Sony

Vampire Hunter (Square Enix + Digital Extremes) [Cancelled – PS3, Xbox 360, PC]

Digital Extremes is a Canadian video game developer founded in 1993, best known for creating Warframe, Dark Sector, The Darkness II and co-creating Epic Games’ Unreal series. Around 2012 the team was working with Square Enix to develop a new action adventure set in a fantasy vampire world, possibly to be published for Xbox 360, Playstation 3 and PC.

Unfortunately the project was never officially announced and they cancelled it in the end: we don’t have any more information about how it would have been played nor why it was never completed. Some concept art from this Vampire Hunter game is preserved below, to remember the existence of this lost project.

Images: 

Ninth Doctor Who (2005 Video Game) [Cancelled / Tech Demo]

A Doctor Who video game, based-off the science-fiction series of the same name, was being developed by Australian developer IR Gurus Interactive (later rebranded Transmission Games). The game would have coincided with the first series of the revived 2005 tv-show starring Christopher Eccleston as The Ninth Doctor and Billie Piper as Rose Tyler. Development lasted half a year and was funded through substantial government subsidies. The reason for its cancellation according to Paul Callaghan who worked at the studio was simply “It’s complicated”.

“I’d wanted to work on a Doctor Who game since I was about 11 years old, so this was kind of a dream project for me,” said Callaghan. “When it was cancelled, I had to take a step back to work out whether or not this was the career I wanted to pursue.”

As to the plot for the game, it is vague whether the details given by Callaghan are what was planned for it. From the Sydney Morning Herald article:

“He conceived a plot around aliens modifying the human race with airborne nanobots, allowing companion Rose Tyler to undergo some changes: “We could give her some cool alien powers!””

According to Andy Widger, then head of communications for BBC Worldwide, there were no intentions of releasing it as he told website GamesRadar:

“The news of a Doctor Who game is a little premature. At present the only work being done is on an interactive demo for internal evaluation. There is no firm proposal for a game and no commitment to particular formats or an idea of a potential release date – and no screenshots.

Article by Vitas Varnas 

Aquaria (Lobotomy Software) [Nintendo 64, Playstation – Cancelled]

Aquaria is a cancelled action adventure that was in development by Lobotomy Software for Nintendo 64 and Playstation. It was described as having a feeling similar to SEGA’s Nights Into Dreams, but underwater and with full 3D levels to explore in every direction. If you played Exhumed / PowerSlave on Saturn or Playstation, you probably remember it was quite good for its time: a Metroidvania adventure in first person view, before Metroid Prime even existed. Aquaria could have been another cult-hit by the same team, but unfortunately we never got the chance to see more from the project. It was just mentioned in old gaming magazines, such as in GameFan Magazine Issue 5:

“Currently Lobotomy is working on both games, with the company’s 20-or-so staff split roughly down the middle on each project. They have a number of games on the back burner, including PowerSlave 2 (a 3rd person Tomb Raider style adventure starring a young King Ramses), Aquaria (like Nights underwater, but with full 3D control) and a PC strategy game called Gothic. They are currently in the process of applying to become and N64 developer (Aquaria will be their first N64 title) and never miss the opportunity to snatch a quick game of Death Tank during lunch breaks.”

Computer & Video Games Issue 192:

“Lobotomy’s first N64 game, Aquaria already looks fantastic. The graphics run at 60fps and are apparently some  of the best seen. Enix are converting the game to PlayStation.”

C&VG probably confused Aquaria with Aqua Prophecy or another cancelled Enix game for Playstation. Thanks to our friend Ross Sillifant in 2015 we published an interview with Brian McNeely (former Lobotomy Software developer), who shared some memories about their work on Aquaria:

“We had a playable demo of Aquaria up and running on PlayStation. It was a free roaming third person underwater adventure game where you controlled an alien merman character.  The Nights comparison ties into how fluid the controls were.  You could do various dolphin-like acrobatics to maneuver through the environment.   In addition to the playable demo I had the majority of the design pretty much completed but when the company began to close its doors we had to stop development.  At one point we were contacted by Sega to possibly make the next Ecco the Dolphin game and we sent them our Aquaria prototype, but that never panned out.  If you’ve ever played Ecco the Dolphin Defender of the Future you can get a pretty good idea for how the core character controls and camera system for Aquaria were designed.”

In 1998 Lobotomy’s talented developers were acquired by Crave Entertainment and the team was renamed to Lobotomy Studios, to work on a Caesar’s Palace game for the Nintendo 64, but after a year of development the game was postponed and eventually cancelled. As we can read on Wikipedia, at that point Lobotomy Studios was closed and employees were let go or given the option to be relocated to another position at Crave Entertainment.

We hope one day someone could find screenshots, footage or even the playable Aquaria prototype: it would be great to preserve more documents of this lost video game.

Thanks to Celine and Ross Sillifant for the contributions!

Images: 

Ghosts ‘n Goblins 3D [Playstation – Cancelled]

Ghosts ‘n Goblins 3D (AKA Makaimura 3D in Japan) is a cancelled chapter in the titular Capcom series that was planned in 1994 for the original Playstation, 3 years after the release of Super Ghouls ‘n Ghosts for the Super Nintendo. As far as we know this canned PS1 game was never officially announced by Capcom (but they did announce Ghosts ‘n Goblins for Nintendo 64) even if rumors about a 32-bit Makaimura were around at the time. In September 2020 a former Capcom artist shared a few pieces of concept art on Twitter, but later removed their message: those drawings are preserved in the gallery below, to remember the existence of this lost game. By looking at one of the remaining drawings, we speculate the game may have had an isometric top-down view.

