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1996 platform video game

1996 video game

Crash Bandicoot
A PlayStation video game cover titled "Crash Bandicoot" that depicts an orange bipedal creature clad in jeans and sneakers running toward the viewer with a wild, manic grin.

North American box art
Developer(s) Naughty Canis familiaris
Publisher(southward) Sony Computer Entertainment
Director(s) Jason Rubin
Producer(s) David Siller
Designer(s) Jason Rubin
Bob Rafei
Taylor Kurosaki
Programmer(due south) Andy Gavin
Dave Baggett
Creative person(s) Charles Zembillas
Joe Pearson
Bob Rafei
Writer(s) Joe Pearson
Composer(southward) Josh Mancell
Series Crash Bandicoot
Platform(s) PlayStation
Release
  • NA: September 9, 1996
  • European union: November 8, 1996
Genre(s) Platform
Mode(southward) Single-player

Crash Bandicoot is a 1996 platform video game developed by Naughty Dog and published by Sony Reckoner Entertainment for the PlayStation. The game'south premise chronicles the creation of the titular Crash, a bandicoot who has been uplifted by the mad scientist Doctor Neo Cortex. The story follows Crash as he aims to preclude Cortex'southward plans for world domination and rescue his girlfriend Tawna, a female bandicoot also created by Cortex. The game is played from a third-person perspective in which the camera trails behind Crash, though some levels showcase forwards-scrolling and side-scrolling perspectives.

After accepting a publishing deal from Universal Interactive Studios, Naughty Canis familiaris co-founders Andy Gavin and Jason Rubin set a goal to create a character-based action-platform game from a three-dimensional perspective, having observed the graphical trend in video games during a cross-country road trip. Upon meeting, Naughty Dog and Universal Interactive chose to develop the game for the PlayStation due to Sony's lack of a mascot grapheme. Production ran under the working title Willy the Wombat, and cartoonists Joe Pearson and Charles Zembillas were hired to help formulate the game's characters and story. Crash Bandicoot was named for his habitual destruction of crates, which were inserted into the game to convalesce emptiness in the levels. Sony agreed to publish the game following a demonstration from Naughty Domestic dog, and the game was unveiled at E3 1996.

Crash Bandicoot was released to generally positive reviews from critics, who praised the game'southward graphics, presentation, audio, difficulty level and title character, only criticized its linearity and lack of innovation as a platform game. The game went on to sell over 6 million units, making it i of the best-selling PlayStation games and the highest selling ranked on sales in the Us. For the game'due south Japanese release, the gameplay and aesthetics underwent extensive retooling to make the game more palatable for Japanese audiences, and every bit a result it accomplished commercial success in Nippon. Crash Bandicoot became the first installment in an eponymous serial of games that would attain disquisitional and commercial success and establish Naughty Dog'south reputation in the video game industry. A remastered version was released as a part of the Crash Bandicoot Northward. Sane Trilogy in 2017.

Gameplay [edit]

An example of gameplay in Crash Bandicoot, illustrating the game'due south basic mechanics.

Crash Bandicoot is a platform game in which the player controls the titular character Crash, who is tasked with traversing 32[1] levels to defeat Doctor Neo Cortex and rescue Tawna.[2] The majority of the game takes identify from a 3rd-person perspective in which Crash moves into the screen. Sure levels that require him to flee from a rolling bedrock reverse this perspective, while other levels are played from a traditional side-scrolling perspective.[3] Crash is capable of moving in all directions; aside from moving left and right, he can motion away from or toward the player, and the controls exercise non change with his position.[4] His 2 primary forms of crime consist of jumping onto enemies and performing a spinning attack that kicks enemies off the screen. Kicked enemies tin strike other enemies that are currently on-screen.[v] Two levels involve Crash mounting and steering a wild boar that accelerates uncontrollably, requiring him to maneuver effectually obstacles and featherbed enemies.[3]

Scattered throughout each level are various types of crates that can be broken open up past jumping on them, spinning into them, or knocking a kicked enemy into them. Nearly crates contain "Wumpa Fruit" that can grant Crash an extra life if 100 are nerveless. Some crates display an icon of what they contain. Crates displaying Aku Aku will grant Crash a floating Aku Aku mask that protects him from a single enemy or hazard. Collecting three masks consecutively grants Crash temporary invulnerability from all modest dangers. Crates marked with a "C" human activity every bit checkpoints where Crash can respawn afterwards losing a life. Metallic crates marked with an assertion betoken (!) cause an element of the surrounding environment to change if they are struck. Jumping on crimson TNT crates triggers a three-second timer that culminates in an explosion, while spinning into them causes an firsthand detonation.[half dozen]

In roughly half of the game's levels, certain crates contain tokens in the likeness of Tawna, Cortex, or his assistant Nitrus Brio. Collecting iii tokens of a single character volition transport Crash to a "bonus circular" where he must break crates in a side-scrolling area. Falling off the screen during a bonus round will non cost the histrion a life, but will send Crash back to the signal in the level he was transported from. A few levels contain bonus rounds for ii different characters. Tawna's bonus rounds are designed to be the easiest and well-nigh plentiful, and clearing one enables the player to save their game. Panache's bonus rounds are more difficult, featuring more than TNT crates and requiring more than precise jumps. Cortex's bonus rounds are the most difficult and are only included in two levels. Clearing Cortex'southward bonus round grants Crash a key that unlocks a secret level.[7] [viii]

