Space Channel 5

Template:Short description Template:Good article Template:Use mdy dates Template:Main other{{#invoke:infobox|infoboxTemplate | child = | subbox = | bodyclass = ib-video-game hproduct {{#ifeq:|yes|collapsible {{#if:|{{{state}}}|autocollapse}}}} | templatestyles = Infobox video game/styles.css | aboveclass = fn | italic title =

| above = Space Channel 5

| image = {{#invoke:InfoboxImage|InfoboxImage|image={{#invoke:WikidataIB |getValue|rank=best|P18 |name=image |qid= |suppressfields= |fetchwikidata=ALL |onlysourced=no |noicon=yes|Space Channel 5.PNG}}|size=|sizedefault=frameless|upright=1|alt=|border=|suppressplaceholder=yes}}

| caption = {{#if:Space Channel 5.PNG|European Dreamcast box art|European Dreamcast box art}}

| label2 = Developer(s) | data2 = Sega AM9Template:Efn

| label3 = Publisher(s) | data3 = Sega
PlayStation 2Template:VgreleaseGame Boy Advance
THQ

| label4 = Director(s) | data4 = Takashi Yuda

| label5 = Producer(s) | data5 = Tetsuya Mizuguchi

| label6 = Designer(s) | data6 = Takumi Yoshinaga

| label7 = Programmer(s) | data7 = Hitoshi Nakanishi

| label8 = Artist(s) | data8 = Yumiko Miyabe

| label9 = Writer(s) | data9 = Takumi Yoshinaga

| label10 = Composer(s) | data10 = Naofumi Hataya
Kenichi Tokoi

| label11 = Series | data11 = Space Channel 5

| label12 = Engine | data12 = Template:If first display both

| label13 = Platform(s) | data13 = Dreamcast, PlayStation 2, Game Boy Advance

| label14 = Release | data14 = Template:Collapsible list

| label15 = Genre(s) | data15 = Music

| label16 = Mode(s) | data16 = Single-player

| label17 = Arcade system | data17 = Template:If first display both

| data30 =

| below = Template:EditOnWikidata

}}Template:Main other{{#invoke:Check for unknown parameters|check|unknown=Template:Main other|ignoreblank=1|preview=Page using Template:Infobox video game with unknown parameter "_VALUE_"| alt | arcade system | artist | caption | border | child | collapsible | commons | composer | designer | developer | director | embedded | engine | fetchwikidata | genre | image | image_size | image_upright | italic title | modes | noicon | onlysourced | platform | platforms | producer | programmer | publisher | qid | refs | release | released | series | state | subbox | suppressfields | title | writer }}Template:Main other{{#if:Space Channel 5.PNG|}} Space Channel 5Template:Efn is a rhythm video game developed and published by Sega for the Dreamcast. It was later ported to the PlayStation 2 and Game Boy Advance. Following space-faring reporter Ulala as she investigates an alien invasion, players engage in rhythm-based combat where Ulala mimics the actions of rivals in time to musical tracks.

The game was conceived by Tetsuya Mizuguchi, who was told to create something aimed at a female audience. Production lasted two years, with a staff of around 20 that included company veterans and newcomers to game development. The music, composed by Naofumi Hataya and Kenichi Tokoi, drew inspiration from big band music. Ken Woodman's "Mexican Flyer" had informed the musical style and acted as the theme song. The overall style was influenced by culture from the 1950s and 1960s, and the later music videos of Peter Gabriel and Michael Jackson, the latter having a cameo appearance in the game.

While the game was released to low sales, it received generally positive reviews; praise focused on its music-based gameplay and art direction, but it was also faulted for its short length and syncing issues with the graphics. The PS2 version met with similar praise, with many recommending it due to the low selling price. The GBA version, subtitled Ulala's Cosmic Attack, saw lower scores due to technical shortcomings. The game has since spawned a series of related games and media, beginning with the sequel Space Channel 5: Part 2, released in 2002 in Japan and 2003 worldwide.

