Crash Gallery - Netflix

CRASH GALLERY hosted by Sean O'Neill of the Art Gallery of Ontario, is a high energy and immersive television experience that gives the audience a completely different view of the artistic process. In each episode, three talented artists from varied backgrounds, face-off in a challenging, real-time creative arena that will shatter their artistic boundaries. Season 2 will see the introduction of industry experts who spark discussion on the works in progress, highlight the process and ultimately guide the audience's final decision on who becomes the Crash Gallery champion. Running on adrenaline and passion, Crash Gallery artists discover new ways to bring art to life.

Crash Gallery - Netflix

Type: Reality

Languages: English

Status: Running

Runtime: 60 minutes

Premier: 2015-10-02

Crash Gallery - Crash Bandicoot (character) - Netflix

Crash Bandicoot is the title character and main protagonist of the Crash Bandicoot series. Introduced in the 1996 video game Crash Bandicoot, Crash is an eastern barred bandicoot who was genetically enhanced by the series' main antagonist Doctor Neo Cortex and soon escaped from Cortex's castle after a failed experiment in the “Cortex Vortex”. Throughout the series, Crash acts as the opposition against Cortex and his schemes for world domination. While Crash has a number of offensive maneuvers at his disposal, his most distinctive technique is one in which he spins like a tornado at high speeds and knocks away almost anything that he strikes. Crash was created by Andy Gavin and Jason Rubin, and was originally designed by Charles Zembillas. Crash was intended to be a mascot character for Sony to use to compete against Nintendo's Mario and Sega's Sonic the Hedgehog. Before Crash was given his name (which stems from the visceral reaction to the character's destruction of boxes), he was referred to as “Willie the Wombat” for much of the duration of the first game's production. Crash has drawn comparisons to Mario and Sonic the Hedgehog by reviewers. His animations have been praised, and his voice has been criticized, while his redesign in the Radical Entertainment games has drawn mixed reactions.

