For many American Nintendo Entertainment System players, Adventures of Dino Riki was simply one more strange cartridge on a crowded late 1980s game shelf. Its cover promised dinosaurs, volcanoes, and a wild-haired prehistoric hero hurling a rock into danger. Inside was a vertically scrolling action game that mixed shooting with jumping, hidden power-ups, environmental hazards, and a level of difficulty that could punish a player almost immediately for losing a carefully built collection of upgrades.
Yet the American cartridge tells only the second half of the story.
Two years before Dino Riki reached North America, the game had appeared on the Japanese Famicom as 新人類, Shin Jinrui, a title generally translated as “New Humans” and often rendered in English as Shin Jinrui: The New Type. It was released in Japan on February 10, 1987, carrying the Rix Soft name even though Hudson Soft had developed it. Behind that unusual arrangement was a combination of Nintendo licensing restrictions, Hudson’s desire to release more Famicom games, a partnership with Ricoh Elemex, and one of the more unusual celebrity promotions of the era.
The game also changed dramatically during development. Surviving Japanese magazine previews show a project that, only months before release, looked considerably different from the scrolling shooter players eventually received. Then professional wrestler Riki Choshu became part of its identity, television commercials and live appearances followed, and a game created by relatively new Hudson personnel became wrapped in Japanese popular culture.
By the time Hudson brought it to the United States, most of that context had disappeared. Max became Dino-Riki. Riki Choshu became an unexplained muscular transformation. The Japanese title vanished. What remained was one of the stranger pieces of Hudson Soft’s Famicom history disguised as a simple prehistoric NES action game.
Before Dino Riki There Was Shin Jinrui
The earliest surviving contemporary coverage of Shin Jinrui appeared before the game was finished. Famitsu reported on the mysterious project in November 1986, followed by additional previews in December and early 1987. Famicom Hisshōbon also covered the game before release. Taken together, these period sources preserve something unusually valuable in video game history: evidence of a Famicom game undergoing substantial redesign while the press was already reporting on it.
The earlier Shin Jinrui was not simply the released game with unfinished graphics. Preview material described an action-oriented structure in which players moved between individual screens according to directional arrows. One objective involved collecting three flowers while confronting enemies that could be stunned with rocks and then kicked away. Proposed items included equipment for crossing different terrain and a stopwatch capable of freezing enemies. Plans called for sixteen stages, bosses after every fourth stage, bonus sequences, and even changes between day and night.
That design did not survive.
By the time Shin Jinrui reached stores, Hudson had transformed it into an automatically scrolling overhead shooter. The player now advanced relentlessly upward while throwing projectiles, avoiding enemies, jumping across dangerous terrain, uncovering hidden items, and battling large creatures. Later research based on testimony from former Hudson personnel has connected this direction with Hudson’s interest in producing something resembling Konami’s Knightmare, the vertically scrolling fantasy shooter released for the MSX in 1986.
The timing makes the surviving previews particularly interesting. Japanese publications had once expected the game during December 1986, but the finished cartridge did not arrive until February 10, 1987. The surviving record does not prove that the redesign alone caused the delay, but the changing previews show that Shin Jinrui was still evolving unusually close to release.
Why Rix Soft Published a Hudson Game
One of the first mysteries surrounding Shin Jinrui appears directly on the cartridge. Hudson Soft developed the game and helped promote it, yet the Japanese release carried the Rix Soft name and was associated with Ricoh Elemex.
Toshiyuki Takahashi, better known to generations of Japanese players as Takahashi Meijin, later explained why.
Nintendo placed restrictions on the number of Famicom games individual licensees could release. Takahashi recalled that Hudson was limited to five titles annually and wanted a way to publish additional software. According to his account, Hudson cooperated with Ricoh and created the Rix Soft arrangement, with Shin Jinrui becoming its first release.
Takahashi revisited the history again years later and offered a slightly more cautious version of events. He remembered hearing that Hudson and Ricoh had planned a joint venture so additional Famicom software could reach the market under another publishing identity, although he acknowledged that he had worked in promotion rather than corporate management and could not personally verify every detail of the negotiations. That qualification is important. His recollection is exceptionally valuable because he was directly involved with Hudson’s promotion of the game, but he was not claiming to have negotiated the original business arrangement himself.
Whatever happened inside the boardrooms, there is little ambiguity about Hudson’s involvement. Takahashi remembered Hudson developing and promoting Shin Jinrui much as it did its own releases, despite the different name printed on the box.