Gameplay

File:SC5 screenshot.jpg

Ulala battles rival reporter Pudding during a "boss" encounter.

Space Channel 5 is a music video game in which players take on the role of Ulala, a reporter working for the titular news channel in a 1960s-styled science fiction future filled with competing news channels. When an alien race called the Morolians begin attacking, Ulala simultaneously reports on the events, fights off the threat, and clashes with rival reporters.<ref name="SP5story"/><ref name="OPS2UKreview"/> The invasion is revealed to have been staged by Space Channel 5 boss Chief Blank to drive up ratings for the channel. With help from fellow reporters and support from her fans, Ulala defeats Blank.<ref name="SC5"/>

Players control Ulala through four stages;<ref name="IGNinterviewA"/> real-time polygonal character models and visual effects move in sync to pre-rendered MPEG movies which form the level backgrounds.<ref name="IGNpreview"/> All gameplay has Ulala mimicking the movements and vocalisations of her opponents (compared by journalists to the game Simon Says).<ref name="OPS2UKreview"/><ref name="IGNpreview"/><ref name="SC5specialGS"/><ref name="DCMag"/> Actions are performed in time to music tracks playing in each section of a stage.<ref name="SC5manual"/> There are six buttons that match actions on-screen; the directional pad buttons, and two action buttons (A and B on Dreamcast and Game Boy Advance (GBA), Cross and Circle on PlayStation 2) which are presented with the vocalization "chu".<ref name="OPS2UKreview"/><ref name="SC5manual"/><ref name="IGNgba"/>

Levels are split between "dance" areas and shooting areas.<ref name="SC5manual"/> During dance sections, Ulala mimics actions and shouts of "chu" from enemies, with successful actions boosting a "Ratings" meter in the lower right corner of the screen.<ref name="SC5manual"/> In combat, Ulala must shoot at and defeat enemies, and also rescue hostages with the other action button.<ref name="IGNpreview2"/> After either a dance or combat section, Ulala is joined in her progress by the people she rescued.<ref name="IGNpreview"/> During boss battles, Ulala has a health meter represented on-screen as hearts; a heart is lost for each mistake. If Ulala makes too many mistakes and loses all hearts during boss battles, fails to meet the minimum rating requirements, or causes ratings to drop to zero by missing or failing actions, the player reaches a game over and must restart.<ref name="OPS2UKreview"/><ref name="SC5manual"/> The game features a new game plus option, where players can begin a new game using a completed save file. Depending on the current rating, alternate routes are unlocked and new enemy patterns appear.<ref name="SC5ngplus"/>

Development

File:Tetsuya Mizuguchi.jpg

Tetsuya Mizuguchi, founder of AM Annex, which later became United Game Artists

The concept for Space Channel 5 originated when Tetsuya Mizuguchi—then known for his work on racing games—was contacted by Sega to develop a game for the Dreamcast aimed at a female casual gaming demographic.<ref name="GamaInterview"/><ref name="VGD"/> Mizuguchi had no knowledge of such a demographic, so he personally interviewed several young girls to find their tastes in gaming. He discovered that, while male gamers trended towards games that allowed for ranking and high scores, women preferred straight puzzle games.<ref name="GamaInterview"/> Mizuguchi decided to create a game which would bring together both video game and music fans, using his personal experience with nightclub disco and music events such as Street Parade. He also drew inspiration from the art of Wassily Kandinsky, wanting to encourage a form of synesthesia within players.<ref name="EuroInterview"/> Other sources of inspiration were the music of the 1950s and 60s, and the music videos of Peter Gabriel and Michael Jackson that were showing on MTV during the 80s.<ref name="Retro"/> This concept originated in 1993, with full production beginning in 1998 following extensive internal planning and approval by Sega senior staff.<ref name="4Gretro"/>

