The original Metal Slader Glory is a sci-fi visual novel / graphic adventure developed by HAL Laboratory and published in 1991 for the Nintendo Famicom. The game’s plot is similar to many popular mech-anime series, with a group of young boys and girls fighting against their enemies using cool robots.
As we can read on Wikipedia the game soon became a cult-classic and a sought-after collector’s item in the secondhand market due to its quality and its rarity. This may be the reason why Nintendo and HAL initially decided to create a new Metal Slader Glory for their Nintendo 64 DDAdd-on.
As revealed by Metal Slader Glory scenario director & character-designerYoshimiru (よしみる) in a doujin booklet he published a few years ago and later in a series of tweets, it seems Metal Slader Glory 64 would have been a sequel / prequel, as the main character was planned to be Kisaragi Yayoi, a girl who (as far as we know) is just a secondary NPC in the original Famicom game (plus he also revealed they planned a new character named Uzuki). The team also wanted to use many of the 64DD features, such as its internal clock and rewritable disks.
Unfortunately after a while Metal Slader Glory 2 was cancelled – maybe because Nintendo kept delaying their 64DD – and instead the team developed a simple remake of the first game for the Super Famicom under the title “Metal Slader Glory: Director’s Cut”, later released in 2000 as the last official game ever published for SNES in Japan.
We can only imagine how many more obscure lost cancelled games for N64 are still hidden out there to be discovered one day.
A Nintendo 64 port of the original Grand Theft Auto was planned by DMA Design (along with a Sega Saturn version), but unfortunately the game was never released. A few previews of GTA 64 were published in websites such as IGN, revealing some more details about this port:
“Rockstar isn’t releasing much on the Nintendo 64 version of Grand Theft Auto, except to say that it’s not the sequel or an add-on pack. IGN64 has learned that the game, though essentially a port of the PlayStation original, will feature significant additions in the vein of souped-up graphics and added levels and characteristics. “
While websites never shown any official screenshot for the N64 version, a few alleged images were published by some magazines in Spain and Italy, showing “blurred” textures / 3D graphics for the environments that really looks like something a Nintendo 64 could do. Here is one of these articles, found by Luchi in Spanish N64 Magazine (issue 19, july 1999):
Unfortunately without any official statement it’s hard to say if these screenshots are really from the cancelled GTA 64, but it’s interesting to notice that in the official design document for Grand Theft Auto (at the time titled “Race ’n’ Chase”) the game was indeed planned to be released on the “Ultra 64”.
Update: thanks to megalom00d we found this game was an early version of Fighting Bujutsu! It was released in the arcades, we are not sure if Konami really planned a N64 port (later cancelled) or if it was just an error from the magazine.
Original post: Our beloved Nintendo 64 did not have many traditional fighting games compared to the Playstation, but there were a few interesting ones such as Fighter’s Destiny and Flying Dragon. Konami developed two exclusive fighters for the N64, Rakuga Kids and “G.A.S.P.!! Fighters’ NEXTream” (AKA as “GASP” in Europe and “Deadly Arts” in the United States), both published in 1998. This screenshot found by Youloute in Player One magazine issue 71 (January 1997) about an untitled, new Nintendo 64 fighting game by Konami, does not look like anything they ever released. It kinda looks a bit like “Dual Heroes” but that was developed by Hudson and published in December 1997. Yeah, it seems like we got another cancelled N64 game! And it looked quite nice for a 64 bit title.
If you ever find any other image of this lost Konami game, please let us know!
Klepto is a cancelled action platformer / adventure / stealth game in development by Utopia Technologies / Sandbox Studios between 1998 and 2000, with a planned release on the Nintendo 64. The team was formed in 1993 and was composed of such talented developers and artists as Atman Binstock, Gary Corriveau, Matthew Moss, Rich Geldreich, Steve Bergenholtz and Robert Jaeger. In the early ’80s, Robert designed and programmed the classic platform game Montezuma’s Revenge (Atari). Utopia Technologies then released Montezuma’s Return in 1998, a 3D sequel to the classic predecessor, which was originally planned for N64 but released only on PC.
