Rise of the Tomb Raider system requirements
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Rise of the Tomb Raider game details
The rebooted Lara Croft’s second adventure, Rise of the Tomb Raider sees the archeologist leaping around mountains and ruins, uncovering an ancient mystery, and fighting off an army of gun-toting mercenaries. An Intel Core i5-750S/AMD FX-6120 and a GeForce GTX 970/Radeon R9 390 is recommended for raiding tombs. It’s one of the best games of 2016 so far.
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Rise of the Tomb Raider System Requirements (Minimum)
- CPU: Intel Core i3-2100 or AMD equivalent
- CPU SPEED: Info
- RAM: 6 GB
- VIDEO CARD: NVIDIA GTX 650 2GB or AMD HD7770 2 GB
- DEDICATED VIDEO RAM: 2 GB
- PIXEL SHADER: 5.
0
- VERTEX SHADER: 5.0
- OS: Windows 7 64bit
- FREE DISK SPACE: 25 GB
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Rise of the Tomb Raider Recommended Requirements
- CPU: Intel Core i7-3770K
- CPU SPEED: Info
- RAM: 8 GB
- VIDEO CARD: NVIDIA GTX 980Ti 2560×1440 or NVIDIA GTX 970 1920×1080
- DEDICATED VIDEO RAM: 4096 MB
- PIXEL SHADER: 5.1
- VERTEX SHADER: 5.
1 - OS: Windows 10 64 bit
- FREE DISK SPACE: 25 GB
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Rise of the Tomb Raider PC Specs — Rise of the Tomb Raider PC Requirements?
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Rise of the Tomb Raider review
The phrase ‘Optional Challenge Tomb’ says a lot about Rise of the Tomb Raider.
This is what the game chooses to call its puzzle-driven chambers. Is Tomb Raider still a game principally about, err, raiding tombs when it treats its namesake activity like a side salad? One that comes with no croutons and way too much dressing.
The Tomb Raider reboot of 2013 was fresh, it was bold, and it was a damned good game. But some complained that it was a mere shadow of Lara Croft’s original adventure. They were calling out for a return to the grand temples and forgotten cities of yesteryear.
In response Crystal Dynamics has delivered a compromise. Rise returns Tomb Raider to architectural opulence of its past, whilst retaining its vision for an explosive action game.
The Divine Source
Lara’s goal in this latest outing isn’t survival, but the acquisition of The Divine Source, an artefact that said to grant the gift of eternal life. The ensuing plot is more classically Tomb Raider than the previous game and this is no bad thing; the hunt for this mysterious artefact lends the story a clear focus the previous encounter lacked.
Our heroine is now throwing herself into the firing line willingly and the result is a central character, and plot, which feels like it’s found it’s way home.
Of course, a return to treasure hunting also means a return to old crutches for the franchise. If any gaming series which can be forgiven the endlessly repeated quest for a ‘Holy Grail’, it’s Tomb Raider. The concept might not be original, but the story is enjoyably told and a match for the game’s raison d’être.
Have it your way
Fans are deeply invested in the Tomb Raider‘s image, and a group of critical voices bemoaned the violent mechanics of the last game, saying it was inconsistent with the brand. In answer, Crystal Dynamics has made a song and dance about the greater degree of player choice in Rise of the Tomb Raider.
Lara is no longer required to slip in arrow between the eyes of every enemy she sees. Stealth and stalking mechanics have been added as well as the ability to avoid combat encounters entirely.
In practice this means that environments have been engineered with height in mind as well as basic cover. Lara can climb trees to gain a vantage point and completely hide herself in the many conveniently placed shrubberies of outdoor environments. From both these positions she can conduct a one-button takedown from the shadows.
Enemy AI has also been tweaked so that hostile soldiers will investigate noises from stray arrows and react to the sudden absence of a comrade who has mysteriously go missing. And Lara’s own kit has been enhanced too, as she can now identify which of her foes is within visible range of another, allowing her to pick them off one by one.
