Кто знает последние новости об этой игре??? И когда она выходит??! Плизззз, помогите!! Не могу найти о ней какие либо новости!!
P.S.: В Стране игр читал - мне МАЛО!
Little Big Adventure 3
Автор темы: kauri, 29 Apr 2004 01:21
9 ответов в этой теме
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#2
Irene
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Искатель приключений
Отправлено 10 May 2004 - 21:39
Че серьезно выходит LBA3? 
Life is just a dream on a way to death
#3
kauri
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His Majesty King
Отправлено 13 May 2004 - 23:45
КонеЧно! а ты че думала?! не все так просто в этой жизни!!
Вот жду каких-нибудь новостей!!
Вот жду каких-нибудь новостей!!
#4
Sehnsucht
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...Doch nur ein Tier... CrowPuncher
Отправлено 18 December 2004 - 13:27
Я вот во вторую играл! Игра стоит внимания, правда пока на подобную инфу не натыкался, о как увижу, сразу стукну сообщение...
#5
kauri
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His Majesty King
#6
Sehnsucht
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...Doch nur ein Tier... CrowPuncher
Отправлено 18 December 2004 - 21:28
Всегда пожалуйста... Скоро чтонить вкину...Благодарствую!!
#7
kauri
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His Majesty King
Отправлено 07 August 2005 - 11:33
Вот что я нашел:
15:09 Rabibunnies, Grobos, clones of Rabibunnies and clones of Grobos - to the uninitiated, the world of Twinsun is a baffling place. Lorded over by the dictatorship of Funfrock and with the strange wispy goddess known as Sendall apparently otherwise engaged, Little Big Adventure's odd, elliptical jaunts were once the height of Euro-gaming.
Y'see, there was a time in the late '80s and early '90s when the French gaming industry produced titles of quality and sophistication. Believe it or not, while LucasArts was busy revolutionising the adventure genre with Indiana Jones and Maniac Mansion, it fell to French studios like Delphine to refine the point-and-click format, creating games that were in turn intelligent and absorbing - games like Future Wars, Cruise For A Corpse and Operation Stealth, each of which remain among the very best examples in the woefully thin thriller genre. Then as LucasArts settled into a run of comedy classics, French games like Captain Blood, B.A.T., and Alone In The Dark would push the adventure game into new, darker territory, paving the way for the likes of Tomb Raider and Resident Evil.
But, as is so typical of the French (and the English for that matter), rather than capitalising on his new found success, Frederick Raynal - the creator of Alone In The Dark - wanted to innovate rather than iterate and, against a run of unending clones that games such as Doom and AITD had opened the floodgates to, he went out to forge a game as far removed from the blood-soaked corridors of the emergent first-person shooter as possible.
"Ever since Alien 8 and Knight Lore on the Spectrum, I had wanted to do an isometric game," he says, "but I wasn't satisfied with eight-directional sprites. So after Alone In The Dark, I was ready for a new step in 3D characters that could be integrated in lighted high-res isometric backgrounds. Don't get me wrong, we loved Doom, but we wanted to do something completely different. The idea was to make something fresh and colourful using the rounded aspect that 3D Gouraud shading offered, something with poetry, but also a real game with action and a lot of game mechanics. We also wanted a darker story that would attract the older player."
Raynal quickly got his chance. Before work on Alone In The Dark was complete, he was aware of the plans publisher Infogrames had for the sequel, and he knew it was something he wanted no part in creating. As soon as he could, Raynal and key members of his team cleared their desks and headed for the exit. "The head of Delphine Software came to find us in his Rolls Royce, offering carte blanche for Fred and the team," remembers Didier Chanfray, then 3D artist on AITD. "The offer came just at the right time, just when we were at rock bottom."
UN PETIT PLAN
As they waited for computers and paper clips to arrive at their new office, Raynal and the team that comprised the newly formed Adeline Software quickly resurrected the ideas they'd been fostering since before work on Alone In The Dark began. Ideas about museum break-ins, Dino-Flies and bunny-rabbit grenade assaults on dictators' palaces started flying around, for a game that it was hoped would give PC owners a taste of Zelda - the title that would prove to be LBA's greatest inspiration (as perhaps demonstrated by Twinsen's habit of playing musical instruments in front of locked doors).
"Always convinced that we should explore and invent new ways of conveying emotion, Fred made us part of the 'little' plan that had been forming in his mind for some time," recalls Chanfray. "He wanted to create a marvellous world where love and peace would be eternal, where kindness and social harmony reigned supreme." And, we might add, a game where pan-pipey music that your mum might listen to would get its first, and only, rapturous welcome to PC gaming.
