For millions of players who grew up with a ZX Spectrum, Commodore 64, Amstrad CPC, Amiga, Atari ST, or one of the early generations of home consoles, the Ocean Software logo became almost as familiar as the machines themselves. It appeared before sports games, arcade conversions, movie adaptations, television licences, and original titles, sometimes attached to games built inside Ocean’s Manchester offices and sometimes to projects created by outside developers working under the company’s direction.
By the end of the 1980s, Ocean had become one of the most recognizable names in European video games. Its catalog included Daley Thompson’s Decathlon, Head Over Heels, Wizball, Operation Wolf, Platoon, RoboCop, Batman: The Movie, and a long succession of licensed releases connected to films, television programs, celebrities, and arcade manufacturers. The company eventually crossed from Britain’s 8-bit home computer market into the Amiga and Atari ST era and then into console publishing, placing the Ocean name on Nintendo, Sega, and other systems.
The company did not begin that way. Before Ocean became a symbol of the British games industry, it was a young Manchester operation called Spectrum Games, selling inexpensive computer programs into a market that was growing so quickly that almost nobody knew what the industry would look like a few years later.
Before Ocean There Was Spectrum Games
David Ward and Jon Woods founded the business that became Ocean during the explosion of home computing in Britain in 1983. Both men came into the industry from outside programming. The Science and Industry Museum in Manchester records that they had previously been involved in clothing before recognizing the commercial opportunities appearing around inexpensive home computers such as the Sinclair ZX Spectrum.
Contemporary advertising gives the clearest picture of how quickly the business developed. On April 22, 1983, an advertisement for Spectrum Games appeared in Personal Computer News. By that summer the company was advertising an expanding collection of games for machines including the ZX Spectrum and VIC-20. An August 1983 issue of Your Computer carried a full-page Spectrum Games advertisement describing an “amazing collection” of games for the two systems.
These early products belonged to a very different software market from the multimillion-dollar development industry that would emerge later. Home computer games were commonly sold on cassette tapes, programmers frequently worked alone or in small groups, and a teenager working from a bedroom could create something that reached stores across Britain. Many early software companies relied heavily on versions or imitations of popular arcade concepts, and Spectrum Games was no exception.
The surviving advertisements also help settle an important point about Ocean’s chronology. Spectrum Games was still using its original name during the summer of 1983, while surviving records show Ocean Software advertising by late that same year. The company therefore emerged as Ocean during 1983, rather than in 1989 as a careless reading of one later Companies House record might suggest.
The name change gave the company an identity that was not tied to one particular computer. Later recollections describe former Imagine employee Paul Finnegan as an important figure in improving Ocean’s retail presence, while Jon Woods is credited with proposing the new name. By the time the Ocean identity settled into place, Ward and Woods were already moving beyond the small mail-order operation with which they had begun.
From Ralli Buildings to Ocean House
Ocean’s early Manchester history became closely connected to two buildings. The company first operated from the Ralli Buildings near the River Irwell, where programmers including Paul Owens, Bill Barna, and Dave Collier were among the early employees associated with its growing development operation.
As the business expanded, Ocean moved to 6 Central Street in Manchester, a building connected to the city’s Quaker community and situated near the central library. The address would become one of the most important locations in British video game history.
At first, Ocean occupied part of the building while other spaces were used for storage. As development expanded, programmers were eventually moved into basement rooms that acquired the nickname “The Dungeon.” From those offices came games that reached players across Britain and, increasingly, beyond it. Ocean’s own instructions for Daley Thompson’s Decathlon later gave the address simply as Ocean Software Limited, Ocean House, 6 Central Street, Manchester 2.
The development environment was still far removed from the enormous studios that would characterize the games industry decades later. Individual programmers could have tremendous influence over a project, artists produced graphics within severe memory restrictions, and musicians worked with sound hardware that provided only a handful of channels. A small group could sometimes produce an entire commercial game.
Ocean nevertheless began developing something more structured than the bedroom-programmer model from which much of Britain’s software industry had emerged. It could recruit young talent, evaluate outside submissions, develop games internally, arrange advertising, manufacture copies, secure retail distribution, and market numerous releases under a recognizable company identity.
The BBC Captures Ocean at Work
Few British software companies of the period were documented as vividly while they were still young as Ocean.
During 1984, the BBC followed Ocean and its Liverpool rival Imagine Software for the documentary Commercial Breaks: The Battle for Santa’s Software. The resulting program captured two very different companies attempting to succeed in the rapidly changing games business. Imagine had become famous for lavish spending, aggressive publicity, expensive offices, and the ambitious “Megagames” that it hoped would transform the market. Ocean appeared more restrained, but no less determined to find the products that would dominate Christmas sales.
The documentary’s narration described David Ward as having started Ocean Software in Manchester the previous year and showed him acting as a publisher who received programs from around Britain. Ocean had its own programmers, but it also examined games created independently and decided which ones were worth publishing.
One of the most remarkable scenes involved sixteen-year-old Jonathan Smith, later better known in the games industry as Joffa Smith. Smith brought Ocean a game called Pud Pud that he had written at home. Ward liked what he saw. According to the documentary, Ocean paid Smith £1,000 for the game and offered him a job. Smith would become one of the notable programmers of the British 8-bit era, later working on games including Hyper Sports, Green Beret, and Cobra.
The program also showed just how selective Ocean could be. Ward stated that the company rejected the overwhelming majority of material submitted to it. More importantly, he understood that computer software was becoming an entertainment business with a strongly seasonal market. He estimated that the period from September through January could account for around 70 percent of annual sales. Christmas was becoming as important to software publishers as it already was to toy companies, record labels, and other entertainment businesses.
The documentary accidentally became an extraordinary historical record for another reason. While the cameras were filming, Imagine Software’s financial crisis deepened. The company that had seemed to represent the glamorous future of British software collapsed, while the more cautious Manchester competitor continued growing.
Daley Thompson and Ocean’s First Major Breakthrough
One of the releases that transformed Ocean’s position was Daley Thompson’s Decathlon.
Daley Thompson was already one of Britain’s most famous athletes, having won Olympic decathlon gold in 1980. Ocean connected its game to Thompson during the buildup to the 1984 Los Angeles Olympics, where he would win another gold medal. It was an early demonstration of a strategy that Ocean would later use repeatedly: secure a recognizable name or property and have the game ready while public attention was at its highest.
Released in 1984 for the ZX Spectrum and followed by versions for other computers, Daley Thompson’s Decathlon recreated the ten events of the decathlon using the limited capabilities of contemporary hardware. Running and other events depended on rapid alternating controls, creating the sort of frantic physical play that became associated with many early athletics games.
Original instructions provide particularly useful evidence about Ocean’s organization. The manual identified the game as written by Ocean’s in-house team, gave the Central Street address, encouraged programmers with good games to contact the company, and credited D. C. Ward as producer. It demonstrates that Ocean was simultaneously developing internally and continuing to search for outside talent.
Daley Thompson’s Decathlon became one of Ocean’s defining early successes. It also demonstrated that the company’s future did not have to depend on imitations of existing arcade games. Celebrity endorsements, sports personalities, films, television programs, and other recognizable properties could give computer games an identity before a customer had even seen them running.
Ocean had discovered a formula it would spend years refining.
The Fall of Imagine and the Rise of Two Labels
Imagine Software’s collapse in 1984 changed the British games business and presented Ocean with an opportunity.
Ocean acquired the Imagine name and used it as a publishing label, particularly for arcade conversions. The distinction became useful. Ocean could maintain one identity for many of its original products and entertainment licences while using Imagine for other releases, including conversions connected to major arcade companies.