Production was handled by Sega AM9, later known as United Game Artists.<ref name="DCMag"/><ref name="Edge"/> The team included many staff from Team Andromeda (makers of Panzer Dragoon) and the Sonic the Hedgehog series and more who were complete newcomers to game development.<ref name="IGNinterviewA"/> Development for the game lasted almost two years.<ref name="DCMag"/> Beginning with a small team of ten, it eventually expanded to 27 members as development progressed.<ref name="IGNinterviewA"/> Mizuguchi acted as the game's producer, with Takashi Yuda both directing and providing the voice for supporting character Fuze.<ref name="YutaInterview"/> The game was Mizuguchi's first time working on a game aimed exclusively at the home console market, as his earlier work had first been developed for arcade.<ref name="EuroInterview"/> Speaking about the Dreamcast, Mizuguchi said that it allowed higher-quality music compared to graphics-focused racing games. He wanted to use the new technology to incorporate interactivity into the score.<ref name="VGD"/> Production was challenging at times due to the balance of gameplay and scenario.<ref name="4Gretro"/>

Design

The earliest versions of the game were described by Mizuguchi as "very cool, but not so fun", as players simply pressed buttons in time to the music while a non-interactive video changed. To make the game more interesting, Mizuguchi drew inspiration from the rhythm troope Stomp; a particular piece which inspired him was a segment where a performer would have the audience copy their clapping, with the rhythm becoming more complex over time. Mizuguchi wanted to incorporate this into the game, combining it with a narrative and distinctive music. The rest of the team found it difficult to understand Mizuguchi's vision as they were confused by his wish for comedy to be a part of the game's style, so he hired a pantomime artist to school the team in physical comedy.<ref name="1UPinterview"/> The production team also went to a comedy workshop to practise miming and physical comedy routines to further inform their understanding of the game.<ref name="GSinterview2"/> The name of the game's aliens "Morolians" was a derivation of the surname of artist Mayumi Moro; it came about as the team often used her last name around the office. Moro found its use in the game funny.<ref name="GSinterview1"/>

A key aspect of the game was that while the gameplay involved shooting, Ulala never actually killed anyone, allowing the game to be approachable to a wider range of players.<ref name="IGNinterviewA"/> When pitching the gameplay in his design document, Mizuguchi distilled the basic cycle of effort and reward, then came up with a means of realising them in the game. To ensure the team fully understood the gameplay concept of matching button presses to music and character actions, all extraneous effects were stripped away, leaving a basic version the team could focus on.<ref name="IGNinterviewB"/> While some animations were created using motion capture, the rest were animated by hand.<ref name="GSinterview1"/> The vocalization "Chu" emerged during voice recording. The original word was "Shoot", but the actors had difficulty pronouncing it using the necessary single syllable, resulting in the word being contracted and altered into its current form.<ref name="4Gretro"/>

Ulala's motion capture actions were performed by Japanese dancer Nazu Nahoko.<ref name="UlalaVoiceA"/> The Morolians' movements were scripted by the mime artist Mizuguchi hired to help the team during early production.<ref name="IGNinterviewB"/> The idea of streaming polygonal models over CGI movies was suggested by Yuta.<ref name="GSinterview1"/> They made use of ADX technology to synch the movement of models over the movies. The game content filled just over 99% of the Dreamcast GD-ROM disc.<ref name="DCMag"/> The space usage was attributed by Mizuguchi to the large amount of video and audio streaming used in the game.<ref name="GSinterview1"/> In hindsight, Mizuguchi cited the use of pre-rendered movies as a challenge to the team.<ref name="VGD"/> Due to the amount of space used, some planned comedy segments had to be cut.<ref name="GSinterview1"/> An early tech demo was put together for the game; in this prototype version, the player character was a man, and only the most basic elements of its gameplay and theme were in place. A later version featured a prototype design for Ulala.<ref name="GWIsecret"/> The game's visual aesthetic of a "retro future" was present in that demo, and stayed throughout production.<ref name="DengMusic"/> Influences on the characters and art design came from across the production team, with tastes ranging from Star Wars to Doraemon to Monty Python.<ref name="IGNinterviewA"/> Mizuguchi was inspired by the contrasting styles of orchestral music and science fiction setting used in Star Wars.<ref name="VGD"/>

