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REVIEW: SHADOW OF THE TOMB RAIDER (ps4, xbox one, pc - PS4 VERSION TESTED)

24/9/2018

22 Comments

 
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I've been thinking a lot about Lara Croft over the past week, ever since I wrote an article criticising the character's ongoing development, or lack of. 

I mean, aside from getting a bit of grief from TR fans over my "tired schtick", I also get tweeted at by no less a luminary than Rhianna Pratchett - the writer of the first two Tomb Raider reboot games - having mentioned her and Jill Murray (lead writer of Shadow of the Tomb Raider) in the piece. 

Here's what she had to say to me: "Paul - You know how games are made. How many people are involved. The tumultuous nature of AAA development. The relatively low power that writers wield. The story by committee that often happens. You know all this.... Yet throughout the TR games, you seem to aim blame squarely at the writer(s). Myself in the past, and now Jill. Regardless of how you feel about the tone of the games/Lara that is an unfair and inaccurate call out."

Over the weekend, Rhianna doubled down, sharing this tweet by Jill Murray: "Y'all. A game's Lead Writer is not its only writer or the person most in charge of story. We have narrative directors, cinematics directors, creative directors, brand, editorial... I'm flattered ppl know who I am but only tagging or crediting or criticizing me is hecka strange."

It might feel hecka strange to Jill, but she did numerous interviews to promote the game, and her name was all over the marketing, so... well... y'know.
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PERFECTLY CIVIL
​I've met Rhianna Pratchett (and she's very nice). She was perfectly civil with me during our Twitter chat, but there's no getting away from the fact that quite a lot of the publicity around Tomb Raider and Rise of the Tomb Raider converged on her involvement.

She, like Jill Murray, took (or was given) the credit - much of it good when it came to the 2013 game - for the reborn Lara Croft. Indeed, I appreciated what they did with the proto-Lara in the first reboot, and I've nothing against either Rhianna or Jill. In fact, Jill was lead writer on one of my favourite games of all time, Assassin's Creed Black Flag. 


Nevertheless, on Rhianna's website there's a whole page dedicated to her involvement with the games, and - as it points out - she was "an active figure in the game's marketing campaign", and "was interviewed by many notable news and entertainment outlets, including: CNN, The LA Times, Entertainment Weekly, The Guardian, The Telegraph, The Daily Mail, Metro, The Independent, Penny Arcade, Digital Trends, Rock, Paper Shotgun, The Huffington Post, Wired, The Escapist, Polygon, IGN and Eurogamer"...

With these new Tomb Raider games, a lot of the marketing focuses on the story and character, almost as if they're inviting us - the self-appointed critics - to, y'know, focus on it. And, by association, whomever they're naming as the writer. Similarly, if you don't want us to call out Lara's continued desecration of ancient civilisations, don't keep making a big deal, narrative director Jason Dozois, that these games are "about learning that archaeology is also culture, and history, and language".

Plus, lest we forget, I'm in the slightly unique position of being a games critic who actually writes scripts for a living, so storytelling in games is something I do tend to concentrate on. When I'm presented with a game, such as the three recent Tomb Raiders, where I'm told how important the story and character are, it tends to be catnip for me.

And all of that is why I mentioned Rhianna and Jill by name.

Unfortunately, I know all too well that you can't have it both ways, which is why when Pudsey The Dog The Movie came out I made sure to keep my head down. Though that didn't stop me getting blamed in reviews as one of the architects of the movie's failings. Which, of course - for better or worse - I have to accept that I was. ​
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BLAME EVERYONE
Still, I initially felt pretty rotten that I'd upset Rhianna and - potentially - Jill. I don't want to pump negativity into the world, least of all direct it at any individual.

And what's more, Rhianna is right; in my job, even though I'm usually credited as sole writer, the end result is equally the work of numerous producers, executive producers, and script editors. That's just how it goes. It's part of the reason why, when I have been nominated for or won writing awards, it feels so meaningless to me. Most writing - especially on a property as big as Tomb Raider - is a collaborative effort, and Rhianna is absolutely correct that I know this. 

