Disney's Animated Storybook
Disney's Animated Storybook | |
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Point-and-click adventure, interactive storybook | |
Developer(s) |
|
SCEE (Mulan PS1 PAL) | |
Creator(s) | Marc Teren |
Platform(s) | Windows, Macintosh, PlayStation |
First release | Disney's Animated Storybook: The Lion King November 1994 |
Latest release | Disney's Animated Storybook: Winnie the Pooh and Tigger Too April 1999 |
Disney's Animated Storybook (stylized as Disney's Animated StoryBook, and also known as Disney's Story Studio)
Titles
Title | Developer(s) | Release date | Based on |
---|---|---|---|
Disney's Animated Storybook: The Lion King | Disney Software (in association with Media Station) | November 18, 1994[4][5] | The Lion King (1994) |
Disney's Animated Storybook: Winnie the Pooh and the Honey Tree | Disney Interactive (in association with Media Station) | August 28, 1995[5] | Winnie the Pooh and the Honey Tree (1966) |
Disney's Animated Storybook: Pocahontas | Disney Interactive (in association with Animation Services at Walt Disney Feature Animation and Media Station) | December 1, 1995[6] | Pocahontas (1995) |
Disney's Animated Storybook: Toy Story | Disney Interactive and Pixar | April 24, 1996[7][8] | Toy Story (1995) |
Disney's Animated Storybook: The Hunchback of Notre Dame | Disney Interactive (in association with Media Station with special thanks to Animation Services at Walt Disney Feature Animation) | November 11, 1996[6] | The Hunchback of Notre Dame (1996) |
Disney's Animated Storybook: 101 Dalmatians | Disney Interactive (in association with Media Station) | March 18, 1997[9] | One Hundred and One Dalmatians (1961) |
Disney's Animated Storybook: Hercules | Disney Interactive (in association with Media Station with special thanks to Animation Services at Walt Disney Feature Animation) | July 25, 1997[10] | Hercules (1997) |
Ariel's Story Studio (a.k.a. Disney's Animated Storybook: The Little Mermaid) | Disney Interactive (in association with Media Station) | November 25, 1997[11] | The Little Mermaid (1989) |
Disney's Animated Storybook: Mulan (a.k.a. Disney's Story Studio: Mulan) |
Disney Interactive (in association with Creative Capers Entertainment) (Windows and Macintosh) Developed by Kids Revolution and published by NewKidCo (PlayStation) |
September 14, 1998 (PC)[12] November 1999 (PlayStation)[13] |
Mulan (1998) |
Disney's Animated Storybook: Winnie the Pooh and Tigger Too | Disney Interactive (in association with Creative Capers Entertainment) | April 30, 1999[6][14] | Winnie the Pooh and Tigger Too (1974) |
Development
Background and Walt Disney Computer Software (1988–1994)
"'The processes that we were using were actually catching the attention of different divisional groups that all said 'Wait a minute.' They all kind of wanted to manage or have a say or control what was happening. And we were so relatively low on the totem pole that it became a bigger deal, that discussion that took place over our heads." Projects became almost impossible to get approved, according to Mullich, as pitch meetings took place in front of management teams, and after six months of continual 'no' replies, Mullich left.
Roger Hector, director of product development for Disney Software from 1989 to 1993, quoted in Polygon.[15]
Video games based on the
Over the next few years, Disney built a routine of releasing tie-in games shortly after film releases.
"A proven brand name does not necessarily translate into big sales. Disney preceded its run of hit titles like Winnie the Pooh Animated Storybook and The Lion King Activity Center with "unfocused attempts" based on traditional Disney characters. Then Disney Interactive began marketing software based on upcoming movies."
Ed Thomas, software buyer at online retailer Cyberian Outpost, quoted in Computer Retail Week[22]
Throughout the 1990s, popular children's stories in print were adapted into
Series conception (June 1994)
Disney's 1994 animated film
Media Station employee Newton Lee became one of the lead software and title engineers for The Lion King Animated Storybook.
Release of The Lion King storybook (November 1994)
The Lion King Animated Storybook was originally released for Windows in December 1994, with a Mac version following in early 1995.
Disney was mostly silent but sometimes sent private replies to individual addresses.