One particularly important relationship developed with Konami. The Japanese company had produced arcade successes that were attractive candidates for Britain’s enormous home computer market. Ocean’s access to the Imagine label and its growing publishing infrastructure helped it secure conversion opportunities, placing versions of arcade games onto the machines sitting in British bedrooms.
This was increasingly what Ocean did well. It did not need every important idea to originate inside its Manchester headquarters. It could operate between several worlds. There were programmers and artists creating software, arcade manufacturers holding valuable games, film studios controlling recognizable characters, retailers wanting products that would sell quickly, and consumers trying to decide which cassette to take home.
Ocean learned to connect them.
Turning Film Licences into a Business
During the middle of the 1980s, Ocean became increasingly associated with licensed entertainment.
Film licences offered obvious advantages. A game carrying the name of a successful movie did not have to explain its characters or setting from scratch. A recognizable poster, actor, title, or logo could catch a customer’s attention immediately. The danger was timing. If a publisher waited until a movie had proven successful, the rights could become expensive and the ideal sales window might already have passed.
Ocean increasingly tried to obtain properties earlier.
The Science and Industry Museum describes the strategy as speculative. Ocean representatives developed contacts with the film business and attempted to identify promising projects before their commercial fate was known. Buying early could keep the price of the licence relatively low. The company might occasionally choose a film that failed, but a correctly timed success could produce an enormous return.
Rambo: First Blood Part II and Short Circuit became part of this expansion into film licensing, while other properties followed. Ocean’s catalog eventually included games connected to Platoon, Top Gun, Cobra, Batman, RoboCop, The Untouchables, Total Recall, Terminator 2, The Addams Family, Jurassic Park, and numerous other films and television properties.
Not every licensed game was successful, and short development schedules sometimes worked against quality. Yet Ocean became one of the companies most closely identified with the idea that video games could be planned as part of the wider entertainment business.
Gary Bracey became a major figure in this side of the company. As Ocean’s development operation grew, Bracey helped oversee projects and licensing relationships during the period when film and arcade properties were becoming increasingly important to its catalog. His later recollections about RoboCop, Platoon, and Batman show how closely decisions about game development had become connected with negotiations over intellectual property and release timing.
More Than Licences
The success of Ocean’s licensed games can sometimes obscure the variety of work connected to the company.
By the second half of the 1980s, Ocean and the Imagine label were associated with original games, arcade conversions, sports titles, film adaptations, and projects created by independent developers. Head Over Heels, Match Day II, Wizball, Target Renegade, and other releases demonstrated that the Ocean catalog could not be reduced simply to movie tie-ins.
The company also became home to a generation of programmers, artists, musicians, and producers whose work helped create a recognizable Ocean style.
Jonathan Smith became one of its most admired programmers. Simon Butler contributed graphics and design. Mike Lamb worked on important projects during the company’s later 8-bit period. Martin Galway became one of the best-known composers associated with the Commodore 64, while Ocean’s loading music became part of the experience of waiting several minutes for a cassette game to enter memory. Bob Wakelin’s illustrated covers and advertisements helped give Ocean products a visual presence on store shelves and in computer magazines.
These elements mattered because a computer game in the 1980s was more than the code on the cassette. The loading screen mattered. The music mattered. The illustrated box mattered. The full-page magazine advertisement mattered. A game had to attract attention before the customer ever played it.
Ocean became particularly good at selling that complete package.
RoboCop and the Peak of the 8-Bit Era
Few games better illustrate Ocean’s licensing strategy than RoboCop.
Ocean secured rights connected to the 1987 film and became involved with Data East’s arcade adaptation. The home computer versions combined the strength of a recognizable film property with material derived from a successful arcade game. Later recollections by Gary Bracey describe RoboCop as a breakthrough that demonstrated to movie companies just how much revenue a successful game licence could generate.
