Cloak: The Naked Mind is a cancelled adventure game that was in development by Sierra Entertainment around 1996 – 1997, to be published on Windows 95 PC. It was conceived as an ambitious (for its time) spy-fiction, sci-fi adventure, mixing thriller investigations with space-mind-travels.
You would have been able to project your consciousness into a robot on an alien planet to resolve many different situations at the same time, using its multitasking skills. Some more information can be found in old gaming magazines, such as Interaction Magazine (holiday 1996 and fall 1996 issues):
“Imagine an alien race with telepathic powers so strong that none of your secrets can remain hidden from their probing. You’ll find them in Cloak: The Naked Mind, a new kind of adventure game coming from Sierra in early 1997.”
“With Cloak, Sierra has taken its trademarked adventure game interface and revamped it from the ground up. Everything you see and do is completely new, seamless, and phenomenally lifelike. The point of view is first-person — through your character’s eyes — with breathtaking, animated sequences and cutaways. Game play and puz- zles are integrated into a seamless experience. And the story reaches beyond adven- ture into the realms of science fiction and spy thriller.”
“In Cloak, you take the role of a secret agent on the planet Altopia. You’ve been strapped into a telepres- ence pod — a kind of virtual reality environment — and linked to a highly developed, bipedal robot code- named Cloak. After you’ve bonding to the Cloak, the robot is transported to a trading world where humans and the mysteri- ous, alien Bulbs interact to trade human-manufactured robots for Bulb technology. There, you must find a way to the Bulb’s forbidden home planet, where no flesh-and-blood aliens are allowed. Your mission is to delve into their mysterious way of life and discov- er if they are building a secret weapon to use against humankind.”
“The Bulbs can read any biological mind. Fortunately, they cannot read your mental signature inside the Cloak robot. Because you will stay bonded to the Cloak until your mission is complete, you are safe as long as you stay undis- covered. Remember that if the robot is destroyed, there will be no way to retrieve your consciousness. You will be — in every sense of the word — dead.”
“The Cloak robot you occupy is an extraordinary device that not only conceals your consciousness, but contains tools that give you super- human abilities. Bipedal and roughly humanoid, this type of robot is highly valued by the Bulbs both for its versatility and for command over other robots. Operating its many sensors and attached devices allows you to do several things at once, such as monitoring a security camera you planted in an abandoned ore mine, while using your command influence to interrogate a robot bartender.”
“Cloak pioneers new game technolo- gy that takes advantage of the Windows 95 multi- threading technique Multi-threading is a clever 32-bit way to make a computer do many dif- ferent things at once, so you can play one aspect of the title while another loads. There is no waiting on game play. (Utah sports an exciting new triple- window interface that lets you engage in three distinct activities at once. You can, for instance, spy through a camera you’ve planted while explor- ing the abandoned mines of Baccos and consulting a map.”
Gameplay could have been quite interesting with these multitasking puzzles, and by reading previews it sounds like Sierra had at least a playable prototype in their hands. We hope one day someone could find a copy and share it online to be preserved by fans.
Seeker is a cancelled top-down action RPG somehow similar to a sci-fi Diablo, that was in development in 2014 – 2015 for PC and unannounced consoles (possibly PS4 and Xbox One) by Headstrong Games. The project was officially announced in February 2015 on their blog, but the game soon vanished with no explanations.
“We’re very proud to announce our new game, Seeker. It’s an action RPG set in space with lots of tech, aliens, plasma weapons and, of course, loot! It’s been a manic few weeks getting it ready to show at GDC but we’re finally there and it feels good to be heading out to the show with something we really believe in. There’s a video and some screen shots here to give you an idea of the game-play and setting. We’ll be updating the blog regularly with more info as the development progresses.
Choose the Class that suits your style. Customise your character, Drone and Starship as you progress. Each mission draws you further into unknown star systems. Fight your way through crystal caverns, alien hives, ruined starships and robotic planets. Every destination is an opportunity to salvage alien artefacts, precious minerals and weaponry. Swept up in an epic saga, you will be called upon to occupy a pivotal role in the fate of the galaxy.”
Headstrong were mostly known for their Art Academy series and Battalion Wars series published by Nintendo, but around 2017 Kuju Entertainment (their parent company) dissolved the team to incorporate their employees directly into Kuju.