Despite the game being highly promoted and successful, negative news stories appeared on TV.[41] The game likely worked on the systems Disney programmers used to test the game, but not on the systems used by the general public. It was used as a case study in relation to programmers having "target environment and intended end user" in mind.[42] Lecturer Audrey Ricker felt this would "force businesses to be more publicly responsive to consumers".[18] Entertainment Weekly called it a "humiliating fiasco" where "thousands of frustrated parents swamp[ed] tech-support lines with woeful tales of non-functioning sound cards and video freeze-ups".[43] Ricker asserted the event demonstrated that a piece of software must be thoroughly tested on all supported platforms and system configurations before its release, regardless of what the marketing department has scheduled or what major holidays are coming up.[18] 7th Level contacted Disney about developing a game for Christmas 1995 featuring Timon and Pumbaa in response to the misstep. George D. Grayson, 7th Level's president and chief executive, said "the computer nerd takes particular pleasure in making something work that doesn't work right". The game was Gamebreak! Timon & Pumbaa's Jungle Games, Disney Interactive's first entry into their entertainment-focused Disney Interactive Entertainment division.[44]
The Lion King Animated Storybook was also available in Spanish, French, German and Italian through a special mail-in offer on the English product.[36] In November 1995, six local language versions were released in Europe.[45] In February 1996, following the success of the first three titles in the series, Disney Interactive planned to develop 23 new foreign-language versions of the games.[46] In June 1996, Disney announced a Japanese version of The Lion King Animated Storybook to tap into the country's growing PC home market.[47] Michael Jardine, representative director of Disney Interactive Japan, said that while there were no sales targets, the company would be happy to sell a copy for each of the country's 7.5 million computers.[47] Libro Animado Interactivo: Winnie Puh was released in April 1997,[48] and from July 20 onwards a bilingual version of the game was available on the Disney website.[49] Disney Interactive Japan released 101 Dalmatians Animated Storybook in June 1997, with The Hunchback of Notre Dame Animated Storybook following in late 1997 or early 1998.[50] A Spanish version of Winnie the Pooh and Tigger Too Animated Storybook was released in mid-1999.[51] In July 2001, Disney Interactive officially announced they would be launching Spanish versions of many of its titles in the U.S. and Puerto Rico in an effort to penetrate the Hispanic market; the games would begin sale that November in traditional retail, Hispanic shops, and through Hispanic exclusive distributors.[52][53][54] Called Libro Animado Interactivo, these included El Rey León (The Lion King), Pocahontas, Winnie Puh y el Árbol De La Miel (Winnie the Pooh and the Honey Tree), 101 Dálmatas (101 Dalmatians), Hercules, and La Sirenita (The Little Mermaid).[55] This was the first time Disney made Spanish versions of its edutainment titles, after dubbing films into Spanish and other languages,[56] and one of the first few times any computer software company had made an effort to target the U.S. Hispanic population.[57] Disney Interactive president Jan Smith expressed joy with Disney Interactive offering "Hispanic parents and kids the chance to experience interactive entertainment within the context of their own culture." Disney Interactive collaborated with Latin Links. the exclusive sales representative of the company's Spanish-language products within the U.S. and Puerto Rico.[56] Isabel Valdés, head of multicultural marketing firm Santiago Valdés Consulting noted: "This initiative bridges a gap between Hispanic parents and children, who can preserve their native language while experiencing the entertainment value of Disney in a whole new way."[58] A German version of Mulan Animated Storybook was released in 1998.[59]
Disney Interactive founding (December 1994)
"[At Disney Interactive], there was not a deep bench of people who were experienced in interactive storytelling at any level, because all games prior to that, at that point in time, were primarily driven through the minds and eyes of a very small team that was programming and engineering-driven."
Marc Teren, quoted in Polygon.[15]
As a result of The Lion King Animated Storybook and Aladdin Activity Center being successful, Disney Interactive was founded December 5, 1994, by merging WDCS with the
Disney Interactive planned for the new series of educational video games to feature popular characters and allow players to follow the stories while learning; it named the franchise Disney's Animated Storybook,[24] subtitled "A Story Waiting For You To Make It Happen".[25] Marc Teren, vice president of Disney Interactive's entertainment division, hoped to create games with a "true and fair representation of the original property",[5] while aiming to capitalize on "ancillary products to successful theatrical and home video releases".[67] Children's Business suggested the series came into fruition because in the contemporary entertainment market, it was "customary now for entertainment companies to release CD-ROMs to support a film or TV show".[68] According to writer Rena B. Lewis, the games were "designed for use at home, not school".[69] The animated books were considered a type of entertainment program, one of the three types released by Disney Interactive in addition to their simulation games and discovery programs. While they were advertised as teaching tools because they give no reward to players for doing this like they do for clicking hotspots, "the teaching of reading could be considered secondary in these programs".[18] As edutainment, these games "could be said to teach the process of and rehearse reflexes needed for playing video games".[18]
The film stories were edited to ensure continuity of the original narrative while offering interaction and voice acting was provided. They allowed children to choose what they wanted to do onscreen. The original film scripts were considered from an activity standpoint, with clickable features added to each page so players could affect the story; for example, in The Lion King Animated Storybook, players could turn Pride Rock from green to brown, or collect bugs for Timon to eat. These techniques increased engagement with each screen's events, and helped create connections between the player and characters.[17]
Media Station era (1994–1996)
The Lion King was the first film to be given an "interactive story life"
Teren oversaw development of the entire series, and directed Disney's early production of animated storybooks and activity center software.[77][78] Beginning with The Lion King Animated Storybook, instead of reusing artwork from the film and forcing it into the new format, Teren's team "worked hand in hand with the group in feature animation", while the film's directors and producers worked with the games' designers and artists.[5][17] Disney and Media Station created more than 12,000 frames of digital animation together for each game.[34] For The Lion King Animated Storybook, Media Station contributed 7,000 new frames of animation while Disney animators contributed 5,000.[79] Media Station also created over 300 music and vocal assets, using traditional orchestration and arrangement and digital composition tools.[17] Digital music and sound effects were composed, recorded, and edited at Media Station;[34] Gregory wrote the score for The Lion King Animated Storybook.[80]
One of the advantages of creating software while the films were in production was that it allowed the original voice cast to be part of the projects.
