The main hallmark of a David Perry game is the large, sprawling levels, that scrolled multidirectionally rather than just being forced from left to right.
(This game was later finished by Virgin without Perry’s involvement, as by that point he had left to form Shiny.) Before Virgin began work on the project, he was actually working on a Genesis version of The Jungle Book, but his engine was adapted for use with Aladdin.
As a result, it feels very similar to those games. The game was programmed by David Perry, a programmer who had worked on a few other titles for Virgin, including Mick and Mack Global Gladiators and Cool Spot, and later went on to create Earthworm Jim. There are a few original songs added in, primarily the fun “Camel Jazz” and the exciting “Arab Rock” themes provided by recurring Virgin composer Tommy Tallarico as well as Donald Griffin. Surprisingly, these are all rendered excellently within the limits of the Genesis’ FM synth, despite missing the lyrics. Most of the music is taken from the movie, primarily Alan Menken’s vocal songs.
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Not every gag is lifted from the movie either, but everything here keeps with the same tone, making it feel like a logical extension. When you run out of health, you don’t technically “die”, but rather the Genie calls a time-out and gives Aladdin a rest and a shoulder rub before restarting the level. Various skeletons have little Mickey Mouse ears on then. The backgrounds contain fun little games, like tents that act as outhouses for men, women, and genies. In fact, many of the enemies are taken from various minor characters, including the knife throwers, as well as occasional appearances by Iago the parrot. One particular type of enemy swordsman routinely loses his pants, a reference to a quick shot of a guardsman in the movie. In working with the animation producers at Virgin, the designers were able to capture several characters that only looked gorgeous, but were smoothly animated, all within the confines of a 16 megabit cartridge.īeyond the style, the level of detail has a certain level of authenticity that transcends not only the SNES game but most licensed games in general. Compare it to the SNES version, which technically uses more colors but looks more like….well, a Capcom SNES game than the Disney movie it was based on. Without shading, the characters use a fairly palette, which kept within the technical limitations of the Genesis’ 64 color on screen palette.
Even though this was the first time this process was used, it produced remarkable results. But more importantly involved a process called “Digicel” – much like “blast processing”, it’s a marketing buzzword, but refers specially to the method in which drawn cartoon cels are scanned into a computer and then touched up for use in a video game. This included access to many of the original illustrations, allowing the designers at Virgin to replicate the style faithfully in the game. The Genesis’ version’s main draw is that the developers worked closely with members of Disney’s animation studios to create something that looked, sounded, and felt extraordinarily close to the source material. One of the main differences is that Aladdin is always armed with a sword here, whereas he needed to jump on enemies in the SNES game to kill them. The game starts off similarly, in Agrabah market, but goes off in different directions after that. So of course, rather than being a port, it’s a completely different game. While the SNES version of Aladdin was handled by Capcom, the Genesis version was programmed by Virgin Games, in collaboration with Sega and Disney Software.
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