It seems that Utopia Technologies was one of the few studios that could use their own microcode to develop games for the N64, a privilege given by Nintendo that was shared only with Rare Ltd, Boss Games (World Driver Championship) and Factor 5 (Star Wars: Rogue Squadron, Indiana Jones and the Infernal Machine, Battle for Naboo).
Unfortunately, we never did see what Utopia Technologies could achieve on Nintendo’s console. After the N64 Montezuma’s Return was cancelled and the PC version completed instead, Atman, Gary, and Matthew started working on a brand-new project called “Klepto”. As recalled by Atman:
“Inspired by Umihara Kawase, I set about creating a 3D third person grappling hook game. The idea was that you played a cat burglar-type in a Sci-Fi world. Each mission was designed to be playable in several ways, i.e. you could sneak in and steal the target item and if you were really good, you could sneak out without being detected. However, taking the loot would likely set off alarms and you’d have to fight your way out. Or, if you preferred, you could try fighting your way in and out.
The experience was designed to be as nerve-wracking as possible: the player was allowed as much practice as they wanted in a simulator environment based on incomplete knowledge (one idea was to allow recon missions to fill in pieces of the mission simulator), but only one shot at actually performing the mission for real, with large meta-game rewards/penalties.
The core dynamics were about using a physics-based grappling hook (as opposed to the shoot-zip or stiff fake-swinging types) to move around and manipulate a physics-based environment. The stretchy rope enabled the excellent and deep player-skill rubber-banding movements from Umihara Kawase, with some additions like slip-walls where the grappling hook could freely slide in one direction.
But more than just a fun method of getting around, the grappling hook’s stretchy rope provided an indirect yet high-fidelity way to interact with objects and enemies – the player could reel in/let out rope, or move themselves to change the rope’s tension. You could shoot out and attach to the foot of guard standing on a ledge, then reel-in while moving back to yank him off the edge. Or you could gently drag a crate of something fragile (and likely explosive) to the edge of a shaft way, then gently lower it to the bottom. There were a number of tools that were added on top of the vanilla grappling hook. In order to fight the entropy of all objects ending up at the bottom of a level, you could attach rapid-inflate balloons to an item (or enemy).
The player could also shoot a spring, one end at a time, allowing you to attach any two things in sight, like an enemy to a bomb crate. And the general purpose “pipe tool” ended up being a flamethrower, which was useful for cutting springs, detonating bombs, and torturing bound-up (by springs) enemies into dropping keycards.”
The team developed a playable prototype for Klepto and they displayed it at E3 1999 where several parties expressed interest in publishing the game, including Nintendo. As recalled by Gary:
“There were a decent number of prototype levels that I built showcasing the various mechanics. The environments were simple, but we had some really nice interaction driven animations on the characters thanks to Atman’s hard work. The rope itself was also very cool. He connected a string of rigid cubes with springs and then skinned the whole thing. The player could then control the tension of the rope, by loosening and tightening the springs on demand.
We had some nice mechanics going on. You could shoot your bungee-cord grappling hook and swing around the environments, or hook onto enemies and so forth. You could attach rockets to your hook and smash enemies around the level with it.”
As the N64’s life cycle was coming to an end, no party decided to commit to Klepto and it was left without a publisher. When Utopia Technologies presented the game to Nintendo, they seemed to like it and encouraged them to consider bringing it to GameCube, but that wasn’t possible for their small team budget.
Sometime after Montezuma’s Return was published in 1998, Robert Jaeger left Utopia Technologies and the remaining team members changed their name to “Sandbox Studios”. They then released such games as Dinosaur for Dreamcast and Shrek for the original Xbox. In 2001 the company was acquired by Digital Illusions CE and renamed “Digital Illusions Canada”, but later closed in 2006 when DI was acquired by Electronic Arts.
We managed to contact a few people who worked at Utopia Technologies / Sandbox Studios, but sadly it seems that only some early Klepto concept arts were preserved by the studio. We still hope that one day someone could find some screenshots, videos, or even a playable prototype from the game that could be saved and added to the unseen history of video games. Although it’s unlikely, it’s never impossible.
Thanks to Rich, Gary and Maik for their contributions!
