Download - The Art of Wreck-It Ralph
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CONTENTS
JustinCram/Digital
PREFACEBYJOHNLASSETER
FOREWORDBYRICHMOORE
INTRODUCTION
FIX-ITFELIX,JR.
GAMECENTRAL
HERO’SDUTY
SUGARRUSH
THEARCADE
THELOSTCHARACTERS
ACKNOWLEDGMENTS
ABOUTTHEAUTHORS
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PREFACE
WayneUnten/Digital
henRichMoorefirstpitchedushisideaforWreck-ItRalph,Igotsoexcitedbecauseitwasunlikeanyofourotherfilms.Richtookus
throughthearcadescreentomeetRalph,an’80s-eravideogamebadguywhosodesperatelywantstobeaherothathegoesonanadventure,wreakinghavocthroughtwonewmodern-daygames.Ralphcausesthelivesofallthesedifferentgamecharactershemeetstocollideinawaywe’veneverseenbefore.Andthismash-upofworldsiswhatmakesthisfilmsohilariousandunique.
Richandhisartisticteaminventedthreegameworldsforthefilmthatarecompletelyoriginalbutarebaseduponconceptsthatarefamiliartotheaudience.Theeight-bitworldofFix-ItFelix,Jr.celebratesthesights,sounds,andphysicsofthoseclassicarcadegameseveryoneloves,likeDonkeyKong,DigDug,andPac-Man.Ralph,Felix,andtheNicelanderswalkinrightanglesandmovetheirarmsinunisonandsymmetrically—orintwinnedposes,aswecallitinanimation.Thissimplestyleissocharmingbutalsomakesthegameinstantlyrecognizableasonefromthe’80s.
ForHero’sDuty,thefirst-personshootergamewhereRalphgetshisMedal
ForHero’sDuty,thefirst-personshootergamewhereRalphgetshisMedalofHeroes,theartistsdesignedaworldthatisoff-the-chartsrealistic.That’sthehallmarkofthoseactiongamesforXboxandPlayStationthatIwatchmysonsplay.Soourartistshadtocreateanequallygrittyandimmersiveworldandamythologytogowithit.Finally,SugarRush,thegameinwhichRalphmeetsloveableVanellopeVonSchweetz,celebratesthekart-racingconventionsofaNintendo64-eragame.Andthecartoonyall-dessertworldisjustspectacular.YouseeMikeGabrielandLorelayBove’sdelicious-lookingdevelopmentartforSugarRushandsay,“ohyeah,I’mthere.”
Creatingallthesedistinctworldshasbeensomuchfunbutbringingthemtogetherintoonestoryhasbeenanunusualdesignchallenge.Weneededanappealingandbelievablewaytoconnecttheworldsintoonearcadeuniverse,butatthesametimekeeptheworldswiththeirownsetsofrulesseparate.That’swhenRichandwriterPhilJohnstoncameupwithwhatisreallythefourthworldofthemovie:GameCentralStation.GameCentralisatransportationhubthatexistsinsideasimplepowerstrip.Forit,thevisualdevelopmentartistsfiguredouthowtomarrythearchitecturallanguageoftheelectricaloutletwiththebeautifularchesanddetailsofNewYork’sGrandCentralStation.
We’vebeensoluckybringingRichintothestudiofromTheSimpsonsandFuturama.He’sonlybeenwithDisneyAnimationonWreck-ItRalphforafewyears,butalreadyhisdirectingexpertiseandsmartsenseofhumorhavebenefitedthestudioasawhole.Rich’stalentreallyshinesthroughinhisdevelopmentoforiginalcharacterslikeRalph,Vanellope,Felix,andSargeantCalhoun,whoaresofunnyandsofresh,yetfullofemotion.We’realsotremendouslyfortunatethatMikeGabriel,anamazinganimatoranddirectorwhomI’veknownsinceIfirstworkedatDisney,wassointriguedbyRich’sstoryandcharactersthathevolunteeredtojointheprojectasanartdirector.It’sMike’sfirsttimedoingthejobandhe,alongwithIanGooding,havedoneitbrilliantly.
Asalloftheincrediblyboldanddiverseartinthisbookshows—fromtheinitialcharactersketches,totheoriginaleight-bitdesigns,tothesetmodelsmadeoutofrealcandy–Wreck-ItRalphbringstogetherfouruniqueyetrecognizableworldsthat,whencombinedtogether,createauniversewe’vetrulyneverseenbefore.–JohnLasseter
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FOREWORD
WayneUnten/Digital
henIwasasophomoreatCalArtsin1985,ImetavisitingalumnusnamedJohnLasseter.Hehadrecentlystartedworkingforanew
computeranimationstudioandwantedtosharewithourclassaprojecttheyhadjustcompleted.Upuntilthatday,computeranimationhadjustbeenaboutflyinglogostome.Itwasgreatformotiongraphics,butitcouldnevertellastorylikecharacteranimationcould.OrsoIthought.WhatJohnshowedusthatdayblewmeaway.ItwasPixar’sfirstshortfilm,TheAdventuresofAndréandWallyB.JohnhadtakenallofhistrainingatCalArtsinhand-drawnstorytellingandinfuseditintothisnewartform.TheresultwasanengagingcomicstorysetinabelievableworldaboutcharactersIcaredabout.Anhonest-to-Godcomputer-animatedcartoon!Ihadnoideahowheachieveditinapracticalsense,IonlyknewthatsomedayIwantedtoworkwiththisguyinthismedium.
AfterIgraduated,mycareertookmedeepintotheworldof2-Danimation.IhadthegreatfortuneofjoiningTheSimpsonsasadirectorattheshow’sinception,andfoundmyselfattheepicenterofatelevisionphenomenon.It
wasabigmomentthatlastedmorethantwodecades.Duringthattime,Iworkedwiththemosttalentedstoryboardartists,writers,anddesignersthatthe2-Dtelevisiongenrehaseverknown,firstontheTheSimpsons,andthenonTheCriticandFuturama.Allthewhile,IcontinuedtofollowtheextraordinaryworkthatJohnandcrewweredoingatPixar.Andliketherestoftheworld,Iaddedeachoftheirsuccessestomylistofall-timefavoritemovies.
WhenJohnbecamethecreativeheadofWaltDisneyAnimationStudios,hegotintouchwithmeandaskedifIwasinterestedindevelopinganddirectingaCGmovie.Myinitialreactionwas,“Me?HowdoesaguygofromTheSimpsonstoDisney?”AtfirstitseemedliketherewasabigdifferencebetweenmysensibilityandwhatIthoughtwasrightfortheDisneycanonandthestudio’slegacy.ButJohnassuredmethat,fromthebeginning,DisneyAnimationhasalwaysbeenaboutinventionandreinvention.Ialsowonderedaboutmakingthetransitionfrom2-Dtocomputeranimation.ThenIthoughtbackonthejumpJohnhadmade,whenIfirstmethimatCalArts,andrealizedthechangeinmediumdidn’tmatter.Atourcore,weareallstrivingtodothesamething—creatememorablecharactersandworlds,andtellstorieswithheart.Tothatend,TheSimpsonsandDisneyaren’tthatdifferent.
GettingtomakeWreck-ItRalphatDisneyAnimationStudioshasbeenadreamcometrue.ThereissuchtremendoussupportforthecreativeprocessatthestudiounderJohnandEdCatmull’sleadership.Ourchargeistocreatecharactersthatwecareabout,worldsthatwelove,andbringourstoriestolifewiththebestanimationpossible.Wegettherebyexploringdifferentideas,findingtherightonesandallowingthemtogrow.It’sanorganicprocesswithamindofitsown.There’snomaptochartit,butifyounavigateitscurrentswithfaithandrespect,itwilltakeyourightwhereyouneedtogo.
Thisamazingprocessisonlypossiblewiththemosttalentedpeopleintheindustrydrivingit.IhavebeensoluckytohaveMikeGabrielandIanGoodingartdirectingWreck-ItRalph,alongwithawholeteamofartistswhoseworkonthefilmhasbeentrulyexceptional.Theartinthisbookisatestamenttotheirboundlessimaginationandpassion.Ihopeyouenjoyit.—RichMoore
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INTRODUCTION
WRECK-ITRALPH:ADIFFERENTKINDOFMOVIE
JustinCram,WayneUnten/Digital
reck-ItRalphisdifferent.”ThosewordshaveechoedthroughthehallsofWaltDisneyAnimationsincethefilm’sinceptionin2008.Butwhat
makesitdifferent?MostobvioustomanyisthesimpleideathatalthoughDisneyAnimationisbestknownforitstraditionalfairytales,Wreck-ItRalphisanythingbuttraditional.ItstarsabadguynamedRalph,withbighandsandatendencytowreckeverything.Ralph’spartnerincrimeisanine-year-oldimpishmoppetwithdirtyhairnamedVanellopeVonSchweetz,whoismoreinterestedinbeingago-kartracerthanaprincess.TheonlyromanceinthemovieisbetweenanaivehandymannamedFelixandatough-as-nailsfemale,SergeantCalhoun,whosegreateststrengthisinhuntingdowngiantrobotbugs.ThevillainistheeffervescentKingCandy,whowearsfestivepantaloons.Insteadofonefantasyworld,it’sgotsevendisjointedworlds,rangingfromthesquareandsimpletothesharpandhostiletotheswirlyanddelicious.AllthisisplentytolabelWreck-ItRalph“different”intermsofaDisneyanimatedfilm,buthowdidsuchadifferentfilmcometobe?Answeringthatquestionisn’teasyandinvolveseveryoneandeverything—fromthedirectortothestorytothecrew.
ADIFFERENTKINDOFDIRECTORWaltDisneyoncesaid,“Ourfieldofentertainmentstillhasmanynewand
excitingandwonderfulthingstobringtotherestlesspublicwantingvarietyandnoveltyinthemovietheater.Theonlythingweshouldfearandbeonconstantguardagainstisgettingboggeddown—gettingintotherutsofmonotonyandtimewornrepetitionswhichthebusinessofentertainmentcannotlongstand.”
Emmy®Award-winningdirectorRichMoorecametoDisneyin2008,bringingwithhimanedgyanimationaestheticandabold,riskysenseofhumor.ButhealsohadacleargoalthatwasrightinlinewithWalt’sphilosophy.Richexplains,“IwantedtoaddtotheDisneyAnimationcanonafilmforeveryone...butforeveryonetoday.Iwantedittobefreshandmodernandspeaktotoday’ssensibilities.”
