Living Books
Living Books constitutes a collection of interactive read-along experiences aimed at children between the ages of 3 and 9. Conceived by Mark Schlichting, the series was mainly developed by Living Books for the CD-ROM format and distributed by Broderbund across Mac OS and Microsoft Windows platforms. Two decades later, the collection was revitalized by Wanderful Interactive Storybooks for mobile devices running iOS and Android.
Initially launched in 1992 as a Broderbund subdivision with an adaptation of Mercer Mayer's Just Grandma and Me, Living Books became an independent entity specializing in children's multimedia by 1994, co-owned by Broderbund and Random House. The company produced titles featuring well-known properties such as Arthur, Dr. Seuss, and Berenstain Bears.
In 1997, Broderbund acquired Random House's half ownership and subsequently disbanded Living Books. The rights to the series then transferred through several companies, including The Learning Company, Mattel Interactive, and The Gores Group, before ultimately being owned by Houghton Mifflin Harcourt, who retain them today. After a period of inactivity, former developers obtained the license in 2010 to launch refreshed editions under the Wanderful Interactive Storybooks label.
The franchise has received widespread critical praise along with multiple accolades within the industry.
Conceptualization and Proposal
Mark Schlichting’s childhood fascination with entering the imaginative world of Dr. Seuss's Horton Hears a Who! inspired the foundation of the series. Drawing influence from Dr. Seuss’s storytelling and Disney animation, Schlichting aimed to produce captivating educational material for young audiences, motivated by concerns over his sons’ extensive Nintendo gaming habits. By 1986, his goal was to merge the cognitive stimulation offered by video games with purposeful learning through "highly interactive animated picture books," which ultimately developed into Living Books.
After completing a fine arts degree and working as an art director in book publishing, Schlichting retrained in traditional animation and entered the children’s software market in 1987. He freelanced at Broderbund Software on early PC projects, including titles from the Carmen Sandiego series such as Europe and U.S.A. By 1988, he secured a permanent position at Broderbund to internally present his concept, confident this was the optimal route to obtain funding for a new market segment. Within three months, Broderbund permitted him to create a prototype based on a book he had illustrated titled I'm Mine. This concept digitized storybook illustrations and allowed children to either listen to narration or interact directly with the pages. The term "Living Books" was chosen to signify the interactive, animated environment designed for exploration.
Schlichting actively promoted the CD-ROM-based Living Books project within Broderbund, highlighting children's innate curiosity towards technology and discovery-oriented learning. He proposed establishing a dedicated CD-ROM division focused on innovating children's literature, securing backing from executives including Michele Bushneff, Vice President John Baker, and CEO Doug Carlston. Although some executives doubted whether children would maintain interest as effectively as they do with traditional storytelling, they recognized the medium’s potential to engage users through thoughtful design.
Approval and prototypes
In 1989, after observing the Living Books prototype, the Dutch electronics company Phillips proposed a $500,000 deal to Broderbund for developing a title compatible with a new television set-top box. Following a four-month pitching period, Schlichting received authorization from Carlston to create a prototype utilizing an early iteration of MacroMedia Director. Carlston identified a demographic shift marked by an increase in births among Broderbund employees, indicating a growing market for software aimed at early childhood education. Living Books was conceived by merging this demographic insight with the advent of CD-ROM technology. Baker was appointed to lead the Living Books project. Schlichting persuaded Broderbund to allocate millions toward this initiative, transforming his initial demonstration into a small development team of fewer than five members by 1990.
The initial comprehensive prototype was based on Mercer Mayer's Little Monsters at School, showcasing two pages that illustrated page transitions, narration voiced by the protagonist, and highlighted text synchronized with reading. Schlichting and his son lent their voices to principal characters. Designed to function both as an interactive reading tool and storybook, the software required children to observe the words before enabling mouse-driven interactions. Adopting a child-centered design philosophy, extensive playtesting with children was conducted, integrating their feedback to ensure the product was created "with kids," rather than merely "for kids." This user-focused approach was mirrored in the relaxed work environment. Playtesting revealed that children tended to focus on the narrator’s mouth instead of the text, prompting a design modification to highlight only the text during narration to sustain reading engagement. Input from educators stressed the importance of simplicity and ease of use to avoid demanding technical skills from users. Michael Coffey joined as a programmer to help realize these design principles. Broderbund officially introduced Living Books in August 1991.
