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>> Monday, February 26, 2007

Archiving CD-i media is not always my favourite way to attract people to the system, especially not when it's all new to them. I always wonder if those who visit CD-i on the internet are mainly people exploring obscure systems from the past or people digging up old memories from their past years. I don't even visit cd-i media archives regularly, which is why I didn't know newcomer started to reform its status with new exciting content. Stuff that makes me come back ;)

I'm sure it's nice to be able to download a cover, read a gameslist or check out odd peripherals of the system, but once you're done, you'll hardly return. Or maybe that's just me. Once in a while, I would be interested in background info or progress status of projects like CD-i Emulator, talks of CD-i developers or rare title reviews. Moreover, whatever is added to an archive I miss, because it is not updated in a forum or index page. I highly encourage owner Mathias to do that, so that I know where to look. It's one of the reason I'm totally hooked to the blog system which is perfect for anyone to slowly find out more about the blog's subject in a fun and colourful way. But alright, that's enough praise for this very website. I'm sure you have a different opinion, so why not leave a comment below? ;)

The most exciting stuff at is in the games index, which he transformed into PHP format (including a clever filter function). Apparently a more flexible format, but I have absolutely no experience in this. However, original game descriptions are all over now and he also started to write reviews, which are very nice! We can't have too many people writing about CD-i, so I hope he will be encouraged to continue this way. I didn't have the time to check the whole list, but to start enjoy the new stuff on Third Degree and 7th Guest, including reviews and improved media pictures.

The 7th Guest: "It was early nineties when I saw the first images of this game in a documentary about the evolution of computer animation... It was 1993 when the CD-i version came out and I was able to play it for the first time. It changed my life… At least for the next three weeks. The 7th Guest is one of those games that has made it in the top games list of all times of many ‘older’ gamers and even younger retro gamers. The story, the animation, the puzzles, the music, it all creates the right mood to make sure you don’t stop playing until it’s Game Over...."

Third Degree: "The feeling you get when you play this game, is that you are a contestant in a game show. Or at least, that was the intention. So it's easily categorised alongside games like Jeopardy and Name That Tune. In 3rd Degree, the contestants are confronted with a specific situation, where they have to guess what their teammate would or wouldn't do! Only if they both give the same answer, points are earned... "

Also let's not forget owns the complete catalogue of dutch CD-i magazines in PDF Format, which is still the biggest CD-i entertainment you can get on the internet. I'll keep you posted when I find out more reviews and content like this. Now Mathias, you're in my link list, can I be in yours ;) :D ?


The many faces of Maxx Magic

Whoever told you CD-i didn't have any original titles? Cd-i hosted a lot of conversions from other systems but a good eye will catch quite a few beauties on CD-i that people forgot about. Like Max Magic, an interactive magic kit for CD-i, starring Maxx, one of the greatest CD-i characters in my view with the highest personality. A look inside the studio who created Maxx: Animation & Effects.

With Maxx you can perform magic tricks on television. It may sound weird, but it works out pretty well. The main scene shows the room of Maxx where you can find several tricks. Click the highlighted object and Maxx will explain what the trick is about. Here Maxx will actually perform the trick FOR you, interacting with you by touching the television, remembering numbers and more.

Maxx is personal. He is the most deep character CD-i has ever known. First, he knows my name. He even speaks my name, using a list of names common in the USA. Every name is recorded with Maxx his voice, which gives it a nice touch. Even more interesting, Maxx always has something different to say. It's worth just to start the disc to have a chat with Maxx. This is the first title that actually uses the internal clock of the CD-i. You'll notice as Maxx wants to sleep at night. If you start the disc at night, you'll find Maxx sleeping. Ofcourse he wakes up, mumbling: "You know it's passed my bedtime, Bas!"

After trying out some stuff it is remarkable how funny Maxx really is. His tricks are all full of jokes and the character animation is so very suitable. It seems he likes to cooperate the most in the morning, saying me hello with: "Glad to see you, Bas, let's do some MAGIC!". These sentences I will always remember as the best bits of Max Magic. If you haven't played the game for a couple of weeks, Maxx goes like: "It's been a long time, Bas, I hope I didn't forget any tricks!" During the tricks, sometimes Maxx seem to forget what he has to do, and tricks sometimes even go wrong. That happens a lot when you are going to perform a trick WITH him. That's right, you can prepare a trick with him, and start a show to perform the trick to the public. The trick is both presented by Maxx and you, and if you play the game well it's really like you two are interacting.

The game was produced by PF Magic. We know PF Magic from the prototype release of Jack Sprite: The Crimson Ghost. Maxx is a robot actually, designed by Animation & Effects. "Maxx" performs magic tricks with the player in this P.F. Magic game. "Animation & Effects" designed and created all character animation assets and the environments for the character. The goal was to create over 3000 branching points of animation so that the character's performance could happen on the fly. To achieve the required precision, they designed and built an animatronic magician robot that they shot using motion control.

I told it before, I love Maxx. It's another gem on CD-i almost nobody knows about. Unfortunately this is partly due to the fact Max Magic was only released in the USA. Nowadays, PF Magic is part of Ubisoft and they are responsible for the Dogz and Catz games (=Nintendogs rip-offs). Andrew from PF Magic: "Before Petz I worked on an Philips CD-I title (talk about a long lost format!) called Max Magic (1994), my first industry project. Max Magic had even more explicit fusion than Petz. You, the player, bring your family and friends into the living room to gather around the television, and then stand next to the television itself, side-by-side with your performance partner, the on-screen character Max Magic, a mechanical magician who kind of looks like “Zoltan” from the movie Big. You use a mixture of rehearsed performance and real props (e.g., a deck regular playing cards) to perform up to 14 magic tricks for the audience, replete with music and witty banter. Max calls you by your real name (a feature we’re also implementing in Facade). You send the occasional cue and signal to Max via a remote control joystick, the standard interface for the CD-I player. The experience includes a rehearsal mode, in which with no one in the room but you and Max (a magician never reveals their secrets!) you rehearse the tricks together. There was no printed instruction manual or computer-esque menus; all rehearsals and performance were done “naturally”. By the way, both Max Magic and Petz were originally conceived by the creative director of the company, PF.Magic, I worked for — Rob Fulop. This “fusion” design principle I initially learned from Rob, and got further developed and reinforced for me working with fellow designer Adam Frank and others at PF.Magic."