Clearing a level without losing a life and later on breaking all of its crates (excluding crates in bonus rounds) will grant Crash a jewel, which will be displayed past the level'southward name on the map screen. If the role player clears a level in one life without breaking all the crates, a screen displays the amount of crates that were missed, and if the thespian loses any lives over the course of the level, they volition instead be sent direct to the map screen upon the level's completion. While most gems are clear and colorless, six colored gems enable Crash to access areas in previous levels that he was unable to achieve before. Collecting all 26 gems unlocks a special epilogue sequence attainable from the game's penultimate level.[9] [x]

Plot [edit]

In a secluded archipelago 300 miles (480 km) west of Tasmania,[eleven] the mad scientist Doctor Neo Cortex uses his "Evolvo-Ray" to genetically alter the local wildlife into an regular army of soldiers for the purpose of globe domination. Amid these soldiers is an eastern barred bandicoot[12] named Crash, who Cortex selects to be the general of his ground forces.[thirteen] [14] The day before Crash is subjected to the "Cortex Vortex", a car intended to educate him, he becomes attached to a female person bandicoot named Tawna. Crash is rejected by the Cortex Vortex and is chased out of Cortex's castle, plummeting to the ocean beneath.[ii] [a] As Cortex prepares Tawna to be used in Crash'southward place,[sixteen] Crash washes up on a smaller isle and resolves to rescue Tawna and defeat Cortex.[2] He is aided in his mission by Aku Aku, a witch dr. spirit who acts as the guardian of the islands.[17]

Crash traverses through a native village and defeats the hostile tribal chief Papu Papu. Cortex receives news of Crash'southward approach and dispatches his soldiers to dispose of Crash. Afterward Crash defeats Ripper Roo, Koala Kong and Pinstripe Potoroo, he reaches Cortex's stronghold and faces Cortex's banana Doctor Nitrus Brio, who battles Crash by ingesting a potion to transform himself into a behemothic dark-green monster. Crash escapes to Cortex'south airship, while Cortex boards a hovercraft and attacks Crash with a plasma gun as his castle burns backside them. Crash deflects Cortex's energy bolts against him and sends Cortex falling out of the sky. Tawna embraces Crash equally the ii ride Cortex's airship into the sunset.[18]

The epilogue elaborates on the fates of the game's boss characters following Cortex's defeat and disappearance. Papu Papu sells the remains of Cortex's castle to a resort developer and uses the proceeds to open up a plus-size vesture shop; Ripper Roo undergoes intense therapy and higher education, and authors a well-received book discussing rapid evolution and its consequences; Koala Kong moves to Hollywood and becomes a film histrion; Pinstripe opens a sanitation company in Chicago and prepares for a gubernatorial campaign; and Brio rediscovers a love for bartending.[xix]

Development [edit]

39 year-old man with sunglasses looking towards the camera.

44 year-old man looking towards something to the right of the camera.

Gavin and Rubin co-created the concept for Crash Bandicoot during a cross-state trip from Boston to Los Angeles.

Formulation [edit]

On January v, 1994, MCA Inc. executive vice president Skip Paul established Universal Interactive Studios – a division for developing and publishing video games and interactive software – in response to a motion-picture show industry trend of studios opening similar divisions.[twenty] With this evolution, Universal Interactive was eager to larn independent developers with the intention of eventually using them to create games and interactive movies based on Universal's existing franchises.[21] At that year's Winter Consumer Electronics Evidence,[22] Naughty Dog founders Andy Gavin and Jason Rubin displayed their latest game Style of the Warrior in search of a publisher; past chance, their booth was situated in close proximity to that of Universal Interactive, where Marking Cerny and Rob Biniaz served as its representatives. A bidding war bankrupt out between Universal Interactive, The 3DO Company, and Crystal Dynamics; Universal Interactive won the game's publishing rights by offering Naughty Dog a identify on their lot and funding for three additional games, over which Naughty Dog would have creative freedom. This singular understanding ensured that Naughty Dog could be locked in long enough to create a production that met Universal Interactive's expectations.[21] [23]

In Baronial 1994, Gavin and Rubin began their motion from Boston, Massachusetts to Los Angeles, California.[24] Earlier leaving, Gavin and Rubin hired Dave Baggett, their first employee and a friend of Gavin'southward from the Massachusetts Establish of Technology; Baggett would not starting time working full-fourth dimension until January 1995.[25] During the trip, Gavin and Rubin studied arcade games intensely and noticed that racing, fighting and shooting games had begun making a transition into total 3D rendering. They initially considered a 3D beat 'em upwardly based on Concluding Fight before recognizing that their favorite video game genre, the grapheme-based action-platform game, had no 3D games at this point.[25] [26] Donkey Kong Country was particularly influential in stirring the pair's curiosity equally to how such a game could function in iii dimensions.[23] They figured that in a 3D perspective, the actor would exist constantly looking at the character's back rather than their contour, and thus jokingly called the hypothetical projection "Sonic's Ass Game".[25] [27] The basic technology for the game and the Crash Bandicoot series as a whole was created somewhere nearly Gary, Indiana, and the rough game theory was designed near Colorado. Shortly later on, Gavin and Rubin discarded a design for Al O. Saurus and Dinestein, a side-scrolling video game based on time travel and scientists genetically merged with dinosaurs.[24]

