Digital Extremes is a Canadian video game developer founded in 1993, best known for creating Warframe, Dark Sector, The Darkness II and co-creating Epic Games’ Unreal series. Around 2012 the team was working with Square Enix to develop a new action adventure set in a fantasy vampire world, possibly to be published for Xbox 360, Playstation 3 and PC.
Unfortunately the project was never officially announced and they cancelled it in the end: we don’t have any more information about how it would have been played nor why it was never completed. Some concept art from this Vampire Hunter game is preserved below, to remember the existence of this lost project.
A Doctor Who video game, based-off the science-fiction series of the same name, was being developed by Australian developer IR Gurus Interactive (later rebranded Transmission Games). The game would have coincided with the first series of the revived 2005 tv-show starring Christopher Eccleston as The Ninth Doctor and Billie Piper as Rose Tyler. Development lasted half a year and was funded through substantial government subsidies. The reason for its cancellation according to Paul Callaghan who worked at the studio was simply “It’s complicated”.
“I’d wanted to work on a Doctor Who game since I was about 11 years old, so this was kind of a dream project for me,” said Callaghan. “When it was cancelled, I had to take a step back to work out whether or not this was the career I wanted to pursue.”
As to the plot for the game, it is vague whether the details given by Callaghan are what was planned for it. From the Sydney Morning Herald article:
“He conceived a plot around aliens modifying the human race with airborne nanobots, allowing companion Rose Tyler to undergo some changes: “We could give her some cool alien powers!””
According to Andy Widger, then head of communications for BBC Worldwide, there were no intentions of releasing it as he told website GamesRadar:
“The news of a Doctor Who game is a little premature. At present the only work being done is on an interactive demo for internal evaluation. There is no firm proposal for a game and no commitment to particular formats or an idea of a potential release date – and no screenshots.“
Aquaria is a cancelled action adventure that was in development by Lobotomy Software for Nintendo 64 and Playstation. It was described as having a feeling similar to SEGA’s Nights Into Dreams, but underwater and with full 3D levels to explore in every direction. If you played Exhumed / PowerSlave on Saturn or Playstation, you probably remember it was quite good for its time: a Metroidvania adventure in first person view, before Metroid Prime even existed. Aquaria could have been another cult-hit by the same team, but unfortunately we never got the chance to see more from the project. It was just mentioned in old gaming magazines, such as in GameFan Magazine Issue 5:
“Currently Lobotomy is working on both games, with the company’s 20-or-so staff split roughly down the middle on each project. They have a number of games on the back burner, including PowerSlave 2 (a 3rd person Tomb Raider style adventure starring a young King Ramses), Aquaria (like Nights underwater, but with full 3D control) and a PC strategy game called Gothic. They are currently in the process of applying to become and N64 developer (Aquaria will be their first N64 title) and never miss the opportunity to snatch a quick game of Death Tank during lunch breaks.”
“Lobotomy’s first N64 game, Aquaria already looks fantastic. The graphics run at 60fps and are apparently some of the best seen. Enix are converting the game to PlayStation.”
C&VG probably confused Aquaria with Aqua Prophecy or another cancelled Enix game for Playstation. Thanks to our friend Ross Sillifant in 2015 we published an interview with Brian McNeely (former Lobotomy Software developer), who shared some memories about their work on Aquaria:
“We had a playable demo of Aquaria up and running on PlayStation. It was a free roaming third person underwater adventure game where you controlled an alien merman character. The Nights comparison ties into how fluid the controls were. You could do various dolphin-like acrobatics to maneuver through the environment. In addition to the playable demo I had the majority of the design pretty much completed but when the company began to close its doors we had to stop development. At one point we were contacted by Sega to possibly make the next Ecco the Dolphin game and we sent them our Aquaria prototype, but that never panned out. If you’ve ever played Ecco the Dolphin Defender of the Future you can get a pretty good idea for how the core character controls and camera system for Aquaria were designed.”
