Barnyard is an action game based on the movie of the same name, developed by Blue Tongue Entertainment and published by THQ for GameCube, Wii, PlayStation 2, Game Boy Advance, and PC. Footage of beta gameplay has been uploaded to the IGN youtube channel as a video titled “Barnyard GameCube Video – Clip Compilation 2”.
The main differences in this beta footage are:
animals could freely walk around the map
there was a life-counter (was completely removed in the final version)
players had “happiness level”
the map was completely different
The mobile phone had a music player, battery energy, and an integrated camera that could take photos.
There was also a multiplayer mode for some of the minigames such as chicken coop (this minigame was heavily changed in the final version).
Besides IGN’s gameplay on Youtube there’s an official trailer where the Beta version was shown for the first time. It’s still not known if the version in this trailer was different from the one IGN previewed.
the models of the trees and of the fences were different
map still had some difference, but it’s pretty close to the final appearance
minigames with up-to 4 players multiplayer were still there.
This gameplay was found on a Spanish website named 3DJuegos. The released Barnyard seems to have been built from a canceled, unannounced game in which all NPCs could interact with each other, build relationships and more. This is why the beta version of the game had more advanced NPC AI, but it’s still not known why it was later removed.
This wasn’t Disney’s first attempt at expanding the Snow White story. Walt Disney himself had considered it due to public and internal popularity of the characters despite his own dislike of sequels. However nothing ever came of them until the mid 2000s when Disney’s home video department DisneyToon Studios decided to work with the story. Their idea was a prequel with a darker tone intended to explain the organs of the cast, taking inspiration from The Lord of the Rings. The plot would have been about the seven dwarves journeying together with a young girl to stop an evil wizard finding an ancient dwarven power. However, things are not what they seem as it is revealed that the dwarves have been manipulated by the young girl who is the daughter of the wizard. She betrays the dwarves and curses her father, proceeding to take over the kingdom and thus setting up the original movie.
Soon after the project started, it began to develop an internal following. Many saw Dwarfs as the seeds to a new franchise to go alongside Disney’s Fairies and Princess lines. In order to get the fledgling franchise off to a good start, a video game was proposed. Obsidian was approached due to their history and skills developing deep RPGs, such as Star Wars: Knights of the Old Republic II and Neverwinter Nights 2. The game, known as “Project New Jersey” internally, was intended to be a third person action adventure with a much darker tone than even the prequel movie. Kevin Saunders (game designer at Obsidian for such titles as KotOR2 and NN2) was the Lead Designer on Dwarfs, and he gave a short description of the opening of the game on his Formspring account:
“This wasn’t a happy-go-lucky Disney game. Disney’s Buena Vista Games wanted dark and I gave them dark. In the opening sequence, for example, you, as a teenage prince, awake in your bed to haunting sounds. Exploring the dark castle, you come across a terrifying shadowy creature that you kill in a desperate struggle – its cries shifting from a supernatural shriek to that of a human woman’s bloodcurdling cry of death. The illusion is then dispelled, and your mother, the Queen, lays dead before you, the bloody knife that killed her in your hand. This wasn’t a cinematic – it was all a gameplay sequence that you’d actually play out“
Saunders’s Formspring post also names some of the proposed team. Obsidian built a team of veterans for this project. Josh Sawyer (who was the lead designer for Icewind Dale 2 and later director for Fallout: New Vegas) was picked as the systems / combat lead. Brian Menze, a longtime artist for both Black Isle Studios and Obsidian, was doing the concept art for Dwarfs. Saunders described Menze work as “So much personality and character, reminiscent of Disney’s classic characters, but weathered by the grim realities of a dark fantasy world”. Brian Mitsoda, known for being a Writer for Vampire: The Masquerade – Bloodlines, worked as the creative lead on the project and along with Kevin Saunders on the story. When asked about Dwarfs, he said:
“If I could resurrect any project that I worked on, it would be this one. This was essentially our action-RPG version of a Pixar movie crossed with a first-party Nintendo game. I don’t know how much is still covered by NDA, but it was obviously inspired by Disney’s classic movies artistically, although script-wise we definitely wanted to capture the characterization and emotion of Pixar films. Conceptually, it was a darker fairytale type of story, but it was mostly focused on the journey of the teenage protagonists as they journeyed around the land meeting up with these eccentric little men and using their unique powers to advance through the plot. It had a lot of heart, great monster and character concepts by Brian Menze, and very interesting level potential.”