And yeah, perhaps I would've responded better to these games if the lead writers had been given more control over the character, but it is what it is.

Still, henceforth, when mentioning the Tomb Raider series, I shall blame everyone for the wretched story and characterisation; senior brand director Rich Briggs, secondary writers Rees Savidis, Mark Cecere and Craig Towsley, directors Remi Lacoste and Daniel Chayer-Bisson, producers Wistaria Carlone, Mario Chabtini, Jean Chin, Britt Clifford, Jonathan Dahan, Guillaume Dubois, Rose Hunt, David Kury, Lana Purnell, Mario Chabtini and Fleur Marty, designers Michel Leduc St-Arnaud and Heath Smith, programmer Fédéric Robichaud, and Camilla Luddington, whose portrayal of Lara boasts all the enthusiasm of somebody reading out the ingredients of a supermarket microwave lasagne. 

UNFORTUNATE THING
Here's the unfortunate thing... having written about Shadow of the Tomb Raider's storytelling already, I wanted the review to focus on the gameplay. Regrettably, even if it weren't for all of the above, it's impossible to separate the story and the character from the gameplay in Shadow of the Tomb Raider.

​As with its predecessors, everything is tied back into the cut-scenes. Yes, you can skip them, but doing so removes context - and many of the side-missions are so brief and dull and repetitive, that the context is the only element which makes them semi-interesting. I mean, if you're going to include so many cut-scenes, either make them engaging, use them to further the story, or shine a light on character. Hardly any of the cinematics in Shadow of the Tomb Raider succeed in ticking any of these boxes. They're simply not very interesting.

Relatively early on there's a playable flashback sequence. You know: a bit like they did in the most recent Uncharted, where we got to see a young Nathan Drake during a formative moment in his life. Whereas the Uncharted flashback ticked all three boxes, all the Shadow one does is show a very young Lara Croft running around the grounds of her family home, role-playing being a "tomb raider". In other words, the young Lara is the exact same character we see in the later levels.

"Oooh, look at me - I'm raiding a tomb! I'm finding some old things! Wheeeee!"

There's zero character development, it moves nothing on, it's not particularly intriguing, and - oh! - then her dad shoots himself because, well, Lara Croft has to be dark and tortured, right?

It fundamentally misunderstands how storytelling can, and should, work. Good storytelling - which all of the marketing of this Tomb Raider reboot trilogy insists they contain - will pare a story back to its essential elements, jettisoning the fat. Almost all of the storytelling in Shadow of the Tomb Raider is padding, which makes it feel like a slog. Instead of trying to make us like Lara it's as if they just want us to feel bad for her. 
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JUNGLE MASSIVE
So, that extended grumble aside, what is new in Shadow of the Tomb Raider, gameplay-wise?

For starters, it's set in another jungle, a shift from the previous game's mountainous terrain. It revolves around a couple of open world hub locations - which are full of the inevitable side-missions. It's absolutely beautiful to look at (few games are this beautiful), the more stealth-focused action, when it happens, is solid, and the puzzles in the tombs feel satisfying. Combat could be better admittedly - when you are spotted, and a fight breaks out, it can feel chaotic and confusing - but it isn't game-breaking.

Otherwise, there's not a lot in terms of hands-on gameplay which is brand new - the most memorable of Lara's new skills is the ability to slather herself in mud, and hide more effectively in shadows - but the way Lara moves through the world is for the most part relatively solid. Best of all, perhaps, is an enhanced difficulty options screen, which let's you tailor the gameplay towards your own style of play. 

There are some properly awe-inspiring moments where the game takes off, and everything feels epic and important, but then they seem to insist on clipping your wings. It results in an oddly-paced affair, where the action and story seems to build... and then everything grinds to a halt for some tangential guff in The Village Of The Boring Locals.

Shadow of the Tomb Raider is a deeply frustrating game. It insists on a story and details and elements which are anathema to what I want from a Tomb Raider game. More frustrating still, these got in the way of all that's good here.

