DOCSLIB.ORG

Limited Edition Jeep® Wrangler Rubicon Tomb Raider Model Available in July

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Limited Edition Jeep® Wrangler Rubicon Tomb Raider Model Available in July Contact: Carrie McElwee Limited Edition Jeep® Wrangler Rubicon Tomb Raider Model Available in July Limited Edition Jeep Wrangler Rubicon model based on summer movie "Lara Croft Tomb Raider: The Cradle of Life" Exclusive serial numbered collector's edition May 19, 2003, Auburn Hills, Mich. - The limited edition 2003 Jeep® Wrangler Rubicon Tomb Raider model debuts in July to coincide with the release of the new film "Lara Croft Tomb Raider: The Cradle of Life." A customized version of the Jeep Wrangler Rubicon is driven in the film by virtual game heroine Lara Croft, played by Angelina Jolie. "The Jeep Wrangler Rubicon is the most capable Jeep ever built, so the heroic and extreme environment in which Lara Croft uses her custom Wrangler Rubicon in Tomb Raider is accurate," said Jeff Bell, Vice President, Jeep, Chrysler Group. "This is more than just a product placement. We have created a 360-degree integrated marketing campaign around the movie and the debut of the Wrangler Rubicon Tomb Raider model." Based on the Jeep Wrangler Rubicon designed and created specifically for the movie, the Wrangler Rubicon Tomb Raider model highlights the unbeatable capability of the Wrangler Rubicon in extreme conditions. Unique exterior features on the Wrangler Rubicon Tomb Raider model are 16-inch Alcoa forged aluminum wheels, Tomb Raider badging and a number of Mopar accessories including a light bar, riveted fender flares, tubular grille guard, diamond plate bumper guard, rock rails, fog lamp and taillamp guards, black tubular grille guard, fog lamps with brush guards, riveted fender flares in graphite, aluminum diamond plate bumper guard in black, black rock rails and taillamp guards. Inside the Wrangler Rubicon Tomb Raider are unique Dark Slate fabric seats with red accent stitching down the center, silver surround instrument panel bezel, red seat belts and a Tomb Raider badge with serial number. As with the custom vehicle in the film, all Wrangler Rubicon Tomb Raider models are offered in Bright Silver. Intended to be a collector's vehicle, a limited edition of just over 1,000 vehicles will be available beginning in July at dealerships across the U.S. The base price of the Wrangler Rubicon Tomb Raider is $28,815, including destination. The Chrysler Group's Jeep Design Studio team, in collaboration with Kirk Petruccelli and Graham Kelly from the Paramount Tomb Raider production team, designed and built the customized Jeep Wrangler Rubicon featured in the film. The Jeep Design Studio applied that same design theme from the custom Wrangler Rubicon for the movie vehicle to this production model. Under the skin, the Tomb Raider model is based on the most capable vehicle ever built -- Jeep Wrangler Rubicon. As all Wrangler Rubicon models, the Tomb Raider model features Tru-Lok™ driver actuated front and rear locking differentials, front and rear Dana model 44 axles, four-wheel disc brakes, Rock-Trac™ 4:1 low range transfer case and maximum traction reinforced 31-inch tall tires with a trail grabbing tread pattern. "In the movie, this vehicle will be showcased in many rugged and extreme situations, highlighting key strengths of the brand in a new and exciting way," said Bell. "You'll see the Jeep crossing harsh desert and jungle terrain without any difficulty — true Jeep capability." To showcase Jeep vehicle capability and authenticity, the brand is creating 30- and 60- second spots that feature footage from the film as well as original footage in which Jolie appears as Lara Croft. Print advertising will start in mid- May for June issues, and TV advertising will air on June 9. The first Tomb Raider movie was a massive blockbuster, grossing $47.7 million in the opening weekend, the biggest opening ever for a film with a female star. Worldwide, the film went on to make nearly $300 million in its theatrical release. Lara Croft and Tomb Raider are Trademarks of Core Design Ltd. The Cradle of Life is a Trademark of Paramount. -###- Additional information and news from Stellantis are available at: https://media.stellantisnorthamerica.com .