Naughty Dog met with Cerny afterwards moving into their new Universal City, California offices.[24] The group unanimously liked the "Sonic's Ass Game" idea and discussed what video game system to develop it for. Deciding that the 3DO, Atari Jaguar, Sega 32X, and Sega Saturn were unsatisfactory options due to poor sales and development units they deemed to be "clunky", the team ultimately chose to develop the game for Sony'southward PlayStation, considering the company and console "sexy" and taking into account the company'south lack of an existing competing mascot character.[25] [28] Later on signing a developer understanding with Sony, Naughty Dog paid $35,000 for a PlayStation development unit and received the unit in September 1994.[24] [25] A development budget of $1.7 million was ready for the game,[29] and production began in October 1994.[26] Rubin and Gavin were the 44th and 45th individual developers to sign onto development for the PlayStation,[23] and according to Rubin's approximation, Crash Bandicoot was the 30th game to brainstorm development for the PlayStation.[30] David Siller was assigned as the game's producer by Universal Interactive due to his expertise in game design, despite Gavin and Rubin's reluctance toward having a producer.[21]

A small orange-colored marsupial facing right.

The eastern barred bandicoot was selected from a number of Tasmanian mammals every bit the basis for Crash Bandicoot because of its appeal and obscurity.

For the game's lead character, Naughty Dog wanted to do what Sega and Warner Bros. did while designing their corresponding characters – Sonic the Hedgehog and the Tasmanian Devil – and comprise an fauna that was "cute, real, and no one really knew almost". The team purchased a field guide on Tasmanian mammals and selected the wombat, potoroo, and bandicoot as options. Gavin and Rubin went with "Willy the Wombat" equally a temporary proper name for the starring character of the game. They never intended the name to be last due both to the proper noun sounding "too dorky" and to the existence of a non-video game property of the same name; the proper noun was also used by Hudson Soft for its Nihon-exclusive Sega Saturn role-playing game Willy Wombat.[21] [28] While the character was finer a bandicoot, he was nevertheless referred to as "Willy the Wombat" every bit a terminal proper noun had not been formulated nevertheless. The villain of the game was created while Gavin and Rubin were eating nearly Universal Interactive Studios. Gavin came upwards with the idea of an "evil genius villain with a big head" who was "all about his attitude and his minions". Rubin, having get addicted of the blithe tv set series Pinky and the Brain, imagined a more malevolent version of the Encephalon with minions resembling the weasel characters in Who Framed Roger Rabbit. Later on Gavin put on a voice depicting the attitude in heed for the graphic symbol, he and Rubin instantly came up with the proper noun "Doc Neo Cortex".[28]

Following their previous experience with Manner of the Warrior, Gavin and Rubin recognized that a larger development squad would be required to create their new game. As they settled into Universal Interactive'southward back lot, Gavin, Rubin and Baggett befriended Taylor Kurosaki, a visual effects artist who was working on the idiot box series seaQuest DSV in the same building. Kurosaki, who had been using LightWave 3D in his piece of work, was attracted past the opportunity to learn and utilize PowerAnimator, and became Naughty Canis familiaris's next employee on January 5, 1995.[23] [24] Bob Rafei was as well hired around this time, and was assigned as the game'southward art managing director.[24] [31]

Grapheme and art design [edit]

In March 1995, Universal Interactive and Naughty Dog recruited Joe Pearson of Epoch Ink to aid in the visual aspect of production. Pearson in turn recommended that Charles Zembillas of American Exitus be brought on board also. Pearson and Zembillas would run across with Naughty Dog weekly to create the characters and environments of the game.[24] [27] Considering the chief graphic symbol was Tasmanian, information technology was decided that the game would have place on a mysterious island where every possible type of surround could be institute, with the added reasoning that an evil genius like Cortex would require an island stronghold.[28] Pearson created a concept bible that included detailed backstories for Crash and Cortex and established the game's setting equally the remnants of the lost continent of Lemuria.[32]

A row of three sketches depicting an anthropomorphic marsupial-like creature. The left character resembles a stocky, slouching wombat, while the middle character is taller, leaner, has a longer snout and wears a dark Zorro-like mask, and the right character is a combination of the two preceding designs, being lean, slouching and bare-faced.

Crash Bandicoot was initially fatigued as a "squat, hunkered-down character" (left) by Charles Zembillas, who later incorporated traits from a drawing by Joe Pearson (middle) into Crash's last design (right).