The classic Tomb Raiders were about the thrill of exploration. Now everything feels laboured and depressing. No Tomb Raider game needs missions which require you to backtrack repeatedly to find some irrelevant character's lost belongings. We want to raid tombs, we want to fight bad guys.

That's all we need. 

REVOLVE
And yet, for all the moments that the game sparks, it always returns to this dull, moany, character, and a couple of hubs full of equally dull characters, who give you dull missions relating to their dull lives, via reams of pompous, portentous, exposition.

I don't care if you can switch the dialogue into their native tongue - the game's much-heralded "Immersion Mode" - because it makes not a blind bit of difference to the gameplay. I don't want to have to spend hours of my life gathering crafting items from the environment, or fannying around with busywork. Consequently, the lack of focus results in a lack of coherence. There's lots here, but it's hard to find a centre or through-line.

And what's the deal with Lara's death scenes - now more grisly and uncomfortable than ever? I felt extremely odd when she had a spear impale her shin, before a bunch of grinning bad guys stood above her, thrusting spikes into her body. Once again, there's an awkward tension between them wanting us to enjoy our time with Lara and getting off on watching her suffer. 

​It's the most advanced Tomb Raider yet, but it's also probably the worst of the three reboots. It feels that now they've finished Lara's origins we still don't really know who she is.

Oh, she's a "survivor" we're told, but here she feels more like a predator shouldering a woe-is-me victim complex, a jumble of weird contradictions which fail to make up a clear, or interesting, whole. Sadly, had they not embarked on this exercise of fleshing her out, had they not made such a big deal of the character and story and drawn our attention to it, none of this would matter. 

​SCORE: 501.623123123123123 out of 999.82666777777
22 Comments
The man who is 'working' at home link
24/9/2018 10:34:48 am

I got the first reboot game for free on Games With Gold. I don't recall even getting a single achievement That's how little it gripped me

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Grembot
24/9/2018 10:53:00 am

I played it when it was on PSN, it was Uncharted with the colour and fun drained from it. I couldn’t understand why the raiding of tombs was relegated to side quest status in favour of slogging through a so much tedious combat.

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Znidz
24/9/2018 10:45:26 am

Biffo. You're going to exhaust yourself getting drawn into the tit-for-tat discussions on everything you write.
You write something, they respond, you respond to their response etc.
It must take its toll, emotionally.

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Mr Biffo
24/9/2018 11:03:47 am

Only if you care.

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Neptunium
24/9/2018 02:40:09 pm

I think you do care, though. You obviously spend a lot of time bin dialogue with these guys, then put together these pieces where you reconstruct your world view. If you didn't care you could just not do either.

This is in no way a bad thing, I like these pieces and I think you do a good job of stating your POV without it feeling like you're ramming it down our collective gullets. I like that you're such a decent chap and put forward your thoughts so well that I can empathise with you even when I disagree with your opinion.

Mr Biffo
24/9/2018 04:22:08 pm

Thank you. Well, I care about stories, and I care about the potential of games as a storytelling medium. And I care in as much as I can use what small platform and profile I have to call it out when I feel something isn't an example great storytelling - especially when it's a very high-profile game series which has won awards for its story etc.

But ultimately, I won't - and don't - lose sleep over any online guff. That's what I mean.

Voodoo76
24/9/2018 11:50:58 am

I'll never play this but your review score is so WRONG. It looks to me to be at least a 501.623123123123124.

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Spiney O’Sullivan
24/9/2018 12:01:55 pm

I can suspend my disbelief quite a bit, so I really enjoyed playing the first two “survivor” Tomb Raider titles a lot, and I expect that I’ll have fun with Shadow of the Tomb Raider too; however, even with my disbelief suspended I could never shake the feeling that modern Lara didn’t *fully* work as a consistent character due to the significant split between the gameplay and the much-vaunted story.

