Wonder Dog | |
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Developer(s) | Core Design |
Publisher(s) | JVC Musical Industries Victor Musical Industries (JP) |
Platform(s) | Sega CD, Amiga |
Release | |
Genre(s) | Platform |
Mode(s) | Single-player |
Wonder Dog is a side-scrolling platform game developed by Core Design and released by JVC Musical Industries for the Sega CD in 1992. [1] It is one of the first games developed for the system. The game features Wonder Dog, a mascot for Victor and the Wondermega during the early 1990s.
In 1993, Core Design released a port of the game for the Amiga in Europe as part of a deal with JVC that saw them distributing Wolfchild on the Sega Genesis and Sega CD. [2] [3] [4]
The peaceful dog-ruled planet K-9 finds itself under attack by the evil Pitbully space armada. In a last-ditch effort to save his world, Dr. Kibble fast tracks the Wonder Dog project, an experiment to create a superpowered dog. Running out of time, he tests the serum on his newborn son and sends him to Earth with a special outfit called the Wonder Suit. His son crash lands on the planet and immediately befriends a boy. However, the two are separated as the boy's father will not let him keep the dog. The dog then returns to the ship, dons the Wonder Suit and becomes Wonder Dog, who must save K-9 from the Pitbullies' invasion. [5]
The game is a platformer with controls similar to the Super Mario Bros. games. The player controls Wonder Dog to guide him through seven stages: Bunny Hop Meadow, Dogsville, Scrapyard, Loony Moon, Planet Weird, Planet Foggia and Planet K-9 (known as "Planet Kninus" in the Amiga version). Wonder Dog moves when the "Left" and "Right" buttons on the D-pad are pressed. Holding the "B" Button while pressing "Left" and "Right" allows him to run. Pressing the "C" Button makes him jump, and he can also jump on the heads of enemies to defeat them. He can jump farther and higher while running. Holding the "C" Button in midair allows Wonder Dog to use his ears to glide. He can perform the Spin Dig, which digs into certain terrains, when the "Down" and "C" Buttons are pressed and held. By pressing the "A" Button, Wonder Dog can shoot stars for a ranged attack. The speed, distance, and trajectory of the stars fired depends on the Star Power gauge, which is increased by firing multiple stars in quick succession or by holding the fire button.
If Wonder Dog is hit by an enemy, he loses a hit point. He has three in total, which can be replenished by finding a Wings item. If he loses all of his hit points, he loses a life. Lives are limited but can be found throughout the game or when 100 Bones are collected. The game ends when the player runs out of lives but can be continued from the start of the current stage. Stages are mostly linear, but each stage has several hidden areas containing bonus items, as well as two hidden stages (Underground and Moon Mines). Many stages contain invisible platforms, which can be revealed by finding a Smiley item. [5]
In November 1991, Victor Musical Industries saw potential in the rise of 16-bit gaming and CD-ROM-based home consoles, and partnered with Sega to release the Wondermega, a console that combined the Sega Genesis and Sega CD and included extra features like with high-quality audio, MIDI output and microphone inputs. Various characters were created as candidates for mascots for their new console, but Satoshi Honda, General Manager of Victor's New Media Division at the time, selected a dog as the mascot, as the company's original logo had a dog mascot, Nipper. Since they were releasing the Wondermega, Victor needed a game in order to help sell the console as well, so they decided to create a family-friendly product that would appeal to a wide range of ages. They consulted Core Design for their assistance with developing the game, entitled Wonder Dog. Core Design already had quite a history, working on titles for computers like Rick Dangerous and Impossamole , so they were well-versed with creating platformers. [6] [7] [8] The game was programmed by Chris Long, John Kirkland, Ged Keaveney and Robert Toone, play-tested by Mark Price and Darren Price, directed by Toshiyuki Nagai and Takeshi Minagawa, produced by Jeremy Heath-Smith and Isamu Senda, and executive produced by Honda, with graphics by Lee Pullen, Robert Churchill and Simon Phipps, and music and sound effects by Martin Iveson and Stewart Perkins. One of the game's sound effects was a clip of Homer Simpson's "D'oh!" from The Simpsons , used for some enemies when defeated. The game's opening cutscene was animated by Billy Allison and programmed by Sean Dunlevy. The game was originally set to be released in June 1992, but was moved to September 25 of that year. Telephone cards, stuffed toys, UFO catcher toys, stickers and a manga based on the game and a sequel were being planned at the time. [7] The character of Wonder Dog also appeared in a short film contained in some VHS head cleaning videocassettes. [9]
The Amiga version was programmed by Daniel Scott and Jason Gosling and produced by Jeremy Heath-Smith, with graphics by Adrian Mannion and Robert Churchill and music and sound effects by Martin Iveson. According to Scott, Chuck Rock II: Son of Chuck , another Core Design game for the Sega CD, was based on the same engine as Wonder Dog. He then started work on Chuck Rock II for the Amiga, after which the developers decided to convert Wonder Dog to the console as well. The game was distributed in Germany by Bomico and in Italy by Leader. [2] [3]
Publication | Score |
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Beep! MegaDrive | 50% [10] |
Hippon Super! | 50% [11] |
Famitsu | 55% [12] |
Sega Pro | 90% [13] |
GamePro | 100% [14] |
Mega Drive Advanced Gaming | 88% [15] |
Computer and Video Games | 84/82% [16] |
