Unseen Features

Unseen Interviews: Ruud Van De Moosdijk and Corn Busters

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I have recently played the incomplete release of Corn Buster, which according to my sources was originally available for download at the Engine Software website. There is very little information available about the game, and few people know of its existence. I feel that it would be beneficial to the unreleased game community, as well as the gaming community as a whole, if more information were made available regarding this game.

I have sent a mail to Engine Software to ask if someone who was involved in the development of Corn Buster would be willing to provide more information concerning the game’s development history, any planned elements for the game, and the reason for its cancellation. Ruud van de Moosdijk was nice enough to answer some of my questions!

 [Interview by Marshall Leslie]

Marshall Leslie: Who came up with the original idea for the game, and when did development start?

Ruud: The game was designed by Ivo Wubbels and myself (both founders of the company and still in function) and was furthermore designed in detail by Arjen van Haren (no longer working here) and Marco Willemsen (Senior Artist). Development started around 1994 I guess…before we were officially a company and got Nintendo Licensed. It was our first professional game, and I remember we even wrote our own assembler for SNES on PC (SNASM) because we had no official tools.

Marshall Leslie: How many people worked on the game? 

Unseen Interviews: Eric Hache from Affinix

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Affinix Software was a company based in Southern California, that worked on a cancelled game for the Game Boy Color. Infinity was an epic old-school RPG, that promised to be a good choice for lovers of this genre on the Nintendo console. Sadly the team had some problems in finding a publisher for Infinity and Affinix Software had to close down in 2002. We have contacted Eric Hache, former member of Affinix and composer of the score for Infinity (a real “beta-OST” that you can download from his website) for a little interview about their cancelled game and his life as a videogame music artist.

[Interview by Take_it_Slow]

Unseen64: Thanks so much for this interview, Eric.

Eric: You’re welcome!

Unseen64: What is your favourite food? :)

Eric: Anything from the sea, but nothing beats a good ol’ meal with meat and veggies. :)

Unseen64: The Affinix summary of the plot doesn’t go into much detail as to what the evil is or who the characters are. Would you care to expand?

Eric: It’s been a while and I haven’t seen all the story, the evil guy is “The Creator”, the hero is Connor, he used to serve the king but after some conflict he was stripped of his commission.

Unseen64: The piece also says that the Aluthans and The Selerans used to be allies, but were later divided. Is it explained in the game what caused this divide?

Eric: Uhm, that’s a tough one without re-reading the script… Mark (The writer) could know more about that one.


Unseen64: From a screenshot on the Affinix website, it appears that the actions in battle were tied to the direction pad. Is this true? What was the battle system like?

Eric: The battle system is very ingenious, it is controlled by the D-Pad yeah. You point with the D-Pad towards the enemy you want to target and then you hit A to do normal attacks, or you don’t use the d-pad, select an item or a spell and then select your enemy. It’s one of the fastest rpg systems I’ve played. Quite enjoyable!

Unseen64: From that same screenshot, you can make out Conn, Elya, and Vict as character names. Were these stock names, or did the player choose them. Furthermore, what were the characters like and how were their stories related?

Eric: They are stock names. As I said before, I don’t remember a lot about the story.

Unseen64: How was your experience in composing the score for Infinity?

Eric: I loved it! I had a chance to do some nice chip songs and most of them were dark in nature and if you’ve listened to some of my songs, I really like to compose for dark moods. :) It took around 3 to 6 months to do, and I had a full time job at the same time. I didn’t sleep much in that year. ;)

Unseen64: Why do you think Infinity was never picked up by a publisher?

Eric: We took too much time to finish it and the GBC’s lifespan was nearing it’s end due to the release of the GBA.


Unseen64: Did you worked on any other “unreleased” games?

Eric: Quite a few, since I’m a composer trying to make his mark, it’s not uncommon to work on small development teams with limited funds and personel. A few of those were “Legend of Talibah” in 1996, Shadow Incarnate in 1998 (with Yohalem), The Kudhos Project in 1999 and lots of others which I forgot.

Unseen64: What happened to the people from the team? Did they got a new job in the gaming-industry or are they working on something else?

Eric: Mark Yohalem the writer is doing pretty well, he’s written scripts for a few games that are on the market and published books. He’s also a lawyer.Justin Karneges the producer/programmer is always busy programming, he’s currently working on Psi, a messenger client. Hideaki Omuro is still a terrific programmer, he moved to Japan
shortly after Infinity and works for Irem I think. Mathew Valente, (the sound engineer) and I are still very good friends, we met last year in Toronto for a Play! Symphony show and we met Uematsu in person. The artists seem active in other projects but I don’t know if it’s in the game industry or not.

