a massive franchise played by millions of gamers. Evidence for his pan-sexuality come from him openly and joyously admitting to raping men in prison, his “any holes a goal” mentality is refreshing in the heavily heterosexual gaming landscape, as well flirting with anything that moves.

Special mention to GTA 4 and the Ballad of Gay Tony. Rockstar are one of the few developers that are never afraid to diversify their character rosters and long may in continue, hopefully with more positive characters in the future for both women and the LGBT community.

9. Commander Shepard from the Mass Effect Series

See the source image

Mass effect gives the player the option to romance certain characters regardless of their gender. Bioware are pioneers of choice making games and their RPG’s set a template that all other western RPG’s have followed. As the male Commander Shepard players can even sleep with another male character if romanced properly. In Mass Effect 3 the player can flirt with Cortez to the point where they wake up in bed together, ding dong!

The Mass Effect fanbase has largely accepted these options, however the games have received some ire from gamers on the political right with many expressing displeasure at the time of Mass Effect 3’s release, this hasn’t stopped Bioware continuing with choice regarding sexuality in their other games though. On the other hand others have complained about the lack of options when playing the game as a gay man with very few romantic options for gay men compared to both gay women and heterosexual characters.

After Mass Effect Andromeda’s disappointing reception and Anthem being… well terrible – it might be a while before Bioware get another chance to represent the LGBT community. But we are hoping for even more depth and breadth for role playing as whoever you want to be in their next installment.

8. The Hero (Chicken Chaser) from The Fable Series

See the source image

The Fable games are a one of a kind RPG, a dark and comedic fantasy world where forming relationships are just as important as slaughtering your enemies. The 2004 original game was well ahead of its time in terms of representation, with the role playing elements of the game meaning you can fall in love and marry almost any NPC in the game man or woman.

For the games sequel things were expanded further with the player choosing whether play as a female or male, the ability to cross dress and marry someone of the same sex – so you could live out your life as lesbian, gay man or a bisexual. It features on this list as the Fable Universe had gay marriage even before the UK or the USA did, which in my book is mighty impressive!

Fable 2 also features a side quest whereby you must find a suitable partner for a farmers son, who hints at being gay, with the father accepting the sons sexuality after only presenting him with female suitors. Very progressive indeed. Maybe we’ll see more of this in the rumoured Fable reboot?

7. Jim Miller from Deus Ex Mankind Divided

See the source image

Many games either shy away from introducing gay character or will have them as comic relief flamboyant characters that serve little purpose to the story. Jim Miller bucks this trend featuring heavily in Mankind Divided as the stern and commanding leader whose goal is to keep people safe, a gay man that doesn’t follow any stereotypes and his main notable trait is being good at his job.

His sexuality is discovered gradually through the game and his complicated relationship with his husband and adopted children is a convincing, a rarity in all forms of media and especially a videogame.

Despite him being a supporting player in the game, Miller is a complicated and layered character, he’s someone with an interesting past that could easily be explored further. The Deus Ex world has many potential stories at it’s disposal, it would be great to see Jim explored further if the series ever continues.

6. Parvarti from The Outer Worlds

See the source image

2019’s Outer Worlds released to a warm reception, the game harkened back to a simpler time of RPG’s that didn’t just constantly expand the physical world, but concentrated on the characters that lived within it. Parvati is a character you discover early on and she instantly became the most popular character in the game.

Parvati is incredibly endearing; she’s sweet, caring and shy but also a capable mechanic and fantastic friend, who prefers to avoid violence, a great ally if you play through the game in non-violent manner. An early mission sees the playable character playing cupid with Parvati and Junlei, you can offer advice on their relationship and learn of their blossoming romance and the difficulties the characters have connecting physically due to Junlei being asexual.

It’s a genuinely sweet mission, and something of a rarity in modern games. Parvati is a loveable character that is certain to feature in the next Outer Worlds game and I can’t wait to see it.

5. Kung Jin from The Mortal Kombat Series

Kung Jin was the first homosexual character to be entered into the Mortal Kombat series, Jin was trained under The White Lotus Society – being gay he believed he would be rejected.

He is the nephew of franchise mainstay Kung Lao and like his uncle is a master of projectiles, coming equipped with his trusty bow and arrow. Kung Jin is unique in that he possesses two types of fatalities which includes decapitation with a round house kick and an impaling arrow move. As in all Mortal Kombat games it’s over-the-top, barbaric and strangely amusing.

Despite Kung Jin being one of the only confirmed LGBT characters in any fighting game, his sexuality is barely mentioned with only this quote “They care only of what is in your heart, not whom your heart desires.” alluding to his homosexuality in the actual game. With such a large roster we’d like to see more from all the fighting game franchises in the future, maybe Kung Jin could have a boyfriend in a future instalment.

