tomb Raider is a media franchise consisting of video games, comic books, novels, theme park rides and movies, centring around the adventures of the fictional British archaeologist Lara Croft. Since the release of the original Tomb Raider in 1996, the series developed into a lucrative franchise of related media, and Lara went on to become a major icon of the virtual gaming industry. TheGuinness Book of World Records has recognised Lara Croft as the "Most Successful Human Virtual Game Heroine" in 2006. The first six games in the series were developed by Core Design, whilst Crystal Dynamics developed the latest four; their fifth game is currently in production. Two movies - Lara Croft: Tomb Raider and Lara Croft Tomb Raider: The Cradle of Life - have been produced starring American actress Angelina Jolie as Lara Croft, the first of which is still the highest-grossing film adaptation of a video game ever released in U.S., and third worldwide behindPrince of Persia: The Sands of Time and Resident Evil: Afterlife.
A map indicating places visited by Lara Croft during the video games:
Lara Croft
 Tomb Raider World Map Video games:  Tomb Raider/Anniversary  Tomb Raider II  Tomb Raider III  Tomb Raider: The Last Revelation  Tomb Raider Chronicles  Tomb Raider: The Angel of Darkness  Tomb Raider: Legend  Tomb Raider: Underworld  Tomb Raider (2012) Vilcabamba Greece Egypt Atlantis Maria Doria Venice The Great Wall Tibet England Antarctica South Pacific India Nevada Angkor Wat Rome New York Ireland Zapadnaya Litsa Prague Paris Tiwanaku Paraíso Japan Ghana Nepal Kazakhstan Thailand Mexico Jan Mayen Island Andaman Sea Arctic Sea |
The central character in Tomb Raider is the British archaeologist Lara Croft, a female adventurer in search of ancient relics used by Thor, the God of Thunder, King Arthur and many others. Lara was created by one-time Core designer Toby Gard,[1] and grew out of a number of ideas discarded in early concepts. She appears almost invariably with brown shorts, boots and small backpack, a dark green or blue sleeveless top, holsters on both sides of her hip for dual wielded pistols which carry around 30 bullets together. Over the course of the series, her 3D model has undergone gradual graphical improvements, as well as enlarged (and later reduced) breast size.
Over the course of time, the Tomb Raider series' canon has undergone various changes or retcons. These changes correspond to the series entering a new medium, such as comic books or film, or being taken over by another game developer. For example, in the first Tomb Raider game manual, Lara Croft is said to have survived a plane crash in the Himalayas at the age of twenty one, and was later disowned by her parents, who are still living.[2] However, in the comics, Lara lost both her parents and her fiancé in the crash. The films make no mention of a plane crash, Lara's mother died when she was too young to remember, and her father died under different circumstances. When development of Tomb Raider was transferred from Core Design to Crystal Dynamics, Lara's biography, was that she and her mother survived a plane crash and later, her mother disappears in the site where they crashed (see Tomb Raider: Legend). She was then left to her father, who did not take part in the crash, and he was later killed by Jaqueline Natla, a recurring character in the series, leaving Lara an orphan. However, in the Lara Croft movie, Lara's father gets killed by the Illuminati (seeTomb Raider)
In addition to the voice actresses who have been responsible for Lara Croft's spoken dialogue during the games, a number of women have taken on the role of Lara for applications outside of the games themselves. Six different women have served as the official Lara Croft model for publicity purposes, including model Nell McAndrew, actress Rhona Mitra, and, most recently, gymnast Alison Carroll, who held the job until 2010 and is reportedly going to be the final Lara model as part of a new direction for the character[citation needed]. American film star Angelina Jolie portrayed Lara Croft in two feature-length Tomb Raider films, which together grossed nearly US$500 million worldwide, making her role as Lara the most well known and widely seen of any other.
Nearly fifteen years after the release of the original game, Lara is still one of the most famous and recognizable video game characters in the history of the medium. The debate over whether she is an icon of female empowerment or a vessel for male titillation has existed for as long as she has, but the huge effect she has had on both gaming and popular culture in general can not be denied.[5]
Video games
List of Tomb Raider media
Tomb Raider is one of the best-selling video games franchises of all time.[6] Excluding the sales of the portable adaptions, TV remote-controlled versions and mobile phone releases, the series has collectively sold over 35 million units.
The original game, titled Tomb Raider, made its début on the Sega Saturn, PlayStation, and PC. Despite being released on the Saturn first alongside PC, it was one of the titles responsible for the PlayStation's success in the mid 1990s. The games present a world in 3D: a series of tombs, and other locations, through which the player must guide Lara. On the way, she must kill dangerous creatures or other humans, while collecting objects and solving puzzles to gain access to an ultimate prize, usually a powerful artefact.