The character of Ulala was a collaborative creation, though much of her design was attributed to the game's art director Yumiko Miyabe.<ref name="GSinterview1"/> Ulala's early actions were deemed too "cool and stylish", and her overall movement too stiff. Her design was also adjusted several times so she would appeal to male gamers (who favored looks) and female gamers (who preferred personality).<ref name="GSinterview2"/> Another notable artist on the project was Jake Kazdal, who worked as a concept and model artist.<ref name="Kazdal1"/> Kazdal said that one of Ulala's key design inspirations was the titular lead of the science fiction film Barbarella (1968). The art style continued to evolve from there, with the staff often laughing at the "sheer ridiculousness" of some later characters.<ref name="Kazdal2"/> Her costume's orange colour was a reference to the Dreamcast logo and signified Sega's new direction.<ref name="SpaceChannel3"/>

Audio

Music

The music for Space Channel 5 was composed by Naofumi Hataya and Kenichi Tokoi of Sega's music label WaveMaster. Hataya also acted as sound director.<ref name="SC5composerA"/><ref name="SC5composerB"/> The musical style, inspired by big band jazz of the 1950s and 60s, was one of the earliest elements to be decided upon.<ref name="1UPinterview"/><ref name="Retro"/> Hataya attributed the game's musical direction to Mizuguchi's guidance throughout production.<ref name="RocketHataya"/> The musical style changed with each stage, with later sections incorporating techno and trance.<ref name="IGNinterviewA"/> The in-game soundtrack mixed CD-quality music with midi sound samples.<ref name="DCMag"/> According to Hataya, one of the hardest aspects of music development was the variety of genres and fitting all the score onto the game disc.<ref name="RocketHataya"/> Music production ran simultaneously with the game's production, with the sound team at first using concept art and in-production gameplay. Late in development, the story caused a lot of additional work for the team. The final total of in-game music was estimated at 70 minutes.<ref name="SC5diary"/>

The game's main theme was "Mexican Flyer", composed by Ken Woodman in 1966.<ref name="1UPinterview"/> Mizuguchi approached Woodman about using the theme. Woodman was surprised that someone wanted to use the theme for a video game.<ref name="IGNinterviewA"/> The use of "Mexican Flyer" in the game's early presentation video informed the direction of the music.<ref name="DengMusic"/> Getting the rights to the track proved difficult, as the track was extremely obscure and had not been used in any media since its release.<ref name="Retro"/> The ending theme "Pala Paya" used vocals performed by WaveMaster staff.<ref name="DengMusic"/> A soundtrack album for the game was published by Marvelous Entertainment and distributed by VAP on February 21, 2000. The album featured 22 tracks, including a remix of "Mexican Flyer".<ref name="SC5ost"/> Tracks from Space Channel 5 were included in the compilation album Space Channel 5 20th Anniversary: Gyungyun Selection by UMA on December 18, 2019.<ref name="Album2019"/>

Voice cast

Sega chose not to promote the game's voice cast.<ref name="UlalaVoiceA"/> Most of the voice roles were performed by members of the game's staff.<ref name="SP5jacksonA"/> This was due to the team wanting full control of how characters were portrayed, and the need to do quick re-recording sessions. Ulala's Japanese voice actress was similarly pulled from Sega staff. According to Mizuguchi, the recording process was so strenuous, and his demands so exacting that the actress was brought to tears.<ref name="Retro"/> Journalist James Mielke attributed Ulala's voice to Mineko Okamura.<ref name="UlalaVoiceB"/> Okamura later confirmed her role, saying her demo voice was kept in the final game after positive feedback from the press. Professionals Show Hayami and Kae Iida were hired for the roles of rival reporters Jaguar and Pudding respectively, with Iida originally being planned for the role of Ulala.<ref name="4Gretro"/> Ulala was voiced in English by Apollo Smile, then a notable television personality.<ref name="UlalaVoiceA"/>