Butjoiningacompanydeeplyrootedinitstraditionsisn’teasy.ProducerClarkSpencerexplains,“There’salotofhistoryhereatDisneyAnimation.Manypeoplehavebeenhereforawhile.Therearewaysthatwedothings,sowhenanewpersoncomesin,youalwayswonder,‘Willtherebemomentsintimewhenthey’rebuttingheadsbecauseofdifferentapproaches?’”So,needlesstosay,therewasalotofbuzzaroundthebuilding,wonderingwhat“thenewguy”wasgoingtodo.
“thenewguy”wasgoingtodo.
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AndRich’sapproachquicklyprovedtobedifferent.Disneyhasareputationformakingsomeofthemostappealingcharactersinanimation.ButRichbroughtsomethingmoretothedesignsthatArtDirectorMikeGabrielfoundexciting:“Hisdesignswereveryfunny.SoItoldtheVisualDevelopmentgroup,‘Everydesignyoubringinnow,makeitfunny,’justtoseewhatitwouldstirup.Everybodywastryingnewthingsandgettinglaughsoneverythingtheyweredoing.Itwasreallyfreeing.”
ButwhatmanyoftheartistsappreciatedmostaboutRichwashowhequicklycreatedacomfortableandcollaborativeenvironment.Healwayswelcomednewideas,constructivecriticism,andexploration.Therewasnohierarchy.Heonlyaskedthattheartistsstretchtheirimaginationsasfarastheycould.StoryArtistJosieTrinidaddescribestheexperience:“Heencouragedustoreallypushourselves.I’donlyworkedonmore—classicfairytaleadventures,whichIloved,buttheyhadasingularstyle.Richwasinvitingmetoexploreandtrulybemyselfinmywork.”
Sothe“newguy”notonlybecameknownasfunnybutalsoagreatcollaboratorand,asClarkSpencerputitwhendescribingRichasadirector,
collaboratorand,asClarkSpencerputitwhendescribingRichasadirector,“Hisdifferentsensibilityandapproachisopeningpeople’seyestowhatDisneyAnimationultimatelycanbe.”
ADIFFERENTKINDOFSTORYWhenitcametofindingtherightscreenwriterwithwhomtodevelopthe
story,Richreadalotofgreatscriptsfromsomeverytalentedpeople,butnoneofthemcaughthim.“ThenDirectorofDevelopmentMaggieMalonebroughtmeascriptbyPhilJohnston,”hesays,“andIfellinlovewiththewritingandthecharacters.Itwassofunny.Thestoryjustfired,andpropelledmeforward.”Philhadneverworkedinanimation,butuponmeetinghim,RichknewimmediatelythatPhilhadthetalenthewaslookingfortodevelopandwriteWreck-ItRalph:“HeknowspeoplebetterthananyoneIknow.Hisabilitytoputhimselfintothecharacter’smindisamazing.Thebestcomedyhappenswhensomethingisnotjustfunnybutalsogenuineinawaythateveryonerelatesto.Philisreallygreatatthat.”
Philwasn’tsureifhewasafitforDisney,butashesays,“ThethingthatprobablyattractedmemosttotheprojectwassomethingRichsaidtomeearlyon.Hesaidthatintwentyyears,hewantedpeopletolookbackandsay,‘HowtheheckdidyoueverconvinceDisneytotakeariskonacrazymovielikethis?’TheideaofpushingDisney’sstorytellinglimitsgotmeveryexcited.”
SoRichandPhilspentseveralmonthsdevelopingthecharactersandtryingtomakeatrulymodernandoriginalfairytale.Philwrotethefirstdraft,andtheresponsewasincredible.StoryArtistNancyKruseremembersherinitialreaction:“Ithought,‘Whatagreat,crazystory.Thecharacterswereappealingbutflawed.Ilikeflawedcharactersthathaveproblems.Cinderellaistoonice.Iloveher,butI’llneverbelikeher.I’mmorelikeVanellope,soIrelatedtothat.”
HeadofStoryJimReardonadds,“Somanyanimatedfilmsarealittleonthesnarkysidethesedays.It’sbestexpressedwiththecharacterstandingthere,armsfoldedandsmirkingatyou.Ican’tstandthattoo-cool-for-schoolidea.Therearenocharactersinthisfilmlikethat.Theyallsaywhattheymeanandmeanwhattheysaynomatterhowterriblyflaweditis.Ireallylikethat,andIrespondedwelltoit.”
CharacterDesignSupervisorBillSchwabsumsupthereactiontothestoryfromadesignperspective:“TypicallyonmoviesthatI’veworkedonhereat
Disney,you’redefiningrulesofdesignandcolorforoneworld.ButWreck-ItRalphhassevenverydistinctworlds,eachwithitsownspecificdesignandartdirection.It’sthemostcomplicatedfilmwe’veeverdesigned,butit’sworthitforsuchagreatstory.”
ADIFFERENTKINDOFCREWAfterasuccessfulfirsttablereadofthescript,ClarkSpencercameon
boardastheproducer,anditwastimetoputtogetheracreativeteam.RichreachedouttoexperiencedDisneydirectorMikeGabrieltobehisartdirector.MikehadbeenwithDisneyforthirtyyearsandhaddirectedsuchbelovedclassicsasPocahontasandTheRescuersDownUnder.Richexplains,“Hehadalongtraditionhere,whichIrespect.Iwantedthateye.HeknowswhatDisneycharactersshouldlooklikeandhowtogetthere.He’salsosteepedinthelegacyofthestudio.IfeltlikeIneededsomeofthat.Ididn’tknowifhe’dbeinterested,butluckilyhesaid‘yes.’”Richthenmixeditup,bringinginaco-artdirectorwhomRichhadknownforalongtime.“IanGoodingandIwenttoschooltogether.Heisaguywhoknowswhatthingsshouldlooklike,whatmakesthemlooktheirbest,andhegivesthelookfunctionandappeallikenooneIknow.”
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Tobuildhisstoryteam,RichlookedtofellowSimpsonsdirectorJimReardontocomeonashisheadofstory.Jimhadjustco-writtenPixar’s
AcademyAward®-nominatedscriptWALL-E,butalsohehadaquirkysenseofhumorthatRichcouldn’twaittobringtoDisney.StoryArtistSteveMarkowskismilesashesays,“ToseeJim’shumorinaDisneyfilmisauniquetreat.Jimcanlookateverythinginlifeandfindtenjokesaboutit.You’lllaughhystericallyatalltenofthem.Eightofthemyou’llthrowoutbecausethere’snowayyoucouldincludetheminaDisneymovie.Butyou’restillleftwithtwopiecesofgold.”
Inthespiritofthefilm’sgreatmash-upoflocationsandstyles,JimandRichaddedsomestoryartiststotheteamwhomtheyhadworkedwithonTheSimpsons,alongwithsomewhohadworkedinvideogamedevelopment.Jimremembers,“Initially,theworrywas,‘WouldtheymeshwellwiththestorypeoplethathavebeenhereatDisneyforalongtime?’Muchtomypleasurethecrewhasgottenalonggreat,andeverybodyiscontributing,tryingtomakeitfunnyandtouchingatthesametime.”
Asthecrewgrew,RichandClarkroundedouttheStoryandVisualDevelopmentdepartmentswithsomeofthemostdiverselyexperiencedtalentDisneyAnimationhaseverhad—fromthebestinLayout,Animation,Lighting,andEffectstoexpertsinModeling,Rigging,andLook.TheirworkisfeaturedthroughoutthisbookandstandsasthevisualrecordofallthatwentintomakingWreck-ItRalph“sodifferent.”
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FIX-ITFELIX,JR.
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SIMPLEISNEVERSIMPLE
reck-ItRalphmaybeoneofDisney’smostcomplexanimatedfilmstodate,butitisinFix-ItFelix,Jr.—thefilm’smostbasic’80sarcadegame
—thatwefindourprotagonist.Fromtheverybeginning,DirectorRichMooreknewhewantedthestory
tocenteraround“thesimplestpixelated,8-bitvideogamecharacter,strugglingwiththecomplexquestion:‘Isn’ttheremoretolifethantheroleI’vebeenassigned?’”
DesigningtheFix-ItFelixarcadeconsoleandthelookofthegamefromaplayer’sperspectivecametogetherquickly.Theywentrighttoaclassicplatformgamewithrastergraphicsandanuprightcabinet.
Buttherealquestionwas:Whatshouldthegamelooklikewhenwepassthroughthemonitor’sglassandintoRalph’sworld?ProducerClarkSpencerrecalls,“Inthebeginningwethought,‘Let’skeepitsimplebecause
that’sprobablywhatitwouldhavebeenifitwas8-bit.’”SotheArtdepartmentdesignedasinglebuildingonagreenlawnwithablacksky.Eventhelightingfitthegame’sdesign.DirectorofLook&LightingAdolphLusinskydescribesitas“aninverseofreality.Thewayyoureallyseethings,thedarkcolorsgetmilkyandlighterastheygoawayfromyou.InFix-ItFelix,welititbackwards;weputtheblackestblacksfarthestawayandmadetheclosestshadowsmoreluminous.”
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“Yes,weunderstoodwhatanoldclassicgamelookslikein8–bit,butwe’veneverbeenabletopushthroughascreentoseewhatitbecomeswhenit’sfullyrealized.Thatgaveusalotoflatitudeindesigningit.”—RichMoore,director
IanGooding(Design),CharlesScott(Model),LanceSummers(Look)/Digital
Itwasallverytruetothe8-bitidea.“Yetweknewitwasmissingsomething,”saysRich.“Itwasrathergrimandcold.ItwasnotaplacewewantedtospendtimeinoraplacewecouldseeRalpheverbeinghappytoreturntointheend.”
Then,asArtDirectorMikeGabrielremembers,“OneofthefirstimagesIeverhadfortheFix-ItFelixworldwasCentralParkatnight,withthewhitelightsinthetreesandthelittlebridgeoverthecreekbeneaththecityskyline.Wewentbacktothat.”Inaddition,theteambroughtinCo-ArtDirectorIanGooding.Iansaidhenoticedrightawaythat“thedesignwaslackingasenseofhistory.Whyisthebuildingthereotherthanjustforthevideogame?”Tohim,itwasimportanttotreatitlikearealworldthathadapastandnotlikesomethingthatwasmanufactured.“Igavethebuilding
apastandnotlikesomethingthatwasmanufactured.“Igavethebuildingsomecharacter.Ibrokeupthefacadeintodifferentmaterials,sinceinreallifemostbrickbuildingsaren’tjustallbrick.Also,weaddedlotsofvariationtothetrees,walkways,andstreetlamps.”Finally,thatblackvoidofaskywasmademorepleasantwiththeadditionofstars.
Thecreativeteamthenknewtheyhadsomethingspecial.Mikedescribestheresponse:“Weallgotmuchmoreexcitedabouttheideathatwhenyougobehindtheglassofthegame,you’reinafullyrealizedworldthathasrichnessandfullness,andtellstheaudience,‘Thisisnotavideogame.Thisisafilm.’”
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“Fix-ItFelixevolvedtoamorecomplexworldthathasawarmthandacharmtoit.Itwasaboutgoinginandactuallyplacingsomelightsandsometreessoitfeelsalittlebitmorelike,‘Oh,there’saparkthere.’Beyondthebuildingthere’sabridgethatwesensegoessomewhere.”—ClarkSpencer,producer
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WRECK–ITRALPH
henitcametodesigningRalph,Richexplains,“WewerealwayscallingRalphabrutishlout.Thechallengewasfiguringoutwhatabrutishlout
lookedlike.”Thatprovednoeasytask.Thecreativeteamstartedwithwhatthey
knewabouthim.UntilhewasuprootedbythedevelopmentoftheNicelandApartments,Ralphlivedasimplemountainlifeandsleptinatreestumpinthewoods.ThereweresomeearlyversionswhereRalphwasatroll.Thenhewasamonster,thenanogre,thenashamblingcaveman.Hehadwreckingballsforhands,thenahornonhishead,thenbunnyears.HewasaSasquatch,agorilla,andforaboutaweekhewasevenabulldozer.ScreenwriterPhilJohnstonimaginedRalphas:“partcat,partbaboon,partdog,partskunk,partweasel,tapir,pig,wildboar,one-forty-thirdape.”
RichmetwithJohnLassetertodiscusswhichanimalwouldmakethemostsenseforamiddle-aged,down-on-his-luck,angst-riddencharactersuchasRalph.Onlyoneanimalreallyfit:ahuman.“Wethenthought,whatifyoutakeahumancharacterandputhugefistsonhim,becausethat’swhatwouldbeimportanttohimintermsofwrecking?”recallsClark.“That’swhenwereallystartedtogaingroundonRalph’sdesign.”
Thenextchallengewasthepush-and-pullbetweenwhatfeltappealingbutwasalsotruetothepixelatedlookofaclassic8-bitvideogame.Initiallytheytriedtobreakhimintoactualsquares,butwhilethatworkedconceptuallyandwasfunny,itwasdifficulttoreadRalph’semotions.AsHeadofStoryJimReardonexplains,“Wediscoveredthatyoucan’tmakeRalphsobasicinhisdesignthatthedesignitselfdistractsyoureyethroughoutthemovie.”Sotheyswungtheotherwayandwentforrealistic,andRalphquicklybecamemorerelatable.
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ZachPetroc(Model),RyanDuncanandSheriWong(Look)/Digital
ButwhentheanimatorsbeganbuildingRalphinCG,theynoticedaproblem.AsHeadofAnimationRenatodosAnjosexplained,“WhatCGdoesreallywellisroundthingsoffandsoftenthem.”Thedesignwaslosingthe8-bitfeelentirely.Richrecalls:“Ralphbecametoosoftandhisdesignwas
nolongersayinganythingaboutwherehecamefrom.”Sotheyaddedbackinsomestrongplanestohisshape.Theysquaredoffhishands,feet,shoulders,andjaw.Theygavehimamoreaggressivepostureandamorestaccatogait,and,asRichMooreputsit,“That’swhenwehitthesweetspot.WehadourRalph.”
ButthroughthemanystagesofRalph’sphysicaldevelopment,therewasonethinghealwayswas—thebadguywhowreckedthings.
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“He’sabig,square,heavylug.He’snaiveandinnocentinaway.He’s
sheltered.Hehasashorttemper,andhehasareallygoodheart.Hehastojustfeellikesomebodyrecognizesthatinhim.”—MikeGabriel,artdirector
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“Itbecameevidentatonepointthatifyoujusttookthatcharacterandlookedatitfromalayperson’spointofview,youwouldn’thaveanyinformationfrom[thecharacter].Youwouldn’tknowwherehewasfrom,whatageheis,oranythingabouthim.That’saproblem.Thegoalthenwastomakehimclearlythemountainmantoclashandcontrastwithallthecitypeople.”—MikeGabriel,artdirector
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“Wewanderedindifferentdirections:animal,mineral,monster,tractor,yeti,Sasquatch.”—MikeGabriel,artdirector
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FIX–ITFELIX,JR.
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ErynKatzandChadStubblefield(Model),RyanDuncanandMichelleRobinson(Look)/Digital
nlikeRalph,thegenerallookofFelixcametogetherquickly.Hewasalwayshumanand,asMikeGabrielsays,“RichhadaclearideaofFelix
asareallylikable,funnyguy,sortofSteveCarellinThe40-Year-OldVirgin,RichieCunninghamfromHappyDays,andMariofromDonkeyKong,allrolledintoone.”
StoryArtistLeoMatsuda’sfunnydrawingsreallyhelpedcaptureallofthat.Leoexplains,“Isawthisguyfromasocietythatisverybasicandelementary.Tome,he’snaiveandpure,likeaboyfromthefarm,andthat’stheonlythingheknows.”Nice-guyFelixhadabaseballhat,hammer,toolbelt,andworkboots.Hedidn’tneedmuchmorethanthatandseemedfinished.
ButwhentranslatingFelix’sdesigntoCG,Renatosays,“WediscoveredthattherewassomethingaboutFelix’sproportionsthatwasoff.Wehadahardtimemovinghim.Hisheadwaswaytoobig.Also,hisprofilelookedawkwardandnotveryappealing.Wetrieddifferentangles,butnothingfeltright.”
ItwasachangeinthestorythathelpedFelix“findhislegs.”Initially,FelixwasgoingtospendthemovietaggingalongwithRalphlikeabuddy.ButthenthebloominglovebetweenCalhounandFelixcouldnotbedenied,and“assoonashewaspairedwithCalhoun,”saysCharacterDesignSupervisorBillSchwab,“Felixbecamemucheasiertodesign.”Heneededtolookmatureenoughtocarryaromanticsubplot.AnimatorMarkHenndidsomenewdrawingsofFelix,givinghimlongerlegs,strongerarms,andanolderlook.ThevisualdevelopmentartiststhenpushedFelix’sfeaturestobemorelikethevoicetalent,JackMcBrayer,andhisfacefoundtheappealinglookitneeded.
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“It’saverydifficultthingtopulloffbecauseyouwantthesecharacterstomovelikeaDisneycharacterandbeverybelievableinthewaytheyactandmove,butalsobringyoubacktothat8-bitworldofsimplecharactersandstylization.”—RenatodosAnjos,headofanimation
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THENICELANDERS
“WeeblesandFisher-PricePeopleMeet.”
—RichMoore,directorKnotsLanding
I
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nthebeginning,theNicelanderswerebasicallyjustthumbswitheyes.Theinitialideawastokeepthemsimple.JimReardondescribesthem:“They
lookedthesame,talkedthesame,andactedalmostasoneunit.”Theygotalotoflaughs,butitwashardtoimaginehowtheiropinionscouldmattertoRalphortheaudience.JohnLasseterandEdCatmullchallengedthestoryteamtotreattheNicelandersmorelikerealpeople.
StoryArtistLeoMatsudaranwiththat,ashiscolleagueLaurenMacMullenremembers:“InasceneLeowasboarding,thebuildingstartedtoshake.Allofasudden,wecutinsidetoseeoneoftheNicelandersrushtokeepavasefromfalling,andwethought,‘Oh,theyhavepossessions.Theyhavethingstheycareabout.’Itwasexcitingtorealizethatacharacterdesignedtoonlybeseenatawindowduringgameplayhadsomekindofinteriorlife.”
BackstoriesfortheNicelandersstartedpoppingup,andtheirdesignsbecamemoreindividualized.Therewastheguywhomadeshipsinabottle[Don],theguywithalotofcats[Norwood],thepastryconnoisseur[Mary],andtheworrier[Roy].Eachonebecameadistinctcharacter,andoneoftheminparticularwouldnotbeignored....
“TheNicelandersarealittlechallengingbecausethey’rereallystocky.Anytimeyoumovetheirshouldersthey’reintersectingsomething.SometimeswhatlooksreallysimpleonadesignisverytrickyontheCGside.”—RenatodosAnjos,headofanimation
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LorelayBove(Costumes)/Digital
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S
GENE
JoePitt,DougBennettDigital
toryArtistRaymondPersiremembersthe“birthofGene”:“BillSchwabdidadesignofoneoftheNicelanderswithalittlemustache.Iwasreally
inspiredbyitbecauseitremindedmeofthisproducerI’dworkedwithinthepast.IdrewhimasthemayorofNiceland.HebecameaspokespersonfortheNicelanders,andoncehesteppedoutofthecrowd,heneverwentback.”RaymondwentontostoryboardallofGene’sandtheNicelanders’mainscenes.Inaddition,Richsays,“SinceRaymondunderstoodGenesowell,wehadhimvoiceGeneinthescratchrecordings.”Interestinglyenough,hegavesuchagreatperformancethatthefilmmakerscouldthinkofnobetterpersonthanRaymondtovoicefastidiousGeneinthefinalfilm.
“Itwouldbenicetoimagineafterhavinglivedthroughthismoviewhat
Genewouldhavetosayaboutit.Itcertainlywouldn’tbepositive.”—LaurenMacMullen,storyartist
SamySegura(Model),RyanDuncanandMitchellSnary(Look)/Digital
LightingTest/JorgeObregon/Digital
JinKim/Graphite
BillSchwab/Digital
StoryBoards/LeoMatsuda/Digital
ColorKey/LorelayBove/Digital
T
THEPENTHOUSE
“Ralph,ifyouwinamedal,we’llletyouliveuphere!”—NicelanderGene
hecreativeteamknewthatthePenthousehadtobeaninvitingplacetocontrastwithRalph’slonelybrickpile.Buttheyalsowantedittobea
spacenotbuiltforaguyRalph’ssize.Theoriginaldesignshadverylowceilings.ItsupportedthephysicalcomedyofRalphstrugglingtofit,butitbecamedistractingandtookawayfromtheideaofthePenthouseassomethingspecialandaplacewhereRalphcouldactuallylive.
SoIanGoodingapproachedthePenthousethesamewayheapproachedthedesignofNiceland—tosupportthestoryandthe8-bitstylebutalsotofeelrealandswanky.Heexplains,“Idesignedtheentrancewaywithalowceilingandaraisedfloor,sowhenRalphentershecan’tstandup.Butthentheapartmentopensuplikeagrandloftspacewithsoaringceilings,whichlookedveryappealingandwastruetomodernpenthousedesigns.”
Toinvokethe8-bitfeel,Ianwentwithacontemporarystylewhichisveryangular,butalso,hediscovered“whenyoutakecontemporaryfurniturebyfamousdesignersandsquashittofittheshortlegsoftheNicelanders,itlooksreallyfunandsilly,whichisgreat.”
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IanGooding(Design),CharlesScott(Model)/Digital
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“Ifyoulookatadowntownloftspace,youcanseetheoldbrick.Theydon’thidethefactthatitusedtobeanoldbuildingontheinsideaswell.It’snice
toseethetwothingstogetherratherthanjustunrelatedandarbitrary.”—IanGooding,co-artdirector
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HelenChen/Digital
StoryBoards/RaymondPersi/Digital
RyanLang(Design),JimFinn(Crowds/Blocking),MinhDuong(Model),LanceSummers(Look)/Digital
W
GAMECENTRAL
CREATINGANARCADEUNIVERSE
hilehavingRalphandFelixjourneyfromgametogamewaspartoftheoriginalconceptofRichMoore’sfilmidea,figuringouthowthevideogame
charactersactuallygotthereisanotherstory.“Atonepointearlyon,”recallsPhilJohnston,“RalphandFelixweregoingto
gothroughthetoiletandcomeoutinanothergame,asifitwasavortex.Findingsomethingthatmadesenseandhadgamelogicwasabigdeal.”
RichandPhilstartedplayingaroundwiththeideaofapowerstripasatransportationhub,envisioningtheircharactersphysicallytravelingthroughthecordsandconnectinginonecentrallocation.Thisseemedabelievablewaytoyoketogetherallthegameworldsintoonearcadeuniverse,buttheconceptdidn’tfeelcompletelyinspired.
TheideatofuseelectricaloutletarchitecturewithatrainstationcameuponedaywhenRichandPhilwerewalkingdownthestreetinNewYorkCity,wherePhillived.“Wethought,whatiftheplugswereliketheportalsinGrandCentralStation?”recallsPhil.“It’sbustlingandhustling,andit’sgorgeous.”
F
TRAINSTATIONMEETSPOWERSTRIP
indingthedesignbalancebetweenpowerstripandtrainstationwastricky.“Intheverybeginningweweregoingtooindustrialandelectrical,”ClarkSpencer
explains.“Thecharactersweregoingtowalkonelectricity.Thoughitmakessense,wewereoverthinkingit.Then,wemovedtowardtheideaofitbeingmuchmorelikeGrandCentral.WeevensentourvisualdevelopmentteamonaresearchtriptoManhattan,totakeahard-hat,behind-the-scenestourofthestation.Atonofgreatdetailscameoutofthattripandinformedourdesigns.AtthatpointwebroughtJohninandhesaid,‘Well,nowit’sjustatrainstationandyou’velostwhat’sinterestingaboutitbeinganactualpowerstrip.’”
Ultimately,VisualDevelopmentArtistRyanLanghelpedfindthedesignsweetspotbygoingtothesource—literally.Hestudiedtheinsidesofhalfadozencracked-openpowerstrips.“Peoplekeptstoppingbymycubicle,warningmenottoplugthemin,”herecallswithamusement.Andwhathediscoveredwasthis:“Theinsideofapowerstripissurprisinglybare”—notunlikethecavernouscentralhallofatrainstation.
“Ryandidbrilliantwork,”MikeGabrielsays,“findingthelanguageintherethatmakesitfeelauthentic.”“Now,”addsClark,“itreadsastheinteriorofapowerstrip,evenifyoudon’tknowwhatthatlookslike.”
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“GameCentralwentthroughvariousattemptstobelogical.Ifwetriedtobelogicalwithit,wealwaysendedupinthisweirdsci-firealm.Whenwegottooelegantwithit,itdidn’tfeelright.Whenwegottoocreepyandgritty,itwasn’taplaceyouwantedtobe.IthadtobecleanedupalittlebitandlitlikeGrandCentralStation.”—MikeGabriel,artdirector
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DougWalker/Digital
RyanLang/Digital
DougWalker/Digital
StoryBoards/NancyKruse/Digital
CoryLoftis/Digital
JamesFinch/Digital
JeffTurley/Digital
“I’vealwayslovedthisworldbecauseit’ssuchaninterestingconceit.Whatyoudidn’tknowwasthatcrummyindustrialpowerstripisreallyatransportationhubforallcharacterstogovisitallofthegames.ThemomentIheardthatbeingpitched,Iwastotallyinvestedinthismovie.”—ClarkSpencer,producer
I
TRANSPORTIVELIGHTS
nspiredbyelegantblack-and-whitephotosofGrandCentralfromthe1930s,RyanthentookGameCentralandfiguredouthowtolightthesettogiveitthe
samewarmthandlived-infeelingofNewYork’siconicstation.Toreinforcethebelievabilityofthistransportationhubworld,AdolphLusinsky,directorofLook&Lighting,thencameintogivethespaceasenseofhustleandbustle.“OurgoalforGameCentralwastomakethisworldfeelreallybusy,likethere’salotofmotion,”heexplains.Thelightingteamaccomplishedthistaskbyusinglowrakinglightsthatcastflickeringshadowsonthewalls.
Adolphandhisteamalsousedvolumetriclight,informallycalled“Godrays,”toimbuethespacewithasenseofgravitasandelegance.Whenagameisunpluggedinthefilmstoryandput“outoforder,”heavenlyraysfilterthroughtheemptyoutletsocketsthattranslateintowindowswithinGameCentral.It’sabeautifuleffectthatreinforcesthefeelingthatthesevideogamecharactersareindeedalive.
Comparingtheinitialconceptionofthearcade’stransportationhubwithitsexecutiononscreen,Philconcludes,“GameCentralStationisoneworldthatisexactlywhatIhopeditwouldbe,buttheartiststookitandmadeitinfinitelybetter.”
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NewYorkGrandCentralTerminal/PhotobyHalMorey,1930
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“GrandCentralisgorgeous,justlikeinthoseiconicphotosofthestationfromthe1930s,withthe‘Godlight’shiningthroughthevaultedwindows.”—PhilJohnston,writer
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“It’sprettyawesometoanimategamecharactersthatyouknewasachild.It’slikelivinginadreamworld.Allyourfavoriteheroesandvillainsareinyourhands.”—RenatodosAnjos,animationsupervisor
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JamesFinch/Digital
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F
HERO’SDUTY
RyanLang/Digital
ANARTIFICIALINTELLIGENCEEXPERIMENTGONEHORRIBLY
WRONG
“THEKEYWORDFORHERO’SDUTYISHOSTILE.”—MIKEGABRIEL
romthestart,thecreativeteamlovedtheideaofa1980s8-bitgamecharacterinfiltratingamodern,high-definitiongame.Theywereinspired
byrealistic,first-personshootergameslikeHalo,GearsofWar,andMassEffect.Butsuchgameswereincrediblycomplexandinvolvedyearsofdevelopment.AsMikeGabrielexplained,“Thesegamedesignersarebrilliant.They’vebeendoingitforagenerationnow.Wewerejumpingintoanintimidatingleague.”Hero’sDutyhadtostanduptothebestinthegenre,whilealsofeelingfreshandnew.Soitstandstoreasonthatofallthegamesinthemovie,thelookofHero’sDutytookthelongesttonaildown.
Fromastoryperspective,afuturistic,science-fictionworldseemedthebestcontrasttotheclassicstyleofFix-ItFelix,Jr.Theteamimaginedthatin
bestcontrasttotheclassicstyleofFix-ItFelix,Jr.TheteamimaginedthatinHero’sDuty,thescientistshatednatureandhadturnedtheplanetintoa“thing,”buildingthelandscapeoutofcausticmaterials.Tocapturethat,MikeGabrielstartedwithshapes.WhereFix-ItFelix,Jr.embracedsquaresandperpendiculars,Hero’sDutywouldutilizetrianglesanddiagonals,which,asRichMooresaid,“reallyfittheideaofchaos,brokenedges,violence,andwind.”
MikethenworkedwitharchitectsEdgarBoveandAndresFuentes,whofocusedonthegame’s99-storybuilding.BoveandFuentesprovidedsketchesinspiredbycontemporary,multi-facetedskyscraperdesigns.MikeGabrielrecalled:“Itwassoexcitingtoseethelevelofcomplexityanddetailinthesedesigns.Mymindkindofwent,‘Wow,thisiswhatweshouldbedoing—tocontrastFix-ItFelix—aworldofhostilitymultiplieduponitself.’”DisneyArtistsCoryLoftisandRyanLangexpandedonBoveandFuentes’sideasanddesignedabuildingthatlookedlikeithadclaweditswayoutofthetwistedlandaroundit,beatenbywind,abandoned,infested,andanearimpossibleclimbtothetop.
Whenitcametoanimation,RenatodosAnjossaidhisteamdecidedthatitallcamedowntogravity:“InFix-ItFelixgravityislessofadeal.Felixjumpsaroundlikegravitybarelyexists.ButtheworldofHero’sDutyhasalotofgravity.Everymovementhastofightagainsttheatmosphere.”Finally,tofurtherdeepentheintensityoftheworld,theteamdesaturatedthecolorsofHero’sDutyalmosttothepointofblackandwhite,withonlyaccentsofgreen.Theendresulttrulyisahostileworld,whereonlythemostdesperate8-bitgamecharacterwoulddaretotread.
“HERO’SDUTYISTHISHYPER-REALISTIC,INTENSEWORLDTHATFROMALIGHTINGANDDESIGNSTANDPOINTWILLBEAMAZING,ESPECIALLYINCONTRASTTOTHEWORLDOFFIX-ITFELIX,JR.SEEINGTHATWORLDCOMETOLIFEWITHTHEBUGSANDTHEBIGATTACKSCENETHAT’SGOINGTOBEINIT,THAT’SGOINGTOBEUNBELIEVABLE.”—CLARKSPENCER,PRODUCER
CoryLoftis/Digital
RyanLang/Digital
RyanLang/Digital
JustinCram/Digital
RyanLang/Digital
JeffTurley/Digital
MinhDuong(Model),CoryLoftis(Paintover)/Digital
“ASFARASTHEOVERALLHEAVYATMOSPHERE,THEREASONTHEYDOTHATINFIRST-PERSONSHOOTERSISBECAUSETHEFASTERTHINGSBUILDUPWITHATMOSPHERE,THESIMPLERTHINGSCANBEASTHEYGETAWAYBECAUSEYOUCAN’TSEEMUCH.”–ADOLPHLUSINSKY,DIRECTOROFLOOK&LIGHTING
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RyanLang/Digital
JeffTurley/Digital
AndyHarkness/Digital
VictoriaYing/Digital
CoryLoftis/Digital
“THERE’SSOMUCHTIMESPENTTHINKINGABOUTTHELOGICOFWHYTHESCIENTISTSWOULDCHOOSETOBUILDONTHISPLANETORWHYTHEYWOULDCONSTRUCTTHEBUILDINGTHISWAYORHOWTHEMECHANISMOFTHEBEACONWORKSORWHYTHEYWOULDCHOOSETOMAKEBUGS.WE’REWORRIEDABOUTTHIS,BUTWHENIWORKEDONGAMESEVERYONEWOULDJUSTGO,‘WHOCARES?IT’SAGAME!’”—CORYLOFTIS,VISUALDEVELOPMENTARTIST
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“WHENDESIGNINGTHE99-STORYTOWER,WELAIDTHEMANHATTANSKYLINEONITSSIDEFORSCALEAND
SHARPNESS.”–CORYLOFTIS,VISUALDEVELOPMENTARTIST
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“CORYLOFTISISLIMITLESSINHISINVENTIONANDHISRESOURCEFULNESS.HISCHARACTERSHAVESUCHARANGEOFTONE.HE’SABLETOGOFROMCOMPLETELYIMAGINEDCHARACTERSTOINVENTINGTHECARTHATVANELLOPEMAKESINTHEBAKERY.WEGAVEHIMTHELANDINGPADINHERO’SDUTYANDHECAMEUPWITHAREALLYCOOLDESIGNFORTHAT.IDON’TKNOWHOWONEGUYCANGETALLTHATINTOHISHEAD,OTHERTHANCORY.”–MIKEGABRIEL,ARTDIRECTOR
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O
RALPHINHERO’SDUTY
nequestionthattookalotofexplorationtoanswerwas:HowwouldRalph’slookchangewhenheenteredHero’sDuty?Theanimators
consideredenhancingthetexturesanddefinitionofhisclothes,face,andhairtofitthemoredetailed,moderngame,butRichfeltitwasimportanttokeephisdesignconsistentfortheaudience.Sotheyinsteadturnedtolighting.AdolphLusinksyexplains,“ThelightinginHero’sDutywillbetheoppositeofFix-ItFelix.Everythingfarawayismilky,justlikeinafirst-personshootergame.Whenyougetclose,yougetthedarkestblacks.”SowhenRalphenteredHero’sDuty,he’dbecastindarkshadowswithdeepcontrasts.We’dseeadistinctdifference,buthe’dstillbeourRalph.
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I
SERGEANTTAMORAJEANCALHOUNntheweeearlydaysofdevelopingthestory,SergeantCalhounwasgoingtobeaman.ButthenscreenwriterPhilJohnstoncasuallyasked,“Whatif
CalhounwereawomanandbecameFelix’sloveinterest?”RichlovedtheideaandnamedherTamoraJean.
Indesigningher,theteamknewthatafuturisticfemalesergeantinchargeofthemostdangerousgameinthearcadeneededtobestrong,intimidating,butstillappealing.ArtistKevinNelsonreallyhelpedsetthelookofCalhoun.Hegaveherthestronglegsandleanmuscletoneofasprinter.Hecreatedasleekhover-boardforhertotravelonthatemphasizedheragilegrace.Topushthesciencefictionangle,hegaveherskincamouflageabilities,soshecouldtakeonanycolorshewanted.Sinceshewasclosedoffemotionally,shecouldhidebehindhercamouflage.Theoverallresponsetohisdesignswasstrong,thoughtherewereconcernsthatthecamouflagemightmakeithardfortheaudiencetorelatetoher.
Itwasthenthatherdesigngotcaughtinthetug-of-warbetweenstrengthversusappeal,forcefulversusinspirational.ButwhenJaneLynchjoinedonasthevoice,BillSchwabremembered:“Calhounsuddenlybecamesomuchclearer.”InspiredbyJane,GlenKeanedidsomefreshdrawings,designingCalhounasmorecommandingandstatuesque.HegaveherabitofJane’shairstyle—withanAnimeflair—aswellashermannerisms,andwiththat,thefilmmakersallagreed,they’dfoundCalhoun.
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TonyJung(Model),RyanDuncan,MitchellSnary,andVickyLin(Look)/Digital
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ShiyoonKim/Digital
TonyJung/Digital
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S
THESOLDIERSoldiersandfirst-personshootergamesgohand-in-hand,somakingtheHero’sDutysoldiersandtheirweaponryfeeloriginalwasnoteasy.After
muchresearch,includingvisitstoactualmilitarybases,KevinNelsondesignedsomeverybelievableweaponryandsoldiers.But,asMikeGabrielsays,“Weweren’tyetgoingintofreshsnow.”Thentheynoticedthatmanyvideogameshadstartedtobecomemorecaricatured.Inspired,ArtistShimonKimdidsomedrawingswithunnaturallygiantweaponsthatwereveryfun.Inaddition,theplotof changed:Ralphwasgoingtomasqueradeasasoldierandneededtobeabletofitintothearmor.ThechangeallowedVisualDevelopmentArtistsScottWatanabeandCoryLoftistobreakfromrealism,andcreatetheDisneyversionofgrittyfirst-persongamecharacters.
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Wreck-ItRalph
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CoryLoftis/Digital
JinKim/Digital
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“EWW,BABYBUG!”
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CharlesScott/Digital
R
RyanLang/Digital
ichMooreimaginedthatlikeallbabies,babycy-bugscouldn’thelpbutbealittlecute.Toachievethis,VisualDevelopmentArtistMinkyuLeebroke
fromtheconstraintsofthetrianglelanguageofHero’sDutyandgavethebabybugsgiantroundheadsonlittlelegs.MikeGabrielcommented,“Hethrewcuteontopofcreepy,andweallimmediatelysaid,‘Yes,’becauseitlookedsoappealing.Youcanneverbeatappealing.”
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CoryLoftis/Digital
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L
CY-BUGS“THEYAREWHATTHEYEAT!”
ikesoldiers,havingbugsinavideogamewasnotanewidea,sothecreativeteamfacedthechallengeoffiguringoutwhatmadetheHero’s
Dutybugsunique.BillSchwabthoughtback,“Ididalotoftheearlybugdesigns.Inthebeginning,IthoughtaboutthefilmWrathofKhan,wheretheyputthosebugsinpeoples’ears.Idrewalotofreallycreepybugs.Theymadeyourskincrawl.”ButBillknewthat,inkeepingwiththetoneofthefilm,thebugsneededtobemorethanjustcreepy;theyneededtobecompellingandattimesevenfunny.Tohim,“Thefirstgreatdiscoverywastheideathattheyarepartmachine.Itmadeiteasiertolookatthemwithoutbeingcompletelygrossedout.”Theydrippedoilinsteadofblood.Theylaideggsfromacargohatch.IanGoodingadds,”Oncetheywerepartmachine,wefeltlikewecouldshootlotsofthemwithoutfeelinglikewewereannihilatinganactualspecies.”That’swhentheHero’sDutybugfounditsname:thecy-bug,aplayoncyborg,evokingtheideaofsomethingmanufacturedandnotfullyorganic.
Thecy-bugwasagreatfind,butRichwantedtopushitevenfurther.ClarkSpencerrecalls,“Thenthestoryartistscameupwiththeideathatthecy-bugsbecomewhattheyeat.Thatwasaseminalmomentforthecy-bugs.RichandJohnLasseterlatchedontotheidearightaway.Theylovedthethoughtofthecy-bugeating,say,atruckandtransformingintoatruck-bug.”
Evenmoreexcitingtoeveryonewasthethoughtofthecy-bugsinSugarRusheatingcandy.MikeGabrielspokeaboutit:“Whenimaginingthecy-bugsinSugarRush,ScottWatanabefollowedsomeunderseacreaturepatternsandturnedthemintocandypatterns.Theyhavesuchagreatlook,unlikeanythingI’veeverseen.”
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T
THEFIRST-PERSONSHOOTERhereweremanydiscussionsaboutwhatmakesamodernfirst-personshootergamedifferentfromtheoldclassicslikeFix-ItFelix,Jr.Visual
DevelopmentArtistCoryLoftis,who’dspentyearsdesigningforvideogames,describesitbest:“Afirst-personshootergameisactuallytheepitomeofwhatvideogamesaretryingtobe;they’retryingtoputyouinasituation.Fix-ItFelixisstuckinthethird-personview,butinHero’sDutyitshouldfeellikeyou’reintherewiththecharacters.”Thecreativeteamknewtheyhadtocomeupwithawayofcapturingthisidea.
RichMooreremembers,“ForawhilewehadasoldiernamedFPS,asin‘First-PersonShooter,’whowasliketheothersoldiersexcepthehadacameraforahead.Butpeoplefoundhimconfusing.DidhehaveemotionsandasoullikeCalhounorwashemorelikearobot?”
Takinginspirationfromvideoconferencingand“telepresencerobots,”thecreativeteamdesignedadroidwithaflatscreenforaheadthatdisplayedtheplayer.ItreallyfeltinlinewithwhatCorydescribed.Itwasliketheplayerswererightthereinthegameandthegamecharacterswerefreetointeractwiththem.JohnLasseterlovedtheideabutsuggestedonelastadjustment:“Makethedroidasdorkyaspossibletocontrastthestrongsoldiers.”