Mercer Mayer’s Just Grandma and Me was chosen as the first title due to Broderbund’s ownership of the book rights, which simplified negotiation processes; Mayer endorsed the development but did not participate directly. With support from Broderbund’s leadership, Living Books evolved into a dedicated division with an expanded team. Schlichting assumed the role of creative director and was elevated to vice president of research and design in 1996. He described his responsibilities as fostering a shared vision that shaped the company’s culture.
Creative arts
The majority of animation production occurred directly within Macintosh software environments using Photoshop, Illustrator, and Adobe Director before conversion through Broderbund’s proprietary engine. Barbara Lawrence, serving as technical designer, was responsible for digital backgrounds, while former Disney animator Don Albrecht contributed assistance with animations. Animators operated under demanding conditions, including high ambient temperatures. An animation style was preferred over incorporating live-action video clips.
Due to the absence of dedicated studio facilities, sound designer Tom Rettig recorded audio individually; Joey Edleman composed musical themes and sound effects, drawing on his background with pioneering audio software firms. Roy Blumenfeld engineered audio specifically for The Cat in the Hat. Voice acting frequently involved company staff to enhance their engagement with projects; notably, Schlichting provided the voice for "Grandma" in Just Grandma and Me. Synchronizing sound across varying CPU speeds presented technical difficulties, necessitating precise animation adjustments for lower-end hardware. Rob Bell acted as an intermediary between artists and programmers to preserve artistic integrity within technical limitations. Karl Ackerman offered support in prototyping and programming efforts.
Broderbund producers Clair Curtain, Todd Power, and Rob Martyn oversaw budget management and scheduling tasks. Mickey Mantle, appointed as CTO, advocated for Living Books’ technological advancements. Lucinda Ray directed educational product development from 1993 through 1999, managing over 60 teacher guides. Donna Bonifield advanced to Technical Creative Director by 1994. The team functioned somewhat like a skunkworks group, operating separately from the main corporate offices. Baker pursued external investment opportunities such as Sony to facilitate expansion. Despite challenging working conditions described by Edleman as resembling a sweatshop environment, the team remained dedicated and persistent.
Programming
Schlichting championed the development of sophisticated tools aimed at improving overall quality. The advent of CD-ROM technology opened possibilities for deeply engaging interactive experiences, which motivated Broderbund to grow Schlichting’s programming team beyond the standard single-developer model. The objective was to produce titles compatible across both Mac and PC platforms, enhancing interactivity.
Glenn Axworthy, a programmer, engineered the Living Books engine, which allowed Macromedia Director files to be transformed into playback formats optimized for slower CD-ROM drives regardless of CPU performance. This engine served as the backbone for all titles up until 1998, with continuous refinements throughout its lifespan. Meanwhile, Matt Siegel designed an animation driver that guaranteed uniform animation speeds independent of file size. Over three years, this development addressed challenges such as compression, timing precision, and device management, enabling smooth page transitions and immediate mouse responsiveness—key factors in maintaining user engagement. The driver also preloaded animations during narration breaks and minimized memory consumption by regulating ambient motion.
The title Just Grandma and Me utilized 128MB of CD-ROM storage, with subsequent creative enhancements introduced through S-Lang scripting by Rob Bell. By 1996, advancements in compression technology allowed titles to be significantly reduced in size for web demonstration purposes. By 1997, eight titles were compiled onto single discs within the Living Books Library collection.
Initial hardware specifications required PCs equipped with 80386 processors or Macintosh models ranging from LC to Quadra series, all featuring sound cards compatible with widely adopted standards. This ensured consistent responsiveness across different systems.
Schlichting also investigated alternative platforms such as Philips CD-i but encountered constraints related to display resolution and user interface design. Consequently, only select titles were released on Tandy VIS and Philips CD-i consoles, timed to coincide with their PC and Mac launches.