A notable cameo was Michael Jackson himself, featuring in the game as the character "Space Michael". A long-term collaborator with and fan of Sega, Jackson was shown a near-finished version of the game by Sega staff member Shuji Utsumi. Jackson loved the game and wanted to be featured in it.<ref name="1UPinterview"/><ref name="SP5jacksonB"/> Mizuguchi initially wanted to refuse the request, as the game was only a month away from completion, but the team wanted to include Jackson, so they substituted a Morolian-controlled NPC character for a model based on Jackson and added moves based on the singer's famous dance moves. Initially thinking Jackson would dislike it, Mizuguchi was surprised when Jackson approved, realising the pressures the team were under, and provided voice lines for the character.<ref name="SP5jacksonA"/>

Release

Space Channel 5 was first announced at the September 1999 Tokyo Game Show.<ref name="SC5announced"/> Nahoko portrayed the character Ulala at live promotional events, including its TGS showings.<ref name="DCMag"/><ref name="UlalaVoiceA"/> The game was released in Japan on December 16, 1999.<ref name="SC5dates"/> Sega pushed the game's release with heavy public promotions and an extensive launch event in Tokyo.<ref name="DCMag"/> The game was supported by several pieces of merchandise.<ref name="SC5merch"/> In the US, Sega conducted a contest in Universal City, California titled Space Channel 5 Ulala-a-like Contest. The contestants were girls between the ages of 9 and 21 who competed to who could resemble Ulala the best. The contestants were able to meet with Ulala portrayed by Kelly Preston and the winner won $500 and a Dreamcast.<ref name="DCMag-contest" />

The game's localization was handled by Sega, who approached it "with care and time". One of the key elements for the team was finding the right English voice for Ulala.<ref name="IGNinterviewB"/> When the dialogue was localized, there was little difference between regions beyond language-specific nuances.<ref name="SC5blogLocal"/> The music itself received little to no changes.<ref name="RocketHataya"/> The game was released internationally in 2000; it was published in North America on June 6, and in Europe on October 8.<ref name="SC5dates"/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite news</ref>

Following their exit from the console market, Sega began moving the Space Channel 5 franchise onto other systems, beginning with the PlayStation 2.<ref name="SegaPS2"/><ref name="SC5dates"/> The PS2 version released in Europe on March 15, 2002;<ref name="SC5dates"/> and in Japan on December 12 of that year.<ref name="SC5PS2jp"/> In North America, the PS2 port was bundled with its sequel and published in the region by Agetec.<ref name="SC5agetecA"/><ref name="SC5agetecB"/> This version released in North America on November 18.<ref name="SC5PS2dateNA"/> In Japan, the PS2 version has since become a rarity, fetching high resale prices.<ref name="Retro"/>

A remake for the Game Boy Advance titled Space Channel 5: Ulala's Cosmic Attack was also produced.<ref name="SC5gba1"/><ref name="SC5gbaNA"/> This formed part of Sega's partnership with THQ to co-develop and co-publish several of their franchises to the platform.<ref name="SegaTHQ"/> The port was co-developed by Art Co., Ltd and THQ.<ref name="SC5gba2"/><ref name="SC5gbaCredits"/> The game was re-created within the GBA hardware, with its music rendered using a MIDI score.<ref name="SC5GBAinfo"/> The music was handled by Tsutomu Fuzawa.<ref name="SC5gbaCredits"/> The game was released as a Western exclusive in 2003; it was published on June 17 in North America and September 12 in Europe.<ref name="SC5gbaNA"/><ref name="SC5gbaEU"/>

Reception

Dreamcast

Upon its debut in Japan, the game met with low sales.<ref name="JPsales"/> During its first week, it sold through just over 44% of its stock with over 41,000 units. It eventually sold over 93,600 units in Japan, being among the region's top 40 best-selling Dreamcast titles.<ref name="SpaceDreamSales"/> At a 2002 conference, the game was declared a success by its staff, finding a wide audience among both hardcore and casual gamers.<ref name="GSinterview2"/> In contrast during a 2005 interview, Mizuguchi said that the game was not a commercial success.<ref name="VGD"/>