Zembillas' initial sketches of Crash depicted him as a "squat, hunkered-downwards" graphic symbol. After Pearson drew a version of Crash that was bacteria, had a larger nose and wore a Zorro-like mask, Zembillas began cartoon Crash every bit "a little more manic and insane".[32] Naughty Dog decided early on that there would be no connectedness between a existent animal and Crash'due south terminal design, which would instead be adamant "51% by technical and visual necessity and 49% by inspiration". Gavin adamant Crash'southward fur color by creating a list of pop characters and their colors, and then making a list of earthly background possibilities (such as forests, deserts, beaches, etc.). Colors that would not expect good on the screen were strictly outlawed, such as red, which would bleed on older televisions. Orange was selected by process of elimination. Crash's head was fabricated large and neckless to counter the depression resolution of the screen and permit his facial expressions to exist discernible. Rubin noted the increased difficulty in turning Crash's head with this type of design. Small details such as gloves, spots on Crash'southward back and a light-colored chest were added to help the actor determine what side of Crash was visible based on color. Crash was not given a tail or any flappy straps of clothing due to the PlayStation'south inability to properly display such pixels without flickering. The length of Crash's pants was shortened to keep his ankles from flickering equally they would with longer pants.[28] Crash was originally written every bit a speaking character who, equally a result of his subjection to the Cortex Vortex, communicated in a series of bizarre non sequiturs derived from classic literature and pop culture.[33] [34] The team ultimately decided that Crash would be mute because they considered past voices for video game characters to be "lame, negative, and distract[ing] from identification with them".[28]

Gavin and Rubin described Cortex to Zembillas equally "[having] a huge head only a tiny body, he'south a mad scientist, and he dresses a bit similar a Nazi from The Jetsons". Gavin owns Zembillas' original ink sketches of Crash, while Rubin owns the original sketches of Cortex.[28] Cortex was originally envisioned as a self-aware video game character who was bothered by the clichés he embodied and addressed the audience throughout the game. This aspect was removed later on Naughty Dog decided that cutscenes would disrupt the game's pacing.[35] [36] Cortex'south right-hand man Doctor Nitrus Panache, originally named "Needy Brio",[37] was developed equally a foil.[38]

Aku Aku was originally conceived equally an elderly human character who communicated through mumbles only intelligible to Crash, in a manner like to the dynamic between C-3PO and R2-D2 of the Star Wars franchise.[39] His proper name originates from a Polynesian restaurant located about the Alewife station, which featured behemothic tiki statues out front.[40] The Aku Aku masks that protect Crash were a late add-on intended to residue the gameplay's difficulty. Considering Cerny's initial proffer of a translucent shield would accept been technically impractical, the floating masks were created as a low-polygon alternative.[41]

The character Ripper Roo was created to humorously demonstrate the dangers of the Cortex Vortex, likewise as provide an opportunity for Naughty Dog'southward animators to practise overlapping action. Papu Papu was designed to allow the team to animate jiggling fatty. Pinstripe Potoroo was inspired by the film The Godfather.[38] Tawna, originally named "Karmen",[42] was based on actress Pamela Anderson, though her design was scaled back to be less provocative.[38] The Komodo Brothers and Tiny Tiger, who would appear as boss characters in future games in the series, were originally created for the first game.[43]

On creating the levels for the game, Pearson first sketched each environment, designing and creating additional individual elements later. Pearson aimed for an organic, overgrown look to the game and worked to completely avoid directly lines and 90-degree corners. A Naughty Dog creative person sketched every single groundwork object in the game before it was modeled. Naughty Dog's artists were tasked with making the best apply of textures and reducing the corporeality of geometry. Night and light elements were juxtaposed to create visual interest and divide geometry. The artists would squint when sketching, texturing, and playing the levels to brand certain they could be played by calorie-free value lone. They ensured to apply color correctly by choosing mutually accentuating colors as the theme for the "Lost City" and "Sunset Vista" levels. The interior of Cortex's castle was designed to reflect his twisted mind.[44] According to Rubin, the artists worked on the visuals for viii months before any game code was written.[3]

Graphics [edit]

It was that opening sequence, when Crash pulls his apartment face out of the sand, shakes it off, looks confused, leaps up, looks at the camera and does his great large goofy grinning that SOLD Crash as a graphic symbol. No 2d game could afford the art, and no other 3d game had the facial animation that our vertex organisation brought. And thus the main character transformed from emotionless "vehicles" to an emotive friend.

— Jason Rubin, on vertex animation'southward impact on Crash Bandicoot 'due south presentation[45]

Product on Crash Bandicoot used $100,000 Silicon Graphics-based workstations with an IRIX-based tool pipeline rather than the $three,000 personal computers that were the standard at the time. The PlayStation had a 512 × 240 video mode which used video memory normally reserved for textures, but was also efficient in rendering shaded polygons without texture. Rubin pointed out that since the polygons on the characters were but a few pixels in size, shaded characters would look ameliorate than textured ones. Thus, polygon counts were emphasized over textures, which immune the programmers to featherbed the PlayStation'due south lack of texture correction or polygon clipping. To make the game wait similar an animated cartoon, vertex animation was implemented rather than the standard skeletal animation with "one-articulation" weighting, allowing the programmers to employ the more sophisticated 3-to-four-articulation weighting available in PowerAnimator. Because the PlayStation was unable to summate this in real fourth dimension, the location of each vertex was stored in each frame at thirty frames per 2d. Gavin, Baggett, and Cerny attempted to invent a compressor in associates linguistic communication for this style of blitheness; Cerny's version, although the well-nigh complicated, was the nigh successful of the 3. The vertex blitheness method allowed Crash to display a much wider range of facial expressions than competing video game characters at the time.[45] Rubin created Crash's model with 532 polygons and animated all the game'due south characters.[23] [32] Because Cortex's legs were too short for his game model to walk properly, he was kept stationary in many of his appearances.[28]