The games were generally created on tight budgets and schedules. Disney found that "planning or making software while movies are filmed helps the product stay true to the film, and makes it cheaper to produce".
From December 1994 to February 1995, Disney Interactive hired 50 new employees.
Pixar's Interactive Products Group (1996)
Development of Toy Story Animated Storybook was handled by Pixar instead of an outsourced developer. While most of the storybooks feature a
The Interactive Products Group (also known as the Pixar Interactive Division), a Pixar subsidiary, was founded in 1996. Its staff included 95 of Pixar's 300 and was headed by Pam Kerwin.[107] It was founded to create computer games and had its own animators, art department, and engineers.[30] The group was tasked with creating two products amid intense time constraints to coincide with the VHS release of the Toy Story film: Toy Story Animated Storybook (released April 1996) and Toy Story Activity Center (released October 1996);[30] the division produced them within 16 months.[107] As vice president of the Interactive Products Group from 1996 to 1998, Kerwin spearheaded development of interactive edutainment products based on Pixar's feature film properties.[107] Disney's Animated Storybook: Toy Story was touted as "the first CD-ROM to deliver full screen, motion-picture-quality animation on home computers".[30] Between the two products, the group had created as much original animation as there was in the Toy Story film itself.[30]
Children's interactive product writer and designer[108] Carolyn Handler Miller wrote the script and text for the game.[109] As the team could not get Tom Hanks to narrate, Miller was forced to tell the story from the point of view of another character, settling on the "highly entertaining, sardonic" character Hamm.[109] Hanks was replaced by his brother Jim, while Pat Fraley replaced Tim Allen as Buzz.[30] Miller had to rewrite the story from his perspective—a significant change from the film—creating a writing challenge.[109] The team also struggled to "incorporate meaningful interaction" that would be in the best interests of the game's quality.[109] For instance, in the film some characters are seen playing checkers, so members of the team wanted to add the game as a minigame, but it was eventually decided that the minigame did not advance the narrative or involve the story's characters, instead "stopping everything dead".[109] Instead, Miller designed a minigame with a time limit before Andy and his guests came into the room and made the "alarming discovery" that toys come to life when humans are not around; she said the minigame gave the players a sense of urgency and agency.[109] According to The Guardian, the game was published by Avanquest, a French software house known for releasing antivirus software,[110] though Wired wrote it was released via Disney Interactive.[111] The Seattle Times noted that for Toy Story Animated Storybook, "Faced with home computers' modest processing power, Disney's programmers had to limit the number of objects moving onscreen".[112]
While Steve Jobs was convinced the games would sell 10 million copies, on par with the sales figures of bestselling direct-to-video releases, Kerwin thought the games would not be as financially successful as the film because the gaming market had not reached that scale[30] and the audience for tie-ins was limited.[111] Together Storybook and Activity sold one million copies[30] and contributed to Pixar possessing $150 million by the second quarter of 1996.[113] CEO Lawrence Levy and entertainment analyst Harold Vogel described the games as successful.[113] However, the storybook failed to meet Pixar's expectations,[110] and "overall market for CD-ROM based interactive entertainment [had] not matured as many had hoped and predicted".[114] At the time, Pixar wanted to continue work on the then-made-for-home video Toy Story 2, but the entire studio only had 300 people: around 200 were working on A Bug's Life, and 62 were developing games at the Interactive Products Group.[115][111] Disney became unhappy with the slow progress of Toy Story 2, which was still in development.[116] Pixar needed artists to work on the films, so it borrowed them from the in-house division Interactive Products Group, thinking, "Why are we doing this? Let's just make the movies. That's where our passion is."[110] When Jobs was informed that the games would not meet sales expectations, he shut down the computer games operation and redirected the division's talent and resources to Pixar's main filmmaking division; the staff became the initial core of the Toy Story 2, which about to enter into production after a year of gestation,[30][115][117] while leaving any future CD-ROM efforts to Disney Interactive due to their marketing and merchandising prowess.[118] The dissolution of the division was preempted by the closure of Pixar's television-commercial unit in July 1996 so the team could focus solely on films.[113]
Jobs said that while Pixar staff enjoyed creating the titles, the studio chose to focus talent on films produced under its partnership with Disney, as that was "where [their] greatest opportunities [lay]".[111] The computer games operation dissolved on March 31, 1997, and no further games were made,[30][110][119] while Kerwin was assigned to start a shortfilm group.[30] Their first project, Geri's Game, was released alongside A Bug's Life and started a trend of shorts being paired with films.[120] Robertson Stephens analyst Keith Benjamin felt it "[made] no sense for Pixar to waste their scarce talent on CD-ROMs now that they have a better deal with Disney. They're going to concentrate on films because that's where the real money is".[111] Pixar co-founder Ed Catmull told Variety in 1999, that "[they] did the very best and only did fine financially" on the games, noting that the company spent as much on them as they did on films.[110] When asked in 2012 if Pixar would return to the gaming industry, Brave director Mark Andrews firmly said "no" based on his experience at the Interactive Products Group,[110] while the film's producer, Katherine Sarafian, said, "I don't think we would consider it now because we want to focus on the primary business of filmmaking".[110]
