Game Packaging: A Look to the Past When Treasures Beyond the Game Were Within the Box

Bill Loguidice's picture

Author and Photography Credit: Bill Loguidice
Editing: Christina Loguidice
Online Layout: Buck Feris
Notes: All photographs were taken directly of the actual products in the author's private collection, except where otherwise noted
Special Thanks: Josh Larios, C.E. Forman, Dave Aston, Matt Barton, Buck Feris

Gamers who aren't familiar with classic games may wonder why anyone would be interested in an article on game packaging. Today, game packaging's highest function seems only to be for holding the game itself, be it on DVD, CD or some type of cartridge, with maybe a thin manual as an accompaniment. The outer packaging, besides revealing the game's title, also serves to describe any system requirements, features, basic storyline or premise, and to show a few screenshots. In the early days of game publishing, many companies invested great effort not only in the design of their games, but also in the way those games appeared on store shelves and what was included in the box. This article's intention is to describe this lost art of innovative game packaging from the early to mid-1980's, when there seemed to be an abundance of real thought and care behind the customer's experience beyond the software itself.

In the earliest days of home computing - the mid-1970's - games were usually distributed by hand on floppy disk and shared between members of user groups at computer club meetings. Little attention was paid to packaging and manuals, especially since most of these works were never intended for sale. By the late 1970's, there were limited mail order distribution channels through the few computer and hobbyist magazines that were around at the time, and a handful of stores that would stock these amateur games in Ziploc® bags with photocopied play instructions, often featuring crudely drawn artwork (Richard Garriott's Ultima-series predecessor, "Akalabeth", being a famous example). In fact, there were many parallels - including target audiences - to pen and paper wargames, which, at the time, were also packaged similarly when large companies weren't involved. By the early 1980's, as small development and publishing companies started to form based off the noticeable success of some of these early computer gaming endeavors - and the underlying technology began to grow relatively more sophisticated - so to did the packaging.

While it must be remembered that the statements throughout this article all have exceptions, especially in that there was poor packaging in the past, and, alternately, there is some great packaging today, since the actual visual output of early computer games was fairly limited, the packaging back then was sometimes a way to make up for these failings and help absorb the player in the software's universe. After all, if a game consisted of only text and no visuals, for instance, how else could you properly attract a potential buyer? As a result of situations like this, game packaging was often a work of art, with elaborate hand-drawn or painted box covers, detailed manuals, and frequently, well-crafted additions such as gameboards, maps, reference posters and counter pieces, which are often casually referred to as "feelies". Furthermore, while this discussion of game packaging will focus mostly on computer game packaging since that often had the most intriguing elements and the more hardcore audience to cater to, videogame packaging - though to a far lesser degree due to generally less complex game subjects and an arguably more mainstream audience that didn't necessarily care about external game elements - also had some standouts. Productivity and educational applications, while obviously not game-related, will be covered briefly as well, simply because the packaging of such software ran parallel to what was happening in the entertainment side of the industry.

We'll begin our discussion by examining external packaging. As mentioned previously, early computer packaging often had elaborate, hand drawn artwork, whether original or adapted from elsewhere. While artistic creations could have been made via computer even then, color, resolution and output capabilities made the idea impractical, though there were exceptions, such as some of the product that used in-game screenshots from Penguin Software (later Polarware), a company whose slogan was "the graphics people". For most companies though, which used traditional artistic methods from traditional artists, the end results were what one would expect-eye catching works of unique art. Today, between the use of automated computer tools, the ease of photo-realistic image integration, the quality of in-game visual assets being recyclable for use on the packaging, the stylized influence of anime' and smaller box sizes, there seems to be less room for real creativity. Adding in the fact that the packaging materials themselves have become externally more slick and polished with the use of modern manufacturing methods, the impact on the eye has further gone down in this sea of almost universally glossy exteriors.

