Animal Wars was a tactical RPG for the Playstation 3 in development at Factor 5, Inc. between 2004 and 2006 with Sony Computer Entertainment on board as its publisher. It was planned to be released some time after Lair, which launched in August, 2007.
Factor 5’s Quirky War Game Made By 4 People
According to one former employee, work commenced on the title in 2004, “roughly around the time” pre-production on Lair began. It came about as a result of the multi-game contract Factor 5 signed with Sony to produce a number of games exclusive to their platforms. Until the deal expired, the company was set to have every project of theirs fully funded by the publisher, pending their approval. Every title worked on during this partnership was slated for release on PS3 only and Animal Wars was one of them.
Whereas Lair exhausted a great deal of the developer’s resources from beginning to end, Animal Wars was a considerably smaller project, ongoing in the background for a number of years. Its team was comprised of no more than 4 workers total: 2 designers, 1 dedicated artist and a single programmer. The game was so low down Factor 5’s list of priorities, that every developer assigned to it was at some point repositioned to work on Lair and/or other proposed titles.
“I was more excited about Animal Wars than Lair because it was a smaller team and upper management left it alone (upper management interference greatly contributed to Lair’s failure).”
Animal Wars was set in “an alternate WWI universe with anthropomorphic animal characters”, one developer recalled. The assassination of “the Archduke Birdinand” (a bird parody of historical figure, Archduke Ferdinand) in the game’s opening served as the catalyst for the great war its campaign would have centered on. The event would have ignited a global conflict between various nations of animals: felines, bears, foxes, etc.
The enemy faction consisted of a coalition between ‘Boarmandy’ (boars), The Black Paw (a rogue cat organisation responsible for Birdinand’s murder), bear soldiers, and the main villains, an army of wolves. An explosive introductory level was set to portray a savage air raid on a city inspired by London, as perpetrated by boars in attack blimps. Players would have then found themselves following the exploits of a canine in an aviator jacket, the planned protagonist; although, other playable characters were being explored, too.
Among the various mission types mulled over during pre-production was one which would have flipped the scale of battle on its head and saw the player taking up the role of a mouse. From this perspective, regular soldiers would appear as humongous titans by comparison, as the mice performed daring espionage operations. Ultimately, this ambitious stage idea never got as far as being prototyped.
One source likened its standard gameplay, of which very little was completed, to Valkyria Chronicles. It was intended to be a strategy RPG with a turn-based battle system and a unique oil painted art style.
“The graphics were like Valiant Hearts but in 3D”
Its concept of anthropomorphic warfare was deceptively innocent on the surface. Early sketches, for instance, depicted a number of particularly violent scenes, including a dog soldier posed atop a decapitated pig. Its artistic direction leaned dark in this respect, though it had yet to be determined how explicit the final product would be.
In what was said to have been a big contributing factor towards Sony’s willingness to fund it, the title was leveraging the work Factor 5’s people had previously done on Star Wars Rogue Squadron III: Rebel Strike. It called upon their experiences moulding that game’s blend of ground and air vehicular combat, which the publisher was very keen to capitalise on. Boats and amphibious tanks would have featured, too.
ANIMAL VEHICLES.
As explained by one of our sources, a central part of its concept was that each of the vehicles would have, in some form, integrated attributes associated with different animals into their design and functionality:
“For example, I worked on making a jeep that would always land upright no matter how crazy you drove it (cat landing on all fours).”
Sony Pulls The Plug On F5, Inc.’s Pet Project
Among the few that contributed to Animal Wars throughout its lifespan, the enthusiasm for it was in abundance. One ex member of Factor 5 even took to NeoGAF some years later to exclaim:
“It was fucking amazing looking and was way better than Lair so it made all of us sad it got cancelled.”
One of our sources personally corroborated these sentiments, saying that its apparent independence from Factor 5’s higher ups was much to its benefit:
“I was more excited about Animal Wars than Lair because it was a smaller team and upper management left it alone (upper management interference greatly contributed to Lair’s failure).”
Despite this, none of the excitement held internally for the project could ultimately prevent its demise, as the relationship between Sony and Factor 5 began to sour.
In the beginning, the deal between them was forged primarily so that the San Rafael studio would reinforce the PS3’s launch line-up with an original IP, which would later turn out to be Lair. Any other projects they were behind, Animal Wars included, was largely a show of good faith on Sony’s behalf.
Crucially, Lair was first scheduled to be available for the PS3 within its first few months on the North American market in fall 2006. However, its development encountered many hurdles; chief among which was the higher ups demanding the addition of motion controls and the team simply struggling to get to grips with the console’s then perplexing development environment. Factor 5 was already a company of limited resources, but Lair’s troubled life cycle lead to a number of departures mid-development. The exodus left them unable to fulfill their end of the contract and thus, requested the game be delayed into 2007.
The publisher’s response was less than understanding. They promptly cut off all funding to Animal Wars and redistributed any monetary assets designated for it into Lair. The developers weren’t willing or able to self-finance the remainder of the project, resulting in its subsequent cancellation.
One developer we spoke with detailed how the game had reached the prototyping phase when it was shelved, but never left pre-production:
“At the time, we had a working biplane, tank, jeep and 3rd person character working… We had a vertical slice of a damaged town that the lead character (a greyhound in WWI aviator outfit) and the tank was able to run around. We also had a pretty massive terrain for the biplane to fly around (similar in size to what ended up in Lair).”
The former employee admitted that the prototype build suffered visibility issues, which they had not yet been able to resolve when development came to a close. These were caused by the dark colour palette employed by both its character models and environments, which would blend together unintentionally.
Animal Wars was never officially announced and its prototype materials are believed to have been locked away by the management of Factor 5 during the company’s closure in late 2008.