Creative Capers era (1996–1999)
In 1996, Media Station production ceased, and Lee joined Disney Online, where he designed games for Disney's online subscription product.[121] Its last product to be released was Hercules. Throughout 1997, Living Books' sales dropped while costs increased, facing growing competition from Disney Interactive and Microsoft in the animated storybook genre; as a result, its staff was laid off and the group was folded into Broderbund.[122] Disney also faced financial challenges, with titles that would have cost $1 or 2 million reaching $5–8 million.[66] Amidst other financial challenges, the company found that the success of games such as the Toy Story storybook lacked the flow-on in products such as 7th Level's The Hunchback of Notre Dame Topsy Turvy Games.[65] Teren left the company, 25 percent of its staff was laid off, and the studio moved back to a licensing model within the Consumer Products division.[66] At the time, while all console products were licensed, Disney mostly self-published PC titles, and educational games were still developed in-house.[19] Disney Interactive refocused on its core business of providing interactive CD-ROMs for 3- to 12-year-old children[65] and concentrated on leveraging film properties into multimedia products.[65] After Media Station's departure, the later titles in the Animated Storybook series were developed by Creative Capers Entertainment, which entered into an exclusive development deal with Disney in 1996.[123][124] They had previously provided animation work to Media Station's 101 Dalmatians Animated Storybook and offered animation, design, and art services for such Disney Interactive game titles as Gamebreak! Timon & Pumbaa's Jungle Games, Gargoyles, and Mickey Mania; this multi-year deal meant that Disney Interactive also had the rights to any new Creative Capers projects.[125][126] As a result, Creative Capers, which had also done work for films such as Tom and Jerry: The Movie, The Pagemaster and Thumbelina,[125] was in charge of Disney Interactive's animation production and product development.[75]
Throughout the first five months of 1997, Disney held 12 percent of the retail educational software market while The Learning Company held 18 percent; The Wall Street Journal asserted the success of Disney's games such as the 101 Dalmatians storybook had put financial pressure on its rival.[127]
Creative Capers had provided background art and animation for earlier entries, and took over development for later titles.[76] Coming from a film background, the company had to adjust their animation style for the projects as animations in the storybooks were displayed at around ten frames per second, much lower than feature films.[125] Creative Capers president Sue Shakespeare noted that "in games and Animated Storybooks, there's a purpose for every scene and you have to communicate that quickly using half or even a tenth the number of the frames. In Disney's Animated Storybook, the purpose is to deliver the look and feel and the story of the movie with just a tiny percentage of the animation you would have in a film."[125] Shakespeare enforced a rule requiring employees to avoid animating more than a third of the screen at once to prevent the game engine from overextending and causing jerky movement.[125] She also noted the games would be played on computers of varying qualities, and that they had to acknowledge these restrictions during design.[125] The goal was to create feature animation quality, but "at the CD-ROM level".[125] Denver Post noted that as the games were conceived from inside Disney, "developers seem to have unparalleled access to film content while the game moves through development".[128]
In November 1997, Disney Interactive released Ariel's Story Studio, the first in a "Story Studio" product line, where players could follow along with The Little Mermaid's storybook, or write, design and print their own.[129][130] It was followed by a game called both Mulan Story Studio and Mulan Animated Storybook.[12] In 1997, Disney rereleased The Little Mermaid as "counter-programming" to Fox's animated film Anastasia, which was set for release around the same time. The two studios were "scrambling to mine every potential dollar from their investment and make sure neither outdoes the other", so they competed in the video gaming space, with Ariel's Story Studio competing against Anastasia: Adventures with Pooka and Bartok.[131] Joseph Adney, Disney Interactive's marketing director, said, "What we're trying to do is go way beyond the movie by providing for the child to direct it".[131] According to Teacher Librarian, the game was produced by Disney Educational Productions, and was a part of their Disney Edu-Station website.[132][133] The game was included in Disney's Classic Animated Storybook Collection and four other games in the series.[134] Chicago Tribune reviewed Anastasia and Ariel side by side.[135]
Toward the late 1990s, other companies began to follow Disney's storybook series strategy.
