EDGE - - THE MAKING OF... - Steve Lycett Ex­ec­u­tive pro­ducer

Did you ap­proach work­ing with Sega dif­fer­ently this time?

With [ Sega Su­per­stars] Ten­nis, we never had di­rect con­tact with Sega Of Ja­pan; we only had feed­back via an in­ter­me­di­ary. For [ Sonic & Sega All-Stars] Rac­ing, I’d flown out at the start to try to get all the IPs ap­proved there, and again to­wards the end. For this one we said we’d like to work much more closely to­gether, so we made a trip once every cou­ple of months. It worked re­ally well, to the point where if I ever did it again I’d fol­low ex­actly the same process. They love their games and they love their IP. Peo­ple prob­a­bly look at Sega and say, ‘Why don’t they make the old games again?’ They’d love to keep mak­ing those games! [Laughs]

Was Sega sur­prised at any of the prop­er­ties?

Burn­ing Rangers did throw them a lit­tle bit. The main rea­son we picked that was be­cause I’d been to see Richard Jac­ques and he was des­per­ate to do the theme tune for it! From the start, we wanted to get that in just for the mu­sic.

How was the AGES ve­hi­cle con­ceived?

What I wanted to do was ac­tu­ally have a se­lec­tion of dif­fer­ent [trans­for­ma­tions]. So the car would be the Day­tona car, or the Fer­rari from Out­Run or the Su­per Hang-On bike. The plane was al­ways go­ing to be the Af­ter Burner jet, or maybe the Space Har­rier guy or the Galaxy Force II space­ship. It’s re­ally easy to find rac­ing games and fly­ing games in the Sega uni­verse, but the boat was [harder]. Andy wanted a Vir­tual On robot on a surf­board, but no­body un­der­stood why he was surf­ing. We even had a de­sign based on Sega Bass Fish­ing where you were a guy fish­ing for a bass and it was pulling you along!

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