The result makes the game an interesting artifact of the Famicom business itself. Shin Jinrui was not merely a Hudson game with a curious logo. Its publishing identity reflected the tightly controlled third-party environment surrounding Nintendo’s enormously successful machine during the 1980s.
Why It Was Called “New Humans”
The Japanese title also emerged from its moment in popular culture.
Takahashi later remembered that younger or newer Hudson employees had been assigned to work on the project. At almost the same time, “Shin Jinrui” had become a widely recognized expression in Japan during 1986. The phrase, referring loosely to a “new breed” or “new generation” of younger Japanese people, was prominent enough for Takahashi to connect the fashionable term directly with the game’s naming.
Other recollections from Hudson personnel have similarly connected the title with the presence of newer staff. The two explanations are not necessarily contradictory. A contemporary buzzword about a new generation would have been particularly attractive for a project being placed in the hands of younger developers.
The title therefore carried a joke that would be almost impossible for an American player to recognize from Adventures of Dino Riki. Shin Jinrui could evoke both a primitive ancestor representing a stage in human development and the modern Japanese idea of a new generation breaking with what came before.
Then Hudson added Riki Choshu.
Riki Choshu Invades the Stone Age
Professional wrestler Riki Choshu was one of the most recognizable personalities in Japanese wrestling during the 1980s. His intense persona and distinctive appearance made him an obvious candidate for the kind of celebrity-driven promotion increasingly surrounding Japanese video games.
He was not, however, part of Shin Jinrui from the very beginning.
Takahashi remembered that Hudson first looked at the atmosphere of the developing game and then decided to incorporate Choshu, partly because his rebellious public image could be connected with the idea of a “new human.” Takahashi was himself placed in television advertising for the game as Hudson attempted to increase its sales.
Choshu did not merely pose for advertisements. His presence entered the game.
The Japanese protagonist was known as Max. By collecting a hidden item, Max could transform into a muscular Riki form modeled on the wrestler. Instead of relying on the ordinary sequence of weapons, Riki launched projections of himself across the screen in an attack called the Riki Lariat, a reference to Choshu’s famous wrestling move. Takahashi later explained that the attack could penetrate enemies, making it powerful despite allowing fewer simultaneous projectiles than some of Max’s normal weapons.
Pre-release material suggests that Hudson experimented with the celebrity connection even more directly. At one point, a Riki character could apparently appear separately from the protagonist to assist him. By release, Hudson had incorporated the wrestler through Max’s transformation instead.
The advertising embraced the association. Promotional material showed Choshu and used language emphasizing raw power, while the game itself was promoted as a “real survival game.” Hudson and Rix Soft were not trying to sell Shin Jinrui only as another shooter. They were selling personality.
From Television Commercials to Ryogoku Kokugikan
Hudson’s promotional strategy did not stop with magazine advertising.
Takahashi remembered appearing in television commercials connected to Shin Jinrui, while Choshu became the game’s celebrity centerpiece. The partnership eventually reached Ryogoku Kokugikan, the famous sumo arena in Tokyo, where Hudson staged a major promotional event shortly after the game’s release.
According to Takahashi, Choshu appeared onstage as one of the event’s major attractions. The wrestler was enormously popular with the children attending, creating logistical problems as young fans attempted to approach or touch him. Takahashi remembered that additional staff surrounded Choshu as he moved between backstage areas and the stage because Choshu did not want to push children away roughly.
The event illustrates how differently video games could be promoted in Japan during Hudson’s Famicom heyday. Shin Jinrui existed in the same promotional world that made Takahashi Meijin himself into a celebrity associated with rapid-fire button pressing and Hudson’s national Caravan competitions. A Famicom cartridge could become part video game, part television advertisement, part celebrity endorsement, and part live entertainment.
That history would be almost completely invisible when the game crossed the Pacific.
The Game That Finally Reached Players
The finished Shin Jinrui abandoned much of the structure shown in its earliest previews, but it retained an unusual combination of genres.
The screen continuously moves upward while enemies swarm from different directions. The player can move freely, throw weapons, and jump, making the game part shooter and part action-platformer. Rocks serve as the starting weapon, followed by stone axes, boomerangs, and finally torches as the player collects upgrades. Takahashi’s later recollection describes the same progression preserved by the original game.