Eternal Darkness 2 is a canceled Survival-Horror action/adventure game developed by Silicon Knights from 2009 to 2012, for Wii U, Xbox 360, and Playstation 3. It was the sequel of Eternal Darkness: Sanity’s Requiem, released in 2002 for the GameCube.
Few information regarding Eternal Darkness 2 are currently available as the game was officially confirmed after its cancellation in an article from Kotaku, dated from October 2012, about the difficult development of what became the last game from Silicon Knights, X-Men: Destiny.
First rumor surrounding Eternal Darkness 2 came into light in November 2011 when some media hinted that the development of the game could have began on the Wii U:
Silicon Knights cuts force team to refocus on “one of its most requested titles for the next generation.”
Massive staff cuts hit the X-Men: Destiny developer Silicon Knights last week, slashing the Canadian developer nearly in half after a publisher, that remains unnamed, pulled out on a project the team was working on.
The project in question, which also remains unnamed, is still in development according to developers. A Silicon Knights spokesperson has said recently however, that “the company is currently refocusing and returning to its roots, working on one of its most requested titles for the next generation.”
While the name Eternal Darkness 2 has not been mentioned, it seems the most likely candidate for a next generation revamp and a perfect fit for the Wii U controller. Despite vast amounts of love for the original, Eternal Darkness has never seen a follow-up, but this could be the news we’ve all been waiting for.
In March 2012, the same article got a little update:
Silicon Knights boss Denis Dyack mentioned in a recent GI interview that his studio is working on their most requested game, another strong hint Eternal Darkness 2 is in development for the Nintendo Wii U.
To quote: “We’re really excited and we’re working on our next generation stuff. We’re working on an IP that’s our most requested and we’re really excited about that. We’re going back to our roots. I’m really looking forward to a point in time when we can talk about it.”
A few month later, in June 2012, another rumor came about possible cancellation for Eternal Darkness 2. Initially coming from NeoGaf’s user Shiggy, it seems that the loss of the infamous lawsuit between Silicon Knights and Epic Games regarding the use of the Unreal Engine 3 during the development of Too Human was the main reason.
For those unfamiliar with the story, here is a summary:
In July 2007, Silicon Knights sued Epic after experiencing issues with the development of the Unreal Engine 3 on Too Human:
According to the suit, which seems more than $75,000, Epic Games misrepresented the abilities of their Unreal Engine 3 when selling the license agreement to Silicon Knights. The suit says that Epic failed to “provide a working game engine” to Silicon causing them to “experience considerable losses.”
The developer was rumored to be experiencing problems with the Unreal Engine platform last summer, but later denied speculation it was dropping the platform and commented that the game was still “progressing very well.” Silicon Knights eventually decided to drop the Unreal engine and instead build their own, according to the suit.
Silicon also claims that Epic has been “sabotaging” Silicon Knights efforts to make a game by using the money earned from their licensing deals to make their own games rather than to provide support for their engine to Silicon and other licensees.
In a nutshell, SK claims that Epic used a slicker version of their Unreal Engine for Gears of War and released a hamstringed version to SK and others, in order to show them up at E3. They also failed to release the Gears version until much more recently, SK claims. They also claim that Epic made several very specific statements about what the engine could do, but which it was never able to deliver on including the number of on-screen characters and lighting effects.
The suit is based on a dozen causes of action including fraud, negligent misrepresentation, intentional interference with contractual relations, intentional interference with prospective economic advantage, breach of warranty and a violation of North Carolina’s unfair and deceptive trade practices act.
The suit also says that Epic missed the deadlines for providing both the 360 and PS3 engines. Finally, the suit alleges, the SK gave up on the engine and built their own, which is what Too Human use.
Further information regarding the contention could be viewed here:
A key point of contention is the E3 demo of Too Human, which was not well received – the suit alleges: “The final development kit for the Xbox 360 was released by Microsoft in early September, 2005, meaning that Epic was obligated to deliver a fully operable version of the Engine to Silicon Knights by no later than March, 2006.” “That delivery date is significant, since compliance by Epic would have given Silicon Knights time to prepare an appropriate demonstration version of its Microsoft Xbox 360 game, Too Human, for the very important industry trade show, E3, two months later in May, 2006.” It continues: “Epic apparently was able to achieve a very useable version of the Engine for the Xbox 360 – the version that it kept to itself, for use only on its Gears of War game (as discussed below), to the detriment of Silicon Knights and Epic’s other licensees, as set forth in more detail below. Epic’s plan to avoid its obligations and hoard all of the necessary functionalities not only harmed Silicon Knights and all of Epic’s other licensees in the industry, but also gave Epic a clearly unfair advantage in the industry.” How so? “That advantage was nowhere more evident than at E3 2006, where Gears of War was awarded “Best Game in Show” and garnered nothing but laudatory press. By contrast, Silicon Knights – one of the only other [Unreal Engine 3] developers to publicly display a playable demonstration of its game – saw Too Human roundly criticized in the videogame press for its technical problems and generally unpolished appearance. The damage to Silicon Knights caused by Epic’s misconduct was manifest, because E3 attendees were able to compare Too Human with another game running ostensibly the same game engine, Gears of War, with vastly superior results.”
Less than a month later, Epic countersued Silicon Knights for copyright infringement, misappropriation of trade secrets, and breach of contract:
Silicon Knights claimed that Epic breached its contract and failed to deliver a workable version of the engine on time, forcing the developer to start building its own engine for Too Human, and delaying the game in the process.
Epic has returned fire: Yesterday the company filed a motion to dismiss the original suit, and then filed its own countersuit against Silicon Knights. In its defense, Epic said that Silicon Knights failed to show that the company misrepresented the truth or ever intended to deceive the developer.
It also took issue with Silicon Knights’ portrayal of some terms in the licensing agreement. While the original suit claimed that Epic had committed to delivering a working engine for the Xbox 360 and PlayStation 3 within six months of each system’s final development kits being sent out, the motion to dismiss claimed that Epic was obligated merely to “demonstrate” that the Unreal Engine 3 would run on the Xbox 360 by March of 2006. The motion made no mention of the PlayStation 3 deadline.