CD-i Copyrights

>> Saturday, February 24, 2007

Something that is still very vague to me is this whole copyright thing. I'm sure the games itself are copyrighted, but for how long? What is legal to post and do? Can you legally post soundtracks of CD-i games? High-res video walkthroughs? The CD-i OS? Complete ROMS (to either use for back-up or copy? Are copyrights valid for a limited time, like 10 or 50 years? For some reason I think: "what would they care?" - I mean, nobody is making any profit out of these games anymore, right? Who would be harmed if the material was given for free to the public? Especially because Philips Media does not hold the rights anymore, at least, I think. Another vague subject. Who owns the rights of a product once the original publisher/developer doesn't exist anymore? Do the rights belong to the publisher, or to the developer? And if a publisher tells me I'm free to share a certain piece of software, how sure I can be I won't be hunted afterwards? I know there are a lot of websites with illegal content like this, but how illegal it actually is? Most of them are still online, so either nobody cares or it's less illegal than we think? In my eyes it's still material that belongs to somebody else (=the developer) but I don't think copyrights live forever, do they? Who can shed some light on this issue for me please...

Sure when it's about a license more parties are involved, like with the Nintendo titles or brands like Sesame Street or Lucky Luke. But how does that go? On forehand they didn't decide for how long the product was going to sell, and now they will not earn any money with it anymore. But they want to protect their IP, and they may use it later for... the Virtual Console. Or they don't want to be associated with the format anymore.


CD-i Handhelds

>> Thursday, February 22, 2007

One of the reasons CD-i was more interesting than any other console: CD-i was also available in a portable version! I don't think the portable versions were widely available for everyone, but the Philips internal shop had several 350 for sale in the ninetees, all pretty expensive. Now look at these babies, I don't think they were for sale in the Netherlands. CD-i Players from other brands than Philips are rare by itself, and portable players are even more rare. Currently I love the capabilities of the PSP and Nintendo DS; and while they are totally different than the portable CD-i, the CD-i handhelds were far more advanced and interesting than the old Game Boy or the Sega Game Gear from that time.

Recently Gamgator (holder of the CD-i Showcase on Ebay) sold his portable units which were very unique items. Look at these pictures and I'm sure you will agree with me CD-i sure did have the most beautiful designs of them all ;)

I would like to ask you all if you have a non-philips branded CD-i player, I would love to post a gallery with pictures of these. I've never seen high-res pictures of quite a lot of CD-i players, so maybe one of you can help me with it, thanks in advance ;)


CD-Imagine (4) - The Lion King

>> Wednesday, February 21, 2007

Virgin Interactive Entertainment is no stranger for CD-i, they brought us games like Creature Shock and Lost Eden. Out of the three-game deal made with Philips it was rumoured they would convert Heart of Darkness as well for CD-i, but unfortunately that never happened. For some reason I've seen The Lion King popping up on release lists for CD-i as well, but I still suppose that was merely a typing error. I've never heard of a CD-i conversion although I can imagine it would be possible for CD-i to handle. With as much children's titles for CD-i available as it has, Disney Interactive may have had the change to boost the interest in both CD-i and Disney for that market segment. A platform game like The Lion King would be suitable very well for CD-i (Even more when you've played the Disney games on the VTech children console!). Worth digging?


Pyramid Adventures - CD-i Review

>> Monday, February 19, 2007

Episode 1: Treasures of the Lost Pyramid. This hints at a series with more than just one game, but apparently developer Compact Disc Incorporated changed its mind during the years. When Philips developed the CD-i format together with other companies like Sony and Matsushita, I don't think they planned on taking the whole software publishing all by themselves. However, things changed a lot and in the end 95% of all games were published by Philips, with a few notable exceptions. One of them is Pyramid Adventures, a highly entertaining platform game for CD-i.

Developer: Compact Disc Incorporated
Publisher: Compact Disc Incorporated (Marketed by Philips)
Release: 1996
Genre: Platform game
Review date: February 2007
Required: Digital Video cartridge
Recommended: Gamepad
Extra: no multiplayer, age rating: >7

This game was worth a sequel, but Compact Disc Incorporated was not just a games developer. People who know CD-i will remember Compact Disc Incorporated also from Memory Works series. This was also published on CD-i in 1997, aimed at a professional educational market. The title including its sequels were transformed to CD-ROM as well. Nowadays, Compact Disc Incorporated is known by Memoryzine, and still is a company that is focussing on The Memory Works®, which offers Memory Training Programs designed for everyone seeking Memory Improvement.

Pyramid Adventures was not focussed as a normal game either, although it's a dedicated platform game just like Christmas Country and The Apprentice. In fact, this was not even a retail game. The main theme of this game is 'nutrition'. It was a sponsored project by the USA National Cancer Institute. Don't be fooled though, Pyramid Adventures main thing is just entertainment, and if you don't want to learn something about nutrition, you can still play a fun game.

I'm still a little confused about the copyright. I'm not aware of any other version than CD-i, but apparently the software was written in 1993. However, the manual is copyrighted in 1995, and the disc itself sais it's printed in 1996. I got my copy ten years later because in the ninetees it was not possible for me to get this USA import. Even more, I didn't even know its existence.

The music was written by Tony Trippi, somebody that will bring back memories by some of you. Tony Trippi was the same guy who was responsible for the soundtrack of Laser Lords, Zelda: The Wand of Gamelon, Mutant Rampage, Sargon Chess and Alice in Wonderland (All CD-i titles).

Let's have a look at the story of the game. The story is based on a childrens book, so basically this is a game license of a book, written by Jack Sughrue. It is about Dr. Olivia Pitt, a world famous archeologist.She and her nephew Dash Daniels discover an ancient and mysterious pyramid in the egyptian desert. Minutes after Professor Pitt and her nephew set foot inside the pyramid, the door rumbles shut behind them and the evil Pharaoh Antu captures here. It's up to Dash and his cat Mozart to discover Aunt Olivia's whereabouts and free her. They need her help to rid the Lost Pyramid of its awful 4000-year-old curse.

During the game, Dash gets advice and gifts from Tofu, God of Wisdom, and Yam, Goddess of Good Health, who appear mysteriously beside him. Your quest is to save Aunt Olivia and restore the healthy lifestyle of the pyramid by defeating Antu and his evil minions. Dash has entered the Lost Pyramid wearing his backpack and carrying his slingshot. The pack contains all the items Dash will need for a successful adventure. Some items you will earn (gold, extra lives), some you will pick up along the way if you are careful and observant (rich cakes for your slingshot or carrots). Some you willbe given (such as Yam's Pyramids of Life), some you will buy (like the bedroll from Atsap). As Dash you must examine everything, click on everything and try everything to learn everything about the Pyramid's strange secrets and creatures.

The Pyramid of Life helps you to understand the USDA Pyramid and what is necessary at each level to feed Sebek the Devourer and get safely through the Mummy Mazes. It also helps with feeding the sphynx, the Mummy and yourself well-rounded, healthy meals. Clicking on each area of the Pyramid will display the food group with a number of recommendations. This is in fact the educational part of the game, but very important to proceed in the game. That is, because dash has to eat and sleep during the game, and you have to take care of that. As you proceed through the stages of the Pyramid, you will also need to eat and sleep more often. When you go to the Vending Machine Pantry, you will need to buy food from the five food groups, avoiding those foods laden with fat, salt and sugars. The Sphynx won't be happy with those foods, neither will you. When you need to feed the sphynx, his chomping image will appear in the display.