To obtain the game's vast and detailed graphics, Rubin, Gavin, and Baggett researched visibility calculation in video games that followed Doom and concluded that extending the visibility precomputations would allow the game to return a larger number of polygons. Following experimentation in gratis-roaming camera control, the team settled with a branching rail camera that would follow along next to, backside, or in front of Crash, by and large looking at him, thus moving on a "track" through the world. Since only 900 polygons could be visible on screen at a fourth dimension, parts of the game's landscapes are hidden by trees, cliffs, walls, and twists and turns in the environment.[45] [46] Gavin created procedural textures to overcome the lack of available texture memory.[45] Each level in Crash Bandicoot contains six to viii megabytes of textures.[47] Baggett created two-way compressors that would reduce the 128-megabyte levels downwardly to 12 megabytes and allow them to be compatible with the PlayStation'due south two-megabyte random access retentivity. The levels proved to be then large that the outset test level created could non exist loaded into PowerAnimator and had to be cut upwards into sixteen pieces. Each piece took virtually 10 minutes to load on a 256-megabyte machine.[45] To remedy the situation, Baggett created the DLE ("Dave'southward Level Editor"), a level design tool with which RGB values from a peak-down map of a level are used to assemble level environments, with a succession of x to fifteen layers from Adobe Photoshop indicating how the level's portions have to be combined.[32] [45] [46] Rafei created nigh all of the game's backgrounds.[23]

A pair of cutscenes featuring hand-drawn blitheness were produced by Universal Animation Studios to serve every bit the game'south intro and outro, as well as act as source cloth for a potential animated serial if the game was well-received and commercially successful. The hand-drawn cutscenes were dropped after Sony Calculator Entertainment picked up Crash Bandicoot for publication, as Sony desired to push the PlayStation'southward 3D polygonal graphics. The cutscenes were uploaded to YouTube past Siller in 2015.[48] [49]

Level blueprint [edit]

Naughty Dog made the early on decision to design Crash Bandicoot as a archetype action-based platform game every bit opposed to an open up-earth exploration-based game in order to fully render its environments in three dimensions.[31] To code the characters and gameplay, Gavin and Baggett created the programming language "Game-Oriented Object LISP" (GOOL) using LISP syntax.[27] [45] The showtime 2 test levels created for the game were non integrated into the final version because they were too open up and had also many polygons. During the summer of 1995, the squad focused on creating levels that were both functional and fun, and used the Cortex factory levels to experiment on this goal; the mechanical setting allowed the team to forego the circuitous and organic woods designs and dribble the two-axis gameplay. The starting time two functional levels, "Heavy Machinery" and "Generator Room", utilized 2.5D gameplay and featured basic techniques previously used in Donkey Kong State, such as steam vents, drib platforms, bouncy pads, heated pipes and enemy characters that would motility back and forth, all arranged in increasingly difficult combinations as the level progresses. Crash'southward jumping and spinning attacks were refined in these ii levels. The "Cortex Power" level incorporates the original "Sonic's ass" signal of view (behind the character and over his shoulder) featured in the two exam levels. After working on those 3 levels, the first operational jungle-themed level, "Jungle Rollers", was created from pieces of the failed first test level bundled into a corridor between trees. Subsequently, two to three levels would exist developed for each environmental theme created, with the first level featuring an introductory ready of challenges and afterward levels adding new obstacles (such as dropping and moving platforms in the 2nd jungle-themed level) to increment the difficulty.[50] The level layouts and gameplay mechanics were generally not fatigued out on paper beforehand and were largely the result of trial and error by the Naughty Dog team. Siller created sketches and summaries to document the consequence, but later used the documents to claim credit for the game's designs and mechanics.[32] [51]

After developing the core gameplay, Naughty Dog realized that there were many empty areas in the game due to the PlayStation's inability to generate multiple enemies on-screen. In an attempt to remedy this, they created the "Wumpa Fruit" particular in iii dimensions by means of a series of textures, just this was not considered sufficiently heady.[52] On a Sabbatum in January 1996, Gavin and Rubin conceived the crate mechanic, reasoning that crates would be made upwards of a low corporeality of polygons and multiple types of which could be combined to interesting effect. Gavin coded the crates while Rubin modeled some basic crates equally well equally an exploding TNT crate and drew quick textures. The first crates were integrated into the game half dozen hours later, and many more were placed during the following days.[24] [52] By Feb 1996 over 20 levels had been created which were in various stages of completion.[53]

Kurosaki designed three quarters of the game's levels. One of the last levels he created was "Stormy Ascent", which was roughly 4 times longer than the other levels. Although Stormy Ascent was fully playable, Naughty Dog accounted the level too hard and lacked fourth dimension to brand it easier, and decided to cut it from the game before submitting the gold master to Sony. Because removing the level completely was considered also risky, Stormy Ascent was left hidden within the disc and accessible to play via GameShark. Stormy Ascent was later recreated by Vicarious Visions and released equally downloadable content for the Crash Bandicoot Due north. Sane Trilogy on July 20, 2017.[54]

Audio [edit]