Regardless of how the judge rules on the motion, there’s also Epic’s counterclaim to sort through. In short, Epic accused Silicon Knights of trying to steal the Unreal Engine 3 technology.
“Indeed, the plain language of the Silicon Knights’ complaint makes clear that Silicon Knights wants to take Epic’s licensed technology, pay nothing for it, and use it any way it pleases,” the counterclaim reads.
According to Epic, Silicon Knights had full access to the Unreal Engine 3 code and support network for an evaluation period of roughly nine months before it entered into the license agreement. The developer also got a break on the regular licensing fee because it committed to use the engine exclusively for all of its Xbox 360, PS3, and PC games.
As such, Epic accused Silicon Knights of breaching the contract by creating its own engine for Too Human and developing the game–and a second game with Sega–using that new engine. Additionally, Epic sued the developer for copyright infringement because Silicon Knights said in its original suit that the new Too Human engine was based on Unreal Engine 3.
Epic said the new engine is an unauthorized, derivative work that violates its licensing agreement and constitutes a misappropriation of its trade secrets. It also noted in the months prior to the countersuit that Silicon Knights accessed “virtually all” of the Unreal Engine 3 documentation that Epic makes available to partners online, “consistent with an effort to archive documentation for use outside the scope of the license agreement.”
Epic is seeking damages in excess of $650,000, as well as an order that any code or games that infringe on its copyright be destroyed. Only Silicon Knights’ next project after Too Human–the as-yet-unannounced game to be published by Sega–is referenced directly in the copyright-infringement claim.
The case was settled only in May 2012 with a victory for Epic Games:
Epic Games Wins Lawsuit Against Silicon Knights, Awarded $4.45 Million
Epic Games secured a significant victory today against Canadian company Silicon Knights when a jury in the U.S. District Court for the Eastern District of North Carolina found in favor of Epic on all claims.
The jury rejected Silicon Knights’ claim that Epic breached its Unreal Engine 3 license agreement with Silicon Knights. The jury also found in Epic’s favor on all of its counterclaims, namely that Silicon Knights breached the license agreement, misappropriated Epic’s trade secrets, and infringed Epic’s copyrights in the Unreal Engine 3 code. The jury awarded Epic damages totaling $4.45 million. Epic has 30 days in which to file a request to the court for reimbursement of attorneys’ fees and costs. The court previously had thrown out Silicon Knights’ fraud claims after nine days of testimony.
Now let’s go back to what really interests us here, with the rumor emanating from NeoGaf concerning the potential cancellation of Eternal Darkness 2. Here is what we could read on this subject in June 2012, only a dozen days after Silicon Knights lost its lawsuit against Epic:
In the wake of Epic’s victory in the Unreal Engine suit brought by Silicon Knights, Nintendo has apparently opted to halt development of Eternal Darkness 2. NeoGAF user Shiggy offers a summary of the situation, excerpts of which appear below.
“Last year, Silicon Knights and Nintendo started to work together once again on a new title. Based on the fact that they already had Wii U dev kits and also based on Dyack’s comments, it was Eternal Darkness 2.”
“So as already mentioned, the studio was solely dependent on Nintendo’s goodwill since late November 2011. But then the trial against Epic took place last week, and SK lost it. SK was ordered to pay 4.5 mio USD to Epic, and additionally they may need to pay for Epic’s legal fees. The company’s debt rose to a new level.”
“When Nintendo saw that they would need to pay an additional 10 million USD to have the company survive that develops the game, they didn’t seem to like it, especially as they wouldn’t get anything in return.”
“NCL reviewed its decision and it appears as if Eternal Darkness 2 is cancelled for now. Hence, many of the 40-man team were laid off, leaving the studio in limbo now.”
Needless to say, neither Nintendo nor Silicon Knights have commented on this issue one way or the other, and it is a distinct possibility that Shiggy’s appraisal is a hoax rather than a rumor. That said, and despite the absence of any corroborating evidence whatsoever, Shiggy’s description is eminently believable, and may prove to be entirely factual.
It is indeed difficult to know if this rumor coming from NeoGaf is to be taken seriously, even today. By the way, user Shiggy also shared some potential information regarding another cancelled Silicon Knights game which was The Crucible: Evil Within.
But whether this is true or not, the Kotaku article mentioned at the beginning of this article remains the real official source confirming that Eternal Darkness 2 was in development for a certain period:
All eight interviewees that I spoke with for this story say Silicon Knights was splitting its team between work on X-Men: Destiny, and work on a development demo.
What could it be? Too Human 2, perhaps, which Dyack has repeatedly promised that the studio intends to complete as a trilogy? Or perhaps the same Sega-funded project which was cancelled in 2009; a game code-named The Box, and later, The Ritualyst?
The answer is far more exciting: Eternal Darkness 2, which Kotaku can reveal that SK was working on in parallel to the Activision contract.
“SK didn’t take the development of X-Men: Destiny seriously the entire time I was there,” a source says. “They were working on an Eternal Darkness 2 demo that they could take to publishers. While I was there, they were even siphoning off staff from my team to work on it. Denis is not an X-Men fan either, so he didn’t care much for the license. To him, it seemed more like a job to get us by, until ED2 could be developed and sold to a publisher—which never happened.”
Another source said that “SK had about 60% of the development team working on X-Men: Destiny and the other 40% working on ED2. (…) This 60%/40% staffing estimate was backed up by multiple sources.
Yet despite this reportedly split effort, the ED2 demo also failed to come together in a satisfying way, sources said. “The farthest they got with it when I left SK was, literally, one two-level church interior,” says one former employee. “It was really bad, as I recall. It took the side-team a long time to even get that far. Bad tech, combined with a team composed of people who had not shipped a title since Metal Gear really hurt that demo. Other than that, I can’t explain why things went so poorly for them [except that] a lot of key people responsible for the original Eternal Darkness are long gone.”