However, this whole eating procedure is implemented in a fun way, and it is built as an objective system as we find nowadays in first person shooters, which I find very innovative. It is actually a platform game with objectives. Deep, clever, interesting. Then we have the Nutrition Action Arcade. It permits you to step out of the Pyramid and get into the Arcades. In one Arcade, the crocodilian Sebek the Devourer wants only food which is appropiate for the food-group level. You have to choose the appropiate food, pur it into your slingshot and feed him as he comes towards you. In another Arcade, the heads of mummies roll after you in a maze. You must rush to the blinking food before the mummies reach you.The Arcades are the way you can earn gold pieces. With the gold you can buy peripherals that will help you along the way in the Pyramid. A great alternative game element.

Throughout the game are wonderful pictures, stone carvings, ruined statues, islands, pits... Look at everything, cracks in the wall, tunnels, treasures...The game is filled with stuff like this, and it makes the levels very interesting. The primary focus is to make children and adults aware of positive effects of a healthy lifestyle. A good balance of proper nutrition, exercise and rest. The script for this multimedia nutrition education game was written by an elementary school teacher who was taught good health habits for over 20 years. The project received direction and funding from the National Cancer Institute of the USA.

Fun, yes it is. The game mechanics are on par with the high standard of platforming on CD-i. It's not as smooth as in The Apprentice, but right after this it goes into the top. Walk, jump, kill enemies a-la Super Mario, find doors and items. That's the whole story. And once in a while you'll get some side info about the fruit you just found, or why you got a certain objective (mostly about finding some healthy food instead of just snacks!)

End comments:
It's a pity this game is pretty rare on CD-i. It never got a lot of attention, probably because this was no normal retail game. But it is a very nice platform game equally fun and good as Christmas Country and The Apprentice. It's more difficult, you actually have to do something to proceed.

Graphics: 8
Nice they made good use of the extra memory of the DVC, which you can see in the smooth scrolling mechanism including background music and SFX. Nice, graphics are not high-res but fitting a cartoon style in 256 colours. Animation is also done very nice, with a touch of Goblins/Discworld over it (if you catch my drift).

Sound: 8
Excellent soundtrack by Tony Trippi, the same guy who was responsible for the audio at Spinnaker/Animation Magic. Varied, melodic, fun.

Playability: 7
Good, fast responsive controls. Nothing wrong with the controls, it plays well like a platformer should.

Value: 7
You'll be busy finding everything and reaching the end of the game for hours, but if you can stick to the end, I don't know. The downside of it all is that it can get a little repetitive and tedious after a while. It's fun for sure, but you have to everything a lot of times, over and over again.

Overall: 7 (not an average)

Similar games on CD-i:

The Apprentice, Christmas Country, Super Mario's Wacky Worlds


CD-i home-made

>> Wednesday, February 14, 2007

Yes I like to fool around with some cover art for CD-Imagine, but it's nothing compared to Nintendo fanatics (to name one way) creating the most beautiful fan-art. I never came across anyone who was into creating some cd-i related art. Again, the whole cd-i base is too small and of anything we have too few; still I was surprised to see the excellent pictures of tgnrogue, a CDinteractive member since forever. He is specifically interested in games like Escape from Cybercity and Lords of the Rising Sun, but I've seen also Mutant Rampage, Inca, The Crow and Burn:Cycle. The fan-art thing is just like the homebrew scene: CD-i is unknown but also a difficult platform. I think 2005 was a pretty nice year with some CDinteractive members trying to produce simple games. One of the most famous homebrew games is Frog Feast that Charles Doty (the producer of Rastersoft, his company) tried to convert to a lot of classic consoles including CD-i.

Unfortunately, in the end the CD-i developments seem to have stopped and we can't expect anything soon. At the moment the website is down and there are no announcements anywhere. The same story with Superfighter, which was announced to CD-i a few years back, but in the end it was all empty hope.

The advantage of simple fan-art is that anyone can create it and it's far more easy than to write some 'simple' software. The only real home-brew CD-i software is ofcourse the excellent CD-i Emulator, which will see new developments in 2007. That's exciting, yes! In the meantime, I wanted to post a few of tgnrogue's pictures to show my interest and I hope more people are creative enough to add some stuff to the CD-i library. The more, the better ;)

Frog Feast was published by Oldergames, another known company who brought us four excellent CD-i prototypes games. It is believed Oldergames obtained the software when he bought his CD-i development systems. It's a shame the legality of his 'License' has never cleared up: I still don't believe he was allowed to use the Philips brand on his products. On the other hand, Philips probably didn't mind the attention of Oldergames which boosted the CD-i interest a lot. Jack Sprite, Plunderball, Go and Space Ranger are worth buying! Ofcourse, this is no homebrew whatsoever; Oldergames made us believe they were into new CD-i developments (I'm talking about 2004/2005), unfortunately we've spotted his total CD-i development equipment on eBay, so any hope on this was lost forever.

I hope in the future CD-i homebrew will exist a little, we all know Terratron was investing his time to get people enthusiast for this, but again, also Terratron left the CD-i scene. Maybe its the fate of the subject, the older it gets, the less people are interested to invest their time in.


Surf City: CD-i Review

>> Monday, February 12, 2007

Philips Sidewalk Studios were known as the main developers for "Family Entertainment", the counterpart of "Philips Media Games". While both departments were aimed at delivering home CD-i titles, Family Entertainment mainly developed titles for the younger audience. Sidewalk Studios is known for great children games like "The Crayon Factory", "Sandy's Circus Adventure" and "Richard Scarry's Best/Busiest Neighbourhood Disc Ever". However, sometimes an actual game not specifically aimed at children was written by the creative eyes of Gary Drucker and Rebecca Newman, heading one of the most productive Philips development houses at the time of CD-i.

Developer: Philips Sidewalk Studios
Publisher: Philips Media (Family Entertainment; USA)
Release: 1994
Genre: Interactive Musical
Review date: February 2007
Required: -
Recommended: Mouse/Trackball/Roller Controller
Extra: no multiplayer, age rating: >7

"It's the class of '66. To one of the coolest guys at Surf. Hi - I'll always remember that groovy beach party. Great Tunes. Love, Sandy."

So Sidewalk wasn't purely aimed at children titles. For example, take "Merlin's Apprentice", a game originally developed by Philips Sidewalk Studios, but transferred to Philips Funhouse because it was not in line with Sidewalk's other games. This transfer marked the start of Funhouse being some kind of Sidewalk spin-off creating games with the same animation techniques.

"Hey Homeroom Buddy - How will you survice without Miss Z's pop quizzes? have fun in the sun... -Willies"

But also "Wacky Worlds of Miniature Golf" is a game by Sidewalk Studios not aimed directly at children, although it does appeal to all ages. No, this time I want to talk about "Surf City". Surf City is known as Sidewalk's biggest projects, being in development for a long time. Something that crossed the oath of Sidewalk's vision: The tight structure only allowed small budget titles: It's not for nothing they were able to produce 14 (fourteen!) CD-i titles in just a few years. That marks Sidewalk without a doubt as the most productive Philips Software Unit during the life of CD-i.