In regular use from the early to mid-1980's, "bookshelf" games - with their oversized boxes - from companies such as Avalon Hill Microcomputer Games, Infocom and Strategic Simulations, Inc. (SSI), were ideal canvases for artists to create something special. Over time, as costs rose and the battle for shelf space became ever more competitive, the switch to smaller box sizes signaled the beginning of the end for the artist's canvas. These days, the era of specialty sizes of boxes is long past. There is little difference between Sony PlayStation 2, Nintendo GameCube or Microsoft Xbox packaging besides a few labels on their DVD keep cases. Furthermore, now that mainstream PC games are released only in small-form boxes or DVD keep cases themselves, even computers, the traditional home of more complex gaming that could benefit most from detailed packaging, are no longer artistically friendly. Unfortunately, this type of shrinkage has plagued many industries and seems to be a natural process, such as when consumers' preferred music medium switched from large record albums to small CD's, or as seen in the complaints of comic strip artists, whose work has been scaled into increasingly smaller spaces in the daily newspapers.

In Steven L Kent's "The Ultimate History of Video Games" book, a passage describes how Trip Hawkins, then of Electronic Arts (EA), found the packaging situation of the early 1980's "laughable" and how he applied his marketing knowledge to create the famous "album covers" that all the company's early software utilized. Although other companies, like Accolade and Taito, would later adopt this format, EA was the originator, which created a strong brand identity. While this type of packaging no doubt helped to attract buyers - again, oversized palettes are good - and as with the equivalent for record albums, the format was friendly to the thin 5.25" floppy disk mediums of the time, the downside was that internally there was little room for much more than a manual, reference card, password protection wheel and the software itself. There were no CD's at the time, so the packaging from companies like EA was modeled on what was contemporary. It seems that later, in the age of CD- and DVD-based videogames and computers, that process was followed to its logical conclusion, with packaging externally indistinguishable from their CD music and DVD movie counterparts.

Regarding the inside of these game boxes, again, bookshelf-style packaging was the best because it offered depth in addition to width, but in reality, any size box that was deep enough was often sufficient for special content. For game developers like Richard Garriott, who had very specific requirements from publishers for his games, such as the inclusion of things like cloth maps, coins and metal artifacts, a deep box was essential. Companies like Garriott's own Origin Systems and the aforementioned Avalon Hill Microcomputer Games, SSI and especially Infocom, were masters at these types of inclusions, but there were many other companies that developed great packaging during the same era.

It is no exaggeration though to state that for many, the ultimate packaging overall with the best inclusions was definitely for Infocom's text adventures. These games were pure text, pure imagination and were comparable to novels that a reader interacted with. Because the consumer couldn't sample the "pages" of the game - a screenshot of text would be worthless in context - the packaging that was created was some of the most imaginative ever and is still among the most sought after by collectors. The early versions of "Zork", which was the company's first product, started out very simple (think Ziploc® and 8" floppy disks), but later games set an incredibly high standard. Deadline's police folder and documents, Starcross' plastic flying saucer packaging and map, Suspended's recessed plastic face mask (with creepy eyes), Planetfall's brochure and I.D. card, Wishbringer's pink "wish" stone, The Hitchhiker's Guide to the Galaxy's peril sensitive sun glasses and fluff, and Ballyhoo's circus ticket, were just a few of the many examples that helped to bring these pieces of interactive fiction to life. Infocom as a company knew that the game packaging and inclusions were useful in adding to the interactive experience on the computer. These days, the game itself and system's hardware is what provides nearly all of the end user's experience.

Now that computer games are generally released in small boxes or DVD keep cases, the era of the inclusion, like the era of cover art, is also long past. In fact, we may be seeing the continued devolution of detailed manuals as well, furthering the synergy in the modern era with videogame systems and how their games are documented. In fact, a cynic might suggest that manuals are so inadequate simply to sell more hint books and walkthroughs.

As game technology became more realistic and visual, and games began costing more to produce in a competitive market, less time and money seemed to have been spent on the packaging. Boxes became smaller and simpler, and manuals less involved, with progressively fewer inclusions. In fact, by 1985, some of the best companies, like SSI, moved to smaller and more standardized packaging. Even Infocom had eventually moved to a standardized package for all its games.

While the industry moved fairly quickly from Ziploc® to bookshelf games, the golden age itself was relatively short. In fact, with the introduction of CD-based games, there seems to have been a significant step back. By the time the CD-ROM was becoming a standard, on-disc documentation became a reality, with boxes that often contained only a CD within a jewel case or paper sleeve.