Original Lara was barely even a character, perhaps more of a cipher or an icon, but she was at least consistent as a Lucozade-fuelled aristocratic treasure-stealing murderess and desecrator of sacred sites with (almost) no regard for human, animal, or supernatural life who navigated a world as brutal as she was. The Legend series softened her a little within reasonable bounds, but she still made sense, perhaps more in line with the Angelina Julie version of the character. But for me the “survivor” series’ biggest problems were exemplified early on in the first game when Lara picks up her first gun and almost immediately turn from terrified, bedraggled and very upset about killing one person after surviving two hours of constant deathtraps to being an unstoppable killing machine who almost immediately guns down about ten armed men in a collapsing and burning building.

That said, is it unfair to judge Tomb Raider on this compared to every other game out there that has a similar cutscene/gameplay split? Perhaps, but so much effort was put into publicising how great and important the writing was that we were led to expect great things, and they really can’t work their way out of that obligation without it feeling a little disingenuous. It’s like the original Watchdogs screenshots: no one person can be held responsible for it not living up to those promises, but they can’t expect people not to comment when it doesn’t.

That said, despite the issues of shifting tone between gameplay and cutscenes, I did find myself emotionally engaged with the first two games during cutscenes and some (typically less action-packed or more tense) gameplay moments. I really liked the Blood Ties DLC for Rise in particular, which adapted the old Croft Manor stages to become something sad and haunting (and even -if I recall right- fit in a reference to a very nice anecdote from Pratchett’s own father).

(Also, sidenote, but we really need a gender-neutral term for the second person plural that isn’t “y’all”. I get the good intention behind it, -replacing “you guys”- but it seems weirdly culturally charged, like it’s either appropriating AAVE or sounding like a stereotypical Southerner with all the baggage that comes with that.)

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Stuart
24/9/2018 02:28:01 pm

I use "folks", which may sound a bit regional, but there's very few addressals that aren't weighted with something. Talking to another person/other people is always going to involve representing yourself and them on some level.

Anyway, nice analysis of Lara. I barely ever comment but I feel drawn to this because I'm currently playing through all the core (no pun intended) TR games from PS1 to current. Just finished Last Revelation at the weekend, and, although I haven't played any of the 2013-onwards reboot trilogy, it strikes me that Shadow and Revelation have some similarities, narrative wise: a section featuring young Lara, a plot about setting off an ancient apocalypse, largely set in one geographical region. But yes, game design has moved on so much now, even if not always for the better, incorporating the personality of Lara that once served the extra-game material. So her attitude and celebrity status (which perhaps began with the subtitle of TR2: "starring Lara Croft") was elsewhere, in Lucozade commercials as you mentioned, on the cover of FHM etc. It sort of seeped into The Last Revelation, with that bit where Lara self-knowingly acknowledges her "fans". I guess now though the writers couldn't get round Lara as cultural artefact, and felt compelled to rewrite and overproduce it in Shadow's script. Why? Where's this coming from? Was it strictly necessary, or should it have been jettisoned as fat, as Biffo said?

They tried to do something with the character, and failed, it seems. But the bad writing which is being criticised is probably a product of games being led by technology, as is their history. Like, the levels are built first, then writers create the story around those. If games companies/publishers want to avoid such criticism, and want to act as credible platforms for their mascots' psychological depth and suchlike, then they're going to have to restructure development to give less numerous, highly-skilled writers the baton first. I'm sure Pratchett et al have the expertise to be in that team, but how, in AAA gaming, is this going to be allowed? Currently, how much power and responsibility does the lead writer have? Because at the moment it's confused between: front and centre, and too many cooks.

Erm, that's it. So...um...yeah. :/

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Col. Asdasd
24/9/2018 07:56:15 pm

" I guess now though the writers couldn't get round Lara as cultural artefact, and felt compelled to rewrite and overproduce it in Shadow's script. Why? Where's this coming from? Was it strictly necessary, or should it have been jettisoned as fat, as Biffo said?"

I think what happened was that in identifying Lara as problematic, the developers became convinced that her portrayal was THE problem at the heart of the series. Their attempts to fix that problem led them down a long and expensive cul de sac in search of the moment where her portrayal was finally complete: when she finally had enough layers of progression and development and backstory and suffering slathered on to create the perfect portrayal: decisive, bold, thoughtful, empathetic, conscientious, competent, etc, etc.