In September 1991, Doug Carlston emphasized the cost advantages of CD-ROMs compared to floppy disks, forecasting production expenses under $100,000 per title due to reusable engines and virtual machine strategies, without pressure for rapid market entry.
Interactivity design
Interactivity stood at the core of the experience; during demonstrations, executives often vied for control of the mouse. This led Schlichting to ensure that every visually clickable element was genuinely interactive, incorporating numerous hotspots on each page to empower users with control and exploratory freedom. These hotspots encompassed story-related components as well as occasionally included peripheral amusements offering intermittent reinforcement—examples being singing clams or vaudevillian starfish featured in Just Grandma and Me. Interaction was intentionally subtle; even objects like chairs could serve as hotspots. On average, screens contained many hotspots—for instance, Arthur's Computer Adventure boasted 23 hotspots per screen alongside multiple activities, whereas The Tortoise and the Hare primarily featured incidental rather than supplementary hotspots. Multi-layered gags allowed repeated clicks to trigger varied responses, thereby deepening engagement. Hidden elements such as secret paper airplanes encouraged players to actively seek hints via Broderbund’s dedicated hotline.
The activities included exercises focused on matching, rhyming, memory enhancement, and observation skills, each offered at three different difficulty levels. Scientific quizzes like Stellaluna’s Bat Quiz were part of the content lineup, along with sentence-building tools such as Arthur's Let Me Write activity. Spelling mini-games could be played solo or competitively against others, and embedded games like Deep Dark Sea appeared within Arthur's Computer Adventure.
Sound environments featured hundreds of digitally recorded voices and effects tailored specifically for each title. Clever audio cues—such as popping flowers or rock guitar riffs—further enriched immersion. Later installments incorporated original soundtracks composed by renowned musicians.
Unexpected cognitive reactions emerged when incongruous sounds triggered subconscious amusement during animations—for example, a bird flying accompanied by airplane noises.
User-friendly design
The design prioritized accessibility, allowing even very young children to operate the software independently; Schlichting aimed for an interface as straightforward as CD audio players, consistently utilizing simple binary options like ‘yes’ or ‘no’ throughout the user experience.Cite error: The opening <ref> tag is malformed or has a bad name Additionally, the design incorporated Brenda Laurel's "communities of agents" framework, featuring helper characters who interact directly with users—for instance, on exit screens where visual prompts gently guide decision-making.Cite error: The opening <ref> tag is malformed or has a bad name
Educators requested software that could engage children for roughly 20 minutes without adult supervision;
Living Books required no installation process—users could start playing immediately after inserting the CD and selecting the icon,<refs/><refs/><refs/>
Schlichting noticed that retail demonstrations often used game assets to highlight hardware features;
he implemented an "attract mode" in which characters introduced themselves and showcased controls before inviting user interaction,<refs/> promoting engagement through animated dance sequences instead of repetitive voice loops,<refs/> while maintaining continuous screen animation to convey activity.<refs/>
Users were able to jump directly between screens without having to navigate sequentially through each page.<refs/>
Physical paperback editions accompanied the software versions to foster a seamless connection between traditional reading and digital interaction;
parents had the option to read stories aloud conventionally while children followed along on screen with synchronized narration and highlighted text.<refs/><refs/>
Linguistic design
A significant challenge involved motivating children to engage with text beyond mere visual appeal;
Schlichting discovered that animated text could capture up to 80% of attention when paired with interactive spoken elements.
The series featured 'living' text functionality, enabling word-by-word pronunciation upon tapping or sentence assembly from individually recorded words in various styles reflecting natural speech patterns,<refs/><refs/> encouraging emergent language exploration as demonstrated in The New Kid on the Block, which served as a "living dictionary".<refs/>
Early titles supported multiple languages on a single disc, including English (US/UK), Spanish, French, German, and Japanese;
later releases typically included US English, UK English with localized accents and idioms, and Spanish variants;
Broderbund published UK English dubs (1996–2000), UbiSoft's Pointsoft produced French versions (1996), Hebrew editions appeared in 1995;
Italian versions existed but are less documented. European Spanish dubs were added in subsequent releases;
Brazilian Portuguese editions were introduced by Delta's Livros Vivos (1998); German dubs followed after The Learning Company acquired the series (1998).<refs/><refs/><refs/>
Localization efforts entailed graphic modifications to synchronize lip movements accurately for authentic dubbing;
although useful for bilingual learners, no integrated multilingual dictionary was provided;
cultural adaptations ensured accuracy, such as renaming characters—for example, Arthur’s sister D.W. was changed to Dorita in Spanish versions.<refs/>
Compute! magazine recognized that multilingual support not only broadened market appeal but also enhanced educational effectiveness.