With an enthusiastic and experienced team coming together and a plan set in place, things looked set for work to begin on a great new game. However, things weren’t looking so good for the movie, with difficulty for Studio Executives and their desire to add their own touches to the film. Having to constantly fight to keep the movie true to its original vision, director Mike Disa (who previously worked on such titles as Pocahontas, Fantasia 2000, Atlantis: The Lost Empire and The Origin Of Stitch) felt burnt out with the project.
In particular, a repeated insistence by studio executives of having the character of Dopey to talk in the movie and then to explain his mutism in the original movie as trauma from watching his mother die. As Mike told during an interview with Integratedcatholiclife:
“Essentially the studio executive wanted Dopey to talk! [Laughs in disbelief.] It just comes down to my respect for great films. Snow White is today still the best animated film ever made. Those characters are spectacular. It’s a sad statement on our industry that the best film was 80 years ago, but it’s still the best film. I would never walk into a sequel and do anything to disrespect the core of the characters like making Dopey talk.”
Around this time, Pixar’s creative director John Lasseter took over Disney’s animation departments and was reviewing the current projects. At first it seemed like Dwarfs would be safe but as the executives pushed for more influence, Disa’s confidence on his project dropped. Not wanting to pitch an idea that he didn’t believe in, Disa left the project and Dwarfs was canceled as soon as Lasseter got a look at the new script. This was also the end for Obsidian’s game.
Many of the team who worked on Dwarfs were sad to see it go. Brian Mitsoda described his feeling as: “I think if it had come out, it would be considered a classic today. It still hurts to know we’ll never finish it. If DoubleBear (Mitsoda’s own company) ever gets big enough, I would totally do something similar to it”. His wife, Annie Mitsoda, described the game as her “One that got away”. Feargus Urquhart, Ceo of Obsidian, talked about the game in an interview with Kotaku: “It was a lot of fun, we feel we turned in a really cool prototype. We worked on it for about a year. It’s one of the games here that the team just loved working on. And unfortunately – which, it happens in this industry – you have changes of focus at a publisher.”
Since Dwarfs’ cancellation, Obsidian has moved on to other high profile projects like Fallout: New Vegas, and other licensed games like South Park: The Stick of Truth. However this wasn’t the last time Obsidian had a licensed game canceled on them: you can check out the article on Aliens: Crucible. Other lost projects conceived by the team were Futureblight, a post-apocalyptic RPG for Take-Two Interactive, a couple of pitches for EA and Ubisoft, and “Project North Carolina”, an open world adventure to be published by Microsoft for their Xbox One.
After so many canned games Obsidian’s future could have been bleak, but in 2015 they finally released Pillars of Eternity thanks to a successful Kickstarter campaign, and it was welcomed by gamers as one of the best RPGs of the last decade.
To End All Wars is a cancelled FPS that was in development in 2007 by Chemistry (AKA Kuju Sheffield), planned to be published by Ghostlight on Xbox 360 and PS3. It was conceived as a realistic shooter set in the first World War, focused on defending trenches and planning attacks against enemy bases. We imagine it somehow like a FPS – Tower Defense hybrid.
“Powered by Epic’s Unreal Engine 3, To End All Wars is an all-new World War One first-person shooter in development at Kuju’s newly appointed Chemistry Studio. Set in the war-torn trenches of WWI Europe, To End All Wars promises to deliver unrivaled atmosphere and realism. Authenticity of conflict is high on the agenda, with period locations recreated in lavish detail, weaponry of the time and character designs which reflect the uniforms and style of the era.”
