Grazie per le immagini e i complimenti! Comunque sono davvero meravigliosi!!!!!


OT: ho consigliato a mia nonn di non mangiare orzobimbo per evitare che lo stomaco canti!!

Una gif per confrontare i 2 outfits di Lara

non sembra nenache la stessa!

molto bella grazie Al.

Grazie mille per la gif!!

LOLISSIMO un pò di musica non fa mai male!
Comunque basta OT!!!

Grazie mille bellissime!!

Alde lol

Nuovi bellissimi artworkkkk!!! Sono meravigliosi!













(Fonte: tombraiderchronicles.com





Interview with Tomb Raider Underworld artist Joel Boucquemont

TOMB RAIDER UNDERWORLD INTERVIEW
Copyright 2008 www.tombraiderchronicles.com

[ May 9th 2008 ]

Eidos has released a fantastic interview with Tomb Raider Underworld conceptual artist Joel Boucquemont, who answers questions on the science behind developing video-games with an onus on Lara's latest adventure.

How long have you been working as a concept artist?

I have been playing at concept artist since 95 but really it became a full time job 6 years ago. Prior to that the teams and projects were a lot smaller so an artist would multitask a lot more.

What route did you take to get into the games industry in terms of education and professional experience?

First I went through the equivalent of a master of fine art in a serious French school that was visionary enough to acquire computers for graphics when that was still a heresy (it was in 86 and the school is called Ecole Emile Cohl for those interested). I highly recommend the school.

After that I lived for a while as a bohemian illustrator until I found an ad in a Boston newspaper for an artist job in the game industry. I have been in since and I don’t regret it.

What’s it like working on a game as popular and established as Tomb Raider?

Actually I remember back in the days (when I was working on NASCAR and Indy-car sims) being fairly jealous of the people who worked on Tomb Raider which came out that year. It was a lot cooler than what we were doing in my opinion. And here we are 10-ish years later. Funny how it works sometimes, isn’t it?

The result is that now my mother has something to brag about and show her friends. She doesn’t quite understand what I am doing but even she knows Lara Croft (Lara’s big in France!). My friends too think of me as less of a bum now. Ha-ha. Seriously, it’s rather nice to work on a project that has worldwide recognition. Especially after years of working on obscure or canceled games.

Describe your average day working on Tomb Raider.

I get in, drink coffee, get cranking, watch the Daily Show on the net, drink coffee, get cranking, chat …et

How closely do you work with the dev team, and which members do you work with?

Obviously very closely with the Art Director. But there is also a fair amount of interaction with the World Builders, Effect Artists and even Sound Artists because, in the end, it all goes into the mix to create a rich experience for the player.

Can you describe the process for getting the vision for a level or character in the game designer's head onto a piece of paper? When you have completed the art what happens then?

First you talk with the Art Director to try getting all the infos needed for the piece. Size, mood intended, level of detail expected...etc. Then half way through the picture we meet again for an evaluation of the direction taken. From that I bring it to the next level where we decide whether it’s finished or not.

After that I start on a new one just like in Chaplin’s “Modern Times”. As for the picture itself, it sails to its new home and become the reference for the person building the world intended. If the picture sucks they are the one who really suffer;)

How long does an average piece take to complete?

These days it ranges from a couple of days to a week for an environment piece loaded with details; Depending on the scope, level of complexity and food poisoning.

Where do you get your inspiration?

From the subject matter, the net, and my troubled past ..Ahem. No, really it comes from everyone and everything around.

What is the favorite piece of concept art you’ve worked on?

Can’t call favorites.

What’s your all time favorite piece of TR concept art?

Same as above.

How do you research your art? Do you visit locations?

Ha-ha that’s a good one! I wish they sent me to the Yucatan, China or even the moon. Perhaps you could say a word for me? They actually have sent a couple of colleagues out to get some great reference material and that helped tremendously.

How many concept artists have been working on Underworld?

I believe 6 of us have been at it in different capacities and different times.

Have you always been a fan of Lara?

I think she is a cool character but more importantly I think it is one of the rare games out there making people travel to exotic semi real locations. It’s cheaper than a plane ticket and we try very hard to make it as immersive as we can. Hope y’all enjoy it.


Avete notato nel secondo screen l'outfits?