Burnt Out Cop is a cancelled action game that was in development by Infinite Lives and HotGen Studios around 2002 – 2003, planned to be published by Sega for Playstation 2 (and the original Xbox). Infinite Lives spent a few months developing a playable demo and creating an extensive Game Design Document (that was later shared online on their official website). HotGen Studios was impressed by their work and offered them more funding and resources, while the game was proposed to Sega for publishing. Unfortunately internal issues between HotGen and Infinite Lives caused the latter to lose the IP and in the end the game was canned.
More details about Burnt Out Cop can still be found in the original Design Doc:
“Unorthodox methods and unnecessary force alienate this street-wise cop from his precinct. This adrenaline-fuelled, arcade style, third-person shooter is predominately viewed from a top-down position. The gameplay is heavily based on classic arcade games combining the art of Street Fighter with the frenetic frenzy of Smash TV and Powerstone. Rather than using standard rendered 3D models, the game employs a hand drawn look giving it an unconventional comic book edge. Exaggerated movement and animation, as opposed to life-like motion capture, emphasise the speed and power of the characters. In contrast to Burnt Out Cop’s fast gameplay and slick image, its action is often humorous. Taking a tongue-in -cheek approach, it features many cop movie clichés, including larger than life characters and recognisable locations and set pieces. The cop’s manoeuvres are heavily based on those found in many John Woo films (for example, Hard Boiled and Mission: Impossible II) combined with the slapstick nature of Jackie Chan fight sequences. A fictional Hong Kong environment containing eighties undertones provides the backdrop for the explosive showdowns.”
Advanced gunplay: Floor bad guys and catch their guns out of the air or grab an opponent and use him as a human shield.
Rapid Targeting: Aim and shoot at the press of a button. Hold two guns and simultaneously target multiple opponents.
Extensive Weapon Range: Contains plenty of slapstick action: use traditional ballistic weapons mixed with everything you can get your hands on, including frying pans, chickens and prosthetic limbs.
Humour: A true crowd pleasing game featuring a witty send-up of classic cop movies and other games.
Self-Improvement: On his path to redemption his mental state and physical abilities are regained and improved.
“Guns play a key role in the game, both in terms of how they are acquired and how they are used. Another important feature is the relative lack of ammunition available. Unlike games where this would result in more cautious and frugal play Burnt Out Cop creates a mad scramble for any guns left by dead guys. When shot, their gun would fly from their hand or skid across the floor, allowing the cop to quickly collect it or catch it out of the air – just like the movies.”
Check the footage below to see how the game would have been played, if only completed.
2020 is coming soon and as every year we’d like to review what we did last year and make some plans for the new one.
As most of you know we work on Unseen64 in our own free time, after a long day of our day-jobs. We take away this extra time from our sleep, friends andfamily just to search info on lost games, write articles, read Unseen64 related emails, reply to messages on social networks, resolve technical issues on the site, save media and contact developers.
Here are some of the lost games we archived on Unseen64 in 2019:
You see a few articles published on the site every week, but to keep Unseen64 alive we invest dozens of hours of work every week. 95% of needed work is done by monokoma and in the last few years it became harder and harder to find more people who can help the site steadily. Most contributors just write one or two articles, before vanishing forever.
As we wrote in 2018 working for Unseen64 is getting harder and harder every year. In 2019 we had the same issues: people are not much interested in a website of this kind, especially when popular lost games are already unveiled and well known. It’s hard to keep the interest high and find new support on Patreon:
We still have hundreds of lost games for console and PC to write about, but most of them are obscure projects by small studios. There are no more popular projects like “Resident Evil 1.5” or “Sonic Xtreme” to uncover or it’s almost impossible to gather information about them.
Even for those obscure and little cancelled games, it became harder to receive more details and write good articles. Some years ago we could contact 5 developers who worked on a lost game and we would get at least 2 or 3 answers. Now we contact 10 or 20 developers and 99% of the time we never get any answer. Internet has become a fearsome place, where news could deform and spread uncontrollably on social networks. Developers seem scared to talk about their old jobs, because they don’t want to get in trouble.
Without being able to get in contact with developers, we cannot even save more screenshots or footage from many lost games we are researching. With no exclusive images or videos, we cannot even keep up with Patreon higher tier bonuses. This means people who donate to get bonuses are not happy (and we understand their disappointment).
Without details and without good footage, we cannot create interesting video articles. In 2019 we just dropped our plans to create new videos, because we can’t get new information from developers. With the few details, screens and videos available is best if we focus on preserving some memories from these lost games in our website.
