Writers: John Lasseter, Joe Ranft, Andrew Stanton, Joss Whedon, Joel Cohen, Alec Sokolov
Starring: Tom Hanks, Tim Allen
In July of 1928, Steamboat Willie became the first “talkie”, with a full spoken audio track playing over an animated short film. It was a landmark achievement in filmmaking from an idealistic young director named Walt Disney. A decade later, Snow White and the Seven Dwarfs became the first feature-length animated film and set the standard for the art of animation in its time. Walt did much more for filmmaking than adapting classic fairy tales and building theme parks, though. He designed and engineered the multiplane camera, allowing for the effect of perspective and depth in 2D animated films and was responsible for implementing many new forms of editing and effects that would revolutionize the way we look at the art of movies.
By the 70’s, however, Disney, as a company, was at an all-time low in terms of morale and success. When Walt Disney died from cancer in 1966, the studio had a hard time keeping up the pace and begin producing fewer and fewer successes until the late 80’s saw the Disney Renaissance, a period of massive growth for Disney as a company. In 1994, Disney gave us The Lion King, a massive achievement in filmmaking, and a year later, a small group of animators introduced the world to the first feature-length computer animated film: Toy Story.
Toy Story is an incredibly simple, timeless story told very, very well. It follows the secret lives of toys when their owner, a boy named Andy, is not around. They have a hierarchical ruling structure based on how much Andy loves them, with Woody (Voice of Tom Hanks), a pull-string talking cowboy, being the favorite and thus, the leader. On Andy’s birthday he is given the next big toy, an electronic space hero named Buzz Lightyear. Immediately Woody feels cast aside as Buzz appears to become Andy’s favorite new toy. The only problem is, Buzz does not believe he is a toy, and thinks he is a real interstellar action hero. Over time, Woody becomes so angry and envious of Buzz, that at one point he is accused by the other toys of killing Buzz when the space hero disappears. This forces Woody to take action to find Buzz and prove his innocence, the two becoming friends in the process. The film takes several turns in the story, with one surprisingly dark subplot involving a toy-torturing, truly messed-up kid who temporarily gains possession of Buzz and Woody.
Toy Story is a tale of unlikely friendship told through the a technology that was, at the time, still very new to general audiences. Computer animation had been around for well over a decade but it was always very shallow-looking. Bright colors and blocky figures dominated the artform, so imagine audiences’ collective surprise when Toy Story featured fully-animated characters in highly-detailed scenes. It was a shock to most people, and it put Pixar near the top of the animation totem pole, right up there with Walt Disney Studios (a separate entity from Pixar) and Studio Ghibli. The characters are interesting and relatable without being too cliched, the voice performances are all top-notch and art is still astounding by today’s standards, even after we spent years sitting through one mediocre CGI-fest after another, with the medium no longer being novel, just boring. Toy Story is a reflection on a time when talented filmmakers were still very excited about a new art-form, and the potential of this new style of animation was still on the horizon. NOTE: I would also point out that this was an early major screenwriting project for fan-favorite filmmaker Joss Whedon, so there's that, too!
Starring: Jonathan Taylor Thomas, Matthew Broderick, Jeremy Irons, James Earl Jones
The Lion King is Disney’s telling of Hamlet. That’s it. Well… Okay, the story follows Simba, a young lion who is the heir to an undefined “kingdom” in Africa called the Pride Lands. The story is “adapted” from a number of sources including the works of Shakespeare, the Bible and an anime from the 1960’s from Japanese Animation pioneer Osmau Tezuka titled Kimba the White Lion. The various sources of the film, with the exception of Shakespeare’s Hamlet, were not properly cited when the film was originally released (as is unfortunately typical with Disney). This led to some notable controversy surrounding the film. With all that, is the Lion King still a quality production? Well, yes.
