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Jonah Maiava has one question for Lara Croft: where the hell have you been? She ran off to Thailand alone, leaving her most loyal ally in the dark . . . And he"s worried about her. As she focuses on tracking down Trinity and discovering the truth about her father"s death, Lara has been isolating herself. If everyone she loves gets hurt, is it even worth having friends?�

Lara Croft 2.0! Kelly Gale wore tight leather trousers as she fired off a handgun at a shooting range while filming her new movie The Plane in Puerto Rico over the weekend

The movie is being shot in Puerto Rico, and Kelly took a well-earned break from her schedule a week before as she went topless for a day by the ocean.

"Happy to spend my day like this":  The movie is being shot in Puerto Rico, and Kelly took a well-earned break from her schedule last month as she went topless for a day by the ocean

"Happy to spend my day like this," Kelly captioned the photo on Instagram, making sure to censor her nipples with tiny black marks to avoid the image being flagged as inappropriate.

Congratulations! Kelly is also busy with wedding preparations after becoming engaged to her Suicide Squad actor boyfriend Joel Kinnaman, 40, (right) in January

Loved up! In December, Kelly revealed she knew Joel was "her guy" when he agreed to get up at 1am for a hike on a spontaneous trip to Bali together after only three dates

Trinity is on high alert--they know Lara Croft is coming and now, under the shrewd command of a new officer, they"re ready for any surprises, but Lara is steadfast in her quest to uncover their secrets. Though typically equally prepared, this time Lara may just find herself one step behind.

""Jackson Lanzing and Collin Kelly have done a wonderful job tying this comic book in with the Tomb Raider canon from the video games and previous Dark Horse comic series."" -AiPT!

The last time writers Jackson Lanzing and Collin Kelly took Lara Croft on an adventure, it was a globe-trotting quest for her own past. This time they’re just going to throw her in a deep pit.

Tomb Raider: Inferno is a four-issue miniseries that will pit Lara against her frequent foe, Trinity. But this time, the secretive criminal organization has a new operative, one who’s prepared for anything she can throw at them.

“Survivor’s Crusade brought readers into Lara’s long dark night of the soul,” Lanzing said, “pushing away her friends, her legacy, and her hope for a normal life in the pursuit of bringing down Trinity. We’ve been slowly sharpening the weapon that is Lara Croft. Now, in Inferno, Lara’s unleashing that weapon against the enemy. Trinity’s only hope lies in a weapon of their own — a new character who hits our story like a wrecking ball in Issue #1.”

Along with the writing team of Lanzing and Kelly, Inferno will see the return of Phillip Sevy, long-time Tomb Raider comics artist, who will be close to holding the record for most issues of Tomb Raider comics drawn when Inferno wraps.

Love that this Lara Croft smile has turned into a meme. Bet it wasn"t what they intended to happen but here we areeee! P.S. A smile? Basic. Make it fun and have her cross her eyes or something silly.

The more dash moves you do in the air before touching back down to the ground, the better. Doing Boost Combos will refill the blue fuel gauge on the left side of the screen. Three chained moves will start the fun, but it will take up to 18 to fully fill the meter. Another benefit of doing Boost Combos is increased firepower. By doing enough boosts (25), you will enter a Mobius State, which charges up your weapon on the Y Button (either the Matchlock Cannon for Sabrouta or the Heat Blaster for Kelly).Quick Change

To quickly change direction either in the ground or the air, press in on the right thumbstick and in the direction you want to turn. This is a great tool for boss fights, or whenever you get in trouble with swarming enemies. Just dash away, then quickly turn and hose down the masses.GV NapalmGV Napalm is a handy trick to use whenever you get too overwhelmed during battle. It is performed by pressing both the Left and Right Thumbsticks in. GV Napalm will deplete your GV Gearskin Fuel, but will also eliminate anything that is standing nearby. This is a great weapon early in the game, when Frekis are plentiful. Later on, you"ll be able to earn Mercury Crash, which is a sort of updated version of of the Napalm attack.Mercury Crash

The more times you use your Boost Combos to power up your weapons (and subsequently use those weapons to kill enemies), the higher your score will be.Extra Halley Core