Unseen64: Are you yourself a gamer? If so, what games are you playing now and what is your favorite console (any generation)?

Eric: Of course! I don’t love any console in particular, I own most of them. Right now I’m still playing Final Fantasy XI online on PC, and I still have to finish Baten Kaitos Origins and Tales of the Abyss.


Unseen64: Who are your favourite musical artists?

Eric: Motoi Sakuraba, Yasunori Mitsuda, Yuzo Koshiro, Nobuo Uematsu, Kenji Ito and Alex Skolnick from Testament.

Unseen64: Where you get the inspiration for your music?

Eric: I really don’t know, I always end up humming a song in my head throughout the day and I’ve never encountered a block yet :)

Unseen64: Are there any plans for the Infinity ROM to be leaked to the Public? (Please!)

Eric: I’d love to say yes, we still contact each other regularly and discuss about it. I’d say there’s still some chances.

Unseen64: What are you working on now?

Eric: I’m on hold with some projects now, waiting for them to finish a little more before I can jump in. But right now I’m mostly doing studio work for customers and composing for my own pleasure.

Unseen64: Anything else you’d like to say?

Eric: I hope everyone gets a chance to play Infinity, it’s a very special game – one that you wouldn’t believe came from north american talents! and on top of that, it’s am old school rpg that you can actually die at least a few times in. ;) and of course, the music is awesome! haha

Unseen64: Again, thanks for your time, and we really value your help with this project.

Eric: Anytime!


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Unseen Interviews: Frank Cifaldi from Lost Levels

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As you probably already know, the Unseen 64 Staff is not the only group of beta geeks that loves to talk about the cuts and changes in the gaming development: online we can find some other great sites dedicated to the beta-researches. Often these groups of gaming archeologist are hidden under the fame of the traditional gaming websites. It’s not always easy to find places with informations about the lost games, but if we can linking togheter all these resourches, we can have a better look at the beta world. The cooperation between the different websites related to the unseen games can help us to better archive, retain, filter and protect those gaming informations and documents that could be forgotten. With this series of interviews we would like to try to introduce the various beta-websites that exist out there, to know a bit more the staff behind them and their thoughs about the gaming unseen. In this first interview we have interviewed Frank Cifaldi, also know as RedEye, the editor in chief of Lost Levels Online.


Unseen64: Hi RedEye! Thanks a lot for this interview, we know that you probably have better things to do than reply to our questions, but we’ll try to be fast :) Would you like to introduce yourself and your site to our readers?

RedEye: My name is Frank Cifaldi, I’m the creator and Editor-In-Chief of LostLevels.org, a site dedicated to games that never made it to market. I am also the Editorial Manager of GameTap.com, Turner Broadcasting’s games-on-demand service, the former features editor of the Webby award-winning game development and business resource Gamasutra.com, a card-carrying member of the IGDA Game Preservation SIG, and an occasional freelance journalist and game dialogue writer.

Unseen64: When did you decide to open Lost Levels and what is the purpose of the site?

RedEye: Lost Levels started life as a natural extension of TheRedEye.net, a strange site I ran from about 1998 to 2001 or so. I enjoyed discovering unique old games, and one of the ones I discovered and uploaded to the site, Hero Quest, happened to be unreleased. To my delight, the game’s programmer, Chris Shrigley, was delighted to be able to play his game in an emulator and share it with anyone else who might be interested. Based on that, I decided that a site dedicated exclusively to unreleased games might be interesting to a certain section of the classic gaming community, so I got the troops together and launched Lost Levels in the summer of 2003, just in time for the Classic Gaming Expo in my hometown of Las Vegas.

Another reason for creating Lost Levels was because I liked writing about games, and thought it might be a good job. A lot of editors ended up liking the site, it was good resume material


Unseen64: How coordinated is the Lost Levels staff? It’s hard to be the “boss” of the site?

RedEye: I honestly don’t even know how we define “staff” anymore. None of us, myself included, dedicate much time to the website these days. The initial list of “staff” members was a tight-knit group of the friends I made online, both through TheRedEye.net and the message board on my friend Danny’s site, The Sardius Experience, that all shared the same passion for unearthing and preserving video game history. You’ll notice that Lost Levels is heavily skewed toward the Nintendo Entertainment System; this is not necessarily intentional, it just happens to be the system that brought us all together in the first place.

