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.
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!
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 […]”
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.
“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.
Each Furry would have had its own ability, for example in the original game one was able to swim and another to dig underground. You could imagine it as a level based Metroidvania, with swappable characters. Fury of the Furries 3D would have offered similar gameplay mechanics, letting players explore levels in 3D for even more comical situations and parodies of other video games.
Iceman is a cancelled puzzle game that was in development for GameCube, Xbox and Playstation 2 by forgotten studio Datura, formed in 2003 by former Infogrames developers. Up to 4 players could compete together in small arenas, but it’s not exactly clear how it would be played. By looking at available screenshots it seems you could collect crystals and possibly moving blocks / parts of the scenario.
Unfortunately Datura never found a publisher interested in Iceman: in the end they had to close down and cancel development of their game.
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