But I also discover a new hiding spot.

"The underwater was something that people were Dark And Darker Gold constantly coming back to. They wanted more of that, even though there’s a challenge to doing underwater." 

Fans of the original Tomb Raider games (or any ’90s platformer) will remember the terror of navigating an underwater maze, searching for a way up to the surface before you drown. 

In the demo I play, the underwater sections are little more than a cutscene—atmospheric vignettes where I hold down 'W’ to progress through scripted peril.

"The underwater works very similar to the other gameplay types in the way that there are experiential sections," explains Oehme, "some of which are linear and revolve around the introduction of a certain experience." 

The experience being introduced to me here was that of nearly drowning; of just reaching an air pocket at the very last second. Oehme suggests that this tension will be a key part of the more open underwater exploration. 

"Where do I find my next air bubble? Will there be one? If you squeeze through a tight gap, you don’t know if you’re going to get back, you don’t know what’s going to be on the other side."

As with the previous games, Shadow’s story will utilise a series of hub areas that Lara can return to. "We are going to have a few hubs," says Murray, "including the biggest hub that we’ve had so far. So people will get a more up close and personal look at the culture, not from Dark And Darker Gold for sale the perspective of the artefacts necessarily, but meeting people and having to live alongside them."