Legend of Kay is a fun hack-and-slash 3D platformer developed by the German-based developer Neon Studios and published by Jowood in Europe and by Capcom in North America in 2005. The game was released to mixed reviews, but major critics were pretty positive about the game.
There is no data on how Legend of Kay performed sales-wise, but after deep research, it turns out that there were plans to make a Legend of Kay 2. Unfortunately, Jowood ran through financial troubles back then, which led to their demise. As a result, the sequel was cancelled in 2006.
Actual development on a prototype build began shortly after the original game’s release, and a few concept artworks were made. Unfortunately, that’s everything there is to see. There were plans to port the PS2 game to the PSP, but that never happened as well.
A history video was made, detailing the inception of Neon Studios, the cancelled sequel, the PSP port and information on the remastered release. Please, Enjoy.
Brave: The Search for Spirit Dancer is a hidden gem platformer on the PS2. It stars a young native American boy who seeks the legendary spirit dancer in order to stop an entity known as the Wendigo. Most of the game sees Brave fighting wolves, dabbling in the art of platforming and channelling his native American powers. (like summoning an eagle spirit!)
The game didn’t do well back then, considering the timeframe in which it was launched saw the emergence of heavy hitters like Resident Evil 4, God of War and Call of Duty. Consequently, the game was deemed a failure. The story didn’t end there. Two years after Brave’s launch on the PS2 and the closure of Vis Entertainment, SouthPeak Games snagged the IP from Bam Entertainment (owner of Vis Entertainment at the time) and attempted to revive it.
Their first attempt was going to be Brave: Shaman’s Challenge, a spin-off scheduled for a February 11, 2009 release. Alas, that never happened. In an IGN article dated July 10, 2008, we read that SouthPeak Games had plans to remaster the original PS2 game for three platforms; the Wii, Xbox 360 and the PSP. In the end, the PSP release never happened. But the most bizarre situation ever is that box covers of the PSP release were made, complete with an age rating and an art cover different from the original. What adds to the mystery is that an Amazon listing was spotted years after the PSP release was quietly cancelled. The question that needs asking is; was the game released, or was it not? Nobody knows.
Here’s a high-quality image of the supposedly PSP remaster that was quietly cancelled without any prior notice from SouthPeak Games. Nobody knows if the port was finished or if SouthPeak Games just fooled everyone.
Other retail listings of this obscure PSP release were also spotted in various websites like:
Return to the West that never was in this genre-blending total conversion for Unreal Tournament 2004. Equipped with an array of steam-powered weaponry, acrobatic skills, and mystic Spirit Powers only you stand against a ruthless, mechanized foe. A self-styled “steampunk fantasy-western,” Damnation stands apart, providing the gaming community with not only fresh, new gameplay, but an untapped world to explore as well. Damnation is a new breed of gaming experience. As a first/3rd person action/adventure title, Damnation’s gameplay is unprecedented. Combining the immersion and precision-gunplay of a traditional first-person shooter like Call of Duty with the navigational puzzle design of 3rd-person adventure titles like Prince of Persia: Sands of Time, Damnation is a new paradigm in genre-blending gameplay.
In September 2005, the team wrote a postmortem on BeyondUnreal about what was going to be their next plan about the project:
We sit here, now, in the newly formed office of Blue Omega Entertainment and look forward to starting full production of the retail version of Damnation in just over a month. The lessons we learned from the prototype have strongly shaped the structure of this new development studio. Since our Grand Finals submission, we have completely stopped development of the mod. We have spent the last four months doing nothing but preproduction. We have meticulously planned out our design docs, production pipelines, and schedule. Everything that went wrong with the prototype has been addressed and reworked from the ground up.
Most prototypes aren’t as fully realized as Damnation: Hell Breaks Loose. We didn’t necessarily need to put as much effort and time as we did into creating polished art assets just to test out the game design. Given the chance to do it over, I don’t think we would change that though. Taking the art production pipeline as far as we did on the prototype showed us where all the holes were. It taught us what we could outsource and what absolutely had to stay in-house. We were able to make mistakes that on the full game could have cost us millions, but on the mod were only annoyances.