4. Cremisius Aclassi from Dragon Age Inquisition

As this lists demonstrates, LGBT characters are usually side characters or are only gay when the player chooses so, it’s a typical attribute of an RPG. This is not to be sniffed at as all forms of representation are important and the community is slowly working its way into mainstream games. Though gay and lesbian characters are becoming more prevalent as time goes on trans representation is still very low.

Bioware feature heavily on this list and their character work is some of the best of all RPG developers, it’s was truly remarkable when they included Krem in Dragon Age Inquisition. Born as a girl, Krem realised he was different from the girls, later in life he concealed his gender status to enlist in the army, which almost lead to his execution for falsifying military documents. After running away he joins Bull Mercenary Company and rises to be second in command.

Interesting storytelling for a character in a fantasy world and handled well by the developers. Krem’s inclusion would be even better had a trans actor played the part. Hopefully in the future Dragon Age games Krem may return for his story to be expanded further.

3. Chloe Price from the Life is Strange Series

See the source image

This punk rocker from the Hipster minds at Dontnod Entertainment, Chloe is a remarkably deep character whose journey is not only compelling, but is the catalyst for the entire game. Chloe and Max play estranged friends that rekindle their friendship as Max uncovers a mystery regarding Chloe’s lover Rachel.

The game weaves a tight story about friendship and love, in an engaging fantasy coming-of-age story. Chloe is a stubborn young woman with trust issues, she suffers with depression and has had suicidal thoughts – it’s a realistic interpretation of LGBT youth and a daring insight into the mind of a young member of the LGBT community.

The big draw of Chloe is that she features heavily in the first season of Life is Strange and was the leading playable character in the spin-off Life is Strange : Before the Storm. Dontnod’s next title “Tell me Why” will feature a playable trans character, it’s an exciting prospect from a developer with a skill for deep character work and a entertaining stories.

2. Makoa Gibraltar from Apex Legends

It’s rare to find gay men as playable characters in any games, especially those where it’s not the choice of the player . What a surprise it is to see a western developer who are known for creating “dude bro” shooters create a character with surprising depth as well as representing the gay community in a battle royale shooter.

Gibraltar is described as being a “gentle giant” standing in at 6 foot 4, despite the fact he has the ability to crush skulls with his bare hands. Gibraltar’s sexuality is not shied away from with his boyfriend Nikolas playing heavily in his backstory, as well as a complicated history with his father.

He is also notable for being Polynesian as well as gay, Respawn deserve a lot of credit for including Gibraltar in their game and here’s hoping there’s more to come!

1. Ellie from The Last of Us Series

See the source image

Coming in at number 1 could only be Ellie from The Last of Us. As mentioned previously most of the people on the list are side-characters, though Ellie played a supporting role in the first game, she takes centre stage for the games recently released sequel.

Naughty Dog are masters of story-telling with unprecedented skill in writing deeply flawed and engaging characters. Ellie is no different, in the first game a young woman coming to terms with herself. Growing up in this violent world has a serious impact on Ellie’s mental health, which goes far deeper in the sequel. Ellie’s first coming-out moment featured in the DLC for the first game, with a deeper and more adult orientated relationship blossoming in part 2 with bi-sexual character Dina. We even see both women raise a child together, showing how motherhood can change a characters outlook on life, it’s a sweet and heart warming relationship that’s treated with the utmost respect.

The Last of Us represents Ellie as a lesbian but doesn’t dwell on it, it isn’t the driving force for the story which is commendable in this landscape, especially a AAA mainstream game. All of Ellie’s relationships are relatable and her thirst for vengeance in Part 2 takes the player on a unique journey of an LGBT character that has never been attempted before – it’s a game that deserves the highest praise for its character work.

Special mention must also be made for also introducing other LGBT characters in the Last of Us games such as Bill and trans character Lev, bravo Naughty Dog – you deserve the top spot on this list!


Sony’s first party studios have carved out a niche of delivering stellar story-heavy action adventure games, usually in third person perspective. The God of War reboot and Horizon Zero Dawn have been important games to the PlayStation 4 and have cemented Sony’s console as the best place to play these type of narrative driven games. Naughty Dog really are the masters of this type of story-telling, their character studies are unlike anything else in the industry (with the possible exception of Ninja Theory) and The Last of Us Part 2 goes further than any other mainstream game. Here is my full review of The Last of Us Part 2.


MINOR SPOILERS AHEAD The Last of Us Part 2 takes the player on a journey of revenge, a well trodden path that many games and films have gone to before, but it’s the games execution that sets it a part from the rest. You take on the role of Ellie from the first game, this time all grown up with a extra dash of angst – told through flashbacks we learn that Ellie has grown distant from her father figure Joel since the events of the first game, it plays into one of the many themes of the game – actions have consequences. An early event which sees the brutal murder of Joel at the hands of new character Abby is a gut punch, an emotional and unsatisfying end to a character you grew to love in the previous game – killed by a woman who dispenses of the man with what seems like glee. It’s hard to witness and Ellie’s cries of anger are devastating and a reaction most gamers will feel along with her. All this emotional pull comes in the first 2-3 hours of the game, in any other mainstream game this would have been a finale or a lead up, but The Last of Us dares to be different.