The less you are damaged, the better. Keep in mind that if you are damaged during Boost Combos, you"ll get twice as many points deducted.Once you receive an overall rank, your points will be tabulated. You will be given an overall letter grade and a point value. These GV Points can be used to buy weapons and Gearskin Upgrades, as well as special items.These marks are tracked for you on the Load/Save screen. If you finish in the top three for scores, one of the lights in the upper right corner of the save screen will show up. There is one for every stage in the game. If you don"t finish in the top three for a given level, the light will remain unlit. If you get first, the light will be blue. For second, the light will be yellow. For third, the light will be green. In the area to the left, you"ll be able to see how long you"ve played and how many times you"ve cleared the game as well.CharactersThere are two possible characters to select for the various stages of Gunvalkyrie: Kelly O"Lenmey or Saborouta Mishima.Kelly

A much more mobile Halley"s Chosen, Kelly is a boost specialist. Quick with a gun and acrobatic in the air, Kelly is the main operative in your mission on Tir na Nog. She has the ability to control both a Heat Blaster and Drive Gun, and can also earn three different Gearskins. Kelly should be selected whenever quick shooting and high mobility is required for a mission.Saborouta

He"s the guy that set this whole mess off. Affected by the Halley"s Comet in 1835, he was changed into a Halley"s Chosen before he was even born. Since then, he was able to harness the energy of the Cores to gain huge power.Meridian Poe

Once you have a firm grasp of the controls, you will have a firm grasp of the game. Take some time in the early levels to get really good at boosting. If you manage to become great at this, your scores will improve, and you"ll take this game over your knee.Stay in the AirAs much as possible, stick to the air. Many attacks can be dodged and avoided just by staying off of the ground. By keeping to the skies, you"ll also have the maximum amount of time to target and shoot your opponent as you fall.Start With Kelly

Sabrouta is a tough customer to deal with right off the bat, simply because his weapon is a little slower and he cannot carry the Drive Gun. I recommend beating the game once exclusively with Kelly before trying it with the more ungainly Sabrouta.Use the Mobius State

Collecting all of the Halley Cores in the game will allow you to get Kelly"s 3rd evolution costume, the coolest suit in the game. Halley Cores are often hidden in remote locations of each stage, so scour every level to find them. Or, use this guide. Each Stage walkthrough tells you exactly where to find the Halley Core.Know Your Enemy

Trinity is on high alert–they know Lara Croft is coming and now, under the shrewd command of a new officer, they’re ready for any surprises, but Lara is steadfast in her quest to uncover their secrets. Though typically equally prepared, this time Lara may just find herself one step behind.

”Jackson Lanzing and Collin Kelly have done a wonderful job tying this comic book in with the Tomb Raider canon from the video games and previous Dark Horse comic series.” -AiPT!

Almost like clockwork after the events at Square Enix’s presentation of Shadow of the Tomb Raider at the 2018 Electronic Entertainment Expo, Jackson Lanzing and Collin Kelly (“Tomb Raider: Survivor’s Crusade”) are back at the adventures of Lara Croft yet again.

Lanzing and Kelly tell Lara’s newest story through two different focus characters paralleling one another. On the one hand, we have the so-far nameless Trinity agent in charge of the Antarctic dig site. She is determined to face Lara, but at the same time seems to have a mixture of fear and respect for her coming adversary. Even so, the narration on her end emphasizes Ms. Croft’s ability at facing Trinity and how no matter how many troops they have, the agent is unsure if she will survive.

While normally this would come across as over-praising of the protagonist, Lara herself is the other viewpoint character. She is herself, while very determined, shown in her possible audio will to be unsure if she is going to survive. Though she has become more assertive and proactive, along with more determined, she still is completely aware of how she tends to survive based mostly on luck. While Jackson and Kelly could have used this opportunity to overly emphasize how amazing the heroine is, this focus in on her vulnerability and humanity is much better, making a young woman who could be seen as too powerful or scary for others into someone who is completely aware of her own limitations.

Lanzing and Kelly dial back Lara’s obsession, in part due to her being so near to her target anyway, to allow her to breathe and show at least some worry for how others may find her. While her obsessions were the focus of “Survivor’s Crusade,” there appears to be a different thematic focus for “Inferno,” to be revealed in subsequent issues.