Atari 8-bit computer cassette tapes, with their synchronized voice, visuals and sound, could be considered the basic precursor to modern multimedia CD-ROM's. Unlike today's multimedia CD's however, the packaging was still important, often coming in handsome bookshelf boxes that contained workbooks and other thoughtful add-ins. The same is true for the original versions of products like "WordPerfect", "GEOS", "Microsoft Word" and "AppleWorks"—really any early productivity package. All had tremendous packaging, with deep boxes and hefty manuals. Today, however, most manuals or help is of the "online" or in-system variety. The parallels to the game world can't be ignored, but ultimately, this is not about productivity packaging, this is about game packaging, which brings us to our final analysis, videogames.

Cartridge games up until systems like the Sega Master System (SMS) and NEC's TurboGrafx-16, were generally packaged in cardboard boxes. The durability was in the medium the game was on, not the packaging. There were regional exceptions, such as plastic cases from CBS ColecoVision for non-North American territories; however, for the most part, early packaging in the US was not an art on game consoles.

In the history of game consoles, as with solid outer packaging, inclusions have been rare. Exceptions include Magnavox's Master Strategy series of games for their Odyssey2 system, which were innovative combinations of an onscreen videogame and off-screen boardgame in oversized packaging, and Atari's mini-comics, which shipped with games like "Defender" and "Berzerk" for their 2600 Video Computer System (VCS).

Up until the Nintendo Entertainment System (NES), most videogames produced were simple enough to only need the briefest of instruction manuals. From the NES forward, particularly as technology continued unabated, certain strategy and role-playing games, for example, required more detailed instructions. For the most part though, thicker manual or not, there were no changes in box sizes; it was the standard size for each brand of console or nothing. These days, in-game tutorials - interactive or not - have taken the place of detailed manuals. Manuals essentially consist of text and command summaries. Cut scenes (movies) now tell the story rather than the manual or other in-box inclusions. Most users - meaning the mainstream, the casual, the "average" consumers - probably never really read manuals anyway and modern games certainly cater to that idea. Early computer games targeted a more hardcore audience - the early adopters as it were - that appreciated hardcore packaging and materials. As the audience for gaming expanded and development stakes increased, there was less of a need for fancy packaging since a smaller percentage of consumers demanded it, particularly as in-game audio-visual content became more sophisticated.

What the average gamer looks for in today's games are "Easter Eggs", which is the term for hidden areas, secrets or other "locked" content in-game. What used to consist of one or two surprises or bonuses per game now constitutes a major portion of the appeal for many, as in the discovery or unlocking of these secrets being part of the gameplay. Whether it's EA's Madden football series of games and their "Madden Cards" or Midway's Mortal Kombat: Deadly Alliance's over 600 "Koffins" containing hidden content, these virtual bonuses take the place of the past's physical add-ins. It's no wonder then that the casual gamer has no desire for fancy packaging—there's plenty of flash and "substance" in-game.

It's been stated before and I'll state it again—hardcore gamers appreciate hardcore packaging, with unusual boxes and a handful of feelies. This audience still gets appealed to on occasion - the collector, the nerd, the fan boy, the obsessive player - but the prices for these deluxe versions or special editions are often beyond the realm of the casual. Today, hardcore packaging - if available at all - has a hardcore price. There are still tens of thousands of hardcore gamers like in the past, it's just more profitable to go after the hundreds of thousands of mainstream consumers instead.

In some ways, today's force feedback and rumble technologies still provide that physical or tactile link to the game and its virtual environment. Classic packaging certainly had a decidedly tactile feel, with more things to touch and physically interact with beyond a computer or controller. In the past, if players had a computer or even a game machine, they were probably more hardcore than the modern equivalent; they were probably stereotypically "geeky" and part of the audience that would appreciate hardcore packaging and content that required more of a time investment, as the computers of the era certainly did. It was much more of a hobbyist environment than it is now. Again, that audience is still there today, but it is less appealing to mainstream publishers when there is a huge percentage of the buying audience who wouldn't even consider buying anything that might seem overly complex, with "too much" stuff in the box. At best, today we have the collectible, but there was a time, that golden era, when a normal game could have it all. For the future, we can only hope that on-demand publishing becomes more cost-effective and we can once again experience one of the many forgotten elements of gaming's best, and the average consumer demands more.

- End -

What follows is a visual description of some of the package types covered in this article.

A selection of early Avalon Hill Microcomputer Games bookshelf-style boxes. Avalon Hill was experienced in fancy packaging from their many years developing sophisticated, hardcore boardgames, which many of their computer products were directly based on. Unfortunately, this experience usually did not translate into good software.