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“ILIKEFIRST-PERSONSHOOTERS,ANDI’MAVIDEOGAMEGUYSOITRIEDTOFITASMANYCOOLTHINGSASICOULDINTOONEIMAGEAND,HOPEFULLY,GETPEOPLEEXCITED.”—RYANLANG,VISUALDEVELOPMENTARTIST
ColorScript/MikeGabriel,HelenChen,JimFinn,LorelayBove,RyanLang,DanCooper,CoryLoftis,IanGooding/
Digital
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SugarRush
WSophisticatedPalette
henitcametodesigningSugarRush,thecreativeteamknewthatworldneededtobemorethanjustappealing—italsoneededtobe
mouthwateringlyappetizing.Theriskofcreatingaworldcompletelyoutofconfectionaryfoodstuffs,
however,isthatitmightcomeoffasjuvenile.WhilethecharacterRalphmayfeelthathe’strappedinasickeninglysweetracinggame,theaudiencecan’tfeelthesameway.Theartistsneededanoveralldesignfortheworldthatwassophisticatedandoriginal.UsingthetraditionalHanselandGretelgingerbreadcottagewasout.
TheshapelanguageofSugarRushclickedintoplacewhenLorelayBove,avisualdevelopmentartistfromSpain,introducedthecreativeteamtothewhimsicalarchitectureofCatalanartistAntoniGaudí,whoflourishedaroundthebeginningofthetwentiethcentury.“EversinceIwasalittlegirlgrowingupinSpain,”explainsLorelay,“IalwaysthoughtthatGaudí’sbuildingslookedlikecandyhouses.Iwouldseethemandthink,‘Thoselooklikeicecreamswirls,thislookslikefrosting,andtherearepretzelshapeseverywhere.’”SoMikeGabriel,Lorelay,andthevisualdevelopmentteamtookaresearchtriptoBarcelonatowalkthroughGaudí’sbuildingsand,indeed,everyonefellinlovewiththearchitect’scurvilinearshapes.
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Lorelayquicklybecameakeydesignerindefiningtheworld,notonlybecause“shehasGaudíinherDNA,”asLorelay’sformermentorIanGoodingexplainsit,butalsobecause“she’sgotfantastictasteincolor.”AndaunifiedcolorpalettewasalsoakeyinachievingasenseofsophisticationinSugarRush.Lorelayexplains:“Insteadofusingeverycoloroftherainbow,pinks,reds,andchocolatesaretheherocolorsofSugarRush.Wheneverweputtoomanycolorsandpatternstogether,itlookedoverwhelming,likealittlekidmadeit—notasyummyasifapastrychefhad.”
“WhenyougointoSugarRush,”summarizesMikeGabriel,“you’llimmediatelynoticeit’sallsilkyandsmooth.IfHero’sDutyis‘hard,’thenSugarRushis‘soft.’You’regoingfromametallic,sharpworldintocreamy,evenvalues.Thepaleorangeandpinktreesareveryclosetothecloudcolor,whichisveryclosetotheskyvalue.Ifyousquintyoureyes,itlookslikeaweddingcake.”
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“WewenttoCologne,Germany,toseetheInternationalCandyMarket.Welookedatincrediblecandiesfromeverynationintheworld.Oddly,themoreyoubecomefamiliarwithwhat’soutthere,themoreyou’reabletogeneratesomethingoriginal,inyourownstyle.”—MikeGabriel,artdirector
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“Whenwe’repickingcolorsortexturesforanyfoodelementinSugarRush,wekeepadjustinguntilwewanttoeatit.”—MikeGabriel,artdirector
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VictoriaYing/Digital
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“IcanmimicGaudí,butLorelayreinterpretshiminacompletelyfreshwaythatfeelslikeyouhaven’tseenitbefore.She’ssobraveandfreewiththewaysheroamswithit.Ithinkshe’salwaysbeenlookingforanoutletforherloveofGaudídesign,andshehasfinallyfoundtheperfectvehicle.”—MikeGabriel,artdirector
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“TheinteriorofKingCandy’scastlehasbeenoneofmyfavoritesetstodesign.Weusedwhiteandbrownsugarcubestocreatea
checkerboardpattern.AndbecauseKingCandyisnottherealking,wethoughtitwouldbefunnytocoverthewholecastleinsugarcoating,justlikehim.”—LorelayBove,visualdevelopmentartist
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“WhenIstarteddesigningthecandygrandstands,Iimmediatelythoughtofgoingtothegrocerystoreandseeingallthosecandiesondisplay.Thetieredshelvesnaturallylooklikegrandstands.IwasinspiredtoputKingCandyinapopcornbox,becauseit’sthetypeoffoodyou’deatatarace.ThenItriedtomaketheboxlookroyal.It’saroyalpopcornbox.”—VictoriaYing,visualdevelopmentartist
LorelayBove/Digital
VictoriaYing/Digital
ScottWatanabe/Digital
JustinCram/Digital
LorelayBove/Digital
JeffTurley/Digital
StoryBoards/JedDiffenderfer/Digital
RyanLang/Digital
ScottWatanabe/Digital
RyanLang/Digital
KevinNelson/Digital
KevinNelson/Digital
“Whenwegettotheracethere’salotmoresaturationandpunchycolor.Wetightenedtheshadows.Everythinggetsmoreintense.”—AdolphLusinsky,directoroflook&lighting
KevinNelson/Digital
RyanLang/Digital
PaulFelix/Digital
LorelayBove/Digital
JeffTurley/Digital
JeffTurley/Digital
StoryBoards/LaurenMacMullan/Digital
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BuildingaRealCandyWorld
(l-r)RichMoore,MikeGabriel,BrittneyLee,LorelayBove
“InalotofLorelay’spaintings,shedidthesequaintEuropeanwalkwaysthatweresupposedtobesugarcubes.Icouldn’tactuallygetsugarcubestomaketherightshapes,soIusedwhiteNeccowafersinstead.IhadtobuyatonofthosemulticoloredNeccowafersleevesandpulloutallthewhiteonesandbreakthemintostoneshapes.”—BrittneyLee,visualdevelopmentartist
heproofthatthevisualdevelopmentteamwasontosomethingexcitingcamewhenMikeaskedVisualDevelopmentArtistBrittneyLeetobuild
modelsoftheSugarRushtownsquareandracetrackoutofactualcandy.“Brittney’smodelssolvedsomanyproblems,”explainsLorelay,“likehow
shefiguredouthowtomakethedifferenttexturesoftheground.Shecoveredsomeareaswithfrostingandotherswithcrumbledcookiesandcocoapowder.”“Then,”addsClark,“ourdirectorofLook&Lighting,AdolphLusinksy,photographedthemandpaintedinsomeofourcharacters.TheresultwastrulyinspiringandestablishedthebenchmarkfortheauthenticlooktheartistswantedforSugarRush.”
Brittneyrecallsherdioramaassignmentwithglee:“ThedaythatIwaspaintingfacesonthepopcornpeopleinKingCandy’sgrandstand,Iwaslike,‘Thereisnobetterjobontheplanet.NobodyelseisdoingsomethingascoolandsillyasIamrightnow.’”“Thosemodelswerephenomenal,”Clarkconcludes.“WhenJohnLassetersawallofthosecandyfacesinthegrandstands,hejustwentcrazy.”
BrittneyLee/Confectionary
BrittneyLee/Confectionary
LorelayBove/Digital
BrittneyLee/Digital
BrittneyLee/Confectionary,Paper
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DeliciousLightingoraworldmadeoutofcandy,theartistsalsoneededtodosomeresearchonhowtolightfoodandmaximizeitsmouthwateringappeal.“Wehadhalfadozendifferentfoodphotographerscomeintothestudio
andtalkaboutwhatmakesfoodphotographsappealing,”explainsAdolph.“Lightingisahugepartofit.It’sreallyaboutkeepingallthetexturesandformsreallydistinctandclear.Youreyewantstoseewhatyou’regoingtoeat.Thesessionswerealsoinspirationalforhowtopainttexturesandexaggerateforms.Forinstance,infoodphotographytheysometimesusemotoroilforsyrupbecauseit’ssothick.”
Theteamdiscoveredthatinordertomakefoodlookbothrealandappetizingonscreen,theywouldneedtocaricatureit—aperfectprescriptionforacartooncandyworld.
PhotosbyAdolphLusinsky
PhotosbyAdolphLusinsky
I
VanellopeVonSchweetznSugarRush,Ralphmeetshismatchinthelovable,impishVanellopeVonSchweetz,anoutcastcandyracerwithaneedforspeedbutnocandygo-
karttoachieveherdestiny.Castingstand-upcomedienneSarahSilvermanasthevoiceofVanellopeearlyonhelpeddefinehertoughbutappealingcharacter,aswellastheragamuffin’sfacialexpressionsandposes.“1hadapictureofSarahupontheboardofvisualsIusedtopitchthestorytoJohnforthefirsttime,tohelphimvisualizeherasavideogamecharacter,”Richremembers.“It’soneofthefewthingsthathasstayedconsistentthroughthemovie.”PhilJohnstonconcurs:“VanellopealwayshadahintofSarah,ahintofCindyLouWho,combinedwiththisgrubbylittlePippiLongstockingmoppetkid.”
Vanellope’slonerstatusinSugarRushisduetoherflaw—herglitchy“pixelexia.”Todistinguishherasanoutcastamongtheotherracers,theartistsinitiallyplayedaroundwiththeideaofVanellopebeinganabandoned,unfinishedcharacter.Takinginspirationfromhalf-builtcharactersbeforethefinaltextureandrenderprocess,MikeGabrielandhisteamtriedversionsofVanellopewithgrayandgreenskin.But,Mikeexplains,“Bottomline,shelookedlikeazombie.Itjustwasn’tappealing.”Ultimately,theartistsgaveherawarmfleshtoneandexpressedherglitchinessthroughhertendencytostuttervisuallyonscreen.
ChadStubblefield(Model),MicheleRobinson(Look)/Digital
ShiyoonKim/Digital
Vanellope’scostumealsobecamekeyindefiningherasanoutcast.Butearlyon,Richrecalls,thedesignsfeltoldfashioned.“Shewaswearingprairiedressesandfeltalittletoocutesy-poo.Eventheposeswerealittletoosoft.That’stotallyappropriateforSnowWhite,butforVanellope,alarmsweregoingoffinmyhead.”InordertomakeVanellopefeelmorecontemporaryandabitmoreaggressive,Richgottheideatodressherinahoodedsweatshirt:“1startedasking,whatwouldyouseeastreetkidwearing?Well,ahoodie.Weputthatonherandsuddenlyitallcametogether.”“WhenRichputherinthathoodieandthosemismatchedstockings,allofasuddenIcouldrelatetoher,”saysMike.“1startedstickingbitsofcandyinherhairandmakingitwilder,alittlemoreunkempt,andthentieditbackwitharopeofredlicorice,whichisherthemecandy.WewantedtomakeVanellopelooklikesheneedssomeonetotakecareofher,andshefinallyfindsasurrogateparentinRalph.”
