Dream Disc 25 is Here! - Key Details and an Interview with the Organisers

Guess who’s back? Back again? Dream Disc’s back. Tell a friend. Guess who’s back, guess who’s back, guess who’s back, guess who’s back un-nuh-nuh….

Emboldened by the stonking success of their inaugural Dream Disc game jam in 2024, today (1 December 2025) Psyop Studios and Orc Face Games launch this year’s iteration of the competition ‘Dream Disc '25: Monster indie hits to grind until your eyes bleed’. Ok… I made that subtitle up. But if the outputs from the jam are anything like last time, then its sentiment will hold true.

For those new to this project, here is a basic run-down. The small but mighty development outfit Psyop Studios and the publishing maestros of Orc Face Games team up to organise a game jam (like a musical jam, but with coding) in which creatives of all hues are invited to collaborate and compete to produce games, applications, or even hardware for our beloved Dreamcast. The idea being that, with a supportive atmosphere and a clearly defined deadline to keep to, those involved will be motivated to produce new material that may otherwise have failed to materialise. Not convinced? Well, there are also the much more tangible incentives of cash prizes and a potential spot on a physical professionally produced demo disc. 

Pop in Dream Disc 24 and zone out to the trippy menu screen. You won't be disappointed.

Last year’s jam brought forth 24 software submissions, many of which were staggeringly well polished given the circumstances. The top ten made it onto a demo disc which is still available at the extremely generous price of shipping alone, but some of my personal favourites (Dream Ride and Big "Mfkin" Drill) didn’t make it past the crooked esteemed judging panel, and so I would still highly recommend checking out the full range of entries which we covered on the blog and the pod. 

Dream Disc '24 winner: Sky Pirates of Etalmar

Get the gist? Alright, on to the important points about this year’s game jam: 

• It begins today (1 December) and runs all the way through until the end of February 2026, after which the public can review entries, and the judges begin the arduous task of whittling down the winners.  
• Everyone is welcome, from beginners to old hands. Think you fancy producing something for the Dreamcast? Then check out the jam’s itch.io page, read the rules over on the Orc Face website and drop into the Orc Face discord server to meet up with others. 
• The jam has a super wide remit. Aside from software and hardware for the DC, applications that run on other platforms which are directly related to Dreamcast development or gaming are welcome. However, all submissions must be based on original content or content you have the rights to use, which rules out most mods and fangames.
• Lacking in time or creative thoughts (I feel you), but want to support the jam? Consider throwing a few quid into the prize pool – every penny counts!

Here at the Junkyard we are delighted to be sponsoring the Dream Disc jam once again. In practice that means one or two of us from the editorial collective will offer up our meticulous and fair-minded judging services, and that we will endeavour to give the game jam entries the coverage they deserve. OK, maybe they deserve better, but we will try our best…

Alright enough rambling from me. Here are a few words from the keystones of the whole shebang, Cypress from Psyop Studios and Ross from Orc Face Games.

DCJY: Thanks for taking the time to speak with us. We know you’re busy, so we’ll keep this sweet and to the point. Its great to see the Dream Disc game jam return for a second round. Presumably the inaugural competition must have been good fun if you are back for more?!

Cypress: For me, it was the most fun I’ve had with a jam, so it’s a no brainer to attempt to host it every year for my own interest. That being said, when we were originally coming up with the idea for Dream Disc, we envisioned it as a yearly jam, but understood that the deciding factor would be whether or not the year one event actually went successfully. Back then there was a point where we were worried we wouldn’t even get 10 submissions to fill up the disc!

Ross: Indeed! There were way more submissions than we anticipated last time and this year it’s looking to be nearly double that again! Orc Face Games’ contribution will be the same as last time: to compile and manufacture the physical CD-ROM with the top 10 submissions and provide it free of charge (at the cost of shipping) to anyone who wants one. Our belief is that the indie Dreamcast scene will become more interesting and vibrant with organised jams like this, and hopefully it will encourage more developers to consider making full releases for the platform. That’s where we’d be happy to provide publishing services.

The jam is being organised by Psyop Studios and Orc Face Games. Practically speaking does that mean Cypress and Ross, or is there a broader network of people involved?

Cypress: At least on the Psyops side, it’s just me (Cypress) handling it. The rest of the Psyops team is going full steam ahead on our next game, with Haikuno handling his libGumball UI library for our game, Nupi working on game and engine code for our Dream Disc submission, and Chao-Etta working on her VMU games.

Ross: Although the jam belongs to the community, it does fall to Cypress and myself to handle the organisation side of things. Generally the work is split between us with me handling the rules, the submission format, the promotional assets and the physical disc production side, and with Cypress handling the promotion and outreach side - getting more people involved in the jam, looking for judges, setting up the itch.io page and nudging me to get things done in between my very busy schedule.

The timeframe for the jam seems to have been extended quite significantly this time around, running over a 3 month period. What was the reasoning behind that choice?

Ross: Last year there were at least three people who said they would be unable to participate because they were travelling or seeing family over the holidays. Running the jam over the winter break is a great idea for many people as they have enough time to dig in and get some work done, but it was a shame to exclude those with other commitments. We hope extending the time will give more people a chance to contribute.

Are there any other changes to the format or approach? Anything you’re hoping to achieve that differs from the inaugural jam?

Ross: It was a struggle to get all the games working correctly on the compilation disc last time - so much so that it ended up taking me maybe two weeks of full-time work days including the time to build and optimise the menu and get the disc in the right format for pressing. I even had to modify the code for some submissions to fix bugs and get them to play nice on the final disc. This time around we’ve learned our lesson and are giving very strict submission format requirements. While this does mean a little more work for participants, the end result will be quicker to put together with fewer bugs. If this goes well, it will be our standard format for future years too.

The roster of entries last year was pretty special. Do you think enough time has passed for devs to cook up new projects?