"Legionnaire", a bookshelf-style game from Avalon Hill with a very artistic cover, was designed ostensibly by "The Award Winning Atari Designer" (Chris Crawford, a fact Avalon Hill should have simply stated), as quoted from the back of the box. Also on the back of the box and rare for Avalon Hill at the time was a screenshot, something they usually avoided because most of their early games had no or low resolution graphics.


"Dnieper River Line", another bookshelf game from Avalon Hill, with a deluxe gameboard and punch-out counter pieces. Early software from this company often contained versions for computers such as Apple II, Tandy Model I/III, Atari 8-bit and Commodore PET, all on the same cassette.

Strategic Simulations, Inc. (SSI), created game boxes as good as any company of their era, even when they switched from bookshelf-style packaging (like "Computer Ambush") to the smaller form boxes (all others pictured) around 1985 (similar in size to many modern PC games). Awesome cover art was an SSI trademark, and the image was usually carried over directly to the manual ("Phantasie" manual shown without box).


A closer look at SSI's "Computer Ambush". SSI would supply grease pencils (far right) with some of their games to write on included laminated maps (center). In cases like this, with large inclusions, the bookshelf packaging was used to great effect.


Electronic Arts (EA) were the innovators of the record album-style boxes. The thinness of this style of packaging was in sharp contrast to the depth of other box styles, to the point where games like "The Bard's Tale - Tales of the Unknown", would include things like maps on the inside cover of the package in order to maximize the usable space. Other companies would later adopt the format for all or some of their products, like Taito ("Arkanoid") and Accolade. Accolade was notable for promoting their designers directly on the packaging, just like EA originally did. In addition, Accolade, much like Penguin Software/Polarware, often featured actual screenshots on the front box covers showing off their state-of-the-art graphics.

Infocom, the company with arguably the greatest overall packaging, supported a tremendous number of computer platforms, though not in the same box as was the case with Avalon Hill. "Infidel" is shown here in the box size the company eventually standardized on. An "authentic" journal, letter and envelope with stamp, notes, and map were all included, and added to the immersion. All other games from when Infocom was an independent company would receive similar treatment.


Infocom's infamous original "Suspended" packaging. Later versions would lose the plastic mask, but this was the real thing and certainly helped add to the Infocom legend. The inclusions can be seen in the picture of the back of the box to the right. (Photo credit David Sinclair and Julian Linder, courtesy of Josh Larios at http://infocom.elsewhere.org/ (Infocom Games Playable Online))


It's obvious why truly deluxe packaging, like Infocom's "Starcross", pictured above, was produced only for a handful of games and in such limited quantities. Besides the relatively high cost of manufacture, packaging like this often needed premium locations on store shelves because of their unusual shape or size requirements. The inside of Starcross' package included items like a ship's log book and space map. (Photo courtesy of C.E. Forman at www.yois.biz (Ye Olde Infocomme Shoppe))

Our last photograph of a true Infocom release is "Ballyhoo", which, while considered one of their weaker games overall, nevertheless had a deluxe packaging treatment worthy of many of their best releases. Included with the software were a double-sided circus admission ticket with punch-outs to indicate 'male' or 'female', a balloon, an instruction manual attached to the box masquerading as an official circus souvenir program and a double-sided 'Dr. Nostrum's Extract' postcard advertisement.


Fold-out, flap-out and album-style alternatives were also popular. "Dragonworld", which included an interesting window adhesion sticker, was from Infocom competitor Trillium/Telarium, whose games featured an advanced parser and nice graphics. "Star Trek The Kobayashi Alternative" was a multi-window take on the text adventure from Simon & Schuster, which took advantage of their background in books to create a nice hardcover, book-like package with spiral bound pages. "Swords of Twilight" featured EA's eventual use of more traditional packaging, forgoing their trademark flat album-style. The pictured "Leather Goddesses of Phobos" was actually the Mediagenic (what used to be Activision and eventually became Activision again) "budget" version of Infocom's original release and did not feature the 3D comic as an inclusion. Finally, Melbourne House's "The Living Daylights" was not only a mediocre game, but did little to take advantage of the multi-fold format. Of course, over the years, many games on every platform have wasted potential in their packaging.