Educational Design
Schlichting stressed that software serves as a supplement to, rather than a substitute for, effective teaching; he opposed categorizing Living Books under "Edutainment," favoring the term "invisible education" instead. Broderbund’s Vice President Marilyn Rosenblum emphasized nurturing children's innate interest in reading without explicitly claiming to teach reading skills.
Initially aimed at preschoolers through early elementary ages (3–8), Living Books expanded its reach to include toddlers and children aged nine and above. Younger users generally followed sequential word patterns, whereas older children explored freely by creating amusing sentences—an unexpected form of emergent gameplay. The software provided two modes: a passive 'read-to-me' option and an interactive 'play-along' mode, accommodating diverse literacy abilities and encouraging active engagement with storylines.
Several titles incorporated ethical lessons focused on social competencies, such as conflict resolution, illustrated by Berenstain Bears Get into a Fight.
Lucinda Ray spearheaded the development of Living Books School Editions, collaborating closely with educators and curriculum specialists to embed language arts methodologies. These editions featured lesson plans, thematic units, bibliographies, worksheets, and technology tips for teachers, all tailored for classroom integration alongside printed materials.
In 1994, Broderbund introduced additional Living Books Frameworks kits that combined teaching aids including original picture books and audio tapes. Priced at $489.95, these kits targeted educators initiating multimedia use in their instruction.
Release of Just Grandma and Me
In 1992, Broderbund reissued Just Grandma and Me, achieving sales far exceeding expectations despite initial doubts about consumer access to CD drives. MacUser verified rapid load times under fifteen seconds per page turn at the time of release. Mayer established Big Tuna New Media in partnership with GT Interactive to produce comparable animated storybooks inspired by Living Books’ design; their products garnered attention from Disney and DreamWorks for CD-ROM projects.
By August 1992, Just Grandma and Me stood out as an early success amidst limited competition, including Canadian company Discis Knowledge Research’s interactive titles widely adopted in classrooms since 1988.
The follow-up title, Arthur's Teacher Troubles, premiered at the Consumer Electronics Show featuring twelve screens; feedback from trade show demonstrations was instrumental in Microsoft purchasing bulk copies to conduct Multimedia PC hardware compatibility testing.
Concerns raised by a teacher regarding scenes depicting littering led to content adjustments prior to release, reflecting attentiveness to educational suitability.
This success facilitated staff growth at a newly established Novato office. At the 1992 Computer Game Developers Conference, demos received enthusiastic responses from industry professionals. Broderbund anticipated Living Books becoming a primary focus alongside MPC and Macintosh platforms.
In 1993, Schlichting presented several titles including New Kid on the Block at the ACM SIGGRAPH conference.
By 1996, The Berenstain Bears in the Dark introduced adjustable activity difficulty levels (three tiers) and enhanced resolution standards from 512x384 to 640x480 pixels.
The initial success inspired industry-wide emulation; The Washington Post recognized competitor TuneLand as among the strongest contenders.
Joint venture
| Genre | Edutainment, interactive storybook |
|---|---|
| Founded |
|
| Fate | Dissolved January 18, 1997 |
| Successor | Wanderful Interactive (spiritual successor) |
| Headquarters | San Francisco |
| Products |
|
| Parent |
|
By December 1993, PC Magazine recognized Living Books as a significant success. During an American Booksellers Association event, Random House CEO Alberto Vitale experienced Living Books demonstrations, which led to Random House—holder of Dr. Seuss rights—acquiring a 50% stake in Living Books through a $15 million agreement formalized on September 9, 1993. This arrangement established a joint venture equally owned by Broderbund, Random House New Media, and Living Books.