Design
Gameplay
"Children can choose to see the sequences of the plot without any intervention or play the different pages that constitute the computer version of the story. On both sides of the screen, some characters offer additional possibilities or games or explanations of more difficult terms.
Super PC[147]
Players are encouraged to engage with the titles via interactive story-telling, discovery, and skill-building activities intended to provide fun yet educational experiences.
Some of the voice cast from the films reprised their roles for the games. In 101 Dalmatians, to appeal to 1990s audiences, technology was updated or added, including computers, video game consoles, larger screen television sets, and passcode-enabled security gates. This game also features a soundtrack of karaoke sing-along songs, which includes five new songs and a new recording of the original film's song "Cruella De Vil".
Ariel's Story Studio also has a "Create Your Own Storybook" feature that allows players to devise their own storybooks and print out the finished product.[149] Mulan contains more gameplay than other titles within the series; players look for scrolls across locations such as Mulan's house, the army camp, Tung Shao Pass, and the Imperial City. After the player finds all five scrolls and gives them to the emperor, they are made an official Imperial Storymaker, and given the ability to create original scrolls—their own animated storybooks.[150] The roleplay within minigames allows players to interact with scenes from the films.[18] In Hercules, the story is narrated in rhyming text, and allowed players to sing along to karaoke versions of songs from the film.[92] The games provide players with art, poetry, and literature to teach sequencing, vocabulary skills, creative writing and auditory discrimination, to sing along with Disney tunes, practice memorization, learn music appreciation, focus on literacy skills such as vocabulary and reading comprehension, and create artwork on desktop publishing software; additionally the series is "designed to enhance supplemental learning in the classroom, and to give young children practice with early childhood motor skills and language arts".[151]
Plot
"The animated story book, emulates an actual book but allows interactivity by the user with various objects on a page. The text can either be read to the user by a recorded voice as the words are highlighted, or read by the user. A click on an interactive 'hot spot' allowing user interface usually produces animation of some kind with accompanying sound.".
The Lion King animated storybook: A case study of aesthetic and economic power[18]
All the games' plots are abridged retellings of the animated films they are based on, with some plot elements changed or removed from their original counterparts.
Disney's Animated Storybook: The Lion King is based on the 1994 film.
Winnie the Pooh and the Honey Tree is based on the 1966 short film of the same name, and the game was the first of two Animated Storybook titles based on films included in 1977's The Many Adventures of Winnie the Pooh.
Pocahontas is based on the 1995 Walt Disney Animation Studios film of the same name, which told a fictionalised account of the relationship between Native American Pocahontas and Englishman John Smith in the midst of the European colonization of the Americas. Like in the film, the animated storybook video game follows Pocahontas and her friends Flit the hummingbird and Meeko the raccoon aim to prevent a war between British settlers and her Native American people. The game is narrated by Grandmother Willow, and features four activities.[152]
Toy Story is based on the 1995 film of the same name. Developed by a computer game development subsidiary of Pixar that existed at the time, it is the only Animated Storybook title to be based on a Pixar (and, by extension, fully computer-animated) film.
The Hunchback of Notre Dame is based on the 1996 Walt Disney Animation Studios
101 Dalmatians is based on the 1961 film of the same name and its 1996 live-action remake. The game is the only non-Winnie the Pooh-based Animated Storybook title based on a Walt Disney Animation Studios film that was made before the Disney Renaissance.
Hercules is based on the 1997 Walt Disney Animation Studios film of the same name.
Ariel's Story Studio was released as a tie-in to the 1997 re-release of The Little Mermaid.[154] Despite sharing the same style of gameplay and the same primary developer in Media Station, the game has never been released under the Disney's Animated Storybook name, although it is generally considered to be the eighth entry in that series. The game is sometimes known as Disney's Animated Storybook: The Little Mermaid as a result.
Mulan is based on the 1998 film of the same name, and was developed by Media Station and published by Disney Interactive. A PlayStation port entitled Disney's Story Studio: Mulan was developed by Revolution Software (under the name Kids Revolution,[155] and published by NewKidCo on December 20, 1999. This game was targeted toward a young female demographic ages four to nine.[156]
Winnie the Pooh and Tigger Too is based on the 1974 short film of the same name. According to The Washington Times, the game is a loose adaptation of The House at Pooh Corner chapters, "In Which Tigger Is Unbounced" and "In Which It Is Shown That Tiggers Don't Climb Trees".[157]
Release
Promotion
Debra Streicker-Fine, head of the marketing department for Disney Software, worked on the titles' releases.[158] The games had a variety of distribution methods, such as through retail outlets, mass merchants, software and specialty stores, and mail order catalogs.[31][159] In the first year of the series' history, advertising creative for Disney Interactive's Edutainment unit (under which the Animated Storybooks lay) was completed by Kresser Stein Robaire in Santa Monica, but on September 26, 1995, the contract was awarded to Foote, Cone & Belding in San Francisco; their first assignment was the campaign for Pocahontas Animated Storybook.[160] Meanwhile, the media portion of the account remained at Western International Media in Los Angeles.[160]
While Disney was new to the software industry, the company was used to putting large promotional campaigns behind its products. The marketing push behind The Lion King Animated Storybook included being "advertising in computer magazines and on television, sweatshirt and plush toy giveaways at select retailers, a sweepstakes offering a trip to Walt Disney World and a free 'Lion King' mouse pad in every package".
Promotion of Toy Story
Disney created a "multimillion-dollar marketing blitz" to promote Toy Story Animated Storybook, which included the "unchartered approach" of airing two 30-second TV spots television advertisement spots in 25 major markets.[179][180] Pixar created new animation specifically for the commercial.[179] While software company executives at the time did not see television ads as commercially viable, for the Animated Storybook series, Disney proceeded as it had strong ties with mass retailers (like Walmart and Target) and mainstream family appeal.[179] The title's launch was supported with "TV, print and direct ads and, on the Web, through a tie-in with Dial for Kids soap".[181] For the launch of Toy Story Animated Storybook, Disney Interactive offered a factory rebate and a website for its Hunt for the Lost Toy crossword puzzle contest,[94] within 22 days, entrants into the contest could win 10,000 free copies of the new title and register for a grand-prize lottery for a free trip to Walt Disney World in Florida.[94][182] In retail stores, Disney set up "elaborate POP displays featuring flashing lights and, in some cases, recorded Woody and Buzz voices activated by a motion sensor".[181] A 30-second trailer for the game was played in 15 million copies of the home video release of The Aristocats,[180] and Disney considered playing them in the Toy Story VHS too.[179] Full-page print ads in computer-specialty, family and general-interest publications began in mid-July, with customers able to purchase a Toy Story backpack for $4.95.[180] Features on the Toy Story Animated Storybook web site included "printout mazes coloring pages, connect-the-dots pages a product preview, screen shots and a printable form for a $5 rebate with the purchase of the Toy Story CD-ROM and two Dial For Kids bath products".[180] From May to June the website received more than 15 million hits, making it one of the top 10 sites on the Internet.[180] Disney sponsored demonstrations of the title in each Computer City's locations.[180] A toll-free telephone number was set up to provide consumer support six days a week for all Disney Interactive products.[180] The campaign continued until the Toy Story film was released on video in sell-through, with Toy Story Activity Center and the Toy Story Animated Storybook being featured in a trailer on the video release.[180] In addition, "[a] cross-promotion with Campbell Soup's Spaghetti-O's" was planned, as well as a cross-promotion with McDonald's to begin in November, at which time, a McDonald's activity book would feature a coupon offering consumers a free CD holder with the purchase of the StoryBook CD-ROM".[180]
Commercial success
Disney takes recognizable characters and movies and turns them into educational discs for kids quicker than you can say, "Jiminy Cricket". The strategy of building discs around big-ticket movies and well-known characters has paid off big.
— George Mannes, Daily News[183]
By February 18, 1995, Disney's Animated Storybook: The Lion King had sold 400,000 copies since its November 1994 release.
Critical reception
In general, later titles were more negative received than earlier titles. The Toy Story title was highlighted with critical acclaim and Ariel's Story Studio was nominated for Computer Edutainment Game of the Year at the first D.I.C.E. Awards, losing to Where in Time Is Carmen Sandiego?[199] The game also received a Best Educational Software award from DiscoverySchool.com.[200] In 1994, Media Station received the 1995 Michigan's Leading Edge Technologies Award for the inventions and applications that the company developed and used in The Lion King, Winnie the Pooh and the Honey Tree, Hunchback, and 101 Dalmatians.[32] Upon its release, The Lion King received "Pick of the Year" by Entertainment Weekly.[17] It also received the most votes for the 1995 Computer Retail Week in the Best Educational Software category, but it was disqualified for being released before January 1.[201] Parents reviewed Winnie the Pooh and the Honey Tree as part of their series entitled The best of 1995: Software.[202]
Gameplay and plot
"It seemed less like a book on CD-ROM and more like a scaled-down version of the movie."