In the end, even though we didn’t win the license, we feel that the prototype was a success. We were able to test out our game design and get tons of great feedback from the mod community. We now know that we are more than capable of taking the Damnation concept to completion and we feel confident that it will be a great game. In fact, the lessons we learned about valuing quality over quantity ensure that whether the final game matches our current vision or not, it will be fun. We believe that that focus alone is enough to make it a success.
Blue Omega tried to pitch their Unreal Mod to develop it into a commercial game and when they found a publisher interested in the project, the team worked hard to expand Damnation into a full title for the then next gen consoles. But the development of this new version didn’t go as planned: officially revealed in March 2008 for a release planned in December of the same year, the title was pushed back in 2009 for a release in May. Damnation received unfavorable reviews by the press.
In January 2013, VentureBeat investigated with former Lead Game Designer Jacob Minkoff what went wrong during the development:
Damnation was intended to be something very special. The game germinated from a hybrid first/third-person action game entered into the first Make Something Unreal competition in 2004. While it didn’t win, production continued with a full retail release as the ultimate goal. Aspirations were high among the team, and its plans for the game were lofty.
Blue Omega was aiming high with Damnation. It wanted to create huge battlefields that player and adversary alike could traverse any way they saw fit. It was seeking to create both organic locations and enemies, throw the player into the mix, and watch the emergent gameplay spiral out of control in the most fantastic of ways. Things eventually did spiral, though no one, especially the player, benefited in the least.
“Damnation was a product of a green team that didn’t really know what they were doing. It was my first professional game development project; the same was true of many members of the core team.”
The eagerness of the team also led them to overlook the huge challenge set by the new console hardware they were developing for. “We were on the cusp of a new generation, and we learned lessons that have since become common knowledge in game development,” said Minkoff.
In trying to expand upon Damnation so dramatically while working with new hardware, Blue Omega tried to accomplish too much too soon. “Making a sprawling — theoretically — triple-A game on console and PC was simply too much for us to handle,” said Minkoff.
This problem was only exacerbated by the decision to outsource large portions of the game and maintain an uncommonly small in-house team. The strategy was originally intended to afford this core team the greatest level of flexibility and allow it to adapt throughout development. As Minkoff revealed, this simply was not the case in practice.
“Outsourcing was a problem,” he said. “You need the time, experience, and budget to turn on a dime — to throw out what you’ve made and try something else quickly, and within constraints. We did not have the resources or knowledge to do that at Blue Omega.”
This inflexibility, caused by inexperience and outsourcing, led to the game’s woefully protracted development cycle. Few games command four years to make, and when they do finally see release, it’s usually justified with high levels of polish and production value. This was the opposite for Damnation. The longer it stayed in development, the more out of touch and less impressive it became. Level architecture, A.I., textures, animations, movement, physics, audio mixing, sound effects, dialogue, cutscenes, acting, weapons, and general common sense all had their merits eroded over the years it took Damnation to gestate.
“In the end, you usually run out of time or money,” said Minkoff. “With Damnation, we ran out of both. One of the primary reasons why you see so much architectural reuse is because it was cheaper to pay for a retexture than all new geometry. It also took less time to do so, giving us more hope of us meeting our release date.”
It could have been a great game had the team been more experienced, focused, and time-efficient. Minkoff sees the silver lining: “Many games never ship at all because the investment to make the game simply pass console certification would be prohibitive. That it shipped at all is a triumph for Damnation’s team.”
His positivity likely emanates from where Damnation took him next and where he was able to take its fundamental concepts. After the game’s completion, Minkoff moved to Naughty Dog and designed some of the most memorable sections of the Unchartedsequels. There, he was finally able to realize his ambitions for Damnation thanks to an experienced team and appropriate resources.
That the similar yet vastly superior first Uncharted game was in development at the same time as Damnation and saw release two years earlier to critical acclaim is an irony that is not lost on Minkoff. Instead of wallowing in the past, however, he is looking toward the future and building upon his first game’s auspicious past.
“Everyone has to learn somewhere,” he said. “I learned on Damnation.”
More recently, someone claiming to be a close source from the developers wrote under a video by Youtuber Matt McMuscles:
I work for the guys who came up with and had it made. They hired a company to do the coding and worked with a publisher to get it out on the various platforms. It was coming along with issues, as the developer wasn’t listening to my boss, and then the publisher decided that they were tired of waiting and forced them to release it when it was half done. The original concept of the game was awesome, and would have been amazing if they actually made what he paid for. An alternate history of the US where the South won the Civil War, with the tension and conflicts that arise from having an enemy directly border you. With steampunk elements. It sounded really cool.