The result coming from the loss of that lawsuit was a total disaster for Silicon Knights: all projects in development were definitively cancelled: The Sandman, Siren in the Maelstrom, Too Human 2 and 3 or even the mysterious King’s Quest alongside the already mentionned The Crucible: Evil Within and this Eternal Darkness 2. Denis Dyack left the studio in July 2012 to found Precursor Games with other former members of the company, while the rest were laid off. As of 2013, only 5 employees were still working within the studio:
Too Human developer Silicon Knights, still battling a $4.45 million judgment that favored Epic Games, is down to just a few employees, has closed its office and has sold off office equipment and game assets, Polygon has learned.
The company laid off most of its employees last summer, a source tells Polygon. Around the same time, a core group of Silicon Knights employees, including founder Denis Dyack, created a new studio: Precursor Games.
Precursor Games, formed about 30 miles west of the now-empty offices of St. Catharines, Ontario-based Silicon Knights, also purchased some of Silicon Knights’ assets, including art assets, desks, chairs and even computers, a move that spurred an examination by Epic Games attorneys, according to court records. The studio is attempting to fund development of Shadow of the Eternals, a spiritual successor to Eternal Darkness.
Precursor Games CEO Paul Caporicci told Polygon that Precursor has no relationship with Silicon Knights, but did verify that new studio purchased some of the old studio’s equipment.
“Silicon Knights was selling off extra assets to laid-off employees and we, along with others, purchased some of them,” Caporicci said. “Like so many others who have been laid off in this difficult economy, we are simply trying to turn a tough situation into something positive. This helps gives us an opportunity with Shadow of the Eternals to give the gamers something that have been wanting.”
In December 2012, NeoGaf’s member Mama Robotnik wrote a post-mortem of Silicon Knights and shared many pictures supposedly from various cancelled projects made by the studio. Regarding Eternal Darkness 2, it seems that the game was planned for Wii U, but also on Xbox 360 and PS3:
At least one portfolio website of a former Silicon Knights concept artist seems to make reference to the project suggesting that the ambition was for a 360/PS3/WiiU release.
How this multi-format release would have worked – given Nintendo’s ambiguous partial ownership of the Eternal Darkness IP is unclear. Regardless, with X-Men Destiny a critical and commercial bomb, and reportedly only five employees remaining in the once hundreds-strong organisation, Eternal Darkness II is almost certainly utterly cancelled.
Some of those alleged renders could be from different games by Silicon Knights. For instance, this one can be seen in the gameplay video of Shadow of the Eternals, the cancelled spiritual successor of Eternal Darkness:
Same thing with this one which apparently was more related to The Crucible: Evil Within/The Box/The Ritualyst:
Besides this whole bunch of cancelled games, Silicon Knights had a lots of released stuffs that saw contents being cut in the end or stuck in development hell: Too Human began its development intially in 1997 on the Playstation and the SegaSaturn, with a totally different setting. The game moved onto the GameCube in 2000, before being put on-hold and released in 2008, exclusively on Xbox 360. Eternal Darkness was first planned for the Nintendo 64, before being released for the GameCube, and X-Men: Destiny apparently started as “a massive sandbox area with navigation puzzles and next to no combat powers or abilities”with also some features being dropped in the final product.
History seems to be repeating itself today for Denis Dyack: after Shadow of the Eternals was put on-hold following two failed attempts on Kickstarter, Precursor Games closed its doors in September 2013. He founded Quantum Entanglement Entertainment in October 2014 with the ambition to relaunch the development of Shadow of the Eternals and make it a crossmedia movie license. No information regarding what happened during a period of more than 3 years has been disclosed to date. Finally, today, Dyack is at the head of Apocalypse Studios, since January 2018, which has been developing Deadhaus Sonatafor more than 4 years now, claimed to be a spiritual successor to Blood Omen: Legacy of Kain. The game initially used Amazon‘s Lumberyard Engine before switching to Unity in April 2022. Xbox One and Playstation 4 versions were also apparently planned, but given the evolution of the console market with now the Xbox Series S/X and the Playstation 5 as its successor, it’s clearly not impossible for these releases to be cancelled.
Potential concept arts and 3D models for Eternal Darkness 2. Still to be confirmed, might be from other cancelled Silicon Knights games.
Official artworks/concept arts from Eternal Darkness 2 – circa 2009. All provided by Jonathan Standing.
TimeShift is a futuristic First-Person Shooter released in 2007 for the PC, Xbox 360 and Playstation 3, developed by Saber Interactive and first published by Atari, then, by Sierra Entertainment.
TimeShift‘s plot revolves around a secret program aimed at designing two time shifting suits. One is stolen by the doctor Aiden Krone, the main villain, and you, wearing the other, must go find it. Following him backward through time to 1939, player discovers a dystopian sci-fi alternative past with Krone as the supreme ruler.
Its key feature is the player’s ability to control time: slowing, stopping and rewinding it. This allows many possibilities during gunfight as well as solving specific puzzles.
The game’s development was pretty messy. It was first revealed in February 2004 under the title of Chronos, and was planned for the PC, Xbox and Playstation 2, using the in-house engine of Saber Interactive, the Saber3D Engine. As we can see on the screenshots for this version, it was using the same HUD as previous Saber’s game: Will Rock. Here is what we could read on French website Jeuxactu:
Known for having developed Will Rock, Saber Interactive is currently working on a new project called Chronos. This will be an FPS based on the same engine as Will Rock’s (which is also a homemade engine). If we don’t know anything at the moment about the scenario and the gameplay of the game, Saber Interactive has nevertheless shared some images on their official site. Planned on PC, Xbox and PS2, Chronos should probably be released later this year in the United States, as soon as a publisher is found.