The music for Crash Bandicoot was a final-infinitesimal aspect added to the game before its showing at E3. Siller proposed that rather than conventional music, Gavin could create an "urban chaotic symphony" where random sound furnishings, such equally bird vocalizations, vehicle horns, grunts, and flatulence, would be combined. After Naughty Canis familiaris rejected this proposal, Siller introduced them to the music production company Mutato Muzika and its founder Marker Mothersbaugh.[55] Co-ordinate to Siller, Mutato Muzika joined production afterwards speaking with Siller without Naughty Domestic dog beingness consulted, which resulted in an aroused confrontation between Rubin and Siller. Cerny removed Siller from production post-obit this incident.[21] The music was composed past Josh Mancell and produced by Baggett.[32] [55] Mancell's initial tracks for the game were manic and hyperactive before Baggett directed him toward more ambient compositions.[32] The audio effects were created by Mike Gollom, Ron Horwitz and Kevin Spears of Universal Sound Studios.[56] The sound of Ripper Roo's maniacal chortling is a sample of a hyena (voiced by Dallas McKennon) from the 1955 moving picture Lady and the Tramp.[40] The voice interim was provided past Brendan O'Brien, who came in contact with Rubin through Pearson and recorded his dialogue below the Universal Studios Lot's Hitchcock Theater.[32] [57] The rejected paw-drawn animated intro featured a theme song performed by Jim Cummings.[58]

Marketing and release [edit]

In September 1995, Andy Gavin and Taylor Kurosaki, using the latter's connections to the seaQuest DSV crew, spent two days in the serial' editing bay creating a two-infinitesimal demo film and gave it to a friend who would bear witness it to Sony Reckoner Entertainment. Sony appreciated the demonstration, but internal management issues meant that Sony would not sign an agreement with Universal Interactive to publish the game until March 1996.[23] [24] [52] While preparing for the game'due south demonstration at the 1996 E3, the team decided to finally rename the title character "Crash Bandicoot", a name credited to Kurosaki and Dave Baggett. The character's proper noun was based on his species and the visceral reaction to his destruction of boxes. The names "Dash", "Smash", and "Bash" were also considered.[24] [55] Universal Interactive'south marketing director contested the name and objected to the character Tawna for her perceived sexist nature. While Naughty Canis familiaris was able to retain the "Crash Bandicoot" name after threatening to exit product, they chose to omit Tawna from subsequent entries in the series based both on this experience and to appease the want of Sony's Japanese marketing team for a more girlish female person supporting character.[55] [59]

Universal Interactive, in an try to take credit for Crash Bandicoot, notified Naughty Domestic dog that they were not immune to attend E3. In add-on, leaked copies of the temporary box cover and press materials for E3 omitted the Naughty Canis familiaris logo, in violation of the contract between Naughty Domestic dog and Universal Interactive. In response to this provocation, Jason Rubin drafted and printed i,000 copies of a document entitled "Naughty Dog, creator and programmer of Crash Bandicoot" to mitt out in front of the Crash Bandicoot display at E3. Beforehand, Rubin passed out the flyers "for review" to Universal Interactive, angering its president.[55] Crash Bandicoot was showtime shown at E3 in May 1996 and was met with enthusiastic reactions.[24] [27] Crash Bandicoot was displayed at the front end of Sony'southward booth at E3, replacing their original option of Twisted Metal.[32]

Ami Matsumura-Blaire of Sony served as the marketing manager for Crash Bandicoot and worked in collaboration with Erik Moe and Chris Graves of TBWA\Chiat\Mean solar day to create the game'due south advertising entrada. Moe and Graves, recognizing that Sony sought to establish itself as a challenger to Nintendo, conceived the idea of Crash Bandicoot inspiring a crazed fan to create a Crash outfit and harass Mario from Nintendo's parking lot. The team set a dominion against direct insinuating that the video game grapheme and the costumed person in the advertisement were the same individual, every bit the two entities had different personalities. As the marketing squad went to Seattle to flick the commercial, they created smaller teasers depicting the fan's journeying to Nintendo. The commercial was shot most a Nintendo building, but non the main Nintendo headquarters, which Matsumura-Blaire felt aligned with the entrada'south humor; she remarked that "it would totally make sense that this guy hadn't had done his homework and [had] mistakenly gone to the wrong building". An additional commercial featuring Sega was considered but never created due to increasing expenses.[32]

The development of Crash Bandicoot spanned a total of 18 months.[60] It was released in Northward America on September 9, 1996,[61] and in Europe on November viii, 1996.[62] [63] The game is dedicated to Tae Min Kim, an actor from Manner of the Warrior who was killed in a cycling accident in 1995.[64] [65]

Japanese distribution [edit]

In preparation for presenting Crash Bandicoot to Sony's Japanese division, Gavin spent a month studying anime and manga, reading English-language books on the subject, watching Japanese films and observing competitive characters in video games. Upon Naughty Dog's first meeting with the executives of Sony Computer Entertainment Japan, the executives handed Naughty Dog a document that compared Crash with Mario and Nights into Dreams. Although Crash was rated favorably in the graphics section, the principal character and the game's not-Japanese "heritage" were seen as weak points. The renderings of the character fabricated specifically for the meeting also proved unimpressive. During a break following the initial meeting, Gavin approached Charlotte Francis, the artist responsible for the renderings, and gave her fifteen minutes to adjust Crash's facial features. Sony Nippon bought Crash for Japanese distribution subsequently beingness shown the modified printout.[52]

