If It Happen is a cancelled horror adventure game that was in development by Fujicom around 2001 – 2002, planned to be released on Dreamcast. As reported by IGN the game was officially announced in Japan in June 2001, and it was mentioned in a few Japanese magazines such as Dorimaga, but soon it vanished with not much ever being shown. In 2021 The Dreamcast Junkyard found a trailer for “If It Happen” hidden as an unlockable video in another Fujicom game titled “Bokomu no Tatsujin”:
“[…] there is a shop in this game that lets you purchase appliances for your home such as a computer, an air conditioner and – most importantly here – a television. Once you eventually pony up the cash for this TV you can view both the Bomber Hehhe and this horror game trailer on it.”
The style of characters and the hotel / mansion shown in this trailer looks similar to other japanese horror adventures such as Clock Tower or D. Unfortunately there are no details about how it would have been played, but we can assume players would have explored the mansion, escaping from evil mannequins (?). Dice covered in blood were somehow part of the story.
If you find something else about If It Happen in other japanese magazines, please let us know!
Ringman is a cancelled third person platform-shooter that was in development by Zono Inc in late 1996, initially planned for Sega Saturn and then for Sega Dreamcast. It would have been one of the first games ever published by Sega of America for their lost version of the Dreamcast. The team behind this project was part of the same one that worked along with Ed Annunziata on Mr. Bones for the Sega Saturn, with names such as William Novak, Simon Hallam and Dave Castelnuovo: thanks to the good relationship between Sega and Zono, they were able to pitch this project for the planned 128 bit console.
While the Dreamcast hardware was still not available in late 1996, Zono interfaced directly with Sega of America producers and the development team that was designing a 3Dfx version of the console, codenamed “Blackbelt”. Sega of America wanted to create something amazing and showed off the planned graphical power of the new 3Dfx chips. The game concept was inspired by the (at the time) newly released Quake by ID Software and Dave remembered how John Carmack was talking about implementing NURBS (“Non-uniform rational Basis spline” a model used in computer graphics for generating and representing curves) in his next rendering engine: Sega producers wanted Zono to take a look at using NURBS to create this Blackbelt game. The surfaces in each world of Ringman would be curved and even the main character would have had a body composed of different rings, like a colorful spring that would permit it to move around quickly and shoot down enemies.
The team did quite a bit of concepting for the game and got as far as having a very simple prototype world with the protagonist moving around, but unfortunately the project was canned in mid-1997 when Sega of Japan found out about Sega of America’s plan to create another console and shut down the project. As we can read in an article by Douglass C. Perry on Gamasutra:
“In 1996, 3Dfx began building wide acclaim for its powerful graphics chips, one of which ran in arcade machines, including Atari’s San Francisco Rush and Wayne Gretzky’s 3D Hockey. In 1997, 3Dfx went public, announcing its IPO. In the process it revealed the details of its contract with Sega, required by U.S. law. The announcement, however, had undesired effects. It publicly revealed Sega’s blueprint for a new, unannounced console, and angered executives at Sega Japan. Numerous reports indicate Yamamoto’s Blackbelt chipset using the 3Dfx chips was the more powerful of the two. Sega executives, however, still fuming at 3Dfx, severed their contract with the chip maker. (Soon thereafter, 3Dfx sued Sega and both companies settled out of court.) In the end, Sega of Japan selected Sato’s design, codenamed it “Katana,” and announced it publicly on September 7, 1997.”
If this internal issue between the “two Segas” was not enough, Sega of America was also split into the ill-fated SegaSoft and in early 1997, a few of their projects were canned. In late 1996, the CEO and CFO of SegaSoft asked the new company director, Peter Brown, to install a new financial system by April 1997. As told by Brown during an interview with InfoWorld magazine: “as a young company, we needed built-in maturity of process and scalability”: we can assume that games for a not-yet-confirmed new console were not a safe bet for the company stability.
After the cancellation of Ringman, along with their N64 legendary project “Freak Boy”, Zono had to wait until 2000 to release another game: Metal Fatigue, a PC RTS published by Psygnosis. In 1997, SegaSoft stil released a couple of Saturn games, Scud: The Disposable Assassin and Three Dirty Dwarves.