The project resurfaced in October of the same year when HomelanFed announced that Atari was going to be the publisher:
A check of Atari’s official web site reveals some titles of games that have not yet been officially announced. The PC section shows a listing for Civilization IV, which is most likely the next game in the long running and popular strategy game series. Other unannounced games listed include three identified as “action” titles with the names Chronos (PC-Xbox), Enemy In Sight (PC-Xbox) and Rat Race (PC). Besides the titles and the game platforms there is no other info available on these games.
In January 2005, Atari renamed Chronos as TimeShift and shown it to Gamespot. Throughout the entire 2005 year, the project was showcased here and there at various occasions. However, in April 2006, Atari sold the game to Vivendi Universal Games, owner of the Sierra Entertainment’s brand, as we can read on Gamedeveloper:
Officials from Vivendi Universal Games have confirmed, via a pre-E3 press showing, that time-bending PC and Xbox 360 first person shooter title Timeshift will now be published by VU Games, rather than original publishers Atari. Although representatives from Atari have not commented on the change, the game was initially scheduled for a May release by the company, but no longer appears on Atari’s schedules. Vivendi officials were unable to provide further details at time of press, indicating only that the game currently does not have a scheduled release date.
The storyline alongsidevarious characters were rewritten or removed, the only exception being the doctor Aiden Krone, formerly named Ivan. Here is what we can read about these former characters on GameGossip:
Colonel Michael Swift
Colonel Michael Swift (recently retired) has a unique combination of brains and brawn that have helped him to rapidly rise to the top ranks of the Air Force. An all-state running back in high school, Swift passed up on athletic scholarships from some of the country’s best universities to join the Air Force Academy where he majored in military strategic studies. After graduating from the Academy at age 21, Swift spent ten years as a combat and recon pilot, flying thousands of sorties. In the year 2004 during a secret mission he was shot down over hostile territory. He spent three months navigating the treacherous terrain of the enemy’s land, avoiding capture and battling the elements before successfully reaching the border of an ally. His resurfacing became the stuff of legend and the Air Force soon promoted him to the rank Colonel. He soon became a specialist in the research and development of advanced weaponry for future combat. Upon the death of his wife he retired from active duty and became a full-time father.
When a government agency initiated the testing of the Quantum Suit and the Chronomicon – a highly publicized event – they chose Swift to perform the experiment as he was the only candidate with the proper mix of DNA, brains and strength to perform he job. After initially declining the offer, the tragic death of his daughter Emma causes him to reconsider.
Professor Ivan Krone
Professor Ivan Krone was born in 1947. Krone’s father, Nicholas, was a scientist who worked in the US Patent Office in Washington DC.
In 1955 Krone’s parents were killed in an accident. With no known relatives Krone was transferred to an orphanage where he spent the rest of his youth. He became highly anti-social and isolated himself from the other children in the home. Krone escaped reality by embracing the study of science. For the next decade he devoted all of his time poring over the works of the world’s great physicists, from Newton to Einstein to Feynman to Hawking. Krone soon began to see himself as the next in line among the kings of physics.
By the age of 17 Krone was accepted into the Technology Institute where he studied for the next 10 years before receiving his doctorate in Applied Physics at the age of 27. Upon graduation he took a position in the Institute as an associate professor. He began to delve seriously into the study of time travel and time control. By the turn of the century, Krone had developed a device that he was convinced would allow for limited time control functionality. He sought out students interested in participating in an experiment to test the device. One student volunteered. The test proved disastrous – the device exploded during the experiment and the student was killed.
An investigation followed the tragedy and Krone was found guilty of criminally negligent homicide. He was sentenced to an unusually harsh prison sentence. For the next decade-and-a-half Krone’s obsession with time control grew even stronger. He feverishly devoted himself to its study during his long tenure in prison. Upon his release he had a host of ideas ripe for testing, but he couldn’t find a way to get them funded. He was rejected and shunned by the academic community and mocked for his obsession with the study of time. Krone was left to find a way to fund his studies on his own.
For the next decade Krone worked zealously. He spent days working as a janitor in a local college and nights secretly working in the school’s labs. By the turn of the century Krone had made a startling breakthrough. While he had not yet discovered a way to travel in time, he created a device that allowed for limited control of time. Word leaked to the public of this invention and the government quickly assumed control of the device in the name of the national interest. Krone was devastated. He had worked his entire life to come to this moment and now the government had usurped control over his project. The government promised him compensation and guaranteed him the right to continue to develop the project. He reluctantly agreed, all the while resentful of the government for scorning him and then assuming control over his life’s work. It was in this environment that Swift was chosen to test the Quantum Suit in November of 2007.
Jasmine Lin
Jasmine Lin is Ivan Krone’s assistant on Project TimeShift. She has a passion for what she does, and it has taken complete priority in her life – above family, a vacation, or a relationship. She is especially optimistic about Krone’s project…but she has a chip on her shoulder due to having been passed over multiple times within her career progression because of both the male-dominated nature of the military and the innate bureaucracy of the government itself. Additionally, she has been given the awkward and stressful task of gaining the commitment of the notoriously obstinate Colonel Swift, who is ironically the ONLY man found within the military (past or present) to be able to take part in the project due to his unique DNA.
General Bruce Mitchell
General Mitchell is Project TimeShift’s military overseer. While Professor Krone is the director—and the brains—behind the project, Mitchell unquestionably holds the purse strings. It is Mitchell who suggests Swift’s involvement in the Project, as his ex-superior. Enormously competent and meticulous to a fault, Mitchell cares only for the men under his command and his duty to his country.
Emma Swift
Emma is Swift’s 5 year-old daughter. She is the only family he has, and is the reason he initially turned down the chance to be involved in Project TimeShift in the first place. Her death in an accident that destroyed her school bus haunts Swift even as he agrees to take part in the Project.
