Dreamcast Covers that Go Hard (and Some More that Can Go Straight in the Bin)

Like the greatest album covers in the world, some games make a great impression even when sitting on a shelf. Whilst previews in the media, video trailers and word of mouth are vitally important, it would be wise not to underestimate the immediate impact a game’s cover can have on those with more impressionable minds. Generic artwork or uninspiring stylistic choices may be fine if the game has loads of pre-release hype or a big name license, but stick some glorious artwork from a talented artist on the cover and you're near enough guaranteed some extra interest.

The Dreamcast's small but beautiful library of games is jam-packed with turn-of-the-millennium style and innovation, and this is present in some of the artwork which adorned gaming shelves worldwide. Some are of course, iconic - Ulala's presence on the Space Channel 5 artwork, the striking simplicity of the PAL/Japanese covers of Crazy Taxi, Shenmue's epicness - but there are some that deserve more attention. These are works of art - they deserve to be blown up to a larger size, framed and hung in the finest of art galleries. So it's time to put my best gallery curator hat on and showcase why I think these fifteen choice cuts of Dreamcast cover art glory are examples worthy of so much praise, followed by five duds that deserve the complete opposite...

All covers used in this article come from Sega Retro, unless stated otherwise. Let's get into them...

The Dreamcast covers that go hard...

Spawn: In The Demon's Hand

I could have picked any of the cover variations of this release, as they are all absolutely epic in nature, but I've chosen the standard Japanese cover. Looking more like some great, unknown fantasy war metal album cover, this puts Todd McFarlane's comic masterpiece centre stage with a swirling mass of metal, cloak and spikes. Spawn is the ultimate badass antihero, an imposing demonic hellspawn, and a character that is designed to be visually interesting in whatever angle, pose or situation he is depicted in. As a game, In the Demon's Hand falls a little short, but the cover art surely must have led to a few extra sales.

The artwork for the standard Japanese version, as well as that used on other examples of the game, seem to have been taken from Spawn issue 95. The limited first print edition of the game released in Japan came with a cardboard slipcase with artwork similar to the US and PAL releases - all of which are based on the cover of 95.

The Japanese limited first print edition slipcase artwork (Credit: PlayAsia)

The US cover has the same artwork as both the Japanese slipcase and the PAL release. It's a bit cleaner than the standard Japanese cover, and not as impactful.

The cover art for Spawn issue 95, the artwork of which was the basis for the game covers above.

Mars Matrix (Japanese cover)

Takumi's underrated shooter delivers a depth to the genre that's unrivaled on the console, and has the best cover of any shooter on the system (particularly the Japanese version's cover). I will take no criticism of that viewpoint! This cover is a dynamic, colourful burst of energy which breaks away from the usual clichés seen on the covers of other shoot 'em ups, whilst never going so far out there that you'd be confused as to what genre of game it actually is. Taken as a whole, it's a piece of art; from the fonts used for the title (to continue with the metal references of this article, this text wouldn't look out of place as the logo for some sort of cosmic math metal band), to the colour gradation, to the sleek sci-fi lines and shapes in the background. The US cover (below) isn't awful either, but it lacks the eye-punching appeal that the Japanese release displays.

The US version does many things the Japanese version did, but the change of colours diminishes the appeal somewhat. Still, a decent attempt.

Retrospective: Q*bert

Even though I started my gaming odyssey back in the late 1980s with an Amstrad CPC 464, there are some mainstays of the retro scene that just never really resonated with me. Whenever I take a cursory glance at the smouldering hellscape that is Twitter, I will invariably see stuff from people who are of a similar age, frothing about games such as Horace, Jet Set Willy, Manic Miner et al. For me, these titles hold zero nostalgia. I realise their importance as the foundation of what we now view as the vidya gaem industry, but I just never really saw any appeal in them, even at the time. Another title that fits neatly into this bracket for me, is Q*bert.