As with his previous work, Sevy excels at perspective. From establishing shots to an over-the-shoulder look at Lara’s surroundings to a facial close-up, he takes great care to make sure that every scene can be grasped from all possible angles. This type of artistry is especially important when it comes to Tomb Raider, a franchise that uses very three-dimensional movement for the heroine, and helps to also give a grasp of the story from a quasi-video game angle. Playing into this work with perspective, Sevy works well with differing levels of light, from having the heroine in darkness to the light of day, realistically showing how light plays across her from differing levels of shade.

Another benefit to Sevy’s artwork is his use of facial expressions. From a close-up on small mouth movements to zooming in on the eyes, his panels seem akin to a motion picture, bringing to mind the Tomb Raider franchise’s latest foray into that medium as much as a cutscene would in a video game setting. Facial dialogue creates scary or even humorous moments, from Lara’s shock at a trap to her eye-rolling exasperation at seeing someone tied up with a bag on his head. His focus in on Lara’s face helps to show her progressive injuries, from dirtying her clothes and bruising her to sharp cuts on her forehead and cheeks. In doing so, Sevy presents the savage survivor that came home from Yamatai in the first place, the one who had been growing into a warrior of her own accord ever since, a duality of determination and vulnerability much like the writers indicate.Continued below

Fittingly, the facial expressions change from determined and exasperated to scared and exhausted over the course of the issue, much like Lara tends to develop over the course of some of her journeys before her second wind. The contrast between the imagery of the heroine landing on her own at the start and her battered, uncertain appearance and expression toward the end speaks volumes for the amount of pain she went through in such a short time, with Sevy telling a lot about what kind of story this one is that sets it apart from the previous arc.

Michael Atiyeh, yet another veteran of the series, returns with his beautiful, marvelous colors. The soft blues of the arctic clash against the oranges, browns, and beiges of the human-made constructs around, including but not limited to Lara’s coat, mechanical cranes, and temporary housing. The softness of the colors at rest make the moments of violence all the more shocking, with the aforementioned blues giving way to a sharp explosion of orange and yellow, a splash of fire that is nearly tactile in its intensity.

The Condé Nast College was delighted to welcome Chief Creative Officer at Dazlus, Kelly Vero to our virtual lecture theatre for an industry talk this February.

As Chief Creative Officer at Dazlus and a leading figure in the VR/AR industry, Kelly has always been naturally curious and quirky by nature – the perfect quality when it comes to combining fashion with video games.

Formerly, the Head of Game Development, Fashion, and Collections at SO REAL, Kelly had to come up with ingenious ways in which to take the fashion industry in a new direction with her key focus on driving technology into usability. Kelly has moved onto digital leadership at Dazlus, which enables her to combine her passion for style, innovation, and video games into one. Kelly thrives on pushing technology to its edge “through education, sustainability, and sheer hustle”.

Not content with solely being an industry leader in the gaming and technology industry for the last 25 years; developing iconic characters like Lara Croft in Tomb Raider and games like Final Fantasy X  – Kelly is also a best-selling author and fiction writer with her most recent publication,Prince of Tokyo,being released in 2018.

Kelly opened her talk by discussing the challenges faced within games and digital landscaping. She went on to explain the most common reason the Fashion industry does not engage with this medium more is largely down to the cost. The budget could run between $500,000 to 1 million US dollars for mobile games, with games on a console exceeding this. Some projects Kelly has worked on in the past have come to a staggering $10 million US dollars, with 90% of this budget spent on marketing and only 10% spent on the development.

Balenciaga developed a game, ‘Afterworld: The Age of Tomorrow’, which “touted itself as a game, but was nothing more than a look book”. Whereas ‘Gucci Games’ sit more on the periphery of being closer to games and is playable. Kelly then went on to emphasise that we have to bring together fashion and games in a way that adds value and is suitable for the demographic. Kelly stated that “games are giving us something that we haven’t had before in fashion”.

Kelly is always future-gazing and wants to live in a world that resembles a virtual world, Avakin life. She stated that “games give her a freedom which fashion does not” and therefore is able to understand what the TSA (target sale audience) requires. She believes that games allow you to live in a fantasy world, while still living in the present. This is an area that Kelly is extremely passionate about.

