Pojo the Chicken is a cancelled 3D platformer / action game which was in development in 2000 by Atari / Midway Games West for Playstation 2. Pojo was originally born as an easter egg / secret character to be unlocked in such games as MACE: The Dark Age and Gauntlet and she was mostly an internal joke / team mascot for Midway. At some point in late ‘90s the studio jumped the shark and decided to make Pojo the main protagonist of her own game.
As described for Mace: the Dark Age:
“Pojo: The Fighting Chicken, transformed by Countess Taria into something more than human, a force powerful enough to rend the very cosmos in her powerful beak. Pojo wages a never-ending battle for truth, justice, and the feathered way.”
Unfortunately only a few screenshots from an early level remain from this lost game to remember its existence. By looking at its colorful graphic, we can assume Pojo the Chicken would have been a fantasy action platformer, with humorous settings and funny jokes. For example the island you can see in these screens was home for Kung Pao, which we speculate was some kind of kung-fu chicken master which could have teached special moves to Pojo. Kung Pao chicken is also the name of a delicious chinese dish.
We don’t know enough about Pojo the Chicken to say if it could have been a fun game to play, but for sure it seems the team had fun at conceiving something as crazy and amusing as a whole game based around a powerful fighting chicken.
The same team also worked on the cancelled Joust 3D for PS2 and Xbox, before developing Dr. Muto which was finally published in 2002 for PS2, Xbox and Gamecube. In 2009 Midway Games filed for bankruptcy, most of its internal games studios where closed and all of its assets were purchased by other companies such as Warner Bros. Probably we’ll never know what really happened to the mighty chicken Pojo.
Between 2000 and 2002 Intelligent Games developed a few games such as Tweenies: Game Time, LEGO Stunt Rally and 2002 FIFA World Cup for Playstation 2, GameCube and Xbox. Before to close down in December 2002 they were working on “BPM: Ministry of Sound” for PS2, a music-tool to be published under Ministry of Sound brand.
Using the same 3D engine the team also worked for just a few days on an prototype for an action platformer inspired by Jak and Daxter. It was just a way to test their engine to see if it could have been used to create another kind of game other than a music-tool.
In this action-platformer prototype there was a bunny-alike character which could run around the small world and a few NPCs to look at. Not much more was ever done on the prototype and was soon put away before the closure of the company.
Deadline is a cancelled game that was in development by Kando Games, initially for Playstation 2 as an action game inspired by Metal Gear Solid and later for Wii as a FPS inspired by Half Life 2. The team was founded in 2003 by former Darkworks developers, and in about 5 years of existence they released Rebel Raiders: Operation Nighthawk (Wii, PS2, PC) and Touch Mechanic (DS).
Deadline was one of the first projects they ever pitched to publishers in 2003 / 2004, by looking at the few screenshots available you can see how it was heavily inspired by MGS. It’s unclear if they ever found a publisher interested in the game (translated from French using Google Translator):
“Kando Games, a small french developer founded notably by former figures Darkworks (Alone in the Dark – The New Nightmare), simultaneously produces two titles for PlayStation 2. Deadline, which its authors hope to make one of the big surprises of E3 2004, is the largest project under construction. What’s wrong tunes Metal Gear Solid do not cheat, Deadline will be a very different kind. Based on the staging increasingly cinematic games today Kando Games hopes to offer players a relatively unique experience in organizing the handling of the title with a script and a set of modular cameras, which would not yet not threaten maneuverability, through a process they jealously kept secret for the moment. Basically, the game is truly a film (by virtue of its scenes and framing) playable. Hopefully they will take their goals and to come back in that capacity in a few months for a more successful and practical concept so special.”
As far as we know Deadline for PS2 was never shown at E3 2004 and was later cancelled. Kando Game’s first released game was then Rebel Raiders in 2006 and only in late 2007 Deadline reappeared again, this time as a first person shooter announced for Wii.
Unfortunately Kando Games only released a few tiny screenshots for the Wii version of Deadline, but by looking at those gamers noticed it was quite similar to Half Life 2. Deadline Wii also vanished soon after its initial announcement and was never shown again before its cancellation.
As of November 2017 Kando Games’ website is still online, listing Deadline, another cancelled Wii project titled “Symphonic Orchestra” and an unreleased flying combat sim for PS2 and PC titled “Les Chevaliers du Ciel”. Their latest game was published almost 9 years ago, so we can assume the studio doesn’t exist anymore or they only work as support for other companies. We tried to get in contact with former Kando Games developers but without luck.
If you know someone who worked on Deadline and could help to preserve more screenshots or videos, please let us know!
Horror films directorJoerg Buttgereit, who worked on such movies as Nekromantik and Schramm, was the one who created Game of Death’s concept and characters, a psychological horror game with an original gameplay mechanic.
The game’s protagonist is a young man sent to a hospital after a lethal car accident. While doctors try to save him, he dreams of a strange world in which you have to defeat evil serial killers to survive. Each homicidal maniac must be killed by their own method – choked, cut to pieces with a chainsaw, shot with a shotgun, crucified and so on.
You had to obtain the right weapons able to kill each boss by taking them from the less powerful monsters found in each level. It was necessary to learn and exploit the bosses weaknesses to survive, otherwise it would have been impossible to beat them. Players would have been able to read through the case files for those serial killers, to find clues about their modus operandi and weakness.
At the same time players should try to not became a murderer themselves, by killing bosses only during special circumstances, for example for self-defense, through the release of their kidnapped victims and so on. This would permit to eliminate the serial killers without losing your “innocence”, otherwise you could also lose your life at the end of the game.
More than 40 maniac bosses were planned for the game, each on with their own level accessible from a HUB zone, a giant bone cathedral.
