Japan's Crafty Videogame Cover Design Part III: 1992 - 1996
Japanese game cover design is widely admired by players around the world, a true craft which that was perfected over the years. In an effort to make their productions stand out, many studios explored a more tactile range of materials from modelling clay to plastic, wood, paper and metal. The resulting effect elicits a sense of fascination and instant nostalgia, particularly at a time when physical game editions are on their way to becoming altogether irrelevant. What follows is a fascinating and largely unexplored chapter of the medium's rich, expressive history.
This post is a continuation of Part II.
Released in 1993 for the PC-98, ArtDink's Lunatic Dawn is an RPG series forged in the great western tabletop tradition. The first four episodes are presented with highly naturalist dioramas wherein the delicate lighting plays as important a role as the sculpting itself.
Starfox needs no introduction. A less known fact is that Nintendo commissioned a series of rather costly puppets that were used in its TV ad, controlled by VFX expert and puppeteer Takashi Yamazaki. The decision to include them so prominently in the cover was an enlightened one.
Seiken Densetsu 2's cover art is often cited as evidence to the claim of Japanese game packaging superiority. It combines the sensational illustrations of Hiroo Isono with bespoke clay models of the cast, lending it an incredibly distinct look that is unique to the JP edition.
The second entry attributed to Yasushi Nirasawa is A-Rank Thunder Tanjouhen, a Telnet Japan Adventure RPG released in 1993. Though similar in tone and aesthetic, this menacing cover design guards a videogame far superior to the above - some would even say underappreciated.
In 1994, Game Freak set out to develop a platformer built for speed. Though light is faster than sound, Pulseman did not qualify for the race against the blue hedgehog. A decade later, it developed cult following, owed to the game's many intrinsic qualities and winsome character.
Lode Runner Twin: Justy to Liberty no Daibouken is a 1994 T&E Soft adaptation of the Doug Smith classic replacing its trademark spartan visuals for a full on juvenile look. If you're wondering whether those are biscuits that Justy & Liberty are standing on, you guessed correctly.
The original Albert Odyssey advertisements showed a very competently made diorama of its characters preparing to take on a dragon foe. For Albert Odyssey 2: Jashin no Taidou's cover design, clay was the material of choice. Alas, much of its charm was lost due to inept editing.
Few will remember the My Home Dream series of story-driven, house design simulators. The choice of so colourful and child-like a composition for the PC-9800 edition doesn't quite match the tone of the game itself; though it is vastly preferable to that of its lacklustre PS1 port.
An inescapable reference, Monster World IV's cover boasts a masterfully sculpted likeness of Asha and her companion Pepelogoo. By 1994, 3D computer graphic rendering would have been as viable an option to achieve a similar effect. In the end, Westone made the right decision. Below is the original, uncropped image of the diorama modelled by Hideo Nakajima and photographed by N. Suzuki.
everal games in the mid-1990s capitalised on expanded colour gamuts to replicate the unique look of claymation, a pursuit that endures to this day. Wild Trax by Nintendo EAD and Argonaut Software was among the first to attempt this in a 16-Bit system, and do so successfully.
Between 1994 and 1996, Gakken, the company behind the mythical Compact Vision TV Boy, published a series of educational software named Gakken no o-Benkyou Soft for the Sega Pico. Their cover designs contained a host of memorable clay, plush and fabric dolls and accessories.
In 1987, Hummingbird Soft introduced the Lovecraftian horror series Ghost Hunter that included numerous videogames, tabletop RPGs and novels. Kurokishi no Kamen, a 1994 3D0 exclusive, was the last chapter of the digital trilogy, following Laplace No Ma and Paracelsus no Maken.
Kururin Pa! (95) and Shingata Kururin Pa! (96) are two block-based puzzle games by Sky Think Systems. Their covers show a more minimalist approach combining clay, felt and possibly other materials. A similar aesthetic is found in Harmful Park, though more baked than sculpted.
The use of clay models on the covers of board game simulators was recurrent during the 1990s. The Oni Taiji - Mezase! 2-daime Momotarou by O-Two is a pristine example of this: stimulating enough to catch the eye, yet not so glossy as to detract the more discerning player.
Set in the Sengoku period, Rakuichi no Matsuri is a simulation game published by ASCII in 1995 for the PC-98. Cleanly sculpted and savvily lit, its fascinating cover scene shows a daimyō accompanied by his seishitsu, a general and chief strategist sitting around a tactical map.