The American manual gives a remarkably detailed picture of how Hudson wanted North American players to understand the system. It describes rocks as the weakest short-range weapon, axes as stronger but limited to straight shots, boomerangs as larger and more powerful, and the torch as the strongest weapon, capable of spreading attacks across much of the screen.
Other items increase health, restore energy, raise movement speed, improve weapon strength, or temporarily give the hero wings. The American version calls the wrestler-inspired transformation “Macho-Riki,” explaining only that Dino-Riki changes form and attacks enemies by throwing versions of himself. Without Riki Choshu appearing in American advertising, the joke had become an unexplained game mechanic.
The NES manual reworked the story as well. Dino-Riki is presented as a courageous young man living in an age ruled by dinosaurs who must establish humanity’s future by surviving deserts, swamps, dark caverns, and deep canyons. The manual identifies Tyrannosaurus, Pteranodon, Monster Fly, and Giant Cobra among the major creatures he must confront.
The title may suggest a conventional dinosaur adventure, but the actual enemy roster is much stranger. Giant insects, skeletal creatures, monsters, flying attackers, and other hazards often make its prehistoric setting feel more like fantasy than natural history.
A Game Built Around Keeping Your Power
The design of Adventures of Dino Riki becomes clearer once its upgrade system is considered. The player is expected to become progressively faster and stronger, but that strength is fragile.
Taking damage can reduce weapon and speed upgrades. Dying can erase much of the progress built through collecting power-ups, leaving the player weaker precisely when the later portions of the game are becoming more demanding. Water, pits, moving platforms, and other hazards also force the player to use the jump button in ways that most vertically scrolling shooters never require.
The flying power-up can make some of these sections much safer, while excessive speed can make careful jumping harder. This creates one of Dino Riki’s defining tensions. The same upgrades that make combat easier can make precise movement more dangerous.
Takahashi himself remembered the later portions of Shin Jinrui as demanding. When he returned to the game decades after release, he warned that its Hudson origins showed in the escalating challenge and suggested that it was not something to approach casually.
That difficulty would become one of the most persistent themes in the game’s reception.
Reconstructing the People Behind the Game
Unlike modern games, Shin Jinrui did not leave players with an extensive staff roll documenting every programmer, artist, designer, and composer. Much of what is now known about its production has instead been reconstructed from later testimony by former Hudson personnel and researchers who tracked them down.
Modern historical research has associated programmers Shinichi Nakamoto and Hitoshi Okuno with the project and has identified Sakurada Meijin as another participant. Manga artist Gaku Miyao produced the Japanese package illustration. Miyao later recalled receiving general instructions about giving the artwork tremendous energy, while some elements of the finished illustration were apparently his own invention. Most notably, the girl appearing on the Japanese artwork does not actually exist in the game.
That uncertain credit trail is worth preserving rather than pretending that Shin Jinrui has a simple, officially documented staff list. Hudson did not provide historians with one. What exists today is a reconstruction assembled from people who were there, surviving publications, artwork, cartridges, and later investigation.
The music presents an even clearer warning against repeating database credits without qualification.
The Music Credit Mystery
Takeaki Kunimoto has frequently been listed as the composer of Shin Jinrui. That attribution is much less certain than it first appears.
Kunimoto later discussed the game himself and remembered composing the short music heard after defeating a boss. He did not remember writing the entire soundtrack and instead believed that his former Hudson colleague Daisuke Inoue probably created much of the remaining music. Later attempts to reconstruct Hudson’s sound personnel have produced additional possibilities regarding the technical sound work.
For that reason, simply writing “music by Takeaki Kunimoto” gives a false impression of certainty. The surviving testimony suggests a divided or more complicated production process in which Kunimoto contributed at least one identifiable piece while the broader soundtrack likely involved other Hudson personnel.
It is a small example of a larger challenge facing game historians. Credits that appear settled after being repeated for decades can become much less certain once the developers themselves are asked.
Dino Riki Comes to America
Shin Jinrui remained a Japanese Famicom game for roughly two years before Hudson prepared it for the North American NES market.
Hudson announced Adventures of Dino Riki around the Winter Consumer Electronics Show in January 1989. By May and June, Nintendo Power was telling readers that a new Hudson caveman game was coming, initially describing it as something resembling Adventure Island. That description makes sense from screenshots and theme alone, but Dino Riki was fundamentally a vertically scrolling shooter rather than another side-scrolling Adventure Island game.