I do vividly remember being aware of Q*bert when I was a kid, but something about the name and design of the character itself left me cold; and the actual game, with its isometric boxes, bouncing deathy spring things (which I later learned was actually a snake) and fairly simplistic gameplay did nothing for me. I was much more of a Heroes of the Lance or Heavy on the Magick type of urchin. Although I did enjoy a spot of Super Robin Hood every now and then, if only for the high fidelity speech samples. Cough.

Why am I talking about Q*bert though? What's this got to do with the Dreamcast? Well, here's why, dear reader: Q*bert made an appearance on the Dreamcast, his orange tubular schnoz recreated in fully realised 3D texture-mapped ray-traced polytriangulargons™. This won't be news to a lot of people reading this, but as Q*bert was an NTSC-U exclusive, I'm guessing there are at least a few people who didn't know the foul-mouthed, mutated little aberration was given an outing on Sega's final console.

It is curious that a lot of these early 2000s reboots of classic titles were only released stateside. Many of those original titles were quite popular in Europe - the UK especially - back when they were contemporary so why PAL releases were off the table is a bit of a mystery. The Dreamcast releases of Frogger 2, Centipede, Mrs Pacman and the Atari Classics Collections are all missing in action, presumed dead (and don't even get me started on Yu Suzuki Game Works), and I'm at a loss as to why this is the case. 

Indeed, the gaming scene was massive in the UK during the 1980s, plus there was no 'gaming crash' as there was in the US. The aforementioned titles (or their prequels at the very least) were huge hits on this side of the pond. But no, none of these Dreamcast sequels to classic games of yesteryear were released in PAL territories, and you can add to that list Q*bert. Here's the rub though. While some may lament the lack of blue box releases of those aforementioned titles, you need not shed a tear for Q*bert's Dreamcast release, as it is - for lack of a better term - cack.

It's Thinking: An Interview With Brian Bacino - The Man Behind The Iconic Dreamcast Slogan

The Dreamcast's North American launch was one of the most successful console launches of all time. It boasted a line up of games that was unmatched in terms of variety and quality, and an air of untouchable swagger and confidence swirled around Sega that hadn't been seen since the days of the Genesis. Key to the success of the Dreamcast's introduction to the lucrative American market was undoubtedly the bombastic and memorable advertising campaign that supported the console.

The iconic 'It's Thinking' TV commercials and the memorable launch date of 9.9.99 were powerful weapons in Sega's arsenal when waging a marketing war against Sony and Nintendo for consumer dollars. However, these two components of marketing collateral did not come about by pure coincidence. They were thoughtfully constructed prongs of the same pincer movement strategy, and arguably helped to propel the Dreamcast into millions of American homes in those first few months post launch.

Here, in an exclusive interview we talk to Brian Bacino, the man behind the North American advertising campaign. As former Creative Director at respected advertising house Foote, Cone & Belding (FCB) of San Francisco, Brian was instrumental in the creation of the Dreamcast brand and the system's early success...

DCJY: Brian, first allow me to thank you for taking the time to answer our questions. The Dreamcast console really was a game-changer when it was released (pun intended!) and still holds a dear place in the hearts of a lot of gamers. To kick things off, could you give us a brief description of what your role was at FCB and specifically with the Sega Dreamcast commercials?

Brian Bacino: Hi Tom – thanks, I’m totally psyched to talk about the Dreamcast launch. It was an epic adventure in advertising, full of drama, plot twists and explosions! I was FCB San Francisco’s SVP Group Creative Director/Writer in charge of the launch and roll out of The Sega Dreamcast. My partner, Steve Fong, and I conceived and created the ‘It’s Thinking’ campaign and the ‘Apocalypse’ launch film – heralded in 1999 by several video game magazines as “the most epic video game commercial ever created!” Steve and I would not argue.

The Great Dreamcast BMX Off: Mirra Vs Hoffman

Recently I collated all the games I’ve never played for even a second, Dreamcast and non-Dreamcast alike, into a massive crate of shame. A shameful pile of things I had impulsively purchased and had then shown zero willingness to play. My goal and desire for this project was to spur myself on to begin playing at least two of them a week. For a minimum of 27 minutes and giving a sort of commentary on those first 27 minutes. A quick-fire thoughts and feelings if you will. The idea being to not only alleviate my sinful hoarding ways, but to also begin forcing my favourite pastime back into my weekly calendar.