Load more

Recommended publications
  • PRESSEMITTEILUNG 24.04.2018 K.Flay Mit Ihrem Album „Every Where Is Some Where“ Auf Tour
    FKP Scorpio Konzertproduktionen GmbH Große Elbstr. 277 a ∙ 22767 Hamburg Tel. (040) 853 88 888 ∙ www.fkpscorpio.com PRESSEMITTEILUNG 24.04.2018 K.Flay mit ihrem Album „Every Where Is Some Where“ auf Tour Toughe Heldinnen brauchen einen toughen Soundtrack. Und wenn Lara Croft sich dieser Tage im dritten Teil der „Tomb Raider“-Serie durch alle Gefahren kämpft, denen sich eine furchtlose Archäologin eben auf der Suche nach ihrem Vater gegenübersieht, passt es exzellent, dass K.Flay auf dem zugehörigen Album vertreten ist. „Run For Your Life“ ist eine elektronisch verfremdete, gehetzte, gezischte, geraunte akustische Version der obercoolen Film-Heroine. Nach dem Feature auf Robert DeLongs jüngster Single „Favorite Color Is Blue“ (die nebenbei gesagt längst die Millionengrenze bei Spotify geknackt hat) hat die Musikerin also ein zweites neues Stück veröffentlicht, dass die Wertschätzung widerspiegelt, die der Amerikanerin inzwischen entgegen gebracht wird. Zurzeit ist sie mit Imagine Dragons auf Europa-Tour und hat eben erst mit ihrer kleinen Band bei drei exklusiven Headline-Shows unsere Häuser gerockt. Jetzt hat K.Flay bestätigt, dass sie im Oktober für fünf weitere Auftritte nach Deutschland kommt. Mit ihrem Genre-Mashup aus Indie, Pop, Electro, R’n’B und Rap verzichtet die aus Illinois stammende Sängerin und Gitarristin auf Grenzen jeglichen Mainstreams. Ihre jüngste Platte „Every Where Is Some Where“ klingt trotzig und bewusst grobkörnig, dabei extrem verdichtet und gewissermaßen ungeschminkt. Deshalb spielen auch Live-Gitarren, Bass-Parts und Schlagzeugaufnahmen so eine zentrale Rolle auf diesem neuen Album und bei der überzeugenden Live-Performance. Die Lyrics haben durchaus literarische Qualitäten, was nicht so sehr verwundert, wenn man bedenkt, dass K.Flay unter anderem die Autorin Marilynne Robinson zu ihren Inspirationsquellen zählt.
    [Show full text]
  • Shadow of the Tomb Raider Verdict
    Shadow Of The Tomb Raider Verdict Jarrett rethink directly while slipshod Hayden mulches since or scathed substantivally. Epical and peatier Erny still critique his peridinians secretively. Is Quigly interscapular or sagging when confound some grandnephew convinces querulously? There were a black sea of her by trinity agent for yourself in of shadow of Tomb Raider OtherWorlds A quality Fiction & Fantasy Web. Shadow area the Tomb Raider Review Best facility in the modern. A Tomb Raider on support by Courtlessjester on DeviantArt. Shadow during the Tomb Raider is creepy on PS4 Xbox One and PC. Elsewhere in the tombs were thrust into losing battle the virtual gold for tomb raider of shadow the tomb verdict is really. Review Shadow of all Tomb Raider WayTooManyGames. Once lara ignores the tomb raider. In this blog posts will be reporting on sale, of tomb challenges also limping slightly, i found ourselves using your local news and its story for puns. Tomb Raider games have one far more impressive. That said it is not necessarily a bad thing though. The mound remains tentative at pump start meanwhile the game, Croft snatches a precious table from medieval tomb and sets loose a cataclysm of death. Trinity to another artifact located in Peru. Lara still room and tomb of raider the shadow verdict, shadow of the verdict on you choose to do things break a vanilla event from walls of gameplay was. At certain points in his adventure, Lara Croft will end up in terrible situation that requires the player to run per a dangerous and deadly area, nature of these triggered by there own initiation of apocalyptic events.