"To a cool guy - See ya'Round this summer. HANGTEN, DUDE! -BUZZ"

I'm drifting away from the original subject: The Surf City review. What's this title about? According to the obscurity it has and the fact not a lot of people has played this disc, I assume Surf City is pretty rare to come by nowadays. What we have here is quite an original title: An interactive Musical. I never enjoyed Surf City for the actual games, but for the whole experience. The sound intro is by far the best of all CD-i intros I've seen. The Beach Boys tune takes over the original Philips tune to create the same effect as in a movie; a way I pictured a more clever intro for a lot of other titles. Talking about the games, you can for the most compare this with the Richard Scarry busiest neighbourhood disc. It's made by the same people, and it is obviously inspired by this title. The whole thing is the same, there is an overmap of the main city and you can click the streets. A scene follows in where the streets scrolls by, and you click on any building you want to visit. Inside, you can click on different things, talk to people and call for help. Or exit, and visit a different place. Really, that's it.

"To my good pal - Drama was a blast! See ya next year. -Chip"

Still, you can do the most with these 'games' in the whole title. Surf City is inspired by the great music of the 60s. It is the first animated interactive musical in its own right. Classic hits help tell the story of Ryan Carlson, Wendy Weaver, Rhonda Williams and their friends with favourites like California Girls, Dance Dance Dance and Wipeout. The games, I'd prefer to call them 'activities'. Read the names: Build a hot rod; Go bowling at the Beach Bowl; Design a surfboard; Play the video jukebox; Race cars at the arcade speedway; take a pizza order; learn surf lingo from Tiki; Visit the love teller; Take a pop quiz at the high school; watch fireworks on the pier; Order a burger-to-go; Play spin-the-bottle at wendy's house.

In fact it's a very interesting genre, and I compare it slightly with the "Animal Crossing" thing: Some will love it, some will hate it. It sets an atmosphere and you just want to visit it for once in a while. It's addicting, and Surf City will make you return because of the great music, the holiday feeling and nothing more. Why do kids never get bored of Richard Scarry or Sesame Street? It's the same kind of thing, only Surf City is aimed at a wider (older) public. You won't play Surf City just for the games, I think. Ofcourse, they add a feeling that the city is alive, in the end you just wander around to see what's happening in Surf City.

End comments:
Surf City is a unique title, it's a genre that is lost these days just like the FMV game genre. There's not a lot of action, and it's even hard to call this a game. Really, the term "Interactive Musical" describes its ambition the most.

Graphics: 6
If you've played the other Sidewalk games, you'll recognize the style. Simple, cartoon style. It's the brand of Sidewalk, really. Nice animation, obviously they put a lot of work in this project.

Sound: 9
Outstanding. Musical score by the Beach Boys, this is one of the best bits of Surf City. If it wasn't for the soundtrack, the title wasn't worth even half of it.

Playability: 6
Sidewalk keeps their games simple, and it shows. None of the games are deep or difficult, but the whole system adds a living touch to Surf City.

Value: 7
Nice to spend some time with once in a while, but you won't play this title for many hours. It's the ultimate title to showcase CD-i base case to any Beach Boys fans and non-gamers on CD-i. I love it, but I can understand why lots of people don't get the point.

Overall: 7 (not an average)

Similar games on CD-i:

Richard Scarry's Busiest Neighbourhood Disc, Sesame Street Letters+Numbers


CD-i testing phase discs

>> Saturday, February 10, 2007

Surprisingly these CD-i testing discs are actually pretty common on eBay. I always wondered why. Not as quite I find testing discs of other consoles. Ofcourse, these were the kind of discs to promote the product and used for previewing in magazines or testing facilities, or to interest the publisher: Philips. Perhaps because Philips Media sold everything is why they were brought on the market via re-sellers. I don't believe they're all copies meant for kiosk systems, the way they are often advertized.

The question remains: Why do people want them? When it's about an unreleased title I can totally imagine. It's your way of previewing a game that never made it to the system. It's in fact the way we found a few prototypes as well on CD-i. But as in the picture, why would people spend a lot of money on a Burn:Cycle Testing Disc? The title often contains more bugs, less content and less artwork. That's it. Don't be fooled, I would say, and go for a retail release: For CD-i it's not that hard to find brand new copies! If you're not sure whether a title has been released: Check the Games Archive!

One more thing: Beware of fakes! I've seen my first fake testing phase cd-i disc, which was nothing more than a CD-R with a printed black/white cover just as this picture. It seems awefully easy to fool innocent CD-i collectors. Please be aware these testing phase discs are easy to create (using the retail software!). Maybe that's a hint why there are a lot of them on ebay lately ;)


Philips + Viridis = Zelda

>> Tuesday, February 6, 2007

Once in a while the nostalgia of CD-i brings back lots of memories, especially when you read stories about the famous Nintendo link with Philips. Enjoy some words of Jim, who was responsible for the video blue screen, motion capture, and model animation, as well as the audio recording, mixing, and sound design for Zelda's Adventure. He also worked on other titles, for both Viridis and Philips. "I originally worked in the film industry back in the 80's but also knew my way around computers and digital technology. I also used to teach animation production at a local university. As a teenager I used to write my own computer games on the ancient TRS-80. My first CD-i title I worked on was Caesar's World of Gambling where I was hired to direct all the voice over for that title. You see at the time (early days of CD-i) most of the people I met at Philips were good at the technology part of the equation, but absolutely clueless when it came to other tasks like dealing with actors, scheduling productions, doing creative direction in a way that got the best out of people, etc.

Anyway, much later, I was hired at Viridis by the owners (Christopher and Lee) to help them with this title called "Zelda" that had just gotten green light for production at Philips. (In fact, the name "Viridis" was a play on the Latin word for "green" ) So after going through the production design, and realizing that they had absolutely no budget at all, we had to get pretty creative. This first big problem was the top-down motion capture of all the human characters to turn them into game sprites. Viridis had no money to rent a studio to shoot this properly; all they had was a 12x15 foot office with an 8 foot ceiling that I tried to turn into a studio. It was basically impossible to shoot anything from the perspective needed for top-down sprites, so I had to get creative to make it work.