The game became one of Ocean’s greatest commercial successes and remained prominent in British software charts for an exceptional period. Its importance went beyond a single successful release. RoboCop helped validate Ocean’s belief that the right property, the right release window, and the right development approach could turn a movie game into something far more important than disposable merchandise.
Batman: The Movie followed in 1989 and reinforced the strategy. Rather than representing the film through one repeated style of play, the game moved through different forms of action corresponding to scenes from Tim Burton’s movie. Versions appeared across major home computer formats at a time when Batman had become one of the most heavily marketed entertainment properties in the world.
By this point, Ocean was no longer simply one successful British software house among many. Its logo represented an established publishing operation capable of negotiating internationally recognized licences and placing the resulting games on several different machines at once.
Moving Beyond the 8-Bit Computer
The market that created Ocean did not stand still.
During the later 1980s and early 1990s, the ZX Spectrum, Commodore 64, and Amstrad CPC were increasingly joined or replaced by more powerful computers such as the Commodore Amiga, Atari ST, and IBM-compatible PC. At the same time, dedicated consoles from Nintendo and Sega became increasingly important in Europe.
Ocean followed the market.
Its games appeared on the Amiga and Atari ST, and the company expanded its involvement with console systems including the Nintendo Entertainment System, Super Nintendo Entertainment System, Game Boy, Sega Master System, and Mega Drive. The transition required a publisher that had grown up around inexpensive cassette games to operate in a market where development costs, cartridge manufacturing, licensing arrangements, and international distribution could be considerably more complicated.
Ocean’s promotional material from the early 1990s shows how far the company had moved from its origins. Promotional publications preserved by the Video Game History Foundation document a company marketing games in a mature international industry rather than simply advertising inexpensive programs to British home computer owners. Its 1993 promotional material included console-focused campaigns and major licensed properties such as Jurassic Park.
Yet the basic Ocean strategy remained recognizable. Major licences still mattered. Arcade properties still mattered. Strong artwork still mattered. Being able to release the same recognizable title across several popular machines still mattered.
The machines had changed, but the business lessons learned during the Spectrum Games years had survived.
The Ocean Name and a Complicated Corporate Record
Reconstructing Ocean’s corporate history requires some care because the surviving legal companies do not correspond perfectly with the familiar public history of the brand.
Companies House records show that Ocean Europe Limited was incorporated on January 26, 1984. Other companies later formed part of a larger Ocean corporate structure. This is important because a separate Companies House entity currently recorded as Ocean Software Limited, company number 02415070, was not incorporated until August 21, 1989.
That does not mean Ocean Software began in 1989.
The same government record shows that the 1989 company was originally called Ocean Films Limited and retained that name until June 19, 1998. Using its incorporation date as the founding date of Ocean Software would therefore produce a misleading version of the company’s history. Contemporary advertisements, the 1984 BBC documentary, manuals, and other records independently establish Ocean’s operations years earlier.
It is a useful reminder that the history of a video game company is not always identical to the history of one legal entity carrying its name.
Infogrames and the End of an Independent Ocean
By the middle of the 1990s, the international games business was becoming more expensive and increasingly consolidated.
The small software houses that had flourished during Britain’s home computer boom now faced global publishers, increasingly complex console licensing systems, larger development teams, higher production costs, and projects that could demand far more capital than a cassette game developed by a handful of programmers.
In 1996, French publisher Infogrames acquired Ocean in a deal widely reported at approximately £100 million. Ocean initially remained recognizable within the enlarged company, and its name continued to appear on games after the acquisition.
Government corporate records provide unusually precise evidence for the transition. Infogrames co-founder Bruno Bonnell became a director of Ocean International Limited on June 21, 1996, placing the corporate change directly into the surviving official record.
The Ocean identity survived for roughly two more years, but in 1998 the familiar name was phased out as Infogrames reorganized its operations under its own branding.
For players, it marked the end of a name that had appeared throughout almost the entire commercial life of Britain’s classic home computer industry.
