Teo 64 was a pet simulation video game, very similar to “Hey You Pikachu!”, the Nintendo title where the player could interact with the pokemon talking to him through a microphone connected to the N64. In this game, however, the protagonist was a strange cross between a dolphin and a bird. Speaking with the animal it was possible to became his friend, feed him and explore the world. For many it will be a shocking news, but “Teo” is not the name of the dolphin / bird, but of the planet where he is living. Known under the title “FinFin on Teo, the Magic Planet”, the virtual puppy FinFin made his first appearance on a PC game released in 1996. According to the producers, the 64DD version was not a porting, but a completely new game. The development of Teo for 64DD was probably stopped because of the failure of the Disk Drive, and it is likely that we will never know how different the 64DD game was supposed to be. If you are curious to learn more about the PC version of the Teo or try it for yourself, you can download the iso of FinFin from these sites:
[spoiler /Clicca qui per la versione in Italiano/ /Nascondi la versione in Italiano/]
Teo 64 doveva essere un simulatore di animale virtuale, molto simile a “Hey You Pikachu!”, titolo Nintendo in cui il giocatore può interagire con il pokèmon, parlando con lui attraverso un microfono collegato al N64. In questo gioco invece, il protagonista era uno strano incrocio fra un delfino ed un uccello, dall’aspetto abbastanza inquietante. Parlando con l’animale era possibile fare “amicizia”, accudirlo, offrirgli del cibo ed esplorare il mondo.
Per molti sarà una notizia sconvolgente, ma “Teo” non è il nome del delfino/uccello, ma del pianeta in cui abita. Conosciuto con il titolo di “FinFin on Teo, the Magic Planet”, il cucciolo virtuale FinFin fece la sua prima apparizione su Personal Computer, uscito nel 1996. Stando alle affermazioni dei produttori, la versione per 64DD non era però un port del titolo PC, ma un gioco completamente nuovo. Lo sviluppo di Teo per 64DD è stato probabilmente fermato a causa del fallimento del Disk Drive e non potremo mai sapere quali novità avrebbe portato questo adattamento.[/spoiler]
Published in 1997, Turok has been one of the first Ultra 64 titles to be developed for the console. The game is based on the homonymous comic series, about a native american and his fights between evil cyborgs and dinosaurs. Thanks to its famous fog effect, which covered almost every part of the immense game levels, the game became an icon of the “fog problem” but it surely marked the hearts of many Nintendo 64 owners for its fun gameplay.
Proto / beta:
Before the release, the game has been shown in magazines with some pics taken from the early prototype. One of the images show a very raw 3D model of a T-REX: this enemy should be the “alpha” version of Thunder, a genetically modified dinosaur, which later has been used as a boss. The proto differs from the final version by the absence of the metallic parts covering the head and the foot of the dinosaur. Also, the polygonal model was less detailed. At any rate is difficult to note any other details, due to the blurryness of the image. The prototype colors are less shiny and “realistic” than the final version. It’s interesting to note how the fog effect was allready present: this makes us to wonder if Acclaim really intended to use that effect in the game and not just to cover eventual pop-up problems.
Surely the images in the gallery below represent an early beta stage of development, in wich they were still creating the 3D models and the scenario with not much gameplay finished. Do you know if some of these models were not in the final game? Acclaim begun to work on Turok in 1995, initially thinking to make a third person shooter, but later they chosed a first person view, in order to make it more involving.
Turok 2: Seeds of Evil is a FPS developed by Acclaim for the Nintendo 64, released in 1998. It was one of the first Nintendo 64 games to allow use with the RAM Expansion Pak. The game was announced even before Dinosaur Hunter was released, under the title Turok: Dinosaur Hunter 2. The game was completed in 21 months with a team comprising of roughly the same size as that who worked on Dinosaur Hunter, which was composed of 18 people. During development, more staff were brought onboard to assist in completing the game. Reportedly, over 10,000 hours of game testing was conducted during its creation. The game was originally designed with a 12MB cartridge in mind. When cartridges prices fell, the storage was increased to 16MB allowing the team to add a multiplayer mode. Eventually, the cartridge size was increased again, and was finalised at 32MB.
