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!