Crash Gallery - Concept and creation - Netflix

One of the main reasons Naughty Dog chose to develop Crash Bandicoot (at the time jokingly codenamed “Sonic's Ass Game”) for the Sony PlayStation was Sony's lack of an existing mascot character that could compete with Sega's Sonic the Hedgehog and Nintendo's Mario. By this time video game mascots were seen as increasingly unimportant, since they were overshadowed by cross-licensing and the aging games market meant most gamers were too old to find mascots appealing, but Sony were nonetheless interested in covering all bases. Naughty Dog desired to do what Sega and Warner Bros. did with the hedgehog (Sonic) and the Tasmanian devil (Taz) respectively and incorporate an animal that was “cute, real, and no one really knew about”. The team purchased a field guide on Tasmanian mammals and selected the wombat, potoroo and bandicoot as options. Andy Gavin and Jason Rubin went with “Willie the Wombat” as a temporary name for the starring character of the game. The name was never meant to be final, due both to the name sounding “too dorky” and to the existence of a non-video game property of the same name. The character was effectively a bandicoot by October 1994, but was still referred to as “Willie the Wombat” because a final name had not been formulated yet. Wanting their mascot game to be multi-dimensional in character depth as well as gameplay, Gavin and Rubin chose not to base Willie around one attribute such as “fast” or “cute”. The team felt that Willie should be “goofy and fun-loving, and never talk”; the character's muteness was based on the theory that voices for video game characters were always “lame, negative, and distracted from identification with them.” American Exitus artist Charles Zembillas was hired (alongside environmental artist Joe Pearson) and met with weekly to design and develop Willie and the other characters of the game. It was decided early on that there would be no connection between the real animal and Willie's final design. Instead the design of the character was determined “51% by technical and visual necessity and 49% by inspiration”. To determine the color of Willie's fur, Gavin created a list of popular characters and their colors, and then made a list of earthly background possibilities (such as forests, deserts, beaches, etc.). Colors that wouldn't look good on the screen were strictly outlawed, such as red, which would “bleed horribly” on older televisions. Orange was selected as the color of Willie's fur as the last available color. Willie's head was made large and neckless to counter the low resolution of the screen and allow Willie's facial expressions to be discernible. Jason Rubin noted the increased difficulty in turning Willie's head with this type of design. Small details such as the gloves, the spots on Willie's back and a light-colored chest were added to help the player determine what side of Willie was visible based on color. Willie was not given a tail or any flappy straps of clothing due to the PlayStation's inability to properly display such pixels without flickering. The length of Willie's pants was shortened to keep his ankles from flickering as they would with longer pants. Andy Gavin owns the original ink sketches of Crash by Charles Zembillas. Willie's final game model was made from 512 polygons with the only textures being for the spots on his back and his shoelaces. It took Andy Gavin a month to settle on that number of polygons. Because of the game's use of vertex animation, Willie was capable of more facial expressions than other video game characters at or before the time. Willie's jumping, spinning and bonking mechanisms were refined as the Naughty Dog team developed the levels “Heavy Machinery” and “Generator Room”. While preparing for the game's demonstration at the Electronic Entertainment Expo, the team decided to finally rename the titular character “Crash Bandicoot” (the particular name being credited to Dave Baggett and Taylor Kurosaki), with his surname being based on his canonical species and his first name stemming from the visceral reaction to the character's destruction of boxes (“Dash”, “Smash” and “Bash” were other potential names). The marketing director of Universal Interactive Studios insisted that the game and character be named “Wez/Wezzy/Wuzzle the Wombat” or “Ozzie the Otzel”. The name Crash Bandicoot prevailed after Naughty Dog threatened to leave the production. After Naughty Dog presented Crash Bandicoot to Sony's Japanese division, the executives of Sony Computer Entertainment Japan stated their dislike of the character and were unimpressed by the renderings of the character made specifically for the meeting. During a break following the initial meeting, Andy Gavin approached Charlotte Francis, the artist responsible for the renderings, and gave her fifteen minutes to close Crash's huge, smiling mouth to make him seem less aggressive, change his eyes from green to "two small black “Pac-Man” shapes" and make his spike of hair smaller. Sony Japan bought Crash Bandicoot for Japanese distribution after being shown the modified printout. Crash served as a mascot for Sony Computer Entertainment from his creation until September 2000 when Universal Interactive Studios and Konami entered an agreement that would enable Konami to publish a Crash Bandicoot game (which would later become Crash Bandicoot: The Wrath of Cortex) for next-generation game systems, with Universal Interactive handling the production of the games; the agreement served to break the Crash Bandicoot franchise's exclusivity to Sony-produced consoles and effectively made Crash Bandicoot a mascot character for Universal rather than Sony. Crash's game model in Crash Bandicoot: The Wrath of Cortex was composed of approximately 1,800 polygons, which allowed an increase in detail compared to past models, including a more complex and realistic tuft of hair, a visible uvula, stitching on his jeans and shoes and a designer label on his pants. Upon beginning development of Crash Nitro Kart, Vicarious Visions chief executive officer and chief creative officer Karthik Bala noted that Crash's physical appearance had been inconsistent since his debut in 1996 and decided to “explore the original vision of the character” in an attempt to bring him back to his roots. Charles Zembillas and Joe Pearson were tracked down and enlisted for guidance during development of the game and were faced with the challenge of evolving the character and the franchise visually while retaining their “cartoon-like charm”. To redesign Crash and the other mainstay characters of the series for Crash Nitro Kart, the Vicarious Visions team reviewed a number of original development sketches from Zembillas's archives and then redesigned the main characters by incorporating details from the concept art and adding girth to the characters; Crash's appearance in the game, compared to the previous two games, sports a slightly larger nose, fuller eyebrows, and a far more textured body. Zembillas noted that “Crash is slimmer and more appealing now. There's also more emphasis on his eyes, and you can see the craftiness in his personality. That's Crash to me, and he's alive again in Nitro Kart”. Crash has been voiced by several actors: Brendan O'Brien in Crash Bandicoot, Cortex Strikes Back, Warped, Crash Bash, The Wrath of Cortex, The Huge Adventure, N. Tranced, and Ripto's Rampage; Billy Pope in Crash Team Racing; Steven Blum in Nitro Kart; and Jess Harnell in Tag Team Racing, Crash of the Titans, Mind over Mutant, Skylanders: Imaginators, and N. Sane Trilogy. In the Japanese versions of the games, he is voiced by Kappei Yamaguchi up to Crash Nitro Kart and by Makoto Ishii in Crash Boom Bang!. In Skylanders Academy, he is voiced by Eric Rogers. Unlike other appearances, he is capable of speaking full sentences with an Australian accent.

Crash Gallery - References - Netflix