The base idea for the Cerebral Bore weapon was created during a brainstorming session concerning weapon design. The original concept had the weapon “being slow and agonizing”. An artist suggested a Leech gun, which was rejected by project manager, David Dienstbier: however, a “Vampire Gun” was eventually added to the sequel, Turok 3. Iguana, having received Nintendo 64DD development kits which included the 4MB Expansion Pak, added a high-resolution mode to the game early on in the development timeline. This was demonstrated to Nintendo at E3 98, running at a resolution of 640 x 480, a technical accomplishment for the Nintendo 64 at the time.
In the gallery below we can notice some early screens of the game, with some removed areas and beta versions of some levels. The graphic in the first screens released was much more definite than the one in the final game. Some of these images could have been taken from early tech demos and target renders. It seems that there were many concepts for Turok 2 that were scrapped before the final one was chose, but sadly there are not many info about these lost versions, but a single pic of an unknown enemy that was never used anywhere in the game.
Announced officially at E3 1998, Survivor Day One is an interesting action game that was in development by Konami. As in Fade To Black, the protagonist had to escape from a spaceship infested with mysterious aliens, but unlike Delphine’s game, Survivor Day One’s hero is much more athletic and we would have been able to perform various actions to explore the levels, as in the various Tomb Raider. In the screenshots released we can see the protagonist while jumping, climbing, swimming and so on. The gameplay would even had some puzzle elements, as usual with this kind of action adventures.
From what Konami had promised, the enemies would have react realistically, according to the context and to the player moves. The Original music from the only trailer ever released was composed by Mark Lindsey.
Unfortunately the graphic was pretty bland for a 1998 game and while the game was still in early beta, some management problems slowed down the development team: in the end the project would have not be able to be released before the death of the Nintendo 64 and so they decided to just cancell it all togheter.
[spoiler /Clicca qui per la versione in Italiano/ /Nascondi la versione in Italiano/]Mostrato ufficialmente all’e3 98, Survivor Day One era interessante action game tridimensionale sviluppato da Konami. Come in Fade To Black il protagonista si ritrova a dover scappare da una nave spaziale infestata da misteriosi alieni. Fortunatamente a differenza del titolo delphine il nostro eroe è nettamente più atletico e ci si ritrovare ad effettuare azioni non troppo dissimili dai vari tomb raider, come saltare, arrampicarci, aggrapparci al volo a piccoli appigli, nuotare e via dicendo, sebbene non mancassero gli enigmi e le parti esplorative tipiche degli adventure.
Inoltre particolare enfasi doveva essere posta nell’AI dei nemici, che dovevano reagire realisticamente secondo il contesto. Sfortunatamente il titolo era piuttosto blando tecnicamente per un gioco di seconda generazione, e diversi problemi di organizzazione fecero rallentare il team di sviluppo: Konami non sarebbe riuscita a finire il gioco prima della morte del Nintendo 64 e decise quindi di cancellare del tutto il gioco per evitare ulteriori perdite di denaro.[/spoiler]
GoldenEye 007 is a FPS developed by Rare for the Nintendo 64, based on the 1995 James Bond film with the same name. In the gallery below you can see various screenshots from the beta of the game, in which there are various differences and some weapons that were removed from the final game.
GoldenEye 007 was originally announced for the Super Nintendo Entertainment System before being stepped up to the Nintendo 64. The intention for the first few months of development was for the game to be an on-rails shooter similar to Virtua Cop (as seen in the very first trailer released); it only became a traditional free movement first-person shooter later in development.
