David Siller, creator of several games such as Aero the Acrobat, Maximo, and Crash Bandicoot, once pitched an interesting project titled The Secret Life of Guido. Very little is known about the game today, or what platform it was targeting, but based on what Siller shared seven years ago on his now-deleted Twitter account, The Secret Life of Guido was briefly conceptualised shortly after he left Universal Interactive Studios and before joining Capcom.
The project was envisioned as a funny parody of Super Mario. It starred “Guido,” a fix-it man who spent his days repairing broken machines sabotaged by pesky “gremlins.” After work, Guido would take a siesta—and while sleeping, he would dream of becoming a heroic character inspired by famous video game icons, much like Don Quixote. Each dream would place him in a “Special World,” culminating in a boss fight. Upon victory, Guido would wake up, only to repeat the cycle.
Siller didn’t intend to stop at parodying Mario alone, but planned to lampoon several iconic franchises, including:
Ghosts ’N Gudio (Ghosts ’n Goblins)
Bionic Guido (Bionic Commando)
Tomb Guido (Tomb Raider)
Guido Fighter (Street Fighter)
Resident Guido (Resident Evil)
Gudio Bandicoot (Crash Bandicoot, duh!)
Mega Guido (Mega Man)
…etc
Despite sailing smoothly at first, the project eventually fell apart due to a conflict between Hanaho Games and the investor funding it. According to Siller, the game was intended to be marketed by Capcom, with then–Capcom USA president Bill Gardner reportedly taking a strong liking to the concept.
What makes the project even more special is that Siller enlisted Sybersoft—now known as Rocket Amusement—run by his brother, Ron Siller. While the game never came to fruition, a video and several pieces of concept art have been found, helping preserve the existence of this curious and largely forgotten project.
Dark Void was a fantastic Double-A hidden gem developed by Airtight Games and published by Capcom in 2010 for the Xbox 360 and PlayStation 3, with a PC version following shortly after. While the game introduced two genuinely interesting mechanics: a fully functional jetpack and an ambitious vertical cover system, it ultimately failed to generate the commercial success Capcom had hoped for. As a result, all plans for a sequel were quietly scrapped.
That outcome is particularly unfortunate given how turbulent and imaginative Dark Void’s development history was. Before it became the jetpack-driven shooter we know today, the game went through several radically different conceptual phases.
According to Jim Deal, the project’s earliest pitch leaned heavily into an Indiana Jones-inspired adventure. Players would traverse exotic environments using motorcycles, jeeps, horses, and even airships, with a grappling hook allowing them to latch onto surfaces and swing their way forward. It was less about aerial combat and more about pulpy exploration and cinematic traversal.
Pre-conceptualisation artist Stephen Daniele later revealed that, before the jetpack ever entered the picture, Dark Void was built around a shadowy enemy faction known as The Invisible Hand. A technologically advanced organisation clearly echoing the iconography of Nazi-era villains. The narrative framed them as an existential threat, one that needed to be dismantled before their influence spread further.
Visually, the game was also very different in its infancy. Daniele noted that the original setting was intended to be the Mediterranean or North Africa, with heavy artistic influence drawn from Egypt in particular. Ancient ruins, desert landscapes, and sun-scorched architecture shaped much of the early concept art. At this point in development, the game was a stylized shooter similar to a Pixar film. However, as the project moved forward, the developer eventually opted for a realistic look.
Only after multiple iterations did the jetpack flight system emerge. A decision that would ultimately define Dark Void. It is worth noting that Dark Void began development in early 2007 as a spiritual successor to Crimson Skies: High Road to Revenge because, at the time, Fasa Studios wanted to implement some sort of on-foot third-person interaction, but unfortunately, it didn’t happen. Dark Void seemed like the right opportunity.
Sketches and Early Prototype:
According to Daniele, this was the early look of the protagonist (Will Grey)
Early Sketches – Stephen Daniele
Early Sketches – Stephen Daniele
Early Sketches – Stephen Daniele
Early Sketches – Stephen Daniele
Early Sketches – Stephen Daniele
Early Sketches – Stephen Daniele
Early look of the main protagonist and UFO ship
Don’t be confused if you recognise the image from the prologue. There’s a perfectly good reason for it. According to Stephen Daniele, Capcom wanted Airtight Games to adopt an approach similar to God of War: begin the game by handing the player almost every tool upfront, then gradually teach them how everything works.
Because this opening sequence functioned purely as a tutorial, the developers placed it at the very start of the game. At the time, nobody realised they were actually controlling an early iteration of Will Grey! A small but fascinating detail that only makes sense in hindsight.
Videos:
A 1-hour chat with Stephen Daniele about the early concepts of Dark Void and some of the cut content, like the Motorcycle!
Images from the 2008 E3 build
Blue light from helmet
Slightly different lightning and visuals
Early look of the helmet
The Oppressor gun has a different look and sfx
Enemies don’t blow up (?)
