Navigate perilous cliffs, zip lines, mines and forests as you try to escape with the cursed idol. Download Temple Run 2 1. Try the latest version of Temple Run 2 for Android. All without registration and send SMS! The good folks over at Imangi Studios teased the release of a major expansion for their smash hit Temple Run 2. If you aren't playing the game anymore, now would be a good time to pick it up and start running once again.
The new expansion delivered as an update is called Frozen Shadows and brings more than just new levels, items and daily rewards. So, you will be guiding Guy, Scarlett and the gang through a new land, full of new obstacles and challenges.
The more you keep running, the better the rewards, just like in the original game. Obviously, you can expect this update to contain some new outfits and new challenges like falling rocks that you will have to avoid while running. For the time being, the new Frozen Shadows update is only available on Android and iOS platforms, but since Temple Run 2 is available on Windows Phone too, we expect this platform to receive the update soon. Unfortunately, we can't confirm the information since developers did not announce anything related to Temple Run 2 for Windows Phone.
The game should be fully compatible with all devices running Android 2. For iOS users, the game can be downloaded for free via App Store. It should work smoothly on all devices running iOS 6. Keep in mind that while the game is free to download, some in-game items can be purchased with real money.
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Android 4. Giamio also gave Elsa an analogous color scheme of icy and warm blues for a "striking effect. Concept art of Hans. His appearance was designed to convey the attributes of a prince: strong bearing and grace. Hans was a special case for the writers and artists alike; in many of their films, Disney had already depicted characters undergoing transformations, such as Aladdin and Cinderella going from low social standing to royalty.
However, Hans would transform from benevolent prince to power-hungry villain. When the twist in Hans' character was revealed, many animators leapt at the chance to animate the prince and his split personality. Character design supervisor Bill Schwab stated that the hardest task "was to make sure [they] covered all aspects of [the prince's] personality while never fully tipping [their] hand to the audience.
The Duke of Weselton was originally conceived as a harmless royal handler to Elsa and Anna after the deaths of their father and mother. But as the story for Frozen evolved, a new character was needed, a villain who would serve as the "red herring" to the plot. The Duke was designed to be a "fussy royal", as characterized by his thick circular glasses, the number of medals on his chest, the posture of his torso, and his small stature.
It was only because of computer-generated imagery that the vast scope of the film was made possible. With traditional hand-drawn animation, it would have been incredibly difficult to repeatedly produce the patterns on Elsa's cape and the rosemaling featured on Anna, Hans, and Kristoff 's clothes.
But even so, the visual development team faced difficulty in the animating process. It was necessary to remain true to the Norwegian designs while appearing graphical and animated. The animators also spared no effort in the smaller details, such as the movement of the fabric and the inclusion of materials like buttons, trim, and stitching. Even the texture of the clothes were emphasized; there had to be a clear difference from silken materials to the predominant Norwegian fabric, wool.
The team stayed faithful to Norwegian influences, having altered Iduna's outfit to detract from its original Russian influence. The artists not only focused on the costumes of the main characters, but also on those of the crowds to help shape and bring life to the environments.
This was essential to keep a consistent Norwegian-style feel to the film. Though Arendelle is a major location in Frozen , Anna's journey took her to the wilderness beyond the kingdom. The second chapter describes the endeavor to express the natural environment featured in the film and introduces the characters associated with the outdoors; however, Norway remained the primary source of inspiration, and the artists strove to depict its mountainous wilderness in great detail, be it the landscape, the flora, or even the color of the water.
The principal challenge was with snow; the Frozen crew were determined to not show snow as merely a bland, white blanket. During their field trip to Norway, Giamio and the other artists took notice of how snow could acquire deep blue shadows or orange-reds, depending on the position of the sun in the sky. Proper depiction of the snowy landscape was of utmost importance to convey a sense of "the bleakness of the mood. To portray snow accurately, many crews had to work together; the effects team worked quite closely with the character animators to ensure that the characters were responding appropriately to their surroundings.
Concept art of Kristoff. His design was based primarily on the clothing of the real-world Sami people. In sharp contrast to the traditional princes of animated fairy tales, Kristoff is a rugged ice harvester who lacks charm and elegance. According to Paul Briggs, Kristoff is like Elsa in that he too is hiding his true self; he's very tough on the outside but has a "softer inner core.
In designing Kristoff, artists sought to convey his contrast to Anna, and also Hans' elegance. Kristoff was given worn patches on his pants to emphasize the difference between him and the royal characters. The ice harvester's overall appearance is based on the costumes of the Sami people, the indigenous inhabitants of the arctic regions of Scandinavia.
