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DVD Review: Wreck-It Ralph (Blu-ray Ultimate Collector's Edition)

The Ultimate Collector's Edition (Blu-ray + Blu-ray 3D + DVD + Digital Copy) of Wreck-It Ralph looks beautiful before even opening the package. The cover has a slick 3D holographic card on the front of the blu-ray dust cover case where it looks like Ralph and Glitch are stepping right on out of the package. The dust cover is a golden color but with a shine to it such that other colors such as reds and greens appear depending on how the light reflects on the case. The combination of the holographic card and the shiny gold slipcover makes for a very eye-catching presentation.

The inside of the case contains 4 discs which all fit nicely into a standard size blu-ray case:

  • Disc 1 - Blu-ray feature film and extras:
    • Paperman Theatrical Short -- A young man in an office sees the girl of his dreams in a skyscraper window across the street. But how can he get her attention?
    • Bit By Bit: Creating The Worlds of Wreck-It Ralph -- Game jump through the worlds of the film with the filmmakers, artists and animators who created it.
    • Disney Intermission: The Gamer's Guide To Wreck-It Ralph -- Hosted by Chris Hardwick
    • Deleted & Alternate Scenes
    • Video Game Commercials -- Original commercials for Fix-It Felix, Jr., Hero's Duty and Sugar Rush.
  • Disc 2 - DVD Feature film and extras
  • Disc 3 - DVD Digital copy of the movie
  • Disc 4 - Blu-ray 3D copy of the movie

So I don't have a 3D television so I couldn't check out that disc, and the digital copy is basically just for copying to your computer or portable phone or whatever if you want to watch it there, which I understand could come in handy but for me I only want to watch on our big screen, so I skipped that disc as well. The DVD is nice since most people likely don't have blu-ray players connected to every television, but for me the main disc to check out was disc 1, the primary blu-ray disc. Even though I didn't have the 3D effect while watching it in high-def it still looked absolutely stunning. There are several different styles of videogame worlds presented in this movie and they all have their own unique style. The Sugar Rush candy world is where most of the time is spent, and the candies and treats are textured so well and so detailed that I start craving candy every time I watch it (which has been at least 3 times on home video so far).

Of course, looking fantastic wouldn't matter much if the characters and story are crap, but luckily both that ain't the case. The characters feel both like actual videogame characters and real people with emotions and problems. I imagine it must have been quite difficult to walk that line but they sure pulled it off, and both the animation and the voices help to sell it. John C. Reilly voices are lead character, Wreck-It Ralph, with Jack McBrayer voicing "good guy" Fix-It Felix Jr, Sarah Silverman voicing Vanellope, and Jane Lynch voicing Sergeant Calhoun.

I really don't want to summarize the story because, at least for me, it was really enjoyable to go into it not really knowing anything about the plot and just seeing where it went, but I will say that it was cool to see all those classic videogame characters that I grew up with make cameo appearances. It brought back a lot of good memories, which could be another reason why I love this movie so much. But even if you weren't a gamer, this movie still has a lot of heart and is definitely worth seeing.

For the extras, there are four deleted scenes each with an introduction and an audio commentary (which is optional). There is also an animated short called Paperman which was worth seeing. Actually, here's a trailer for Paperman:

There's also some videogame commercials that were created for the made-up videogames in the movie, Wreck-It Ralph, Surgar Rush, and Hero's Duty, which I felt was a nice touch to make them seem like real games. Then there's a blu-ray feature where when you pause the movie a dude appears to give you a look at a bunch of the videogame references used in the film, among other stuff.

In short, this is a great movie packed in a nice collection so I see no reason why you shouldn't go pick it up for yourself.

Join Wreck-It Ralph director Rich Moore in this exposé about the one time Fix-It Felix Jr. high score champion Garlan Hulse, his fall into obscurity and his attempt to be on top again.


Meet the visual development artists that helped conceptualize the video game worlds and gaming characters in Wreck-It Ralph. Learn about the research that went into creating the look of this film – from game playing to unexpected trips – and the unique ways these artists found to showcase their ideas. We talk to Mike Gabriel, Art Director; Ian Gooding, Co-Art Director; Lorelay Bove, Visual Development Artist; and Cory Loftis, Visual Development Artist, to bring you the lowdown…


Art Director Mike Gabriel reveals: “Wreck-It Ralph is a completely unique film. I get the feeling it’s one of those movies that a lot of other animation studios are going to see and say, ‘Why didn’t we think of that? Why haven’t we put more than one simple, little world in a movie?’ The way that kids today click around devices and multitask, it’s seems ridiculous to think about trying to give them an hour and a half in one simple world. Why not let them jump into a new world every 20 minutes? That’s what we do with this movie. It’s a different experience for the audience, and it’s exciting.”