Vero, l'atmosfera TR si respira profondamente in essi

Intervista con Joel Boucquemont, creatore di arti concettuali per TR Underworld

TOMB RAIDER UNDERWORLD INTERVIEW
Copyright 2008 www.tombraiderchronicles.com

[ 9 Maggio 2008 ]


La Eidos ha rilasciato un interessante intervista con Joel Boucquemont, che risponde riguardo il silenzio dietro alla lavorazione dell'iltima avventura di Lara.

Domanda: Da quanto tempo lavori come artista concettuale?

Risposta: me ne occupo già dal 1995, ma è divenuto un lavoro a tempo pieno solo sei anni fa. Prima di allora sia i team che i progetti erano molto più piccoli perciò un creatore come me doveva svolgere a più mansioni contemporaneamente



D: Quale cammino hai seguito per entrare nell'industria dei videogames, intendo a livello di apprendimento ed esperienza professionale?

R: Dapprima ho frequentato l'equivalente di un master in belle arti presso un importante scuola francese che aveva una visione abbastanza ampia da aver acquisito computers per la grafica quando tutto questo era ancora considerato folle (eravamo nel 1986 e la scuola era la Ecole Emile Cohl, per chi fosse interessato a saperlo).
In seguito ho vissuto per un pò come un illustratore bohemienne finchè non trovai un annuncio in un giornale di Boston per un lavoro nell'industria dei giochi. Sono lì da allora e non me ne pento.




D: Come è lavorare ad un gioco così popolare ed affermato come Tomb Raider?

R: Effettivamente tornando indietro nel tempo (quando lavoravo a Nascar e Indy-car Sims) ricordo come fossi un pò invidioso delle persone che lavoravano a Tomb Raider. Pensavo che fosse molto più fico di ciò a cui stavamo lavorando noi. Ed ora siamo qui a distanza di 10 anni. Strano come vanno a volte le cose, no?
Il risultato è che ora mia madre ha qualcosa di cui vantarsi e da far vedere alle amiche. Lei non capisce fino in fondo ciò che sto facendo, ma anche lei conosce Lara Croft (che è assai famosa in Francia). Anche i miei amici pensano che io sia poco più che un fannullone, ha ha. No, sul serio, è assai gratificante lavorare su un progetto che ha talmente tanto riconoscimento in tutto il mondo. Specialmente dopo tanti anni passati a lavorare su games poco conosciuti o addirittura mai pubblicati.



D: Descrivici la tua giornata di lavoro tipo su Tomb Raider

R: Arrivo in ufficio, prendo un caffè, creo qualcosa, guardo il Daily Show in rete, prendo un caffè, creo qualcosa, ecc.



D: Quanto è vicino il tuo lavoro con quello del team di sviluppo? E con chi di loro lavori maggiormente?

R: Naturalmente lavoro in modo molto stretto col Direttore Artistico. Ma c'è anche molta interazione con coloro che creano gli scenari, con gli addetti agli effetti ed anche con i tecnici del suono perchè, in fin dei conti, tutto alla fine deve amalgamarsi nel tentativo di creare un esperienza molto vivida per il giocatore.



D: Puoi descrivere il processo che porta l'idea di un livello o un personaggio dalla testa del creatore ad un foglio di carta? E quando hai completato la sua creazione poi cosa succede?

R: Prima di tutto si parla col Direttore Artistico per cercare di ottenere tutte le informazioni sulsoggetto. Le sue caratteristiche fisiche, caratteriali, il livello di dettaglio che ci si aspetta ecc.Poi quando siamo a metà strada nella creazione ci incontriamo di nuovo e valutiamo se la strada intrapresa è valida o meno. Da li riparto verso il livello successivo dove decidiamo insieme se fermarci o meno.
Dopodichè inizio da capo su un nuovo soggetto, tipo Charly Chaplin in "Tempi Moderni". Quanto all'immagine creata, essa diviene il riferimento per coloro che devono materialmente creare lo scenario. Se il mio lavoro non è svolto al meglio, loro sono quelli che ne soffriranno maggiormente.



D: Quanto tempo occorre per completare un lavoro medio?

R: Normalmente il tempo varia da un paio di giorni ad una settimana per un ambiente completo e con tutti i dettagli; dipende inoltre dalla portata, dal livello di complessità e dall'avvelenamento da cibo (battuta).



D: Da dove trai ispirazione?

