the art of wreck-it ralph

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LorelayBove/Digital

Copyright©2012byDisneyEnterprises,Inc./WaltDisneyAnimationStudios.Allrightsreserved.Nopartofthisbookmaybereproducedinanyformwithoutwrittenpermissionfrom

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CONTENTS

JustinCram/Digital

PREFACEBYJOHNLASSETER

FOREWORDBYRICHMOORE

INTRODUCTION

FIX-ITFELIX,JR.

GAMECENTRAL

HERO’SDUTY

SUGARRUSH

THEARCADE

THELOSTCHARACTERS

ACKNOWLEDGMENTS

ABOUTTHEAUTHORS

W

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

W

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

“W

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.

ScottWatanabe/Digital

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.”

RyanLang,ScottWatanabe/Digital

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.”

RyanLang,ScottWatanabe/Digital

W

FIX-ITFELIX,JR.

AndyHarkness/Digital

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.”


“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.’”


AndyHarkness,LorelayBove/Digital

WayneUnten,JoePitt/Digital

HelenChen/Digital

CoryLoftis/Digital

“Fix-ItFelixevolvedtoamorecomplexworldthathasawarmthandacharmtoit.Itwasaboutgoinginandactuallyplacingsomelightsandsometreessoitfeelsalittlebitmorelike,‘Oh,there’saparkthere.’Beyondthebuildingthere’sabridgethatwesensegoessomewhere.”—ClarkSpencer,producer

CoryLoftis/Digital

HelenChen/Digital

LightingKey/JorgeObregon/Digital

StoryBoards/JosieTrinidad/Digital

W

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.

DanielArriaga/Digital

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.

WayneUnten/Digital

BillSchwab/Digital

BillSchwab/Digital

JinKim/Graphite

MikeGabriel/BrushPen

BillSchwab/Digital

“He’sabig,square,heavylug.He’snaiveandinnocentinaway.He’s

sheltered.Hehasashorttemper,andhehasareallygoodheart.Hehastojustfeellikesomebodyrecognizesthatinhim.”—MikeGabriel,artdirector

JinKim/Digital

JinKim/Digital

MikeGabriel/LiquidAcrylic

MikeGabriel/Digital

MikeGabriel/LiquidAcrylic

BillSchwab/Digital

BillSchwab/Digital

BillSchwab/Digital

“Itbecameevidentatonepointthatifyoujusttookthatcharacterandlookedatitfromalayperson’spointofview,youwouldn’thaveanyinformationfrom[thecharacter].Youwouldn’tknowwherehewasfrom,whatageheis,oranythingabouthim.That’saproblem.Thegoalthenwastomakehimclearlythemountainmantoclashandcontrastwithallthecitypeople.”—MikeGabriel,artdirector

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BillSchwab/Digital

BillSchwab/Digital


BillSchwab/Digital

BillSchwab/Digital

“Wewanderedindifferentdirections:animal,mineral,monster,tractor,yeti,Sasquatch.”—MikeGabriel,artdirector

BillSchwab/Digital

JinKim/Digital

FIX–ITFELIX,JR.

U

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.

WayneUnten/Digital

JinKim/Graphite


BillSchwab/Digital


“It’saverydifficultthingtopulloffbecauseyouwantthesecharacterstomovelikeaDisneycharacterandbeverybelievableinthewaytheyactandmove,butalsobringyoubacktothat8-bitworldofsimplecharactersandstylization.”—RenatodosAnjos,headofanimation

BillSchwab/Digital

JinKim/Digital


DanielArriaga/Graphite

TomEllery/Digital


MikeGabriel/Digital

THENICELANDERS

“WeeblesandFisher-PricePeopleMeet.”

—RichMoore,directorKnotsLanding

I

BruceSmith/Digital

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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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

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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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“Ifyoulookatadowntownloftspace,youcanseetheoldbrick.Theydon’thidethefactthatitusedtobeanoldbuildingontheinsideaswell.It’snice

toseethetwothingstogetherratherthanjustunrelatedandarbitrary.”—IanGooding,co-artdirector

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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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“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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F

HERO’SDUTY

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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

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MinhDuong(Model),CoryLoftis(Paintover)/Digital

“ASFARASTHEOVERALLHEAVYATMOSPHERE,THEREASONTHEYDOTHATINFIRST-PERSONSHOOTERSISBECAUSETHEFASTERTHINGSBUILDUPWITHATMOSPHERE,THESIMPLERTHINGSCANBEASTHEYGETAWAYBECAUSEYOUCAN’TSEEMUCH.”–ADOLPHLUSINSKY,DIRECTOROFLOOK&LIGHTING

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“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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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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“EWW,BABYBUG!”

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ichMooreimaginedthatlikeallbabies,babycy-bugscouldn’thelpbutbealittlecute.Toachievethis,VisualDevelopmentArtistMinkyuLeebroke

fromtheconstraintsofthetrianglelanguageofHero’sDutyandgavethebabybugsgiantroundheadsonlittlelegs.MikeGabrielcommented,“Hethrewcuteontopofcreepy,andweallimmediatelysaid,‘Yes,’becauseitlookedsoappealing.Youcanneverbeatappealing.”

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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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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

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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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“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

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“Whenwegettotheracethere’salotmoresaturationandpunchycolor.Wetightenedtheshadows.Everythinggetsmoreintense.”—AdolphLusinsky,directoroflook&lighting

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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

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

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

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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

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JimFinn/Digital


KevinNelson/Digital

LorelayBove/Digital

LorelayBove/Digital

LorelayBove/Digital

RyanLang/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

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

W

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.�


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


SusanKim(Model),SaraCembalisty(Look)/Digital

DanCooper/Digital

JustinCram/Digital

TapperiOSGameforiPhone®/iPad®

RootBeerTapperimagesprovidedcourtesyofWamerBros.EntertainmentInc.

ROOTBEERTAPPERisatrademarkofand©WamerBros.EntertainmentInc.

I

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

L

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

F

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

T

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

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

RichMoore/Pen

LorelayBove/Digital

the art of wreck-it ralph

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