“Crucially, the experience of the gritty combat in the trenches, the fear of charging across No Man’s Land, deadly secret excursions to enemy outposts in the dead of night, and the heart-stopping terror of pounding artillery guns will be central to the gaming experience. Ghostlight also told GameSpot how the AI will play a big role in the game, reacting to every decision the player makes, meaning that strategy and tactical warfare elements will be crucial to winning the game.”
“There are many different missions awaiting us, during which we participate in various combat activities. The players will defend their trenches to the last drop of blood, to venture into no-man’s land under the cover of night, to charge heavily defended fortifications of the enemy, and to pray for survival under heavy artillery shelling. The scriptwriters tried to include the most characteristic motifs of the European theater of warfare during the single-player campaign and to show the enormous tactical and technological progress that took place during the conflict in question.”
In 2008 a former developer shared some details about this canned projet on CG Society:
“So… this image is 5 years old, low poly realtime model created for a project that could have been. No photos were used in the creation of the textures and the render was not retouched.
This was done at Collective Studios, now known as Double Helix, sometime after Indiana Jones and the Emperor’s Tomb shipped. Hoping to work on another game, we did some R & D for a possible sequel. New, polished character models were created and the Indiana Jones model completely redone.
There was an amazing prototype that was up and running with updated gameplay, but unfortunately this project never happened. Probably could have been the greatest Indy game ever. Unfortunately due to things out of the hands of the studio and surprisingly, even the publisher, nothing came about.”
“Six or seven years back, I won’t say who I was working for, but we were working on an Indiana Jones trilogy game based on the first three movies,” says Rex Dickson, lead single-player level designer at Kaos Studios (Homefront). “That game ended up not coming out for whatever reason — I can go on a long diatribe about why — but it was just really cool, because we had the full Hovitos temple built out with the rolling boulder, and it was all awesome. That would’ve been Xbox/PS2 — that generation.”
If you know someone who worked on this lost game and could help preserve even more screenshots or footage, please let us know!
While the game was quickly canned by the studio and it was never officially announced, Kotaku published a short article on the game in 2013, showing off remaining concept art created by Obsidian and sharing a few details on its gameplay:
“BackSpace is a single-player action-RPG set in a scifi space environment with simple elements of time travel. The combat is paced similarly to Skyrim, but slightly faster since there is no concept of blocking. The easiest way to look at it is a mix of Mass Effect, Borderlands, and System Shock 2 for gameplay and setting.”
“It was to be developed in some sort of partnership with Bethesda, I’ve heard, and it’d use the same engine as their ridiculously-successful role-playing game Skyrim. Although BackSpace wasn’t an open-world game, players would be able to travel between a number of planets as well as one large space station.”
“This station is huge,” a BackSpace design document reads. “It can be compared in size to The Citadel of Mass Effect [or] Babylon 5. The station has several locations devoted to diverse research fields which would allow us to have vegetation overgrowth, high-tech disasters, and mutations of science as visual themes.”
“[…] a technical error would fling your character ten years into the future, and you’d spend a bulk of the game hopping back and forth between the time of the attack and a dismal, alien-occupied future. Quests in the game would task you with hopping between timelines in an attempt to save humankind.”
“I was working closely with Bethesda on BackSpace. Since there were no other projects lined up after the Old World Blues team finished their work, I took it upon myself to try to find another project for the company. I reached out to Bethesda and directly asked them what type of game they’d be most interested in publishing next. From there, I started working on a pitch based on a prior game I made, ThreadSpace: Hyperbol (story only, not gameplay). The gameplay was something designed around Bethesda’s interests at the time. No other publishers were pitched on it, to my knowledge, but there was interest from a 3rd party in creating a TV show based on it.
I actually started working on the project a bit before that by myself after hours. Probably as early as October (2010). It was an “after school project” for a very long time, and after a few months, more and more folks would join me after hours to volunteer their time to help. I don’t think we actually worked on it by day until the final month for the prototype. Then the layoffs happened. Then I stuck around for a few more years. Then the big layoffs (including me this time).”
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