LorelayBove/Digital
JinKim/Graphite
ShiyoonKim/Digital
“Allthewomenonthestorycrew—Lissa[Treiman],Josie[Trinidad],Nancy[Kruse],andLauren[MacMullan]—havebeenveryprotectiveoftheVanellopecharacter,andrightlyso.Therearealotofanimatedfilmsthatdon’thavereallystrongfemalecharactersinthem,andshe’saverystrongone.”—JimReardon,headofstory
BillSchwab/Digital
LorelayBove/Digital
ChadStubblefield(Model),MikeGabriel(Paintover)/Digital
LorelayBove/Digital
LorelayBove/Digital
ChadStubblefield(Model),MikeGabriel(Paintover)/Digital
ChadStubblefield(Model),MikeGabriel(Paintover)/Digital
VictoriaYing/CandyWrappers
“I’vebeensewingdollclothesforalongtime,asahobby.IdesignedclothesforVanellopeoutoffabricandcandywrappers,becauseIwantedtohelpfindaconceptforhowthecharacterofVanellopewouldhand-makeherclothes,butwithasophisticatedstyle.”—VictoriaYing,visualdevelopmentartist
ChadStubblefield(Model),LorelayBove(Design)/Digital
RyanLang/Digital
RichMoore/Pen
ByronHoward/Digital
ErynKatz(3DSculpt),LorelayBove(Design)/Digital
LorelayBove/Digital
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CandyRacersandGo-Kartsreatingeachcustom-builtcandygo-kartfortheSugarRushracerswastrulyateameffort.
Earlyon,LorelayBovedidapaintingofthecandyracerssittinginlittlecakes,likemuffinsandpetitfours.Mikeremembersthat“theywereadorable,butweneededtomakethemalittlemorebadass,soVisualDevelopmentArtistsKevinNelsonandShiyoonKimtookacrackatthem.”
“WhatItriedtodo,”Kevinexplains,“wastofigureoutwhatgenreofracecareachtypeofcandynaturallywantedtobe.Forexample,assoonasIturnedacandycornonitsside,itlookedexactlylikeamidgetsprintcar.AndwhenItooktwoRiceKrispiesTreatsandmovedoneslightlyhigherthantheother,itwasarat-rod!ThebestracecarsweretheonesforwhichIdidn’thavetochangethefoodstuffwhatsoever.”
“ThenVisualDevelopmentArtistRyanLangtookKevin’sdesignsandpaintedalineupoftheracers,”continuesRich,“andmadethemlookalmostphotorealistic.It’soneofthepiecesofartworkfromthefilmthatgetsthemostresponsefrompeoplecomingintothestudiofromtheoutside.Theylookatthosecarsandtheycansuddenlyseethemovie.”
VisualDevelopmentArtistCoryLoftisexplainsthedesignevolutionofthemostimportantkartofall:“TheultimatedesignforVanellope’skartcamefromJohnLasseter’ssuggestionstomakeitlooklikeshe,achild,madeit.IspentalotoftimelookingatpicturesofcakesthatlittlekidsdecoratedforMother’sDay.They’reterrible,coveredineverythingthekidcouldgetonthere.Incomparison,mydesignswerewaytooorderly.AfterIstartedgettingmorerandom,thekartcametogetherandwasalotoffuntodo.”
LorelayBove/Gouache
KevinNelson/Digital
ShiyoonKim/Digital
“Lorelayhadsomereallyamazingcandy-themedgo-kartdesigns.TheyinspiredmetodothisoneHershey’sKissescar.Theracer’shelmetwasthetoppartoftheKissandwhensheslidintotheseat,herheadfitrightintothekartandturnedintothisonegiantHershey’sKiss.Thatwasafunidea.”—ShiyoonKim,visualdevelopmentartist
ShiyoonKim/Digital
JimFinn/Digital
ScottWatanabe/Digital
KevinNelson/Digital
LorelayBove/Digital
LorelayBove/Digital
LorelayBove/Digital
RyanLang/Digital
ScottWatanabe/Digital
RyanLang/Digital
LorelayBove/Digital
KevinNelson/Digital
CoryLoftis/Digital
CoryLoftis/Digital
LorelayBove/Digital
BillSchwab/Digital
LorelayBove/Graphite
LorelayBove/Digital
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InSearchofaGreatVillainheveryfirstvillainofSugarRushwasa
truantofficerwhocapturedwaywardchildren,likeVanellope.“But,”
remembersHeadofStoryJimReardon,“thecharacterwasn’tplayingintheearlyscriptdrafts.Sowestarted
spitballingaboutothercomicvillainsinDisneyfilms.Then,westartedlaughing
attheideaofEdWynn,alovableoldvaudevilleactor,playingagainsttype,asamobbosslikeaTonySoprano.”And
KingCandywasborn.ThecharacterofKingCandyclaimstobetherightfulrulerofSugarRush,
anditsstarracer.Overthecourseofthefilm,however,herevealsthathisbenevolenceisjustasugarcoating.“KingCandyisagold-minecharacter,”laughsMike.“He’soneofthosecharactersthatfallsinyourlapandyou’vejustgotitfromthebeginning.Wejustmadethatnicebaldheadofhislooklikeabonboninapapercandydish.Andinordertomakehimstandoutinarealmfullofallthesevibrantcolors,we’vemadeeverythingassociatedwithhimpuresugarwhite.”
“MikeGabriel’sdesignwasfuntodraw,”saysTomEllery,thestoryartist
creditedwithhelpingdefineKingCandy.“1justwentwithit.Hewasafuncharactertoplaywith,becauseyoucouldprettymuchdoanything.”
ChadStubblefieldandDylanEkren(Model),PamelaSpertus(Look)/Digital
RichMoore/Pen
RenatodosAnjos/Pen
MikeGabriel/BrushPen,Digital
MikeGabriel/BrushPen
LorelayBove/Digital
MikeGabriel/BrushPen,Digital
JeffTurley/Gouache
RenatodosAnjos/Graphite
StoryBoards/LissaTreiman/Digital
ChadStubblefield(Sculpt),RyanLang(Paintover)/Digital
LorelayBove/Digital
MikeGabriel/Digital
MikeGabriel/Digital
“ForSourBill,MikeGabrielhadthisideaofthecharacterjusthavingfloatinghandsandfloatingjellybeansforfeet.EricGoldbergdidsome2-Dtestswithhimandtotallynailedit.Wedidn’tevenhaveamodelbuiltyetforSourBill,butitwasasifIalreadyknewhim.”—RenatodosAnjos,animationsupervisor
MikeGabriel/Digital
RichMoore/FeltPen,Digital
BillSchwab/Digital
CoryLoftis/Digital
Hirokiltokazu(Model),MikeGabriel(Paintover)/Digital
“CoryLoftisnailedthedesignonthedonutcops.Sometimesyoujusthavetobewillingtoputpantsondonuts.Hecameupwiththewafercookieastheirriotshieldthatwastheperfectcontrastofsweetnesswithrough-and-toughness.ThebearclawscameinattheendbecauseLasseterwantedtoaddatougherqualitytothesquad.They’retheheavyhitters,butRalphreallybeatsthepuddingoutofthem.”—MikeGabriel,artdirector
CoryLoftis/Digital
CoryLoftis/Digital
IanGooding(Paint/LightingKey),JohnAquino(Model)/Digital
CoryLoftis/Digital
THEARCADE
MacGeorge,JimFinn/Digital
RichMoore(Concept),CoryLoftis/Digital
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THESECONDARYWORLDSOfWRECK-ITRALPH
hileFix-ItFelix,Jr.,Hero�sDuty,andSugarRusharetheprimarygameworldsthroughwhichRalphjourneys,MikeGabriel,lanGooding,and
therestofthe artistsalsohadtocreateseveraladditionalworldsforthefilm.
JustinCram/Digital
Wreck-ItRalph
MalconPierce/ColorPencil
PAC-MANbeginsinsidethecabinetofoneofthemostbeloved
videogamesofalltime.Butthefilmmakerswantedtodelaytherevealofthelocationandletthesettinginitiallyreadasjustagrouptherapymeetingforbadguys,knownasBadAnon.
ThecharacterssitinamundaneroomonfoldingchairsandclutchStyrofoamcoffeecups.�Richwantedthespacetofeellikeamultipurposeroom,likecubiclesinanofficespace,�saysMike.lanelaborates,�Thevacuuformedwallpanelsjustrepeatandrepeat.They�resomodularthatyoucouldmakeanymazepatternoutofthemthatyouwanted�oronemazeinparticular.�
Whenthecharactersfileoutoftheroomattheendofthemeeting,andtheaudienceseesPac-Man�sIconicgomescreen,thekeywasto�Keepitsimple,keepitpure.Don�ttrytobetoocleverwithyourdesigns,�explainsMike.Thedesignoftheoriginalgameinformedthisphilosophy.Mikecontinues,�WefoundaphotooftheguywhoinventedthegameplayofPac-Man.Init,hewasholdinguphisoriginalgraphpaperdrawingsofthegameboardandthecharacters.ThatwaslikelookingattheHolyGrail.�
ScottWatanabe/Digital
W reck-ItRalph
WayneUnten/Digital
DanCooper/Digital
RyanLang/Digital
CoryLoftis/Digital
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TAPPER’ShebarthatRalphvisitsisanother�80s-eravideogame,calledRootBeerTapper�s.Init,RalphseesaHero�sDutysoldierforthefirsttimeandfinds
hismission.ButincreatingTapper�s,Ianandtheteamfoundanotherdesignchallenge.