Despite the stolen premise and the disingenuous way in which it is presented, The Lion King is a strong production that set the standard for animation for years upon its release. The film follows Simba, a young lion cub who, after witnessing the murder of his father, the king Mufasa, flees and lives his life in exile from his homeland. There, he befriends two layabouts named Timon and Pumba, who act as the obligatory comic relief of the film but also as a parallel to Simba’s real responsibility to his homeland. When Simba meets up with his childhood friend and promised future mate Nala, he learns of Scar’s overthrow of the crown, and his oppressive and destructive rule. It is now Simba’s duty to return to his home and face the usurper of the throne to face his true destiny.
The story is a rather simple one, really. It is about denial of one’s true self, and about the ideas of reason and responsibility. Shakespeare, being a playwright for the people, often depicted the ruling class as slovenly or lazy to an extent and this story reflects that trope. Simba, as an adult, starts off absorbed into Timon and Pumba’s laissez faire lifestyle, forgetting his roots and role in the world entirely. The arc is his facing of adulthood. It is a strong character shift and a well done part of the film. It all culminates in a climax where Simba squares off against the evil Scar in the wasteland that was once his home.
Production-wise, everything about this film is top-notch. The animation is some of the best of the studio’s history, the music is quite good, despite a few slightly annoying numbers that go on a little too long, and the story is big in scale yet it is told very accessibly for all audiences despite its source material. The voice acting is also very good, especially Jeremy Irons as Scar. I do love Irons as an actor and here he is funny and intimidating as Hell as one of the best movie villains ever, right down to one of the best damn musical numbers in the history of film “Be Prepared.”
As far as the rest of the music goes, it features some powerful moments. Much of the film’s music was composed by one of my favorite artists, Elton John, and his contribution is notable. It is a much more sophisticated soundtrack for the time. The Disney Renaissance was littered with “kid-friendly” musical moments and for every “Part of that World” or “Be Our Guest” there was an over-silly and rather schmaltzy number like “You’ll be in My Heart” or this film’s contribution to bad Disney Music, the reason for the creation of the Mute and Fast-Forward Buttons, “Hakuna Matata”. Still, there is one moment in this movie that hits me to the core every time I see it. The film ends as it begins, hence the film’s theme, “The Circle of Life”. It plays as Simba’s son is presented to his subjects and the film ends on a triumphant pound of the drum. It is a fantastic use of exposition-free storytelling and is one of the most powerful moments in cinema.
All-in-all, this was definitely the best animated film of the period, and I am not the only person to say so. Disney was on a roll with hits leading up to this film and yes, I do like The Little Mermaid, and I am not ashamed to say it. I think it’s a lovely story told quite well with likable characters and top-notch production value. Beauty and the Beast was good, but not great, and Pocahontas was a successful little piece of shameless revisionism with a nice coat of paint, so take that for what you will. However, this period also gave us Hercules, a film I most certainly did not like (except for James Woods as Hades, because Woods is a badass no matter what he does. He wins forever.)
The Lion King has also been the subject of much accolade since its release. Its music and score was nominated for and won multiple Oscars, it won best Comedy/Musical at the Golden Globes, it currently ranks at #57 in IMDB’s Top 250 and is a common fixture in books and lists of “Greatest Films of All Time”. It is a memorable, nostalgic and vibrant work and, despite its flaws, it is a classic movie that I think will become one of the principal staples of the best of modern cinema that will be remembered, preserved and revered for generations to come.
So, I open the final chapter in this series with an entry that is probably not on anyone else’s top 10 favorite VGM. This personal choice comes from hundreds of hours over many years playing Sim City 3000. I adore this song. The pace, the tone, the piano, the way it builds and the melodies that overlap and play off each other are all just astounding to me. There are a lot of great themes from the Sim City franchise but Magic City is the one that fits my taste and idea of an “amazing song” better than any of this storied series’ other tunes.
09.