Origin Systems Inc., under the direction of Richard Garriott (a.k.a., Lord British), aggressively challenged Infocom for the best packaging crown. On individual releases, like the Ultima games or "Autoduel" (pictured), Origin was hard to beat. Garriott and Origin, unlike other big names at the time, relied on different companies to publish their games, but only under strict terms, particularly in regards to inclusions. In the case of Autoduel, the publishing honors went to Broderbund.

"Space Rogue", Origin's somewhat obscure predecessor to its popular Wing Commander games and likely inspired by Firebird's "Elite", featured a wealth of inclusions and was an incredible example of what a game could be outside of the actual software. Everything - except for the very 1980's-styled space jock on the cover - screamed quantity, quality and attention to detail.


Origin became known for including metal artifacts and cloth maps in the company's games, but sometimes included other fun incidentals like the black and white headband pictured here for "Moebius".


"Elite", from Firebird, is considered one of the crowning achievements of 8-bit computer programming. As the picture illustrates, there were a lot of interesting items in the box as well, including a keyboard overlay and bizarre copy protection device (the red optical lens in the lower left of the photo). "Echelon" from Access, a company who always tried to do interesting things with technology, not only included a large map, thick manual and keyboard overlay, but also provided a simple voice "recognition" headset called "The LipStik", which really acted as a joystick's second fire button (something the game's platform, the Commodore 64, didn't offer).

Computer game packaging, unlike most of the ones for videogame consoles, came in all shapes and sizes. However, interestingly, if a game came on cartridge for computer it was likely to approximate the same size box as its videogame counterparts (see "Clowns" and "Pipes" for the Commodore 64 and "Journey to the Planets" for the Atari 8-bit). Elsewhere in the photo is Muse's 1981 "Robotwar" for the Apple II, which, while not exactly in Ziploc© packaging, came close, with little more than a fancier manual separating it from its slightly older cousins. "Dave Winfield's Batter Up!", also for the Apple II, came in a plastic snap type of case, a format which made an occasional appearance from a variety of publishers on several different platforms.


Educational and productivity applications released before the introduction of the CD-ROM often came in deluxe packaging, with either thick manuals or workbooks as accompaniment. As the picture demonstrates, plastic snap cases were considered the most appropriate formats for these types of products by some publishers, like Coleco and Atari.


Another example, this time from Commodore for their Vic-20, of educational software in oversized packaging and a full-color comic book style workbook. In terms of educational products, "Gortek and the Microchips" was unusual in that it even came with an inclusion, an "I program with Gortek" sticker.

"Quick Brown Fox" was an early word processor for the Commodore 64 that came on cartridge and was accompanied by a data cassette with workbook files. The instruction manual came in a nice brown three ring binder that slipped nicely into the oversized cardboard bookshelf-style box. "GEOS", from Berkley Softworks, was an early Windows/Macintosh-like graphic environment and operating system for the Commodore 64 and 128. Besides a hefty manual, the GEOS package included a plastic overlay that was used as a drawing guide for the software's geoPaint module.


Desktop publishing programs today usually include a simple manual and CD. Broderbund's original "The Print Shop" actually also included paper and envelopes in its imposing box. "WordPerfect Works" and "More", both for early Macintosh systems, are actually just mid-size examples versus how deep boxes were for higher end productivity applications (yes, the manuals, and thus boxes, got even thicker!).


Generally speaking, videogame packaging before the CD-ROM came in cardboard boxes of roughly the same size. Even Sega Genesis cartridges, which for the majority of the system's lifespan came in plastic cases, eventually downgraded to cardboard packaging (see "F-15 Strike Eagle II").

Coleco software for both the ColecoVision videogame console and Adam computer came in a variety of box types and designs. For arcade conversions on the ColecoVision, the packaging design was like "Space Panic". For original games, the ColecoVision package design was similar to "Tarzan". For Adam arcade conversions on data cassette, interesting arcade-shaped boxes like "Donkey Kong" and "Zaxxon" were created. "Nova Blast" from Imagic is shown in that company's famous silver, shiny box, which appeared across their product line for a variety of platforms. "2010", from Coleco, was a text adventure on data cassette for the Adam that came in a nice, slightly oversized plastic case. Only a handful of non-Adam-specific games, like "Fortune Builder" (not pictured), would come in similar packaging. "Pepper II", as pictured, is the non-US CBS ColecoVision version of the game in a plastic snap case that was available for a short time to US consumers via mail order companies after Coleco pulled out of the videogame business in the mid-1980's.