What I did was mount a large mirror on the 8 foot ceiling and place the camera on the floor shooting up into the mirror and back down to human actor. For the walk cycles I put the actors on a black motorized treadmill with registration marks and shot video of them as they attempted not to fall off the treadmill and break their heads. (We took the hand rails off The background was extracted by our artists and sprites were created. If we didn't like the way a sprite looked or was animated, we would shoot it again. I painted one wall of the studio Ultimatte Blue so I could shoot all the blue screen FMV sequences. This was a total pain because we basically had no room, and for the longest time Chris and Lee were too cheap to install extra power lines for the lights. (One day I tripped all the breakers for the office lighting a scene, and it crashed all the development stations and servers. I got my extra power lines soon after that. Once the bluescreen video was shot, then we had to laboriously digitize every frame (no realtime capture at that point). I would let the capture run over night. The next day I would start the background (bluescreen) removal. This would sometimes take 4 or 5 workstations several days to complete a sequence. Very primitive, but we were working with Mac Quadra 700s.

One of the good things about working on Zelda was that I worked with Randy Casey, who was the lead engineer. This was one of Randy's first projects, and we got along well together. Randy eventually went on to Novalgic and was lead on a whole bunch of successful flight sim games from them. Viridis always seemed to have budget problems; eventually when the Zelda was pretty much done, they laid me off. (I also worked on other game titles for them at the time, most of them never released.) Anyway, I went on to Philips as a game producer where I managed their top selling CD-ROM game Fighter Duel, plus other less successful titles such as Voyeur II and a bunch more. Viridis, like a white dwarf that swells to a red giant, eventually had scores of people working there after I left (when I was there it was maybe 15- 20 people). Eventually Viridis couldn't make payroll, and many of their employees quit. The end came not long after that for Viridis.



>> Sunday, February 4, 2007

A blend of innovation and diversity, PolyGram has evolved from its roots in music to become one of the world's pre-eminent entertainment companies. A creative company, we are driven by the individualistic spirit of our collective music and film labels. Netherlands-based PolyGram N.V. is one of the world's largest entertainment companies and in 1997 remained the number one record company in the world. Over 80 percent of its income comes from the music business, specifically the acquisition, production, marketing, manufacture, and distribution of recorded music, along with music publishing and participation in TV music channels. Its popular music labels, including A&M, Def Jam, Island, Mercury, Motown, and Polydor, accounted for 62 percent of PolyGram's sales in 1996. Nine percent of its sales came from its classical music labels: Decca, Deutsche Grammophon, and Philips Classics.

Through PolyGram Filmed Entertainment (PFE), the company is also a growing presence in the film business, with four principal production labels: Propaganda, Working Title, Island Pictures, and Interscope. PFE sales accounted for 16 percent of total sales in 1996. Philips Electronics owns 75 percent of the company.

1962-75: A Joint Venture Becomes a New Company

Following World War II and throughout the 1950s, growth in the European record business was slow. Antiquated production machinery combined with tariffs and high publisher royalties made records relatively expensive to buy. That situation began to change in 1958, as the European Common Market began to form, and the original members agreed to lower and finally eliminate internal tariffs, which greatly helped record sales.

In 1962, Siemens A.G. of Germany and Philips Electronics N.V. of the Netherlands created a joint venture record company. Philips acquired 50 percent of Siemens' Deutsche Grammophon Gesellschaft, a preeminent classical music label founded in 1898, and Polydor Records, its popular music division. Siemens acquired 50 percent of Philips' subsidiary, Philips Phonographische Industries (PPI), which was renamed Phonogram. Philips was already in the record business, having purchased Chicago-based Mercury Records and its pressing plants in 1960. In 1966, Philips used Mercury Records to begin distributing its new tape cartridge system--tape one-eighth-inch wide enclosed in a cassette, that could be used for playing and recording music--and cassette players for the home and car.

Although the Siemens/Philips joint venture was successful in classical music, it did not generate enough money to pay to distribute the records internationally. The venture looked to the U.S. to boost revenues. In 1970, the Polydor Records division arranged for record distribution through United Artists, and in 1972, the joint venture bought Verve Records (one of the top jazz labels in the world) and the United Artists distribution network. Included among the acquisitions was 49 percent of the giant publishing operation Chappel Music and its music copyrights. That year, the joint venture and the new subsidiaries were reorganized as PolyGram N.V., with Siemens and Philips each retaining a 50 percent ownership.

1975-85: Adding Pop to Classical and Jazz

In 1975, PolyGram bought Robert Stigwood Organization Ltd. for $1 a share. While the $8 million price was well above market value, the purchase gave PolyGram the copyrights to the music of a number of rock stars as well as Jesus Christ Superstar and the original English TV productions of "Sanford and Son" and "All in the Family," along with 50 percent of RSO Records. As part of the deal, PolyGram agreed to pay Stigwood $5 million a year for five years for the acquisition and development of screen properties. This propelled relatively staid PolyGram into the disco music scene.

Stigwood's first film was Saturday Night Fever, starring John Travolta, with music by the Bee Gees, followed by Grease, with Travolta and Olivia Newton-John. RSO Records produced the soundtrack albums for both films in 1978. PolyGram also bought Casablanca Records, home of disco queen Donna Summer, KISS, and the Village People. Saturday Night Fever sold 15 million copies in the U.S., and Grease, sold 22 million worldwide. Together, Casablanca and RSO had record sales of $300 million in 1978, helping PolyGram to became the first company to have worldwide sales from music-and-entertainment of $1.2 billion. But while record sales were high, so were the costs of producing them, and PolyGram began losing money.

During the early 1980s, the company expanded its classical music base, buying Decca, the London-based classical record company, and establishing the Philips Classics label. It also created a new popular label, London Records.

In the meantime, Philips Electronics, PolyGram's parent, had been experimenting in optical electronics. Early in 1979, Philips produced its compact disk system. The result was a 4 inch disk that, when played using an optical laser, offered an hour of sound, without any surface noise. In 1982, PolyGram and Philips launched the compact disk and disk player worldwide.

But by 1983, PolyGram was losing $300,000 a day, and had lost more than $200 million since 1977. Siemens wanted out of the joint venture. That year, Warner Communications and PolyGram began discussing a merger of their record businesses. The proposed merger was opposed by both the German Cartel Office and the U.S. Federal Trade Commission for its potential in reducing competition, and the merger was finally denied.

In 1984, PolyGram sold its music publishing house, Chapell-Intersong, to Warner for a price reported by Russell and David Sanjek to be in the $100 billion range. That same year, Alain M. Lévy moved from CBS Disques in France to become chief executive officer of PolyGram France. Over the next five years, he built the PolyGram subsidiary into France's largest recorded music company, holding over a third of the market share.

1985-95: Acquiring Record and Film Companies

In 1985, Philips purchased 40 percent of PolyGram from Siemens and the remaining 10 percent in 1987, thus owning it completely. In 1986, PolyGram reentered the music publishing business, with the establishment of PolyGram Music Publishing, and in 1988, it moved into the movie business as it bought 49 percent of Propaganda Films, a small independent filmmaker.

The year 1989 was a busy one for PolyGram. The company had a successful worldwide initial public offering of 35 million shares priced at $16 each. Later in the year PolyGram expanded its portion of the important U.S. pop market with the purchase of Island Records for $272 million and, in 1990, A&M Records for $460 million.