That's not what a story is though. Characters are an element of a story and exist in service of it, not the other way around. We have to grasp them quickly and early so as to understand their disposition to the world they inhabit and their reaction to events that unfold within it. Sure, maybe on the course of the journey they are confronted by things that cause them to change or grow, that challenge their viewpoints, and that ultimately has an impact on the course of the plot as it reaches its climax.

But if the character's development becomes the reason for the story's existence, things begin to feel weirdly warped. Every development begins to feel like a contrivance, the world feels claustrophobic and eerily responsive to their every move.

The litmus test I suppose is, can you imagine this world and its inhabitants continuing to exist if the character were to die? Stories that get too invested in this manner always remind me of the Truman show, with people scrambling around behind the scenes to facilitate the portrayal of this weirdly special existence that is the main character.

Stuart
25/9/2018 12:34:43 pm

Yeah, it sounds like they wanted to redefine the character but became obsessed with this task, at the expense of all the stuff going on around her. I have played Legend and Underworld, and if I remember, Legend was a decent reboot of Lara's character: she had relationships to other people, like her backup team and the antagonists, which made her more human and sympathetic. Kind of the opposite of what you mentioned going on in Shadow. For all the hubbub about how they're giving her a more mature angle, it seems like this Lara is just another gritty survivor among many of the current and last generation. I wonder why this trend is so prevalent right now?

Spiney O’Sullivan
25/9/2018 01:17:39 pm

@Stuart:

My post below in response to Meatballs-me-branch-me-do sort of poses a possible answer to your question.

Basically the short answer is “changing demands on games and changing cultural views on every single facet of Lara’s character”.

Stuart
26/9/2018 12:23:43 pm

@Spiney O’Sullivan:

Yeah, I think you're onto something with the development team for Shadow of the Tomb Raider and perhaps the previous two titles being sensitive (as are we) to the outdatedness of Lara as an icon, but not knowing how to adapt her from the culture around her at that time. Hence the overly serious tone and repeated insistence on character development above all else I hear this new game has.

Maybe lightly incorporate into a Tomb Raider game Lara's identity as an aristocratic, globe-trotting adventurer with the social privilege of being able to access the ancient, hidden cultures of former-British colonies (India, Ghana, etc.) in the manner of 19th century explorers. That would be a good way to gesture players towards the series' characterisation problems without hitting them over the head with heavy themes. As you say, players can then choose to embrace, criticise, or ignore these.

Pierre DuPont
24/9/2018 03:23:45 pm

tbh this could basically read as a review for the second one, too (which I've only just finished playing recently). Moany, boring, over-serious and forgettable.

It amazes me how a game all about stunning globetrotting environmental gameplay could have become so 'tell' and hardly any 'show'. Absolute opposite of the originals (especially the first one), which managed a create of scale and wonder with barely any available tech. Done properly now, a decent Tomb Raider game would be a thing to behold.

Maybe like Breath of the Wild, except less boring.

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Meatballs-me-branch-me-do
24/9/2018 03:47:28 pm

They are convinced people actually like her as a character, not just as a pair of tits with guns. That’s why she can’t just be a blank slate... except they’ve failed at making said character one you can get into the role of.

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Pierre DuPont
24/9/2018 05:41:40 pm

I think we all did like her as a character though. She's strong, athletic, rich, successful, intelligent, adventurous, always has a good quip to hand.

As Biffo and others have said, the problem here has been working Lara into this 'origin story' mania that nobody probably even wanted anyway, but then in doing so absolutely removing everything that made her brilliant.

The popular press of the 1990s made Lara into tits and guns, but in the original game she had more than enough character to satisfactorily position her within the story arc and locations she was visiting and conquering. She was just cool. Now she is not cool. She is disturbed, a bit psychotic, humourless and, above all, somehow intensely boring despite any of it.

As others have said, what they should do now is just forget any of this ever happened and go back to the older, more assured Lara Croft and just carry on where they left off. Except, as I said earlier, with something in which the environment is once again the star, not a load of crap character cutscenes.