Flesh & Wire is a cancelled action adventure that was in development by Running With Scissors (of Postal fame), announced in 1999 and planned to be published by Ripcord Games for Playstation 2, Dreamcast and GameCube. It would have been and over-the-top shooter where you could control an alien blob to explore the world and resolve environmental puzzles. As we can read on IGN:
“The game follows Angus, a sleazy, slimy cop who wakes up one morning with an alien amoebae-like creature noshing on his legs, and his city has been engulfed by a bio-ship by the name of the Nulloid. Rather than worry about what the heck the thing’s doing to his lower half, he comes to the realization that he can control the gelatinous blob, and uses this newfound power to move around and utilize special abilities, sloshing around the levels. He’ll also utilize massive amounts of firepower, so expect over-the-top violence […]”
Robin TGG: I had almost forgotten that you once worked on a title called “Flesh and Wire”. What was that game all about? And why was it canceled?
Vince RWS: Yeah that was after POSTAL got cancelled, we actually had 2 other original games in development, but financial reality simply didn’t allow us to continue. It was a sci-fi based game that had a blob as the main character, I really liked it, who knows maybe someday we’ll take another look at it.
“According to Randy Briley, the soft-spoken art lead for the project, the development process for FLESH & WIRE (FW) has always been a little bit different. For starters, the publisher (Ripcord Games) has been very hands-off, letting the development team drive the development. This uncharacteristic display of trust has as much to do with RWS’s track record of getting products out the door on time as it does with Ripcord Games’ relative newness to the gaming scene. And although the style of game play has some basis in currently released titles (the game is some-thing of a cross between RESIDENT EVIL and THE THUNDERCATS), the look of the game is anything but conventional. From character design and animation to background generation, the unorthodox look derives from equally unorthodox production methods.
When RWS finally settled on the game spec, they realized that from a resource production standpoint, they had bitten off more than they could chew. In addition to the standard budget of special effects, GUI art, and several minutes of cut scenes, the spec called for over 200 static screens of game play with in betweens, and a set of enemy and player characters’ 300+unique animation sequences. With a production cycle of just under 18 months, no budget for outsourcing, and an extremely small art team, the task seemed pretty daunting. It was time to improvise.”
[…] rotoscoping could be done largely in-house with little or no overhead, the production time compared to hand animation was much faster, and although it required the talents of a skilled animator to implement, it provided a cheap, efficient method to complete the animations on schedule. The team went down to a local gymnasium and interviewed several martial arts students. Then, working closely with the art lead (a martial arts expert himself), the actors were mocked up to look like the characters in the game. Several sets of motion shots were taken, using two synchronized digital cameras set 90 degrees apart (front and side). After digitizing these images and importing them into Softimage, the result was a sequence of images. The Animator then animated the characters by hand, using the images as a guide. […]
Compared to the mammoth task of generating over 200 hundred in-game background scenes, the character animation problem looked simple. With only a handful of 3D artists on staff, the team had to make some tough decisions. As the project evolved through its initial stages, it became clear that the art direction was evolving towards the techno-grunge look typified by such industry standards as The Crow and City of Lost Children. The level of detail the team wanted would require hours of tedious texture and modeling work using classical CG methods. Given the size of the team and the allotted time, this simply would not be possible. Rather than cut the design or ask for more time, the team resolved to find a solution that would allow them to maintain the scope of the project while holding true to the artistic vision. They Took a gamble, and decided to build the entire game using miniatures.
“Near the end of the planning phase of the project, RWS presented the publisher with a proof of concept for the process. For the first test, the team put together a town from a model railroad set and digitized it into the POSTAL engine. In short, the result was a huge success.
Put simply, the sets for the game were built with “anything we could get our hands on,” says RandyBriley. Basically, the team would just bring stuff in: PVC piping, copper tubing, old VCR’s, and so on, and the pieces were glued together and painted using a hot glue gun and standard modeling paints. Most of the back-drops for the game were created using Styrofoam panels, which proved easy to get hold of and standardize. “Once we got an assembly line going with a certain panel (background piece), we could crank each one out in a matter of a few hours.”
By far however, the biggest advantage of the process is the lack of any requirement for CG expertise on the part of the artists. Consider that with a single trained 3D artist to guide the process, the bulk of the artists can be classically trained with little or no industry expertise. This means that production costs go down for any given piece of work or, you get a lot more resources for a lot less money.”