PolyGram's music publishing business also grew in 1989 with the purchase of three publishing operations, Welk, Sweden Music, and the Island Group. By the end of the year the company also increased its foothold in the film industry, acquiring 49 percent of Working Title Films and establishing Manifesto Film Sales, which became PolyGram Film International. Film revenues for 1989 were approximately $65 million.

During 1990, Alain Lévy took over direct management of PolyGram's newly restructured operations in the U.S. Among his first efforts was the establishment of PolyGram Video U.S. and the creation of PolyGram Group Distribution, which was responsible for the warehousing, distribution, and sales of the company's audio (records, CDs, and cassette tapes) and video products in the United States. In January 1991, he was named president and CEO of PolyGram N.V. and CEO of PolyGram USA.

Under Lévy, the company continued to expand, with a second international offering, of 10 million new shares, in 1993. One quarter of the company's shares were now held publicly, with Philips Electronics owning the remaining 75 percent.

PolyGram bought CD manufacturing facilities in Germany, France, and the U.S. for a total of $122 million, acquired a 30 percent interest in Andrew Lloyd Webber's Really Useful Holdings for $168 million, and strengthened its presence in various national markets with the addition of the Finnish company Sonet Media AB and Japanese labels Nippon Phonogram and Polydor KK. During this period, PolyGram was also becoming involved with music television, investing in VIVA, a German language channel, and buying 50 percent of MTV Asia.

This attention to national and regional music markets was an important part of PolyGram's global strategy. The company would put in management teams, often with local people, whose job it was to spot and develop local pop music acts, building them into national or regional stars, and, sometimes, international stars. By 1995, in addition to its national subsidiaries in Asia, Australia and New Zealand, North America, Latin America, and Europe, the company had established PolyGram Hungary, its first operating company in Eastern Europe, purchased a local record and music publishing company to create PolyGram Poland, and with the acquisition of 51 percent of BIZ Enterprises, established PolyGram Russia. In 1995, PolyGram Latin America bought Rodven Records, that continent's largest independent record company. Contributing to PolyGram's success in this area was its decentralized structure, which allowed its record labels to operate as autonomous units.

But the company was not ignoring the huge North American market. In 1991, PolyGram signed an international license agreement with Motown, the world's leading black music label, and then purchased Motown in 1993 for $301 million. In 1994, the company acquired a controlling interest in Def Jam, the leading rap music label, for $33 million.

In the classical music field, the early 1990s was a period of boom conditions. Because tastes in classical music were far less volatile than those in pop and rock music, PolyGram's goal was to increase the number of people listening to and buying classical records as well as to develop new artists. To bring classical music to a larger audience, the company held special events, such as the Three Tenors concert in Rome in 1990. Among PolyGram's classical artists were soprano Jessaye Norman, the world's reigning diva; tenor Luciano Pavarotti, the best selling classical artist in the history of the record industry; and internationally acclaimed conductors John Eliot Gardiner and Sir Georg Solti. New artists included Romanian soprano Agnela Ghiorghiu, Welsh baritone Bryn Terfel, and Ceclia Bartoli.

Early in his tenure, Lévy also set out to make PolyGram "a significant participant in the global film market." He acquired the remaining 51 percent of Propaganda Films in 1991, and the following year established PolyGram Filmed Entertainment to produce, acquire, and finance feature films for distribution to theaters, television, and home videos. Also in 1992, the company bought a controlling interest in Interscope Communications, an independent U.S. film production company, for $35 million, signed three-year production agreements with Jodi Foster's Egg Pictures and Tim Robbins' Havoc Inc., and, in a joint venture with Universal Pictures, formed Gramercy Pictures, to market and distribute small and mid-budget films in North America.

In 1993, PolyGram bought the remaining 51 percent of Working Title Films, and in 1994, acquired Island Pictures. With the purchase, in 1995, of the remaining 49 percent of Interscope Communications, PolyGram had four film production companies which, like the record companies, operated as autonomous creative units. The company also was involved in producing and distributing local language films, through such investments as half ownership of French production house Cinéa and Hong Kong-based TedPoly, and ownership of Meteor Film Productions, the leading independent film producer in the Benelux countries. Among the company's international films that received critical and box office success were Nell, Four Weddings and a Funeral, French Kiss, Dead Man Walking, The Usual Suspects, Mr. Holland's Opus, and Trainspotting. PolyGram's film revenues in 1995 reached $750 million, and represented 14 percent of sales.

On the video front, the company bought the U.K. operations of Vision Video Ltd., one of the United Kingdom's largest video production companies, and 75 percent of Abbey Home Entertainment, the largest producer of children's video and audio programming in the U.K.

Polyhymnia International was formerly the Philips Classics Recording Centre. The Philips Classics Recording Centre was founded in 1950, and moved to Baarn in 1973. The Recording Centre was founded to provide top quality recording services for the world-class artists of Philips Classics. Polyhymnia International was founded as an independent recording company in 1998 to continue this tradition of excellence.Other activities in 1995 included the purchase of International Television Corporation Entertainment Group (ITC) and its film and television catalog for $156 million, the signing of a two-year agreement with Def Pictures to produce films, and the formation of a new joint venture, the Leonard Bernstein Music Publishing Company. Finally, during that year Phonogram Records changed its name worldwide to Mercury Records.

1996 to the Present--Reorganization and Local Repertoires

The music industry faced some significant challenges during the second half of the decade. Huge record store chains (hypermarkets) increasingly dominated the retail scene both in the United States and in Europe. Because these chains usually offered a fairly narrow range of records, based on hit charts, it became harder to promote new artists or to market classical music and jazz or back catalogs of pop music. While this was occurring, the huge North American market, which accounted for nearly a quarter of PolyGram sales, experienced its worst conditions in 15 years.

Despite an eight percent growth in 1996 sales, due primarily to the success of national artists in France, Italy, Spain, and Japan, PolyGram's net income dropped by three percent, and the company instituted several changes. It reorganized its classical music activities, sharpening the focus of each of its labels and reducing the number of recordings and releases. Philips Classics and new labels POINT and Imaginary Road were combined into the Philips Music Group, whose goal was to combine core classical music with more contemporary music and crossover artists from popular music. Deutsche Grammophon was concentrated on traditional European music, including early music recordings, and producing albums that widened the appeal of its star artists. Decca remained focused on opera and vocal recordings along with soundtracks from films such as Braveheart.

PolyGram also reorganized its European music distribution and marketing operations, laying off some 500 people in the process. Among the changes in its U.S. operations was PolyGram Group Distribution's move to promote all the company's record labels by expanding its sales force and focusing on direct sales in stores, and a restructuring of the Mercury and Motown labels, including relocating Motown from Los Angeles to New York City. While the restructuring was going on, PolyGram continued to invest in its other pop music labels, acquiring the remaining 51 percent of London-based Go! Discs and another 10 percent of Def Jam. The company also expanded its music TV activities, establishing Atomic TV, a cable music television joint venture in Poland with Poland's Atomic Entertainment and Planet 24, a U.K. television production company.