According to video game review aggregator GameRankings, the Dreamcast version earned a score of 84% based on 34 reviews.<ref name="GRdc"/> Japanese gaming magazine Famitsu gave the game a score of 29 points out of 40.<ref name="FamReviewDC"/> Pat Garratt of Computer and Video Games gave the game a perfect score, calling it a unique game and "absolute must for every DC owner".<ref name="CVGdc"/> The three reviewers for Electronic Gaming Monthly lauded the soundtrack and art design, but noted issues with its short length and occasional syncing issues.<ref name="EGMdc"/> GamePro positively compared the gameplay and style to PaRappa the Rapper and Dragon's Lair, recommending it as a short and enjoyable experience while noting a lack of extras.<ref name="GProDC"/> GameSpotTemplate:'s Jeff Gerstmann said Space Channel 5 was worth playing for its unconventional art style and music, with his main complaints being repetitive gameplay and lack of unlockables.<ref name="GSdc"/>

GameSpy called the game "a work of art in every sense of the word", praising the world and music and calling the game a testament to Sega's production skills; their one major problem was the simplistic gameplay style and lack of features beyond the campaign.<ref name="GSpyDC"/> IGN gave both the Japanese original and the Western release near-perfect scores, praising the presentation while criticizing the short length and timing issues.<ref name="IGNdcJP"/><ref name="IGNdcINT"/> USA Today said the game was "all about fun, and [Space Channel 5] delivers with a song."<ref name="USAToday"/> Entertainment Weekly said that "gamers of all ages undoubtedly will want to help Ulala get her groove back — if not get their hands on a pair of those boots."<ref name="EW"/> Next GenerationTemplate:'s Greg Orlando called the game "Beautiful and all-too-short".<ref name="NG"/>

Space Channel 5 was nominated for awards in four categories at the 1999 Japan Game Awards.<ref name="SC5dates"/> It was also nominated in the "Animation" and "Console Innovation" categories at the Academy of Interactive Arts & Sciences' awards ceremony in 2001.<ref name="SC5award"/> Space Channel 5 and Sega AM9 were nominated at the 2002 BAFTA Awards in the "Best Audio" category, losing to Luigi's Mansion.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In anniversary retrospectives and lists of favorite Dreamcast titles from multiple websites including Gamasutra and IGN, Space Channel 5 has been remembered as one of the most unique titles on the system for its gameplay design and art direction.<ref name="EWdreamcast"/><ref name="GamaDreamcast"/><ref name="GRdreamcast"/><ref name="NLdreamcast"/><ref name="IGNdreamcast"/><ref name="EuroRetro"/> 1UP.com, in an article about Mizuguchi's work with United Game Artists, "highlight" on the Dreamcast and described as "unlike anything before it."<ref name="1UPinterview"/>

PlayStation 2

The PlayStation 2 port was met with a similarly positive response. GameRankings gave the North American release a score of 79% based on 7 reviews;<ref name="GRps2"/> and Metacritic gave it a score of 79 out of a possible 100 from 16 reviews, indicating a "generally favorable" reception.<ref name="MCPS2"/> Electronic Gaming Monthly said that the mixture of music and unique style gave the game "an infectious, addictive quality".<ref name="EGMps2"/> GamePro called the Special Edition package "easily the best bargain for the PS2 this side of [Virtua Fighter 4: Evolution]".<ref name="GProPS2"/> Game Informer called the release "a great package crammed with more value and personality than most rhythm games".<ref name="GIps2"/> Brad Shoemaker of GameSpot felt it was a great release due to its low price and having both the original and its sequel.<ref name="SC5specialGS"/>