As said by Vince, in the end they were not able to keep up development for 3 different projects at the same time, so Flesh & Wire had to be canned. We hope someday to be able to see some more images from this strange and original video game.
Battle Mania 3 NY: Gankutsujou is a cancelled Dreamcast shoot ’em up that was in development by Takayan and a few more developers who already working on the original series. The first Battle Mania or Trouble Shooter as known in USA was developed and published by Vic Tokai for the Mega Drive / Genesis in 1991, with a sequel titled Battle Mania Daiginjou published in 1993 only in Japan.
The game settings are a parody of classic anime tropes, with flying sci-fi girls shooting down aliens and monsters. Levels are often inspired by japanese culture and they change from side-scrolling to a vertical scrolling. This third chapter in the Battle Mania series was originally conceived as an arcade game, as we can read in a translated interview with Takayan:
Please tell us a bit about what happened after Daiginjo. You brought a design document for the legendary unreleased Dreamcast game Battle Mania N.Y. Gankutsujou but on the cover, there are Saturn and Playstation logos, does that mean you proposed this project during the 32-bit generation?
Takayan: Nope, they wouldn’t let me make it. I’m a big SEGA fan and just as I was thinking I’ll quit if they don’t let me make games for the Megadrive or Saturn, they put me in charge of the SFC division. That’s why I had to step away from Daiginjo right at the end of development. When I made this I’d already left VIC and the next company I’d worked at, and the company I was at was starting to look a little unstable. It’s a pitch for an arcade game but I had hardly any time to spend on it. (Laughs)
It’s amazing for the fans to be able to see Mania in 3d, could you tell us a bit about that?
Takayan: The pictures were drawn by fellow VIC survivors. One of them made the Softimage assets to go with the gameplay explanations. I made the 3d models of Mania and the picture of the heroines on the cover and the main artist on Odessaelya made the screens that go with the stage explanations. Add to that the artist who drew the giant robot and the queen and I think it was 4 people in all, I’m not sure whether that’s a lot or very few.
Battle Mania NY: Gankutsujou’s pitch document was originally published in a book titled “ Nazo no Game Makyou 4” and later uploaded online thanks to HG101. By looking at its pages we can notice how the game was later pitched as a Dreamcast title, probably thanks to Takayan’s love for Sega hardware. Kid Fenris analyzed this document sharing some more details about what it could have been:
“The story itself, as far as I can grasp, sends our jetpack-sporting heroines from Japan to New York, spurred on by a distress call, a woman named Airin, and something called “N.Y. Haunted Square.” That’s possibly a Ghostbusters reference.”
“Battle Mania N.Y. Gankutsujou was to be a shooter like its two predecessors, though it would’ve presented three perspectives: a side view, an overhead view, and a 3D perspective reminiscent of Space Harrier and Panzer Dragoon. “
“The stage descriptions for Battle Mania N.Y. Gankutsujou are the best parts of the pitch, as each of them gets an illustration. A side-scrolling opening stage sees Madison and Crystal facing flying fish-men and a bicycle-riding robot on a city street. It’s perfectly in step with the humor in previous Trouble Shooter games, an unapologetic mélange of modern Japan and a world of weird mutants and technology, explaining nothing and never suffering for it.”
Unfortunately the available mockups are quite tiny, but you can still notice how it could have been quite awesome. In the end it seems Takayan and his team never found a publisher interested in this third Battle Mania and the project was quietly cancelled.
While the game was received with average to low scores, NEC announced a sequel in early 2000 titled “Ninth Will”. Unfortunately it seems they never shown any image from the project (or maybe there are some forgotten in old Japanese gaming magazines?) and soon it was canned, probably for the low sales of the original title.
In the end Atypical Alchemists Associate and NEC keep working on other games for the Dreamcast, many visual novels and dating sims such as Sentimental Graffiti 2, Kanon, Kimi ga Nozomu Eien and Pandora no Yume. We can assume this kind of low-budget projects was more profitable for the Dreamcast market after the discontinuation of the console in 2001.
If you ever find something more about this lost game in Japanese magazines, please let us know!
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