Cypress: At least for Psyops team, the amount of steep competition has only driven us to work even harder on this year’s entry. I hope other developers feel the same heat, and bring some fire this time around. 

Ross: Even though the jam hasn’t formally started yet at the time of writing, we already have nearly double the submissions compared to last year. It looks like developers are really inspired to build something awesome for the Dreamcast and that’s everything we wanted for this project.

What’s the reception been like so far to the physical disc for Dream Disc ‘24?

Ross: Incredible! The quantity of orders of the physical CD-ROM has eclipsed our previous releases and this has pushed me to streamline our approach to picking, packing, labelling and shipping. It also boosted sales of our existing published Dreamcast titles, The Storied Sword and Chew Chew Mimic, plus an increase in preorders for our first in-house title HarleQuest! There are still a few copies of Dream Disc ‘24 left but we’re quickly running out. We don’t intend to manufacture another run, so if you haven’t got yours yet, I’d suggest ordering soon!

Cypress: It’s been big enough that it’s the first time I’ve heard people randomly talking about Psyops studios in the wild, as well as bringing up Orc Face Games too. Not only that, but seeing people online talk about it and introduce it to others - it feels surreal.

Producing a physical disc is quite the endeavour - are the time and resources available to manage that while keeping other projects on track?

Ross: For Dream Disc ‘24, the answer is no. Our other projects at Orc Face Games definitely took a hit as we had to divert time, money and energy into overcoming unforeseen problems. I felt a sense of guilt as HarleQuest! is already running quite behind our planned schedule from 2023, but at the same time I saw Dream Disc as a good investment for the company’s future and for the health of the scene.

It’s a tough balance trying to build a company with a strong presence in the indie Dreamcast world while also staying focused on the quality of our own releases. At the end of the day there isn’t a lot of money to pay people and so everything has to be done on a shoestring budget, with as much work as possible landing on a very small number of people (2 or 3 at a time maximum). The good news is that with all the lessons learned and processes in place, Dream Disc ‘25 will be much easier to put together and won’t have the same impact on our other work.

We’ve heard whispers that Murph’s big screen debut is in the works with Spielberg directing it… can you confirm or deny these rumours?

Cypress: Really? I’m going to have to grill my team and find out who the leaker is.

* * *

Thanks go out to Cypress and Ross for gracing us with a fresh edition of the Dream Disc game jam. As and when any other jam-related news drops we'll have it covered here on the blog. Of course, we're always interested to hear the views of our readers too. You've made it this far, so why not leave us a comment below?

DCJY welcomes Andrew Fisher

In episode 146 of our podcast, the DreamPod, Lozz and Lewis are joined by freelance video game writer Andrew Fisher to discuss his career and everything Dreamcast homebrew.

With decades of experience in video game journalism, Andrew’s work spans publications such as Wireframe, ZZAP! 64, ZZAP! Amiga, Commodore Force, Commodore Format, Fusion, and of course, Retro Gamer magazine — where he pens his monthly column, “The Homebrewer’s Kit.” With the Sega Dreamcast having become such a prolific console for independent development in recent years, it’s only natural that our scene has crossed Andrew’s radar. In fact, in issue 277 of Retro Gamer, this year’s biggest Dreamcast projects featured prominently in Andrew’s column.

You can listen to this episode of the DreamPod and all of our previous episodes on Buzzsprout, along with all great podcatchers.

Dream Color Plus — New Controller Mod Turns the Sega Dreamcast's VMU Screen Full Colour

Dream Color Plus being tested with Resident Evil: Code Veronica. Credit: Costenaro

There's been a lot of buzz within the Dreamcast fan community as of late over Dream Color Plus, a new controller mod from Brazil-based developer Nai Adventure, which converts your controller to show VMU graphics in full colour, as opposed to its typical monochrome display. The idea with the mod is that by taking apart an existing Dreamcast controller, and removing the existing PCB, you can pop the Dream Color Plus in, and voilà, you now have a wireless Dreamcast controller that has a built-in, backlit VMU screen that displays in full colour. The mod will also include on-board save game storage. You can watch the mod in action below. It's looking very impressive indeed...

Many of our followers have been tagging us under social media posts about the Dream Color Plus in the past week — don't worry, we've been paying attention, and since a crowdfunding campaign has been confirmed, we thought it was time we spoke with the dev to get the lowdown on this exciting project.

DCJY: Nai Adventure, thanks for chatting with us. The Dream Color Plus project looks awesome — it’s wild to see VMU graphics of games we’ve been playing for decades suddenly brought to life in full colour. Can you explain how it all works? And with such a huge library of Dreamcast games, how do you plan on colouring every VMU graphic?

Nai Adventure: The controller has three modes:

• Monochrome, like the original Dreamcast. 
• Palette mode, [which is] similar to what the Super Game Boy does with Game Boy games. To switch palettes, you hold the analog stick (which works as a new button) and press A to change line colors, B to change background colors, and the start button to invert them (like a photo negative). Here’s a quick demo: 

• Full color mode: for new games, devs can send pixel-by-pixel colors directly to the controller (I’m preparing some sample code for that). For older games, the process is more manual. We capture the frames that the games send to the VMU, color them, and whenever the VMU calls for that frame, the controller swaps it.

It sounds crazy, but we already have a good list of games converted. Of course, coloring the whole Dreamcast library is almost impossible, but the main games will get full color support. Since the PCB has an SD card slot, new games can be added little by little over time.

Left: Dream Color Plus showing off a coloured-version of the Sonic Adventure 2 VMU graphic.
Right: The Dream Color Plus PCB.

Sounds great! So is swapping the stock Dreamcast controller board out for the Dream Color Plus easy?

Yes! The whole idea is for it to be plug and play. You just open the controller and replace the PCB. That’s actually why we didn’t make a version with a second analog stick (something people ask for a lot). If we can get a partner to make new shells in the future, then a dual-stick version would totally be possible.

That potential dual-stick mod is something the community would go crazy for, I'm certain. So, with the Dream Color Plus, as it is effectively a VMU built into the controller, how much storage for saving can we expect to see?

Right now we’ve got eight VMU pages by default, but that number can be changed with a config file on the SD card. The controller also comes with built-in rumble. You lose the external VMU slots, but the main features are all there.

Revisiting the “Jet Set Radio Future Multiplayer” Fan Game — an Interview with the Developer

In the spring of 2021, in my sun-soaked Seattle, WA apartment, I stumbled upon Jet Set Radio HD on Steam. It had been 20 years since the game’s creation during the dot-com boom, and so I found myself reflecting back on that era — on what we thought the future of the internet could look like compared to where our online worlds were now headed. JSR, in combination with the online-enabled super computer that was the Sega Dreamcast, represented an idea of where technology and games might go next. I was captivated. Maybe I still am.

I played through the game. I liked it — its energy, its vibe, and realized that the game now had a far deeper meaning that the younger me could ever piece together. The original hip-hop, funk and electronic synths —characters in their own right— played supporting role to my avatar, Cube, who cut through a Toyko-to basketball court tagging walls, a police state closing in on her.

Thoughts of data privacy, encryption technology, and artificial intelligence policing came to mind as I watched that deadly force unleashed on my protesting, spray-painting avatar ass. Developed in 1999, I also felt an influence of the pirate music sharing application Napster in my play through; in the JSR logo; in its ethos. I thought about intellectual property laws and how they are designed to re-appropriate property and wealth mostly for corporate entities. Entities like [Rokkaku Group].

I think Jet Set Radio can mean many things to anyone. I think that is one driver of its captivating nature.

Screenshot from Jet Set Radio Multiplayer

Others had taken an interest in Jet Set Radio, too. This led me to Jet Set Radio Future Multiplayer. JSRFMP is a fan-made game that takes Jet Set Radio Future, an original Xbox title and sequel to Jet Set Radio, and turns it into an online multiplayer, free-to-play extreme sport. The game’s character art is respectfully —how should I put this— pirated appropriately in the Jet Set Radio way from the Xbox title.

Before Bomb Rush Cyberfunk, there was 2018's Jet Set Radio Future Multiplayer. And while the game's server is no longer online, the game is still playable today single-player. JSRFMP has a custom soundtrack, and it features music artist 2Mello’s unmistakable sounds. There is fan-made graffiti art, and the game has more to offer than one might expect from a solo venture. There are a number of original characters to play, and expressive anti-fascist dance moves to unleash.

I ended up exchanging a few Discord messages with the solo developer, who goes by the name of screenracer. This is that interview, conducted over Discord messages in the Summer of ‘21.

Screenshot from Jet Set Radio Multiplayer

DCJY: When did you first dive into Jet Set Radio and why? Did you play the original back in the Dreamcast era?

screenracer: I played Future way back when the original Xbox came out. I was really young, and all I really remember was really liking 99th Street and I would always get my dad to complete the game up until 99th Street so I could just roam around since I wasn’t very good at games back then. I remember the game wouldn’t save for me as well, so I’d leave the Xbox on basically all the time haha. I forgot about Jet Set Radio for a while after that, since I was very young around seven or eight.

What got me back into Jet Set Radio was when Jet Set Radio HD came out. I was like, man I remember this game! But when I played it, it was different. I then found out that Future was the sequel. I wasn’t even aware of the Dreamcast version up until that point. So then I got an original Xbox and played Future, and started getting back into the Jet Set Radio series.

DCJY welcomes Mike Arkin

Another month means another episode of the DreamPod, and this time, we're joined by a very special guest: Mike Arkin. With over three decades of experience in the video game industry, Mike has worked for the likes of Acclaim, Sony Imagesoft, Fox Interactive, and Activision. Most notably for us, he served as an executive producer at Crave Entertainment, the publisher behind some of the most unique and unforgettable titles on the Sega Dreamcast.

Mike shares a treasure trove of behind-the-scenes stories from his time working on the releases of beloved Dreamcast titles like Tony Hawk’s Pro Skater, Tokyo Xtreme Racer, Super Magnetic Neo, Draconus: Cult of the Wyrm, StarLancer, Ultimate Fighting Championship, and everyone’s favourite guilty pleasure, Razor Freestyle Scooter.

We also take some time to discuss Mike’s current role as co-CEO of the newly reformed Argonaut Games, their new remaster of Croc, and whether we will ever see a re-release of their Dreamcast opus Red Dog.

You can listen to this episode of the DreamPod and all of our previous episodes on Buzzsprout, along with all great podcast services.

Segagaga Encore: A Fan Recreation for PC - Alpha Footage Released!

Back in June, while scrolling the paragraphs of conversation that populate the Dreamcast-Talk Segagaga forum thread, I came upon a post from a developer known as Rengundo, who mentioned that he was working on recreating the first chapter of Segagaga in Unreal Engine 5. Sharing a short 27-second clip of some gameplay, it looked surprisingly faithful to the original. It was on PC, as opposed to the Sega Dreamcast, but —perhaps most importantly— it was in English!

After getting the chance to recently talk with Tez Okano about Segagaga, my appreciation for his game was at an all-time high. But I was soon hit with the sobering reminder that an English fan translation patch for the game continues to remain a non-starter, despite the community's best efforts. As detailed in the introduction to that interview with Okano-san, technical issues with in-game text hacking has been the main hurdle that has prevented any fan translation patch project of the game from reaching completion.

That was when I found myself wondering about Rengundo's project once again. Replying to a comment on his original video, it turned out he was still working on it. He had encountered some issues with Unreal Engine 5, but had since switched the project over to Godot, and confirmed that an update was due imminently.

