Durango is a cancelled vehicle based action adventure that was in development by Radical Entertainment in late ‘90s for the original Playstation and PC. At the time Radical was mostly known for their work on such games as the Independence Day tie-in, the NHL Powerplay series, Blood Lines and Grid Runner, being able to create games that sold enough to keep them alive and in good relationships with their publishers.
During those years many companies were developing their first 3D games and original ideas for new titles were welcome: Radical Entertainment pitched a good number of projects to publishers, and Durango was their concept for an interesting sci-fi adventure / shooter.
Not many details remain after the cancellation of the project, but from what we were able to gather it seems Durango would have been a vehicle based shooter divided into different levels, each with a series of missions to complete. Players would have been able to use different sci-fi vehicles, items and weapons to reach their objectives.
If you know someone who worked on this game and could help to preserve more details, please let us know!
Deadline is a cancelled game that was in development by Kando Games, initially for Playstation 2 as an action game inspired by Metal Gear Solid and later for Wii as a FPS inspired by Half Life 2. The team was founded in 2003 by former Darkworks developers, and in about 5 years of existence they released Rebel Raiders: Operation Nighthawk (Wii, PS2, PC) and Touch Mechanic (DS).
Deadline was one of the first projects they ever pitched to publishers in 2003 / 2004, by looking at the few screenshots available you can see how it was heavily inspired by MGS. It’s unclear if they ever found a publisher interested in the game (translated from French using Google Translator):
“Kando Games, a small french developer founded notably by former figures Darkworks (Alone in the Dark – The New Nightmare), simultaneously produces two titles for PlayStation 2. Deadline, which its authors hope to make one of the big surprises of E3 2004, is the largest project under construction. What’s wrong tunes Metal Gear Solid do not cheat, Deadline will be a very different kind. Based on the staging increasingly cinematic games today Kando Games hopes to offer players a relatively unique experience in organizing the handling of the title with a script and a set of modular cameras, which would not yet not threaten maneuverability, through a process they jealously kept secret for the moment. Basically, the game is truly a film (by virtue of its scenes and framing) playable. Hopefully they will take their goals and to come back in that capacity in a few months for a more successful and practical concept so special.”
As far as we know Deadline for PS2 was never shown at E3 2004 and was later cancelled. Kando Game’s first released game was then Rebel Raiders in 2006 and only in late 2007 Deadline reappeared again, this time as a first person shooter announced for Wii.
Unfortunately Kando Games only released a few tiny screenshots for the Wii version of Deadline, but by looking at those gamers noticed it was quite similar to Half Life 2. Deadline Wii also vanished soon after its initial announcement and was never shown again before its cancellation.
As of November 2017 Kando Games’ website is still online, listing Deadline, another cancelled Wii project titled “Symphonic Orchestra” and an unreleased flying combat sim for PS2 and PC titled “Les Chevaliers du Ciel”. Their latest game was published almost 9 years ago, so we can assume the studio doesn’t exist anymore or they only work as support for other companies. We tried to get in contact with former Kando Games developers but without luck.
If you know someone who worked on Deadline and could help to preserve more screenshots or videos, please let us know!
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.
Unfortunately very little is known about Civil Warrior as it was never officially announced and after just a few months the studio closed down. From the only images survived from its cancellation it looks like Civil Warrior was set in a medieval setting with a humorous style. Players would have been able to guide an army composed of soldiers and peasants, probably to rebel against their tyrant king. We can speculate gameplay would have been similar to games like Little King’s Story and Pikmin.
As far as we know Castaway Entertainment did not spent much time on Civil War before its cancellation. Most of their efforts and resources were used to create Djinn, their ambitious and innovative action RPG that would have been published by Electronic Arts. When EA decided to abandon the project, Castaway found themselves without funds to keep their studio alive, so they pitched other smaller projects to various publishers, such as Yaris for Xbox 360 and Civil Warriors for PS3.
These simpler digital games for consoles were a way to receive some money while they were still trying to find another publisher for Djinn, but unfortunately it was not enough to survive. When Castaway closed down in April 2008, Civil Warrior was lost forever along with all of their other game concepts.
In September 2008 part of the Castaway team reformed as Big Tree Games and developed a prototype for a new original game titled “Demonborn” that would have been one of the first MOBA but it was also canned in the end. If you know someone who worked on Civil Warrior and could hep to preserve some more details or screenshots, please let us know!
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.”