I don’t know if I’d consider being the boss difficult, considering how very little we actually manage to get done. It’s hard leading by example, as I’ve become an extraordinarily lazy person since I started getting paid to write about games. Coming home after 8 hours and doing it for free is not something I want to do very often, and my main staff writers – Danny Cowan and Chris Collette – probably feel similarly, as they’ve both become journalists since the site’s launch. That said, I’m extremely pleased with the amount of activity we get on our forums, which has kept Lost Levels alive well past its shelf life.


Unseen64: Which is your favorite “lost game” and why?

RedEye: My favorite unreleased game would have to be Penn & Teller’s Smoke and Mirrors for the SEGA CD. I thought the concept behind Desert Bus was absolutely brilliant when I read about it in an article in EGM way back in the mid-90s, and hadn’t realized the game didn’t come out until recently. Now that it’s on the internet, I’ve seen some amazing stuff, including a nod from Penn Jillette on his podcast, coverage in major print magazines, and a charity run that raised $22,805 for Child’s Play, an organization I support 100%.

Unseen64: Why is it often so hard to find information about lost games?

RedEye: Most publishers can’t officially disclose information about games that they have cancelled or otherwise chosen not to release. These reasons vary from the professional to the legal to the forgetful; people move on, and the remains of the project are buried, lost or worse, destroyed for legal reasons. This is all part of a larger epidemic, what we really need is a funded organization dedicated to preserving video game history. Archives are growing at Stanford and at the University of Texas Center for American History, and I’m starting to see some real headway into preserving history before it’s too late.


Unseen64: Games can be art or at least an important piece of gaming-history, and it’s sad that sometimes we can not have information about their changes or cancellations: how can we convince developers to share their beta stuff, at least after some years from the final game release?

RedEye: I think getting stories and assets safely documented and preserved requires a much larger, sanctioned, organized effort than either of our sites are capable of, something like the ASIFA Animation Archive but for games. I dream of a world where underground efforts like Unseen64 and Lost Levels are no longer necessary. Truthfully, I’d take my site offline and never look back if I became part of a larger, concentrated video game preservation effort (hell, I’ll leave my job behind too if you can keep a roof over my head, anyone listening?).

Unseen64: What are some of your favorite released games?

RedEye: Ten years later, my favorite game is still Grim Fandango, I have never been so completely immersed and in love with a game before or since. The writing was absolutely impeccable, and the art style took me back to my complete adoration for Batman: The Animated Series as a kid. Similar to that, my favorite games are a series of experiences that have never been replicated: Ico was the only game to make me feel true longing and emptiness, the Ouendan series made me understand why people like to dance, Wario Ware made me feel like knowing how to play video games was as much of a cultural institution as knowing the lyrics to Beatles songs, The Secret of Monkey Island was an atom bomb that made me realize that games could be cleverly written pieces of fiction (and singlehandedly revived my interest in them and made me who I am today), and Pac-Man 2: The New Adventures is by far the most overlooked and underappreciated experiment in what an interactive story can be, a statement that I’m sure will sound just as crazy when I’m saying it on my deathbed.

Other games I like that I’m not as poetic about (aka, I just think they’re cool): Deus Ex, the Grand Theft Auto series, the first Katamari Damacy (once was enough, sorry Konami), most of the Lucasarts adventures not mentioned above (Monkey Island 2 and Full Throttle chief among them), Sonic 3 (especially with the add-on), Rock Band (with a group) and Shenmue come to mind at the moment, I’m sure I’m forgetting tons though.


Unseen64: How do you see the “beta culture” that lives in the gaming underground (collectors, beta-nerds, etc)?

RedEye: This is a bit of a loaded and vague question, but I’ll do my best to answer it. I think the “beta culture” is similar to (if not exactly described as, which is the case with me) the person who listens to the commentary track and watches all the bonus features on every DVD that comes through his or her house, even if the movie wasn’t particularly good. I think we’re all completely enamored by the kinds of feelings and experiences video games have given us, and we want to know everything we can about them, how they were made, what strange experiments developers have tried, the absolutely real human drama that happens behind the studio doors, etc. I think humans are naturally curious and voyeuristic creatures, and I think that being interested in information we’re not meant to have is a natural extension of that. I won’t necessarily comment on the tact used by some to get this information, or the strange behavior of those who wish to keep it to themselves, but I think in general we all share this common trait.

Unseen64: We know that the major “traditional” gaming websites are often in competition, but in our opinion beta websites should be different, because they need to search for something that could be lost forever: do you think that they could work together to research the beta stuff, maybe sorting their work in different specific parts (articles, video/screens archive, hack research, etc), or are they destined to be lost in our human egoism?