A cutscene from Segagaga Encore, which uses Ross O'Reilly's open source translation of Segagaga.

On January 5th, alpha footage of what Rengundo was now calling "Segagaga Encore" appeared on YouTube, and well, it's looking really impressive! In the new engine, Rengundo had not only managed to effectively recreate the game's distinct graphical look and "Development Studio A" area, but also its opening cutscenes (complete with English dubbing), and its RPG battle system — all in widescreen. This remake will also feature modern quality-of-life improvements like free movement and cinematic camera angles. If you want to see it for yourself, I have embedded the video below.

While we all obviously want a fan translation patch of Segagaga to be released someday for the Dreamcast, this outside-the-box approach of delivering at least something playable in English —in this case the first chapter— is certainly not something to be sniffed at, especially when it looks this good. Intrigued to learn more, I got in touch with Rengundo to ask him all about the Segagaga Encore project.

DCJY: Hi Rengundo, thanks for agreeing to answer our pressing questions about your Segagaga Encore project. We're really loving what we've seen so far, and are excited to get into the ins and outs of the project with you. First though, we must ask: when was the first time you encountered Segagaga? What was it that drew you to the game?

Rengundo: Thanks for inviting me to answer these questions! I first heard about Segagaga in early 2023 while looking around forums for interesting games to potentially translate. The strange name immediately caught my attention, and the more I learned about it, the more intrigued I became. I’m not sure there’s anything quite like it. It’s this wonderfully self-deprecating, meta take on Sega’s own struggles at the time, where two high schoolers are tasked with saving the company from bankruptcy. 

What truly fascinates me is the way Segagaga blends humor and commentary on the gaming industry. For instance, its “battle system” revolves around arguing with Sega employees. After each battle, there’s a chance to negotiate salaries with the employees, trying to bring them onto your team at the lowest possible rate to maximize your budget. A lot of its jabs at industry practices, like rushing out unfinished titles to boost sales during high demand, still feel very relevant today. It’s such an interesting little game that it’s impossible for me to ignore.

Various technical hurdles with hacking Segagaga have been blamed for why we don't have an English fan translation patch for it already. Was your recreation of Segagaga on PC an attempt to take matters into your own hands and bypass the roadblocks that face the Dreamcast version?

Absolutely. By the time I learned about Segagaga, there was some decent progress on many of the hurdles, though there were notable issues that still remained. As someone new to the Dreamcast modding scene, and seeing the nearly two decades of failed attempts to make an English version, I didn’t feel confident in my ability to create a translation patch. I had the idea of making the game in Unreal Engine, as it didn’t seem too logically complicated if I only focused on the RPG parts. I decided to recreate the first chapter of the game, hoping that part of the game being playable in English could build interest and support for patch efforts. 

For the earliest version, I ripped the player’s sprites from VRAM to make a sprite sheet for him and put some basic movement code together. I shelved the project when new people announced they were working on a translation patch. But after more than a year with no updates from them, I decided to pick it back up and have been making progress since.

Doom 64 for Dreamcast: Impressions and Developer Interview

See, before I got my Dreamcast in November 1999 I owned a Nintendo 64. I couldn't get a Dreamcast at launch because my dear old mother (God rest her soul) forbade me from owning more than one console at a time. Consoles, she wagered (and therefore games of all types) led to a malady known simply as "brain rot." Her words, not mine. 

Regardless, I tell you this to set the scene of my pre-Dreamcast gaming habits. I wasn't what you'd call a hardcore Nintendo fan, you understand - the Nintendo 64 was actually the first Nintendo system I had owned at that point, having been a devout Saturn apologist immediatley prior and before that one of the 7 people in the UK who owned an Atari Jaguar (Jag reference: check). No, I got a Nintendo 64 because I simply had to have 'the fastest, most powerful games console on Earth,' which was ironic, seeing as that's how Nintendo's platform was officially marketed at one point.

Oooh...a Sonic the Fighters preview? Sold!

In the very early days of the Nintendo 64's existence, it was known as the Ultra 64, which apart from being possibly the sexiest moniker ever to grace a games console, also invited many a developer to prefix their upcoming titles with the word 'ultra.' With this in mind, one of the games that piqued my interest very early on was Ultra Doom. 

By the time the magazines were teasing Ultra Doom, I had already played the original Doom on the PC (a slightly decrepit 386 that even at the time was wheezingly obsolete, what with its Windows 3.1 operating system and lack of CD-Rom drive), and had then sampled Doom's delights/horrors on the Atari Jaguar and the Sega Saturn respectively. But Ultra Doom - which was later renamed Doom 64 - now...that held a certain fascination and morbid curiosity. It was Doom, but not as we knew it. Side note: I was also very much looking forward to the Ultra 64 port of Red Baron, but we'll probably never know what happened to that particular footnote of gaming history. Moving on...

Give GT Interactive a ring on that number bottom left. I dare you.

From the first time I saw those pink plasticine (clay) demons, foreboding sky boxes and brand new levels reproduced in tiny low resolution magazine preview shots, I knew I would one day play Doom 64. Quite simply, it was my destiny. Lo and behold, the prophecy was eventually fulfilled and Doom 64 was a constant inhabitant of my Nintendo 64's cartridge slot once I managed to get hold of a copy in late 1997 or early 1998. I can't quite remember exactly when I got Doom 64 because it was 27-odd years ago...and now I feel the crushing weight of middle age gripping my soul. Thanks for that.

Still banging on about Turok nine months later. Boring!

What I do remember though, is the magazine reviews. The journos of the era, I seem to recall, while not crushingly negative, weren't exactly enamoured with Doom 64: some reviews slagged off the sprite based visuals, puzzle design and complete lack of multiplayer options. Turok Dinosaur Hunter had also been out for a while by the time Doom 64 released, and many reviews were lukewarm on Midway and GT Interactive's Doom update for its reliance on 'old fashioned' visuals and gameplay tropes. 

