And she always struggles with that.вЂќ After being reunited with an injured Roth, Lara gets an important piece of adventuring kit: a climbing pick-axe that lets her scale rough rock faces. She doesnвЂ™t quickly go from not wanting to kill to wanting to kill she goes from not wanting to kill to forced to kill. The challenges make her become who she will become one step at a time, and thatвЂ™s not all about killing people. вЂњWe try to challenge Lara emotionally in other ways, and as we get into later aspects of the game we challenge LaraвЂ™s core belief system. вЂњвЂњIt continues but takes a back seat to other transitions that Lara has to make,вЂќ says Noah. After the hardcore trials of her day on the island, where she sees a friend killed, fights off wolves and learns to kill herself, a lot of that melts away, and she starts to emerge as the Lara we know. ItвЂ™s not overdone, though вЂ“ nor is the vulnerability that Lara shows in the gameвЂ™s opening few hours. вЂњWe donвЂ™t have to do this!вЂќ, she shouts ineffectually, hiding behind cover. Our hope is that we get to the pace of gameplay that feels appropriate, but it should feel like a motivated transition вЂ“ if a bit accelerated.вЂќ Lara does indeed try to talk the militiamen down. They make it very clear that it is a kill or be killed situation. She even tries to talk down the enemy combatants, but theyвЂ™re not having any of that. вЂњLara does need to cross a line, but you see her struggle several times with staying across it. We donвЂ™t want every kill to be the first kill,вЂќ he says. вЂњThe central answer is that we try to make all of LaraвЂ™s actions feel motivated. Creative director Noah Hughes is as aware of the potential contradictions here as anyone, but he feels that LaraвЂ™s quick adaptation makes sense. YES NOItвЂ™s not exactly a gradual transition, then, but itвЂ™s not a ridiculous one either.

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