PC Novice[203]
David Bloom of Daily News said that Mulan was "well-done", and thought the "greater strength of the program" was the inclusion of additional activities and games beyond the storybook, such as a dress-up room for Mulan to try on traditional clothing.[217] The Boston Herald thought the game was a mixture of "absurdly simple tasks" and "practically impossible ones" while finding the dialogue "repetitive" and "irritating".[218] Joseph Szadkowski of The Washington Post's favourite part of the game was the printable and customisable calendar.[219] Another reviewer from that newspaper wrote that the animated storybook video game series was "thoughtfully designed product marred by a few miscalculations that lessen its impact."[220] Tara Hernandez of AllGame praised the PlayStation version of Mulan for its graphics, sound, and characters; the site noted that achieving the title of Imperial Storymaker requires both "imagination and creativity" from the player.[221] IGN deemed it "curious" that Disney broke away from its previous platformer formula for its console games.[13] The Boston Herald reviewer Robin Ray offered a scathing review of Winnie the Pooh and Tigger Too, commenting that the game was "mangled", "dull", humourless, and had "simply bad design".[222] A reviewer from The Washington Post had a similar opinion, describing the game as "completely charmless", and that the "colorful, whimsical prose" of the source material had been translated into "leadenness".[223] Arizona Republic felt the later games lacked interesting gameplay and visuals.[224] The Los Angeles Times criticized Disney for contracting their games to independent studios, deeming the series a "mere imitation of Broderbund's Living Books format".[101] The study Talking Storybook Programs for Students with Learning Disabilities found that "Living Books programs appeared more comprehensible to students than the Disney programs".[225] The Washington Post felt the game offered a "Reader's Digest version of the plot".[226] Chicago Tribune said in regards to Tigger Too, "As cute as the program is, it lacks substance. The games are very basic on all levels and offer no surprises after repeat play".[227] MacUser felt the games contained "repetitive, uninspired content".[228] The Washington Post observed that kids ignored the text and played around with the onscreen hotspots and interactive games.[229]
Education and girl-orientation
The Exceptional Parent recommended the series due to allowed parents to "develop [their] child's interest in words and reading".[230] Daily News appreciated that some of the more difficult words came with their own poems to help players understand their meanings.[231] The Beacon News reported that a three-year-old girl "already knows more about computers than people several times her age" because the game reads to her and lets her interact with the story.[232][233] Daily Record praised Disney's creation of quality software in an untapped market, writing that through this series, the company "manage[d] to home in on a niche market others tend to ignore – the ankle-biters who can work a keyboard and mouse as efficiently as a rattle or a spinning top".[234] A review in The Austin Chronicle praised the inclusion of brain-stimulating puzzles and a thesaurus for "highlighted words in the narration", adding that its appeal to adults was "the true genius of a disk like this".[235] The Washington Post deemed it "a cut above" the standard for educational video games.[236] Rocky Mountain News reviewer Karen Algeo-Krizman felt the games would win over parents due to its educational value.[237] Edutaining Kids wrote that The Little Mermaid was the most "educationally valuable" out of the three titles included in the Disney Princess Jewelry Box Collection, along with Disney's Princess Fashion Boutique and Disney Princess Magical Dress-Up.[238] T.J. Deci of AllGame noted that the stories were presented as "colorful" adventures, and that the activities encourage players to acquire "good memory and pattern recognition" skills.[239] Upon the original release of The Lion King, Spanish newspaper Super PC noted the game's limited pedagogical use due to the English subtitles and dialogue, hoping that Buena Vista would release a Spanish version.[73] The New York Times felt the series was entertaining and educational without being didactic, as well as "wholesome and life-affirming".[240] Personal Computer Magazine felt the titles would delight fans of the films, but that parents would not be pleased with their lack of educational content.[241] Austin Chronicle appreciated the highlighted words to help children expand their vocabulary.[242] A pilot study at the University of Arizona, Goldstein (1994) found that "children, allowed to use animated storybooks on their own, never interacted with the reading component at all, only with the animated pictures".[18] Scholastic Early Childhood Today liked the "interactive theaurus" as seen in titles like 101 Dalmatians.[243]
SuperKids thought The Little Mermaid was a crowd-pleaser, and a nice entry in the edutainment category that would appeal to girls.[244] Rocky Mountain News gave the game a "tentative endorsement", and said that it helped to counteract the bias toward boy-oriented video games and offered an opportunity for "computer-savvy girls to cheer".[245] Lynn Voedisch of the Chicago Sun-Times described Pocahontas as a "girl-targeted CD-ROM".[246] The Age felt that Mulan saw a "departure from most of Disney's appeal-to-everyone efforts", and would therefore be of more interest to girls than boys.[247] The Sydney Morning Herald thought the "beautiful storybooks" and "gorgeous grotto" would make Ariel's Story Studio popular with girls.[248] The Chicago Tribune described Hercules as the anti-Pocahontas due to having boy-oriented games and activities.[92]
Audiovisuals
The first full-length Disney animated film to be adapted into an adventure game was The Black Cauldron; it was not until Disney's Animated Storybook that Disney achieved a "stunning visual quality" that was comparable to the theatrical films, according to Disney Stories: Getting to Digital.