R: Dall'importanza del soggetto, dalla rete, dal mio passato incasinato....Scherzavo, in realtà da tutti e tutto ciò che mi circonda.



D: Qual'è il concept art favorito su cui hai lavorato?

R: Non ho favoriti.



D: Qual'è il tuo concept preferito riguardo TR?

R: Come sopra.



D: Come ricerchi la tua arte? Visiti i luoghi?

R: Ha ha, questa è buona. Spero che mi mandino nello Yucatan o in Cina, o perfino sulla Luna. Potresti mettere una buona parola per me? Effettivamente hanno inviato un paio di colleghi per carpire del materiale cui riferirsi, e questo è stato di grande aiuto.



D: Quanti artisti concettuali stanno lavorando su Underworld?

R: Ritengo che siano in tutto sei, in tempi differenti ed a seconda delle capacità specifiche.



D: Sei sempre stato un fan di Lara?

R: Penso che sia un personaggio davvero fico, e cosa più importante, credo sia uno dei pochi giochi in commercio che abbia la capacità di far viaggiare la gente in locations esotiche e semi reali. E' più conveniente di un biglietto aereo, e noi lavoriamo duro per renderlo sempre più coinvolgente. Mi auguro che vi piaccia.


Tradotto da: Raidermaniac

Grazie mille mattia

E anche Raider

NUOVA INTERVISTA AD ERIC LINDSTROM SU TR:U

It was a fall from grace normally reserved for self-righteous politicians and televangelists. Having made some of the defining games on the original PlayStation, Lara Croft watched helplessly as her games became increasingly disappointing, culminating with 2003's unplayable The Angel of Darkness. As the saying goes, you can't keep a good woman in shorty-shorts down, and so it was that three years (and a switch in developers from Core to Crystal Dynamics) later that Ms. Croft would make a triumphant comeback with 2006's exhilarating Tomb Raider: Legend and a stellar remake of her original adventure as 2007's Anniversary. Now Crystal D is going for the hat trick with Tomb Raider Underworld, which Eidos will release this November on almost every platform available. Though according to the game's creative director, Crystal Dynamic's Eric Lindstrom, Lara's getting more in this game than just some new stamps in her passport.

Crispy Gamer: So where in the world is Lara Croft this time?

Eric Lindstrom: She's actually going all over the world. We're not saying where yet, but she's going to multiple places around the world to investigate ruin sites that are tied to the local underworld where she's going, though they're all threaded together by a common theme and the story of the game.

Crispy Gamer: What is the story for this game and how does it connect to the rest of the series?

Lindstrom: Again, we're not saying much, but I can tell you that the story takes place after Legend and Anniversary, and it answers a lot of the questions left unanswered by those games.

Crispy Gamer: How does the gameplay compare to the other games?

Lindstrom: There are a lot more things you can do, especially things you'd expect Lara to be able to do. Like being able to balance on the poles she can swing on. Or, if she's climbing around, and she has a free hand, she can now pull out a gun and shoot someone if they're shooting at her.

Crispy Gamer: It's also been reported that, for the first time, you motion-captured a gymnast -- NCAA Women's Gymnastics Champion Heidi Moneymaker, to be specific -- for Lara's moves. Did you pick Ms. Moneymaker because her name makes her sound like a Bond girl?

Lindstrom: God, I wish it was that easy, but that is her real name. I'm ashamed to say I asked her.

Crispy Gamer: What did motion-capturing a gymnast bring to the game?

Lindstrom: What's always been really important to us is raising the level of detail and fidelity, which is why the environments are getting much more detailed and lush. So when it came to Lara's animations, they needed a higher level of detail, as well. Now the way to do that is to work a bunch of animators to death, or to go do motion-capturing, which brings in a lot of secondary motions that would normally take a really long time to animate. So it wasn't about making them more real, but it was also a way to get a high level of detail.

Crispy Gamer: Did the motion-capturing result in you adding any new moves for Lara?

Lindstrom: It didn't give her any new abilities, but there were times when we told her [Ms. Moneymaker] what to do, and she'd say, "Well, that's not the way I'd do that move, that's awkward." Then she'd do it her way, and if it looked cool, we used it.

Crispy Gamer: Did you also motion-capture a champion target shooter? Or champion puzzle solver?

Lindstrom: Actually, Heidi is also a stuntwoman, but we did bring in another stuntwoman to do the gunplay and the kicks.