Having collated all the Dreamcast games into one separate pile, I was confused as to why I owned Dave Mirra Freestyle BMX twice - one copy fully boxed, and one disc only. I then wondered where my copy of Mat Hoffman's Pro BMX was. Anyone who has ever seen my games room will know I possess the organisational skills of your average Womble, and so I quickly decided I must have misplaced it and resolved to look up the cover to assist finding it in my junk shop of a games room.

The reason it appears I couldn’t find it seems to be that unlike the US we never received the game, so I don’t actually own a genuine copy of it. Research (or one Google search to be exact) didn’t bring me a concrete reason for its lack of a blue edged version, although it did lead to a sort of breakthrough in that it is Mat Hoffman, not Matt. The fact that the dude can’t even spell his own name is sadly not a mystery I can solve for you, but what I can bring you is Mat Hoffman vs Dave Mirra. The battle of the Dreamcast BMX-ers! Gnarly! - just what 2018 was crying out for I hear you say…

Getting the chance to shred up some BMX arenas, without putting my actual aging body at harm, seemed ideal. And would give me a chance to test Dave Mirra’s box marketing claim that it is ‘The number 1 Dreamcast BMX game.’ So without further hesitation: riders ready, watch the gate. Go!

An Interview With Bernie Stolar

There are few people who are more intrinsically linked with the history of the Dreamcast than Bernie Stolar. Along with personalities such as Peter Moore and Hidekazu 'Mr Dreamcast' Yukawa, Bernie Stolar is extremely well known and was the man who kicked the whole party off. Here, in this candid interview we welcome Bernie to the Junkyard and pick his brains on the history of our favourite console and the current trends in the Dreamcast community.

DCJY: Hi Bernie, firstly let me just say how much of an honour it is to have you grace our site with your virtual presence! As huge fans of the Dreamcast, it’s quite awesome to have the opportunity to speak with you first hand. Never did I think way back in late 1999 when I picked up my first Dreamcast, that in 20 years' time I'd be conversing with the man who helped create the console!

Bernie Stolar: No problem, thanks for asking me. I consider it an honour that a product I helped create still has a loyal fanbase to this day. Thank you for keeping the 'Dream' alive.

Bernie delivering the Dreamcast keynote at GDC 1999

To kick things off, I wondered if you could enlighten those readers who may not be familiar with who you are and what your role was with the Dreamcast?

I was President and Chief Operating Officer at SEGA of America from July 1996 to August 1999. I was hired by SEGA of Japan CEO, Hayao Nakayama. I conceived the idea of Dreamcast and hired Peter Moore, Chris Gilbert, and the entire product development team.

You were at Sega of America from 1996 to 1999, all the way through the Dreamcast’s most important and formative years - can you recall the very first time you heard the name ‘Dreamcast’?

I believe it was called 'Dural' and later 'Katana' at one point. I want to say May of 1998 was when I first heard the term 'Dreamcast.'

On the topic of the early days of Dreamcast, can you recall which came first - Dreamcast or NAOMI? Or were they developed in tandem?

I believe NAOMI was released first. If I remember correctly, Dreamcast came about at a time when we were switching from Model 3 arcade hardware to NAOMI. I remember this because, I was disappointed with the fact that the Dreamcast would not really be able to support ports from both arcade units. I had wanted ports of several licensed units, including Star Wars Trilogy and The Lost World: Jurassic Park series. I felt these would be very popular, especially in the American market. To answer your question though, yes they were developed in tandem, definitely with the thought in mind that many of the games such as Crazy Taxi and House of the Dead 2 would be ported to Dreamcast. As a side note, I believe we also licensed the NAOMI architecture to Capcom, Namco, and Taito.