Nintendo Power gave it fuller “Video Shorts” coverage in the July and August 1989 issue, while Hudson advertisements and other magazines continued to place the game before American NES owners.
Exactly when the cartridge reached American consumers deserves a little caution.
Later reference works frequently give October 1989, and Computer Entertainer’s 1989 index placed the game in October. Hudson Soft USA’s trademark filing, however, records September 22, 1989 as both its first use and first use in commerce. Physical cartridge research likewise places surviving early American copies in September 1989. The trademark record therefore provides strong evidence that commercial use had begun by September 22, even though some contemporary publication records treated Dino Riki as an October release.
Rather than choosing one date and ignoring the other, the surviving evidence suggests a late September commercial introduction followed by broader October availability or indexing.
What American Reviewers Thought
Dino Riki arrived during an extraordinarily busy period for the NES, when American players had an expanding selection of action games and shooters competing for attention.
Nintendo Power’s July and August 1989 coverage gave the game respectable marks, with scores of 3.5 out of 5 for graphics and sound, 3.5 for play control, and 3 each for challenge and theme or fun. It was not treated as a disaster, nor was it presented as one of the system’s essential new releases.
Other reviewers reached similarly mixed conclusions. Computer Entertainer acknowledged elements of the presentation but questioned how much the game offered beyond an already crowded field of action titles. Game Players later found plenty of action and humor in the premise, while subsequent coverage warned that Hudson games such as Dino Riki and Adventure Island could be too difficult for inexperienced or younger players.
The difficulty complaints have aged better than some of the other criticism because they describe exactly how the game is structured. Dino Riki can feel manageable while fully powered, then become dramatically more difficult after a mistake strips away speed and weapon strength. The platforming sections are also unusually unforgiving for a game presented primarily as an overhead shooter.
For players willing to learn its hidden items and movement patterns, that severity can become part of the appeal. For others, losing a powerful character and being sent back with weak rocks is enough to end the adventure.
A Korean Afterlife
The history of Shin Jinrui did not stop with the Famicom and NES.
In October 1991, South Korean developer Zemina produced versions for the MSX and Sega Master System under the title Wonsiin, meaning roughly “primitive man.” The game was not an official Hudson conversion. It belonged to the complicated Korean market of the era, where developers frequently produced adaptations of Japanese games without conventional licensing arrangements.
Wonsiin recreated much of the basic Dino Riki formula, including vertical scrolling, jumping, prehistoric enemies, and weapon upgrades, but made numerous compromises and alterations. Its adventure ends after three stages rather than reproducing all of the original game’s later challenges. Zemina even announced a Wonsiin 2 in 1992, but the sequel was never completed as originally planned.
The Korean adaptation is an obscure footnote to an already obscure game, yet it also demonstrates how far Shin Jinrui’s design traveled. A game created by Hudson, published through Ricoh’s Rix Soft label, promoted with a Japanese wrestler, localized by Hudson in America, and then unofficially adapted in Korea had acquired several different identities within only a few years.
Why Adventures of Dino Riki Matters
Adventures of Dino Riki is unlikely to appear near the top of many lists of the greatest NES games ever made. Its platforming can be frustrating, its reliance on power-ups is severe, and even contemporary reviewers struggled to decide whether its mixture of shooting and prehistoric action distinguished it enough from the hundreds of other games competing for attention.
Historically, however, it is far more interesting than its reputation suggests.
The surviving record captures a game-changing direction while Japanese magazines were already previewing it. It reveals how Nintendo’s publishing restrictions affected the decisions of one of the Famicom era’s most important developers. It preserves Hudson’s willingness to combine game development with celebrity culture, television advertising, live events, and the immense popularity of Riki Choshu. It also provides a case study in how localization could erase much of a game’s original cultural context without actually changing its basic mechanics.
To an American child in 1989, Macho-Riki was simply a bizarre secret power-up.
To a Japanese player in 1987, the joke was obvious.
That distance between the two versions is precisely what makes Adventures of Dino Riki worth remembering. Beneath the caveman, dinosaurs, rocks, and punishing jumps is a small history of the Famicom business itself, shaped by licensing rules, inexperienced developers, professional wrestling, rapidly changing design ideas, and Hudson Soft’s relentless talent for turning video games into events.
What looks like a forgotten prehistoric shooter is actually a remarkably well-preserved fossil from one of the most important periods in Japanese video game history.