ClockWerx shamelessly capitalized on Alexey Pajitnov's name and image by listing him as an endorser. The Japanese ports by Axes Art Amuse contributed a series of quality claymation sequences between levels, their exuberant and inviting characters adorning the PS1 & Saturn covers.
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Japan's Crafty Videogame Cover Design Part II: 1989 - 1992
Japanese game cover design is widely admired by players around the world, a true craft which that was perfected over the years. In an effort to make their productions stand out, many studios explored a more tactile range of materials from modelling clay to plastic, wood, paper and metal. The resulting effect elicits a sense of fascination and instant nostalgia, particularly at a time when physical game editions are on their way to becoming altogether irrelevant. What follows is a fascinating and largely unexplored chapter of the medium's rich, expressive history.
This post is a continuation of Part I.
When first announced in 85, PRAJATOR was highly anticipated. After the director at Fireball System vanished, the studio was forced to pivot and deliver a heavily truncated game in 89. The cover shows a custom-made figure of the protagonist, the Image Ranger, by Masao Ishikawa.
I'll allow myself some latitude for obvious reasons and make an honourable mention to Mother (89) and Mother 2 (94) whose back covers include a few from the dozens of iconic clay sculptures of its characters and key items, shown in greater detail in their respective manuals.
From 1989 to 1995, FM Towns issued a number of freeware discs - including a pair for the Marty - whose covers consisted entirely of clay sculptures. Though not videogames per se, these exist in a space that is adjacent enough to the subject of this thread to deserve a mention.
Ganbare Goemon Gaiden: Kieta Ōgon Kiseru (1990) is presented with this lavishly layered, admirably executed paper composition borrowing a series of motifs and the overall style of Japanese art from the Azuchi Momoyama period, during which the fabled bandit Ishikawa Goemon lived.
Don Doko Don had the fresh look of a late 80's Taito arcade but the familiar feel of their earlier successes. The vibrant diorama included in the 1990 home console ports shows the friendly lumberjack tipping his cap to the player. An extended view of this scene is revealed in the Famicom cart sticker.
The Ninja Kids is a lesser known arcade brawler from Taito from 1990. Set at the end of the millennium, it nonchalantly toys with satanic symbology. The flyer sculpture is a treat. Notice how the yellow ninja Sasuke wields a kusarigama with a bath plug chain dangling from it.
Totsugeki Bareishonzu is a GameBoy puzzle game developed by Atlus in 1991. Its US title, Spud's Adventure, shrouds the fact that the player can control three different vegetable characters, including the carrot and eggplant seen here venturing together into the unknown.
By the time VING published Bubble Bobble for the FM Towns it had already achieved the status of a classic. This 1990 edition is rather unique in that it casts aside the cheerful artwork that long illustrated the series, instead adopting a clay model bathed in real-life bubbles.
SD Snatcher is a 1990 RPG restyling of the original cyberpunk adventure hit. Both the game cover and publicity adopted the concept of super deformed to the letter, presenting the cast as plastic figurines. That same year, MGS 2 Solid Snake ads also relied heavily on models.
Developed by Arsys Software in 1990, Spindizzy Worlds is a Japanese-made sequel to the original by Paul Shirley. Integrating various types of materials from plastic to clay and wood, this cover image produces a very polished representation of the game's geometric landscapes. I include the PAL version for another perspective of the same composition.
The back cover of Daiku no Gen-san, also known as Hammerin' Harry, contains an unexpected and unassuming diorama of the intrepid carpenter gazing at the rising sun while pledging to quash the evil construction company that threatens his home town - truly, a people's hero.
L-Dis is an often neglected reference within the category of humorous, cartoon-style shooters from the 1990s. The giant snake presented in this appealing cover art is in fact one of the game's last boss battles.
Hyaku no Sekai no Monogatari is a board game RPG simulation developed by Ask in 1991 for the Famicom. One look at this stunning cover immediately evokes the experience of playing on a table top with the aid of miniatures, a tradition that goes all the way back to the origins of the genre.
In 1991, Hiro planned to release Castelian for the Famicom and Game Boy. This was to be a Japanese port of the game Nebulus which was cancelled despite advertising having been published already, likely due to a last minute deal with Morinaga Chocolate resulting in KyoroChan Land.
Released in 91, Beast Warriors belongs to the inglorious category of mediocre games with impressive cover designs. This softly-lit and unapologetically grotesque scene is the work of the late great Yasushi Nirasawa - the mention, alone, should explain why it looks so remarkable.