Aquatic Ambiance
from Donkey Kong Country
Composer: David Wise, Evellyn Fisher Novacovic, Robin Beanland
Rare; 1994
Aquatic Ambiance really stands out for me as a 16-bit era song that not only uses the system’s audio capabilities better than any other song on the Super Nintendo (though it is not my favorite SNES theme), but also as another composition by David Wise that crushes the standards of game music. It is an achievement in terms of stunning sound design and for pushing the limitations of 16-bit, midi-format music. Aquatic Ambiance has a slow build, not getting to the song proper until the time when most game themes would have already begun looping. All of the little details of this song, from the ambient synth filling the background to the beautiful piano melody that plays throughout come together to form a tune that does not simply live up to its pedigree, but it sets the standard for the sound of the entire series.
08.
Intro/Title
from Mega Man II
Composer:Takashi Tateishi
Capcom; 1988
The Intro theme from Mega Man II is one of the most well-known and revered themes among gamers. It reflects all of the sounds and musical ideas that are expressed throughout the entirety of the game in one short, memorable tune. The song has been covered time and time again, and has even had lyrics written for it in numerous fan videos. It plays over the introduction to Mega Man II, the game I believe bears the best soundtrack of any single game in the history of the medium so far. It is vibrant, bright, fun and catchy, and like just about every song in the game, it is timeless.
07.
Duff McWhalen
from Mega Man X-5
Composer: Naoto Tanaka
Capcom; 2000
Duff McWhalen’s theme is another song that likely does not show up on a lot of top tens, so let me see if I can express why I have this song featured so high on my list. The piano melody is complex in the right way, the time signature and respective beat is catchy and lively, and the song’s tonal shifts are just perfect. Duff McWhalen’s theme from the PSX game Mega Man X-5 is actually a cover of Bubble Crab’s stage from Mega Man X-2, and while melodically that version is just as good, as it is the exactly same, I love this version for its use of a set of synth sounds that just fit perfectly. It is moody and simply brilliant.
06.
Chill Penguin
from Mega Man X
Composer: Setsuo Yamamoto
Capcom; 1993
Another fan-favorite, Chill Penguin ranks as my second favorite Mega Man theme of all time. It’s high-energy sound, insane use of a brain-melting synth/bass combination and classic melody make it stand out as the perfect tune for its stage. It is has a fast lead riff that keeps the energy of the song high while still having a relatively slow tempo, and while those may sound like conflicting ideas, listening to the theme should help that make sense. The tune has a slightly slower pace than most other songs on the soundtrack, but that does not detract from its intensity, accentuated by that phenomenal synth riff. It also has a sound that perfectly reflects its stage, another major contributor to its placement in my top ten.
05.
Dancing Mad
from Final Fantasy VI
Composer: Nobuo Uematsu
Squaresoft; 1994
Considered by most to be the ultimate boss theme, Dancing Mad is the official Kefka battle theme from Final Fantasy VI. It plays as the player engages one of the most powerful video game bosses of all time and is the iconic example of the “perfect” battle theme, feeling grand and threatening. Many fans of the Final Fantasy series extol Kefka as the greatest villain in the series, and considering he quite literally becomes God by the end of the game (right down to the Michelangelo imagery and Shekina behind his head), I can understand why. The theme to battling a deity had better be amazing, and Dancing Mad nails it.
04.
Moon Theme
from Duck Tales
Composer: Hiroshige Tonomura
Capcom; 1989
To more casual game music fans or younger gamers, the inclusion of this 1989 licensed title from Capcom may seem a little odd. However, while the original Duck Tales game was actually quite good, it is the soundtrack that kept its legacy alive. It is full of great tracks and the quality of the soundtrack lies squarely on the shoulders of composer Hiroshige Tonomura, who only composed six titles under the Capcom label before leaving the company to work for Taito, whom he then left in the mid-90’s to pursue other projects. Of his entire career, however, Tonomura has left one song behind that is among a few themes that really set the standard for what game music can and should be. The Moon Theme is a beloved tune because of its cheery mood, tonal complexity and sheer breadth. It is energetic, too, but it has a warmth to it that many game themes really lack. It is a fun and endearing song that is always in the back of my mind when the subject of game music comes up.