Bonifield was instrumental in creating production processes that enabled this partnership. Market analysts voiced concerns regarding Broderbund’s declining stock value, partially attributed to its investment in emerging projects such as Living Books.
In January 1994, Broderbund separated Living Books into an autonomous company under joint ownership. Broderbund contributed existing titles and resources, while Random House provided capital and access to its extensive children's author catalog, broadening licensing possibilities.
Living Books took responsibility for research and development, manufacturing, and marketing efforts. Distribution utilized channels from both parent companies under associated labels targeting Windows and Macintosh platforms.
The company relocated its headquarters to San Francisco in mid-1995, employing around 45 personnel dedicated to development, production, and marketing activities. Meanwhile, assembly and shipping operations continued at Broderbund’s Petaluma site.
This integrated organizational model offered a comprehensive approach covering all stages of the product lifecycle—a distinction uncommon among children’s software companies at the time.
Distribution agreements included partnerships with Softline, while retail exposure expanded through chains such as Musicland Media Play and Trans World Music. Mail order options were available for select titles like Dr Seuss' ABC. This collaboration marked one of the earliest partnerships between leading book publishers and software firms, significantly boosting Broderbund’s stock value and increasing equity income by approximately $3.9 million.
In 1994, Bonifield and Siegel exited to establish the digital video enterprise Genuus, citing stagnation following Broderbund’s growth phase; Jeff Schon succeeded Siegel as CEO until 1997.
Bobby Yarlagadda held the role of Vice President and CFO from November 1995 through December 1996, during which he doubled production capacity via outsourcing agreements before co-founding Narrative Communications Corporation alongside Schlichting.
By the late 1990s, Living Books began accepting third-party submissions and publicly outsourced production work online.
Dr. Seuss license
Following the passing of author Ted Geisel in 1991, multimedia developers aggressively pursued intellectual property rights for Dr. Seuss content as digital rights became accessible.
Random House had been publishing Dr. Seuss works since 1937; CEO Alberto Vitale spearheaded efforts to secure digital rights despite competition from companies like Microsoft. These negotiations were facilitated by ICM Partners talent agency, which organized presentations before Audrey Geisel—CEO of Dr. Seuss Enterprises—known for her rigorous artistic standards.
Living Books gained approval from Geisel after demonstrating a demo that integrated Kid Pix stickers, overcoming initial reservations regarding demo quality by winning over her legal team.
The agreement reportedly involved a seven-figure sum, granting coveted electronic rights along with access to other bestselling Random House authors’ works. Announced in April 1994, this positioned Living Books as the first company to digitally adapt Dr. Seuss titles amid industry anticipation for upcoming releases such as Dr Seuss' ABC, previewed at E3 ’95 with a planned fall launch alongside future offerings like The Cat in the Hat, priced between $40 and $60.
Throughout development, Geisel retained approval authority to ensure authenticity; she publicly endorsed the adaptations out of respect for her late husband’s legacy and attended the E3 ’96 launch event for the interactive Green Eggs & Ham edition.
Market Performance
Although initial profits were constrained by high development expenses and modest pricing, Living Books primarily focused on the home consumer segment due to limited funding for school computers during its early years. By the mid-1990s, the educational market in schools was still in its infancy but exhibited gradual growth.
Broderbund experienced a notable surge in sales, driven by the launches of Carmen Sandiego, Kid Pix, and Living Books, which collectively generated $73 million in revenue during the first half of 1993—a 69% increase. The title Just Grandma & Me surpassed 400,000 units sold since its 1993 release, ranking among the top-selling children’s CD-ROMs; the series consistently moved tens of thousands of copies annually, contributing over $6 million in pre-tax profits by the end of 1994.
The blockbuster success of Myst combined with Living Books’ appeal to early learners secured Broderbund’s leadership across diverse market segments by late 1994. This dominance enabled ongoing broad consumer marketing efforts spanning entertainment, education, and home management software categories. The company fostered innovation among developers to push multimedia boundaries, with continuous updates and new releases in the Living Books series extending into the late 1990s. The line grew to approximately 20 titles and contributed around $100 million in revenue, about 13% of Broderbund’s fiscal 1995 income.