Most people are not interested in supporting an old website in the age of Youtubers. With no interesting video content, not many people support Unseen64 on Patreon and we are not shared on major websites anymore. Many years ago those same websites would write news for many of the lost games we wrote in our site in 2019. Today if you don’t make a good video about it, you are not picked up by those websites.
Is Unseen64 doomed? Not yet.
Thanks to people like you who read articles on our website and support us on Patreon we survived 2019.
We still work every week to keep Unseen64 alive, instead of closing it down:
We keep remembering those obscure lost games on Unseen64, even if most people don’t care about them.
We keep sending emails to developers, even if 99% of the time we never get a reply.
We write as much as we can about a lost game, by doing deep-research online, in old magazines, closed websites, developers’ resumes and online portfolios.
Unseen64 support on Patreon remained stable in 2019 (it did not grow, but it did not decrease much compared to 2018).
We keep working on other methods to raise funds (as with StoryBundle ebooks and publishing short physical books using the same content we publish on the site).
We were able to lower fixed expenses for the site (asking for a discount and cheaper support to our server provider), saving money with no major issues for the site. This means that in 2020 we’ll spend less for the U64 server!
Patreon is essential for the survival of a niche project like Unseen64, a website mostly managed by a single italian guy in this age of Youtube and gaming videos in english.
In 2019 we were able to stay alive by focusing on text-articles about obscure lost games.
This is already a huge victory for Unseen64 :)
Will 2020 follow this trend? We’ll have to wait and see.
We are really grateful for your kind words and your help: without our Patrons, Unseen64 would already be dead. You prompt us to keep doing this, even during the hardest times.
Big gaming networks such as IGN, Polygon or Kotaku have the resources to own powerful servers and to pay a team to work full-time on their websites, keeping them online and publishing daily updates.
We don’t have their resources, but we have you: a community of gamers interested in preserving the unseen history of video games.
We’d like to thank all of you who are currently helping U64 on Patreon:
Joshua, gamemast15r, Sez, Malkavio, Thomas, chubigans, Patrick, Becki, Alex S., Marco, Patryk, Nick, Jordan, Reoko, Davidlee, Marty, Cody, Lachlan, Jake, James, Matthew, Rylan, Jessi, Riptide, Renee, Mcsahon, Itay, Faisal, Julian, Shane, Kaleb, Emily, Vitor, Joe, Peter, Robert O., Nathan, Alexandy1, Kirk, Robert D., Pedro, Ehren, Bransfield, Thibaut, joef0x, Conrad, Nick, Daniel, TheUnbeholden, MARTAZIA, Knight, Ben, The Video Game History Foundation, The Outpost Network, allan, tydaze, Gabe, Tim, Thomas, Mauro, Olivier, Alex M., Anders, Joe, James, Paul S., Brice, Guilherme, Alpha, Paul, Josh, Dan, Niels, Lou, Matthew, PtoPOnline, Jesus, Brandon, Martin, James, Tony, Christopher, Liam, DidYouKnowGaming, Cameron, Goffredo and everyone else! (did we forget someone?)
Space Opera: Great Gods ( スペースオペラ 大いなる神々, Supesuopera Oinaru Kamigami) is a cancelled JRPG that was in development by Software Industrial (?) for the Famicom (NES). Only a few screenshots are available, showing off a classic RPG similar to Dragon Quest or Final Fantasy, but played in sci-fi settings (similar to Phantasy Star). Some details about this lost game were shared online by a japanese website:
“Space opera is a subgenre of science fiction movies, where the hero is usually on a high-speed spaceship. Around summer 1990, a certain magazine hosted a game creator contest by Software Industrial. The tournament was set in three categories: fantasy art, scenario, and software. For each category they offered a grand prize of 1 million yen! Their plan was probably to find new ideas to create a new successful Famicom game.
One of these new ideas was announced in 1991: Space Opera, a sci-fi RPG with an automatic combat system. Using artificial intelligence and by gaining experience during battles, players would be able to improve their character’s AI to improve their fighting abilities. It seems you could also befriend monsters after battle, turning them into cards to be carried around and used in battles, just like in Pokemon.”
We don’t know what happened to Space Opera, nor Software Industrial as we cannot find anything about them online. If you know more about this lost Famicom game, please let us know!
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