Some famous actors were initially going to voice characters in the game. Revealed in July 2006 by Gamespot, Dennis Quaid was the voice of Michael Swift and Michael Ironside voiced Dr. Ivan Krone:
Today, Vivendi Games announced that Michael Ironside has joined the voice cast of TimeShift, the sci-fi shooter the publisher recently acquired from Atari. Ironside will play Doctor Krone, one of the scientists developing the time-travel technology at the center of the game’s storyline.
Joining Ironside is one of Hollywood’s more recognizable leading men. Dennis Quaid, whose 20-year career has spanned the 1980s, ’90s, and ’00s, is also joining TimeShift’s cast. It will be his first game project and will see the aging heartthrob play Colonel Michael Swift (Ret.), a former test pilot who becomes the world’s first “chrononaut,” or time traveler.
Rounding out the cast is character actor Nick Chinlund, who will play General Mitchell, director of the game’s time-travel project. Though not a marquee name, Chinlund has appeared in many movies familiar to gamers, including Chronicles of Riddick and Training Day. Chinlund has had guest spots in several high-profile TV series, including The Sopranos and Desperate Housewives.
In the final game, none of the work done by these actors were retained, as characters Michael Swift and Bruce Mitchell were both entirely removed, and character Ivan Krone rewritten. Storyline was also a bit modified, but remains the same in general:
The storyline basically was as follows: Michael Swift, the protagonist, volunteers for a time-travel experiment, under the direction of scientist Dr. Ivan Krone. Swift travels back to 1911 and tampers with the past in some way. Upon returning to the present day, the entire world has changed and Krone is now an evil dictator ruling over a 1984-but-cartoony-esque United States.
Following the acquisition by Vivendi Games, TimeShift was pushed back for the end of 2007 and decision to make a complete overhaul of the project was taken. In April 2007, director of product development Kyle Peschel, explained everything that happened on Shacknews:
“So Sierra pulled me in the office last year–with seven bugs left to fix on TimeShift–and said, ‘If we gave you a year, what would you do with that?’
I said, ‘Are you fucking kidding me? I’ve got seven bugs, let’s put the fucking thing out tomorrow. I’m sick and tired of fucking crunching. I can’t handle hundred hour weeks for another year.’ And Martin Tremblay, who had recently arrived, said, ‘No, Kyle, I really believe we can do something greater than what we’re doing now. What would you do?’
“Well I said, ‘I’d scrap the physics system, get rid of this Meqon and put in Havok. I’d kill off the first four levels of the game, because we made the classic video game mistake of doing the beginning first and the end last, and the end is great and the beginning is weak. All these Full Motion Videos we paid for, I want to get rid of them. I want to get rid of the story, I want to get rid of the style guide, I want to get rid of the weapons, I want to get rid of the menus, I want to get rid of the HUD, I want to get rid of the suit. I want to get rid of the main character; people aren’t identifying with him.’ I just went down this list. I was kind of going after that list so aggressively that I was kind of hoping people would say to just release the game tomorrow, and then I could be done with it. But he goes, ‘Okay. Let’s do that.’
TimeShift has switched publishers (from Atari to Vivendi subsidiary Sierra), switched platforms (from Xbox and PC to Xbox 360, PC, and PS3), switched visual styles (from steampunk to gritty oppressive future), and switched innumerable control- and design-related decisions, but it has not switched its producer. Peschel described to me how he started on the project back at Atari, and how he managed to stick with it when it was dropped as a result of that publisher’s well-publicized tumultuous financial situation.
“TimeShift was picked up almost four years ago almost as a value title,” he explained. “When it was originally picked up by Atari, I had just come off of some other first person shooters. It was kind of opportunistic–let’s take a chance on these guys in Russia. So I sat down and started looking at the game said, ‘You know, I think we could really do something with this,’ provided we really built the mechanics and made it not gimmicky, focused on an interesting art style like steampunk–set it apart from the myriad of things. So we started rolling with it, and got about done with the Xbox [version], and I sat down with [then Atari CEO] Bruno Bonnell and all the execs at Atari, and they said, ‘So, Kyle, can you make this game for 360?’ I’m like, ‘What, am I a fucking genie now?’ They say, ‘No, seriously, it’s for 360 now.’
“I say, ‘Okay, I’m sure we can get that out.'”
That was to be the first time the game would undergo large-scale redevelopment. Soon, however, Atari’s funding started to dwindle in the face of falling revenues, and in January 2006 the team was pressured to get a demo released quickly. Internet response illuminated some of the game’s major issues, some of which were a result of the game being quickly ported up to target then-current hardware, and some of which went as deep as the game’s perhaps poorly planned visual style.
“When you get something in that many hands, you listen to the feedback. I’m making games for guys like me, not for corporate America. I mean, I work for corporate America–I don’t want to sell it like I’m the fuckin’ hero of gamers everywhere–but I’m cognizant of what people are saying. I was on Shack reading the comments and, reading between the lines, people were saying basically, ‘I really like some of what they’re doing, but this steampunk shit is ass. Look at this fucking knuckleduster thing, what the fuck is that? It’s all confused.'”
Soon after, Atari announced that it would be shedding much of its development to help reduce expenditures. TimeShift was put up on the auction block, and Peschel quit his job to go work for Vivendi’s Sierra Entertainment label. “Within a day,” he recalls, he was approached by management with the possibility of Vivendi acquiring TimeShift from Atari and reassigning him to the project. At the time, Peschel was working under industry veteran Drew Markham, who founded Gray Matter Studios, designed Xatrix’s Kingpin: Life of Crime, and produced Gray Matter’s Return to Castle Wolfenstein. Markham saw, as Peschel had when the game was first signed by Atari, that TimeShift had more potential than it was demonstrating, so Peschel went back and started rethinking major aspects of the game.