An article published in the August 1998 issue of the beloved Edge Magazine is all the information that we currently possess from Lethal Encounter, developed by Digital Image Design, a British software house that had earned its place in the market with its cutting-edge PC flight simulators and training programs for the military. What could have taken Digital Image Design, the studio behind titles such as F29 Retaliator, Epic or F22 Air Dominance Fighter out of its comfort zone in the personal computer ecosystem and aim for the Nintendo 64, a Japanese console that by then had clearly lost the lead against its most direct generational rival? According to studio co-founder Martin Kenwright, interviewed in Edge, although Digital Image Design managed to have their ambitious 3 Dream engine running on the first PlayStation, the ongoing development process of the PC title EF2000 (a critically-acclaimed combat flight simulator that served as sequel to their previous game TFX) and perhaps the already crowded market that Sony’s machine amassed, made them give up on that train and instead engage with Nintendo’s 64-bit system, whose kits were already in their possession.
Back in 1989 and after having worked for two years in the British software company Rowan Games, Kenwright founded Digital Image Design together with Philip Allsopp and they quickly specialized themselves in the flight simulator genre with the launch of F29 Retaliator, while also exploring other fields, such as science-fiction with Epic or arcade with the Robocop 3 version for Amiga, Atari ST and PC. These would however constitute exceptions, as the majority of the company’s titles would remain true to their simulation roots. Even if the company, which would continue expanding until reaching the 80 in-house employees, was making a hefty profit offering their products to notorious customers such as the Royal Airforce or British Airways, they quickly determined that the videogame simulators payed better than their real life counterparts, so around 1997 they started widening their reach and quickly turned to the blooming console market.
Surprising as it might have seemed back in the day, Nintendo 64 was the platform of choice of Digital Image Design’s next outing, Lethal Encounter; almost antipodal to the company’s previous work and instead presenting players with a fairly straightforward, arcade-style third person action game. We must however not forget that given the company’s background with more strategic and complex titles, it is indeed very possible that the developers had envisioned the addition of more strategic elements to the gameplay. At least we do know that Lethal Encounter was definitely not going for realism in regards to its plot, which involved an alien invasion poisoning the Earth ‘via giant terraformers laid beneath ancient historical sites such as the Incan city of Machu Picchu, Angkor Wat and the Nasca Plains’, as described by Edge in a short preview. According to the few details available, it is unlikely that the title had any resemblance to others available on the system. Nintendo 64 did amass a quite generous library of 3D action games but few of them had the player in control of a tank and consequently the most obvious comparisons could be made to BattleTanx: Global Assault or perhaps more accurately, and due to the arcade and science-fiction setting, to the Landmaster levels of Starfox 64 (known as Lylat Wars in Europe), although it seems quite unlikely that Lethal Encounter would have chosen an on-rails gameplay like Nintendo’s title instead of a free-roaming one.
At the end of 1998 however, circumstances changed drastically and Ocean Software, which had been until then the sole publisher of Digital Image Design’s titles, became Infogrames UK, completing an acquisition process that the French holding company had already started back in 1996. This situation led Infogrames to also start a takeover process upon Digital Image Design, eventually causing the departure of six key members, including co-founder Martin Kenwright. It is therefore not preposterous to assume that the studio’s delicate position, with some of their most prominent members gone led to the eventual abandon and cancellation of some of their titles under development, situation which most probably affected Lethal Encounter but did not prevent Digital Image Design from still releasing Wargasm, another PC title that broke away from the usual flight simulator genre, offering instead a complex, real-time strategy game in which the player could take control of various tank models, infantry troops and even helicopters, offering an interesting mix between action and strategy that most probably met and even exceeded the company’s original ambitions in Lethal Encounter.
The departure of Kenwright was not the last staff exodus Digital Image Design saw, with an important part of the total workforce parting ways after another sale of the British studio, this time to Rage Games and the subsequent formation of Juice Games after Rage went under in 2003. Kenwright on his side went on to form Evolution Studios, a software house which reached notorious success as one of Sony’s first European development teams with the World Rally Championship franchise for the PlayStation 2 and afterwards with the PlayStation 3 launch title turned into their own IP, MotorStorm.
Thanks to Ross Sillifant for providing these pages from Edge magazine!
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