RedEye: If there is any competition among “beta sites,” it’s news to me! As rare as this information tends to be, multiple sites are an absolute blessing. If there is any kind of friendly competition, it is ultimately an advantage for games preservation in general, as we’re all going to find and expose different stories and assets to the world. Lord knows how very little this scene would accomplish if Lost Levels was the only site that cared about unreleased games, or how much would be lost if the owner of the one singular beta/unreleased site got hit by a bus and his web hosting lapsed.

On a similar note, the one thing that “competition” tends to produce that I absolutely can not tolerate is watermarking unique assets and images. If you’re in this for the web hits and the recognition, your heart is in the wrong place. I’d hate to think that fifty years from now, the only surviving footage from a game that people consider historically important is overshadowed by an advertisement for a website that is no longer relevant. Or, worse, the only surviving playable build of a game has had its code tampered with by someone who had absolutely nothing to do with its development. If anyone who partakes in these sorts of practices is reading this, I urge you to please get over yourself, and if you’re unable to do that, please find a hobby that doesn’t involve destroying history.


Unseen64: Did you ever receive any beta information that could not be shared with the public?

RedEye: I suppose I have, yes. I have a lot of friends in the industry, and I just live under the assumption that any casual conversation about game development is considered off-the-record. I’m not holding on to any kind of earth-shattering information that many people would care about, and I’ve probably forgotten more than I remember.

Unseen64: Your favorite food?

RedEye: Good sushi, big bottle of sake, and whatever beer is on draft. Especially if it’s in one of those fancy places with mood lighting and fish tanks, and I’m with the right company.

Unseen64: What do you think about U64. Be honest :)

RedEye: I think U64 is doing the world a service by capturing and hosting information that might otherwise be lost forever. It is not (and neither is Lost Levels) the ultimate, organized, academic effort that I dream about, but I don’t think it’s meant to be. You guys have much more energy than I do, and I’m incredibly thankful for it.

Unseen64: That was the last question, thanks a lot for your time! :) Do you want to add something about beta stuff?

RedEye: I can’t think of much else to say, but I’m completely open to further questions if you have them!

Unseen64: Naa, we have bothered you enough  for today ;)


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Zelda: Twilight Princess Beta Analysis – Characters & Items

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[Warning: this article is just a translation from the original one in italian, there are some “lost in translation” parts, so the original version was more complete, but at least now we have an english version too. If you find some errors or some weird use of the english language, please send us a mail so we can fix them, thanks!]

[original article in italian by monokoma, english translation by Yota]

[Thanks to Evan & Sba sb3002 for the english corrections!]

OverworldTowns & Dungeons – Characters & Items

Beta Characters & Items


Beta twilight enemies from the 2004 trailer. Their polygonal models are still inside the game, and you can see them using some GameShark codes.


Beta design of the Gale Boomerang. Also, in the beta you obtained the boomerang inside a chest. In the final version, you get it after beating the monkey boss.


A beta Moblin enemy, completely removed from the game.

zeldatpbetahub.jpg zeldatpfinalhub.jpg

The HUD was changed during the development of the game. In the beta version, it seems that it was possible to crouch and possibly crawl using the R button.



A beta cutscene from the 2005 trailer, where Colin crawls through the secret passage that leads in the village’s spring. You can still go through that passage, but the scene was removed from the final game and the player needs to find it by himself.


A beta sumo match from the 2005 trailer. This area was completely removed from the final game. In the occasions in which Link fights the Gorons, none of the battles match the one in this scene. In the final version, the rooms where the old Gorons are found have sumo looking platforms. Perhaps in the beta a sumo battle was necessary to win the key parts.


In this screen from the CDG 2005 video, we can see another interesting scene: Links is escaping from a giant spider, through a dark cave. This scene was removed from the final game, but it was probably just a different Armoghoma Boss Battle from the Temple Of Time. This could even be the boss battle for the removed beta temple, that it was later changed and reused as Armoghoma; infact, in the same video we can see a lot of parts were Link explores the removed dungeon.


The magic bar was still in the game in the pre-release build, as you can see in this screenshot taken from the backcover of the final package. The bar is similar to the one found by using the lantern, only in green. It’s strange that in Twilight Princess there is no magic system to limit how much magic you can use. This image is a proof that in the beta version there was one, or at least they wanted to implement it. As you can see below, there are even more proof of the removed magic system from the game:



A green chu chu jelly. As those who finished the game should know, you can mix the chu chu’s jelly in order to make potions with various effects. The green one is completely useless since the developers removed the magic system from the game. Normally, the green chu chu would recharge some magic. Unfortunately, Nintendo removed the green jelly in the PAL version of Twilight princess.