Mike Gabriel continues: “There are various different game worlds in Wreck-It Ralph. There is the 8-bit world of Fix-It Felix, Jr.; there is the first-person shooter game, Hero’s Duty; and there’s the candy-kart racer game, Sugar Rush. For each game, we wanted to create a distinct world that’s different to the other worlds, so we put distinct shapes in each one. Niceland [the world of Fix It Felix, Jr.] is based on squares that make it feel very solid and rigid. In Hero’s Duty, we wanted Ralph to be scared, so he gets thrown into this violent world of diagonals with a triangular-shape language. Sugar Rush is cute, benign and childlike, so if you look closely there are circles everywhere.”


Visual Development Artist Cory Loftis adds: “Before I moved to Disney, I worked at a video game company. Whenever they were trying to figure out what type of video game they were going to make next, everyone would sit around and discuss ideas. They would say, ‘We want vampires. We want a Tyrannosaurus Rex. We want a magical bear in a top hat. We want soldiers. We want princesses.’ They wanted all of these random things, but I remember asking what they all have in common? One guy said, ‘They are all awesome. That’s what they have in common.’ I think that’s very true for this movie, too. There’s such a great variety, but the unifying thread is the fact that all of the worlds and characters are awesome.”


Co-Art Director Ian Gooding explains: “Fix-It Felix, Jr. is an 8-bit world from the 1980s, and at first I thought it would be simple to create, but it turned out to be very challenging – in a fun way. How do you design something that shows that real people live here but at the same time shows the technical limitations of processors in the 1980s? That was the challenge.”


Ian Gooding continues: “The one thing that John Lasseter kept rubbing in is you have to celebrate the 8-bit as much as you possibly can in this world. Whenever we didn’t jump on an opportunity, he would notice it and say, ‘That’s not right here.’ It was fun to squeeze as many square-centric, 8-bit things you can into one environment and still have it look sophisticated, believable and fun.”


Ian Gooding reveals: “We had a lot of fun dressing the [Niceland] characters of this world. When you take something very sophisticated and tailor it with little hats and brooches, and you put it on these funny little people, it becomes hilarious. The more serious you get with the clothing, the funnier it becomes. They dress 80s-centric because that’s their era and they think that’s really cool. Again, really cool and serious becomes funny when you scale to the people of Niceland.”


Visual Development Artist Cory Loftis reveals: “For Wreck-It Ralph, I worked on the world of Hero’s Duty. In the very beginning, Mike Gabriel came into my office and he gave me some ideas to think about before I started designing. First and foremost, he explained that Hero’s Duty needed to feel like a real first-person shooter game; it needed to feel like a legitimate sci-fi shooter. I always kept that in mind when I worked on the design.”


Cory Loftis continues: “Hero’s Duty had to have that really strong triangular-shape language that Mike mentioned earlier, so I tried to pack as many triangles into the design as possible. The whole tower design is a big inverted triangle stuck into this planet. The windows are triangles; the decals are triangles; even the dust and debris that’s floating around in the air are triangles. Everything is sharp and angular.”


Cory Loftis adds: “I watched a lot of sci-fi movies growing up. All of the movies I really liked had one thing in common about the design of the technology featured in them: the spaceships, robots and hi-tech things weren’t made of sleek materials. They weren’t glossy or shiny. They were rough; they were bolted and riveted together; they had hoses and vents; stuff leaked, metal rusted and paint was chipped. I tried to take this idea along with the triangular shape language to create this unique world; not just in the tower and the planet itself, but also into the props and characters that are in Hero’s Duty.”


Visual Development Artist Lorelay Bove reveals: “When we first started working on Wreck-It Ralph, we wanted to create a candy world that was new and different to anything we’d seen before. I’m originally from Spain and I’ve always loved Antoni Gaudi and his modernist architecture. When I was little, I thought his architecture was made of candy. That’s where the idea came to use this modernist architecture movement and mix it with candy to make our own world and our own style.”


Lorelay Bove continues: “We took a research trip to Spain to study the shapes, rhythm and patterns of the architecture of Gaudi and it seemed to fit our new world perfectly. But we did not directly copy Antoni Gaudi or the modernist architecture; we just caricatured and made it a new, distinct world. Alongside the trip to Barcelona, we also took a research trip to the world’s largest candy convention in Germany. It was like the Comic-Con of candy, and we took lots and lots of pictures for reference.”


Lorelay Bove adds: “If you look at the world of Sugar Rush, you’ll see the circular shape language everywhere; there are circles all over the place. Plus, everything is sugar coated; even King Candy’s castle. When it comes to the citizens of Sugar Rush, [Wreck-It Ralph director] Rich Moore had the idea of using Japanese Harajuku girls as an inspiration because they are so unique. It worked really well, especially with the Japanese candy we found along the way.”

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