To kill or not to kill
On the whole the stealth mechanics work exceedingly well and provide another layer of depth to the mixture of action and platforming on offer. Unfortunately, Rise of the Tomb Raider suffers the same problem encountered by many other games with optional stealth mechanics in that there’s no real reward for avoiding a combat encounter.
Not only does the player miss out on potential ammunition and supplies from downed enemies, but also the opportunity to utilise all the exciting weaponry they’ve been provided.
Rise of the Tomb Raider still features many areas which can only be completed by violent means, for instance such as rooms that must be cleared of enemies before Lara can move forward. What’s the benefit of sparing the lives of a handful of soldiers by sneaking through bushes when she’s already shanked a few dozen of their former colleagues?
For the most part of Rise’s enemy encounters, Lara embraces her new position as the gun-toting lovechild of Ellen Ripley and Indiana Jones. Combat itself remains largely unchanged from that of Tomb Raider with the most significant tweak being Lara’s ability to craft a variety of explosive weapons on the fly using items she finds along the way.
Pick up a can of petrol and using a rag it becomes an explosive, a bottle of alcohol can, with one button hold become a molotov cocktail, and she can even fashion shrapnel grenades from empty tin cans.
Throwing these into mobs and watching their ragdoll collapse is deeply, deeply satisfying.
Bombardier ballet
Crystal Dynamics knows how it wants these encounters to pan out, with players fluidly moving from cover to cover, and making use of as much of the environment as possible. As it’s very tempting to simply sit behind a sufficiently large rock and headshot assailants with arrows one by one, most encounters will see grenades thrown at Lara’s location with clockwork regularity.
I have mixed feelings about these. Yes, they caused me to move around each chamber to avoid the explosions, and yes, I probably found more potential molotovs as a result, but I wasn’t outmaneuvering my enemies – I was being constantly forced onto the back foot.
The game attempts to use melee combatants to similar effect in the latter stages of the game and caused similar frustration but for different reasons. Lara’s kit is range-focused, and the legions of creeps getting up in my face, especially those wearing armor, can’t be swiftly slain.:strip_icc()/pic6199244.jpg)
Maybe I’m inept, but these foes seem at odds with the toolset available.
PC port report
An adult-sized jungle gym
In total, there are 12 different individual maps to be explored, but the majority of these are linear strips designed as connecting pathways between the larger, open environments of which there are three.
Despite this the open plains of Rise’s three massive playgrounds all left me wanting, in spite of their beauty. The first, an ex-Soviet installation initially had my heart all aflutter with its abandoned buildings hanging structures ready to be mounted and conquered.
Then I came to realise that there isn’t actually a huge amount to do. I would climb, I would look about, and then I would generally get back down again and head to the next story objective. The map lists dozens of sites of interest, but the vast majority of these are one button events. Relics, documents, ancient murals and survival caches are require the same interaction – walk up to object, press X, done.
You have chosen, wisely
The real fun is to be had in optional challenge tombs, in which Lara must best a spatial or logical puzzle in order to reach her prize. If she does, one of her skills (like double arrow shots) is automatically unlocked.
These interludes in vast mechanical conundrums I wholeheartedly loved. Puzzles are notoriously hard to design, but each one I encountered slowly drew me through its logic until I understood, just before the experience might become frustrating, exactly what was required. Nothing compares to the sense of satisfaction when you reach the end of a well designed logic problem and every single one left me with a smile on my face.
The end of my rope
And yet they weren’t perfect. Crystal Dynamics understands too well the virtue of the rope launcher that allows Lara to interact with a whole room of objects from distance and as a result, it’s almost omnipresent.
It may be a great tool, but the constant pattern of tying objects together with rope or using it to pull levers doesn’t help to distinguish each chamber.
It saddens me to say, but I found the puzzles of Arkham Knight were consistently more varied, and more difficult.