GameSpyTemplate:'s Christian Nutt lauded the music and its lead character, in addition to the low price for the double game pack, but faulted its length and issues with the localization.<ref name="GSpyPS2"/> GameZone recommended the package for fans of Dance Dance Revolution, and said gamers outside its target audience should try it due to its quality and enjoyability.<ref name="GZonePS2"/> Douglass Perry of IGN, comparing the game to its sequel that formed part of the package, felt that the first was the inferior game due to lacking the later additions and polishing.<ref name="IGNps2"/> Paul Fitzpatrick of Official U.S. PlayStation Magazine felt that the original game's flaws were only exacerbated when contrasted with its sequel.<ref name="OPMUSreview"/> Paul Fitzpatrick of PlayStation Official Magazine – UK enjoyed the soundtrack and lauded its sense of style, but criticized its length.<ref name="OPS2UKreview"/>

Game Boy Advance

By contrast, the Game Boy Advance port received a Metacritic score of 55 out of 100 based on 15 reviews, indicating "mixed or average" reception.<ref name="MCGBA"/> GamePro was surprised that the game worked on the portable console, praising the efforts of the team while being unable to recommend it to buyers.<ref name="GProGBA"/> For Frank Provo of GameSpot, the biggest problem was the unresponsive controls, as otherwise, the game was a laudable conversion of the game for the GBA.<ref name="GSgba"/> GameSpyTemplate:'s Steve Steinberg was very critical, calling the game "a barely playable disappointment" despite liking the soundtrack.<ref name="GSpyGBA"/> GameZone said that the difficulties with controlling Ulala and presentation made the game suitable only for hardcore series fans.<ref name="GZoneGBA"/> Craig Harris, writing for IGN, said that while the gameplay was intact, the other elements were undermined by the technical constraints of the console.<ref name="IGNgba"/> The Village Voice gave the port a good score, saying that the game's core remained intact and enjoyable despite low graphical quality and control issues.<ref name="VVreview"/> Game Informer was also positive, saying that there could be no better version of Space Channel 5 on the platform.<ref name="GIgba"/> Nintendo Power gave praise to the control responses, but called the graphics "colorful but sparse".<ref name="NPower"/>

Legacy

Sequels

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} A sequel to Space Channel 5 was planned from an early stage, but production was put on hold until Western sales figures came in.<ref name="JPsales"/> The sequel, Space Channel 5: Part 2, was announced in October 2001.<ref name="SC52announced"/> It received a simultaneous release on Dreamcast and PS2 in January 2002 in Japan.<ref name="SC5dates"/> The PS2 version was released in mainland Europe the following year.<ref name="SC5dates"/> In North America, the game was released as part of Space Channel 5: Special Edition by Agetec.<ref name="SC5agetecA"/><ref name="SC5agetecB"/> It was the last game produced by United Game Artists prior to Sega's internal restructuring in 2003.<ref name="RetroST"/> Part 2 was later given a high-definition port to Microsoft Windows, Xbox 360, and PlayStation 3. It was released first as part of the Dreamcast Collection in February 2011, then as a standalone digital release in October of the same year.<ref name="SC52hdA"/><ref name="SC52hdb"/><ref name="SC52hdc"/>

While concepts existed for a third game in the series and pitches were made for the Wii and Kinect, the team felt they had exhausted their ideas, and Sega showed little interest in a new entry.<ref name="SpaceChannel3"/> At one time, Mizuguchi and Q Entertainment were in discussions with Sega about reviving the series for HD consoles.<ref name="Retro"/> A new virtual reality project was eventually greenlit by Sega. The project was developed by Grounding Inc., a game company founded by former Sega developers including Okamura, who pitched the concept to Sega.<ref name="SpaceChannel3"/><ref name="SC5VRprototype"/><ref name="4Gsc5vr"/> Beginning in 2016 as an experimental collaboration with Sega and KDDI titled Space Channel 5 VR: Ukiuki Viewing Show, the project saw a strong fan response for a full game.<ref name="4Gsc5vr"/><ref name="PlygonSC5VR"/> Titled Space Channel 5 VR: Kinda Funky News Flash, the player takes the role of novice reporters assisting Ulala during a new invasion report.<ref name="4Gsc5vr"/><ref name="SC5VRfunky"/> Originally scheduled for release on PlayStation VR, SteamVR, HTC Vive and Oculus Quest during December 2019,<ref name="SC5VRjp"/><ref name="SpaceVRdelayed"/> the game was delayed into the following year to improve its quality.<ref name="SpaceVRdelayed"/> All versions were released between February and November 2020.<ref name="ANNpsvr"/><ref name="Quest"/><ref name="Vive"/><ref name="Steam"/>