Tomb Raider, an early example of the 3D genre, uses third-person shooter mechanics. The player's camera follows her, usually over her shoulder or from behind. Until Tomb Raider: The Angel of Darkness, the game's environments were largely orthogonal, as a result of the creators' decision to extend the 2D platform game genre to a 3D world. This is shown through Tomb Raider's gameplay, which is very reminiscent of older platform games like Prince of Persia andFlashback that had a heavy focus on timed jumping interspersed with combat.
Each game has introduced new weapons and moves; by the fourth game, Lara could back flip off ropes and turn around in mid-air to grab a ledge behind her. Tomb Raider: Legend introduced an electromagnetic grapple that Lara can attach to metal objects and can, amongst other things, be used to make rope swings and pull metal objects (and enemies) toward her. Standard moves in Lara's range of abilities include the somersault, a roll, climbing techniques, the ability to swim, a swan dive manoeuvre, and a handstand. In Tomb Raider III, a sprinting move was introduced that allowed Lara to quickly speed up while a bar in the lower corner of the screen drained her stamina. In Tomb Raider: Chronicles, Lara was able to bar-swing and somersault/roll out of crawl spaces higher than ground level.
The storyline is usually driven by the quest for a powerful artefact, with Lara in a race against a sinister shadow league who want to obtain the relic for their own purposes. These artefacts usually possess mystical powers and may be of supernatural, or even alien, origin. Often in the series, the antagonist uses the artefact or bits of it to create terrifying mystical monsters, creatures, and mutants which Lara must defeat throughout the journey.
Originally, the Tomb Raider Games were developed by Core Design, and a game was released annually. However, the pressure grew so much on the team that they decided to kill Lara Croft off at the end of the fourth game. Still, a fifth game was released, which consisted of a series of flashbacks with Lara Croft's funeral serving as framing story for the various tales. The sixth instalment Tomb Raider: The Angel of Darkness revived the character and was to start a trilogy. The game infamously featured a darker more city-based setting and included stealth-elements and also introduced a new playable character for a short time in the game. The game was a failure, thus ending the Core Design Era.
In the early 2000s, a series of hand-held titles were released for the GAME BOY color and GAME BOY Advance, which were developed by other developers, neither Core Design (except the second GameBoy game) nor Crystal Dynamics and are therefore not considered to be part of the series.
Crystal Dynamics, known for their work on the Legacy of Kain series, relaunched the series with Tomb Raider: Legend which brought the character back to its tomb raiding roots. It was the first time since the original Tomb Raider that Lara Croft's original creator, Toby Gard returned to work on a sequel. The game heavily expanded on Lara Croft's background, detailing on the loss of her mother in early childhood and how she followed her father's footsteps to find her (therefore beginning her archaeology career). Following the success of Legend a remake of the original was produced and released almost a year later, called Tomb Raider: Anniversary. The game expanded on some of the plot lines, further setting up the follow-up to Legend, which was released in late 2008: Tomb Raider: Underworld. The game featured the conclusion of a loose Trilogy that forms Anniversary, Legend and Underworld.
Following that, the Structure in Crystal Dynamics changed and part of the team worked on a new spin-off, Lara Croft and the Guardian of Light, while another began working on a reboot of the franchise.
On 18 August 2010, Crystal Dynamics and Square Enix released a download-only title, Lara Croft and the Guardian of Light, the first game in the series not to bear the name Tomb Raider. The omission of the Tomb Raider branding was said to separate Lara Croft and the Guardian of Light from the "pillar" Tomb Raider games, which are also still being produced.
In an interview with GamingIndians.com, Ian Livingstone, Life President of Eidos Interactive,[] announced that the next Tomb Raider was currently in the works. Livingstone stated "I think [it] will surprise a lot of people and reinvigorate the franchise." The official site revealed the next Tomb Raider game which is simply titled Tomb Raider, It is described as a reboot of Lara Croft. It is expected to be released in the third quarter of 2012.
Music
All the scores to the Tomb Raider saga are produced by respective composers using software instrumentation, such as recording samples and electronic synthesizers. The exception is Tomb Raider: The Angel of Darkness which was recorded live by the London Symphony Orchestra at Abbey Road Studios, London, in 2002.
A few Tomb Raider soundtracks have had official releases made (see: Soundtracks). However, the majority of the in-game music has yet to be commercialized. Eidos has expressed no concern (despite considerable fan demand) in 15 years of publishing the franchise. Even though score commercialization became common ground during the late 2000s (with music being sold from blockbuster titles such as the Halo, Assassin's Creed, and Mass Effect series), soundtracks to theTomb Raider saga remain unreleased.