Early Dreamcast concept designs

Just sticking with the origins of the Dreamcast, were there really two different concepts for the Dreamcast in development? There are plenty of forum posts and articles online that state that there were competing projects - one from SEGA of America called Black Belt which was 3Dfx based, and another from SEGA of Japan called Dural which was NEC PowerVR based. Can you comment on these projects and how it was decided that the Dural concept was the one that won? If so, how different do you think the 3Dfx system would have been?

I believe SEGA of America wanted the 3Dfx version and SEGA of Japan wanted the NEC PowerVR. Both made sense for different reasons. With 3Dfx, there were more resources and documentation available for development in the US and Europe. That and it was understood that development would be easier, especially for PC ports. The NEC PowerVR made NAOMI ports simple and was easy to program, however, it was not as well supported (yet) in the US. I doubt Model 3 games would have worked too well on either. Although there was a PowerVR chip shortage when the Dreamcast launched in Japan, both chips had their pluses and minuses. In the end, I'm not sure it would have made too much of a difference.

Famously, you moved from Sony’s PlayStation division to work with SEGA of America in 1996. You're quoted in a VentureBeat interview as stating that the Saturn needed to be killed off as soon as you arrived. What were your initial thoughts on the fledgling successor to the Saturn? Did you envisage that the Dreamcast would become a huge success based on the hardware specs?

When I went to SEGA, they needed a new hardware system because the systems that they had were not selling – all eight of them. Saturn was not being supported by SEGA the way it should have been. When I showed up, it was my idea to develop a new hardware system that had the ability to play online. Before signing with SEGA, I racked my brain on a way to salvage Saturn, but it was just too far gone and too expensive and difficult to develop for. SEGA was nearly bankrupt, they needed a new console and they needed it quick. The only options were to go big or go home.

A Quick Look At Centipede

Centipede for the Dreamcast is a curious title for a couple of reasons. It's part of what is, for all intents and purposes, a sort of trilogy of retro reboots that includes two other properties with roots in the very early days of gaming - Q*bert and Frogger. While there are several retro collections for the Dreamcast in the form of Namco Museum, Sega Smash Pack, Yu Suzuki Game Works, Atari Anniversary Edition, Midway's Greatest Arcade Hits 1 & 2 and Jimmy White's 2: Cueball, none of these titles feature complete re-imaginings of the classic titles contained therein.

No, Centipede, Q*bert and Frogger are unique in that they introduce updated visuals, new modes and - most notably in the case of Centipede - totally new gameplay mechanics. Interestingly, all three of these titles come from the Hasbro Interactive/Atari mash-up that was borne out of the acquisition of the latter by the former, however for the sake of this being 'a quick look at...' we're only going to focus on the most radically redesigned of the three - Centipede.

Released in 2000 by Hasbro Interactive masquerading as Atari and developed by Leaping Lizard Software, Centipede is a modern take on the classic game of the same name that was released to much critical and commercial success back in 1980. Having only been born in 1982, I don't actually remember the initial arcade release of Centipede, but over the years I've played plenty of variations on the formula and I'm sure you have too. Naturally, coming from an era when hardware was less graphically capable than what we have today, Centipede featured basic visuals but had one very simple premise that was replicated in many titles of the period - shoot the enemies, get a high score...and survive the onslaught.

The Mystery Of The EB Special Edition Dreamcast

I love a good mystery, and internet-based mysteries are among my favourite types. Of course Moth Man, the Mary Celeste and the tale of Springheel Jack are cool things to read up on, but the ubiquitous nature of the internet means we can all be cyber sleuths without ever leaving our living rooms. And just to compound what I'm yapping about, stuff that was actually spawned by the internet itself (such as Cicada 3301, Unfavourable Semicircle and Webdriver Torso) is every bit as fascinating to me as 'real world' mysteries are.

Fuck...I was only trying to play Doom.

That's not to say the more mundane aspects of the online world are any less wondrous - the very nature of the internet means that stuff written long ago can still be found online and still be read today, either because the hosting service still exists or the Way Back Machine allows us to glimpse into the past and recover the information contained on those garish (and often embarrassing) GeoCities/MySpace pages of yore.