Additional media and cameos

Ulala was used in a collaboration between MTV and Sega to present the "Best Video" award at the MTV Video Music Award ceremony in 2000. Ulala's appearance at the event was also used to promote SegaNet during its Dreamcast debut.<ref name="UlalaMTVa" /><ref name="UlalaMTVb" /> A CGI television adaptation of Space Channel 5 was originally planned from SuperMega Media. In addition, Ulala was to have featured on the MTV program slot as an announcer.<ref name="GSinterview2" /><ref name="SC5tvseries" /> These MTV collaborations were cancelled mid-production.<ref name="GSinterview2" /> A film adaptation of the series was announced in August 2022. A collaboration between Sega and Erik Feig's Picturestart company, the script is being co-written by Barry Battles and Nir Paniry.<ref name="SC5movie"/><ref name="Hollywood"/>

Sega's Sonic Team studio also created a mobile application called Ulala's Channel JTemplate:Efn for Japanese Vodafone devices in July 2001. The application consisted of several minigames, most themed after the series and specifically Space Channel 5: Part 2. Some featured 3D graphics that required higher-specification devices to play. Themed mobile wallpapers and jingles were also included for download.<ref name="UlalaMobileA"/><ref name="UlalaMobileB"/><ref name="UlalaMobileC"/> The game shut down in September 2005, with some of its content merged into the Sonic Cafe mobile service.<ref name="UlalaMobileB"/>

In 2001, Palisades Toys produced themed merchandise; these included a lunch box, and figures of game characters including boss characters Evila, Pudding, the Morolians, and several variants of Ulala.<ref name="Palisades"/> Japanese action figure company Figma produced two Ulala figures based on her main looks from Space Channel 5 and its sequel in 2017.<ref name="SC5figma" /> United Game Artists' next game Rez featured the Morolian character as a secret playable character.<ref name="Retro" /> Ulala was featured as a secret character in racing game Sonic Riders,<ref name="UlalaSonicR" /> a playable character in multiple entries in the Sega All-Stars series (alongside Pudding and Blib),<ref name="SegaSuperA" /><ref name="SegaSuperB" /><ref name="SegaSuperC" /> part of a themed stage in the Wii re-release of the rhythm game Samba de Amigo,<ref name="UlalaSamba" /> and a playable unit in the crossover strategy game Project X Zone and its sequel.<ref name="UlalaProjectA" /><ref name="UlalaProjectB" />

Lawsuit

In 2003, Space Channel 5 and its protagonist Ulala were the subject of a lawsuit against Sega from Deee-Lite vocalist Kierin Magenta Kirby.<ref name="Retro"/><ref name="UlalaLawsuitA"/> In July 2000, a Sega affiliate contacted Kirby to determine if she was interested in promoting the game in England, utilizing the 1990 Deee-Lite song "Groove Is in the Heart"; Kirby rejected the offer. Kirby alleged that the "Ulala" character was an unauthorized misappropriation of her likeness. During the lawsuit, Sega showed that the game and character had been created and released in Japan between 1997 and 1999. The judge ruled that regardless of when the "Ulala" character was created, the character did not have a close enough resemblance to Kirby to deem misappropriation of likeness. Kirby was obliged to pay Sega's legal fees of $608,000 (reduced from $763,000 on request).<ref name=lawsuit2>Template:Cite court</ref><ref name="UlalaLawsuitB"/> "Groove Is in the Heart" was later licensed for use in Sega's 2008 Wii port of Samba de Amigo, used in a section of the game where the Ulala character appears.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

External links

• Template:Official website Template:In lang
• Template:Moby game
• Template:Moby game