She draws strong parallels between creating a game and designing a fashion collection, as when designing both you have to consider the end-to-end experience for the consumer. She goes on to explain that the key to success is to understand who your audience is. Kelly clearly exemplified this when talking about Japan mistaking their game demographic, in which 94% of the consumers were female, yet they were trying to push the more masculine ‘The Microsoft XBox’ into the marketplace.

“We need future-gazing and future thinking ideas to stop the waste,”Kelly states that technology is the way in which the fashion world is going to become more sustainable and this needs to be emphasised more, with younger generations taking centre stage when it comes to this seismic shift.

Kelly’s talk was fascinating and educated us on the future of fashion and she is very eager to continue enlightening the future change-makers of the industry.

I was not looking forward to this episode. Last week’s detour with Beth was a bit of a snoozer, low on both character development and flesh-munching zombie mayhem — the two pillars of the show. My hope for this episode was that Carol would help Beth escape, reunite with Rick’s crew, and get back to the tightrope-tense feel of the rest of this season. Instead, we join the short-bus posse on their road trip to Washington. It seemed like another slow-burn, momentum-killing chapter was in store. But thanks to the ever-quotable Sarge, library sex, fire-hose fun, and Eugene’s big reveal, it was another top-notch hour in what’s shaping up to be the best season yet.

The Sarge and Eugene turn this episode into a buddy flick gone horribly wrong. Eugene steals the show, but Sergeant Abraham — and his backstory, revealed in tantalizingly short flashes — carries the story line. The Sarge proves he’s the most quotable survivor, possibly from years of whipping recruits into shape, like R. Lee Ermey in Full Metal Jacket. (To wit: “I took a pretty hard shot to the sack with that crash. I’m stressed and depressed.”) Fittingly, he’s in the driver’s seat as the church bus heads north to the capital. The convo turns to men’s grooming, and the Sarge sweet-talks Rosita, a.k.a. the poor man’s Lara Croft: “Maybe I’ll let you shave me down all over,” he tells her. “Dolphin smooth.” (Funny and gross; mostly the latter.) Tara observes that Eugene’s sweet apocalypse mullet could use a trim — “Party’s a little long in the back” — but Eugene, sounding more Sling Blade with every episode, ain’t hearing the haters. (This leads to a lot more talk about his hair, the biblical strongman Samson, and riddles that mostly goes nowhere.) Maggie holds Glenn and smiles, once again showing zero concern for her missing sister. (If she doesn’t care about Beth, why should we?)

There’s a similar universal truth that Father Gabe proved — everyone who’s still alive has done something that haunts them. The Sarge’s flashback proves he’s no different. It begins as he’s beating a man — not a walker — to death with a can of food in a grocery aisle. Behind him, more bodies, likely dead by his hand. As this scene plays out slowly over the hour, he finds the woman he’s been crying out to — Ellen, who’s with two children. When the Sarge starts up the fire truck, his wedding ring is still on his finger, so it’s safe to say Ellen and the kids are his family. But when he finds them, they’re horrified after witnessing his violence. He likely saw those men as a threat to his family’s safety — the strong who must be killed — and took them out, perhaps a bit prematurely. Ellen leaves a note for him (“Don’t try to find us”) and flees. When the Sarge eventually reunites his wife and kids, they’re corpses. His reaction: to cock the hammer on his pistol and stuff the barrel in his mouth.

That comes at a cost. I felt for Eugene, even as he ticks off the names of all those who died in service of his ruse. The Sarge snaps, hitting Eugene hard enough to knock him out; his skull makes a sickening sound as it hits the pavement. Rosita steps in, hand on her gun, ready to defend Eugene — there’s a look in her eye that harkens back to the Sarge’s wife, frightened by his violent streak. Eugene is in bad shape, but I’d bet he’ll live. The question now is, with no real promise of salvation in D.C., do they press on? Considering the state of affairs in Georgia and their luck in the Peach State so far, it’s worth a shot. One thing is clear: Every time the Sarge insisted that “we don’t go back,” he wasn’t just pressing ahead for D.C. He was running from something scarier than any zombie.