Unfortunately D4 was meant to be divided into different “seasons” (with a few episodes each), as a TV series. Only the first two episodes (Season 1) were ever released, while D4: Season 2 was sadly cancelled when Swery65 had to take a break from Access Gamesin November 2015 to recover from a serious illness and then definitely left the company for internal reasons in October 2016.
We should also consider that D4 did not sold much on Xbox One (and neither on PC) and that’s probably the major reason why Season 2 / Episode 3 was canned. For sure Access Games and Microsoft would have developed other episodes without Swery if the first one would have been a huge success.
Season 1 of D4 is still an original – short – game full of strange characters and it’s worth playing if you love weird games, but it ends with a huge cliffhanger that will probably never be resolved. Swery and Access Games had a few months to work on the sequel, but unfortunately we don’t know how much was ever done on it. Only a single scene of D4: Season 2 was ever shown, thanks to an interview with Swery by Gamasutra:
“D4 sells well on PC, can we expect future episodes?
Swery: It’ll be a little longer until I can start talking about new episodes, but I’m doing my best. The next season will be even better than you’re all expecting, so please keep cheering me on.
…You can’t accept that answer?
Okay, then. Just this once, just for you, I’ll show you a single picture.”
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.
Conker’s Bad Fur Day was one of the most fun and original games ever released on the Nintendo 64, a funny and “mature” game featuring cute characters survived from the cancelled Conker: Twelve Tales. After the first game was published in early 2001 the team started working on a sequel, at the time probably still planned to be released on the Nintendo Gamecube.
Conker’s creator Chris Seavor and other former members of the Conker Team revealed the existence of their Conker sequel in many interviews, as in this old article from Mundo Rare:
“So we asked Chris Seavor what ever happened with Other Bad Day and why the hell is that we are not playing that game if everybody seems to want it. He answered that not only did they start working on a sequel with that title, they also had a full storyline ready to be depicted on the screen and many new movie references in mind: “We actually started on a direct sequel which was going to be called ‘Conker’s Other Bad Day‘ which dealt with Conker’s somewhat unsuccessful tenure as King. He spends all the treasury money on beer, parties and hookers. Thrown into prison, Conker is faced with the prospect of execution and the game starts with his escape, ball and chain attached, from the Castle’s highest tower.”
Thanks to an interview by Gamer Québec with Chris Seavor we know some more details about the planned story and characters in Conker’s Bad Fur Day 2:
“GQ: People want to know more about The Other Day, rightfully so. Rare had trademarked the name, but the sequel never happened. More than 10 years later, can you spoil what we were going to see as far as the story goes? Did it ever make it to a prototype?
CS: It had some graphics and concepts done for sure, but didn’t really get much further than that. As for what happened to Conker in OBD, well he became Emperor of the Known Universe, got a new girlfriend, and lost an old one (again). There was also a massive space poo: The Cthulpoo, the main baddie. Lots of other stuff happened, with some new characters appeared and old favourites returned. We got to find out about Greg’s childhood and why he hated cats, there were tons and tons of parodies of the more contemporary movies, and an evil doppleganger version of Conker that you got to play for a while. And Beardy (Birdy) died. That kinda stuff…
As with the original, it ended on a bittersweet note. I did actually do an act by act summary for you and the fans, but it was twice as big as the rest of the interview so i took it out… sorry. As consolation here’s a piccy of some early designs for the first level, just to prove we actually did do some work on the bugger.”
We also know that some unused scenarios planned for Conker’s Bad Fur Day were meant to be re-used in Conker 2:
“As for features, I don’t think anything we really wanted to do didn’t end up in the game. There were a few levels that only existed on paper, for example one where Conker had to inflate a giant, fetish themed female pig by sticking a bellows up her arse. She then became a floating dirigible which you used to fly around the level dropping anvils on Cows to make them shit in the trough which then weighed down a lever and opened a door. This would have eventually leaded to the Bull Fight sequence. It got cut to save some time.
There were a few of these “linker” levels. Some eventually ended up in the design for Other Bad Day, but that’s never gonna happen so i guess you’ll never know…”
Unfortunately it seems that Microsoft was not interested in a Conker Sequel and soon the team dropped Other Bad Day, to work instead on a remake of the first Conkerwith major focus on its online multiplayer mode. We can assume Microsoft though the Xbox market would have been more interested in another multiplayer game, and a bonus remake of Bad Fur Day would have been less expensive to create than a full sequel.
In June 2005 finally Conker: Live & Reloaded was published but it seems that since late 2004 the team was already trying to return to work on Conker’s Other Bad Day, without success. In November 2005 Microsoft would release their second console, the Xbox 360 and they asked Rare to move their projects to the new console, as it happened with Kameo. As we can read on another interview by Eurogamer with Chris:
“Chris Seavor: I started designing it [Conker 2] and we were going to do it. They just wanted it quickly. It was coming to the end of the life cycle of the Xbox, and there was talk of them going, look, can we just shift this over to the 360, which was a year away? I was really against that because I just couldn’t face spending another two years on a game we’d already spent a year and a half on. So I guess it was probably my fault.