According to Chanfray, Raynal 'the idealist' had already laid down plans for much of the gameplay before a line of code was written, where a fragile egghead (rather than a muscle-bound hero) would bounce a ball (rather than fire a weapon) in order to dispense of any evil, cloned Twinsunian folk or temple-dwelling skeletons. At the press of a key, he could switch through four modes that would allow Twinsen (the boundlessly energetic hero) to run, sneak or fight his way through a roomful of unsavoury characters. It was a cornerstone of those early brainstorming meetings that Little Big Adventure, as it would eventually be called, would be a game as diverse in terms of gameplay as it would be geographically. An adventure that combined characters, dialogue, story, puzzles and combat like never before.
"We kept our anti-Doom vision and wanted a richer style of gameplay with the main weapon," says Raynal. "There were several ways of using the magic ball with the four behaviour modes (Normal, Athletic, Aggressive and Discreet), and bounces that would relate to each one."
A WOMAN'S TOUCH
Stylistically, LBA worked perfectly as a direct result of the techniques employed in bringing the world of Twinsun (named after its twin suns) to life. Rounded, Gouraud-shaded polygons appeared very simple and cartoon-like and could be animated relatively easily, while keeping in-step with the cutesy-yet-dark mentality of the game. Seemingly so as not to appear too lifelike, Twinsen's movements were over-emphasised, comic, yet recognisably human and frail. "We obviously tried to imagine a fantasy world with deep references to our real world," says Raynal. "It's easier then for players to emphasise with the character they're controlling."
"For this project, the artistic direction was completely related to the techniques used," adds Chanfray. "For reasons of speed, the palette of 256 colours was organised in groups of 16 colours. This organisation allowed me to create perfectly round objects with very few polygons. After this, the design of the characters followed naturally. The 16 main colours set the tone of the game and were chosen by Yaлl (Barroz): only a female vision could create the feel we wanted."
For all the bright colours and Toyland creatures, however, Adeline wanted all along to present a darker side, preferably without having to resort to violent scenes of death and destruction. Indeed, ZONE readily recalls that even in the earliest levels of LBA, there's an undoubted malevolence in Toytown (Twinsen starts his journey being beaten up in an Asylum), and every time a Funfrockite guard slapped an emergency alarm and a cloned elephant teleported in and bore down on you, it was genuinely unnerving.
FIGHT THE GOOD FIGHT
"The framework of the scenario of Little Big Adventure is very conventional in its duality," admits Chanfray. "It's the eternal battle between good and evil. In a world where the animals speak (a real world of fantasy), you have to dramatise the evil in a realistic way so you actually feel like it exists. Because of this, the evil Funfrock has all of the attributes of an Earthly dictator - he is willing to sacrifice his own people to get what he wants, he speaks frequently and manipulatively, and he has a personality cult with propaganda littering the streets."
Significantly, whilst work on AITD is remembered with anxiety, Raynal recalls LBA's development with great fondness, recalling very few instances where the grind of development overshadowed creative desire.
"It was ten years ago; I now have the feeling that everything was almost perfect. We did have very good relationships in the team and (almost) each day was a pleasure," he says, before absent-mindedly recalling an instance when it seemed all the work that had been done was lost due to a hard disk crash with the server. Despite being independent from Infogrames, however, Raynal does have a few regrets with how LBA turned out. From the beginning it was envisaged that outdoor areas would be rendered in full 3D. Sadly, there was no time to develop the necessary tools, although it was a feature that would dominate the sequel.
"If I could, I would go back and change the save game feature," admits Raynal. "LBA was originally for the PC but there were also plans to create a version for Super Nintendo, so we tried to have the same system for both. It was still useful for the PlayStation version, but it didn't work out so well on PC."
But the biggest gripe players had was that when controlling Twinsen indoors, in Athletic (run) mode he would bound off the walls in a fit of temporary disorientation. "It was to simulate the fact that you don't run in small areas like houses, you walk," says Raynal with a smile. "OK, bad idea."
LITTLE BIG RELEASE
Named Relentless in the US (Little Big Adventure was deemed to be too fey a title by the suits at EA, who wanted a tougher name that would appeal to the Doom generation), LBA was released in December 1994, earning itself a PC Zone Classic award and shifting half a million copies. A PlayStation version followed, as did a sequel, LBA2: Twinsen's Odyssey in 1997, a game that would see our hero memorably visiting a low-gravity moon, interact with a hideous dustbin-occupying alien race known as the Esmers, and drive a little car around a desert - and of course, finally fulfill Raynal's vision for a full 3D camera.