From Mail Order Games to a European Publisher
Ocean Software’s history mirrors the transformation of the British video game business itself.
It began in an era when a teenager could write a game at home, carry it into a publisher’s office, and leave with a commercial agreement and potentially a job. The earliest Ocean business could advertise inexpensive games in computer magazines, recruit programmers from across Britain, duplicate cassettes, and reach a rapidly expanding audience without the enormous infrastructure later associated with game publishing.
Within only a few years, the same company was negotiating with international film studios and Japanese arcade companies.
By the 1990s, Ocean was publishing across computers and consoles, promoting some of the largest entertainment licences in the world, and operating as a significant European video game company.
Its success was never based on one programmer, one machine, or even one type of game. Ocean survived the volatile 1980s because it learned how to publish. Ward, Woods, and the people around them understood that games had to be produced, packaged, advertised, distributed, and timed for a market that increasingly behaved like every other form of popular entertainment.
The 1984 BBC documentary captured that lesson before anyone could know how important it would become. While cameras recorded one famous British software company collapsing under the weight of its ambitions, Ocean was judging new programmers, planning Christmas releases, and building the machinery of a publishing business.
That machinery carried the company from Spectrum Games advertisements in 1983 to Daley Thompson, Imagine, Konami, RoboCop, Batman, Jurassic Park, and eventually the corporate world of Infogrames.
Ocean disappeared as an active publishing name in 1998, but its history remains embedded in hundreds of games, magazine advertisements, cassette cases, loading screens, soundtracks, and the memories of people who grew up waiting for that blue Ocean logo to appear on a television screen.
More importantly, Ocean helped demonstrate what a British video game publisher could become. From a small Manchester operation built during the home computer boom, it grew into one of the companies that helped turn video games from programs traded among enthusiasts into an international entertainment industry.
Sources & Further Reading
Personal Computer News. No. 6. April 22, 1983, 89. Spectrum Games advertisement for Cosmic Intruders, Monster Muncher, Rocket Command, and Road Frog. https://worldofspectrum.org/archive/magazines/personal-computer-news/6/0/1983/4/22
Home Computing Weekly. No. 9. May 3, 1983, 9. Spectrum Games advertisement for ZX Spectrum and VIC-20 software. https://worldofspectrum.org/archive/magazines/home-computing-weekly/9/0/1983/5/3
Computer & Video Games. No. 20. June 1983. Spectrum Games advertisement. https://worldofspectrum.org/archive/magazines/computer–video-games/20
Computer & Video Games. No. 21. July 1983, 2. Spectrum Games advertisement for its expanding ZX Spectrum and VIC-20 catalog. https://worldofspectrum.org/archive/magazines/computer–video-games/21/0/1983/7/0
Your Computer. Vol. 3, no. 8. August 1983, 2. Spectrum Games advertisement. https://worldofspectrum.org/archive/magazines/your-computer/8/3/1983/8/0
Computer & Video Games. No. 22. August 1983. Spectrum Games advertisement documenting continued use of the company’s original name. https://worldofspectrum.org/archive/magazines/computer–video-games/22/0/1983/8/0
Your Computer. Vol. 3, no. 11. November 1983, 2. Ocean Software advertisement for Hunchback. https://www.xal.io/zxdb/issues/168
Computer & Video Games. No. 30. April 1984. Ocean Software advertisement. https://worldofspectrum.org/archive/magazines/computer–video-games/30/0/1984/4/0