By December 1996, Green Eggs & Ham ranked prominently within Home Education categories for both MS-DOS/Windows and Macintosh platforms, demonstrating sustained consumer interest despite increasing competition. Retail prices had dropped significantly below initial $60–$70 levels, putting pressure on profitability amid a saturated market that affected unit sales and revenues during fiscal years 1996–97. This environment triggered strategic shifts including reduced production volumes and organizational restructuring in early 1997 under CEO Schon’s leadership. Cost-control measures were implemented alongside efforts to double content output through outsourcing contracts prior to Schon’s departure late that year.
Broderbund faced mounting challenges from competitors such as Disney Interactive and Microsoft, which leveraged proprietary intellectual properties backed by major media franchises. These rivals disrupted traditional market shares and funding structures, prompting industry consolidation and exits among publishers. Random House scaled back its multimedia ventures in the late 1990s, shifting focus from direct ownership to licensing and content partnerships. Distribution difficulties—particularly restricted bookstore shelf space—impacted sales across the sector, including for Living Books’ joint venture partners.
Ultimately, Random House sold its stake back to Broderbund in early 1997 for approximately $9 million in cash and stock, restoring full control and enabling operational integration under Broderbund’s corporate structure by January of that year. This transition occurred amid uncertain structural realignments marked by fewer new releases and increased reliance on classic titles generating steady revenue streams.
Simultaneously, shifting market dynamics favored internet-based content delivery models that posed disruptive challenges to traditional CD-ROM growth potential. Broderbund cautiously explored web partnerships—for example with Netscape—but bandwidth constraints and unclear monetization strategies delayed decisive shifts toward emerging digital distribution channels.
This transitional period concluded in the late 1990s as acquisition activity reshaped the educational software industry. Broderbund was acquired by SoftKey/The Learning Company in August 1998, followed by Mattel Interactive’s purchase in May 1999. Subsequent ownership changes involved Gores Group and Riverdeep before the legacy intellectual property ultimately came under Houghton Mifflin Harcourt’s control. Although dormant for a time, original creators later reunited to spearhead Wanderful reboot projects during the early 2010s, preserving brand heritage while adapting assets for contemporary platforms—thus maintaining cultural relevance despite significant industry upheavals marking the close of the original era around the turn of the millennium.
Titles in the series
| Title | Release date | Languages | Source material | Page count |
|---|---|---|---|---|
| Living Books:
Just Grandma and Me |
February 7, 1992 (Macintosh, Tandy VIS) April 10, 1992 (Windows) 1997 (V2) |
Based on Mercer Mayer's Just Grandma and Me, 1983 (from the Little Critters collection) |
12 | |
| Living Books:
Arthur's Teacher Trouble |
October 1, 1992 (PC) 2012 (iOS) |
Adapted from Marc Brown's Arthur's Teacher Trouble, 1986 (part of the Arthur series) |
24 | |
| Living Books:
Aesop's: The Tortoise and the Hare |
September 12, 1993 (PC/Mac) 2012 (iOS) |
|
Created by Mark Schlichting Aesop's Fable The Tortoise and the Hare, 1993 (PC/Mac) (original Living Books title) |
12 |
| Living Books:
The New Kid on the Block |
December 10, 1993 (PC) 2014 (iOS) |
From Jack Prelutsky and James Stevenson's The New Kid on the Block, 1984 |
17 | |
| Living Books:
Little Monster at School |