In 1998 Lobotomy’s talented developers were acquired byCrave Entertainment and the team was renamed to Lobotomy Studios, to work on aCaesar’s Palace game for the Nintendo 64, but after a year of development the game was postponed and eventually cancelled. As we can read on Wikipedia, at that point Lobotomy Studios was closed and employees were let go or given the option to be relocated to another position at Crave Entertainment.
We hope one day someone could find screenshots, footage or even the playable Aquaria prototype: it would be great to preserve more documents of this lost video game.
Thanks to Celine and Ross Sillifant for the contributions!
Alien Commander is a cancelled first person sci-fi adventure set in the Wing Commander universe, proposed by Warren Spector to Origin Systems while he was working at Looking Glass Studios. The team already developed Ultima Underworld: The Stygian Abyss and UUII: Labyrinth of Worlds for Origin: now they wanted to work on something different than classic fantasy RPG. While Alien Commander was canned quite early, some of its ideas were merged into another game titled “Citadel” to create a different project known as “System Shock”. As we can read from an article and interview with Warren Spector published on Retro Gamer in January 2018:
“I was as sick of fantasy games as Paul having worked on several Ultima games and Underworld and Underworld II, I had a design spec for a game that was called Alien Commander, which was going to be a first-person science fiction game using the Wing Commander technology, and then along comes Paul with Citadel (System Shock’s original title) and I just dumped the Alien Commander proposal and System Shock went ahead.”
“The game [System Shock] started off as something called Alien Commander (intended to be a Wing Commander tie-in) but soon moved completely away from that. Part of the fun for myself and project leader Doug Church was that we weren’t tied to the Ultima universe or to the Commander universe, so we could basically do whatever we liked“.
Some more details on Alien Commander can be found in the pitch document Spector wrote in the early ‘90s, preserved in the “Warren Spector Papers” archive at the Briscoe Center for American History:
“This game combines Underworld technology with a Wing Commander storyline. The technology is strong and there have been very few first-person SF games (none of them successful to my knowledge). We all know the strength of the Wing Commander trademark. It’s been over a decade since the destruction of the Tiger’s Claw and a huge chunk of the old girl has been discovered in a backwater portion of the galaxy. Strange signals are being picked up from the derelict and the player has been sent to investigate.
[…] There are lots of creatures roaming around the ship, most of them dangerous. There are some people, too – a few survivors of the Claw’s explosion (some in suspended animation, some just recently awakened), a salvage crew that was drawn here by the same signals that attracted you, some folks, creatures you just can’t explain.
What the player doesn’t know (and must learn) is that members of the race known as the Double Helix (introduced in the Claw Marks magazine included in Wing Commander) had infiltrated the ship before it was blown up. They’ve spent the last ten+ years taking over the living creatures on the ship – most (but not all) of the people and creatures the player encounters are DH hybrids. […] The hybrids created by the merger are shape shifters. There’s no way to tell an enemy from a friend..
As the player explores the corridors of the ship, he must get the power on, find oxygen, repair life support and communications systems, acquire new components for his suit, new equipment he can fit to the suit or cart along with him for when he needs it. He must figure out that things are now what they seem, avoid being taken over by the DH, etc.
[…] When it appears the player is about to win, the DH pulls out their ace in the hole – they’re not just genetic manipulators, they can survive and thrive in electronic circuitry. They’ve infiltrated the ship’s computer system periodically and they duck in there now, intent on destroying the player even if it costs their lives. The last third (or so) of the game, takes place in cyberspace. In the Tigers Claw’s computers.
[…] In addition to your primary character, you start with a couple of sentries and drones. Sentries are like floating cameras. Set one up and it can survey an area. You can switch to its view at will. What it sees replaces your view or window or it appears alongside your view, in a smaller window. Drones can fly, but can’t interact with objects. Stopped by obstacles, but they’re small and can squak into / through places you can’t fit. Again, you can switch to drone view.
As the game goes on, you can acquire robots (and maybe other allies) you can switch to. Your character goes into stasis (so you better be someplace safe) and you then control a robot with different abilities than your main character. Maybe you can give a robot orders and have it carry them out without direct intervention from you. […] Even if you die, it should be possible to win using only robots.”
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.