Namco's Golly! Ghost! arcade employs a mechanically animated diorama as an integral component of its light gun-based shooter experience. The Victorian mansion interior is overlayed with a transparent screen that magically channels it ghostly apparitions. You can see it in action here: https://shorturl.at/o4mS6
In a curious inversion of the habitual trend, it was the cover for the 1991 NES edition of Princess Tomato in the Salad Kingdom that featured these delightful, multihued clay figures Hudson Soft created in 1988 to advertise the Famicom edition in Japan. You can watch this unique commercial here: https://shorturl.at/rGSfS
Few modelling clay covers can claim to be as fetching as those from Chuuka Taisen (Famicom, 89) and Gokuraku! Chuuka Taisen (PC Engine, 92). Although they use the same raw material, each of these editions sport unique interpretations of the game's characters and world.
Ganbare Goemon Gaiden 2: Tenka no Zaihō is a direct sequel to the aforementioned 1990 RPG, its brighter cover design is equally deserving of praise and recognition. One has to wonder whatever became of these exquisite designs and if they were preserved for posterity.
Though Gimmick! was released later in the life of the Famicom, the developer's use of cunning techniques and expansion audio made it a desirable despite the dated hardware. Interestingly the game failed to attract interest from US publishers and was localised only in Scandinavia of all places.
Despite its status as a Master System classic in EU and the US, Monster World II: Dragon no Wana skipped the Mark III in Japan and was playable only on the PCE before its 1992 Game Gear release. The cover's memorable diorama represents Wonder Boy in his many transmogrifications.
This post continues in Part III.
Japan's Crafty Videogame Cover Design Part V: 2001 - 2015
Japanese game cover design is widely admired by players around the world, a true craft which that was perfected over the years. In an effort to make their productions stand out, many studios explored a more tactile range of materials from modelling clay to plastic, wood, paper and metal. The resulting effect elicits a sense of fascination and instant nostalgia, particularly at a time when physical game editions are on their way to becoming altogether irrelevant. What follows is a fascinating and largely unexplored chapter of the medium's rich, expressive history.
This post is a continuation of Part IV.
MegaHouse, a Bandai subsidiary, joined forces with Namco to produce their 2004 line of majestic figures named Namcole. These unique mini-dioramas were meant as a celebration of the iconic box designs of the games' Famicom editions.
The original Pikmin cover used 3DCG graphics. In 2004, someone at Nintendo thought of the obvious and enlisted Wataru Yamaguchi - the designer of the aforementioned Wild Trax cover - to use his rare talents as a sculptor and represent the tiny creatures in clay - as they should have been from the start.
If any doubts remained among players as to Nintendo's decision to give its new handheld a second screen, Famicom Wars DS dispelled them completely. This was the interface the series had needed all along. The use of toy soldiers for the cover picture is but a delightful bonus.
The memory of Kororinpa may have faded amidst the vastitude of Wii's library. Its dainty and uplifting clay, carboard and felt sheet cover art may persuade viewers to revisit the simple pleasures of holding a Wiimore in one's hands as if it were a portable labyrinth game box.
Elebits offers a curious take on the first-person shooter genre by equipping the player with a harmless albeit dangerously messy gravity gun capable of moving objects in the hunt for the drop-shaped creatures the game's cover so congenially reproduces in plasticine.
Over the years, HAL was never quite able to overcome its healthy infatuation with modelling clay. As if further evidence of this was required, Tatchi! Kābyi sūpāreinbō transitions Kirby from its previous painterly form into the domains of luscious, polychromatic playdough.
It would be a mistake not to make a reference to the MSX Fan magazine, published from 1987 to 1995 by Tokuma Shoten. Each featured a bespoke modelling clay rendition celebrating the main game featured in the issue; all created by a team of highly talented in-house artists.
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Japan's Crafty Videogame Cover Design Part IV: 1996 - 2001
Japanese game cover design is widely admired by players around the world, a true craft which that was perfected over the years. In an effort to make their productions stand out, many studios explored a more tactile range of materials from modelling clay to plastic, wood, paper and metal. The resulting effect elicits a sense of fascination and instant nostalgia, particularly at a time when physical game editions are on their way to becoming altogether irrelevant. What follows is a fascinating and largely unexplored chapter of the medium's rich, expressive history.
This post is a continuation of Part III.
Some of the most exclusive Japanese items are gifted inside paulownia wood boxes inscribed with the manufacturer's pyrographic seal. The distinguished choice for Hoshi no Kirby Super Deluxe's cover aptly conveys the extravagance of a game that was three full years in the making.