The Japanese version of Crash Bandicoot was fabricated easier than the original release to appeal to the Japanese PlayStation marketplace'due south preference for lower difficulty levels.[32] [66] The localization hid the game's American origins equally much as possible, featuring no roman messages for case.[67] Pop-up text instructions given past Aku Aku were added for the Japanese version of the game.[52] [68] Some of the game's music was inverse at the request of Sony'south Japanese division to exist less "edgy". A screen in which Crash is struck by falling crates the histrion had missed in a level was altered later on the Japanese children testing the game reported beingness disturbed and upset by the image. A death animation in which Crash is reduced to a pair of eyeballs and shoes following an explosion was omitted due to its resemblance to the modus operandi of a serial killer loose in Japan at the time.[32]

The Japanese television advertising campaign for Crash Bandicoot included a dance performed past a costumed Crash Bandicoot mascot; the dance was created by Sony Japan'south marketing manager Megumi Hosoya. The advertizing'southward background music became the opening theme for the Japanese versions of subsequent Crash Bandicoot games, and the success of the campaign influenced Naughty Domestic dog to contain the dance into the games.[60] [69] [70] Crash Bandicoot was released in Japan on December 9, 1996. It was afterwards re-released as part of The Best for Family range on May 28, 1998, and the PSOne Books release followed on October 12, 2001.[71]

Reception [edit]

Crash Bandicoot received mostly favorable reviews from critics,[72] with Electronic Gaming Monthly and GameFan rewarding information technology the "Game of the Calendar month" title.[74] [77] The visuals were singled out for praise, with critics declaring them to be the best yet seen on a fifth-generation console.[b] Particular discover was given to the Gouraud shaded textures,[c] colorful and detailed backgrounds,[d] lighting and shadows,[73] [75] [76] [78] smooth animation,[74] [78] [81] and special effects such as flames and h2o transparency.[73] [74] [80] Nonetheless, Nebojsa Radakovic of GameRevolution felt that the shading was "about besides well done", claiming that information technology made the game more hard by making the pits appear to exist shadows and vice versa.[78] The game'due south visual style was compared to a cartoon,[75] [83] with Tommy Glide of GamePro noting that Crash'southward decease animations "lend a Warner Brothers flair".[85] Crash was welcomed as a graphic symbol for his quirky design and mannerisms,[e] although Glide considered the enemy designs to be tame.[85]

Reviewers widely considered the gameplay to exist standard for its genre, though some nevertheless regarded information technology to be enjoyable and polished;[f] East. Storm of GameFan, who gave both the game and its competitor Super Mario 64 perfect scores, determined that "Mario 64 is a perfect activity/adventure and that Crash is a perfect action/platform".[84] However, Zach Meston of GameSpot and a reviewer for Side by side Generation were less forgiving, with Meston deriding the gameplay equally "flat as roadkill on a four-lane highway",[79] and the Next Generation reviewer declaring the game to exist "the single most derivative game to ever hitting a console".[82] While the linearity of the levels and lack of room for exploration was a source of disappointment,[73] [74] [83] the shifting perspectives between levels was acknowledged as interesting,[74] [76] [80] [81] although the stock-still camera caused reviewers to experience difficulty in judging jumps.[73] [78] [85] The gameplay multifariousness provided past these altered perspectives every bit well equally the bonus rounds and gems was appreciated.[74] [75] [76] [80] The game'southward difficulty level was commended every bit challenging without becoming frustrating,[g] though Glide and Dan Tsu of Electronic Gaming Monthly respectively felt that the bosses and enemies were piece of cake to dispatch.[74] [85] While Radakovic applauded the game'southward controls,[78] critics generally deemed them to be satisfactory if somewhat sluggish.[74] [81] [82] [85] A reviewer for Official UK PlayStation Magazine considered the save points to exist "a piddling misplaced", pointing out a portion of the 2nd island in which there is no save point for 3 levels.[83] In 2009, Jim Sterling of Destructoid stated that the game has aged poorly since its initial release due to a lack of back up for DualShock thumbsticks, a poor camera, and substandard jumping and spinning controls.[86]

Reactions to the audio were generally positive. E. Storm praised the quality and production of the PCM soundtrack, challenge that "When you hop on the pig you'll wanna bleat "yee-haw!" and when you lot're in the middle of Castle Machinery you'll feel similar friggin' George Jetson".[84] Glide commended the sound effects equally "excellent", though he felt that the game'due south "subtle, unintrusive music may come up off as featherbrained to some".[85] Dan Toose of Hyper complimented the sound design every bit adding to the game's cartoonish presentation.[80] In 2015, the staff of Fact ranked Mancell'due south score as the 69th greatest video game soundtrack, describing it as "the best Funky business firm riffs this side of Crazy Cousins".[87]

Sales [edit]