Crispy Gamer: One thing about this game that's gotten a lot of attention is the decision to change Lara's look. She's not wearing her usual aquamarine tank top and tan shorts, and she's ditched the braid for a ponytail. Why did you decide to make these changes?

Lindstrom: Well, what does the braid mean to you?

Crispy Gamer: I don't know, maybe she just wanted a change. I mean, it's not like she ever hit anybody with it.

Lindstrom: Yeah, yeah. What's interesting is that nothing about this game has attracted more scrutiny than our decision to change her look. She's actually going to have a number of different outfits in the game.

Crispy Gamer: But why did you decide to change her basic outfit? I understand adding new ones, but why ditch the classic?

Lindstrom: Well, we feel that Lara's look is iconic, but that it transcends her poster image. She's not Mario where, if you take him out of his plumber outfit, do you still have Mario?

Crispy Gamer: No, you have Ron Jeremy.

Lindstrom: Ha! Right. But we don't feel that Lara is tied to a particular outfit, though she is tied to a particular style. It's kind of like with James Bond, he doesn't always wear the same black tuxedo, but he does always wear a tuxedo.

Crispy Gamer: Right. Did changing her hair from a braid to a ponytail add more time to the development of the game because you now had to figure out a new mechanic to make her new hairstyle move?

Lindstrom: That's interesting, I don't think I could give you a good answer based on my involvement in the last two games, though I know there's a fair amount of cloth tech utilized in the game.

Crispy Gamer: Is it weird working on a game where something as minute as a hairstyle change would become such big news that people would ask you about it in interviews?

Lindstrom: Well, it could be weirder. I look at the forum all the times, and the reaction to these decisions hasn't been unanimous. Some people like the ponytail.

Crispy Gamer: Was it also weird to play Uncharted: Drake's Fortune and realize that it was kind of like Tomb Raider, if Lara was trigger-happy and a dude?

Lindstrom: That was actually my concern going in to that game, but when I played through it, it wasn't very long before that feeling went away. It's a very good game, it's just a completely different genre. It was mostly Gears of War on an island.

Crispy Gamer: Are there any plans to add some multiplayer modes to the game?

Lindstrom: Nope.

Crispy Gamer: How come?

Lindstrom: Well, there are a lot of reasons. The biggest, and most obvious, is that Lara's a solo operator. Nobody's as good as her, nobody can follow her, so the idea that she'd need someone to, say, give her a boost up to a ledge doesn't fit.

Crispy Gamer: Have you guys ever even brainstormed what Tomb Raider multiplayer would be like?

Lindstrom: Every time. We've just never been happy with the ideas we've come up with, and we've never wanted to spend the resources on it when we could spend them on some other aspect of the game.

Crispy Gamer: What about a multiplayer mode where one person plays as Lara, and everyone else plays as a bad guy, or as a gigantic octopus, and they have to try and kill her?

Lindstrom: We have talked about scenarios similar to that, but it just really doesn't work out as well as we'd hope. This issue comes up every time.

Crispy Gamer: The game is being developed for the Xbox 360, PlayStation 3, PlayStation 2, Nintendo Wii, Nintendo DS, and PC. First off, why no PSP?

Lindstrom: Man, I have no idea. I couldn't tell you.

Crispy Gamer: While we're on the subject, where's the love for the Commodore 64? The Atari 2600? The Virtual Boy?

Lindstrom: Probably not the same answer.

Crispy Gamer: This is the third Tomb Raider game Crystal Dynamics has done after Eidos nixed Core off the series. Have any of the Core guys ever said anything to you about the games when you've run into them at the Eidos Christmas party?

Lindstrom: No, I've never met any of the Core guys, though there are people on the forums who are very devoted to Core and are unhappy by the way they feel we mainstreamed Lara.

Crispy Gamer: Lastly, Eidos always hire a model to be Lara at events and stuff. Do you guys have any say in who they get to do it?

Lindstrom: I don't.

Crispy Gamer: Do you ever tell people that you have a say in who they get to do it?

Lindstrom: No, I'm married, I got kids.

Fonte: http://laracroftglobal.forumfree.net

Nuovissimo Artwork:

Piovra giganteeeeeeeeeeeeeeeeeeeeeeee *sbav

Anche in versione 5120x2880

Eccolo:

E il bello è che è in game ^^ Thx!

Davverooo???? Splendido