“I changed the storyline up at the last minute, and that’s when we brought in [voice actors] Dennis Quaid and Michael Ironside and all those guys,” he recounted. “A funny thing happens when you rewrite the story: you pay attention to everything. I was thinking, ‘Fuck, X isn’t working, Y isn’t working, I wish I could do this.'”
That was when, at seven bugs away from completion, Peschel was called into Sierra’s offices and was told that he had another year. The original steampunk theme was dropped and replaced by a grittier, darker, more desolate future. The main character was redesigned from a muscle-bound action hero to a more faceless protagonist in a full body suit, into which Peschel hopes players will project themselves.
It must be stated that TimeShift’s visuals have come a long, long way since the game was shown in demo form last year. Since that point, it went through an overhaul to bring it up to speed for Xbox 360, but Peschel noted that even then the game had a great deal of legacy geometry and textures, and did not feel up to par with modern shooters. It was not until development was revamped again and the entire visual style scrapped that the game began to look truly new.
After its release, TimeShift has received mixed to positive reviews by the press. In December 2017, VentureBeat revealed during an interview of Matthew Karch, Saber’s CEO, that a spiritual sequel called Timebender was in development:
As Saber continues to work on Quake Champions, it’s also working on other projects, most notably a follow up to its 2007 time-manipulation shooter: TimeShift. Saber hasn’t officially announced it yet, but it’s in development. It’s something of a passion project for the studio. (…) Of course, it can’t be called TimeShift 2, since Activision still owns the rights, so instead it’s a spiritual successor. It will be a new story with a new name, but the most important elements, like the time manipulation, will be returning. (…) As for the new name, nothing is set in stone, but Karch has already registered ‘Timebender’.
According to some information made available from the e-book Advances in Computer Entertainment Technology: 14th International Conference, Timebender was going to be multiplayer only. However, according to this site, it seems that the project could have been dropped as the use of the Timebender trademark entered in the status “abandonned” in November 2018.
Time0 is a canceled action game developed by ZootFly for the Xbox 360 and Playstation 3 platforms, alongside potentially a Nintendo Wii version, from 2006 to 2008.
As we coul read on old ZootFly’s website, Time0 followed the adventure of Zed Condor, an urban explorer and Violet Munro, an investigative reporter who got trapped deep in the shadow world of a parallel New York. The city itself is a giant war machine threatening to wipe out our world. They have three days to stop it.
“Time0 is a daring and upbeat action adventure about two diehard New York City urban explorers. They discover an entrance to a parallel world in which an army of enslaved people is building replicas of cities in order to launch a Trojan horse invasion on Earth and other worlds.”
“There’s the exploration spirit of unknown worlds, the audacity of the greatest movie adventures, and the roughness of gritty urban TV series.”
Time0 had a pretty messy development story, as the creation of this game came from the ashes of another canceled project from ZootFly, a title based on the Ghostbusters license. According to Bostjan Troha, founder and president of ZootFly, for Gamespot, this game was in development from May to July 2006 before being postponed because of IP issues:
“Over the weekend, Ghostbusters fans were aflutter with some videos that appeared on YouTube. The clips showed footage of a game based on the 1984 sci-fi comedy film. But instead of featuring fish-out-of-water geeks awkwardly shooting from their proton packs, the videos showed Gears of War-style gameplay, massive destruction, and a gritty New York cityscape.
The videos were posted by the game’s developer, Slovenia-based ZootFly, who later admitted that the Xbox 360game was merely a prototype and that intellectual-property issues momentarily sidelined its development.
Bostjan: “The development started in May 2006 and was put on the back burner in July 2006, at which point we shifted the focus to Time0, a Ghostbusters-inspired game. The engine is based off of a common code base we have at ZootFly. After our previous titles were released it was upgraded to next-gen to run a prototype of World War III, a game where the US and Europe duke it out. The Ghostbusters footage was running on an intermediate build of the engine that now powers Time0 which is a third-person action game for the Xbox 360, PS3, and hopefully for the Wii. It is in part based on a true story about two urban explorers that disappeared in New York City in August 2006, while exploring a Harlem basement rumored to house an ancient portal into the parallel world. We started prototyping in summer last year. The development of a 20-minute vertical slice of Time0 started in late October 2006. Right now it’s hard to tell when it’s gonna be complete. Currently, we are actively looking for a worldwide publishing deal for Time0.”
Early 2007, ZootFly posted three teaser videos about Time0. After that, the game disappeared from the radar during an entire year before Gematsu revealed in May 2008 that the title was still in development and that the developer was trying to negotiate with publishers:
“We’re still talking to… how shall I put it… two of the top four publishers about publishing Time0,” said Troha. “The 20th Century Fox title will be announced by Brash Entertainment sometime in summer. Unfortunately that’s all I am allowed to disclose.”
Unfortunately, Time0 was never mentioned again thereafter. A few years later, a new video showing gameplay was uploaded in addition to new screenshots, unclear as to whether this was a new attempt to revive the project or if it was an old prototype before it’s cancellation. We notice that the appearance of the protagonist has been totally changed, as Chentzilla pointed out in the comments, it borrowed a lot from the main character of the game Mistmare, which was developed by people who would later found ZootFly.
Terra: Formations is a canceled first-person shooter with real-time strategy elements developed by Cellien Studios, a two men team subdivision of game company Star Cave Studios, for PC, Playstation 3 and Xbox 360 systems, from 2004 to 2017.
The game was first revealedin the beginning of 2005 by Cellien as a multiplayer FPS using the Torque Engine:
“We at Cellien Studios are developing a game on the Torque game Engine from www.garagegames.com. Terra: Formations is a Sci-Fi FPS game that will be played online much like Unreal Tournament style. The project website is www.terrathegame.com and our studio website is www.cellienstudios.com. So far our studio only consists of two people but for a two man team and only 5 months of development I feel confident that we will be able to release a demo in the coming months so keep an eye out.”