The retail version retains some of the mod’s gameplay such as the acrobatic moves and spirit vision.
The original Damnation 2004 mod can still be downloaded here.
The license granted EA exclusive rights to develop a series of 2-D and 3-D action-adventure interactive entertainment software products based on the Gen13 comic book series for personal computers, Sony PlayStation, Sega Saturn, and other advanced entertainment platforms.
EA’s games will feature the comic book’s seemingly average teenagers – the Gen13 – who are actually missing subjects from a top-secret government experiment to create super-humans. Escaping from their keepers, the youths are labeled as fugitives who pose a national security threat to the United States. Their only hope for survival is to use their newly-found powers to battle their enemies and to learn the secrets of their past. The Gen13 are kids on their own just trying to have fun – when they’re not running from spies or saving the world.
High Score Entertainment, the studio responsible for Madden NFL 95 and NHL 95, were in charge of producing and designing the Gen13 game. The high level concept was that the Gen13 video game will deliver the detail, depth and play-control of Mario, the great platform/shooter dynamic of Earthworm Jim, the hard-core action of Street Fighter and an adrenalizing soundtrack of heart-thumping techno and contemporary modern rock- with all the mind-blowing artwork and spectacular characters that only the Gen 13 universe can offer!
Regarding its gameplay, Gen13 was going to be a mix of vertical shooter, beat ’em up and one-on-one fighting game, with a cooperative mode:
THE GAMEPLAY: The normal gameplay engine will be similar to that of Earthworm Jim where the player controls at least one of the five different Gen13 characters. There are also “team-up” levels where the AI controls additional players on the screen. In the case of a two-player game, both characters will be actively controlled.
In addition to side scrolling fighting/shooting, the engine will be designed to be flexible, allowing for a variety of scenarios such as: vertical shooter, static screen action, zoomed in cinematic sequences, zoomed out view of gameplay, and forced scrolling action.
The boss combat engine will be a dynamic 3-D environment where the characters can cruise around in an arena. The closer the character is to the “boss,” the closer the camera will be. The camera will zoom out respectively when the characters are apart.
CHARACTER DESIGN: All your favorite Gen13 characters are in the game, each with their own special moves and animation. WildStorm Productions sent EA visual character specifications in order to ensure that the characters are intricately and properly portrayed.
The Gen13 characters can’t get by on their good looks and sparkling personalities alone. Throughout the game will be various ways to help the player survive, in the form of traditional gameplay “power-ups.” Of course, Gen13 offers that extra twist: The Ultra Move. The most potent powerup in the game is the “Ultra Move.” Each character has only one “Ultra Move” hidden somewhere in the levels of the game. The “Ultra Move” is the ultimate manifestation of a character’s Gen Active power.
BOSS DESIGN: The design team asked Jim Lee and J. Scott Campbell to create the bosses for each of the levels. They have also been commissioned to create the mother of all end bosses to climax the Gen13 game. The mother of all bosses will require true teamwork from all of the Gen13 characters in order to defeat. The game ending boss would be introduced in comic form in an upcoming Gen13 series. A possible marketing ploy would be to offer a secret code that is unlocked upon completion of the game that will allow the player to send away for a poster of the mighty end boss.
LEVEL DESIGN: Levels will provide diverse physics and game mechanics to give a variety of challenging gameplay experiences. Levels on skates, on ice, driving vehicles, flying, swimming, or climbing will give the user several types of gameplay to master. The different areas of Gen13 will be truly living and breathing environments. Locations will be chosen not only for good gameplay and storyline, but for exciting and realistic visuals. 25 levels were designed conceptually, many of which were drawn out for the developer. Some of the levels include the Grunge and Freefall traveling to Las Vegas in “Viva Las Vegas”, Fairchild discovering an underground complex under the city in “Down In It”, Grunge saving Freefall from One-Eyed Jack in “No Tut In Common,” and Freefall loose in a shopping mall after hours in “Mall Maul.”