Sources & Further Reading
Rix Soft. Shin Jinrui: The New Type [RES-SG] (Famicom) (JP): Manual and Box. 1987. Internet Archive. https://archive.org/details/shin-jinrui-the-new-type-res-sg-fc-jp-manual-600-dpi
Hudson Soft USA. Adventures of Dino-Riki: Operation Manual. South San Francisco, CA: Hudson Soft USA, 1989. https://www.thegameisafootarcade.com/wp-content/uploads/2017/02/Adventures-of-Dino-Riki-Game-Manual.pdf
Famitsu Staff. “謎のゲーム 未確認情報” [Mysterious Game: Unconfirmed Information]. Famitsu, no. 11, November 14, 1986, 79. Internet Archive. https://archive.org/details/famitsu-0011/page/79/mode/1up
Famitsu Staff. “新着ゲーム通信 新人類” [New Game News: Shin Jinrui]. Famitsu, no. 13, December 12, 1986, 92. Internet Archive. https://archive.org/details/famitsu-0013/page/92/mode/1up
Famitsu Staff. “新着ゲーム通信 新人類” [New Game News: Shin Jinrui]. Famitsu, no. 14, December 26, 1986, 101. Internet Archive. https://archive.org/details/famitsu-0014/page/n101/mode/1up
Famitsu Staff. “新着ゲーム通信 新人類” [New Game News: Shin Jinrui]. Famitsu, no. 16, February 6, 1987, 91. Internet Archive. https://archive.org/details/famitsu-0016/page/91/mode/1up
Famitsu Staff. “新作ゲームクロスレビュー 新人類” [New Game Cross Review: Shin Jinrui]. Famitsu, no. 17, February 20, 1987, 9. Internet Archive. https://archive.org/details/famitsu-0017/page/n10/mode/1up
Famicom Hisshōbon Staff. “12月発売予定” [Scheduled for December Release]. Famicom Hisshōbon, no. 12, December 5, 1986, 110. Internet Archive. https://archive.org/details/no.-012-1986-12-05/page/n115/mode/1up
Famicom Hisshōbon Staff. “New Soft: 新人類.” Famicom Hisshōbon, no. 14, January 1, 1987, 124–25. Internet Archive. https://archive.org/details/no.-014-1987-01-1p-113-114/page/n129/mode/2up
Yoshida, Janis, and Hirabo. “Cross Review: ファミコンソフト ソフトスクランブル.” Famicom Hisshōbon, no. 19, March 20, 1987, 32. Internet Archive. https://archive.org/details/no.-019-1987-03-20p-097-098/page/n33/mode/1up
Takahashi, Toshiyuki. “国技館 by ハドソンその2” [Kokugikan by Hudson, Part 2]. September 3, 2018. https://ameblo.jp/meijin16shot/entry-12402528975.html
Takahashi, Toshiyuki. “昨日は『新人類』を” [Yesterday I Played Shin Jinrui]. May 15, 2022. https://ameblo.jp/meijin16shot/entry-12743056789.html
Takahashi, Toshiyuki. “新人類” [Shin Jinrui]. May 16, 2022. https://ameblo.jp/meijin16shot/entry-12743251518.html
Iwasaki, Hiroaki. “ファミコンの音を誰が作ったか聞いてわかる話” [Learning Who Made Famicom Music by Asking]. GameLife/High Risk Revolution, January 19, 2021. http://www.highriskrevolution.com/wp/gamelife/2021/01/19/ファミコンの音を誰が作ったか聞いてわかる話/
Kunimoto, Takeaki. “新人類 / 井上大介さん（たぶん）” [Shin Jinrui / Daisuke Inoue, Probably]. July 18, 2007. Archived personal blog. http://kinokosan.blog.ocn.ne.jp/wakame/cat2317998/
Miyao, Gaku. Post discussing the Shin Jinrui package illustration. X, February 20, 2022. https://twitter.com/GAKUJIRA/status/1495614976786313216
Sakurada, Meijin. Posts discussing the development of Shin Jinrui. X, November 27, 2011. https://twitter.com/meijin_sakurada/status/140994031462252544
“ファミコン 新人類CM 1987年 長州力” [Famicom Shin Jinrui Commercial, 1987, Riki Choshu]. Television advertisement, 1987. Preserved on YouTube.