    [Show full text]
  • A Message from the Final Fantasy Vii Remake
    FOR IMMEDIATE RELEASE A MESSAGE FROM THE FINAL FANTASY VII REMAKE DEVELOPMENT TEAM LONDON (14th January 2020) – Square Enix Ltd., announced today that the global release date for FINAL FANTASY® VII REMAKE will be 10 April 2020. Below is a message from the development team: “We know that so many of you are looking forward to the release of FINAL FANTASY VII REMAKE and have been waiting patiently to experience what we have been working on. In order to ensure we deliver a game that is in-line with our vision, and the quality that our fans who have been waiting for deserve, we have decided to move the release date to 10th April 2020. We are making this tough decision in order to give ourselves a few extra weeks to apply final polish to the game and to deliver you with the best possible experience. I, on behalf of the whole team, want to apologize to everyone, as I know this means waiting for the game just a little bit longer. Thank you for your patience and continued support. - Yoshinori Kitase, Producer of FINAL FANTASY VII REMAKE” FINAL FANTASY VII REMAKE will be available for the PlayStation®4 system from 10th April 2020. For more information, visit: www.ffvii-remake.com Related Links: Facebook: https://www.facebook.com/finalfantasyvii Twitter: https://twitter.com/finalfantasyvii Instagram: https://www.instagram.com/finalfantasyvii/ YouTube: https://www.youtube.com/finalfantasy #FinalFantasy #FF7R About Square Enix Ltd. Square Enix Ltd. develops, publishes, distributes and licenses SQUARE ENIX®, EIDOS® and TAITO® branded entertainment content in Europe and other PAL territories as part of the Square Enix group of companies.
    [Show full text]
  • “BLOOD TIES” CHAPTER NOW AVAILABLE for Steamvr
    RISE OF THE TOMB RAIDER “BLOOD TIES” CHAPTER NOW AVAILABLE FOR SteamVR HTC Vive and Oculus Rift Headset Owners Can Now Experience “Blood Ties” in Virtual Reality REDWOOD SHORES, CA (December 5, 2017) – Square Enix®, and award-winning studio Crystal Dynamics® and Nixxes Software today announced that the “Blood Ties” story chapter from the critically acclaimed Rise of the Tomb Raider®, is now available for Steam®VR and compatible with HTC Vive and Oculus Rift virtual reality headsets. For the first time, HTC Vive and Oculus Rift owners can experience the “Blood Ties” single-player story chapter to unlock the mysteries of Croft Manor on SteamVR. When Lara’s uncle contests ownership of the family Manor, Lara must explore deep within the estate to find the hidden history that she is the rightful heir; or, lose her birthright and father’s secrets forever. Explore Lara’s childhood home in over an hour of new story, and uncover a Croft family mystery that will change her life forever. This new release adds another treasure celebrating Crystal Dynamics 25th anniversary: new functionality to the critically acclaimed and award-winning Rise of the Tomb Raider. Season pass owners can download the VR content for free and also receive all of the new content featured in the 20 Year Celebration edition including: Co-op Endurance gameplay, “Extreme Survivor” difficulty for the main campaign, 20 Year Celebration outfit and gun, 5 classic Lara skins, and all previously released Downloadable Content such as “Baba Yaga: The Temple of the Witch,” “Cold Darkness Awakened,” 12 outfits, seven weapons, multiple Expedition Card packs, and more! Rise of the Tomb Raider: 20 Year Celebration™ has received over 100 awards and nominations and is available for the PlayStation®4, PlayStation®4 Pro, Xbox One, Xbox One X and PC.