The videogame overlay was usually reserved for those consoles that had controllers featuring keypads in order to offer a quick command reference in a useful location. Alternately, as with most software for the system, the "Mine Storm" overlay for said game on GCE's Vectrex went directly over the unit's monitor screen and not only provided a command reference, but helped to enhance the visuals as well. Many modern games could easily put this type of command summary information on screen at all times, but few exercise the option. Note the score pad that came with Coleco's "Super Action Baseball". Modern sports games track statistics for you, but older console games didn't, so this game came with that rare inclusion for this category of product.


Magnavox's "The Quest For The Rings" for the Odyssey2 videogame console was part of the company's "Master Strategy" series of games that combined on-screen action with boardgame-like play. The end result were games in beautiful, oversized packaging with interesting inclusions.

Later videogame systems, starting with the Sega Master System (SMS), began to feature plastic storage cases (though in the case of the SMS, also some of ugliest cover art). CD-based videogame products would start out in either oversized plastic or cardboard cases, but eventually, as with games for Sony's original Playstation, end up in standard and smaller CD jewel cases. NEC's TurboGrafx-16 products, while not CD-based, were among the first game products to use CD-style jewel cases. As with cardboard's tendency to get crushed, CD jewel cases tended to crack. Plastic DVD keep cases which are the standard on today's videogame consoles and are making headway in the PC world, are probably among the most durable of all formats tried to date. It's unfortunate then that DVD keep cases are fairly limited in regards to what can fit within the box.


Packaging for portable videogame systems has almost universally been small in all ways. This category of product is understandably undersized, but unfortunately limits anything interesting from being in the boxes beyond a manual and software.


Atari's PC CD-ROM game, "The Temple of Elemental Evil", features the now standard box on that platform, but with a nice swing cover that features attractive, raised artwork and includes a spiral-bound instruction manual. The CD software came in the pictured paper sleeves. Unfortunately, while this is one of the better modern examples (like Take2 Interactive's "Max Payne 2: The Fall of Max Payne"), for this type of game it's still a long way away from the best of what used to be.

Infogrames' "Sid Meier's Civilization III" came in a standard boxed edition (not shown) and the pictured limited edition, which features a collectible tin and an extra CD of bonus video content. As with other products of this type in the modern era, this special edition costs more than the standard version, while offering little incentive for purchase beyond the previously established hardcore fan-base.

Comments

Bill Loguidice
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Memories

This was among my very first articles for Armchair Arcade, for the very first issue. I was always proud of it, but can see how amazingly crude it is now. Lots and lots of experience makes a HUGE difference. One day I'll have to do this over, properly, and I can certainly include quite a bit now from the 70's and early 80's (like Zip Loc bag stuff).



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Bill Loguidice, Managing Director | Armchair Arcade, Inc.

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yakumo9275
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Joined: 12/26/2006
all my HK/Asian DC games are

all my HK/Asian DC games are standard jewel cases which is nice. but cuts down what they can put inside in the way of extras :(

-- Stu --

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Mark Vergeer
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Joined: 01/16/2006
Game packaging in the Netherlands / Europe

Game Packaging in Europe was a different thing when you compare it to US/Japanese game packaging.

Take a look at PAL playstation discs. PAL games just had weird shaped cases, a lot thicker than your regular cd-jewel-case. They were a lot less sturdy too so a lot of PAL games end up having broken cases.
PSX Tintin PAL

The Dreamcast PAL game disks were also housed in the most weird type of game case, of course again not a standard cd-jewel-case but a flimsy light-blue case with a very easy to break lid.
Dreamcast PAL - discs

Then there's Saturn games. The PAL games came in an awful part carton-part plastic case the sort of resembles a dvd-box in size, only thicker. The notch on which to place the disc for storage often became too loose so that you ended up with flying game discs. Some PAL releases came in plastic cases resembling the later PSone playstation cases.

Thank god PS2, xbox, xbox360 and PS3 discs come in standard format cases.

Here's two shots of PAL PSX and Saturn collections
PS1 Games

Saturn games - Pal



Editor / Pixelator - Armchair Arcade, Inc.
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