Computer & Video Games. No. 34. August 1984, 148. Ocean Software advertisement for Gilligan’s Gold and High Noon. https://worldofspectrum.org/archive/magazines/pages/computer–video-games/34/148
BBC. Commercial Breaks: The Race for Santa’s Software. Broadcast December 13, 1984. Contemporary documentary following Ocean Software and Imagine Software during the early British computer game industry. https://www.youtube.com/@BBCArchive
Westcott, Matt. “Commercial Breaks Transcript.” Transcript of the BBC documentary Commercial Breaks: The Race for Santa’s Software. https://old.matt.west.co.tt/speccy/commercial-breaks-transcript.html
Ocean Software. Daley Thompson’s Decathlon. Game manual. Manchester: Ocean Software, 1984–85. https://www.lemon64.com/doc/daley-thompsons-decathlon/170
Ocean Software. It’s a Knockout. Game manual. Manchester: Ocean Software, 1986. https://manualzilla.com/doc/6339148/file
Sinclair User. April 1984. Ocean Software advertisement. Centre for Computing History collection. https://www.computinghistory.org.uk/cgi-bin/sitewise.pl?act=det&layout=layout_wap.htm&p=10493
Sinclair User. No. 83. February 1989. Ocean Software advertisement for Operation Wolf. https://electronicsandbooks.com/edt/manual/Magazine/S/Sinclair%20User%20UK/SinclairUser083-Feb89%20c20111225%20%5B100%5D.pdf
United Kingdom. Companies House. “Ocean Europe Limited, Company No. 01786262.” Incorporated January 26, 1984. https://find-and-update.company-information.service.gov.uk/company/01786262
United Kingdom. Companies House. “Ocean Europe Limited: Filing History.” https://find-and-update.company-information.service.gov.uk/company/01786262/filing-history
United Kingdom. Companies House. “Ocean Holdings Limited, Company No. 02463655.” https://find-and-update.company-information.service.gov.uk/company/02463655
United Kingdom. Companies House. “Ocean Holdings Limited: Filing History.” https://find-and-update.company-information.service.gov.uk/company/02463655/filing-history
United Kingdom. Companies House. “Ocean International Limited, Company No. 02957921: Officers.” Corporate officer records documenting the Infogrames takeover period. https://find-and-update.company-information.service.gov.uk/company/02957921/officers
United Kingdom. Companies House. “Ocean Software Limited, Company No. 02415070.” Corporate record for the company originally incorporated as Ocean Films Limited in 1989. https://find-and-update.company-information.service.gov.uk/company/02415070
Video Game History Foundation Library. “Ocean Software Ltd.” Archival collection containing press, promotional, development, artwork, and magazine materials. https://archive.gamehistory.org/search?names=Ocean+Software+Ltd
Ocean Software. The 1993 Game Calendar. January 1993. Video Game History Foundation Library, MAG-EGM-SUPPLEMENT.042. https://library.gamehistory.org/repositories/2/archival_objects/18996 Game History Library
Ocean Software. The 1993 Game Calendar. July 1993. Video Game History Foundation Library, MAG-EGM-SUPPLEMENT.048.1. https://library.gamehistory.org/repositories/2/archival_objects/18998 Game History Library
Ocean Software. “Ride the Ocean Wave!” Supplement to Game Players Nintendo Guide. February 1993. Video Game History Foundation Digital Archive. https://archive.gamehistory.org/search?names=Ocean+Software+Ltd
Ocean Software. Jurassic Park supplement to Game Players Nintendo Guide. Late 1993. Video Game History Foundation Digital Archive. https://archive.gamehistory.org/search?names=Ocean+Software+Ltd
Ocean Software. Jurassic Park supplement to Game Players Nintendo-Sega. Late 1993. Video Game History Foundation Digital Archive. https://archive.gamehistory.org/search?names=Ocean+Software+Ltd VGHF Digital Archive