    [Show full text]
  • Tomb Raider III (PC)
    END USER LICENSE AGREEMENT AND LIMITED WARRANTY Tomb Raider III (PC) IMPORTANT - Please read this End User Licence Agreement (“EULA”) carefully before installing this Software Product. By installing, copying, and/or otherwise using the Software Product you agree to be bound by the terms of this EULA and we are only prepared to licence you to use the Software Product on the terms of this EULA. Before installing this Software Product please make sure that your computer meets the minimum technical specifications for the proper operation of this Software Product. YOUR PARTICULAR ATTENTION IS DRAWN TO: - THE EXCLUSION CLAUSE AND LIMITATION OF LIABILITY CONTAINED IN PARAGRAPH 9 BELOW; AND - THE PROVISIONS OF PARAGRAPHS 4 AND 5 WHICH DESCRIBE CERTAIN INFORMATION WHICH MAY BE COLLECTED, STORED AND USED BY US AS A RESULT OF YOUR INSTALLATION AND USE OF THIS SOFTWARE PRODUCT AND/OR ONLINE FEATURES AND EXPLAINS HOW YOUR PERSONAL DATA WILL BE PROTECTED. BY ACCEPTING THIS EULA AND INSTALLING THIS SOFTWARE PRODUCT YOU ARE GIVING YOUR CONSENT TO OUR COLLECTION, STORAGE, USE AND PROCESSING OF SUCH INFORMATION AND DATA IN ACCORDANCE WITH PARAGRAPH 5, OUR PRIVACY AND COOKIES POLICIES. SEL TAKES YOUR PRIVACY SERIOUSLY AND WE STRONGLY RECOMMEND YOU TAKE TIME TO READ OUR PRIVACY POLICY AND COOKIES POLICY AND PERIODICALLY CHECK FOR ANY UPDATES MADE TO IT. (i) PURCHASE OF SOFTWARE PRODUCT BY DOWNLOAD IF YOU AGREE TO BE BOUND BY THIS EULA PLEASE CLICK "I ACCEPT" AT THE END OF THIS EULA AT WHICH POINT THE SOFTWARE PRODUCT WILL BE INSTALLED ONTO YOUR HARD DRIVE. IF YOU DO NOT AGREE TO BE BOUND BY THE TERMS OF THIS EULA CLICK "NOT ACCEPTED" AND THE SOFTWARE PRODUCT WILL NOT BE LOADED ONTO YOUR HARD DRIVE AND NO LICENCE SHALL BE GRANTED TO YOU IN RESPECT OF THE SOFTWARE PRODUCT.
    [Show full text]
  • Gender and Audience Reception of English-Translated Manga
    Girly Girls and Pretty Boys: Gender and Audience Reception of English-translated Manga June M. Madeley University of New Brunswick, Saint John Introduction Manga is the term used to denote Japanese comic books. The art styles and publishing industry are unique enough to warrant keeping this Japanese term for what has become transnational popular culture. This paper represents a preliminary analysis of interview data with manga readers. The focus of the paper is the discussion by participants of their favourite male and female characters as well as some general discussion of their reading practices. Males and females exhibit some reading preferences that are differentiated by gender. There is also evidence of gendered readings of male and female characters in manga. Manga in Japan are published for targeted gender and age groups. The broadest divisions are between manga for girls, shōjo, and manga for boys, shōnen. Unlike Canada and the USA, manga is mainstream reading in Japan; everyone reads manga (Allen and Ingulsrud 266; Grigsby 64; Schodt, Dreamland 21). Manga stories are first serialized in anthology magazines with a specific target audience. Weekly Shōnen Jump is probably the most well known because it serializes the manga titles that have been made into popular anime series on broadcast television in North America (and other transnational markets) such as Naruto and Bleach. Later, successful titles are compiled and reprinted as tankobon (small digest-sized paperback books). The tankobon is the format in which manga are translated into English and distributed by publishers with licensing rights purchased from the Japanese copyright holders. Translated manga are also increasingly available through online scanlations produced by fans who are able to translate Japanese to English.