Thanks to an interview with Burns Entertainment by Golem.de (in german, translated with Google Translate) we can learn some more details about this lost game:
Golem.de: How did the cooperation between BURNS and Jörg Buttgereit come about?
Winkler: I thought you’d have to do a horror game, in which you would like to go to bed after a gamble, but not in the basement. But this is hardly feasible as a pure game developer. Since you have all sorts of experiences, but none in terms of horror dramaturgy, effects and suspense. That’s why I contacted Jörg, who in Germany is something like the grandmaster of the horror and trash movie. I knew his necromancy films and the reviews he published in the Berlin press about movies. He has a wonderfully laconic writing style, I immediately liked that. Jörg found the idea exciting to play a game and immediately pledged.
Golem.de: Where do you see the most serious differences between Game Of Death and current action titles?
Winkler: Most action games are in fictitious worlds. The player fights against fantasy monsters or anonymous mercenaries. In Game Of Death, however, the player encounters negative characters in contemporary history who are firmly rooted in the memory of their nations. Many Germans know Fritz Haarmann, and many Americans know who Charles Manson or Jeffrey Dahmer is. Dealing with the abysses of the human psyche is exciting for most people, whether they admit it publicly or prefer to watch “The Silence of the Lambs” at home alone, and we are openly dealing with that. Another difference is the awareness of physical decay. The hero is not a superman. If he is injured, the player can actually see the consequences of this injury. The hero loses physical substance with each injury until he becomes disabled as a skeleton. Of course, he can regenerate his energy and his physical substance during the game in various ways.
Golem.de: Do you think that Game of Death is at risk of being indexed?
Winkler: No. The game definitely will not be a splatter orgy and will not provide any instructions to finally get rid of your unloved neighbor, who has always annoyed you. It may of course be that someone alone calls for the keyword “serial killer” after indexing. This happened only recently before the cinema start of “Hannibal”, and that will happen again and again. But we aim for a USK release from 16 years. This is far from an indexing game.
Golem.de: Where do you set the limits with regard to the biographies of serial killers? What will you learn about the characters in the game, what will you be able to re-enact?
Winkler: In the game every mass murderer and serial killer dies according to the method with which he has killed his victims. As a result, the player becomes a hero and avenger on behalf of the defenseless victims. In order to fulfill this role, the player learns the most important information about the killer’s deeds and psyche in a “Serial Killers Dictionary” (SDK), which is constantly available as an inventory component. Not every detail of the life of mentally disturbed child molesters is spread in it. The SDK limits itself to key data relevant to the game.
The historically accurate course of the murders is not reconstructed in the game. This is not necessary for the gameplay. I also do not think anyone is really interested in slicing up the guts of a highly pregnant woman like the Manson gang did with Sharon Tate. That’s where we set very clear limits.
As far as we know, Burns Games were not able to find a publisher for Game of Death, maybe because of its settings. In the end the game was cancelled and the company vanished forever after a few years. Game of Death’s soundtrack would have been composed by Rod Army.
9th Power is a cancelled action adventure developed by Eworks and planned for Playstation 2 and PC. It was going to be the first known project for a major console fully developed in Portugal and at the time it was shown in some of the biggest gaming events of the country.
Thanks to an interview with Marco Vale who worked as an intern (2D and 3D artist) for Eworks during the development of 9th Power, we were able to obtain some more details about this interesting game:
“In 9th Power players would control a character belonging to the resistance, a group of humans who had rebelled against the Atlantids (inhabitants of Atlantis) who oppressed them. As the Atlantids had superior intelligence and superhuman skills, such as the ability to mind-control, it was an easy task for them to take control of the earth.
Only few Atlantids were still alive after their society vanished, but they would do whatever is possible to bring back to life the rest of them. By using advanced technology they were able to revive some more Atlantids using their remains: as an example one of them was rebuilt from his brain and mandible, now depending on his robotic body to survive. The only hope for humanity was a single Atlantid who had also rebelled against the actions his own people, joining the rebels and risking his life to help them.”
The 9th Power prototype was developed using the Alchemy and Havok Physics engines and it was meant to be an action-adventure RPG with a sci-fi theme. The team planned to implement new mechanics that would set it apart from other action games of its time, such as the use of a skill tree and destructible environments.
Eworks was formed in 2000 specializing in software development, but David Rodrigues (company’s founder) always had the dream of making games, so in 2002 he participated to the Game Developer Conference with a friend, to “see how the industry worked, how things were done”.
Eworks found out that they could develop a prototype and present it to companies, but this process was not as easy as it seemed. They took an early 9th Power prototype to E3 and Game Developers Europe where it was very well received, as they managed to show detailed models and high poly-count for its time.
They managed to gather the attention of Take-Two Interactive, that even sent them a dev-kit console to speed-up development. Unfortunately with the economic recession in early ‘00s there was a reduction of investment in original IPs and a turn to safer investments with already popular franchises.
Eworks’ investment in their first game was already expensive for the company (200.000 euros, with 50.000 coming from the European Commision) and even though they pitched it to various publishers, in the end they were unable to secure a deal.
Unable to find other ways of financing themselves, they cancelled 9th Power and were left in need of a financial restructuring, making them to focus on outsourcing work. During an interview with the Portuguese magazine “Mega Score” in September 2005 the team said they planned to fully return to video games development after the end of a few outsourcing projects. Unfortunately that never actually happened.
Slowly the team fell apart and with the closure of the company, their members ended up creating or joining other companies, such as Ignite, RTS and Vortix (which Marco Vale helped to create). In the concept art and screenshots you can see all the areas and characters created for the first playable demo shown to publishers, kindly provided to us by Marco Vale.