Now, I would have gone, absolutely. Let’s take a step back and make the graphics look as good as we can. It would have done all right I think. From the amount of messages I get every day saying please make Conker 2 I’d say it would have been a better move, but hey. There you go.”
At the same time Rare started working on another multiplayer focused Conker titled “Gettin’ Medieval” as a sequel to “Live & Reloaded”, re-using some of the art and assets from the cancelled Conker’s BFD 2. Chris revealed during an interview with Rarefandabase:
“CS:Erm, well it was pretty much designed in outline…. The story, the levels, some of the gameplay (loosely) which movies were ripe for parody, and general tests for the graphics. A ton of artwork was done, which spilled over into the multiplayer only game called Getting Medieval, based in the Conker universe with Gregg the Grim Reaper as the principal protagonist rather than Conker.. It all got a bit messy and tbh I couldn’t face another 3 years of the squirrel and gang. Summat like that…. Not really sure when it stopped exactly, we just kinda moved onto something else. Looking back, probably should have stuck with Other Bad Day, but hey ho, we live and learn. What would I have expected? Erm… it would have been fucking brilliant and JK Rowling would definitely have sued… :)”
In the end even Conker: Gettin’ Medieval was cancelled, along with many other canned projects designed by Chris Seavor, such as Arc Angel, Quest, Urchin, Perfect Dark Core, and Ordinary Joe. After so many failed attempts to create new and original games, Chris left Rare in January 2011 when the company did not renew his contract. Later in 2012, Seavor finally opened his own indie studio called Gory Detail.
Fans of Conker the squirrel got a bit excited when Microsoft announced a DLC campaign titled “Conker’s Big Reunion” for their game-tool Project Spark. Even if Chris reprise his voice for Conker, only the first chapter of Big Reunion was ever released, as Project Spark was soon discontinued and the whole campaign failed to be completed.
Paradigm Entertainment was a talented studio that developed a few of the most interesting games for Nintendo 64, such as Pilotwings 64, F-1 World Grand Prix and Beetle Adventure Racing. Unfortunately during the 6th generation of consoles (Xbox, PS2, GameCube) the team had some difficulties finding their market and publishers interested in supporting their games.
To survive Paradigm had to work on tie-in and licensed games such as SpyHunter, The Terminator: Dawn of Fate and Mission: Impossible Operation Surma, unable to deliver successful products under budget and time limits. At some point in 2005 Atari even gave them the Asteroids IP to create a gritty 3D reboot of their classic arcade, to be developed for the original Xbox.
Atari already tried something similar with a Space Invaders reboot, releasing “Space Raiders” / “Space Invaders: Invasion Day” in 2002. The game was poorly received and heavily bombed, so it’s strange they even tried to do it again with Asteroids.
As far as we know Asteroids 3D reboot by Paradigm went only as far as an early prototype, before to be cancelled. A few images from this lost game are preserved in the gallery below, to preserve its existence in the unseen history of video games. Just 3 years later, THQ (their parent company at the time) decided to close down Paradigm Entertainment, while they were working on an untitled military FPS.
Citizen Siege: Wage Wars is a cancelled action adventure that was in early planning by Oddworld Inhabitants in 2004, to be released for Xbox 360, Playstation 3 and PC. After the project was canned in late 2005, it resurrected a year later as an online arena combat game, to be the first of a series of new games related to their multimedia IP “Citizen Siege” (with a CG movie being their focus at the time). In the end neither the game nor the movie were ever completed.
“But with the atmosphere of the world today we were inspired to birth another universe. This one’s Earth in the future – and not too far in the future. It’s a very intense gaming experience, and it’s about martial law and the diminishment of civil liberties. It hits far closer to home than Oddworld does. I expect that if we’re blessed enough to see it through that there’ll be quite a few senators and congressmen who’ll be really pissed off. And I hope they are, because we’re really pissed off at their behaviour.
As the climate changes and the technology allows us to create something more realistic, we want to match that with something that’s contextually relevant and culturally relevant to where our society is today. We’re not afraid to show the darkside of what’s going on.
It would be built at Oddworld Inhabitants, but it wouldn’t be called Oddworld any more – it’s another brand. Our working title for the universe is Citizen Siege, and then we’d have multiple characters birthed within that universe – a place where a state becomes privatised and America becomes Americo.”
“Citizen Siege was based in a near future where the policies of recent White House administrations continued onward unabated; ultimately landing us in a dark totalitarian landscape where people have been reduced to pure commodity. In this world, your healthy tissue is used as collateral against financial debt, and if you sink low enough, you can be ‘re-possessed’ piece by piece.