Wonder Dog received positive reviews upon release, being praised for its visuals and soundtrack. Magazines such as Sega Pro , GamePro , Mega Drive Advanced Gaming and Computer and Video Games scored the game a 90%, 100%, 88% and 84%, respectively. [13] [14] [15] [16] Some magazines of the time, such as Beep! MegaDrive , Hippon Super and Famitsu , seemed to take offence to its manufactured origins as a product for order, with scores ranging from 50% to 60%. [10] [11] [12] [4] However, the game was not enough to make the Wondermega a success. This would be JVC's only attempt to breach the console market, though the console did get a second release as the JVC X'Eye in North America in 1994. This did not stop Core Design from supporting the Sega CD for years with games like Battlecorps and Soulstar , and they would go on to achieve tremendous success with Tomb Raider in 1996. [8]
Doug Jackson of Sega-16 reviewed the game, giving it a score of 5 out of 10, and stating, "The bottom line for Wonder Dog is that it's just an average game that's too easy, lacks variety, has a poor story, and doesn't make any decent use of the CD's added capabilities. Ultimately, it just feels like a cash-in for the system." [17] Stephen Barbato reviewed the game, stating, "Wonder Dog is a somewhat incoherent game, full of ideas that don't feel properly connected, but this unpredictability and unorthodox approach also gives it a distinct identity that makes getting to the next stage more rewarding when compared to other mascot platformers of the time. For those who never had a chance to be exposed to European-style platformers, it's a potentially good place to start due to its low difficulty and straightforward level design. It’s by no means a must-play game in the genre, but it's an uncommon blending of platforming design philosophies from two different regions with a bit of interesting history behind it, making it worthy of recognition nonetheless." [8]
Magazine reviews for the Amiga version ranged from 84% in The One Amiga to 31% in CU Amiga . [3]
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The 1987 debut work of anime studio Gainax, Royal Space Force: The Wings of Honnêamise, written and directed by Hiroyuki Yamaga, has generated critical response from diverse sources in Japan and internationally, including major newspapers, film journals, newsweeklies, fan polls, film directors, anime industry magazines, film encyclopedias and reference books, television network executives, and science fiction authors. Among anime directors, Hayao Miyazaki, Mamoru Oshii, and Hideaki Anno have remarked upon the film's impact and influence.
Royal Space Force: The Wings of Honnêamise, written and directed by Hiroyuki Yamaga, was the 1987 debut work of anime studio Gainax. While in creative terms the film was described by its executive producer, president of Bandai Makoto Yamashina, as "pure moviemaking" and having been made "without compromise", its marketing and release plans, under the advertising department of its distributor Toho-Towa, were outside the control of Gainax, and both Gainax and Yamashina acknowledged continuing clashes over these aspects; approximately half of the 800 million yen spent on the film was allocated to advertising and distribution rather than on direct production expenses.
During the production of Royal Space Force: The Wings of Honnêamise, the 1987 debut work of anime studio Gainax, the only member of its main staff known to the general public was its musical director, electronic music pioneer Ryuichi Sakamoto, who had recently overseen the soundtrack to the top Japanese box office hit of 1986, Koneko Monogatari. Sakamoto and his assistants from Koneko Monogatari, musicians Koji Ueno, Yuji Nomi, and Haruo Kubota, composed 47 pieces of background music for Royal Space Force in a process that involved using "keywords" given by film director Hiroyuki Yamaga, examining the film's storyboards, making arrangements based on early "prototype" compositions, as well as composing several new original pieces of music as the project developed. 15 of the arrangements would be featured on the film's original soundtrack album.
For the debut work of anime studio Gainax, the 1987 anime film Royal Space Force: The Wings of Honnêamise, director Hiroyuki Yamaga set a goal of "natural" dialogue, which he maintained was "a first in Japanese animation." The performers chosen to portray the lead characters, Leo Morimoto as Shirotsugh and Mitsuki Yayoi as Riquinni, were professional actors who nevertheless had little to no experience working in anime. At the same time, Gainax sought out and recruited as Royal Space Force's sound director the highly experienced Atsumi Tashiro of Group TAC, known for his work on the 1974 TV series Space Battleship Yamato. Tashiro accepted the staff position on Royal Space Force despite it being the first project he had undertaken outside his own company in over 20 years, seeing it as a chance to revitalize himself professionally, and the casting of Morimoto and Yayoi as an opportunity to depict genuine emotion and honest and fresh reactions, a spirit that Tashiro remarked he had forgotten within the world of anime.
Gainax's 1987 debut work, the feature film Royal Space Force: The Wings of Honnêamise, was a pre-digital anime, requiring that its animation cels and background paintings be photographed onto movie film. The actual scenes in the completed work were created through this cinematographic process, involving for some shots as many as 12 different layers of cels, backgrounds, and masks designed to selectively illuminate portions of an image. Special photographic techniques were employed in multiple scenes to express particular optical or motion effects. Assistant director Shinji Higuchi, a veteran of the film crew's earlier live-action amateur works, assisted on the photography of Royal Space Force as well; Takami Akai commented that the filmmakers' live-action experience influenced their thoughts on the perspectives and compositions used in scenes, not out of an attempt to "emulate" live-action but to seek a realism in anime, a medium where "the camera doesn't really exist."