The composers are unable to sell their music independently because under employment as in-house composers (at either Crystal Dynamics or Core Design), they are also tied to Eidos (as the parent company) by contract. Subsequently, Eidos owns the licensing rights to the composers' material. An example of this is Troels Folmann's recycled music from Tomb Raider: Legend and Anniversary (plus O'Malley's Underworld) present in the 2010 game Lara Croft and the Guardian of Light,
| Data/Game | Tomb Raider (1996) | Tomb Raider II (1997) | Tomb Raider III (1998) | Tomb Raider: The Last Revelation (1999) | Tomb Raider Chronicles (2000) | Tomb Raider: The Angel of Darkness (2003) |
|---|---|---|---|---|---|---|
| General mood | Classical music, Ancient Mystery | Classical music, Fantasy | Classical music, Adventure | Ancient, Mythical | Military, Fear | Obscure, Chased |
| Main composer | Nathan McCree | Nathan McCree | Nathan McCree | Peter Connelly | Peter Connelly | Peter Connelly |
| Collaborator(s) | Martin Iveson | n/a | Martin Iveson, Peter Connelly, and Matthew Kemp | n/a | n/a | Martin Iveson, Peter Wraight (orchestrator), and David Snell (conductor) |
| Main theme duration | 3:15 | 2:46 | 2:18 | 2:17 | n/a | 3:08 |
| Material expanse | ~17 minutes | ~19 minutes | ~35 minutes | ~18 minutes | ~16 minutes | ~51 minutes |
| Commercialization | Promotional only | Promotional only | Promotional only | n/a | n/a | Standalone, Enclosure |
| Data/Game | Tomb Raider: Legend (2006) | Tomb Raider: Anniversary (2007) | Tomb Raider: Underworld (2008) | Tomb Raider (2012) |
|---|---|---|---|---|
| General mood | World, Modern | Dramatic, Atmospheric | Journey, Chased, Relaxation | Unsettling, yet Familiar |
| Main composer | Troels B. Folmann | Troels B. Folmann | Colin O'Malley | TBA |
| Collaborator(s) | n/a | n/a | Troels B. Folmann (supervisor) | TBA |
| Main theme duration | 2:20 | 3:37 | 3:33 | n/a |
| Material expanse | ~180 minutes (loop forms) | ~56 minutes | ~110 minutes | n/a |
| Commercialization | Enclosure | Enclosure | Enclosure | TBA |
The basic instrumentation for the Tomb Raider scores is orchestral, though the games adopt different instrumentation and tone with each instalment in the series. Nathan McCree's style when scoring the first Tomb Raider is most similar toClassical music, especially the cues with a fast tempo. Additionally, slow tempo cues are built on a minimalist base using minimalist cells and two to four repeated musical notes. Different instruments like the vibraphone, strings, harp, orwoodwinds provide a mysterious setting for the player.
The main theme of the first Tomb Raider game was composed by Nathan McCree. A solo oboe melody orchestrated with choirs and strings, exposing for the first time the four most important musical notes, the signature, the motif of the entire series. These notes are composed in a most conjunct melodic manner possible: G-A-F-G. The original motif is followed immediately after by the sequenced motif with A♯-A-G, giving at the same time the possibility of looping the theme and the feeling of completion. Variations of this tune, especially the G-A-F-G motif has been used throughout all Tomb Raider games, including the second movie, Lara Croft Tomb Raider: The Cradle of Life.
The symphonic sounds of the earlier games composed by Nathan McCree were created using Roland Corporation's Orchestral Expansion board for their JV series modules (JV-1080 Synthesizer Module & SR-JV80-02 Expansion Board
Stings were used very often to warn the player about an impending danger, or if the player discovers a certain area. As an example, if the player picks up a secret object or, in later games, if he/she discovers an area with that object, a shortvibraphone sound may be heard indicating the player has found a "Secret". The sound has been used in the first five Tomb Raider video games, including Tomb Raider: Anniversary, though it has some minor sound variations.
With Tomb Raider: The Last Revelation, the composer changes for the first time in the series, Peter Connelly being the next composer to come, he tries to respect Nathan's musical style of the series, keeping the stings and similar orchestration. For the main theme of "The Last Revelation" he sequences with a vibraphone the original motif in a 4 musical note minimalist cell, used from the beginning to the end of the melody.