Crash Bandicoot was a commercial success. In the United States, the game was the 2nd-highest renting PlayStation title at Blockbuster Video in its opening calendar month before topping the nautical chart the following month and staying within the top ten for two subsequent months.[88] [89] [xc] [91] The game sold over 1 million units worldwide in 1996,[92] including 640,000 copies in the United states of america and Europe,[93] becoming the fourth and fifth best-selling PlayStation game of 1996 in the United States and Europe, respectively.[94] In Australia, the game sold more 100,000 copies in its beginning month of release.[95]

Crash Bandicoot 's success continued into 1997, in which it was the tenth best selling video game in the Usa.[96] In May 1997, Crash Bandicoot became the beginning non-Japanese game to receive a "Gold Prize" in Nippon for sales of over 500,000 units, and in September 1997, it was inducted into the Greatest Hits budget range.[24] [97]

By belatedly February 1998, its sales in the U.s. reached ane.5 million units, while Japanese and European sales reached 610,000 and 725,000 units, respectively.[98] Sales continued through 1998: PC Data tracked 771,809 domestic sales of Crash Bandicoot for the year, which drew $sixteen million in revenue and fabricated it the United States' 10th-all-time-selling PlayStation release of the year.[99] The game spent most two years on the NPD TRSTS top twenty PlayStation sales charts before finally dropping off in September 1998.[24] In Commonwealth of australia, information technology was the fourth best-selling home console game of 1998.[100]

At the 1999 Milia festival in Cannes, Crash Bandicoot took home a "Gold" prize for revenues above €17 million in the European union during 1998.[101] By February 1999, 4.49 million copies of Crash Bandicoot had been shipped to retailers worldwide.[102] As of November 2003, Crash Bandicoot has sold over half dozen.eight one thousand thousand units worldwide, making it one of the best selling PlayStation video games of all fourth dimension and the highest selling ranked on sales in the United States.[103] [104]

Legacy [edit]

Following the release of Crash Bandicoot, Naughty Dog developed and released two sequels, Crash Bandicoot 2: Cortex Strikes Back (1997) and Crash Bandicoot: Warped (1998), and the kart racing game Crash Squad Racing (1999), all to critical acclaim and commercial success. The Crash Bandicoot serial established Naughty Domestic dog'southward reputation in the video game industry, and they found further success with the Jak and Daxter, Uncharted and The Last of Us series;[32] Naughty Dog later on recreated a level of Crash Bandicoot within its 2016 title Uncharted 4: A Thief'southward End.[105] Afterward the publishing deal between Universal Interactive and Sony ended in 2000, several more games were adult for the Crash Bandicoot series by different developers, which received mixed reviews.[32]

Crash Bandicoot was released on the PlayStation Network in the U.s. on December 4, 2006,[106] and in Europe on June 22, 2007.[107] During E3 2016, Sony announced that every bit function of the series' 20th anniversary, the first three games of the series would be remastered by Vicarious Visions in a compilation titled Crash Bandicoot N. Sane Trilogy,[108] which was released for the PlayStation 4 on June 30, 2017.[109]

Nighttime Horse Books reprinted the original developer's bible for Crash Bandicoot as a hardcover publication titled The Crash Bandicoot Files: How Willy the Wombat Sparked Marsupial Mania, which was released on March 27, 2018.[110]

Notes [edit]

  1. ^ Via a retcon introduced in Crash Bandicoot 4: Information technology's Well-nigh Fourth dimension, it is revealed that the Cortex Vortex rejected Crash due to his futurity cocky accidentally destroying the Vortex'due south power source.[15]
  2. ^ [73] [74] [75] [76] [81] [83] [84]
  3. ^ [73] [76] [77] [78] [80] [84]
  4. ^ [73] [78] [79] [81] [85]
  5. ^ [74] [78] [lxxx] [82] [84]
  6. ^ [73] [74] [75] [76] [78] [80] [81] [85]
  7. ^ [74] [75] [80] [82] [83]

References [edit]

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  4. ^ Universal Interactive 1997, p. 5.
  5. ^ Universal Interactive 1997, pp. 8–nine.
  6. ^ Universal Interactive 1997, pp. ix–x.
  7. ^ Universal Interactive 1997, p. 11.
  8. ^ Meston 1996, p. 130.
  9. ^ Universal Interactive 1997, p. 12.
  10. ^ Meston 1996, p. 131.
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Bibliography [edit]

  • Pearson, Joe (August xv, 1995). Project Wombat. Universal Interactive Studios. Retrieved April xviii, 2021.
  • Universal Interactive Staff (1997). Crash Bandicoot (Greatest Hits) Didactics Booklet. Sony Computer Amusement. SCUS-94900.
  • Meston, Zach (1996). Crash Bandicoot: The Official Strategy Guide. Dimension Publishing. ASIN B000OBI980. OCLC 809108080.
  • DeLaHunt, Jim (March 16, 2004). "Go Westward, Young Bandicoot" (PDF). Stanford Academy. Archived (PDF) from the original on July 25, 2015. Retrieved April nineteen, 2021.
  • Tucker, Ian, ed. (2018). The Crash Bandicoot Files: How Willy the Wombat Sparked Marsupial Mania. Dark Horse Books. ISBN978-ane-50670-649-8.

External links [edit]

  • Crash Bandicoot at MobyGames

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Source: https://en.wikipedia.org/wiki/Crash_Bandicoot_%28video_game%29

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