The last Nirasawa entry of the thread comes in the form of another underrated futuristic RPG, Cyber Doll. I include the advertisement so as to better showcase the original diorama photo in all its atmospheric glory, before being recoloured for the far less striking game cover.
Ore! Tomba's cover wholly encapsulates the game's main motifs with its spirited, untamed and impish scene. The manner in which the US version replaced it for a hand-drawn facsimile helps to understand how much character these whimsical statuettes brought to the original.
Far from the most memorable boxing game of its era, Hard Blow by Electronic Arts Victor nevertheless wins this judge's 10 points for employing simple humour in its efforts to softly illustrate this ruthless, bloody sport.
Go For It! Morikawa-kun MK 2 was MuuMuu's first project after the acclaimed Jumping Flash! games. Released in 97 at the height of the Tamagotchi craze, its cover scene shows PiT and its square-shaped world with a degree of detail and texture the game engine regrettably could not.
A singular game < - > A singular cover. It shows a real, sculpted piece of metal or glazed ceramic over a dimly-lit bed of sand. One of the defining traits of Love-de-Lic's approach to character design and world creation was the sculpting of those elements before making them digital.
Sorcerian is the 5th entry in the Dragon Slayer saga, published in 1987 for the PC-8801. A Windows remake dubbed "Forever" celebrated its tenth birthday. Falcom brought in master figure designer Kenji Ando, of Super Imaginative Chogokin fame, to create this fascinating diorama.
The unsung steampunk RPG Wachenröder is a fine example of how videogame visual concepts can be elevated when a sufficient portion of the budget is allocated to gifted artists. These and many other sculptures of its characters and vehicles can be found in the pages of its manual.
Knight & Baby accurately exemplifies how overseas editions of Japanese games can mute, distort or altogether supress that which the original editions had to offer. How these lovingly sculpted scenes could be replaced by a marginally competent 3D render defies all common sense.
As with the aforementioned Pet in TV, MuuMuu once again decided to use clay as the raw material to promote their farming simulator, Astronōka. The complexity of this picturesque diorama, professionally created by Studio Nova, is shown in greater detail on the soundtrack cover.
Though it fails to reach the artistic heights of its aforenamed prequels, Goemon: Mononoke Sugoroku affectionately celebrates the likeness of its cast with this series of blitheful figurines by Ken Matsuura; while signalling the game's unique take on the claymation aesthetic.
Zipangujima: Unmei wa Saikoro ga Kimeru! is a 1999 board game simulation, as you may have guessed from its prominent use of dice. Set in medieval Japan, the model displayed in the cover combines highly recognisable elements from the era with a touch of slapstick comedy.
Ganbare Neo Poke-Kun is one of the most experimental and underappreciated games from the turn of the century. A humble ode to the solitary programmer, it's also a poignant commemoration of game history. It's only fitting that its cover art also honours the clay diorama tradition.
The second instalment from this manga-inspired series spanning across multiple hardware generations, PoPoLoCrois Monogatari II's cover image catches the eye with a skilled bas-relief design over stoneware clay, lending it the credible aspect of something arcane and ancient.
Although an expertly designed 2D detective adventure, Fushigi Deka is one of the few titles in this list which features its modelling clay cover scene as the in-game title screen. What offbeat comedy can be seen here is mirrored tenfold in the game proper.
Kuru Kuru Marumaru is a rather eccentric driving simulator created by Jam in 2001. Much like the last entry, the elaborate modelling clay diorama shown in the cover conceals a cartoon-like universe blending FMV animation, quality 2D sprites and 3D car driving test segments.
Endonesia's subtly hints at the very substance that its exotic, oneiric archipelago is made of. Released in 2001, it was the first project developed by Vanpool, a studio composed of former Love-de-Lic members who carried with them an undying love for modelling clay as a medium.
Japan's Crafty Videogame Cover Design
Part I: 1983 - 1989
Japanese game cover design is widely admired by players around the world, a true craft which that was perfected over the years. In an effort to make their productions stand out, many studios explored a more tactile range of materials from modelling clay to plastic, wood, paper and metal. The resulting effect elicits a sense of fascination and instant nostalgia, particularly at a time when physical game editions are on their way to becoming altogether irrelevant. What follows is a fascinating and largely unexplored chapter of the medium's rich, expressive history.