Ward, David. Interview. MicroHobby, no. 96, September 30, 1986, 28. https://www.abandonware-france.org/compagnies/ocean-international-204/
Ward, David. Interview. Tilt, no. 37, December 1986, 22. https://www.abandonware-france.org/compagnies/ocean-international-204/
Stokes, Colin. Interview. MicroHobby, no. 123, April 7, 1987, 4. https://www.abandonware-france.org/compagnies/ocean-international-204/
Ward, David. Interview. MicroHobby, no. 183, December 13, 1988, 6. https://www.abandonware-france.org/compagnies/ocean-international-204/
Ward, David. Interview. Micromanía, no. 8, January 1989, 10. https://www.abandonware-france.org/compagnies/ocean-international-204/
Lamb, Michael. Interview. Micromanía, no. 11, April 1989, 10. https://www.abandonware-france.org/compagnies/ocean-international-204/
Bracey, Gary. Interview. Génération 4. June 1989, 145. https://www.abandonware-france.org/compagnies/ocean-international-204/
Ward, David. Interview. The One, no. 16, January 1990, 130. https://www.abandonware-france.org/compagnies/ocean-international-204/
Butler, Simon. Interview. Tilt, no. 81, September 1990, 14. https://www.abandonware-france.org/compagnies/ocean-international-204/
Bracey, Gary. Interview. The One, no. 37, October 1991, 54. https://www.abandonware-france.org/compagnies/ocean-international-204/
Bracey, Gary. Interview. Amiga Power, no. 11, March 1992, 60. https://www.amigacomputers.com/pdf-amiga-power-magazine-issue-11/
Ward, David. Interview. Super Power, no. 3, October 1992, 24. https://www.abandonware-france.org/bibliotheque/magazines/super-power-243/numero-3-12149/
“L’union fait-elle la force? Infogrames / Ocean.” Génération 4, no. 89, June 1996, 22. https://www.abandonware-france.org/compagnies/ocean-international-204/
Hopkins, Nancy. “Ocean Software: Manchester’s Gaming Claim to Fame.” Science and Industry Museum, July 26, 2018. https://blog.scienceandindustrymuseum.org.uk/ocean-software/ Science and Industry Museum blog
Centre for Computing History. “Ocean Software.” Accessed October 25, 2026. https://www.computinghistory.org.uk/det/57894/Ocean-Software/
Yarwood, Jack. “Ocean Software’s Central Street HQ / Manchester, England.” Time Extension, December 28, 2023. https://www.timeextension.com/features/sacred-spaces-ocean-softwares-central-street-hq-manchester-england Time Extension
Scullion, Chris. “The BBC Has Re-Released a 1984 Documentary about the UK Computer Games Industry.” Video Games Chronicle, June 18, 2025. https://www.videogameschronicle.com/news/the-bbc-has-re-released-a-1984-documentary-about-the-uk-computer-games-industry/ VGC
Wilkins, Chris, and Roger M. Kean. Ocean: The History. Kenilworth, UK: Revival Retro Events, 2013.
Mason, Graeme. “A Tribute to Ocean Software.” Retro Gamer, no. 246. https://pocketmags.com/au/retro-gamer-magazine/issue-246/articles/a-tribute-to-oceon-software
“History of Ocean Software.” Retro Gamer, no. 23, 2006, 34–43. https://electronicsandbooks.com/edt/manual/Magazine/R/Retro%20Gamer%20UK/23.pdf
“The Making of Batman: The Movie.” Retro Gamer, no. 41. https://electronicsandbooks.com/edt/manual/Magazine/R/Retro%20Gamer%20UK/41.pdf
“The Making of RoboCop.” Retro Gamer, no. 46. https://electronicsandbooks.com/edt/manual/Magazine/R/Retro%20Gamer%20UK/46.pdf
The Retro Hour. “Ocean Software: The Inside Story with Gary Bracey.” Episode 80. Podcast interview. https://theretrohour.com/ocean-software-the-inside-story-with-gary-bracey-the-retro-hour-ep80/
Arcade Attack. “Mark R. Jones Interview.” Interview with former Ocean Software artist Mark R. Jones. https://www.arcadeattack.co.uk/interview-mark-r-jones/
Retro Video Gamer. “RVG Interviews Simon Butler.” Interview with former Ocean Software artist and designer Simon Butler. https://www.retrovideogamer.co.uk/rvg-interviews-simon-butler/