The nine total optional challenge tombs feel like perfunctory love letters to the game that Tomb Raider used to be. Each environment is moderately sized and lavishly designed, but the challenge itself is fairly small and over far too soon. I’m sure it’s possible to whizz through the nine chambers in under two hours, a paltry amount of puzzling for a game which claims to provide forty hours of content to the completionist.
Rise of the Tomb Raider Verdict
Lara is forever unearthing history’s secrets, but maybe only now, in her second post-reboot outing, has the game’s developer fully uncovered it’s own vision for the future of Miss Croft. Action is this game’s principle love and more than ever before it sits comfortably on the shelf next to the likes of Uncharted.
It might pander to contemporary fashions, but that doesn’t stop Crystal Dynamics from injecting their creation with intelligence and excitement.
It’s not exactly what hardcore fans wanted, but at some point you just have to let go and embrace progress. If you do, Rise will undoubtedly provide you with a have a thrilling adventure.
Buy Rise of the Tomb Raider from Amazon
20 Year Celebration for PS4 Verdict
Stuff Says…
Score: 4/5
A worthy sequel that only hardcore fans may find lacking
Good Stuff
Glorious environments to explore
A better thematic fit with the franchise
Solid stealth, combat, and platforming mechanics
Bad Stuff
Not enough puzzle solving for some
Combat occasionally frustrating
Lara Croft: Tomb Raider 2001 watch a film from BBC Television Centre, Paramount Pictures online for free in good quality
Rating
6.4
6.
8
5.7
Name
Lara Croft: Tomb Raider
Year
2001
Genres
thriller, fantasy, action, adventure
Country
UK, Japan, Germany, USA
Director
Simon West
Screenplay
Patrick Masset,
John Zinman
Sarah B. Cooper
Actors
Angelina Jolie,
Jon Voight,
Ian Glen,
Noah Taylor
Daniel Craig,
Richard Johnson
Chris Barry
Julian Rhind-Tutt,
Leslie Phillips,
Robert Phillips
Time
Premiere
June 11, 2001 in the world
June 30, 2001 In Russia
DVD
November 9, 2010
It owns all types of hand -to -hand combat, shoots from any types of weapons and is able to survive under the most extreme conditions.
This girl is the daughter of a lord, Lady Lara Croft. One day, under the stairs, she discovers the entrance to a secret room, where there is an antique clock with an amazing device inside.
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Lara Croft: Tomb Raider
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Posted: September 25, 2001
Films based on computer games are rarely successful, and are mainly aimed at making money quickly while the game is in hype. Lara Croft was a pleasant exception, perhaps simply because the main character was well chosen.
So famous archeologist and adventurer sex star 90’s — Lara Croft is looking for something again.
At the beginning of the film, Lara Croft fights a killer robot in an Egyptian tomb trying to get hold of the memory card. She neutralizes the robot and changes its program. Further, it turns out that the battle took place in the personal estate of Croft, and Bryce tested his SIMON robot in action.
On this day, May 15, Syzygy begins — the parade of planets, which will end with a solar eclipse. This happens once every 5 thousand years. In Venice, there is a meeting of the Illuminati who want to find the two halves of the mysterious artifact before the end of the Parade of the Planets. Manfred Powell, a member of the Illuminati Council, assures the gathering that he will find the artifact, even though he does not even know where to look for the key.
The same night, Lara dreams of her father, reminding her of the Parade of the Planets and the «Triangle of Light» associated with it.
Early in the morning, she finds the entrance to a secret room under the stairs, where there is an antique clock that spontaneously started ticking. Bryce uses probes to find a device inside the watch.