On the non-music side of the company, PolyGram Filmed Entertainment (PFE), while still in the red, saw its sales increase by 25 percent. PFE bought out Universal Pictures' share of Gramercy Pictures, became a one-third partner with Robert Redford and Showtime Networks Inc. in Sundance Channel, which showed independent and foreign films, opened a distribution company in Australia, renewed its agreement with Egg Pictures, and produced and distributed the prize-winning French film The Eighth Day (Le Huitème Jour). PolyGram Video, a division of PFE, continued to bring out new titles in its National Football League video series. PolyGram also got into the restaurant business, investing in two Motown Cafés, in New York and Las Vegas.

In 1997, the company continued the restructuring of its U.S. music operations with the formation of the Mercury Records Group to oversee the management of Mercury, Motown, and PolyGram Classics and Jazz in the United States. Before the year ended, PolyGram had to call on competitors to help manufacture and distribute over 33 million records, CDs, and cassettes of "Candle in the Wind 1997," Elton John's tribute to Diana, Princess of Wales.

But most of the activity that year had to do with PFE, as PolyGram continued to build its production and distribution system worldwide and positioned itself to produce and market bigger-budget films for the U.S. market. PFE formed PolyGram Films to release major studio level features, signed production agreements with Alan Parker's Dirty Hands Productions and the Jones Company, and acquired the film catalogs from Consortium De Realization SAS. That purchase gave PolyGram one of the largest post-1948 film libraries in the world. Propaganda Films signed an exclusive first-look deal with David Fincher.

PFE also established PolyGram Television (U.S.) to develop and distribute programming for network, cable, syndication, and other markets in the U.S. and worldwide. In mid-year, PolyGram Video teamed up with parent Philips Electronics to bring digital video disks (DVD) to video store customers with a joint hardware-software rental program. The video division also continued to market various videos through supermarkets, often with merchandise discounts and rebates.

The two years of restructuring efforts paid off, as PolyGram's net sales rose 17 percent in 1997 and operating profit was up 11 percent. The music division outperformed the market with sales and profits up 17 percent, keeping PolyGram the number one record company in the world. PFE saw a profit in the fourth quarter, and sales for the year grew by 16 percent. The company kicked off 1998 with the announcements that PFE and Warner Brothers were teaming up to jointly finance and distribute movies produced by Castle Rock Pictures and that Ivan Reitman (Ghostbusters, Stripes) and Tom Pollak, former head of MCA's Universal Pictures, had formed a new production company with PFE.

As Deutsche Grammophon began the celebration of its 100th anniversary, the music-and-entertainment industry remained both expensive and volatile. However, PolyGram's investments in national repertoire were paying off with the success of local and regional artists. This helped counterbalance problems in the U.S. market. The company was also aided by the intense competition among Europe's rapidly expanding television distributors who were willing to pay top dollar for PolyGram's movies and catalog films. With subsidiaries in over 40 countries and its range of creative operations, PolyGram looked forward to maintaining its leading position in the music business and increasing its position in the film industry, where PFE was the leading European film company.

Principal Subsidiaries: PolyGram Holding, Inc. (U.S.) and PolyGram subsidiaries in 42 other countries; A&M Records Inc. (U.S.); A&M Records Ltd. (U.K.); Decca Record Company Ltd. (U.K.); Def Jam Records, Inc. (U.S.; 60%); Mercury Records B.V.; Island Entertainment Group, Inc. (U.S.); ITC Entertainment Group Ltd. (U.K.); Motown Café, LLC; PolyGram Merchandising Inc. (U.S.; 80%); MTV Asia (Singapore; 50%).

This information belongs to, now part of Universal Music Group


Gnomes on CD-i

>> Friday, February 2, 2007

The most interesting titles on CD-i were released right after Philips abandoned the format. It's a pity a lot of people who know about CD-i, only remember the old days including Alien Gate, Compton's Encyclopedia and Burn:Cycle. And while those titles were all great, I'll focus some more attention on titles you may have never heard about. Now look at Gnomes. I have to admit I never came across an english version of Gnomes before. As far as I was aware, there was only a dutch release (known as "De Kabouter") published at the end of CD-i's life-span. So what is Gnomes about?

Ofcourse, the title is based on the very popular book by Rien Poortvliet and Wil Huygen. It is a quasi-scientific publishing about the life of gnomes. It makes you believe gnomes actually do exist. It's a wonderful piece of art, too. A lot of original artwork transferred from the book classic from 1976 is present and stories are told by Tom Baker. It's some kind of storybook which is told in a way to convince you about the existence of gnomes. In fact, the disc refers to actual 'scientists' with research on their behaviour, history, anatomy, specific gnomes deseases, how they furnish their houses, their daily schedules, food, even about trolls. the disc is presented with the approval of the gnomes and it even has interviews with them.

However, even including this scientific approach, the disc is very suitable for kids. Kids will love listening to the stories and watch the great art of Rien Poortvliet. In my opinion, it's not just a fan-disc for those who like gnomes, but the way it is presented is quite clever and really a world of its own. You have to watch it in order to know what I mean. It's an encyclopedia with stories and told as it is the only truth ;)


Games 0-F

3rd Degree - PF Magic
7th Guest, The - Philips Freeland Studios
Accelerator - SPC/Vision
Adventure of the Space Ship Beagle, The - Denshi Media Services
Affaire Morlov, L' - Titus
Alfapet - Adatek
Alice in Wonderland - Spinnaker
Alien Gate - SPC Vision
Alien Odyssee - Argonaut
Aliens Interactive CD-i - Dark Vision Interactive
Ange et le Demon, L' - Smart Move
Apprentice, The - SPC Vision
Apprentice 2, The - Marvin's Revenge - SPC Vision
Arcade Classics - Philips ADS / Namco
Asterix - Caesar’s Challenge - Infogrames
Atlantis - The Last Resort - PRL Redhill (Philips ADS)
Axis and Allies - CapDisc
Backgammon - CapDisc
Battle Chess - Accent Media (for Interplay)
Battleship - CapDisc
Big Bang Show - Infogrames
BMP Puzzle - Circle (for ZYX)
Brain Dead 13 - Readysoft
Burn:Cycle - Trip Media
Caesar's World of Boxing - Philips POV
Caesar's World of Gambling - CD-I Systems
Cartoon Academy - Bits Corporation
CD-i mit der Maus - SPC Vision
CD Shoot - Eaglevision Interactive Productions
Change Angels Kick-off - HMO
Chaos Control - Infogrames
Christmas Country - Creative Media
Christmas Country - The Lost Levels - Creative Media
Christmas Crisis - DIMA
Clue - 3T Productions
Clue 2 - The mysteries continue - 3T Productions
Connect Four - CapDisc
Creature Shock - Argonaut (for Virgin)
Crime Patrol - CapDisc
Crow, The - Philips POV
Cyber Soldier Sharaku - Japan Interactive media
Dame was Loaded, The - Beam Software
Dark Castle - Philips POV
Dead End - Cryo
Defender of the Crown - Philips POV
Deja Vu - Icom Simulations
Deja Vu 2: Lost in Las Vegas - Icom Simulations
Demolition Man - Virgin Interactive Entertainment
Demon Driver - Haiku Studios
Discworld - Teeny Weeny Games
Dimo's Quest - SPC Vision
Domino - Wigant Interactive Media
Down in the Dumps - Haiku Studios
Dragon's Lair - Superclub / INTL CDI
Dragon's Lair 2- Time Warp - Superclub / INTL CDI
Drug wars - Crime Patrol II - CapDisc
Dungeons & Dragons - PF Magic
Earth Command - Visionary Media
Effacer - CapDisc
Escape from Cybercity - Fathom Pictures
Evidence - Microids
Falco & Donjon & The Sword of Inoxybur - BMi / Zephyr Studio
Family Games I - DIMA
Family Games II - Junk Food Jive - DIMA
Felix the Cat - Philips Sidewalk Studio
Flashback - Delphine/Tiertex (for US Gold)
Flinstones Wacky Inventions - Philips Funhouse
Fort Boyard: The Challenge - Microids
Frog Feast - Rastersoft