The hero had been re-possessed, and was now encased in a cheap life support system as he traverses the economic divides of a dystopian city in a mad search to reclaim his body, and bring down the system that stole it. The powers your character employed were of an unworldly nature brought about by an alternative and illegal energy source. This device fuses to his mechanical body after you attempts to smuggle across an economic border. These powers were intended to play out much as we see the central character in InFamous Second Son demonstrates – we called our version ‘Z-powers’.
We designed it and visualized it with a few hundred production paintings, but never entered a full on pre-production phase. The project was verbally green-lit, but we ultimately chose not to pursue any relationship with the publisher. From that point, we instead chose to shop it as a CG animated feature instead of working with a game publisher.”
After the release of Oddworld: Stranger’s Wrath in 2005 Oddworld Inhabitants fell into financial problems because the game sold less than expected (possible due to EA not promoting it enough) and they decided to retire from traditional games development. As told by Lorne to Spong at the time:
“We closed the studio because of what the realities of the marketplace are. There is currently only one financing model in the games industry, and that is that the publisher pays for the entire game; it handles the manufacturing, the marketing, the distribution, the advertising, practically everything, much the way it used to be in Hollywood pre-United Artists. […] And so, as a developer, you have limited options in terms of how many parties are actually willing to finance your games, what types of games they are willing to finance, and what are the terms you face as a third-party developer to get that financing. That’s not a very exciting climate“
At that time Oddworld Inhabitants were already working on a few other games, such as “Oddworld: The Brutal Ballad of Fangus Klot”, all of which got canned. A year later, during his speech at GameCity 2006 in Nottingham, Lorne officially announced that they were working again on Citizen Siege as a multimedia project, with the animated movie to be produced by Vanguard Films, the studio founded by John H. Williams (Shrek) and Neil Braun:
“In CITIZEN SIEGE, Lanning and McKenna are creating a new universe where current global conditions are extrapolated into a frightening near future where democracy has all but disintegrated under the rule of global corporatism. Well‐known for their heartfelt characters and socially relevant storylines, Oddworld intends to raise the intensity level as their latest hero, an ex‐patriot, finds himself ensnared in a nightmarish credit racket that leaves him ‘repossessed.’
Williams added, ‘Abe’s Oddysee was a genre busting original game and was the first one I fell in love with. CITIZEN SIEGE promises to be an action thriller that, like other great science fiction stories, also has incredible poignancy to the universal issues of our time. Lorne and Sherry are highly revered as founding masters of CG animation and we think CITIZEN SIEGE is perfectly suited to be a breakout action adventure.
CITIZEN SIEGE will mark Lanning’s first directing foray into feature animation. His announcement comes after a year of silence from Oddworld, when it last announced the company would be redirecting energies away from internal video game development and would henceforth be focused on a broader palette of digital storytelling that would include animated feature films.”
In 2007 finally Lorne confirmed to CG Society they started working on the Wage Wars game, revealing that it would have been an online multiplayer game. By looking at some of the released concept art made for Citizen Siege, we can see that Wage Wars was meant to be a combat arena in which players would fight against each other. As we can read at the Oddworld Library:
“For Players, the War is Real! Perhaps they really believe they are in the midst of a genuine war, and not in a spectator arena being watched by millions as a form of mass entertainment. Let’s hope they never break free from the Wage Wars arena and spread the battle onto the streets. Hopefully the same removal from reality will not affect gamers who play Wage Wars online.”
“Oddworld Inhabitants’ ambitious movie and videogame project Citizen Siege is still in development, despite the studio no longer working with original partner Vanguard. The project was announced back on 2006, with Oddworld’s Sherry McKenna telling GamesIndustry.biz that the company still intends to develop games as part of its ‘Oddworld 2.0’ business plan. “Citizen Siege is a project near and dear to our hearts so while we are no longer developing it with Vanguard due to the famous ‘creative differences‘, it is still in development,” confirmed McKenna, co-founder of Oddworld. “We still care about creating games although perhaps not in the way we did in the past. We are just in the process of finalizing our new Oddworld 2.0 plan.”
“According to Wilfrid Laurier student newspaper The Cord, Braun told the audience the game would feature a “revolutionary new 3-D animation system” that would feature “cinematic quality on a ‘1 to 1 scale’ to that of computer-generated motion pictures,” and would utilize the same assets as a CG film version.”
Unfortunately in the end the whole Citizen Siege project was cancelled following the financial crisis of 2008 / 2009. As told by Lorne to Wired in 2014:
“We got a movie deal for Citizen Siege, which EA greenlit as a game but we decided to take to a movie. What happened was the 2008 financial crisis put the writing on the wall for our CGI animated movie with a $50-60m budget. It just wasn’t going to work. Everything got dinged and it went back on the shelf — it was no-one’s specific fault.”
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