That didn't bother me, though - I thought Doom 64 was excellent and I can clearly remember being awestruck the first time I saw that darkened corridor in the second level where the neon arrows are painted on the floor and ceiling. It was just mesmerising and fresh to me, especially having played other versions of 'normal' Doom to death. I should also mention at this point that I had also played the PlayStation port of Doom on a friend's console and I loved the colourful lighting...but, y'know, I didn't have a PlayStation. It is what it is.

It's about to kick off. Nice candles though.

By now, you're probably wondering what any of this tripe has got to do with the Dreamcast, and I think you'd be well within your rights to demand a refund of your internet data considering you came here to read about Dreamcast stuff. But here's the bait and switch: Doom 64 is now available on the Dreamcast...and it's possibly the best way to play 1997's Doomiest release in the present year...

An Interview with Tetsu "Tez" Okano - the Mastermind behind Cult Dreamcast RPG Segagaga

There isn't a day that goes by in the Sega Dreamcast community where someone doesn't ask when an English fan translation of Hitmaker's 2001 Japan-exclusive Segagaga —the RPG simulation title where you run Sega— is releasing. Since the mid-2000s, a handful of translation projects have been announced, only to inevitably fizzle out, leading some to go as far as to brand the game as "cursed" (see also: “the final boss” and “the Half-Life 3” of Dreamcast translations). But what many may not realise is that rounding up the perfect group of persevering translators to see a translation through to fruition is the least of Segagaga's problems. The biggest hurdle facing any translation patching attempt is actually the way the game was originally programmed to draw text from the Dreamcast's BIOS, as opposed to using a font sheet, like many (successfully translated!) Dreamcast games do. While the core of this issue has been solved by some exceptionally talented hackers in the Dreamcast fan community, there is still much to be worked on.

Photo of the regular Segagaga release. Photo: doceggfan.

But it's only natural that out of all the games, an English translation of Segagaga would be the most sought after by fans of Sega and the Dreamcast alike. Segagaga satirises Sega itself, providing an entertaining tribute to its diverse and beloved back catalogue of franchises and characters, while also not pulling any punches in its portrayal of the then-struggling corporation's various business missteps. Some great tributes have followed since, such as the animated series Sega Hard Girls, and ensemble games like All-Stars Racing Transformed. However, through its brutal honesty and self-awareness, it is Segagaga which stands out the most, not only as a fitting love letter to Sega, but also as a prime example of the rebellious nature the corporation was known for during its time as a console manufacturer.

When it came to masterminding Segagaga, there was truly only one man for the job. Step up Tetsu Okano, aka Tez Okano, aka "Zolger Tetsu", aka "Ichizou Zoruge", aka the director of the best Astro Boy game. Known for his unconventional approach to everything from video games to manga, Okano-san truly took a risk when he set out to create a game that poked fun at the very company he worked for, and we are elated to reveal that we recently got the chance to talk to him all about his career, and of course, Segagaga.

Screenshot of Segagaga. Credit: CDRomance.

Translator extraordinaire Duralumin —who previously assisted with our Kenji Tosaki interview— returns once more to translate Okano-san's answers from Japanese. Laurence Goodchild also deserves a shout out for assisting with the questions and supplying the lovely photos of the Segagaga launch event, scanned from issue 16 of Italian Dreamcast magazine Dreamcast Arena.

But this wouldn't be an interview with Tez Okano if it didn't diverge from the traditional format in some way! When asking Okano-san about his earliest memories of video games, his reply was... a comic? Well, in case you didn't know, in Japan, Okano-san published an autobiographical manga called "8-Bit Chronicles" which covers his formative years as a child discovering the burgeoning world of video games. He supplied us with the first two chapters in Japanese, and Duralumin —who translates manga professionally— proceeded to translate them into English. We have uploaded them to a Google Drive folder so you can read them, which is something I implore you do. The comic is not only an awesome homage to the golden age of video games, but also very amusing.

A small preview of the first page of 8-Bit Chronicles, as translated by Duralumin.

Finally, Okano-san wanted us to stress to you, our audience, that the answers you see below from him are his recollections of events that happened over two decades ago. He wanted to make sure that we clarify that he is not speaking officially on Sega's behalf, just recounting his own memories of the time. With that disclaimer out of the way — the interview!

Photo of Tez Okano. Credit: Sega Retro.

DCJY: Thank you for talking with us, Okano-san! We thought it was only right to start at the beginning, so what are your earliest memories of video games?

Tez Okano: When this is published, I hope you'll share the first chapter of my manga, 8-Bit Chronicles. It covers Space Invaders, Galaxian... I could talk about those games all day! But this is probably the easiest way to understand the story of why I, as well as many other Japanese kids in the late '70s, fell in love with video games.

What led you into a career in the games industry, and how did you eventually join Sega?

When I was still in my college years, I made my debut as a manga artist through Kodansha. However, working as a manga artist, you don't really have any security once your series is over, so I found myself enticed by the gleam of the rising star that was the gaming industry. And of course, Sega at the time was still young, and seeking unconventional talent.

"Morning" magazine, where Tez Okano's early manga work was published. His name can be seen at the top of the woman's right shoulder.

So let's get into Segagaga. It has been documented that you developed the game in secret for two years before presenting it to Sega. What was your reasoning for keeping it a secret?

Many places have a particular culture around satire, parody, and irony, Japan included. However —I understand you’re from England— irony is much less familiar to us in Japan than it is in the UK. And while Sega was a pretty big umbrella, it had no shortage of people who would take issue with self-deprecating parody. You'll also notice there's never been any effort to make, say, a Namcococo or Nintendododo, for example, and that should tell you something. That being said, Sega has always prided itself on doing the crazy stuff that no one else could pull off, and the Segagaga project explored that philosophy to the limit. But, it just wasn't the kind of thing that you wanted to make a show of around the company, and invite all that scrutiny and risk the project's survival.

