![]() If not, well, there are pictures! (and you can skip straight to the cool section) You might also want a copy of Noesis on hand to explore along with me. Hopefully you like technical talk, because I’m not holding anything back. That includes finding a plethora of unreleased material, and even re-implementing entire objects and enemies that had been removed by the time Aladdin saw its commercial release! I’m going to walk you through the journey and reveal my discoveries at each step of the way. I quickly started piecing processes together, and began working on getting the source code (which is written entirely in M68K assembly) built into a working binary. It’s also a large part of what made it such a joy to discover an archive featuring the complete source code for the game in the Video Game History Foundation collection! In addition to being a treasure trove of data, this archive represented a great opportunity for me to begin establishing standards for source code archival, curating practices, tool dependency tracking, and a lot of other process-oriented things at the VGHF.Īlmost all of the development tools and materials were still intact in this archive. This unique blend of artwork and technology is a large part of what gives Aladdin a special place in video game history. It did so not by leveraging any particularly fancy raster effects or obscure hardware techniques, but rather by pairing effective artwork and design with just the right technology. ![]() Aladdin’s beautifully hand-crafted, surprisingly well-quantized artwork set new expectations for many in the realm of what could be accomplished on Genesis hardware. Powered by what eventually became known as “Digicel” technology, along with a solid selection of middleware and some impressive talent, Aladdin managed to set itself apart from other Genesis titles of the era.
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