Toy Story
Developed at Pixar Studios, who worked on the original rather than a third-party developer, Toy Story was frequently highlighted to have an audio-visual quality separate from other entries in the series. The Times Leader gave particular praise to Toy Story, and felt it was a "major jump in entertainment and new media technology, where we get a glimpse of the magic of bringing a feature film to home computers" due to its dance, glow-in-the-dark, and virtual flashlight sequences.[267] Detroit Free Press highlighted the title's "whiz-bang animation, that 'far surpass much of the stiffer animation of other CD-ROM games for kids'", but felt there was a missed opportunity for "imaginative interaction" was for players to create custom toys from parts like Sid.[268] El Paso Times wrote that Toy Story "delivers almost everything that made the movie special".[269] Entertainment Weekly praised the animation, noting "the sequences...(which so closely mirror those in the film) have an immediate, you-are-there quality", in comparison to other video game adaptions of movies which "present scenes from the original flick in a truncated, non-interactive manner that can be mildly off-putting for both kids and adults".[88] WorldVillage agreed that Toy Story was "a work of art".[270] The Washington Post said the absence of the film's two main stars "does not diminish the enjoyment" of the game.[271] The Buffalo News said the game "captures the spirit and humor of the film".[272] The Record thought the game had "first-rate production values".[273] Popular Magazine felt the visual results were "much the same as the film".[274] Macworld felt the "3-D imaging is superb for a children's edutainment package".[275] PC World felt the game's humor worked for children and adults.[276] In a negative review, The New York Times wrote that the game was like the film except less interesting, less detailed, simplified, and purported to be educational.[277] Andy Pargh from Design News said that it "features the best 3-D graphics and animated sequences I have ever seen on a computer program".[278] The Washington Post wrote the title offered evidence of more medium-appropriate software,[229] that the game was "a groundbreaker that takes so many liberties with the basic 'animated storybook' format", and "threatens to liberate the entertainment megalith from the profitable-but-inane 'storybook' format".[279]
Part of Disney franchises
"Computer-based books, because of their length, cannot include as much information as a film. In the Disney programs, sometimes there are gaps in the story, sometimes the story moves very quickly from one plot episode to another, and sometimes major plot elements are poorly explained."
Enhancing the Reading Skills of Students with Learning Disabilities through Hypermedia-Based Children's Literature[69]
Much of the discourse was around how the games fit into the larger Disney franchises. The Philadelphia Inquirer felt the series "illustrates the dangers of runaway cross-promotion", deeming it Disneymania at its most bland, uninteresting, mundane, stale, and wafer-thin, and accusing it of following the trend rather than setting it.[280] El Paso Times thought the titles' complete names – necessary to tie them into their franchises – came across as awkward.[269] On a positive note, The Post-Crescent felt the games could allow young audiences to remain in the fantasy adventure worlds long after the film credits rolled, calling it a "perfect digital playmate. filled with cartoon sequences and interactive content.[281] Daily News suggested that "both [Ariel's Story Studio and Anastasia: Adventures with Pooka and Bartok] can have lives lasting far longer than the movies will be in theaters".[131] Albuquerque Journal thought that 101 Dalmatians in particular may encourage "nostalgic blast bonding" of children with their parents who remember the 1961 film's original release.[282] Macworld agreed that the "biggest appeal is its connection to the movie".[275] French newspaper Liberation felt the series was "long, verbose, not very playful and ultimately not very interactive".[283]
Detroit Free Press felt that the games would only appeal to fans of their respective film inspirations.[284] Joseph Szadkowski of The Washington Times thought that the video games were a product line extension that served as an example of how Disney was "cram[ming] the movie...down the throats of unsuspecting consumers", although he said the graphics were "amazing".[285] A writer from Entertainment Weekly praised Disney's "slick" series of digital pop-up books.[286] PC Entertainment felt the edutainment games allowed their respective properties to "live on", though that they would only appeal to die-hard fans of the originals.[287] The Chicago Tribune felt the series was a way for Disney to flex its "synergistic marketing muscles".[92] When Toronto Star heard about the series, they were concerned that "they would flood the market with mediocre, repurposed products in a bald attempt to exploit their tremendous treasure trove of highly marketable and much-loved characters".[288]
The Washington Post felt the games were part of "merchandising empire[s] just as a good children's story should [be]".[289] Tekst.no: strukturer og sjangrer i digitale medier acknowledged that Disney had been adapting many of their cartoons into storybooks, describing their efforts as having "varying results".[290] PC Mag expressed surprise that the games, against all odds, were able to match the magic of the properties that preceded them, saying the game never gets tiresome.[291] The Los Angeles Times argued "Disney succeeded in spite of the problems with its games because of the extraordinary popularity of its characters and because the parents who buy the products trust the Disney name--and aren't necessarily looking for leading-edge technology".[101] Toronto Star felt that Disney had "perfected the edutainment CD-ROM formula" with the animated storybooks.[292] Computer Retail Week noted that success followed "virtually any title tied to a Disney movie".[22] Billboard described them as "Releases linked to established franchises-from hit movies to time-tested characters".[89]
Awards
Year | Nominee / work | Award | Result |
---|---|---|---|
1997 | Disney's Animated Storybook: 101 Dalmatians | Best Buy Award | Won[293] |
1997 | Disney's Animated Storybook: 101 Dalmatians | P & C Recommendation Award | Won[293] |
1997 | Disney's Animated Storybook: Toy Story | Technical Innovation Award: Best After Hours Product | Won[294] |
See also
Notes
- ^ WDCS also used the trade names Disney Software and Buena Vista Software.
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