Angel of Darkness is the first game to bring underscores, previous games using stings and full scores only. Furthermore, as another premier for the series, the score has been performed by a real orchestra (London Symphony Orchestra, conducted by David Snell). This game combines the style of Danny Elfman Batman scores with the classic Tomb Raider style. The basis of the main theme of this 5th game is the ending of the previous game.
Troels Brun Folmann brings with Legend a new kind of music style with underlying beats, just like electronic dance music, that sometimes has small parts of an electronic-like orchestra, but instead of recreating the atmosphere of a real orchestra, Folmann uses a lot of echoes for its sounds. The title track starts off with the first few notes of Lara's original theme used in all the games before this one, being played with slight ornamentation on a Middle-Eastern duduk.
Folmann's work for Anniversary is different from that of Legend, as it has no underlying techno beats or electronic effects, and no underscores. Folmann uses more complex instrumentation and composition in his scoring, acquiring morewoodwinds, instrument articulation, and ambience. Folmann leaves somewhat of a trademark in his Anniversary music by adding a significant amount of chimes throughout the score. Folmann composed the music in the style of an electronic orchestra. Some recognisable themes from the first game, composed by Nathan McCree, such as "Time to Run," "Puzzle Theme," and "Puzzle Theme II" have been recreated. The main theme can be described as a celebratory version of the original theme from Tomb Raider, as similar chord and instruments are used in the piece. The song starts off with a heavy crescendo of woodwinds and low strings playing the famous Tomb Raider melody, and then breaks off into an almost playful arc, featuring parts of the harp composition from the Tomb Raider theme. Pizzicato strings, cascading pianos and celeste, chimes, and glass instrumentation are prominent throughout this version, implying the fresh and modern twist that Folmann and Crystal Dynamics have placed in Anniversary.
The music supervisor of Underworld was Troels Brun Folmann, he also composed the main theme, while Colin O'Malley scored the bulk of the music. Underworld's music is purely orchestral in style. There are pieces that do not loop, meaning they only play one time and are triggered on specific events. The score is made more of musical fragments, similar to the first five games of the Tomb Raider series with less constant music than in Legend. The first seconds of the main theme are the well known four-notes of the original Tomb Raider main theme. The end of the it gets louder than the beginning by adding choirs and percussion. It then drops into a solo performance of the same four-notes reminiscent of the Tomb Raider: Angel of Darkness main theme.
2010's Lara Croft and the Guardian of Light uses recycled musical cues from Legend, Anniversary, and Underworld by composers Troels Brun Folmann and Colin O'Malley.
The composer for Tomb Raider (2012) remains unannounced On 21 December 2010, a podcast was released via the exclusive Game Informer media coverage. As well as featuring an interview with the developers regarding selected publicized fan questions, it also included "a sneak peek at a track from the game itself" composed by Aleksandar Dimitrijevic. The music heard introduces piano and guitar layers, purporting darker undertones. This literally and symbolically creates a distinct feel for Tomb Raider; made explicitly separate to the rest of the music of the Tomb Raider franchise which the guitar as an instrument is particularly foreign to. Most similar to music from Tomb Raider: The Angel of Darkness, fully orchestrated strings follow, which are accompanied by percussion. The instruments develop into an inverted minor derivation of the classic Tomb Raider motif composed by Nathan McCree in 1996. However, on the eve of the "Turning Point" CGI Trailer, which debuted on 3 June 2011, Dimitrijevic expressed that "none of the music [he] did for the game or the trailer will be used in Tomb Raider or the upcoming Tomb Raider Trailer." A new theme for the trailer was created, currently available as a ringtone from Tomb Raider's official website.
Films
Two feature films have been created based on the Tomb Raider universe: Lara Croft: Tomb Raider in 2001, and the 2003 sequel Tomb Raider: The Cradle of Life, both starring Angelina Jolie.]
Lara Croft: Tomb Raider (2001)
Main article: Lara Croft: Tomb Raider
A 2001 adventure film adapted from the Tomb Raider video game series; Lara Croft races against time and villains to recover a powerful artefact called the All-seeing eye.
The film was directed by Simon West and starred Angelina Jolie as Lara Croft. It was released in U.S. theaters on 15 June 2001 receiving mostly negative reviews from critics. Lara Croft: Tomb Raider debuted at number one with $48.2 million, giving Paramount its second-best debut and the fourth-highest debut of 2001. It beat the opening record for a film featuring a female protagonist ($40.1 million for Charlie's Angels), and is the second most successful video game adaptation to date (after Prince of Persia), grossing $274,703,340 worldwide.
[]Tomb Raider: The Cradle of Life (2003)
Angelina Jolie returns as Lara Croft in the 2003 sequel to the original video game based film. This time, Lara Croft attempts to find Pandora's Box which supposedly contains one of the deadliest plagues on Earth, before evil scientist, Jonathan Reiss, can get his hands on it.
