Tomb Raider: The Angel of Darkness - Making Of Video - video Dailymotion

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A trailer for Tomb Raider: The Angel of Darkness

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00:00It's always a challenge when approaching the creation of a new game.

00:04There is pressure to do something different.

00:06To lead the way, to deliver even better characters, environments and stories.

00:12Over the years with Tomb Raider, each adventure has broken new ground

00:16and taken the player to even more exotic locations and arenas.

00:21And now onto a new arena, the next generation console.

00:30Our vision is to take the player somewhere dark,

00:33a place they might not necessarily wish to go

00:36but a place that they'll have to venture if they want to bring Lara back.

00:40This world is from the imagination but based in reality.

00:44A dark world, a dangerous world.

00:48A world that reflects the change in Lara.

00:52It will be a new experience, one that will almost be shocking to people

00:56who have played Tomb Raider in the past.

01:00From the catacombs of the Louvre to the alleys of Prague,

01:03we searched for the serious side of life.

01:06A world that you wouldn't normally see Lara in,

01:08but a world that she has no choice but to inhabit.

01:13Like her audience, like the game's consoles themselves, Lara has grown up.

01:17Her experiences in Tomb Raider 4 have forced her to question herself.

01:22This game will ask more questions of her.

01:29It was a very conscious decision to leave out elements of Lara's story since Tomb Raider 4.

01:34Certain aspects of that story will return.

01:38It's just a matter of when and where.

01:44For the first time, Lara will have a moral choice to make.

01:47It's no longer a clear-cut case of good versus evil.

01:50This is a more complex tale which will ask more complex questions of the player.

01:55The player controls how the story develops much more than in previous Tomb Raiders.

02:00Basically, when Lara talks to a character,

02:02the player can also choose whether Lara is nice, nasty or dismissive to another character.

02:11This game sets a new benchmark for character animation.

02:15The new consoles allow for an unprecedented level of subtlety in the way the characters can act.

02:20Some characters may betray more than their feelings.

02:23In this world, the player should look as well as listen.

02:30The advancements in game technology allow for much more complex movement from the characters.

02:35They have spines, joints, they even have fingers.

02:39They move in different ways.

02:41We've borrowed these movements from real people.

02:44The man on A57, the woman on the bus.

02:47They travel much further than they think.

02:50The player will choose which path to take, which characters to trust, which lies to believe and which enemy to face.

02:57Some enemies may become allies.

03:00Some enemies may become something far worse.

03:03Certain enemies have taken years of conception, gestating through design and redesign.

03:11I am the first to see them born.

03:14The first to guide them through the early stages.

03:17Their first steps.

03:19Their first kills.

03:21Until they are finally unleashed upon the world.

03:30When you walk into this world, you walk into a film.

03:34A film with multiple paths and possibilities.

03:37With one story drawing you through.

03:42This world begins in an act of darkness.

03:45How this world ends is up to you.

03:51This is a world of shadows.

03:53There is a shadow on Lara.

03:55He watches.

03:57Waits.

03:58He buys his time.

04:00His name is Curtis.

04:02He wants revenge.

04:04And Lara will help him extract that revenge.

04:08For the first time, there is another playable character in Tomb Raider.

04:12A character whose abilities combine the supernatural with the superhuman.

04:17He has a different approach to Lara.

04:20Less subtle, perhaps, but still effective against certain opponents.

04:25It's a much more intelligent game for the enemies as well as Lara.

04:29The PlayStation 2 has got much more power to process enemies doing much more complicated things.

04:37The enemies in the game have evolved.

04:39They will work together.

04:41Notice when another enemy is killed and reanimated.

04:44They will work together.

04:46They will work together.

04:48They will work together.

04:50They will work together.

04:52Notice when another enemy is killed and react accordingly.

04:55These enemies will pursue Lara.

04:57They will not stop.

04:59They have not stopped in 600 years.

05:03The Monstrum.

05:04The Cabal.

05:05Eckhart.

05:06An unholy trinity guided by an unspeakable force.

05:11Their origins lie in the annals of alchemy.

05:14Not in its purported search for the secrets of gold,

05:17but in its real search for the secrets of the atom.

05:20If you control the atom, you can control life.

05:24You can create life.

05:26And you can steal life from others.

05:33This story is very much on an epic scale.

05:36From 14th century alchemists to serial killers in modern day France.

05:40To create something on this scale,

05:42it was necessary to take the ideas and production values from the film industry

05:46in the way they research the subjects,

05:48the backstory they create for their characters,

05:50and the depths of the visuals.

05:55This level of production requires a total consistency of purpose.

05:59Every aspect of the game has to be in keeping with the overall concept.

06:04Every person working on the game knows that they are working on an epic.

06:07And everything they do has to reflect that.

06:10From concept to completion.

06:12For the music to match the scale of the production,

06:14we decided to use the same process that major film studios use.

06:19In this case, the London Symphony Orchestra.

06:26It's an overwhelming thought having a music played by 84 of the world's top musicians.

06:31But the effect of the music when playing Angel of Darkness

06:34will be well worth the shredding of our nerves.

06:36On the day of the recording, we are in the good hands of Abbey Road Studios

06:40and David Snell, the conductor.

06:43In a sense, he visualises the music and translates it to the ears.

06:50We want the music to be ever-present,

06:52draw you into the world without you noticing.

06:55Part of the style of this game is that all the elements work together,

06:58by their time.

07:00We want the music to be ever-present,

07:02draw you into the world without you noticing.

07:06Wait for the moments when they are needed.

07:12At core, we had a very clear vision of where we wanted to go.

07:17We wanted to take the Lara we all knew

07:21and put it into a game,

07:23a situation that no one knows.

07:26Tomb Raider has always set the benchmark for games.

07:29This game will be no different.

07:32Some may see elements of various filmmakers,

07:35such as Luc Besson and David Fincher.

07:38Some may see elements of various artists, Grunwald, Bosch.

07:42All will see something they haven't seen before.

07:46When we wrote this story, we wrote a book.

07:49This game is only the first few chapters of that book.

07:53This game opens a lot of doors and only closes a few of them.

Tomb Raider: The Angel of Darkness - Making Of Video

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