Grand Theft Auto 3 for the Dreamcast - DCA3 Alpha Version Now Available

Japanese cover art mock-up courtesy of Dreamcast-Talk user k-do.

Most of you will likely know that a port of Grand Theft Auto III for the Sega Dreamcast has been in the works for some months now. Indeed, those outside the niche Dreamcast scene may have even heard the news given that the project gained coverage across the broader gaming press earlier this year, attracting everything from wide-eyed amazement through to cynical befuddlement. Back then, spectating the porting work was possible because the project was out in the open, with every ounce of progress laid bare for the public to see in real time.

In recent weeks though, this dynamic was lost as those at the heart of the project shifted to working in a behind-the-scenes fashion - most likely to reduce the risk of Rockstar putting the kibosh on the project before it had a chance to bear fruit. As such, we went from hearing near-daily updates, to a radio silence that carried the potential to feed cynical thoughts: where's my freaking GTA 3 already? What are those lazy no-good schlubs doing? Maybe a port wasn't feasible all along! and so on, and so forth. Fortunately though, even with the absence of a cheerleading public, it seems that the rapid pace of development didn't slow down one iota, as today the alpha version of DCA3 (top marks for this pun lads) has been released.

What does it stand for though? Can you do better than 'divine car abduction III'? Let's hear your suggestions in the comments please.

What does this mean exactly? Well, it means that, with a little jiggery pokery, you can compile a version of GTA 3 that will run on your Dreamcast. Given that it is an alpha version, bugs and occasional crashes are to be expected. Nevertheless, many testers have reported running the game for extended periods without issue, and, in my experience, the alpha version looks gorgeous and runs far better than I had expected it might. The controls map quite naturally on to the Dreamcast's regular controller (for the most part), and, perhaps most importantly, those who wish to progress with Claude through the game's infamous gangland story are be able to save progress to a VMU (although using one which is otherwise empty is recommended).

A key reason that you will need to compile your own alpha version, rather than simply download a ready-to-go .CDI or .GDI, is that players are expected to have their own legitimate version of the game. Morals and ethics aside, this is obviously an absolutely essential step to ensure the preservation of the porting project - any moves that have even the slightest whiff of piracy risk incurring the wrath of some extremely well resourced legal teams.

A sight to behold. Not the undecorated walls... GTA 3 on the Dreamcast!

Fortunately, compiling instructions are available. So, as long as you are capable of following these, have bought a copy of GTA 3 for PC (Rockstar offer a digital version with Vice City and San Andreas for a reasonable price), and have a Dreamcast that can play burned discs or has an optical drive emulator installed, then you should be good to go.

It would be wrong to drop this piece of news and not say something about the significance of the release. Really, it's hard to overstate what a monumental achievement the port is. In less than a year, an international crew of enthusiastic developers ('The Gang'), led by the mastermind skmp, have applied their skills to voluntarily deliver one of the defining games of the sixth console generation to the Dreamcast - a game that had begun development on Sega's swansong console, but instead ended up fuelling the stratospheric success of the arch-rival PlayStation 2, shifting 11 million copies for that console alone. 

In the intervening years the possibility of GTA 3 running on the DC has cropped up again and again as a topic of conversation in the scene, whether that be the technical flavour of 'could it be done?' or the alternative history variant of 'what if it had been?' The latter conversation may still plod on forever more, but the former is now totally dead and buried. Evidently, with the right skills and commitment, use of the free development library KallistiOS, and access to reverse-engineered code, it has now been definitively proven that the Dreamcast is more than capable of running this game.

Image created by Brazilian Dreamcast supremo NaiSan.

Of course, what is on offer right now is only an alpha version, but given the team's track record, it seems highly likely that the project will progress on to further iterations that buff out the rough edges. For now, all that's left to do is hear a few words from 'The Gang' themselves...

Preview: Sovietborgs

Nearly three years on since the release of the fabulous Xenocider, Spanish indie development studio Retro Sumus have released more tantalising details about their follow-up Dreamcast and Mega Drive/Genesis offering, Sovietborgs. Retro Sumus have taken something of a diversion with Sovietborgs though - as you can probably tell from the screenshots dotted throughout this article - moving away from the polygonal splendour of Xara's 2021 Sin & Punishment homage, and instead channelled the likes of The Chaos Engine (and possibly early Saturn/PlayStation shooter Loaded) with this latest project.

For the record, the images here are taken from a very early demo of the Mega Drive version of Sovietborgs (releases for both Sega platforms were announced simultaneously), and the Dreamcast version promises visual and audio enhancements, more of which you can read about in the short interview below. But first, you may well be asking yourself: what the hell is a Sovietborg and why should I give a damn?!

According the official lore of Sovietborgs (um...Retro Sumus' Twitter account), the story goes a little something like this:

On November 9, 1989, 11:14 pm, the KGB's glorious electronic brain, Tovarishch-Prime, became self-aware, and immediately managed to take control of Arpanet, triggering the detonation of all capitalist thermo-nuclear devices inside their own silos. 

25 years later, the West remains a nuclear wasteland. But like cockroaches, there are still pockets of resistance and free-thinking threatening our workers' paradise. In these forsaken locations, new mutant races emerged due to radiation and their sickening capitalist mind. Fortunately, the Soviet People have developed a new unit of the illustrious Red Army, the Sovietborgs. 

Half man, half machine, all proletarian, they can go where no one else can, inmune to radiation, and liberate all new capitalist races from their pitiful existence. Join the Sovietborgs. Become a part of their prestigious present and future, travel the world pacifying all hotbeds of belligerence. Let the dream world of our venerable Tovarishch-Prime finally become a reality for all.