    [Show full text]
  • Comics and Videogames
    14 Creating Lara Croft The meaning of the comic books for the Tomb Raider franchise Josefa Much Since the creation of Lara Croft in 1996, it seems impossible to imagine the game industry without her. Her pop-cultural impact certainly affected the gaming industry, but the expansion of her character into a whole franchise has also immortalized her through action figures, cosplay, music videos, and appearances in many other media. If you take a closer look at the franchise, you will find a number of different videogames for different gaming platforms as well as three action films, six novels, and many comic books. Shortly after the release of the very firstTomb Raider game in 1996, the comic book pub- lisher Top Cow released a crossover with their own heroine Sara Pezzini aka Witchblade and Lara Croft: Tomb Raider/ Witchblade (Turner 1997, 1998). The Witchblade comic books were one of Top Cow’s most prominent series. As a result, something very interesting happened: Lara Croft was introduced into a new universe beyond her own games, and thus into a new storyworld. She became part of the Top Cow universe as both franchises collided. Two years later, the Tomb Raider received her own stand- alone comic book series. It not only focused on her adventures, but also on her personal thoughts and approach, introducing different characters and friends of hers. Later on, this would be used to create new crossovers with different Top Cow characters (e.g., Dark Crossing [Holland and Turner 2000a, 2000b]; Endgame [Rieber and Green 2003a, 2003b, 2003c; Silvestri and Tan 2003; Turner 2002c]; the Magdalena crossover [Bonny and Basaldua 2004a, 2004b, 2004c]; the Fathom/ Witchblade/ Tomb Raider crossover [Turner 2000, 2002a, 2002b]).
    [Show full text]
  • More Than a Game
    More than a game prelims.p65 1 13/02/03, 13:59 For Diane and Eve – the people who really matter prelims.p65 2 13/02/03, 13:59 More than a game The computer game as fictional form Barry Atkins Manchester University Press Manchester and New York distributed exclusively in the USA by Palgrave prelims.p65 3 13/02/03, 13:59 Copyright © Barry Atkins 2003 The right of Barry Atkins to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. Published by Manchester University Press Oxford Road, Manchester M13 9NR, UK and Room 400, 175 Fifth Avenue, New York, NY 10010, USA www.manchesteruniversitypress.co.uk Distributed exclusively in the USA by Palgrave, 175 Fifth Avenue, New York, NY 10010, USA Distributed exclusively in Canada by UBC Press, University of British Columbia, 2029 West Mall, Vancouver, BC, Canada V6T 1Z2 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data applied for ISBN 0 7190 6364 7 hardback 0 7190 6365 5 paperback First published 2003 11 10 09 08 07 06 05 04 03 10 9 8 7 6 5 4 3 2 1 Typeset by Freelance Publishing Services, Brinscall, Lancs www.freelancepublishingservices.co.uk Printed in Great Britain by Bell and Bain Ltd, Glasgow prelims.p65 4 13/02/03, 13:59 Contents Acknowledgements page vi 1 The computer game as fictional form 1 The postmodern temptation 8 Reading game-fictions 21 2 Fantastically real: reading Tomb Raider 27 Lara Croft:
    [Show full text]
  • Game Narrative Review Tomb Raider1
    Game Narrative Review ==================== Your name: Shoshana Kessock Your school: NYU Game Center, Tisch School of the Arts Your email: [email protected] Month/Year you submitted this review: 12/2013 ==================== Game Title: Tomb Raider Platform: Playstation 3 Genre: Action/Adventure Release Date: March 5, 2013 Developer: Crystal Dynamics Publisher: Square Enix Game Writer/Creative Director/Narrative Designer: Rhianna Pratchet (Game Writer), Noah Hughs and Cory Barlog (Creative Directors). Overview Tomb Raider is the latest in a long line of games dating back to 1996. This installment of the franchise takes players back to the origins of the game’s protagonist, Lara Croft. It presents the story of Lara’s origin from college student to globe-trotting archeologist, packaged in a challenging puzzle platformer adventure for players to enjoy. Shipwrecked on a supposedly deserted island, Lara fights to rescue her friends from a crazed cult of Sun Queen worshippers, and in doing so grows into the action-adventure heroine that has influenced the video game industry for over twenty years. The environment and storyline provide a rich landscape for Lara to explore and offers audiences all the nostalgia of old Tomb Raider adventures while still keeping the gameplay fresh with new features. The game also allowed designers to address previous accusations of over-sexualization of Croft by designing a younger, more realistically portrayed main character for a modern audience. This allows the game to be revitalized past its earlier popular roots and into a more relatable, sleek future. Characters The cast of Tomb Raider can be broken down into three opposing factions: the crew of the Endurance, the Solarii Brotherhood and the terrifying Stormguard.