It seems Kouji Ogata (at the time a Capcom employee who worked on the opening of the SFC version of Super Street Fighter II) was originally in charge of Ghosts ‘n Goblins PS1 character design, but was later replaced by someone else (Pink Head?) before the project was just canned.

Images: 

Flesh & Wire (Running With Scissors) [Cancelled – PS2, Dreamcast, GameCube]

Flesh & Wire is a cancelled action adventure that was in development by Running With Scissors (of Postal fame), announced in 1999 and planned to be published by Ripcord Games for Playstation 2, Dreamcast and GameCube. It would have been and over-the-top shooter where you could control an alien blob to explore the world and resolve environmental puzzles. As we can read on IGN:

“The game follows Angus, a sleazy, slimy cop who wakes up one morning with an alien amoebae-like creature noshing on his legs, and his city has been engulfed by a bio-ship by the name of the Nulloid. Rather than worry about what the heck the thing’s doing to his lower half, he comes to the realization that he can control the gelatinous blob, and uses this newfound power to move around and utilize special abilities, sloshing around the levels. He’ll also utilize massive amounts of firepower, so expect over-the-top violence […]”

In 2016 Running With Scissors CEO Vince Desi talked about Flesh and Wire in an interview posted on their official website:

Robin TGG: I had almost forgotten that you once worked on a title called “Flesh and Wire”. What was that game all about? And why was it canceled?

Vince RWS: Yeah that was after POSTAL got cancelled, we actually had 2 other original games in development, but financial reality simply didn’t allow us to continue. It was a sci-fi based game that had a blob as the main character, I really liked it, who knows maybe someday we’ll take another look at it.

The game was somehow similar in concept to a more violent “A Boy and His Blob”, as you could transform the blob into different forms, such as a ladder to reach high places, a bungee to get down and a shield to protect the protagonist from bullets. Some more details on its development can be read on the March 1999 issue of Game Developer magazine:

“According to Randy Briley, the soft-spoken art lead for the project, the development process for FLESH & WIRE (FW) has always been a little bit different. For starters, the publisher (Ripcord Games) has been very hands-off, letting the development team drive the development. This uncharacteristic display of trust has as much to do with RWS’s track record of getting products out the door on time as it does with Ripcord Games’ relative newness to the gaming scene. And although the style of game play has some basis in currently released titles (the game is some-thing of a cross between RESIDENT EVIL and THE THUNDERCATS), the look of the game is anything but conventional. From character design and animation to background generation, the unorthodox look derives from equally unorthodox production methods.

When RWS finally settled on the game spec, they realized that from a resource production standpoint, they had bitten off more than they could chew. In addition to the standard budget of special effects, GUI art, and several minutes of cut scenes, the spec called for over 200 static screens of game play with in betweens, and a set of enemy and player characters’ 300+unique animation sequences. With a production cycle of just under 18 months, no budget for outsourcing, and an extremely small art team, the task seemed pretty daunting. It was time to improvise.”

[…] rotoscoping could be done largely in-house with little or no overhead, the production time compared to hand animation was much faster, and although it required the talents of a skilled animator to implement, it provided a cheap, efficient method to complete the animations on schedule. The team went down to a local gymnasium and interviewed several martial arts students. Then, working closely with the art lead (a martial arts expert himself), the actors were mocked up to look like the characters in the game. Several sets of motion shots were taken, using two synchronized digital cameras set 90 degrees apart (front and side). After digitizing these images and importing them into Softimage, the result was a sequence of images. The Animator then animated the characters by hand, using the images as a guide. […]

Compared to the mammoth task of generating over 200 hundred in-game background scenes, the character animation problem looked simple. With only a handful of 3D artists on staff, the team had to make some tough decisions. As the project evolved through its initial stages, it became clear that the art direction was evolving towards the techno-grunge look typified by such industry standards as The Crow and City of Lost Children. The level of detail the team wanted would require hours of tedious texture and modeling work using classical CG methods. Given the size of the team and the allotted time, this simply would not be possible. Rather than cut the design or ask for more time, the team resolved to find a solution that would allow them to maintain the scope of the project while holding true to the artistic vision. They Took a gamble, and decided to build the entire game using miniatures.

“Near the end of the planning phase of the project, RWS presented the publisher with a proof of concept for the process. For the first test, the team put together a town from a model railroad set and digitized it into the POSTAL engine. In short, the result was a huge success.

Put simply, the sets for the game were built with “anything we could get our hands on,” says RandyBriley. Basically, the team would just bring stuff in: PVC piping, copper tubing, old VCR’s, and so on, and the pieces were glued together and painted using a hot glue gun and standard modeling paints. Most of the back-drops for the game were created using Styrofoam panels, which proved easy to get hold of and standardize.  “Once we got an assembly line going with a certain panel (background piece), we could crank each one out in a matter of a few hours.”

By far however, the biggest advantage of the process is the lack of any requirement for CG expertise on the part of the artists. Consider that with a single trained 3D artist to guide the process, the bulk of the artists can be classically trained with little or no industry expertise. This means that production costs go down for any given piece of work or, you get a lot more resources for a lot less money.”

As said by Vince, in the end they were not able to keep up development for 3 different projects at the same time, so Flesh & Wire had to be canned. We hope someday to be able to see some more images from this strange and original video game.

Thanks to Josef for the contribution!

Images: