academic inquiry

Running head: ACADEMIC INQUIRY: SPYRO THE DRAGON 1

Academic Inquiry: Spyro the Dragon

Joseph A. Thurmond

High Point University

ACADEMIC INQUIRY: SPYRO THE DRAGON 2

Abstract

For this academic inquiry, I have done an extensive analysis and critique of Spyro The

Dragon. Since it is one of my favorite video games from my childhood, it is only fitting to look

at it now through a more mature lens to determine if it stands the test of time and lives up to the

fond memories I have playing it in years past. To accurately do this, I was able to entirely

complete the game with 120 percent in about 12 hours, granting me a fresh, resolute perspective

on it. I have dissected the gameplay, which involves the mechanics, controls, level design, and

challenges the game poses, decided if the narrative (the plot, dialogue, etc.) is important and

integrated well, discerned if the visuals – the graphical fidelity, aesthetics, and art direction – are

pleasing, and listened closely to determine whether or not the audio (the sound effects, voice

acting, and music) is able to aurally immerse players. In the conclusion, I briefly take these

aspects into consideration and decide if Spyro The Dragon is more than the sum of its parts or

just a kids’ game at heart with nothing much to say. That is what I have attempted to answer

here, which has permanently altered my opinion of the game for better or for worse.


Academic Inquiry: Spyro The Dragon

If you talk to any person who had or still owns the first PlayStation, they will likely

mention enjoying major hits in the late 1990s like Tomb Raider, Metal Gear Solid, or Resident

Evil. They are great games in their own rights, but what is interesting about this popular selection

of titles? They are geared with teenager and adult audiences in mind, which was the case for the

majority of the PlayStation’s library of titles in its beginning stages. This narrow focus neglected

a demographic that Nintendo was dominating at the time with the Nintendo 64: everyone. By

“everyone,” I am referring to family-friendly games that mostly attract children, but are still

appealing and fun for older players. With first-party titles like Super Mario 64, Nintendo filled

this hole in the market that Sony didn’t meet. While 1996’s Crash Bandicoot was a step in the

right direction, the company wanted to accomplish more in this area to increase the desirability

of its console (“Did You Know,” 2013).

Insomniac Games – which had created a 1996 first-person shooter called Disruptor as its

first video game – was approached by Sony to develop a family-friendly game that anyone, male

or female and young or old, would instantly love. On top of this, executive producer Mark Cerny

challenged the studio to create a 3D platformer that heavily relies on enemies interacting with the

player in various ways, something that had never been done before with this type of game (“The

Making of,” 1998). Insomniac Games went to work in 1997 and developed a game just a year

later that is still considered one of the best PlayStation titles and platformer games. It is called

Spyro The Dragon.

This game served as my entry point into the world of digital entertainment alongside

Crash Bandicoot, and while it is also something I look back on with nostalgia, Spyro The

Dragon is different. I realized a few years ago the kind of impact it had on me as a child, what it


has inspired me to do and create, and how it has shaped several of my main interests. In an

indirect fashion, you could also say it was the originating point for my passion and pursuit to be

a video game journalist. My point in bringing up the history and my personal connection with

Spyro The Dragon is to accentuate the purpose behind my choosing of it for critical analysis.

Firstly – as of the time of this writing – it has sold over 5 million units worldwide, thanks to its

digital distribution through the PlayStation Store (“Global Total,” 2014). Therefore, it has

relevance because hundreds of thousands of gamers still adore and play it, and not only that, but

millions of younger gamers benefit from its legacy with Skylanders, too. Secondly, it is simply

one of the most influential video games on my life. There are only a handful of other titles

worthy of a game review like this from me, and Spyro The Dragon is one of them.

After playing it for about 12 hours and meeting every objective for maximum

completion, I can examine the gameplay (mechanics, level design, etc.), narrative (plot, dialogue,

etc.), visuals (graphical fidelity, aesthetics, etc.), and audio (voice acting, music, etc.) to establish

whether or not these aspects stand the test of time and fulfill their intended impacts on the player.

Afterwards, I will shortly discuss how they work together as a whole, and if – combined or

separate – convey anything meaningful or clever.

Is Spyro The Dragon reduced to ashes from a fiery, critical gaze? Or does it hold up

against the blazes of age and analysis like a steel fortress? It is time to find out.

Gameplay

One of the simplest ways to describe the gameplay is that it is inspired by Super Mario

64, and that is no mistake. Spyro The Dragon easily measures up to it, arguably surpassing it in

some areas. Players control the titular hero – a feisty purple dragon – from a third-person


perspective with either “passive” or “active” camera control. The former loosely follows the

direction Spyro is facing in, leaving the player to command the camera with the DualShock

controller’s trigger buttons. Although this setting is a nice option and works well, I found it

impractical since the camera manually moves at a slow pace, which had me stopping several

times to see what I was doing or frantically moving around as enemies moved out of my field of

vision. On the other hand, the active camera is an outstanding work of game design. It follows

Spyro at varying speeds depending on certain control inputs, rushing to Spyro’s frontal view if

he charges with his horns or moderately keeping up with him if he trots in a circle. It also turns

and adjusts with an unbelievable fluidity, never making any jarring motions, no matter how a

player moves Spyro. Super Mario 64 did not benefit from this feature, relying on trigger controls

that quickly readjust the camera’s position instead. Although this would have been convenient to

use in Spyro The Dragon, there is rarely a need for it since the camera automatically does most

of the work. It takes Super Mario 64’s manual lock-on camera and integrates it into the game

design, signifying the clever work of Insomniac Games’ programmers.

This carves the way for making the responsive, simple combat and platforming all the

better. Spyro can charge with his horns, spit fire breath, jump, and glide short distances. While

there are other moves such as a dodging technique and “Spyro Vision” – which allows players to

look around the environment from a first-person perspective – they are rarely necessary, making

their inclusion in the control scheme somewhat extraneous. When it comes to the main moves

though, it is often not challenging to utilize them in combat or with platforming. However, just

because these things are easy does not mean this game is a tedious experience. For example,

although nearly every enemy can be killed in one hit besides bosses (they take up to three hits),

the game consistently presents new types of enemies with every new level. Their weaknesses are


simple to spot (this enemy is susceptible to fire, this one to charging, etc.), but they all behave

differently with their attacks and movement patterns; players never know what enemies will do

at first, which makes each level slightly more unique and unfamiliar to maintain a minimal yet

constant sense of discovery. Do I breathe fire on this Gnorc, glide and charge in midair against

this wizard, or need a special ability to take down this large knight? I constantly had these short-

lived questions in my head at the beginning stages of every level, which immensely helped to

stave off boredom and repetition since there are new encounters at every corner.

The ways in which Spyro’s enemies react to his presence are brilliantly implemented to

enhance gameplay, too, something that few games did well in the 1990s. Countless platformers

have enemies that perform static motions and repeated attacks ad infinitum, but when Spyro

enters a certain field of range, enemies will acknowledge his presence with different responses.

Some will stand frozen or run away in fear, others will charge toward him with swords flailing or

shields up, and a few might taunt Spyro by making annoying sounds or even mooning him.

These gestures may seem trivial upon description, but I believe they are a distinct design choice

by Insomniac Games to add one-dimensional yet entertaining color to enemies’ personalities;

they are not merely obstacles to overcome like in most games. For instance, thieves are the

fastest opponents you run up against and hold the precious dragon eggs Spyro should rescue.

Although these opponents are neither easy nor hard to catch for more experienced gamers, they

are nevertheless extremely irritating since they incessantly mock players by laughing and

dancing when they escape your grasp. For younger players – especially for me when I was a lad

– they are the bane of their existence, and it is funny how often people will talk about the thieves

with hatred in their eyes if they played Spyro The Dragon many years ago. That is why I still

can’t help but feel a rush of pride when I catch up to thieves and knock them over or toast their


behinds. They are but one example of how enemy interaction adds to the gameplay experience

by influencing emotion, making killing some enemies more personal and satisfying than usual.

With most platformers, jumping is the integral mechanic that must be skillfully used in a

surprising number of ways. This is not so with Spyro The Dragon. Jumping alone merely serves

as a means to climb sets of stairs, which is never involving in any sense. What it is truly for is to

reach the “top” of Spyro’s jump to effectively glide, separating this game from other platformers

of its time with the level design possibilities it opened up. The best example of this gliding

mechanic influencing level design is in the “Tree Tops” level. Even though most of the

environments are horizontal and fairly linear to navigate, this one has elements of verticality and

widely spread out platforms. Instead of level design that must always have platforms close

together, Insomniac Games was able to design many levels with places that would otherwise

seem impossible to reach, which makes the gliding mechanic a constant yet fun necessity

throughout gameplay. It also assists the free roam, open world nature of the game since some

platforms afford players the opportunity to perform a single glide to reach several locations that

have already been explored. Instead of making a one-way trip by running and jumping backward

to uncover more gems or secrets, sometimes a short glide is all that is necessary to reach far-off

locations, pointing to smart level design that helps prevent unnecessary backtracking.


In “Tree Tops,” the supercharge move is possible as well, which allows Spyro to charge

through any enemy and jump giant chasms by running down particular ramps. This feature is

specific to a few levels only for a good reason: its primary purpose is to challenge the skills of

older players. Since the move sends Spyro careening forward like a racecar, precise timing and

movement is required to navigate to special locations that can only be reached with this move,

which actually tested my limits and reflexes in the “Tree Tops” level. However, it is never

necessary to use in a challenging fashion to make progress, which serves as a segue into what I

think is one of the game’s defining aspects as a family-friendly title.

The primary objective is to save all of the adult dragons, which have been frozen in

crystal statues by the antagonist and scattered throughout six worlds that act as hubs, each having

4-6 levels that can be accessed by portals. However, players do not have to rescue all of the

dragons. Indeed, if a player saved every single one and made it to the second-to-last world

(which has about 16 dragons), s/he could skip it entirely and go to the final boss’s world. For

younger audiences, this allows them to skip over levels they find too hard while still challenging

them enough to complete ones that match their skill levels. A certain amount of dragons must be

rescued to progress, but it is a reasonable amount that any player can meet, which encourages

natural exploration of the levels as well. But for those who want to rescue every dragon and

acquire superfluous collectables like gems and dragon eggs, Insomniac Games hid a significant

amount of these things throughout the levels, which requires players to extensively analyze

environments for dastardly clever secret areas or ways to use the basic mechanics in precise

fashions. There are even a few flying minigames where players are timed to activate/destroy

certain objects and enemies, which necessitates fast thinking (since Spyro flies so quickly) and

strategic planning (since these levels can be approached in endless ways). Therefore, anyone can


complete Spyro The Dragon since the necessary amount of frozen dragons and platforming are

easy to complete. But by going off the beaten path, players will see the developer’s true

creativity with hidden locations, significant challenges, and a small game mode that considerably

stretch the game’s difficulty. Anyone can play it because it welcomes different playing styles,

which is why it succeeds in appealing to a broad audience.

Narrative

Two older dragons are being interviewed (with a video camera and boom, of course)

about their lives in the Dragon Worlds. One of them talks about their peaceful existence and

wonderful stash of gems, but the interviewer then asks about the villainous Gnasty Gnorc and

how it is rumored that he has found a spell to turn gems into gnorcs. The other dragon says he is

nothing to worry about, proceeding to call him “ugly” and “a simple creature.” Somehow,

Gnasty Gnorc hears these remarks and begins unleashing his minions in rage. He also

crystallizes all of the dragons with a spell for good measure, but the youngest and smallest one,

Spyro, manages to avoid it and immediately makes it his goal to destroy Gnasty Gnorc and

rescue his elders alongside his trusty dragonfly named Sparx. Afterwards, players jump right into


the action and begin freeing dragons in the Artisan World hub area. From here on out, dragons

will talk to Spyro when he saves them by instructing on how to play the game (a peculiar and

humorous way of implementing a tutorial), offering vague hints as to how enemies can be

beaten, and telling short stories that result in funny conversations.

Beyond this, it is up to players to assume the nature and history of the game’s world.

There are different types of dragons, but what are their roles for and why? What are the origins

of this universe? Where did Gnasty Gnorc come from? Why are there only male dragons to

rescue? Where are the females? The narrative fails to answer these questions, which is

disappointing since the game’s bizarre, fantasy world is filled with all sorts of interesting

creatures and environments, making the narrative rich for expansion and exposition. Of course,

many platformers have an extremely basic plot since the gameplay is what most players only

care about. But Spyro The Dragon could have been one of the first 3D platformers to have both a

lighthearted and intriguing storyline if it had been further constructed, perhaps with the adult

dragons revealing new information through conversations or by finding collectable story tablets

that reveal more about the universe or main characters’ backstories. Interestingly enough, the

story is actually described in greater detail in the instruction manual with the dragon types being

defined, more backstory to the antagonist, and a couple other interesting facts. For example, the

“Beast Maker” dragons create living beings from raw materials in their natural habitat. Does this

mean all the dragons play god-like roles in maintaining the natural circle of life, peace, and order

in their world? More intriguing questions come from this speculation, and it is unfortunate – but

not expected – that they are not addressed.

This is not necessarily bad since this was probably intentional. Spyro The Dragon is a

family-friendly video game after all, and Insomniac Games did not design it to be taken


seriously. There is no attempted realism or seriousness as dragons tell Spyro to push buttons to

perform moves or when you encounter laser-firing robots in the fairy tale-like, fantasy world.

Still, the nonsensical and preposterous nature of how the world presents itself through the basic

story nevertheless provides a lighthearted, amusing, and entertaining adventure, and I believe

this is what the developer intended the game to be from the start.

Despite the generic plot, does the narrative have anything to teach? Not directly, but it

does imply through its main protagonist and the overwhelming objectives he faces that size is not

a determining factor in shaping the world around him. It demonstrates that what truly matters is

how you approach anything with your outlook and attitude, which can help you overcome

intellectual or physical limitations that should hinder you. It is a trite lesson, but an important one

nonetheless. Another one that is more questionable and open to interpretation is conveyed

through Spyro’s personality, which arguably puts him on the fence between being a hero and

antihero. Besides being fearless, bold, and just plain cute, no one can deny his blatant sarcasm,

impudence, arrogance, and – when you discover he constantly plays “hooky” according to the

game manual – irresponsibility. Although intended for humor, he also kills innocent creatures

and disrespects his elders, which adds to his unintended image as a “cocky bastard” and

“entitled, little jerk,” according to Insomniac Games’ CEO Ted Price (“Giant Leap,” 2012).

These are not heroic titles, which gives an unintentional message: To be a hero, you do not have

to be a perfect, upstanding role model to do what is right. Is this good advice? Not really, but is it

realistic? Of course, so this kind of message needs to be taken into careful consideration in

regard to its value.


Visuals

Tomb Raider, Metal Gear Solid, and Resident Evil – despite releasing around the same

time – have noticeably blocky visuals that have become increasingly dated, including famous

Nintendo hits like Super Mario 64 and The Legend of Zelda: Ocarina of Time. However, even

though Spyro The Dragon shows its age as well, its aesthetics and impressive graphical fidelity

help this 15-year-old title hold strong today.

The latter consists of the character models, items, and environment, which – while still

having blocky attributes since 3D graphics were still being mastered at the time – have smooth

yet defined textures, bolstered by great lighting and shadow effects. In addition, the jarring,

uncomfortable poses and movements characters make in Resident Evil or Tomb Raider are not

evident in Spyro The Dragon. All of the characters have distinct facial expressions and fluid

body motions, which conveyed much more emotion and personality than any other 3D characters

at the time. There are also the impressive environment draw distances to note that the PlayStation

allowed Insomniac Games to implement. With their own engine and smart programmers, the

game allows players to see the entire scenery of a level with a technical marvel (again, only at


that time) accomplished by rendering far-off places with lower polygon counts, which steadily

increase in number as Spyro moves closer to them and vice-versa. This creates a sense of grand

scale that many developers had to eliminate with fog effects to obscure distanced objects,

allowing their 3D games to run smoothly. Insomniac Games found a way around this unfortunate

design choice with one that creates a beneficial illusion, making the game seem ahead of its time.

The fact that Spyro The Dragon appears as though it is never loading should be

mentioned as well. To go to different levels, players can access them in the world hubs through

portals, which display the levels’ unique atmospheres and titles in floating, gold letters around

the top arch. Upon entering one, Spyro flies through the sky as the game counts any acquired

gems until he descends seconds later at the level’s beginning section. It is not apparent, but this

is an entire loading sequence for each level, but it appears as though the game is continually

running. This even happens during gameplay when Spyro uses magic whirlwinds to get to higher

places, which are actually purposed to load other portions of a big level. This is a commendable

feat and illusion that Spyro The Dragon has, which never breaks the sense of flow and

immersion of gameplay because the visual experience is continuous.

When it comes to the art direction and aesthetics, I never stopped to appreciate how

expertly and carefully crafted they are as a child. The art direction is of a stylized and cartoony

type that takes inspiration from whimsical representations of fantasy rather than the darker and

more serious takes on this theme (like in Lord of the Rings or Dungeons & Dragons). Vibrant,

saturated colors of the rainbow separate this title from much of the brown, dark, muted art

direction of its PlayStation brethren. The Artisan World has rolling meadows and medieval castle

architecture; the Peace Keeper World is a red and tan desert canyon filled with quicksand and

Egyptian-inspired constructions; and the Beast Maker World is a gloomy, muddy swamp that has


a Mayan-like pyramid and primitive huts. These are only the hubs, which do not adequately

convey the astonishing diversity in the 30+ levels to explore, ranging from an industrial-like

island to an icy cavern. Due to the kind of story and world Spyro lives in, there were no limits as

to where Insomniac Games could go in this bizarre fantasy universe, which is a lasting reason

why Spyro The Dragon has a gender and age neutral appeal. Just like Disney’s classic animated

films, the game was created for all audiences to enjoy, and I can personally attest to this since my

youngest sister is enamored with it. A three-page article by Craig Stitt, one of the lead artists on

Spyro The Dragon, has already put down everything I would say about how the art direction and

aesthetics are designed to influence gameplay. The atmosphere of each level is specifically

picked to fill players with certain emotions before they even start playing, giving them an idea of

what they are about to walk into; the colors of every single surface and background in the levels

are carefully designed to contrast with platform edges so players always know where they are;

and there is always an even balance of exploring meaningful indoor and outdoor locations

throughout levels. This makes them seem larger and more complicated to explore while still

being easy to navigate due to the distinct landmarks that provide constant situational awareness.

I would not know where to begin if I were to discuss the aesthetics, such as how well the

gems are designed to stand out in any environment with their pure colors, reflective qualities,

and razor-sharp appearance. But the best demonstration to briefly discuss is the aesthetic genius

of Spyro himself and how his original incarnation is the only one that accomplishes two major

feats at once. Firstly, he can appeal to male audiences. As the mythical creature that nearly all

boys love, dragons are an automatic interest with their reptilian bodies, fiery breath, and sharp

claws and spikes. With these attributes of Spyro accentuated in his North American portrayal


with firm, confident poses and determined facial expressions, he looks like one, bad dude, to put

it in lighter terms.

However, his Japanese counterpart portrays his cuter side, showing that he can appeal to female

audiences with his purple color scheme, small body proportions (with his wings, legs, etc.),

larger body proportions (with his eyes, head, etc.), and soft features like his belly and skin/scales.

Although both portrayals are certainly different, they are mixed together and form the Spyro that

players see in the game itself. He is both a loveable, cuddly creature and intimidating, destructive

warrior at once, allowing a wide audience to like him for either reasons or more.


Audio

For starters, the sound effects are thorough and imaginative throughout the whole game

experience. Every kind of object, environment, and character that can elicit a sound in response

to Spyro’s actions never fails to leave anything up to the imagination. The pitter-patter of

Spyro’s feet can be heard when he charges forward and different sounds come about when he

makes contact with rock walls, glass, steel, enemies, and so forth. The glimmering hum of a

portal can be heard around its radius at different volumes, enemies can be heard around corners

before you make contact with them, and foes make all sorts of silly noises that are purposed to

amuse or irritate players. It would take pages to explain all of the sound effects that constantly

fill the air, but the main ones that involve combat or acquisition of collectables add to the

gameplay experience in a minor yet important way. For example, despite the fact that the

DualShock controller only vibrates when enemies hit Spyro, it is not needed for charging into

objects. Although haptic feedback would have been nice, ramming into a wall is followed with a

perfectly timed, succinct, and solid “thump,” and variants of this are heard when large enemies

and steel treasure chests are destroyed, delivering satisfactory aural feedback to add “oomph” to

this type of action. The buzzing sound of Sparx eating butterflies also becomes reassuring to hear

over time since this regains health, and the glass-like sound of gems “clinking” when they fall to

the ground gets players’ attention if they are out of sight, which is then followed by a pleasant,

glittering sound as Sparx collects them for Spyro. All in all, these help reinforce the on-screen

visuals that players see, allowing for greater satisfaction since the sound effects add more charm,

delightful creativity, and even humor to the gameplay experience.

The voice acting does not fare as well, but it does not falter in its quality largely in part

due to the game’s silly nature. Spyro himself has a voice that is both nasally and like that of a


“surfer dude,” which contributes to his image of acting like a brat at times. Otherwise, it fits

because of his character design and dialogue. This is especially true for the adult dragons, which

have an unexpected assortment of voices. Some of them sound nervous and high-pitched

whereas others have gravely, low-pitched voices. The voice actors – with what little dialogue

they have for portraying all 80 dragons – also give them basic personality traits in the way they

speak, in addition to prominent inflections that can be noted at times, ranging from Southern to

British accents. All in all, the ways in which lines are delivered had me smiling and even

chuckling more often than I thought I would. Although it can be painfully forced and awkward in

some places, most of the work here is endearingly appropriate for the game’s tone.

If the sound effects and voice acting are good, then the music is outstanding. It is well

composed and perfectly fits with the outlandish, fantasy themes of Spyro The Dragon. Stewart

Copeland – the former drummer for The Police – is the mastermind behind the infectiously

catchy tunes, of which there are over 40 to be heard (“Did You Know,” 2013). This means that

new music is heard in every new level and world hub. Each song is 3 minutes on average and

dynamic enough to the point where they would play several times over in a 20-minute level and I

would not notice. The reason for this is because the tunes are upbeat and exciting, and – while

they all share much in common – are distinct in several ways. For example, almost every song

utilizes percussion, electric guitars, chimes, and electronic pianos and organs. However, a song

like “Beast Makers” has an odd chanting sound going on in the background that complements

the swampy, mystical atmosphere; “Magic Crafters” is one of the only songs with a twanging

stringed instrument, perhaps alluding to the oddities of the wizards and dragons that practice

magic in the titular world; “Dark Hollow” has one of the heaviest bass guitar lines out of any

other tune with its nighttime level; and “Toasty” is a variation of the main title song at a slower


pace with orchestral strings. I could continue listing the differences between each song even

though they still sound similar to each other in many respects. But overall, the music is one of

the strongest instigators of bringing the game to life. I wanted to not only see what new enemies

and environments awaited me, but also what new music I would have the pleasure of hearing.

Conclusion

Spyro The Dragon walks a fine line between stale repetition and novel design with its key

aspect: gameplay. It is easy to assume that some players might find the overall experience boring

due to the simple controls, mostly unchallenging enemies, seemingly pointless collectables, and

generic plot. However, I have fully completed the game 13 years after I went through it the first

time without achieving this feat. I thought I would walk away from it with rose-tinted glasses off,

realizing that it is not one of the greatest video games I have played. To my surprise, the opposite


is the case. In critically analyzing Spyro The Dragon, I now clearly see how and why the

gameplay, narrative, visuals, and audio work together to create an exciting, carefree adventure; it

is backed by extremely solid game mechanics and filled with wondrous vistas, brilliant

aesthetics, eccentric yet whimsical music, and more. This game is not primarily about how hard

or easy it is and what challenges it poses, but instead about the journey itself. It has discoveries

to be made and surprises to be found around every corner, and by going along for the ride as a

small purple dragon in a world of fantastical proportions, it is hard to walk away from Spyro The

Dragon without a smile on your face long after you play it.


References

DYKGaming. (2013, Aug. 2013). Spyro – Did You Know Gaming? Feat. Caddicarus. Retrieved

from https://www.youtube.com/watch?v=KCJJHwmB9G4.

Fiorito, John and Craig Stitt (2000, May 2). Lessons in Color Theory for Spyro the Dragon.

Gamasutra. Retrieved from http://www.gamasutra.com/view/feature/131581/lessons_in_

color_theory_for_spyro_.php?page=3

Gameinformer. (2012, Oct. 24). Insomniac’s Giant Leap: Developing Spyro the Dragon and

Disruptor. Retrieved from https://www.youtube.com/watch?v=u6DbEOT9Xxw.

0xybelis. (2011, Jan. 6). Spyro the Dragon Behind the Scenes (The Making of) (PlayStation

Underground). Retrieved from https://www.youtube.com/watch?v=Sg9VD1H1uWo.

(2014, April 12). Global Total as of 12th Apr 2014 (units). VGChartz. Retrieved from

http://www.vgchartz.com/game/6436/spyro-the-dragon/.

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