Lara rides her motorcycle to the auction to talk to her father’s friend Wilson, a watch collector. Along the way, she meets another tomb raider, Alex West, who is very unscrupulous in his methods and therefore radically disagrees with her in relation to historical values. Lara assumes the watch is connected to the Triangle of Light, but Wilson says he doesn’t know anything about it. However, he then calls Lara and offers to talk about the watch with a man named Manfred Powell. Lara meets with Powell and shows him the photos. In the evening, in a conversation with Bryce, Lara points out that he blatantly lied about knowledge of the clock. Suddenly, a squad of commandos begin an assault on the castle. Lara deftly fights back, neutralizing most of the robbers, but they still manage to take the watch.
In the morning while cleaning up the mess, Lara receives a letter from her father, which should have arrived at the beginning of the Parade of the Planets. He explains that the clock is the key to finding the two halves of the mystical «Triangle of Light», made from the metal of a meteorite that fell at the finale of the Parade of the Planets 5,000 years ago. The artifact allowed to change the course of time, and when it was used incorrectly, the city where it was stored was destroyed. To prevent this from happening again, people broke it into two parts and hid them in different parts of the Earth. Father’s Request: Find and destroy the artifact before the Illuminati can use it.
The first part of the Triangle of Light is in Cambodia. To get there, Lara turns to familiar military men. She is dropped from the plane in a jeep with a parachute. While the team of Powell and West breaks the main entrance to the temple, Lara manages to get inside from the back. Lara emerges from her hiding place when she sees that West has put the watch-key in the wrong lock.
She convinces him to hand over the key, inserts it into the lock next to her, and the ancient mechanism starts to move. A huge beam, swinging, breaks the vessel at the base of the giant statue, and a part of the artifact appears. Powell reaches for it, but Lara grabs the first half of the Triangle of Light and hides behind the pillars. Immediately, the stone guardian statues of the temple come to life and attack all the people in the dungeon in a row. Powell and West manage to escape with the key. Lara is attacked by the main guard — a giant multi-armed statue, not susceptible to firearms, which is destroyed only after a direct hit by a swinging beam. Lara runs through the forest and jumps from a waterfall. Alex West hesitates to shoot her. At Angkor Wat, Lara makes a satellite phone call to Powell, who sets up a meeting in Venice, since she has the first half of the artifact, while her opponents have the key to the second half.
The meeting takes place in the main Illuminati building, where Powell proposes a partnership to successfully complete the search and tells Lara that her father was himself a member of the Illuminati Council.
Lara, Bryce, and Powell board helicopters together and fly to Russian Siberia, where the Lost City is located. Navigational instruments fail in the Dead Zone, and the amphibious adventurers change to sleds and drive into the crater area, where they find a hidden city and a giant model of the solar system. The mechanism comes into motion with the approach of the last phase of the Parade of the Planets. Lara manages to get to the base and pull out the other half of the artifact. The head of the Illuminati is already going to connect the two halves, but on the orders of Powell, who wants to become the Head himself, the commandos shoot him. When Powell tries to collect the artifact, he fails. Then he kills West. By doing so, Powell encourages Lara to reveal the secret and collect the artifact in order to save West and his father in the past with its help. The grain of sand that falls from the destroyed key collects the «Triangle of Light». There is an explosion. Thrown in different directions, Lara and Powell find themselves in the other world.
They run along the pyramid to the artifact at the top — Lara is ahead of her opponent, becoming a time lord.
In an alternate reality, she meets her father, who says that «time cannot be changed», and instead of saving his life in the past, calls for the destruction of the Triangle of Light. Lara finds herself in the Lost City at the moment when the knife flies at West — time has slowed down. With an incredible effort, Lara turns the tip of the knife in the opposite direction from West’s chest and smashes the artifact into fragments with a shot from a pistol. The passage of time becomes normal and the knife cuts into Powell’s shoulder.
The Lost City begins to collapse. Everyone tries to get out, but Powell stops Lara with a story that he personally killed her father and took the victim’s pocket watch. To take away the family heirloom, Lara rushes at the enemy and kills him in hand-to-hand combat, takes her father’s pocket watch, runs to the exit from the crater and escapes at the last moment.