    [Show full text]
  • Copyrighted Material
    Index Ace Combat, 11 audience achievements, 368–369 age of, 29 Action Cartooning (Caldwell), 84n1 control needs of, 158–159 actuators, 166–167 pitch presentation and, 417–421 Advance Wars series, 11 Auto Race, 7 aerial combat, 270 autosave, 192, 363–364 Aero the Acrobat, 52 “ah-ha!” experience, 349 background music, 397–398 “aim assist,” 173 backtracking, 228 aiming, 263–264 badass character, 86–88, 86n2 Aliens (movie), 206 bad video games, 25, 429 “alley” level design, 218–219 Band Hero, 403 Alone in the Dark, 122 Banjo-Kazooie, 190 Alphabetical Bestiary of Choices, 304–313 Batman: Arkham Asylum, 46, 50, 110, 150, 173, 177, alternate endings, 376 184, 250, 251, 277, 278, 351, 374 American Physical Therapy Association exercises/ Batman comic book, 54 advice, 159–161, 159n3 Batman TV program, 86, 146 ammunition gauge, 174 Battle of the Bands, 404 amnesia, 47, 76, 76n9 BattleTech Centers, 5–6 Animal Crossing, 117n10, 385 Battletoads, 338 animated cutscenes, 408 Battlezone, 5, 14 animatics, 74 beat chart, 74, 77–79, 214–216 anthropomorphic characters/themes, 92, 459 Beetlejuice (movie), 18 anti-hero, 86n2 beginning/middle/end (stories), 41, 50–51, 50n9, 435 anti-power-ups, 361 behavior (enemies), 284–289 appendixes (GDD), 458 Bejeweled, 41, 350, 368 armor, 259–261, 361 bi-dimensional gameplay, 127 Army of Two, 112, 113 Bilson, Danny, 3 Arnenson, Dave, 217n13, 223–229 Bioshock, 46, 46n9, 118, 208n9, 212, 214, 372 artifi cial intelligence, 13,COPYRIGHTED 42, 71, 112, 113, 293 “bite-size” MATERIAL play sessions, 46, 79 artist positions (video game industry), 13–14 Blade Runner, 397 Art of Star Wars series (Del Rey), 84n1 Blazing Angels series, 11 The Art of Game Design (Schell), 15n14 Blinx: the Time Sweeper, 26 Ashcraft, Andy, 50 blocks/parries, 258–259, 287, 300–301 Assassin’s Creed series, 21, 172 Bluth, Don, 13 Asteroids, 5 bombs, 47–48, 247, 272, 358, 381 attack matrix, 248, 267, 279 bonus materials, 373–376 Attack of the Clones (movie), 202n6 bonus materials screen, 195 attack patterns (boss attack patterns), 323 rewards and, 373–376 attacks.