This film was directed by Jan de Bont and was released in U.S. theaters on 21 July 2003 receiving slightly higher reviews than the original. Despite the more favourable critical response, Cradle of Lifesuffered a disappointing opening weekend, as it debuted in fourth place with a take of $21.7 million,[] a 55% drop from the original's opening gross of $47.7 million. The film finished with a domestic gross of only $65 million. Total earnings amounted to $156.5 million.[]
Graham King's GK Films acquired the film rights and plan to release an origin story reboot by 2013. Mark Fergus and Hawk Ostby have been hired to pen the film.
[edit]Box office performance
| Film | Release date | Box office revenue | Box office ranking | Budget | Reference | |||
| United States | Foreign | Worldwide | All time domestic | All time worldwide | ||||
| Lara Croft: Tomb Raider | 15 June 2001 | $131,168,070 | $143,535,270 | $274,703,340 | #251 | #243 | $115,000,000 | [32] |
| Lara Croft Tomb Raider: Cradle of Life | 25 July 2003 | $65,660,196 | $90,845,192 | $156,505,388 | #788 | $95,000,000 | [33] | |
| Total | $196,828,266 | $234,380,462 | $431,208,728 | $210,000,000 | ||||
[edit]Critical reaction
| Film | Rotten Tomatoes | Metacritic | |
| Overall | Cream of the Crop | ||
| Lara Croft: Tomb Raider | 19% (154 reviews)[34] | 11% (9 reviews)[35] | 33% (31 reviews)[36] |
| Lara Croft Tomb Raider: Cradle of Life | 24% (163 reviews)[37] | 25% (8 reviews)[38] | 43% (34 reviews)[39] |
[edit]Other media
Tomb Raider was licensed to comic book publisher Top Cow Productions, which released several Tomb Raider comics beginning in 1997. Alongside crossovers with the publisher's company-owned Witchblade and creator-owned Fathom, an eponymous ongoing series began publication in 1999, ending in 2004 with its fiftieth issue.
Ballantine Books, in conjunction with Eidos, began publishing a series of original novels in the spring of 2004, beginning with The Amulet of Power by Mike Resnick, which was followed by The Lost Cult by E. E. Knight in August 2004 and then The Man of Bronze by James Alan Gardner in January 2005. They generally followed the continuity of the video games (particularly Angel of Darkness) rather than the movies, although Lost Cult contained references to Cradle of Life.Man of Bronze differs from the first two books in that it is told in first-person narrative from Lara Croft's point of view. Ballantine's contract only called for three novels, and it is not yet known if the book series will continue.
GameTap aired a ten part animated short series called Re\Visioned: Tomb Raider Animated Series from 10 July 2007 to 13 November 2007. The series consists of various artistic talent's renditions of Lara Croft. Minnie Driver provides the voice for Lara Croft.
[edit]Soundtracks
Four scores to seven of the Tomb Raider games exist as promotional items (and/or under enclosure), while some were available to consumers in specific retail editions with a limited window of opportunity to purchase. All marketable commodities are now out of print and have become rare collector's items[citation needed]. The majority of musical material for the games remains unreleased.
| Promotional Sampler | Composer(s) | No. of Tracks | Duration | Format, Release | Year |
|---|---|---|---|---|---|
| Tomb Raider: Toutes Les Musiques [40] | Nathan McCree | 00:54:51 | CD, Promotional (Included with the French magazine Total Play, issue 14. Includes music from Tomb Raiders I, II and III.) | ||
| Tomb Raider: The Angel of Darkness (Collector's Edition) Soundtrack | Peter Connelly, Martin Iveson | 00:18:48 | DVD/CD, Enclosure, Standalone (Europe pre-order "making-of" DVD/TRAOD Collector's Edition DVD/standalone CD) | 2002/2003 | |
| Tomb Raider: Anniversary (Collector's Edition) Soundtrack | Troels Brun Folmann | 01:03:17 | DVD/CD, Enclosure (TRA Collector's Edition, includes music from Tomb Raider: Legend) | ||
| Tomb Raider: Underworld (Limited Edition) Soundtrack | Colin O'Malley | 00:23:48 | DVD, Enclosure (TRU Limited Edition) |
In addition:
- Several promotional tracks for all of the Tomb Raider games were distributed to the public. These are difficult to trace back to a source, and are unfortunately not part of any larger body of released music. Examples include Mediterranean Murder[41] & Deep Sea Encounter from Tomb Raider: Underworld, that while clearly are from the game's soundtrack, do not appear in any official form. The releases were made to invoke pre-media hype before, or to meet public demand after the releases of the game(s) by Eidos, Core Design or Crystal Dynamics.