03.
Wily - Stage 1
from Mega Man II
Composer: Takashi Tateishi
Capcom; 1988
Of all the themes in the outstanding Mega Man II soundtrack, the theme from Wily’s Castle 1 is by far my favorite. It is hard to really put a finger on why, but I believe it falls mostly on the energy. The minor key, the pace and the tone all give the feel of a song written to drive the player forward. It is a perfect accompaniment to its stage, complimenting the flow well, despite the level’s more lazy vertical segments. Still, there is an urgency to it, and it just feels right. Also, it really just seems to stand out on the soundtrack. It does not clash, mind you, rather it is like an evolution of the sounds heard up to that point. It is actually a quite brilliant when you think about it.
02.
Bowser in the Dark World
from Super Mario 64
Composer: Koji Kondo
Nintendo; 1996
The Mario series of games has been hit or miss for me in terms of music. Occasionally, I will hear a song that expresses the franchise’s trademark whimsy and self-aware sensibilities well and it will stick with me, but more often than not, it just comes off as forced. However, Super Mario 64’s soundtrack is quite an achievement. It has a mix of a lot of different musical ideas and all of them work astonishingly well. The one song on the soundtrack that ranks above the others as my favorite is the Dark World theme. The three courses in in the Castle where Bowser has hidden the keys to the varying floors have a song that is, for a lack of a better word, awesome. The percussion, the build, and that moody melody during the song’s main section are all just intensely-classic. I played this game a lot in my teens when it came out and it remains one of my favorite games of all time to this day, and this song is, believe it or not, part of the reason. When I enter these worlds and that song kicks in, it just hits me with an overwhelming sense of nostalgia.
01.
Hyrule Field
from The Legend of Zelda: Ocarina of Time
Composer: Koji Kondo
Nintendo; 1998
Alas, the finale. My number one pick. Cliched? Okay. Obvious? Maybe? However, why is this one song held in such high regard by so many gamers? Well, it is a masterful composition and an amazing achievement in sound design in games, but I do not think this is solely the reason. I believe it is a combination of things. Forget the argument that Ocarina of Time is among a handful of contenders for what could objectively be called the “Greatest Video Game of All Time”, and consider this one aspect of the game: When you enter Hyrule Field, this song plays for the first time contrasting a sorrowful and silent goodbye to a childhood home for Link. The flutes break the day and the camera pans showing us what is really the first vast, open landscape any gamer had ever really gotten a chance to explore. Sure it is not quite as big as it may seem, thanks to some clever design tricks that allow for the illusion of scale while remaining within the bounds of the console’s limitations, but the promise of exploring this world the first time we see the field and hear this song is a striking memory, at least for me. The song is a orchestration of the classic Legend of Zelda theme music but unlike a vast majority of game music up to the time this game was released, this tune does not really loop. It opens with the break of day and then, just as the song would begin its loop, fades out as night falls leaving behind an unsettling silence, broken only occasionally by the howling of a wolf or the chirps and shakes of midnight ambiance. The song goes through several segments, all flowing to a triumphant climax as dusk approaches. Koji Kondo’s theme for Hyrule Field is not only a good theme in terms of composition, but is equally stunning in terms of how it is used in the game. It is a flawless implementation of an already breathtaking song, and that is why it is my number one.
It took me a while to get through this list, but now that it is over, I have another list to start working on, here. Keep watch because very, very soon I will be sharing my favorite movies of the 90’s.
Konami has had a good run over the years with their shmups. Expect to see a few more tunes from their entries in the scrolling shooter genre on this list. First, however, is Ikaruga. If you have not played, or even heard of this amazing game, it would take an entire entry’s worth of explaining, so I’ll just call it an excellent shooter with a unique and fun mechanic. Oh, and the soundtrack is AWESOME! Going back to the Gradius Series, Konami has a great track record for providing great music for their scrolling shooters and Ikaruga is no exception. It opens with an anthemic horn piece followed by a thumping electronica/orchestral theme that will likely get stuck in your head. I know it does for me, anyway.
189.
The Decisive Battle
from Final Fantasy Tactics (PSX)
Composers: Hitoshi Sakimoto, Masaharu Iwata
1997; Squaresoft
Final Fantasy Tactics is not one of my favorite games, really. The turn-based strategy genre is just one I never really could get into, as many times as I’ve tried. However, there is one thing about this game I do like, the soundtrack. Sakimoto and Iwata did some great work here, and Sakimoto himself would later go on to work on the astounding Final Fantasy XII soundtrack. So, his first of several appearances on this list is this battle theme, heard early in the game, in the Dorter Slums. It is tense and has this ominous vibe to it, which works in the favor of battle themes, and has a nice rhythm, which is created by the thundering timpani and assisted by the syncopated strings.
188.
Intro Stage
from Mega Man X2 (SNES)
Composer: Yuki Iwai
Capcom; 1994
Yuki Iwai is one of the most prolific and stunning talents in the industry’s history. A former employee of Capcom, she worked on classic soundtracks in the Rockman X and Street Fighter series, and many more. Occasionally composing under the pseudonym Sato, or going by her other monomonimal title Yuki, Iwai worked her ass of to make the first two Rockman X soundtracks the classics they are and it shows. The Intro Stage theme from Rockman X2 is just awesome. Keeping with the hard rock vibe of the series’ soundtrack norm, the fact that this is a 16-bit soundtrack just blows my mind. Whenever I listen to this or any other theme from this spinoff series I forget that it is just analog beeps and buzzes that are layered and modified to sound like guitars, synth keyboards and drums. You could have fooled me because when I was a kid playing the very first Megaman X title on my Super Nintendo, I could have sworn there was a rock band living inside of my TV.
187.
Save Yellow
from Gunstar Heroes (Genesis)
Composer: Norio Hanzawa
1993; Treasure/Sega
Gunstar Heroes is an awesome shooter/platformer released on the Sega Genesis in 1993. Treasure, its developer, managed to make a stunning action title and bring with it an awesome soundtrack. Save Yellow is one of a number of themes in the game with a bouncy, synth aesthetic to it. There is nothing organic about this music, and that is JUST fine with me. The electronic nature of this theme, along with its bouncing beat and “take charge” melody is really all I needed to put this on my list. As I was not a Sega player back in the day, mainly because me and all of my friends were Nintendo kids, I missed this one originally and it was not until years later that I got a chance to play this masterpiece. I would have been around twelve when it came out, and it would have been right up my alley. The pace, the menace, and the energy of this excellent game is all present in this song. It is all just so glorious.
186.
The African Mines
from Duck Tales (NES)
Composer: Hiroshige Tonomura
Capcom; 1989
There will be another song from this game much higher on this list. If you do not know what it is, then I just can’t wait until you hear it, because if it is your first time hearing that tune, then it will change your life! Okay, maybe that’s overstating it, but the Ducktales soundtrack has gone down in nostalgia as one of the best game soundtracks really on the weight of just one song, that said, the theme from the African Mines stage is not anywhere near as good as its more famous composition, but it is definitely a classic. This song does not really invoke “Africa” for me, but it is still a smooth-sounding, upbeat tune that does flow with the level very well. Shortly after the release of Ducktales, composer Hiroshige Tonomura would pursue other projects at Taito, leaving Capcom for good.
185.
Science is Fun!
from Portal 2 (PS2/PC/360)
Composer: Mike Morasky
Valve; 2011
As far as songs that fit the game’s mood, atmosphere and tone well, this phasing electronic piece nails it. Playing over the game’s official trailer as well as at a few points in the game, Portal 2’s instrumental theme is one of those songs where, even if you have never seen a single frame of either game, you can at the very least get a feel for the mood and pace of the game. The excellent Portal 2’s soundtrack is filled with gems like this, and this game will make another appearance later on the list.
184.
Granas Sable
from Grandia 2 (Dreamcast/PS2)
Composer: Noriyuki Iwadare
Game Arts/Enix; 2000
I love Grandia 2. Sure, it’s flawed, but I have played a lot of JRPG’s and this series, and Grandia 2 has some of the best combat of any entries in the genre, in my opinion. The soundtrack is okay. It’s not great, not astounding, just… okay. Still Granas Sable, which plays in several areas of the game, is a great composition on its own. It has a very adventurous feel to it, setting the mood for what be a fun and entertaining quest. The mood the song invokes matches the game perfectly, well, at the very least it does up until the game’s massive tonal shift about two thirds of the way through. Its composer, Iwadare, has worked on dozens of games as lead composer, including a majority of the Grandia games, entries in the Lunar series as well as Phoenix Wright. He is a classic composer in his own right and deserves proper recognition.
183.
Wave Man
from Mega Man V (NES)
Composer: Mari Yamaguchi
Capcom; 1992
)
Wave Man’s theme is one of my favorites. It does not top my list, obviously, but it does bring back a lot of memories. I love Megaman V’s soundtrack. It is one of my favorites in the series and you can expect more from this game to show up on this list in the future. Wave Man’s theme is another that fits the level well, with rising and lowering water levels that seem to dance to the music. The ripples bounce to the beat. It all just works so well.
182.
The Young Descendant of Tepes
from Touhou 6- Embodiment of Scarlet Devil (PC)
Composer: ZUN
2002; Team Shanghai Alice
)
This series… Legendary for its difficulty, as well as its soundtrack, Touhou is a series of independently-developed PC “Bullet Hell” games that has began in the 90’s and is still seeing releases to this day. The characters have become as iconic and recognizable as the games’ countless, mind-boggling gameplay videos on Youtube. The game’s lead designer, artist, programmer and composer, ZUN, makes his first appearance on my list with this piano-heavy orchestral rock piece from the sixth official entry in the Touhou series. Stage 6 is a rough gauntlet leading to some pretty insane boss battles. This song ends right before the big fight of the stage, but the tune is really the level’s highlight for me.
181.
Go Straight!
from Streets of Rage 2 (Genesis)
Composers: Yuzo Koshiro, Motohiro Kawashima
1992; Sega
)
The first level theme of this excellent Sega brawler is a catchy synth dance number, which is pretty much the description for any song on the soundtrack. Go Straight plays for the first half of the first stage and is an endlessly-catchy, upbeat piece. It’s memorable to the series’ fans (myself included) and has really held up well given that the game is more than two decades old! It definitely has a touch of hip hop in there, as much hip hop as you could get out of an early-90’s video game, anyway. Mix that with the gritty streets in the game and you have a solid tune from an awesome game.
Wreck-It Ralph (2012; Walt Disney Animation Studios)
Video games are now part of mainstream pop culture. Well, they have been for more than two decades but if Hollywood's viewpoint really mattered at all you would think gamers were a frindge group. Hollywood's treatment (fear) of video games and gamers has been visceral, with countless stabs in the form of nerdy gamer characters in lazy comedies and many, often-intentional film butcherings of beloved video game franchises. Hollywood has a problem now, however, in the fact that the Nintendo Generation has grown up, many with children of their own, and with Wreck-It-Ralph it seems that a major studio has put aside its ire in lieu of an attempt to bridge a generational gap. Is it perfect? No. Is it a step in the right diection? Yes.