With the GameShark, you can unlock the magic potion item. It was probably ment to be for sale in the Hyrule stores. [Source: SnakeGuy Album]


Another beta item unlockable with the GameShark: the fire arrows, that could have been enabled with the help of the removed magic system. [Source: SnakeGuy Album]


Black chu chu jelly, unlockable with the GameShark but removed from the final game. [Source: SnakeGuy Album]


Another strange beta item unlockable with the GameShark. It’s very similar to the blue fire of ocarina of time. [Source: SnakeGuy Album]


Yet another beta enemy. it was unused in the game but was left in the memory code. It’s unlockable thanks to the GameShark. It was probably used in the temple of time or in the Twilight palace.


Beta design of the Imp Poes [Source: Youindia @ YT]


Another strange beta enemy, it could be a different version of the flamed snails. Thanks to Funkymicio for the contribution! [Source: Youindia @ YT]


This is certanly the strangest beta object still in game’s memory. A really odd-looking giant that was probably used just to test the dimensions of the various characters. [Source: Youindia @ YT]


With the gameshark we can even use the beta design of the bombs. They’re much more simple and similar to the ones used in previous games.





A really odd scene, where many gorons create some sort of a super goron. This enemy was removed from the final game. Maybe in the beta this boss blocked the access road to the Death Mountain. [Source: Quartoxuma @ YT]

For more beta images and videos, you can see our Zelda: Twilight Princess Beta Archive

OverworldTowns & Dungeons – Characters & Items

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Zelda: Twilight Princess Beta Analysis – Towns & Dungeons

Zelda: Twilight Princess Beta Analysis – Towns & Dungeons

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[Warning: this article is just a translation from the original one in italian, there are some “lost in translation” parts, so the original version was more complete, but at least now we have an english version too. If you find some errors or some weird use of the english language, please send us a mail so we can fix them, thanks!]

[original article in italian by monokoma, english translation by Yota]

[Thanks to Evan & Sba sb3002 for the english corrections!]

Overworld – Towns & Dungeons – Characters & Items

Beta Towns & Dungeons



This dungeon, first showed in 2004, was either removed or became the Arbiter’s Grounds. Or maybe it was an area created just for testing.


In this screen taken from the 2004 video, we see Link fight a Moblin in the beta dungeon. But the most interesting thing is the fallen fire tourch on the floor. Maybe in the first builds of the game it was possible to interact more with the environment ?


This is the beta Link’s house. As we know, in the released game it is on a tree, as in Ocarina of Time.


It seems likely that it in the beta it was possible to exit from the window of Link’s house, to find a chicken on the roof (maybe to fly to a secret place?)


In an old demo, it was not possible to enter the Link’s house basement without the oil lantern. In the final version you can enter even without any light, but you can not see much in there.


In the demo it was even possible to explore the Ordon river with the canoe.


Another beta screenshot of the Ordon Village, where we can see a scarecrow in the background, that it was later removed, and the lack of the watermill in the Jaggle & Pergie’s house.



In the 2005 demo, the cat that Link needs to catch was spotted on the roof of the shop and not near the river as in the final version.


In another demo, we can see a removed cutscene where Hanch Falls in the river trying to escape from the bees. Update: thanks to Drew we found out that this scene with Fado isnt removed:  if you dont hit the hive and wait for the last day, Hanch hits it with a rock and you are able to see this scene!


Originally in the beta hive there were some rupies, while in the final version there are some worms in it.


In the beta Ordon Village there was another hive on the tree near the village chief’s house



In the old demo of the Ordon Ranch minigame, the text for when the goats enter in the barn was different: it said “Yee-Haw” while in the final version it says “Goat In!”.


The final Castle Town has clear differences from the beta. The structure of the houses were very different, and the characters who populated the area were not the same as the final game. Castle Town has undoubtedly had many makeovers before the final version. Nintendo probably improved the look and feel and better organized the space. We did not have reason to believe, however, that any important details were erased; it seems to simply be at an early stage without important features.


Beta Castle Town. We can see that the characters and the houses were different, even if the organization of the streets was almost the same as the final one.


In the Zelda video from the E3 2006, we can see a later beta version of the south part of the city: it is more similar to the final version, but the Goron is in a different position and even the street on the left was moved down.


In the E3 2005 trailer, there were many more ghosts than the final version. We can even see rat’s souls in the Hyrule Castle underground, which in the completed game are showed only much later in the game.


In the E3 2005 trailer, Link seems to escape from the prison through a grate in the wall. In the final game instead, Midna tells Link to dig the prison floor.

Next Chapter >> Beta Characters & Items

Overworld – Towns & Dungeons – Characters & Items

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