- There has been four releases of Tomb Raider Film soundtracks, 2 for Lara Croft: Tomb Raider & 2 for Lara Croft: Tomb Raider - The Cradle Of Life (each a Various artists soundtrack compilation and an original score).
[edit]Theme park rides
Main article: Tomb Raider: The Ride (disambiguation)
The film Lara Croft: Tomb Raider and subsequent sequel, having been distributed and licensed by Paramount Pictures, were eligible for inclusion in the six Paramount Parks, theme parks owned and operated by Paramount (and later, CBS Corporation). As such, three Tomb Raider rides were opened at various Paramount Parks: Tomb Raider: The Ride (both a HUSS Giant Top Spin at Kings Island and a flying roller coaster at Canada's Wonderland) and Tomb Raider: FireFall (a suspended HUSS Top Spin at Kings Dominion). The Paramount Park's sale to Cedar Fair, L.P. was accompanied by a loss of rights to the Tomb Raider name, and subsequently, Kings Island's "Tomb Raider: The Ride" and Kings Dominion's "Tomb Raider: FireFall" were renamed "The Crypt", while Canada's Wonderland's "Tomb Raider: The Ride" was renamed "Time Warp."
With its investments and licensing pulled from the former Paramount Parks, the Tomb Raider ride franchise was started anew with Tomb Raider: The Machine at Movieland Studios, Italy. The ride, manufactured by Zamperla, looks very much like the HUSS Top Spin ride, but is more advanced ride called a Windshear.
The original (and only indoor, themed) Tomb Raider: The Ride at Kings Island was celebrated for the way it turned what is generally a typical "boring" thrill ride like a Top Spin (something found at most carnivals) into a highly interactive, themed dark ride complete with lava pits, volcanoes, icicles, and a giant goddess carving on the wall with laser eyes.[47] The ride was synchronized to a specially-made Tomb Raider soundtrack and featured the real, six armed "Durga" goddess and water vase from the first movie, as well as the monkey warrior statues that come to life in the film. The ride is now named The Crypt and does not feature Tomb Raider due to change in park owners.
[edit]
TOMB RAIDER
Story
The story opens with a prologue in Los Alamos County, New Mexico. A great explosion causes an earthquake and exposes an ancient device buried beneath the desert surface. The device unlocks and reveals a person in suspended animation. The story then continues in the present day.
At a hotel in present day Calcutta, Lara Croft is contacted by an American named Larson, who works for the wealthy businesswoman Jacqueline Natla, owner of Natla Technologies. At Natla's request, Lara sets out on an expedition to recover a mysterious artefact called the Scion from the lost tomb of Qualopec, in the mountains of Peru. However after successfully retrieving the object, she is attacked by Larson who attempts to claim it. She beats him, however, and questions him, learning that the artefact she has is only a fragment, and that a man named Pierre Dupont has been hired by Natla to collect the rest.
Lara breaks into Natla Technologies to find out where Natla has sent Pierre. She discovers a medieval monk's journal, which reveals the depths of an ancient monastery of St. Francis in Greece to house the tomb of Tihocan, a ruler of Atlantis, along with a second piece of the Scion. Travelling to the monastery, Lara descends through an expansive underground complex, pursued and attacked throughout by Pierre Dupont. At the tomb of Tihocan, Lara recovers the second piece of the Scion and finally kills Pierre. An inscription inside the tomb states that Tihocan was "one of the two just rulers" of Atlantis.
When Lara joins the two pieces of the Scion, she receives a vision of the three Atlantean rulers and their respective pieces of the Scion. One of them utilizes it to create a mutant breed, but the other two confront her, and take her piece of the Scion. Then Atlantis is struck by a fireball from the skies, and the three pieces of the Scion become scattered as the civilization is destroyed. One of them goes to Egypt, Lara's next destination.
Lara travels to the City of Khamoon, a temple complex in Egypt that houses the final fragment. Here she battles the fierce mutants seen in her vision, and is once again confronted by Larson, this time in a battle to the death. She then takes the final piece of the Scion from the underground sanctuary. Upon leaving the tomb, however, she is ambushed by Natla and her henchmen, who steal the three artefacts and nearly kill her.