So yeah, something about capitalists and cyborgs. And guns. Lots of guns. We've played the limited demo of Sovietborgs and found it to be a rather enjoyable explore-and-shoot-stuff style romp, where you control the lead 'borg (designated by a little hat, naturally), while two AI controlled 'borgs follow you around and do your bidding. And by 'bidding' I mean shoot stuff. 

The demo is really only a single level, but it gives a good idea of what we can expect in the final game, with you controlling the squad as you move through ruined landscapes wiping out hordes of zombies which burst through randomly appearing portals with a taste for human brains; spider things that erupt from puddles of green ooze; and...er...mutant chickens which cluck forth from eggs that descend from the heavens. You need to destroy the delivery methods from which these unspeakable bastards all spring too, otherwise they'll just keep coming. This can be a bit problematic on a technical level as the demo does suffer a little with slow down when the hordes get a bit big, but we have no doubt this will be sorted in the final game and opens up the Dreamcast version for some absolutely enormous crowds of enemies streaming towards your squad. Nice.

Dream Disc '24 Game Jam - More Details and an Interview with the Organisers

On the 23rd of October, the organisers of the Dream Disc ‘24 Game Jam revealed their forthcoming event to the world, and, in the days that have since passed, their announcement has produced quite a buzz, not only within our niche scene, but across the wider gaming world too.

For some, the title of this hotly anticipated 'jam' may be confusing though, so let me break it down in lay terms. A game jam is a time-restricted event at which developers of various kinds will conceptualise and begin creating games. Much like a musical jam, the idea is that people with complementary skills will band together, sometimes with total strangers, and experiment in an open-minded environment. The hope is that the focused attention these conditions produce will result in some innovative results. Alas, it’s always a possibility that some of the outputs will be hideous abominations, but the learning and networking experience can be useful in and of itself nonetheless. 

In the case of the Dream Disc’ 24 Game Jam, developers are being encouraged to congregate online around itch.io and the Simulant Discord between Friday 20 December and Friday 3 January to “collaborate, build, tinker and show off” their projects. That being said, projects that were begun prior to these dates can be submitted, and entrants are welcome to drop by and introduce themselves whenever they may wish. In another wise move from the organisers, it’s also the case that, in addition to games, software utilities and even hardware can be accommodated for too.

So, that clears up the sticky issue of what ‘jam’ means. What about the ‘Dream Disc ‘24’ part? Well,  thanks to one of the event’s main sponsors, Orc Face Games, the top ten entries (as judged by expert panel) shall subsequently be featured on a physical CD-ROM to be made available to the public for the cost of shipping alone. If that wasn’t enough incentive, there is also a cash prize pool to be shared by the top three entrants. This currently stands at close to $900 USD, and in a peculiar twist of fate has been buoyed by advertising income that had been set aside for a contest to be hosted by the website DCEmu 15 years ago that never materialised. Those funds are now finally being put to good use thanks to one of the administrators of that OG website, darksaviour, digging them out all these years later. Of course, the pot is likely to grow further too as news spreads and additional donations are received. 

An Interview with Kenji Tosaki: How the Sega Dreamcast and its Beloved Peripherals Came to Be

One day we realised that The Dreamcast Junkyard account on Twitter (or X, as it is now known...) was followed by none other than Kenji Tosaki, the peripheral development manager at Sega of Japan from the 1990s until 2001, when he retired. He led the design process for classic Sega Saturn peripherals like the 3D Control Pad and the Virtua Gun, but perhaps most importantly to us here at the Junkyard, he was heavily involved with the design of the Dreamcast console hardware, its controller, the Visual Memory Unit (VMU), and even the Samba de Amigo Maracas Controller, to name a few. To have such an important figure from Sega's heyday follow us—of all people—was truly an honour. We knew we had to reach out and try and arrange some sort of opportunity to speak with him.

What followed was a whole lot of machine-translated correspondence, and we must thank Tosaki-san for answering all our questions, as well as his time and patience throughout this process. Another thank you also goes out to Brian Vines and Laurence Goodchild for assisting me with the decision on which questions to ask, as well as Derek Pascarella for some technical explanations.

Of course, we couldn't just let the resulting interview you see below remain machine-translated, so this is where I must extend a huge thanks to translation extraordinaire (and my former Nakoruru fan translation comrade-in-arms) Duralumin, who graciously translated Tosaki-san's original Japanese answers into English.

What was revealed from our conversation with Tosaki-san is a whole lot of great insight into how the Dreamcast hardware and many beloved peripherals came to be. We also thought it was important to use this opportunity to try and dig deeper into some of the more esoteric Dreamcast-related lore, to try and get some light shone on topics that have fuelled debates within Sega fan communities for decades. Why was a second analog stick a no show on the Dreamcast controller? What was Sega's view on adopting the almighty DVD format that would've supposedly helped the Dreamcast go toe-to-toe with Sony's PlayStation 2? We also made sure to pick Tosaki-san's brain about some cancelled Dreamcast peripherals, such as the VMU MP3 player, with the hopes of unearthing new information about them.

While our interview does touch on the Sega Saturn somewhat, it is mainly referenced to assist the explanation of points relating to the Dreamcast's own design. If you'd like to hear Tosaki-san get more in-depth about the Saturn, I highly recommend you go check out his interview with our friends over at SEGA SATURN, SHIRO!

Credit: Sega Retro

DCJY: Thank you for agreeing to talk with us about your career at Sega, Tosaki-san. We have read that you were involved with the design of the Dreamcast console. The design was definitely more compact than its predecessor, the Saturn, and very futuristic-looking for the time. When you and your team set out to design the console, what inspired the design?