�Doingtheliteralversionofthevideogameenvironmentwithitsintenseultramarinewallpaperwasalittlesurrealasabar,�explainsIan.�Barstendtohavealotofwarmmaterialsthatmakeaplaceinvitingandcozy.Sowedeviatedfromtheoriginalgamedesignandaddedafewtouches�old-fashionedwallsconces,crownmolding,andwainscotingonthewalls�towarmtheplaceupandtrytomakeitfeelmorelikeabar.It�saninterestingbalance.Youhavetowalkalinebetweenbeingfaithfultothegameandgivingthefilmwhatitneedsemotionallytogetthestoryacross.�
BillSchwab/Digital
AndyHarkness/Digital
SusanKim(Model),SaraCembalisty(Look)/Digital
DanCooper/Digital
JustinCram/Digital
TapperiOSGameforiPhone®/iPad®
RootBeerTapperimagesprovidedcourtesyofWamerBros.EntertainmentInc.
ROOTBEERTAPPERisatrademarkofand©WamerBros.EntertainmentInc.
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THEHUMANWORLDnafilmfullofextraordinaryworlds,there�soneordinarylocationthatalsoneedstobememorableandcompelling�thedomainofhumansinLitwak�s
FamilyFunCenter.Thefilmmakerswerealsochallengedtodifferentiatethis�realworld�settingfromthehyper-realisticrealmofHero�sDuty.
�ThebreakthroughcamewhenCoryLoftis,oneofourvisualdevelopmentartists,drewsomedesignsforthehumansthathadacontemporaryRockwellianfeeltothem,�saysRich,referringtoNormanRockwell,thetwentieth-centuryAmericanillustratorfamousforhiscoversfortheSaturdayEveningPost.�Rockwell�spaintingsevokerealism,�Richexplains,�butthepeoplearecaricaturedwellbeyondhowtheywouldappearinreality.Hispaintingsareagorgeouscelebrationofthemundane.�Rockwell,alongwithahostofFrankCapramovies,becameakeyinspirationforthestyleofthearcadeworld.
Tocapturethesecharminglyordinarycharacters,Miketoldthedesignerstoobservereallife:�Wevideotapedkidsplayinginactualarcades.Welookedattheslopeoftheirforeheads,thewaytheystood,theirlittlepouchbellies,andweknewthatourcharacterdesignsweren�trightuntilthewholeteamcouldlookatasketchandgo.�Thatgirliscaricatured,butshelooksjustlikemyniece!�or�I�veseenthatguy!��
JimFinn(Paintover/lightingKey),JonKrummelandJohnAquino(Model)/Digital
WiththepatronsofLitwak�sFamilyFunCenter,RichalsowantedtocapitalizeontherecentbreakthroughsthatthestudiohadmadewithitscriticallyacclaimedhumananimationinTangled.�ItwasmygoaltobuildonwhatTangleddidwiththehumanacting,whichwassofunny,yetpoignantandincrediblyobservational.Ihopeweachievedsomethingequallyelegantandunderplayed,tocontinuethisnewtraditionofthestudio�s�ofproducingthebest,mostsubtleanimationofhumanbeings.�
CoryLoftis/Digital
CoryLoftis/Digital
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BONUSLEVEL:
THELOSTCHARACTERS
AGENERALINSICKBAY
ookingbackonallthegreatcharactersandstorylinesthathadtobecutfromthefilm,forHero’sDuty,handsdowntheoneeveryonegrievedthe
mostwasGeneralLockload.Whowashe,andwheredidhego?ScreenwriterPhilJohnstonexplains,“Wheninitiallydevelopingthestory,itwasimportanttolookatthecharactersandsituationsasrealandnotworrytoomuchaboutthevideogameaspect.SowethoughtinlineartermsaboutwhatwouldhappenifRalphactuallyjoinedthearmy.Hero’sDutywasmuchmoreofastandard-issuemilitary.RalphgotputonKPduty,servingslopinthecafeteria,andthenhegotthrowninthebrig.Afterthat,hewasputondemolitionduty,wherehewasexplodingspacewastelatrinesbecauseallhewasgoodatwasbreakingthings.GeneralLockloadwasCalhoun’sboss.HealsoworetheMedalofHeroesaroundhisneck.GeneralLockloadgotwoundedinbattleandendedupunconsciousinafull-bodycastinsickbay.WehadRalphstealthemedalrightoffofhim.Asastoryitwaskindoffunny,butitwasn’treallyonpointwithHero’sDutyasagame.”
SteveMarkowski/Digital
LissaTreiman/Digital
TomEllery/Digital
LissaTreiman/Digital
MinkyuLee/Digital
JeffTurley/Digital
RyanLang/Digital
MikeGabriel/Digital
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DESSERTEDCHARACTERS
BillSchwab/Digital
hileRichandJimalwaysknewthatSugarRushwasgoingtobemadeoutofcandy,theyweren’texactlysureaboutthegameplayofthe
world.Forthefirstfewscreenings,thegaminggoalsofSugarRushwerea
mash-upofracing,dancing,andmini-quests.BeforeitwasdecidedthatRalphandVanellopehadtobakeago-kart,theybondedbyhavingtowinitsparts.FirsttheyhadtoretrievetheenginefromacandycornmazepresidedoverbyCorneliusCobb,awackyfarmer,andavicious,fire-breathinguni-candy-cornnamedSkittles.
RalphandVanellopethenhadtowinadance-offatTheWheelhouseClub,presidedoverbyLadyGoGo,adancing/singingdivainspiredbythelikesofGwenStefani,LadyGaga,andKatyPerry.“ItwasfunbecausethereweretheseMadMaxravers,”recallsLeoMatsuda,thestoryboardartistwhodevelopedthesequence.DJLiciousWaferheadprovidedthehousemusic.
LorelayBove/Digital
BillSchwab/Digital
ThomasEllery,JeremySpears/Digital
JeffTurley/Gouache
JeffTurley/Gouache
BillSchwab/Digital
LeoMatsuda/Digital
JeffTurley/Digital
JeffTurley/Digital
LorelayBove/Graphite
LorelayBove/Digital
LorelayBove/Digital
LorelayBove/Digital
LorelayBove/Digital
JeffTurley/Digital
DougWalker/Digital
LorelayBove/Digital
LorelayBove/Digital
“Initially,RalphjustgoestoTapper’stodrownhissorrows.There’sacoverband,ArcadeFireballs,playingthat’80sMotelssong,‘OnlytheLonely.’Q*Bert’sthere,too,andhe’sverysad,suckingonadrippingtap.”—JosieTrinidad,storyartist
CoryLoftis/Digital
CoryLoftis/Digital
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EXTREMEEZLIVIN’2
ewpeopleknowthattherewasgoingtobeanotherwholeworldinWreck-ItRalph—thatofExtremeEZLivin’2.“Handsdown,theeasiestthingtopitchaboutthemovieearlyonwas
theworldofExtremeEZLivin’2,”ruefullymusesClark.“ItwasLasVegas,timesten.”Amash-upofoutlawsportsgames,likeExtremeVolleyball,combinedwithnonlinearsandboxgameslikeTheSimsandGrandTheftAuto,ExtremeEZLivin’2representedDisney’sepitomeofacarefree,hedonisticgamelife.
RalphoriginallystoppedoffinExtremeEZLivin’2whenhefelthehadfailedwithVanellopebecause,asRichputsit,“Hehadgivenuponhisgame.Hewasjusttryingtogosomeplacewherehefitin.AndthetaglineforEZLivin’was,‘Therearenogoodguysorbadguysinourworld—justguys.”’IanGoodingfondlyrecallsonedevelopmentpaintingbyVisualDevelopmentArtistJamesFinch,ofaswimmingpoolwithahalf-submergedpolicecarstickingoutofit.“Ithought,‘Wow,thatreallysaysitall.”’
Unfortunately,RalpharrivedinExtremeEZLivin’2solateinthestorythat,accordingtoMikeGabriel,“Itjustbecameonegametoomany.Atacertainpoint,you’veinvestedenoughofyouremotionsinworldsthathavealreadybeenestablished,anditreallyuprootsyourconnectiontothecharactersifyougosomeplacenewandhavetostartinvestinginawholenewbatchofcharacters—eveniftheyarevolleyballbeachbabesinbikinis.”
“Wehadamomentofsilence,thedaythatwecutitfromthefilm,”remembersClark,”butweallknewfundamentallyitwastherightthingtodo.”
JamesFinch/Digital
JeffTurley/Digital
JamesFinch/Digital
JamesFinch/Digital
JeffTurley/Digital
BillSchwab/Digital
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ACKNOWLEDGMENTS
BillSchwab/Digital
heauthorswanttoexpresstheirsincerestgratitudetoClarkSpencerandRichMooreforsuggestingtheyteamupandwritethisbook;toLeighAnna
MacFaddenatDisneyPublishingandEmilyHaynesatChronicleBooksforagreeingandforguidingthemthroughtheprocess;toRenatoLattanziforhisoptimismandconstantsupport;andtoKyleGabrielforhissuperlativetranscribingskills.
TheyalsowanttothankMikeGabriel,IanGooding,andalloftheWreck-ItRalphartistswhosharedtheirgreatstories,andtheincomparableproductionandexecutivesupportteamofMonicaLago-Kaytis,JenVera,HalimaHudson,EileenAguirre,andTanyaOskanian,whosawthattheinterviewsgotscheduledinthemiddleofacrazyproductionprocess.
Onapersonalnote,Jenniferwouldliketothankhernine-year-olddaughter,Agatha,whoseexuberanceandcreativezealinspireshereveryday.AndMaggiewouldliketothankherfiance,Matt,whosupportsherthroughthelonghoursofallofhercreativeendeavors.
BillSchwab/Digital
BillSchwab/Digital
ABOUTTHEAUTHORS
MaggieMalone isDirectorofDevelopmentatWaltDisneyAnimationStudios,whereshehasworkedonfilmsincludingTangled,TinkerBell,andThePrincessandtheFrog.
JenniferLee workedinbookpublishingforeightyearsbeforebecomingafilmmaker.ShejoinedtheWaltDisneyAnimationStudiosasascreenwriterintheSpringof2011,andwasawriteronWreck-ItRalph.
RichMoore isamultipleEmmy®Award–winningdirectoronTV’sTheSimpsons™andFuturama™.Healsoco-directedthebox-officehit,TheSimpsonsMovie.Wreck-ItRalphisRich’sfirstprojectwithTheDisneyAnimationStudios.
JohnLasseter isatwo-timeAcademyAward®–winningdirectorandChiefCreativeOfficer,WaltDisneyandPixarAnimationStudios,andPrincipalCreativeOfficer,WaltDisneyImagineering.
CoryLoftis/Digital
CoryLoftis/Digital
RichMoore/Pen
LorelayBove/Digital