Visit tombraiderchronicles. In order to use a gamepad, you'll need a utility to map gamepad buttons to keyboard inputs. If you are unable to see the video sequences at the start of the game and between certain levels, or if you just want to watch them again, you may want to download EscapePlay KB to watch the movies outside the game. The 'readme' file included with the download explains how to use it. Alternatively, you can watch all the cinematics on YouTube thanks to GoldfishGam3r. Accidentally pressing the Windows Start Menu key probably won't crash the TR3 game, but it can be annoying, especially during complicated platforming sequences.

Fortunately it can be easily prevented by downloading and using one of the following utilities. I have found both very helpful, but since neither is my creation, I am not responsible for them.

So use and enjoy it at your own risk. The patch below is for the original CD version of TR3. I've used this patch with no problems, but I didn't make it and don't support it.

So use at your own risk. Red blood patch KB - Unofficial , use at your own risk. Fixes censored versions of the game so blood appears red instead of pink. I prefer the use of savegame editors to game "trainers," but if you really want one, they are out there. Good dexterity is required to get her out of sticky situations, but not all of them involving combat.

As in the original game, gameplay is through a third person perspective as if one is looking over Lara's shoulder. In some situations, the camera view moves rather quickly which can be a bit disorientating at first.

Combat is an essential part of this game. Nearly every creature you find is out to kill you if you let them. Human opponents are much more abundant than in the original title. You fight enemies such as the Sicilian Mafia, Warrior Monks, Yetis, and crazed cult members who are also after the Dagger of Xian for their own sinister purposes. Lara's shooting skills are really handy here, and sometimes you have to think thoroughly about how to dispatch the opposition, both in terms of weaponry and combat tactics.

Fortunately, you can save the game at any time; so if you meet an untimely death, resurrection is only a few keystrokes away. Gore is at a minimum in this game. Hits are shown by a minimal amount of blood splattering, except when you use a grenade to blow someone to bits.

Letting Lara get killed by falling onto spike traps is a bit bloodier but not by much. Like the first game, there is a training mode set inside Lara's country home, complete with a timed assault course in the backyard.

This mode allows the player to receive voice instructions while practicing the basic control of Lara. A new feature in this sequel is the ability to drive vehicles, including a motorboat and a snowmobile. Rather than generic caves and caverns, real life locations, such as the Great Wall of China, Venice, and Tibet, are used as backdrops in this game.

True to the spirit of the original Tomb Raider, the 3D accelerated graphics are really a feast for the eye. Combat also add up to the excitement, especially when Lara gets herself into a tight spot.

The possibility of saving the game at any point improves the playability and reduces the need for cheating, unless the player just wants to browse each level before moving on to the next. Then he went on to do some research before coming to this. Chris, the second programmer, is new and he's only been with us for a few months. Everyone came together simply by us sitting down and deciding to do the new game, and then deciding where we were going to take people from.

Actually Martin was working on a game for about four months that used a new character, but using the Tomb Raider engine. What game was that? Is it still something we may see? But we decided to hold off on that. We may still produce it, but not for a while. We'll maybe wait and do it on a new system in the future. Martin had already built a lot of the ideas that are being used in Tomb 3 for this other game, so when we started putting this project together, a lot of the work was already done.

From what was on show at this very early stage of development this additional work to the engine seems more than worthwhile. For starters the game looks far slicker than the previous incarnations. To help explain how different Tomb 3 really is, lead programmer Martin Gibbins and level designer Richard Morton pick up the story. This was originally going to be called 'The Further Adventures of Lara Croft,' but as we progressed through we realized that we'd actually done one hell of a lot to the game with the lighting, and more importantly we developed the triangular floor blocks so we can make more complex polygonal objects.

By the time this all came together the question had to be asked: Why not make it Tomb Raider 3? Now we've got new vehicles, different costumes and lots of cosmetic stuff, but at a fundamental level there's also a completely different level structure. Gibbins elaborates, "To be honest we weren't happy with the way Tomb 2 looked. It was a bit limited, especially with some of the effects that you could do. The lighting was limited to individual floor blocks, so we made the whole thing more dynamic and added colored filters to the lighting at the same time.