CD-i Games Index G-M

Go - CapDisc
Golden Oldies - SPC Vision
Golden Oldies II - SPC Vision
Golgo 13 - Japan Interactive Media
Great day at the races, A - CD-I Racing, Dove Films, Total Vision
Guignols de l'Info, Les - Canal+ Multimedia / INTL CDI
Heart of Darkness - Amazing Studio (for Virgin)
Hitchhiker's Guide to the Galaxy, The - Philips Kaleidoscope
Holland Casino CD-i - HMO
Hotel Mario - Philips Fantasy Factory
Inca - Coktel Vision
Inca 2 - Coktel Vision
International Tennis Open - Infogrames
Jack Sprite vs. The Crimson Ghost - PF Magic
Jeopardy - Accent Media
Jigsaw - Novalogic
Joe Guard - DIMA
John Dark: Psychic Eye - CapDisc
Joker's Wild!, The - Accent Media
Joker's Wild Jr., The - Accent Media
Kether - Infogrames
Kingdom - The far reaches - CapDisc
Kingdom 2 - Shadoan - CapDisc
Labyrinth of Crete - Philips Funhouse
Laser Lords - Spinnaker
Last Bounty Hunter, The - CapDisc
Legend of the Fort - Microids
Lemmings - DMA Design / Psygnosis
Lettergreep - Wigant Interactive Media
Lingo - SPC Vision
Link - The faces of evil - Animation Magic
Lion King, The - Virgin Interactive Entertainment
Litil Divil - Gremlin Graphics
Litil Divil 2: Limbo Years - Gremlin Graphics
Lords of the rising sun - Philips POV
Lost Eden - Cryo (for Virgin)
Lost Ride, The - Formula (Lost Boys)
Lucky Luke - The video game - SPC Vision
Mad Dog McCree - CapDisc
Mad Dog McCree II: The lost gold - CapDisc
Magic Eraser - Circle (for ZYX)
Mah-Jong - Japan Interactive Media
Making the Grade - 3T Productions
Man Before Man - Cryo
Marco Polo - Infogrames
Mario Takes America - CIGAM
Master Labyrinth - AVM AG/HQ
Mega Maze - CapDisc
Memory Works, The - Compact Disc Incorporated
Merlin's Apprentice - Philips Funhouse
Microcosm - Philips Freeland Studios
Micro Machines - Codemasters
Monty Python's Invasion from the Planet Skyron - Daedalus CD-i Productions
Mutant Rampage - Body Slam - Animation Magic
Myst - Sunsoft (for Cyan)
Mystic Midway - Rest in pieces - Philips POV
Mystic Midway 2 - Phantom Express - Philips POV

Compact Disc Interactive

Compact Disc Interactive

Games N-Z

Name that tune - Philips Fantasy Factory
New Day - Bits Corporation
NFL Hall of Fame Football - Philips POV
Othello - HMO
Pac Panic - Philips ADS / Namco
Palm Springs Open - ABC Sports / Fathom Pictures
Pool - SPC Vision
Pinball - CapDisc
Plunderball - ISG Productions
Power Hitter - ABC Sports / Fathom Pictures
Power Match - Two's Company
Pursue - BEPL
Pyramid Adventures - Compact Disc Incorporated
RAMRaid - PRL Redhill
Return To Cybercity - Fathom Pictures
Riddle of the Maze, The - Fathom Pictures
Riqa - Bits Corporation
Rise of the Robots - Mirage Technologies
Sargon Chess - Spinnaker
Scotland Yard Interactive - AVM AG/HQ
Secret Mission - Microids
Secret Name of Ra, The
Shaolin's Road - Infogrames
Skate Dude - Viridis
Smurfen, De - De Telesmurf - Infogrames
Solar Crusade - Infogrames
Solitaire - BEPL
Space Ace - Superclub / INTL CDI
Space Ranger - Studio Interactive
Special Operations Squadron - SPC Vision
Sport Freaks - SPC Vision
Star Trek - Philips POV
Star Wars: Rebel Assault - LucasArts
Steel Machine - SPC Vision
Striker Pro - Rage
Strip Poker Live - Greenpig Production
Strip Poker Pro - Interactive Pictures
Super Fighter - The Super Fighter Team / C&E
Super Mario's Wacky Worlds - NovaLogic
Surf City - Philips Sidewalk Studios
Tangram - Eaglevision Interactive Productions
Taco's Toyroom Troopers - Creative Media
Tankdoodle - Creative Media
Tetris - Philips POV
Tetsuo Gaiden - Creative Media
Text Tiles
Thieves' World - Electronic Arts
Tic-tac-toe - BEPL
Tox Runner - ISG Productions
Treasures of Oz - Philips Kaleidoscope
Ultra CD-i Soccer - Krisalis
Uncover featuring Tatjana - SPC Vision
Uninvited - Icom Simulations
Video Speedway - ISG Productions
Vinnie the Pinguin - Pandemonium Labs
Voyeur - Philips POV
Voyeur 2 - Philips POV
Whack-a-Bubble - Creative Media
What's it worth - Marshall Cavendish Multimedia / Spice
Who shot Johnny Rock? - CapDisc
Wordplay - BEPL
World Cup Golf - US Gold
Zaak Sam, De - Toneelschool NL
Zelda - The wand of Gamelon - Animation Magic
Zelda's Adventure - Viridis
Zenith - Radarsoft
Zombie Dinos From The Planet Zeltoid - Philips POV

  © Interactive Dreams Version 5 by The Black Moon Project 2013

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