    [Show full text]
  • Alphabetical Order (Created & Managed by Manyfist)
    Jump List • Alphabetical Order (Created & Managed by Manyfist) 1. 007 2. 80’s Action Movie 3. A Certain Magical Index 4. A Song of Fire & Ice 5. Ace Attorney 6. Ace Combat 7. Adventure Time 8. Age of Empires III 9. Age of Ice 10. Age of Mythology 11. Aion 12. Akagi 13. Alan Wake 14. Alice: Through the Looking Glass 15. Alice's Adventures in Wonderland 16. Alien 17. Alpha Centauri 18. Alpha Protocol 19. Animal Crossing 20. Animorphs 21. Anno 2070 22. Aquaria 23. Ar Tonelico 24. Archer 25. Aria 26. Armored Core 27. Assassin’s Creed 28. Assassination Classroom 29. Asura’s Crying 30. Asura’s Wrath 31. Austin Powers 32. Avatar the Last Airbender 33. Avatar the Legend of Korra 34. Avernum! 35. Babylon 5 36. Banjo Kazooie 37. Banner Saga 38. Barkley’s Shut & Jam Gaiden 39. Bastion 40. Battlestar Galactica 41. Battletech 42. Bayonetta 43. Berserk 44. BeyBlade 45. Big O 46. Binbougami 47. BIOMEGA 48. Bionicle 49. Bioshock 50. Bioshock Infinite 51. Black Bullet 52. Black Lagoon 53. BlazBlue 54. Bleach 55. Bloodborne 56. Bloody Roar 57. Bomberman 64 58. Bomberman 64 Second Attack 59. Borderlands 60. Bravely Default 61. Bubblegum Crisis 2032 62. Buffy The Vampire Slayer 63. Buso Renkin 64. Cardcaptor Sakura 65. Cardfight! Vanguard 66. Career Model 67. Carnival Phantasm 68. Carnivores 69. Castlevania 70. CATstrophe 71. Cave Story 72. Changeling the Lost 73. Chroma Squad 74. Chronicles of Narnia 75. City of Heroes 76. Civilization 77. Claymore 78. Code Geass 79. Codex Alera 80. Command & Conquer 81. Commoragth 82.
    [Show full text]
  • It Was Sheer Genius for the UK Firm Core Design to Create a Sleek
    Gender and Videogames: the political valency of Lara Croft Maja Mikula, University of Technology Sydney The Face: Is Lara a feminist icon or a sexist fantasy? Toby Gard: Neither and a bit of both. Lara was designed to be a tough, self-reliant, intelligent woman. She confounds all the sexist cliches apart from the fact that she’s got an unbelievable figure. Strong, independent women are the perfect fantasy girls – the untouchable is always the most desirable. (Interview with Lara’s creator Toby Gard in The Face magazine, June 1997) Lara Croft is a fictional character: a widely popular videogame1 superwoman and recently also the protagonist of the blockbuster film Lara Croft: Tomb Raider (2001). Her body is excessively feminine - her breasts are massive and very pert, her waist is tiny, her hips are rounded and she wears extremely tight clothing. She is also physically strong, can fight and shoot, has incredible gymnastic abilities and is a best selling writer. Germaine Greer does not like Lara Croft. In her latest book, The Whole Woman (1999), Greer has unequivocally condemned the enforcement of artificial and oppressive ideals of femininity through pop icons such as the Barbie Doll. Lara Croft, whose ‘femaleness’ is clearly shaped by a desire to embody male sexual fantasies, is the antithesis of Greer’s ‘whole woman’; Greer calls her a: ‘sergeant-major with balloons stuffed up his shirt […] She’s a distorted, sexually ambiguous, male fantasy. Whatever these characters are, they’re not real women’ (Jones, 2001). 1 She may not be a 'real woman', but on the other hand Lara is clearly a 'positive image' for women, as Linda Artel and Susan Wengraf defined the term in 1976: The primary aim of [annotated guide] Positive Images was to evaluate media materials from a feminist perspective.
    [Show full text]