“新人類.” ゲームゲームしたもの. Reproduction and discussion of the original Japanese promotional flyer, including its ¥4,900 price, “Real Survival Game” description, and Riki Choshu advertising. https://kuroneko64san.blog21.fc2.com/blog-entry-80.html
Game Players Staff. “Hudson Soft.” Game Players CES Videogame and Computer Game Guide, January 1989, 30. Internet Archive. https://archive.org/details/game-players-ces-videogame-and-computer-game-guide/Game%20Player%27s%20CES%20Videogame%20and%20Computer%20Game%20Guide%2002/page/10/mode/1up
Nintendo Power Staff. “Adventures of Dino Riki.” Nintendo Power, no. 6, May–June 1989, 110. https://fliphtml5.com/zrdmcs/dvzc/110/
Nintendo Power Staff. “Video Shorts: Adventures of Dino-Riki.” Nintendo Power, no. 7, July–August 1989, 81. Internet Archive. https://archive.org/details/Nintendo_Power_Issue001-Issue127/Nintendo%20Power%20Issue%20007%20July-August%201989/page/n66/mode/1up
Hudson Soft. “Joycard Sansui SSS.” Advertisement. Electronic Gaming Monthly, no. 3, September–October 1989, 9. Internet Archive. https://archive.org/details/video-game-magazines/Eletronic%20Gaming%20Monthly/Electronic%20Gaming%20Monthly%20Issue%203%20%28Sep-October%201989%29.cbr.rar/page/9/mode/1up
Computer Entertainer Staff. “NINTENDO Software: Adventures of Dino Riki.” Computer Entertainer 8, no. 7 (October 1989): 11. Internet Archive. https://archive.org/details/computer-entertainer-8-7/page/12/mode/1up
GamePro Staff. “Short ProShots.” GamePro, no. 4, November 1989, 68. Internet Archive. https://archive.org/details/GamePro_Issue_004_November_1989/page/n69/mode/1up
Computer Entertainer Staff. “1989 Index.” Computer Entertainer 8, no. 10 (January 1990): 8. Internet Archive. https://archive.org/details/ComputerEntertainerJanuary1990/page/n7/mode/1up
Meredith, Gary. “Nintendo Reviews: Adventures of Dino-Riki.” Game Players 2, no. 3 (March 1990): 92. Internet Archive. https://archive.org/details/gameplayersmagazinemarch90/page/n96/mode/1up
Game Players Staff. “A Parent’s Guide to Games for the Younger Set: Hudson Soft.” Game Players 3, no. 6 (November 1990): 22. Internet Archive. https://archive.org/details/game-players-strategy-guide-to-nintendo-games-vol.-3-no.-6-november-1990/page/22/mode/1up
United States Patent and Trademark Office. “Adventures of Dino Riki.” Serial no. 74018529, filed January 12, 1990. Trademark record reproduced by Furm. https://furm.com/trademarks/adventures-of-dino-riki-74018529
McFerran, Damien. “From the Archives: Hudson Soft, Part 1.” Retro Gamer, no. 66 (August 2009): 72. Internet Archive. https://archive.org/details/revistas-brasileiras-de-games-da-net/Retro%20Gamer%20-%20revistas/2009/Retro%20Gamer%20%E2%84%9666/page/72/mode/1up
Barbato, Steven. “The Adventures of Dino Riki.” Hardcore Gaming 101, May 6, 2020. https://www.hardcoregaming101.net/adventures-of-dino-riki-the/
Derboo, Sam. “A History of Korean Gaming: Zemina.” Hardcore Gaming 101. March 2014. https://hardcoregaming101.net/korea/part1/company-zemina2.htm
SMS Power! “Wonsiin (원시인).” SMS Power! Accessed October 8, 2026. https://www.smspower.org/Games/Wonsiin-SMS
NesCartDB. “Adventures of Dino Riki.” Cartridge profile NES-SG-USA. Accessed October 8, 2026. https://nescartdb.com/profile/view/342/adventures-of-dino-riki
Data Crystal. “Adventures of Dino Riki.” Accessed October 8, 2026. https://datacrystal.tcrf.net/wiki/Adventures_of_Dino_Riki
MobyGames. “Adventures of Dino-Riki.” Accessed October 8, 2026. https://www.mobygames.com/game/13000/adventures-of-dino-riki/
GameFAQs. “Adventures of Dino Riki: Release Information.” Accessed October 8, 2026. https://gamefaqs.gamespot.com/nes/587071-adventures-of-dino-riki/data