Spiney O’Sullivan
25/9/2018 01:11:49 pm

Ultimately I suspect the attempted update comes down to two things: a company trying to preserve the value of a brand that doesn’t really work today by updating it; and also from more personal perspective, fans/writers trying to “justify” or “salvage” an icon who is culturally quite important (especially to nerdy girls growing up in the 90s), but also now seen as incredibly problematic.

Classic Lara Croft is kind of an anomaly in this day and age, as she is/was one of the most recognisable and beloved female protagonists in gaming -and maybe pop culture- history and particularly important to a whole wave of female gamers, but times have moved on in terms of what’s expected from game characters both in terms of character and in a way that’s made classic Lara kind of a relic (do you see?). Not only did she arise in an era when story and characterisation was secondary unless you were playing a JRPG, but she came about when (a) antiheroes were ridiculously fashionable, and perhaps more importantly when (b) the main means of being empowered as a woman was suddenly the mid-90s “girl power” phenomenon, which largely meant equality by way of acting like “the lads”, and even to an extent embracing and wielding your own objectification.

Compare the “girl power” wave to today where the focus is back on deconstructing the problems with masculinity and “the lads” rather than emulating them, and the unironic oversexualised globe-trotting action hero that was classic Lara simply doesn’t work for the current generation.

(And that’s before we even start talking about other relevant factors that make classic Lara seem untenable like the painful death of “Cool Brittania” and the growing class/wealth distribution issues that have made the wealthy even less sympathetically regarded in the post-recession world, which is why every single pop culture article on Batman must now go on about his privilege before tacitly admitting that he’s still largely accepted as being pretty cool)

Unfortunately trying to make a more sensitive brand of kleptomaniac grave-desecrating species-endangering mass-murderer consistent is something of a challenge. As much as I’ve enjoyed playing the “survivor” Tomb Raider games, I still think the Legend series was a better overall experience in terms of bringing more humanity to Lara while also retaining the very oversexualisation and violence that made her iconic as a sort of Victoria Beckham-meets-Tank Girl figure.

Maybe sometimes it’s easier just to admit that the “toxic” fantasy of being a good-looking badass with a debatable moral compass is just kind of fun, especially if it accords with the gameplay.

Treacle
24/9/2018 05:20:46 pm

I feel part of the problem is the refusal by some to treat games as a unique narrative experience and instead try to write them in a linear pseudo cinematic style. While most games do have a beginning, middle and end the journey through these points is often an experience unique to each player. Cut scene exposition has always struck me as a lazy way of dealing with the narrative junctions that a user led story creates.

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Darren McCoy
24/9/2018 10:15:29 pm

I'd love to see an Uncharted / Tomb raider crossover, made by Naughty Dog.

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Jim
25/9/2018 07:04:38 am

If she doesn't want to be singled out, and wants it to be discussed as a team effort, then she needs to do the same, and not use likes like 'I wanted to make Lara croft human again'.
https://www.google.co.uk/amp/s/inews.co.uk/culture/gaming/rhianna-pratchett-lara-croft-discworld/amp/?source=images

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Natla
26/9/2018 09:41:53 pm

Interesting parallel here.

You made fair, polite and reasonable points regarding the writing.

Person involved with the development responded with fair and polite counter points.


Something similar recently happened with Guild Wars 2.


Guy makes some *extremely* polite points about where he feels things could be improved, developer responds with a torrent of abuse. Developer gets sacked.

Entire games media practically accuses the original guy of being a Far Right Neo Nazi Gamergate troll who has built concentration camps to exterminate every female on the planet. Guy received large amount of threats, abuse and death threats from Left Wing activists as a result.

You were lucky to get way with this one son!

Anyway on the subject at hand, I wouldn't put my name to something if I felt that others had compromised my vision to the point that I wasn't prepared to stand by and own the results.

I'd just ask that I wasn't credited.

She took the enhanced pay cheque that came as a result of her respected name being used to market the product.

Tough luck I'm afraid. Buck stops at her now.

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PEDRO FERREIRA
16/10/2018 08:29:40 pm

Sounds about as well written and developed as the 2013 reboot travesty. Shall avoid.

Reply



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