Having escaped, Lara sneaks onto their boat, which takes her to a remote island where mining operations of Natla Technologies have partially exposed the Great Pyramid of Atlantis. After making her way through the mines dispatching Natla's goons, and the mutant-infested interior of Atlantis, Lara reaches the heart of the pyramid chamber, where the complete Scion has been fused together as a source of power. Touching it, Lara receives another vision, where Natla is revealed as the previously seen third ruler of Atlantis. She betrays her co-rulers by abusing the power of the Scion for genetic experimentation, and as punishment is locked in a stasis cell by Qualopec and Tihocan, her resting place until the prologue of the game.
Natla enters the chamber and confronts Lara; having reclaimed the artefacts, she attempts to restore her former power with an army of mutants. Lara throws her into a chasm, however, apparently killing her, and confronts her newest breed, a huge, legless mutant. She then destroys the Scion, starting a chain reaction of collapse in the pyramid. As she makes her way out she meets Natla a final time, now mutated and winged. After beating her, Lara flees the island as it is destroyed in a great explosion along with the mutants, and the remains of the Atlanteancivilization.
DOWNLOAD LINK
TOMB RAIDER 2
STORY
The story of Tomb Raider II surrounds the mythical Dagger of Xian, a weapon which was used by an Emperor of China to command his army. By plunging the weapon into its owner's heart, the weapon has the power to turn its bearer into a dragon. A flashback reveals that the last battle which was fought with the Dagger ended in defeat when the warrior monks of Tibet succeeded in removing the knife from the Emperor's heart. The Dagger was then returned to its resting place within the Great Wall.
The game sets in the present day near the remains of the Great Wall, where Lara Croft investigates the legend of the Dagger. Upon reaching the door which leads to the dagger, she is attacked by a thug who claims to work for Marco Bartoli, a Venetian Mafia leader who has an obsession with the ancient lore of the Dagger. After making her way through Bartoli's hideout and an abandoned opera house in Venice, Lara follows Bartoli aboard his airplane, but is knocked unconscious before she can confront Bartoli.
The plane is headed toward an oil rig. At the site, the cult killed all the rigs staff and is carrying out excavations on a sunken ship called the Maria Doria, a luxuryocean liner which was owned by Marco's Father that sank two years ago. When Lara gains consciousness, she learns that the crew has taken her weapons and equipment. She retrieves her weapons and makes her way through the oil rig. She later learns from an imprisoned Tibetan monk, Brother Chan, that the shipwreck carries an ancient Tibetan artifact called the Seraph. Lara dives and grips a submarine and arrives at the shipwreck. There she successfully retrieves the Seraph. She later obtains an airplane and begins to fly toward her target.
As Lara heads to the Tibetan monastery the plane suffers engine failure and crash lands. As the plane is skidding along the ground she manages to escape using a parachute and arrives at the Barkhang Monastery in Tibet. There she is helped by monks in confronting the thugs of Marco Bartoli. With the help of the monks, she finds and uses five prayer wheels to open a door that leads to a room to hold the Seraph. She continues her journey inside the catacombs to find the Talion, a key used to open the door which leads to the dagger. After confronting several yetis, she recovers the Talion. The FMV cutscene shows Lara exiting the caves. She takes off in a jeep while a guard is patrolling outside. Another jeep with two guards follows Lara, but she manages to escape.
Back in China, Lara opens the door to the chamber holding the Dagger. Before she reaches the artifact, however, Lara is plunged into the catacombs beneath the Great Wall. After climbing a staircase with blades, she makes her way to a place with green floating islands and warriors which come alive when triggered. She finally moves to the room where she witnesses Bartoli drive the dagger into his heart, transforming himself into a dragon. In the final scene, Lara manages to temporarily render the creature unconscious and pulls the dagger from Bartoli's heart. Soon after this, the whole tomb begins to collapse, and a part of Great Wall is destroyed. In the epilogue, Lara returns home and is shown cleaning the dagger when she hears an alarm going off. She discovers the remainder of Marco Bartoli's men have tracked her down to England and are planning to invade her mansion. Luckily she overpowers them. The final shot is of Lara, disrobing before entering the shower. She turns to the camera and says: "Don't you think you've seen enough?" She then blasts her shotgun at the camera.
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TOMB RAIDER 3
STORY
Millions of years ago, a meteoroid strikes Antarctica. In the present day, a corporation called RX Tech excavates the site, and finds that the meteoroid rock has strange properties.