GameShark users found several text references to a level called “Citadel” in the game. It was thought that a few textual references were all that remained of the level, but in 2004, GoldenEye 007 fan sites uncovered an unplayable but viewable single-player version of the level (with implemented sky and water textures). The test map is largely a mass of shapes and ramps that the players can climb upon, thus giving players many opportunities for sniping and for hiding. [Info from Wikipedia]
Come March 1995 work was underway with a team of new recruits. Mark Edmonds, my first ever interviewee, was programmer, Karl Hilton was background artist and B. Jones was character artist. I had prepared my first ever game design, a 9 page document. The first sentence of that design may be a surprise to you. It was: “The game will be similar to Virtua Cop in terms of gameplay”. For those not familiar with Virtua Cop it is an old classic, an on-rails shooter, made by Sega, and released first in the arcades. So yes, for the first months, GoldenEye was partly envisioned as a simple on-rails shooter only with no lightgun. But I also wanted it to be a FPS. At this point the team was happy to contemplate making two modes for the game, an on-rails mode and a FPS mode. Yes, there was some vagueness here. You have to understand, we didn’t know what the control of the N64 would be like, so it made designing the control system difficult at such an early stage. We didn’t have any N64s, or anything like them. […]
So, in the specific case of GoldenEye, and with the benefit of hindsight, the gameplay model was Virtua Cop with a bit of Doom, plus some Mario 64. The theme or setting was (obviously) the Bond universe and particularly GoldenEye. Many of the visual effects and kinetic moments I took from Hard Boiled or other John Woo flicks. Especially, things exploding. Visually, there’s more to that than you might think.[…]
For example gadgets, I compiled a list of about 40 gadgets from various Bond films, most of which were modelled, and then Dave and Duncan tried to find levels where we could use them. This is backwards game design, but it worked very well. These models were the game design; there was very little written down on paper. And the models were researched and milked extensively. And, importantly, they all gelled together very well. […]
Also, in a beta screenshot found by Kek8, we can notice that the Cradle mission had a background in the beta version, while in the final game there’s just a lot of fog.
Also an article from NowGamer has some more beta-related differences and cuts:
Karl Hilton recalls the first mooting of the project: “I started at Rare in October 1994 and they had me modelling cars and weapons to see if I could do it for no particular game. Martin Hollis wandered in – he tended to float around – and said he was leading a team to do a Bond game.”
Initially, the intention was to do a 2D side-scrolling platformer for the SNES, a genre that Rare excelled in after the seminal Donkey Kong Country, but Hollis insisted the game should be in 3D and produced for Nintendo’s enigmatic Ultra 64, which was still in development. He also made explicit his design model: Sega’s lightgun arcade hit Virtua Cop.
Karl: “When I got involved, the first thing I did was model the gas plant. We put a spline through the level so you could follow a route like in Virtua Cop, but it didn’t go further than that. We decided to take it off the rails. Some of those early builds had bits missing because you’d never be able to see them and I remember going back and filling in the holes.”
Considering how the finished GoldenEye feels so suited to the N64, it’s easy to forget the machine didn’t exist for the first year and a half of its development. The team was using SGI Onyxs, hugely expensive Silicon Graphics machines, guessing at what the specs of Nintendo’s new console might be and using a butchered Saturn controller to playtest.
For a game with more than its fair share of wanton destruction, the team became remarkably good at recycling. The radar on multiplayer mode is actually an oil drum texture, which explains the cloudiness on the right, and sometimes whole levels were created with the detritus they had to hand.
How Martin had done a 3D gun barrel that had to be dropped due to frame rate issues; how code had been written to let you drive the van, but it caused too many problems if you got the vehicle stuck in a dead end; how the unreachable island you can see far in the distance from atop the dam originally had a solitary guard patrolling it; how they’d had to label certain wall textures as ‘floor’ so guards could ‘see’ you, which meant they would occasionally leap out of bunkers inexplicably.
“At one point, we were going to have reloading done by the player unplugging and re-inserting the rumble pack on the controller”, remembers Steve. “Nintendo weren’t keen on that idea and I think it might have affected the pacing a bit…”