Door Door was Enix's debut and an instant hit, created by Koichi Nakamura for a national contest whose 1st prize he won. The cover's exquisite paper cut out composition mirrors the game's goal, with Chun luring his enemies into a door to trap them.
(Modern redesign by @gingerbeardman)
Tower of Druaga is one of the most curious game concepts of its era, inspired by both ancient mythology and Japanese modernity. The arcade game flyer, and consequentially the Famicom cover, used charming dioramas and paper cut-outs due to president Nakamura's distaste for manga.
Senjō no Ōkami was designed in 1985 by the great Professor F, Tokuro Fujiwara - incredibly, at the same time as he developed Makaimura. The choice of a diorama for the Family Computer port cleverly softened the game's bellicose theme by equating it to a toy soldier play set.
One of the most obscure titles in this thread, Kaleidoscope 7 Man-kōnen no hōshi-tachi is the first episode from a space RPG series produced by Hot B in 1985 for Japanese PCs. Though the game failed to live up to the expectations, its alien dioramas still capture the imagination.
The 1985 editions of Xanadu Dragon Slayer II for the PC-8801 and X1 featured differently angled pictures of a magnificently fashioned and photographed diorama by Kow Yokoyama & Masaki Okumura. The degree of minutiae and dramatic lighting place it in a category all its own.
Aside from countless hours of exasperation, Meikyū Kumikyoku: Milon no Daibōken's vibrant and gregarious cover illustration also conceals an unexpected diorama of its Castle Garland. The same picture is seen in greater detail on the NES edition released two years later, in 1988.
Air Fortress is a 1987 shoot 'em up and platform action game hybrid by HAL Laboratories. The lavishly ornate suit of the Hal Bailman figurine photographed for the cover art and advertisements speaks of an ambitious design by Hiroaki Suga which defied the limits of the its time.
Tobidase Daisakusen was a valiant effort by Nasir Gebelli and Hironobu Sakaguchi to replicate the fast-paced 3D wonders of SEGA's Space Harrier. The vivid, arresting clay sculpture lends an exceptional sense of depth while entertaining the eye with a rich, multidimensional story.
A decade-long series on Nintendo's 8-Bit systems, Eggerland is one of HAL's most influential creations. The cover art beautifully sets the tone and premise for this puzzle game using high expressive models and character placement. Notice the matte painting on the background.
Another FDS title from 1987, Kick Challenger Air Foot Yasai no Kuni no Ashi Senshi is one of the most unusual propositions of its time. The detail and emphasis of the character's tennis shoes fits the fact that the game is played by controlling the tomato's feet, one at a time.
It's not known why HAL adopted the use of sculpted characters/dioramas for many of their games in the years 1987-88. Like Air Fortress, Fire Bam offers an imposing close-up of the protagonist; one which, judging from its style and rigour, was carved by the same nameless author.
Though not exactly a video game cover, the arcade flyer for Namco's Assault is composed of a series of spectacular dioramas featuring a tank whose design is credited to master mecha creator Kunio Okawara.
In 1988, Taito released Rainbow Islands: The Story of Bubble Bobble 2 on most consoles and PCs. However, this highly dynamic and colourful clay model scene is unique to the Famicom edition, perhaps an added effort to make their box more conspicuous among the vast library.
he hilarious cover for the Mega Drive port of KaGeKi includes a dexterously sculpted set of figures filled with teeming with remarkable details, namely their finely carved hair, hands, nails, teeth and realistic skin. Sadly, the author isn't credited.
Released by Winky Soft in 1989 for the Famicom, Tom Sawyer no Bouken is a rather peculiar adaptation of the novel, in that it takes place inside Tom's dream after he falls asleep during class. Accompanied by Becky and Finn, the colourful trio's perky poses are truly priceless.
Battle Ace is a largely unsuccessful attempt at an interplanetary, first person 3D shooter. Regrettably, the richly detailed model featured in the cover of this 1989 Hudson Soft title is just about the only source of excitement the player is likely to encounter.
Teke! Teke! Asmik-kun World, released in 1989, was the debut of Asmik-kun as a playable character, it having been the company's mascot for several years. The pink dinosaur is depicted here with its finger raised and tongue sticking out, as if taunting his defeated enemies.
Hani in the Sky (1989) and its sequel Hani on the Road (1990) are two cult games by the small studio FACE. This is an instance where the use of clay is well within the theme, as the character Hani is directly inspired by the "dancing" terracotta statues from the Haniwa period.
This post continues in Part II.