Keeping with the theme of having the characters respond to the situations of the film, animators considered things such as the heaviness of Kristoff's boots, which would cause the ice harvester to bend in a particular way. Concept art of Sven. The reindeer was designed to look like a "dumpy, unprepossessing animal". Sven was designed to help further Kristoff's unkempt appearance; this was done by making Sven a more realistic reindeer as opposed to the "prancing pseudo-horses" of cartoon Christmas specials.
Like his human companion, Sven is far from regal and has a worn and torn appearance from being out in the wilderness. However, this, along with the reindeer's expressive eyebrows, added to the comedy of the character.
Olaf was a difficult character for the animation crew because he was an exercise in truth in materials. It was difficult for the animators to determine how snow would appear if it could actually move. Olaf was likened to Lotso from Toy Story 3 due to their mutual lack of anatomy; as a teddy bear, Lotso was essentially an "oddly-shaped pillow", and Olaf is little more than "three balls of snow with sticks for limbs. Concept art of Olaf featuring his ability to move and reassemble himself.
With regards to his personality, Olaf was conceived as a naive childlike character. Story artist Jeff Ranjo compared Olaf to a baby: "He's just been created. He doesn't know much about the world, so you have to explain things to him that you would take for granted, just as you would to a little kid.
As such, they were able to have Olaf float in water and sit on the beach. And since the environment of the sequence was based within Olaf's imagination, it reflected his desires; the shapes were made to be more Olaf-like so that the world would appear more welcoming to the snowman.
However, with Olaf, there was also the issue of having him not blend with the snowy environments. Simultaneously, it was necessary to have the snowman not stand out too much as if he were a "cut-out. Though introduced late in the production process, the trolls were not exempt from the same design standards of the other characters. The trolls were introduced relatively late in the production process but were envisioned to be comical in appearance to belie their ability to ascertain the truth in others' hearts.
Their overall design is based on round boulders, and they are outfitted with moss garments that feature an organic rosemaling motif. The trolls are also given luminous rock crystals that are said to channel the aurora borealis, thus connecting the trolls to their environment. The primary goal was to create a variant of troll that was not generic, like the brutes seen in The Lord of the Rings or Harry Potter. Elsa's ice palace was designed to celebrate the hexagon motif of snowflakes.
With their mastery over animating snow, the Frozen crew was ready to move on to the other facet of Elsa's powers: ice. As such, the third chapter focuses primarily on the sequence in which Elsa constructs her ice palace as well as her post-coronation appearance. There is also a brief section on designing Olaf's more icy counterpart, Marshmallow. Ice proved more difficult than snow due to its optically active nature; it can shift its colors, appear either transparent or opaque, have a smooth surface or one etched with patterns, and reflect the surroundings or distort them entirely.
On the technical side, refractive objects are particularly difficult to render with computer-generated images, requiring an extensive amount of rendering time. To continue to maintain accuracy, John Lasseter met with Dr. The Frozen crew also took a trip to an ice hotel in Quebec City to provide inspiration for Elsa's palace. Yet, to advance the story, there was a distinction between making "normal ice" and the "magical ice" produced by Elsa; the goal was to portray both in an equally believable manner.
To help this distinction, the artists provided Elsa with a "signature snowflake" design that appears repeatedly throughout the film. Ultimately, this snowflake was featured in the construction of Elsa's palace, which was decided to be an homage to the hexagon motif found in all snowflakes.
Concept art of Elsa. Her design was meant to project style, originality, and confidence. Elsa's snow queen appearance embodied many of the challenges faced by Frozen' s simulation team. In general, the designs needed to have strong sleek shapes that possessed both clarity and motion, while simultaneously providing emphasis to the characters' physical and emotional performance.
Elsa's look was designed to do just this, projecting style, originality, and confidence with its combination of the column dress, mystical frost cape, and elaborate hairstyle. Marshmallow's initial design consisted of a giant monster built of snow with tree trunks as arms, though he retained his ability to produce icicles.
He went through at least four different incarnations before finally obtaining his in-film appearance. Concept art of a frozen Arendelle. It is a culmination of the artists setting forth to understand how not only to depict a setting that drew from Norwegian influences, but also the natural forces that would affect it.
The final chapter shifts from discussing Frozen' s art and story to focus on its music. It also recounts the events in the months leading up to release.
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