During the production of Gainax's 1987 debut work, Royal Space Force: The Wings of Honnêamise, director Hiroyuki Yamaga and his assistant directors Takami Akai and Shinji Higuchi had limited or no experience in professional animation. Yamaga had directed an episode of the 1982-83 TV series Macross as well as the amateur Daicon III and IV Opening Animations, for which Akai had been an animator and character designer. Higuchi's filmmaking experience was in live-action special effects; Akai and Yamaga remarked that he brought interesting ideas and techniques to the project because he did not "think like an animator." Only the third of the assistant directors, Shoichi Masuo, had worked extensively in anime on a professional level; Masuo would express Yamaga's abstract directives to the animators in concrete terms.
Gainax's 1987 debut work Royal Space Force: The Wings of Honnêamise was the first project on which Hiromasa Ogura served as art director; although later noted for creating much of the aesthetic behind the influential 1995 film Ghost in the Shell, Ogura himself in a 2012 interview regarded Royal Space Force as the top work of his career. Working from Yoshiyuki Sadamoto's color scheme and Takashi Watabe's architectural drawings, Ogura then gave a "a sense of life" to the aesthetics of the world setting of Royal Space Force through background paintings created by himself and a staff of 16, including future Studio Ghibli art director Yōji Takeshige, whose first work in the anime industry was on the film. The film's writer and director, Hiroyuki Yamaga, sought to avoid using what he regarded as the usual visual symbolism of anime, and instead wanted Royal Space Force's art direction to express specific times of day and night; Ogura attempted to convey Yamaga's verbal instructions in graphic form.
Gainax's 1987 debut work Royal Space Force: The Wings of Honnêamise has been particularly noted for its design work; during a 2021 interview with the New York Times, science fiction author Ted Chiang, whose Nebula Award-winning "Story of Your Life" was the basis for the Denis Villeneuve movie Arrival, cited Royal Space Force as the single most impressive example of worldbuilding in book or film. Chiang remarked on details such as the film's distinct depiction of money, television, and newspapers: "I just really was impressed by the way that the animators for that film, they invented an entirely new physical culture for this movie. The movie is not about those things, but they really fleshed out this alternate world just as the backdrop for the story that they wanted to tell."
基本的にはハードの顔となるキャラクターを設定したのですが、ハードを出す以上やっぱりソフトがなければということで、幅広い年齢向けにファミリーな目玉商品を作ろうというのがきっかけでした。去年11月にいろんなキャラクターが候補にあがったんですが、そのなかからこれに決まったんです。ビクターのマークって、犬でしょ。この「ワンダードッグ」は、アメリカでも評判いい。ぬいぐるみとか、ステッカーだとか、いろいろ考えています。あとは、まあ漫画化するとか。当然、ゲームでも徐々に広めていこうと思ってるんですけど。いわゆるプロモーション用ではテレホンカードを作ったり、ぬいぐるみを作ったり、いろいろと考えてはいるんですが、それとは別に、たとえば、UFOキャッチャーにこの人形を入れるとか、そういう別の企画も考えて いましてね。それに、「ワンダードッグ」のゲームに出てくる敵キャラも数百種類いますから。まぁ、いろいろ個性的なのが多いんですよ。その中から、たとえば5体ぐらい特徴的なものを選んで、それをセットしていろいろキャラクター展開していきたいな、とも思っています。基本的には6月に発売するMEGA-CDのゲームを軸にしていくつもりですけど。「ワンダードッグ」は、イギリスのコア・デザインというメーカーとの共同開発ということですが。まだ新しい会社なんですけど、アミガなどのユーザーが多いイギリスで、「コーポレーション」「チャックロック」「サンダーフォーク」の3タイトルが連続1位になっているんですよ。社員は28人で、そんなに大きなところではないんですけども、グラフィックに力を入れているソフトハウスなんです。今後も「ワンダードッグ」以外、共同で何本か作る予定なんですよ。いままで年齢層が高めのロールプレイングゲームとかが、わりと 多かったんですよね。しかし、これからはユーザーを増やしていくためにファミリーの"顔"になるソフトがなきゃと思いましてね。まず、音の部分なんですが、非常に良くなっています。全ステージCDから音を流していますからね、あと、ゲーム中ではかなり本格的なマルチスクロールを使って、たとえば空の奥行きなんかを表現しています。こういうタイプのゲームでここまでやっているのははかったんですよね。あと、わりと大きなキャラクターが数百類出てくるんですよ。続編の準備はしてますから、「ワンダードッグ2」。かなり、じっくり時間かけたやつをね。基本的にうち自身がもともとレコード会社ですよね。ビデオや映画の事業もやってきてますし、やっぱりそういったものをいっばい活かせるCDでゲーム展開をやっていこうと考えています。