Kenji Tosaki: The lead director and producer on the design of the Dreamcast was actually Mr. Oikawa [Akitoshi Oikawa], who also handled the design of the Sega Saturn. For the Dreamcast, the design of the console itself was contracted out, but Mr. Oikawa personally handled the controllers and other peripherals.

Now, when the Saturn was still in development, we ended up drawing up the design ahead of finalizing how much space all the internals would need. Stuff like the main board, the CD drive, power supply unit, all of that. The original design was quite a bit smaller than what the Saturn finally became. As development progressed, we added more components, and the footprint grew larger.

The preliminary designs for the console couldn't accommodate all the changes, so we had to go back to the drawing board, and it ended up quite a bit different from what we had originally envisioned. It had to be made larger, so we also had to redesign some of the finer details of its appearance to match.

With the Saturn, the technical development —the main board, the drive unit, etc.— and the product design had been sort of progressing on different fronts, and that disconnect caused us a lot of issues. Plus, the technical design turned out to be more complex than expected, so the production and assembly was more complicated. We learned from all of that when we were working on the Dreamcast. 

Our top priorities in designing the Dreamcast were to optimize the internal layout and heat dissipation. I think the internal design turned out really nice and clean. Of course, keeping it simple also helped with assembly. We also waited to plan out the console design until the technical design had been locked in to a certain extent, so we didn’t have to go back and rework a lot of things.

Regarding the design itself, we shopped the job around to a wide variety of outside agencies for proposals;  not just Japanese companies, but even American design houses. Mr. Oikawa reviewed a ton of ideas. 

Ultimately, Mr. Oikawa went with a relatively minor Japanese company’s proposal. They did a very good job of taking Mr. Oikawa’s asks into account when building their approach.

On the conceptual approach, I’ll quote Mr. Oikawa himself:

"The Dreamcast design is made up of simple shapes; squares, triangles, and circles. The point of the triangle points toward the player, representing how the games and online content were to be player-focused. From the console, straight to the player. But then the start button on the controller points towards the Dreamcast. That represents how, in response, the players reach out and connect with the console."

Credit: Sega Retro

When you and your team were designing the Dreamcast's controller, what were the most important features or aspects that you knew it had to include? It is well known that the Dreamcast controller shares some design similarities to the Saturn's 3D Control Pad, which you also worked on. How much did that controller inspire the Dreamcast's controller?

When we were developing the Saturn 3D Controller, that was the first time we had ever tried to design an analog-input controller. We looked at how we could best make an analog controller, and spent a lot of time working on the basic design, control methods, layouts, and all the associated design questions.

We also looked into all kinds of additional features; stuff like integrated displays, paddle wheel controls, mouse input, motion sensing, infrared, rumble, haptics, voice recognition... many different things. Most of these features proved too costly to have natively on the Saturn 3D pad, but we made sure to design the controller to include an expansion port so those features could be added later.

We had actually planned out a motion sensor and vibration pack, and even made a prototype. We made sure that the controller's cord ran out of the back, since anything to do with motion sensors that you would have to tilt or shake around would be harder to use with the cord coming out of the front of the controller. 

For the analog inputs, we felt it was essential to use a sensor that wouldn't experience any change in the analog signal from drift or wear. To accomplish that, we used "Hall" elements. We knew we definitely didn’t want resistive sensors. We didn’t add them for the sake of having a selling point, we just saw it as the obvious choice. It wasn’t until 2020 that we saw other companies start making controllers with those same Hall elements. I guess the market finally caught up to the Sega 3D Control Pad, and it only took 25 years.

When it came to the Dreamcast controller, we applied a lot of what we had learned from the Saturn 3D pad.

As I mentioned, the idea behind the Dreamcast ecosystem was “play and communication.” The console could go online, but the concept extended beyond just that. There were also four controller ports, so you could have four people at once all playing together. Then, we decided we would try putting an individual display on each controller. We had originally conceived it as something like a personal monitor for each player for sports games, with individual displays. The VMU was our solution.

Connecting the VMUs directly to the console would have meant we would have to add four pretty big ports for four players’ VMUs, which wasn’t a great solution from either a cost or design standpoint. So, we decided to explore plugging the VMUs into the controllers instead. Every VMU would be like a memory pack, but with an LCD screen and control buttons; it could have its own independent apps, and when it was plugged into the controller, the screen would serve as an additional display.

Away from the controller, you could connect VMUs together to swap data with your friends, or play games against each other. That was another facet of the “communication” concept. For us on the peripherals team, we figured it wasn’t likely that every kid would have an internet connection they could use to play online, so we focused on ways we could build “play and communication” through controllers and accessories.

We also planned out a built-in gyro sensor, so you could control games by moving the controller, as well as built-in vibration, and a built-in light gun pointing device. It turned out to be too expensive to implement those features natively, so we decided to build two expansion slots into the controller. That would leave room for us to release expansion units after the fact. We expected one slot would usually be occupied by the VMU, so we needed to have one more for other expansions.

The most important decision made regarding the controller was to have memory units connect to it instead of the console. We designed the VMUs for that purpose.

The controllers themselves were developed to work with an interface device [MapleBus] that could also support VMUs and any expansion packs. MapleBus proved essential, as it had the kind of scalability we needed.

For the expansion slots, we had to think about what sort of functionality we would need in the future. For instance, if we put out a rumble pack, the vibrations from that accessory would travel down to the slot and the connector. That’s not necessarily healthy for the components, and we expected these to be used long-term. So, we had to come up with a design for the connectors that would be durable and reliable.

The analog input was also much more advanced than the 3D Control Pad. We improved the precision, and allowed wider strokes. At the same time, the units could be made smaller, and needed less space to install internally.

I really would have liked to have seen the gyros, vibration, and wireless pointing built-in on the controller, but it just would’ve been too expensive.

The original US patent for the VMU. Credit: Sega Retro