Wreck-It Ralph has been compared to Toy Story. I see it, because that is pretty much what it is. The premise is that in an arcade, all of those cabinets are actually self-contained worlds, connected by power cables to Game Central Station, which inhabits a power strip, the worlds' single common connection. When the arcade closes, the characters in the cabinets live a life of their own, still holding to the rules and ideals set fourth in their games. Wreck-It Ralph has spent decades in his world as a Donkey Kong-esque villain constatnly overshadowed by his game's hero, Fix-It Felix, Jr. He struggles with lonliness as the denizens of his world fear and hate him for his constant destruction of their apartment building. He looks up in jelousy as Felix is praised and parties are thrown in his honor. Finally having enough, Ralph takes a step towards trying to make friends with the people in his world but is strongly rejected because he is not a hero. Now, desperate to become a hero, Ralph begins to travel to other worlds to get that elusive title and earn the affections and friendships of his fellow game world inhabitants.
Now, I say "other worlds" but I really mean two. The first is a shooter game world he initially enters, meeting up with Jane Lynch's Calhoun, a gung-ho military babe with a tortured past. Next he travels to the game that will become the central setting for a majority of the story, Sugar Rush, a cutsey racing title with freakish sprites disguised as little girls (and one gender-confused boy) as the racers. If you need an idea of what this world is like, imagine Dr. Doom used some sort of power to mutate a copy of the Candy Land board game to a sentient giant and said board game monster went to the hills of Ireland and puked out the Chocolate Room from Willy Wonka and the Chocolate Factory all over the landscape, that's pretty much what it looks like. This world annoyed me from the start, but I forced myself to get used to it. It is not as though I had a choice in the matter.
This leads to my major complaint about Wreck-It Ralph, the ads lied to me. I went in expecting a movie filled with lots of old-school gaming in-jokes and got a by-the-numbers romp instead. Now, the video game references are there, they are there in spades, but they are sparse in comparison to the main premise, which could have taken place in any type of world outside of video games and would have more or less worked. This is a shame because there were so many directions they could have taken here, and they decided to make it an underdog sports story, a rag Disney wrung dry about twenty years ago.
On the technical side of things, Wreck-It Ralph is top-notch. I did not see it in 3D because that crap gives me a headache but the film looks really good. The characters are expressive and well-designed and the worlds are expansive and full. The movie uses scale well too, as in the shots of the giant arcade machine screen looking out into the world from Fix-It Felix's apartment building inside the game. As far as characters and acting goes everyone is good except for one person. Can you guess who that is? In all honesty, I expected to absolutely hate Sarah Silverman's character Vanellope. I didn't. At least not nearly as much as I expected to. I will say that her voice wears very thin on the nerves after a while but the writers did a good job of making her character sympethic enough that you kind of start to care about her, I do not think I will ever forgive the writers for this offense. I have heard her compared to Jar-Jar Binks. No. She is nowhere near that annoying. Still, she is what she is, a character designed to hook the kids in the audience who do not know who the hell Q*bert is. Her story is pretty tragic too, and the my reactions to her childish antics often mirrored Ralph's, which I suppose was the idea. As far as the rest of the cast goes, John C. Reily, an actor I normally dislike, is occasionally one-note as Ralph, but the character is written and animated well-enough that I can give him a pass. Jack MacBrayer, Jane Lynch and Alan Tudyk are all fantastic, no complaints there. Most everybody is more or less very good here, Silverman is just a little too much for me through most of the movie.
Now for the ultimate question: Was Wreck-It Ralph any good? Yes. My complaints about a large chunk of the film aside, this is a solid movie. Parents will like it as will their kids. There are lots of nice references here and there that will make NES owners feel at home and the tragic ebb and flow of arcade gaming in America has left a grave need for loving nostaliga, which this film brings. Putting aside the paint-by-numbers Disney-default story, the twist ending I saw coming from a mile away and the numerous eye-rollingly bad puns and there is still a lot here to take home. I do not see myself rushing out to grab the Blu-Ray when it releases, but this is still the best animated film I have seen in 2012, and certainly the best family movie of the year. Do as I did, forgoing aprehension and ignoring one's better judgement, and enter and just enjoy what you are given and you may find that Wreck-It-Ralph is a lot of fun.