The way Will Grey moves between ledges is a bit slow
Jet Pack boost (color) is slightly different
Slightly different button prompts for QTE
Early Logo
Magazine Coverage With Early Preview:
Play Magazine
Страна игр
Official UK PlayStation
PCGZine
Шпиль
Шпиль
A fan-documentary of Dark Void covering the early codenames and more details on the initial concept of the game and the sequel.
Credit: Huge thanks to Stephen Daniele for the early sketches and details that have gone unknown for 15 years!
State of Emergency was a fantastic beat’em up originally developed by Vis Entertainment in 2003 for PS2, Xbox and eventually PC. The game garnered widespread recognition for its raw depiction of cities overrun by protestors and police officers running amok. It was a game like no other, and one that hasn’t been outdone ever since.
Early in its beta form, we can notice some differences, particularly the main characters of the game: the Freedom members. Not only was their face texture different, but some differences, like less blood during combat, alternate police officers’ outfits and the citizens running around, were also slightly different. Please, check the image gallery below for a full breakdown:
Images:
Spanky
The Bull
Freak
Libra
Mack
Freedom Members have different face textures (Mack, Libra, Spanky, Freak, The Bull)
Different NPCs
Different task force costume (changed twice)
Different objective pointers (basic at this stage of development)
Slightly different level structure (?)
Blood spills on the ground (a lot!)
Weapons are unfinished (missing glow)
Videos
Credit: Evan Hanley
Some differences can be observed from this video:
Different timer
Different objective reminder
The arrow pointing to where you should go is different here
Ambulance (?)
Additionally, the game was originally scheduled to release in October 2001, but it was eventually pushed back to 2002.
Kill. Switch is a third-person shooter developed by Namco Hometek and published by Namco in 2003 for PC, Xbox, PS2, and the Game Boy Advance. The game revolutionised the TPS genre by introducing several groundbreaking concepts that ultimately influenced high-profile titles like Uncharted, Gears of War, and Rainbow Six: Vegas.
Despite its influence, Kill . Switch sadly didn’t receive any nominations or awards. However, its legacy is deeply embedded in the DNA of modern third-person shooters.
Before its release, the game underwent several changes, as seen in E3 and beta footage. One striking difference is the HUD, which was originally green instead of blue. In another clip, Nick Bishop—the game’s protagonist—had a different running animation. Additionally, early concept art reveals plans for a female lead character, though this idea was ultimately scrapped.
Unfortunately, there isn’t much information about Kill. Switch’s pre-release development beyond E3 and demo footage, as well as a few bits of trivia. Fun fact: Kill. Switch had two follow-ups in development. One was titled The Adversary, and the other The Displacement City Under Siege. Unfortunately, the projects were cancelled around 2005 and never came to fruition.
Concept Images:
Early Nick Bishop design
Possible cut female character
Note: Thanks to writer and producer Alvin Muolic. The character concept art sketches were made by artist Christian Gossett (the man behind The Red Star himself!)
Beta Images
Kill.Switch early look from pre 2002 build
early beta build of the game
Image of what appears to be early alpha of the game
Image of early Archer
The HUDs
HUD 1
HUD 2
HUD 3
HUD 4 (Final)
Credit: Evan Hanley, Jabler
Videos:
Differences:
HUD was changed twice (first it was green, then soft blue with lines)
Different running animation for Nick Bishop in early builds
Different attack
Guards don’t warn others when you throw a flash bomb at them
Different pointer HUD (changed twice)
More enemies in certain areas than in the final release
The enemy AI is tougher
The AI movement is often unpredictable
A sandstorm effect is present here, which was removed from the final release. Visibility is also difficult in the early builds (sandstorm area only).
Entirely different main menu
This video documents the early codename, various settings the developer experimented with and more
A documentary about the inception of Kill. Switch and the cancelled sequel
Swords of Heaven was a strategy-infused hack-and-slash title in development at Afkar Media for over a year and a half before ultimately being cancelled in 2005-2007. The project aimed to transport players back to the 7th-century Arabian Peninsula, placing them in the boots of a formidable Arab warrior leading his army against Persian and Byzantine forces. Victory hinged on defeating enemy factions and claiming their territories.
Most of the gameplay focused on carving through waves of incoming soldiers with your blade or picking them off from afar with a bow. Strategy, however, was the game’s true backbone—success demanded careful planning and amassing as many allied fighters as possible to turn the tide of battle. Though the concept was ambitious and new for its time, it never had the opportunity to fully mature. Funding issues eventually sealed its fate, and the project was shelved before completion. Today, only a preserved demo remains as a glimpse into what could have been.
Around this time, Afkar Media was attempting to carve out a place in the gaming industry by developing titles inspired by Arab culture and history. While the studio found notable success with the controversial Under Ash and its sequel Under Siege, they struggled to replicate that momentum in the years that followed.
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