"We had to reinforce the contrast between indoors and outdoors sceneries, as I really wanted a 3D view for external backgrounds since the beginning," remembers Raynal. "I really appreciated the work of Serge Plagnol and Cedric Bermond, who were low-level engineers and did very efficient graphic code and Windows 95 implementation. But my favourite time in LBA2's development were the brainstorming meetings when we created the basis of the story and the planet of Zeelich." Ah, the hive-like home of the Mosquibees, the mining Wannies of the Undergas and the Gazogem-producing Francos - who looked more than a little bit like sausages, and were invariably on the receiving end of one of Twinsen's trademarked 'seeing stars' biffs to the face.
Despite selling a healthy 300,000 copies, LBA2 and its quest to unmask the evil Black Monk (who turned out to be Funfrock in disguise) marked a premature end to the Twinsen story. Work on a third episode had began, but a deal was brokered that would see Adeline become part of the Sega empire. The team was renamed No Clichй, and work on a secret Dreamcast project commenced. In 1999, in time for the US launch of Sega's last console, Toy Commander was released, a good game, but neither big, nor little, nor in any sense of the word an adventure.
Today Raynal is working on a few projects as an external consultant and promising to "jump on some real stuff in a few months." Perhaps then it's not too late to hope for a third game that might conclude the adventures of everyone's favourite Quetch?
"There is nothing that really prevents LBA3 from seeing the light of day," says Raynal hopefully. "Didier and I speak a lot about it these days."
"LBA3 is ready," says Chanfray, before dropping us down to Earth, "only so far, it's only in the head of Fred and myself. Unfortunately, putting a title into production today is difficult. There isn't any real publisher desire for this type of product. The big name publishers are happy to manage their biggest-selling titles and that's it... That's all there is to say!"
He may be optimistic about fathering a new Little Big Adventure, but Frederick Raynal is unconvinced that the original was anything more than just a good game. We insist his work continues to be an inspiration, citing the recent Beyond Good & Evil as proof, but Raynal just shrugs. "LBA was the logical convergence and evolution of several inspirational games. It's just another brick in the wall." A very large brick, we quietly add.
15:09 Rabibunnies, Grobos, clones of Rabibunnies and clones of Grobos - to the uninitiated, the world of Twinsun is a baffling place. Lorded over by the dictatorship of Funfrock and with the strange wispy goddess known as Sendall apparently otherwise engaged, Little Big Adventure's odd, elliptical jaunts were once the height of Euro-gaming.
Y'see, there was a time in the late '80s and early '90s when the French gaming industry produced titles of quality and sophistication. Believe it or not, while LucasArts was busy revolutionising the adventure genre with Indiana Jones and Maniac Mansion, it fell to French studios like Delphine to refine the point-and-click format, creating games that were in turn intelligent and absorbing - games like Future Wars, Cruise For A Corpse and Operation Stealth, each of which remain among the very best examples in the woefully thin thriller genre. Then as LucasArts settled into a run of comedy classics, French games like Captain Blood, B.A.T., and Alone In The Dark would push the adventure game into new, darker territory, paving the way for the likes of Tomb Raider and Resident Evil.
But, as is so typical of the French (and the English for that matter), rather than capitalising on his new found success, Frederick Raynal - the creator of Alone In The Dark - wanted to innovate rather than iterate and, against a run of unending clones that games such as Doom and AITD had opened the floodgates to, he went out to forge a game as far removed from the blood-soaked corridors of the emergent first-person shooter as possible.
"Ever since Alien 8 and Knight Lore on the Spectrum, I had wanted to do an isometric game," he says, "but I wasn't satisfied with eight-directional sprites. So after Alone In The Dark, I was ready for a new step in 3D characters that could be integrated in lighted high-res isometric backgrounds. Don't get me wrong, we loved Doom, but we wanted to do something completely different. The idea was to make something fresh and colourful using the rounded aspect that 3D Gouraud shading offered, something with poetry, but also a real game with action and a lot of game mechanics. We also wanted a darker story that would attract the older player."
Raynal quickly got his chance. Before work on Alone In The Dark was complete, he was aware of the plans publisher Infogrames had for the sequel, and he knew it was something he wanted no part in creating. As soon as he could, Raynal and key members of his team cleared their desks and headed for the exit. "The head of Delphine Software came to find us in his Rolls Royce, offering carte blanche for Fred and the team," remembers Didier Chanfray, then 3D artist on AITD. "The offer came just at the right time, just when we were at rock bottom."
UN PETIT PLAN
As they waited for computers and paper clips to arrive at their new office, Raynal and the team that comprised the newly formed Adeline Software quickly resurrected the ideas they'd been fostering since before work on Alone In The Dark began. Ideas about museum break-ins, Dino-Flies and bunny-rabbit grenade assaults on dictators' palaces started flying around, for a game that it was hoped would give PC owners a taste of Zelda - the title that would prove to be LBA's greatest inspiration (as perhaps demonstrated by Twinsen's habit of playing musical instruments in front of locked doors).
"Always convinced that we should explore and invent new ways of conveying emotion, Fred made us part of the 'little' plan that had been forming in his mind for some time," recalls Chanfray. "He wanted to create a marvellous world where love and peace would be eternal, where kindness and social harmony reigned supreme." And, we might add, a game where pan-pipey music that your mum might listen to would get its first, and only, rapturous welcome to PC gaming.
According to Chanfray, Raynal 'the idealist' had already laid down plans for much of the gameplay before a line of code was written, where a fragile egghead (rather than a muscle-bound hero) would bounce a ball (rather than fire a weapon) in order to dispense of any evil, cloned Twinsunian folk or temple-dwelling skeletons. At the press of a key, he could switch through four modes that would allow Twinsen (the boundlessly energetic hero) to run, sneak or fight his way through a roomful of unsavoury characters. It was a cornerstone of those early brainstorming meetings that Little Big Adventure, as it would eventually be called, would be a game as diverse in terms of gameplay as it would be geographically. An adventure that combined characters, dialogue, story, puzzles and combat like never before.
"We kept our anti-Doom vision and wanted a richer style of gameplay with the main weapon," says Raynal. "There were several ways of using the magic ball with the four behaviour modes (Normal, Athletic, Aggressive and Discreet), and bounces that would relate to each one."
A WOMAN'S TOUCH
Stylistically, LBA worked perfectly as a direct result of the techniques employed in bringing the world of Twinsun (named after its twin suns) to life. Rounded, Gouraud-shaded polygons appeared very simple and cartoon-like and could be animated relatively easily, while keeping in-step with the cutesy-yet-dark mentality of the game. Seemingly so as not to appear too lifelike, Twinsen's movements were over-emphasised, comic, yet recognisably human and frail. "We obviously tried to imagine a fantasy world with deep references to our real world," says Raynal. "It's easier then for players to emphasise with the character they're controlling."
"For this project, the artistic direction was completely related to the techniques used," adds Chanfray. "For reasons of speed, the palette of 256 colours was organised in groups of 16 colours. This organisation allowed me to create perfectly round objects with very few polygons. After this, the design of the characters followed naturally. The 16 main colours set the tone of the game and were chosen by Yaлl (Barroz): only a female vision could create the feel we wanted."
For all the bright colours and Toyland creatures, however, Adeline wanted all along to present a darker side, preferably without having to resort to violent scenes of death and destruction. Indeed, ZONE readily recalls that even in the earliest levels of LBA, there's an undoubted malevolence in Toytown (Twinsen starts his journey being beaten up in an Asylum), and every time a Funfrockite guard slapped an emergency alarm and a cloned elephant teleported in and bore down on you, it was genuinely unnerving.
FIGHT THE GOOD FIGHT
"The framework of the scenario of Little Big Adventure is very conventional in its duality," admits Chanfray. "It's the eternal battle between good and evil. In a world where the animals speak (a real world of fantasy), you have to dramatise the evil in a realistic way so you actually feel like it exists. Because of this, the evil Funfrock has all of the attributes of an Earthly dictator - he is willing to sacrifice his own people to get what he wants, he speaks frequently and manipulatively, and he has a personality cult with propaganda littering the streets."
Significantly, whilst work on AITD is remembered with anxiety, Raynal recalls LBA's development with great fondness, recalling very few instances where the grind of development overshadowed creative desire.
"It was ten years ago; I now have the feeling that everything was almost perfect. We did have very good relationships in the team and (almost) each day was a pleasure," he says, before absent-mindedly recalling an instance when it seemed all the work that had been done was lost due to a hard disk crash with the server. Despite being independent from Infogrames, however, Raynal does have a few regrets with how LBA turned out. From the beginning it was envisaged that outdoor areas would be rendered in full 3D. Sadly, there was no time to develop the necessary tools, although it was a feature that would dominate the sequel.
"If I could, I would go back and change the save game feature," admits Raynal. "LBA was originally for the PC but there were also plans to create a version for Super Nintendo, so we tried to have the same system for both. It was still useful for the PlayStation version, but it didn't work out so well on PC."
But the biggest gripe players had was that when controlling Twinsen indoors, in Athletic (run) mode he would bound off the walls in a fit of temporary disorientation. "It was to simulate the fact that you don't run in small areas like houses, you walk," says Raynal with a smile. "OK, bad idea."
LITTLE BIG RELEASE
Named Relentless in the US (Little Big Adventure was deemed to be too fey a title by the suits at EA, who wanted a tougher name that would appeal to the Doom generation), LBA was released in December 1994, earning itself a PC Zone Classic award and shifting half a million copies. A PlayStation version followed, as did a sequel, LBA2: Twinsen's Odyssey in 1997, a game that would see our hero memorably visiting a low-gravity moon, interact with a hideous dustbin-occupying alien race known as the Esmers, and drive a little car around a desert - and of course, finally fulfill Raynal's vision for a full 3D camera.
"We had to reinforce the contrast between indoors and outdoors sceneries, as I really wanted a 3D view for external backgrounds since the beginning," remembers Raynal. "I really appreciated the work of Serge Plagnol and Cedric Bermond, who were low-level engineers and did very efficient graphic code and Windows 95 implementation. But my favourite time in LBA2's development were the brainstorming meetings when we created the basis of the story and the planet of Zeelich." Ah, the hive-like home of the Mosquibees, the mining Wannies of the Undergas and the Gazogem-producing Francos - who looked more than a little bit like sausages, and were invariably on the receiving end of one of Twinsen's trademarked 'seeing stars' biffs to the face.
Despite selling a healthy 300,000 copies, LBA2 and its quest to unmask the evil Black Monk (who turned out to be Funfrock in disguise) marked a premature end to the Twinsen story. Work on a third episode had began, but a deal was brokered that would see Adeline become part of the Sega empire. The team was renamed No Clichй, and work on a secret Dreamcast project commenced. In 1999, in time for the US launch of Sega's last console, Toy Commander was released, a good game, but neither big, nor little, nor in any sense of the word an adventure.
Today Raynal is working on a few projects as an external consultant and promising to "jump on some real stuff in a few months." Perhaps then it's not too late to hope for a third game that might conclude the adventures of everyone's favourite Quetch?
"There is nothing that really prevents LBA3 from seeing the light of day," says Raynal hopefully. "Didier and I speak a lot about it these days."
"LBA3 is ready," says Chanfray, before dropping us down to Earth, "only so far, it's only in the head of Fred and myself. Unfortunately, putting a title into production today is difficult. There isn't any real publisher desire for this type of product. The big name publishers are happy to manage their biggest-selling titles and that's it... That's all there is to say!"
He may be optimistic about fathering a new Little Big Adventure, but Frederick Raynal is unconvinced that the original was anything more than just a good game. We insist his work continues to be an inspiration, citing the recent Beyond Good & Evil as proof, but Raynal just shrugs. "LBA was the logical convergence and evolution of several inspirational games. It's just another brick in the wall." A very large brick, we quietly add.
#8
Viktor007
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Археолог
Отправлено 22 September 2005 - 16:29
Она не выйдет
"Не беспокойся о том, что у тебя нет высокого чина. Беспокойся о том, достоин ли ты того, чтобы иметь высокий чин." © Конфуций
http://vkontakte.ru/club102783 - Группа Tomb Raiders
http://facebook.com/...gid=22442764159
http://vkontakte.ru/club102783 - Группа Tomb Raiders
http://facebook.com/...gid=22442764159
#9
Benz!n
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Человек кусает собаку
Отправлено 22 September 2005 - 20:23
Слышал, что студия закрылась.
А так играл на заре российской компьютеризации во вторую... на первом острове очень даже понравилось бегать, но вряд ли сейчас было бы так интересно.
А так играл на заре российской компьютеризации во вторую... на первом острове очень даже понравилось бегать, но вряд ли сейчас было бы так интересно.
Hooray! Hurrah!
#10
Intelligence
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ONE
Отправлено 23 September 2005 - 01:59
Накрылся этот проект.
Starring Lara Croft
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