December 10, 1993 (Philips CD-i) July 18, 1994 (PC/Mac) 2012 (iOS) |
Adapted from Mercer Mayer's Little Monster at School, 1978 (part of the Little Critters series) |
18 | |
| Living Books:
Ruff's Bone |
May 13, 1994 (PC) 2013 (iOS) |
Original Living Books story by Eli Noyes Ruff's Bone, 1994 |
12 | |
| Living Books:
Arthur's Birthday |
June 24, 1994 (PC) 1997 (V2) 2013 (iOS) |
Based on Marc Brown's Arthur's Birthday, 1989 (from the Arthur collection) |
13 | |
| Living Books:
Harry and the Haunted House |
July 22, 1994 (PC) 2012 (iOS) |
Original title by Mark Schlichting Harry and the Haunted House, 1987 (original to Living Books) |
12 | |
Living Books:
The Berenstain Bears Get in a Fight |
July 28, 1995 (PC) 2013 (iOS) |
* United States * Template:Country data UKTemplate:Namespace detect showall * Spain * France * Japan (iOS) * Template:Country data BrazilTemplate:Namespace detect showall |
Adapted from Stan and Jan Berenstain's The Berenstain Bears Get in a Fight, 1982 (part of The Berenstain Bears series) |
11 |
Living Books:
Dr. Seuss's ABC |
August 11, 1995 (PC) 2016 (iOS) |
* United States * Template:Country data UKTemplate:Namespace detect showall * France * Spain |
Based on Dr. Seuss' Dr. Seuss's ABC, 1963 (from the Dr. Seuss collection) |
26 |
Living Books:
Sheila Rae, the Brave |
February 27, 1996 |
* United States * Template:Country data UKTemplate:Namespace detect showall * Spain * Template:Country data MexicoTemplate:Namespace detect showall * France * Japan * Italy * {{flagicon{Germany}}} |
Kevin Henkes' Sheila Rae, the Brave, published in 1987 | 12 |
Living Books:
The Berenstain Bears in the Dark |
August 26, 1996 (PC) 2013 (iOS) |
* {{flagicon{US}}}
* Template:Country data UKTemplate:Namespace detect showall
* { { flag icon | Spain } }
* { { flag icon | France } }
|
From Stan and Jan Berenstain's The Berenstain Bears in the Dark,1982 (part of The Berenstain Bears series ) |
12 |
< small > ' Living Books : ' ' ' </ small >
Green Eggs and Ham |
September23 ,1996( PC )< br />< small >2016( i OS ) </ small > |
* { { flag icon | US } }
|
Dr.Seuss'< br/> Green Eggs and Ham ,1960 ( Dr.Seuss series ) |
19 |
< small > ' Living Books : ' ' ' </ small >
Stellaluna |
August23 ,1996( PC )< br />< small >2015( i OS ) </ small > |
* { { flag icon | US } }
* { { flag icon | UK } }
* { { flag icon | Brazil } }
* { { flag icon | Portugal } }
|
Janell Cannon ' s Stellaluna ,1993 | 14 |
< small > ' Living Books : ' ' ' </ small >
Arthur ' s Reading Race |
January28 ,1997 |
* { { flag icon | US } }
* { { flag icon | UK } }
|
Marc Brown ' s Arthur ' s Reading Race ,1996 ( Arthur series ) |
12 |
< small > ' Living Books : ' ' ' </ small >
The Cat in the Hat |
August15 ,1997( PC )< br />< small >2016( i OS ) </ small > |
* { { flag icon | US } }
* { { flag icon | UK } }
* { { flag icon | Spain } }
* { { flag icon | France } }
|
Dr.Seuss'< br/> The Cat in the Hat ,1957 ( Dr.Seuss series ) |
12 |
< small > ' Living Books : ' ' ' </ small >
Arthur ' s Computer Adventure |
August3 ,1998 |
* { { flag icon | US } }
* { { flag icon | UK } }
|
Marc Brown ' s Arthur ' s Computer Disaster ,1997 ( Arthur series ) |
16 |
< small > ' Living Books : ' ' ' </ small >
D.W. the Picky Eater (< small > aka Arthur ' s Adventures With D.W. </ small > ) |
December28 ,1998 |
* { { flag icon | US } }
* { { flag icon | UK } }
|
Marc Brown ' s D.W. the Picky Eater ,1995 ( Arthur series ) |
10 |
Little Ark Interactive titles
| Title | Release date | Languages | Based on |
|---|---|---|---|
| Little Ark Interactive | January 28, 1997 | Bible story from Daniel in the lions' den | |
| Little Ark Interactive | January 28, 1997 | Biblical account of creation from Genesis creation narrative | |
| Little Ark Interactive | (2016 re-release) | Bible story based on the Genesis flood narrative |