The game challenges your perspectives on where a videogame narrative will venture. As you play through the storylines of two characters entwined together with completely different outcomes. Both characters illicit sympathy, you will question their actions and yet still understanding their motives. They are both equally complex and chapter concluding flashbacks provide insight into the actions the characters take. This is a style of storytelling rarely done in videogames and it’s incredibly compelling – it’s incredible how the two scenarios both mirror one another and the first game in tandem. It’s deftly put together, and mostly works. The pacing struggles to juggle the narrative in the third act of the 2nd character campaign, it starts to feel a bit “hollywoodised” and limps towards its conclusion instead of the thrilling climax it deserved – it feels a bit silly and out of place. It’s shame this section made into the game, it’s in stark contrast to the rest of the game – it felt more like a Resident Evil game, which in some ways might be unavoidable due to both games featuring the “undead” but after such thought provoking character studies in the preceding chapters it feels wrong, some odd choices were taken here and I feel without them the game length might have been more digestible as well. Luckily as the 2 campaigns converge in the last few hours the game it gets back on track to an emotional and satisfying resolution.

The Last of Us Part 2 has a by-the-numbers plot with truly ground-breaking story about revenge, forgiveness, bereavement and the consequences of violence. The narrative will divide gamers, but it’s worth experiencing – no other videogame has dared to tell a story with this much depth and that’s including the first game.


To put it bluntly this is one of the most impressive looking games that’s ever been made. Lush vegetation scales the walls of the abandoned buildings, decaying furniture litters houses and the grass moves in the wind and realistically deforms from character impact. It’s seriously impressive. Water effects, particle effects and lighting are all stunning, the dark rooms filled with spores illuminated by just your flashlight look particularly fantastic. The environments feel like real, lived-in places – it’s very immersive and believable – small details like graffiti, mould and trinkets left behind from survivors add another level. The game is mostly linear, but deceptively open, barring your initial arrival in Seattle you are led through a series of open combat zones and enclosed corridors to traverse and yet the game feels like it’s open world and you can go anywhere, you can’t but it’s very clever level design none-the-less. Character models are beautifully detailed – the motion capture is best in class, with emotions being convincing portrayed – clothing and skin looks as close to real as this generation has ever gotten, Naughty Dog have set an incredibly high bar for their next game.

The gameplay loop is similar to the first; Walk through the environment in heavily scripted information dumps, stealth combat, loot, traverse environment, rinse and repeat. For a game that takes around 30 hours the gameplay does lose it’s lustre in the latter hours of the game. That’s not to say the gameplay is bad, combat is violent and satisfyingly crunchy. Pulling off a head shot with a bow whilst prone in tall grass is a buzz and solving the riddle of how to take on each stealth scenario can pose a credible challenge. The weapons are varied and each comes with its own sets of positive and negative attributes for use in each situation. Bombs and molotovs can be crafted on the fly to cause distractions or off enemies without giving away your location. It works well and at points can be a real thrill – human enemies and infected enemies provide variation and forces you to slightly change tactics for each encounter.

Other parts of the combat don’t fare quite as well. Enemy AI is dumb and will often walk into danger alone despite the characters being aware of your presence, meaning you can take out 2-3 enemies from one location without moving. Another aspect the game doesn’t really try and should, is to force the player into being more aggressive. I appreciate the game is stealth focused but with bombs at the players disposal it feels like a missed opportunity to not use them, it makes little sense for enemies not to form close groups when there’s 2/3 of them left to take out, Batman Arkham City is a good example of this, as it truly tests the player to fully change tactics on the fly as the enemies work together to find you – something The Last of Us doesn’t do. The samey-ness of the combat wouldn’t be an issue had the game only been 20 hours, but stretching this out over 30 hours makes it wear thin, to the point where I rolled my eyes at yet another combat scenario. Follower AI is also poorly utilised, occasionally they provide helpful assistance, but more often than not they do little to help and break immersion by running in front of enemies who never see them.

Music and sound ties the whole game together beautifully. The score goes for understated guitar strums over an operatic string section, it’s in perfect harmony with the setting and story. The voice acting is the best in the industry with each character having convincing, realistic and heart wrenching performances. The sounds of the clickers and runners is truly unnerving especially in the early game, also using environmental noise and silence to great effect – it’s all very tense and well incorporated.


The Last of Us Part 2 is a crowning achievement in videogame storytelling, a deep character study where few other games will dare to venture. Though not perfect the game, it is a flawed masterpiece that should be experienced by anyone with even a passing interest in videogames.

Rating: 4.5 out of 5.


  • Excellent storytelling
  • Beautiful environments
  • Compelling and complex characters
  • Satisfying combat encounters and weapon variety
  • Incredible performances from the entire cast


  • Too long and too reliant on samey combat
  • AI of human enemies could be improved