India
When the game begins, Lara Croft is searching for the artifact in the ruins of an ancient Indian temple once inhabited by the Infada tribe. She encounters a researcher working for RX Tech who appears to be insane. After parting ways, the researcher beats Lara to the Infada Stone, gaining supernatural powers. After killing him and taking the artifact, Lara is approached by Dr. Willard, the head of RX Tech, who explains the origins of the Infada Stone. Thousands of years ago, Polynesians came across the meteoroid crater and found that it had incredible power. Using rock from the meteoroid, they crafted four stones, one of which is the Infada Stone. They then fled Antarctica, but, in the nineteenth century, a group of sailors travelling with Charles Darwin came to Antarctica and discovered the artifacts. The four stones were then distributed across the globe. Dr. Willard has been able to track the artifacts by using the diary of one of the sailors. Lara agrees to help find the other three stones.
South Pacific Islands
On an island in the South Pacific, Lara fights cannibal tribesman, Velociraptors, a T-Rex and encounters a wounded soldier who tells her of a deity who lives in the hills of the island. Lara pursues the deity and learns from one of the tribesman that one of Darwin's sailors brought one of the artifacts to the island from Antarctica. Lara then infiltrates the deity's temple and faces the god himself, who has immense power granted by the meteor artifact called the Ora Dagger.
London
In London, Lara searches for the Eye of Isis, now in the possession of Sophia Leigh, the head of a cosmetics corporation. Lara learns that the corporation has performed sick experiments on humans in order to achieve immortality and eternal youth for Sophia's personal gain. The deformed subjects of Sophia's failed experiments, presumed dead by the corporation, they were dumped in the sewers, and assist Lara in exchange for a bottle of embalming fluid from the Natural History Museum. Sophia sends a number of assassins, under her employment, to kill Lara. However, they are all unsuccessful and Lara climbs through a ventilation shaft to Sophia's office where she is sitting with the artifact on her desk. Sophia mockingly offers Lara a job, telling her that with her lifestyle she would be the perfect face for her products, then Lara tells Sophia that her human subjects she experimented on are still alive. Lara demands she hand over the artifact which she refuses to do. Sophia takes the artifact and runs out the balcony to the other building and Lara who works her way up Sophia's building and across to the one she is on. Sophia attempts to kill her using the powers of the artifact, but Lara defeats her by shooting a fuse box connected to an electrical bridge that Sophia was standing on after the battle causing her to get electrocuted to death.
Nevada
In Nevada, Lara infiltrates Area 51, where she finds Element 115, one of the four artifacts, in an alien spacecraft guarded by the government.
Antarctica
At last, in possession of the Ora Dagger, the Eye of Isis, Element 115 and the Infada Stone, Lara goes to Antarctica to meet Dr. Willard. She discovers that the power from the meteor is causing genetic mutations, turning many RX Tech employees into vicious monsters. When she meets Dr. Willard and voices her opposition to his operation, Willard betrays her, stealing the artifacts and disappearing into the excavation site. After fighting more mutants and navigating the treacherous ruins of the ancient city built atop the meteor crater, Lara faces Willard, who has now used the power of the four artifacts to activate the even greater power of the meteor: to greatly speed up the evolutionary processes of the human body and thereby creating a terrifying and all-powerful Spider-like creature. Lara deactivates the meteor by taking the artifacts out of their positions that they were put in, kills the mutated Spider Willard and escapes by helicopter
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Tomb Raider: The Last Revelation
STORY
The story begins wit LARA's origins as a teenage tomb raider, accompanied by her then mentor, Werner Von Croy. They travel to the temple of Angkor Wat, Cambodia in the hope of finding the mystical "Iris." However, the trip is cut short by an accident where Lara is forced to abandon her companion, whom she believes perished, in order to save her own life. Back in the current year in which the game is set (1999), Lara finds herself in Egypt (this is the only game in the series to keep the globe-hopping to a minimum; aside from the prequel level the entire game takes place in one country), Lara Croft uncovers an ancient tomb where a fearsome Egyptian God Set was once imprisoned. She unwittingly unleashes him and finds herself in a deadly race against time to restore the god to his resting place before an apocalypse befalls Earth. Unfortunately, Von Croy becomes Lara's new rival as he is possessed by Set himself and he makes things considerably more difficult. Lara travels across Egypt to collect the pieces of Horus' armour in order to defeat Set. They are found in Pharaohs, Temple of Isis, Temple of Poseidon and Cleopatra's Palaces. She combines them (with the Amulet of Horus) in the Temple of Horus to finally defeat her enemy. However before Horus can be summoned, Set arrives and destroys the armour, knocking the amulet into the water. Lara quickly recovers it and exits the Temple sealing the entrance shut with the amulet. She must leave it in place to keep Set imprisoned for eternity. As she reaches the exit of the temple, injured and exhausted, she is confronted by Von Croy. Fearful that he may still be possessed she is reluctant to hold onto his outstretched hands and so she falls into the darkness beneath the collapsing temple.
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