The same with Tomb Raider 2. The palette there was restricted by the need to make use of an 8-Bit palette--even when thinking about the lighting--but Tomb 3 is being developed specifically for the PlayStation. Everything is being built around the capabilities of the machine; Bit palettes, transparencies and stuff like that. By doing this we've been able to push the machine much harder. The terrain can look much smoother and more organic, something that's perfect for Tomb Raider.

We can also ripple water surfaces much more realistically and we can produce dynamic effects with the textures. In one area we're going to have quicksand that behaves like the water dynamically, but uses a solid texture. Very little of the game is leftovers from previous projects.

We wanted to do lots of new stuff that people would notice The main new thing that this has is a monkey bar swing which was supposed to make it in before, but the previous team didn't have time to do it. Also, we've put in 3D ropes which Lara can swing on. They were thought about for Tomb 2, but no one ever really worked on them. Lara can open a door using a door handle rather than using a dirty great lever.

Also, we've made it so that she can pick something up off a table without having to jump on it and then stoop to pick it up. There's also a new crawl move that means Lara can now get through really low, halfblock sized gaps and this has opened up all kinds of things as far as the level design is concerned. It's been great for putting in secrets. In the end we decided to scrap the Tomb 2-style big rippling muscles and go for something more realistic.

This also helps us with the memory. The enemies still look good, but because we're running the game in hi-res now we needed to claw back memory from wherever we could--stripping them down really helped the speed. What are they called? We've got the Al guys working on them, and they've come up with a kind of swarm routine that enables them to work as a pack--if you shoot at them, they'll break off their attack and scatter all over the place.

Adrian Smith elaborates on the importance of the Al at this point. The Al is something that we never really highlighted in Tomb 2, but if you look back at the Tibetan level the monks all employ an effective Al system. When Lara arrived at the scene the monks and the mercenaries are fighting. If Lara chooses not to get involved, the monks will actually leave her alone for the rest of the game.

If she did wade in there though, the monks would behave completely differently. We really liked that, so you'll see a lot more of that kind of thing. Tom is a good example of how we've changed the way we do things. We've taken someone who's very academically minded, but also a gamer--and set him loose. He can put together the Al and then hand it over to the coders who can make use of it and refine it as they integrate it into the code.

The enemies will basically be able to listen out for you, and if they hear anything they'll come looking for you. We can help build the tension by making the controller give you feedback as well, and in stereo. The controller has two separate jolters in it, so you can have the sound and the tactile stuff coming from the same side. From seeing the demo of the game, it's not just the graphics and the technology that are the most obvious differences this time around.

Morton explains what has been done to make the game structure itself a bit different. There are then three further adventures which you are 'hired' to do, and these can be played in whatever order you want.

These all have their own plots and their own characters. Once you've finished these you then move on to a final level. The different adventures take you to India, to a snow level, London, the south Pacific and then there's a section in Area There's not going to be a way of saving your game, jumping back out to the central hub and then choosing another adventure; you just pick what order you do the game in. Because of this we're toying with offering both, either combining the two or offering different systems in different difficulty modes.

We've also thought of looking into something like the end of FFVII, where you give the player a certain number of saves and let them use them anywhere. To be honest, we won't decide until the levels are finished. Morton continues, "We're toying with the idea of having different weapons in different sections, so that tackling the game in a certain order will prove advantageous.

We probably will do it like that, but we have six months of development time left and things will change! Also we've looked at flame-throwers and machine guns, lots of things that will show off the new lighting and particle effects systems that Martin has built. We're also looking into some kind of hand-to-hand combat as well.

The London level is one of the most different because we've dressed her up in a tight black lycra thing with gadgets and stuff like a cat burglar. What she'll have to do is work her way across the rooftops of the city, work her way down through the underground system, through some tunnels and stuff and then up into a building to steal something from a safe before she escapes.

Bartoli's Hideout Inventory alpha. Bartoli's Hideout Magnums holstered. Bartoli's Hideout Magnums unholstered. Bartoli's Hideout Mansion front alpha. Bartoli's Hideout No fence. Bartoli's Hideout No fence II. Bartoli's Hideout No secret area. Bartoli's Hideout No secret switch.

Bartoli's Hideout Shotgun holstered. Bartoli's Hideout Shotgun unholstered. Bartoli's Hideout Untriggered enemy. Bartoli's Hideout Uzis holstered.

Bartoli's Hideout Uzis unholstered. Bartoli's Hideout Uzis secret area alpha.