The Emperor's Tomb is a firm believer that by playing the instantly recognisable and uplifting theme tune every few minutes it doesn't really need to do much else to put you in Harrison Ford's shoes. On the other, you have to admire their cojones at dispensing with all subtlety and admitting straight up that they're trying to rip you off. On the one hand, their condescension and belief in our utter stupidity should have us up in arms.
They so desperately wanted to put across that this is Indy doing a Lara Croft, that they included the word "tomb". You can get all the information you need from the title.
What really gets me about The Emperor's Tomb is the half-arsed way it's been put together. Publishers want to appeal to the lowest common denominator but this is also true of cinema, television, music and even books. It's easy to blame it all on consoles, but also short-sighted. All In The TitleĪt this rate we'll be playing the gaming equivalent of the primordial soup pretty soon, with specially designed controller pads that won't require the use of opposable thumbs and gameplay targeting solely the deepest, reptilian parts of your brain. Fast forward to 2003 (or should that be backwards?) and we're presented with an experience so empty, banal and simplistic you can only sink your head into your hands in despair. Seven years later The Infernal Machine tried to emulate the success of Tomb Raider while still acknowledging that Indy is an intelligent archaeology professor who can deal with puzzles as much as physical obstacles. They had clever puzzles, bags of charm and captured the spirit of the films perfectly. In 1989 the brilliant point 'n' click was released, followed in 1992 by the even better Fate Of Atlantis. The latest Indy adventure-and I use the term in its widest, most devalued sense - is a perfect example of how games are devolving.
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