After a year of silence, Gamesindustry announced Terra: Formations, now headed by Star Cave Studios:
“Irish Star Cave Studios Limited proudly announces the development of its first “AAA” title and first multiplatform game, Terra: Formations! In Terra: Formations, players have the freedom to select their preferred style of game play, ranging from high action First Person Shooter (FPS) to more strategic Real-Time Strategy (RTS) in a ranking system set up much like a Role-Playing Game (RPG)! It’s the clash of the titans when it comes to game genres; FPS, RTS and RPG – all tied together in this awesome looking fast-paced, action packed, futuristic Massive Multimedia Online Game (MMOG), also featuring single-player options and adventure elements!
By the year 2157, mankind had depleted the resources of planet earth with his lust for power, technological advancements and greed. Ironically, the very machines that played a role in mankind’s irrevocable position were the only chance of survival! After several years of uncertainty, hope was reborn with the efforts of the Global Military Alliance to Terraform one of earth’s celestial neighbours, Jupiter’s moon called “Europa”. It wasn’t until the excavation of the satellite’s icy crust that mankind learned the truth; he was not alone and something, somewhere, was waiting, watching, learning and preparing for battle!
As a player in Terra: Formations, you join the ranks of an elite military force with the objective of reshaping the environments of inhospitable worlds, experience the evolution of a developing planet, and take command to become humanities only hope for survival in an epic struggle for control of the solar system.
Four classes of characters offer different insight to the chaotic world, each providing a unique blend of interaction. The Soldier faction allows for adrenaline pumping action that players have come to expect from traditional FPS games. As a member of the Engineer class, the player becomes the key element in the development of the environment by constructing and repairing mankind’s lifeline to the world. The Researcher class explores the evolution of the world to enhance society’s tools and develop new technology, and finally the player can opt to take command of the action from the perspective of the Commander class to bring order to an uncertain future, tying RTS elements into Terra: Formations.
Star Cave Studios Limited is a privately owned game development studio based in Ireland, and the cream of Irish developers! Founded in June 2004 by industry veteran Keith Killilea, CEO, its focus is to create state-of-the-art computer games targeted not only at the PC platform, but also the next generation gaming consoles! During the course of 2005, Star Cave Studios Limited acquired Cellien Studios, based in Austin Texas, and Single Cell Games, based in Australia, and has now become the leader of Irish game development!”
After that announce, however, the game was put on-hold indefinitely, before surprisingly coming back from the dead in September 2012 on platforms such as Steam Greenlight and Indiegogo, using this time the Unreal Engine 3:
“In Terra: Formations, players have the freedom to select their preferred style of game play, ranging from intense action First-Person Shooter to more strategic RTS planning in an online multi-player universe.”
The key concepts of Terra can be summarized by the conflicting species, player classes, life forms, technology, locations, and gameplay that are designed to make a genre hybrid, player driven world possible.”
Terra: Formations main features:
Rich, highly detailed, atmospheric and wonderful alien enviroments
Changing environments reflecting your terraforming progress, becoming more habitable and supportive of your species requirements. Tug of War gameplay.
Permanent changes in environments – terraforming levels will remember your changes.
Groundbreaking genre crossing gameplay, combining First Person Shooter with Real-Time Strategy.
Highly detailed player characters, with customizable appearances
RTS online gameplay where you give real players control commands.
Advanced AI Droids for FPS defending & RTS resource play.
4 distinct classes of characters; Soldier (FPS), Commander (RTS), Builder (FPS+RTS), and Medic (FPS).
Hi Tech Weaponry & Several Ground / Air Vehicles
Commander Special Attacks such as air-strikes, cloaking, superweapons.
Aliens have the ability to turn Humans by infestation into fellow Aliens.
Global online points & stats system.
Open Mod System allowing map makers to create new worlds.
“The game was announced back in 2006 for all major platforms from PC to Consoles and the screenshots you see in the Gallery tab at the top of this page is the playable demo from back then! We spared no expense to create “AAA” class graphics, code, game-play and pulled all-nighters with barely no lives at all. To develop the whole game we needed a publisher and in the end Terra needed to be put on hold – until now!“
On the Indiegogo page, we could read further details on the company and some ideas behind that game:
“Based on our funding target, we would expect to nail the deadline for Beta Release in late 2013. We know exactly what we are doing, and as Terra has been many years in the making, we are confident in our deadlines! We will keep you in the loop with our development at all times, and give you a look into the process and progress we are making.”
“Example of how amazing Terra will be, your playing on the multi-player level and the world around not just changes due to the terra-forming but stays changed even when you return later to it! We want to bring you an experience of game-play not done before and a dynamic living world you would expect to be on.”
Unfortunately, the crowdfunding campaign wasn’t a success, the game only collected 75$ on a fixed goal of 175,000. After this failed campaign, Terra: Formations disappeared again, but attended a third comeback, this time in the beginning of 2014. Rebranded as T.E.R.R.A. and using Unity as new engine, the project was slightly different about what was initially planned from it’s former form and was, once again, put on Steam Greenlight:
“We are an small team of 4 so far working on this title but if we are funded we can bring in extra help from our peers to bring the game to an completion stage. For the past few years the game evolved from it’s concept of different demo versions towards today, believe me we have had plenty of time to do trial & error on blending the genre’s! We ended up with the finish concept after all of this to what it is now, so much had changed we changed the name to the current form to represent this.”
The developers managed to release it in Early Access around Spring 2016, but in April 2017, as we could read on the comments section, Starcave decided to rebuild the game to it’s core in order to get significant improvements:
“There was a break in the development, where we were reviewing everything of the Early Access release build and have decided to rebuild the core to make better improvements for between EA to Full release to be as smooth as possible. More updates will appear as soon.”
It will never materialize and, since then, Starcave disappeared from the picture alongside T.E.R.R.A. which isn’t playable anymore.
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