As a person with an unhealthy obsession with all things Dreamcast-related, It probably won't surprise you to learn that I do spend an inordinate amount of time perusing these ghost sites in the hunt for obscure references to cool stuff that never saw the light of day; and the good old Way Back Machine has helped me verify a story more times than I care to remember.

A Quick Look At Atari Anniversary Edition

Ah, Atari. A company often credited as being the progenitor of the entire video gaming industry, but one which bowed out with such a whimper it's hard to know whether to laugh or cry. In the 1970s and 80s, Atari could literally fire diamonds from a cannon into a lake for 24 hours a day and it still wouldn't make a dent in the petty cash box lying under the receptionist's desk. By the late 1990s though, those halcyon days of wanton abandon were over. Many people point the finger at Atari's final console, the Jaguar for the fine mess the firm ended up in, but in retrospect a combination of poor management and a failure to capitalise on a rich back catalogue is really what sounded the death knell for Atari.

Before you jump down my throat though, know this: I am a massive fan of the Jaguar and have been collecting games, hardware and memorabilia related to that dumpster fire of a system for quite a while...so I consider myself well positioned to pour humorous scorn. Oh, and Super Burnout is one of my all time favourite racing games, so chill. This article isn't about that criminally-untapped pile of 64-bit awesome though. It's about the Dreamcast and a rather nice compilation of Atari arcade classics of yesteryear that I recently acquired: Atari Anniversary Edition.

A Quick Look At Sega Smash Pack

The Sega Dreamcast is a pretty versatile piece of hardware. Not only is it capable of running operating systems like Linux and Dreamshell et al, it is pretty adept at mimicking other console formats too. Since the early days of the Dreamcast, talented coders have been tricking the system into convincing itself it was a Nintendo Entertainment System, a Neo-Geo or even a Sony PlayStation. The latter example of console emulation on Dreamcast is well documented and eventually resulted in Bleem! being shut down by Sony's legal department, but let us also remember that Sega itself utilised the hardware of the Dreamcast to bring emulation to the masses.

While the inclusion of PC Engine and Megadrive emulators on certain Dream Passport internet browser discs is well known in the wider Dreamcast community, Sega opted to bring Genesis titles to the general populace in the United States via the Sega Smash Pack collection - an official release containing 12 retro titles from various eras in the company's illustrious history spanning both the 16 and 32-bit generations. I have it on pretty good authority that a PAL version of Smash Pack was in the works at Sega Europe (having both played a variant and by way of the article below as proof), but only the NTSC-U version ever saw the light of day.

Star-Spangled Box Art

I realise that this post will date extremely quickly, but as it's US Independence Day I thought I would take a quick look at something relevant, but that we haven't really touched on in the past - the different types of US Dreamcast hardware and software packaging. But first: a public service announcement:

Happy Independence Day!

Now that's out of the way, let's begin. The PAL Dreamcast packaging never actually changed from the day the system was launched, to the day Sega drop-kicked the Dreamcast into a wheelie bin. It was always the same - the blue and white boxes, minimalist text and a few warning labels. From a design perspective, this packaging was perfectly serviceable and suited the Dreamcast's image well. There were a few special edition cardboard sleeves that went around the console boxes (and the House of the Dead 2 gun set), but for the most part PAL hardware boxes didn't vary. In the US though, the packaging underwent something of a major redesign about a year after the system's launch.

The original packaging looks like this:

How a Dreamcast looks when you've got a hangover.

As far as console boxes go, it's quite nice. The slightly out-of-focus console lit from various angles with orange and blue is certainly eye-catching, and the design on the left that mirrors the Dreamcast GD drive door and LED lens is a nice nod to the actual physical styling of the console. Indeed, Sega also used this 'side bar' design on the game boxes/manuals too. Elsewhere in the hardware catalogue, the imagery was replicated - the keyboard and controller boxes also used a similar design:

How the controller looks when you've got a hangover.

How the keyboard...you get the idea. Sigh.