BONUS: Arcade classic bonus games will be hidden throughout the Gen13 game. The games will be spoofs of famous arcade games that are recognized by all. The goal of the bonus games is to score points to earn extra lives.
Once the design documents finished, EA was looking for developers that could have achieved the vision they had for their Gen13 game. Three different game companies made tech demos to show to EA. Those studios were Evolutionary Publishing, Realtime Associates and Gray Matter Inc. Ultimately, Gray Matter was the developer retained by EA.
DEVELOPMENT HISTORY: With the design documents completed, EA proceeded to entertain bids from possible developers. Potential developers included Evolutionary Publishing (Fox Hunt), Realtime Associates (Crusader: No Remorse, Iron Man & X-O Manowar in Heavy Metal), and Gray Matter Inc. (Perfect Weapon). Each developer submitted technical demos for review. It is important to understand that developers have concurrent projects in progress while technical demos are being created and some have more time and resources to dedicate on this than others. The technical demos are not to be taken as indication of how the resulting gameplay would be.
Evolutionary Publishing submitted two progressive interactive technical demos of Rainmaker and Qeelocke. Both demos allowed the user to move the character in a platform environment. The backdrop was from the “Viva Las Vegas” level. The more recent demo allowed Rainmaker to scale the wall of the pyramid in Las Vegas. Evolutionary Publishing decided to utilize 2D sprites for the characters whereas the following two competing developers used 3D models.
Realtime Associates submitted a playable demonstration of their progress in representing Freefall as a real-time rendered 3D model. This demo was put together in less than a week.
Gray Matter Inc. submitted a non-interactive art demo to illustrate the graphics style of the various Gen13 characters including an end boss as well as a fly through to the “Down In It” level. The graphics captured the essence of the design documents and ultimately Gray Matter was chosen as the developer.
But after some months of work, the game was cancelled for economical reasons. Gray Matter shutted down and EA decided to drop the licence.
CANCELLATION: After just a few months of programming, Gray Matter developed two polished interactive levels, an arena mode, and FMV for both the PlayStation and PC. Three different characters were created for the two side-scrolling levels as well as enemies. Four characters and an enemy Boss were programmed for the Arena mode. Unfortunately the agreement between Gray Matter and Electronic Arts reached an impasse due to business politics. As a result Gray Matter closed down therefore ceasing all projects and all employees losing their jobs. Due to the amount of money spent and the popularity of Gen13 wavering, EA decided it was not financially feasible to engage another developer and instead decided to cut their losses.
Like many other games, over the years, the tech demo made by Realtime Associates and the prototype by Gray Matter leaked onto the internet.
Totems is a canceled action/platformer game developed by 10Tacle Studios Belgium (formerly elseWhere Entertainment) for 10Tacle Studios, from 2005 to 2008, for the PC and Xbox 360.
Made by former developers of the game Outcast, Totems was an action/adventure game mixing modern day world events with the fantasy of native American religion where the player controls Gia, a parkour expert, who inherits various powers from four different animal totem spirits.
The game was revealed a day before the Leipzig’s Game Convention 2007 as we can read on Gamesindustry:
“Darmstadt, August 22nd 2007 – Today 10TACLE STUDIOS AG and 10TACLE STUDIOS BELGIUM officially announce the development of TOTEMS for PC and Xbox 360.
Inspired by the urban sport “Le Parkour“, TOTEMS is a super-heroic platform game with tactical elements that let the player magically transform the world and story to their own style and skill. This third-person 3D action adventure offers non-linear gameplay in a highly interactive environment and is designed to be accessible to the widest audience while offering depth for the core gamers. The player character as well as the enemy is able to use the environment to full extent thanks to the innovative Semantic Environment Sensing System (SESS). Super-heroic movement and combat come alive in a never seen before manner. The Belgian developer’s proprietary NeoReality Engine sets new standards for next-gen platforms and provides an unparalleled atmosphere and experience. Based on an elaborate and original mythology, TOTEMS offers an exciting new world to explore.”
“The PC and Xbox 360 release is scheduled for 2008.”
It was showed during the convention in which Gamespot managed to write a preview:
(…) Gia’s expertise in parkour comes from one of the four totem spirits whose powers she’s able to use. Her agility comes from the monkey spirit, her speed comes from the cheetah spirit, and her combat skills come from the bear spirit. We weren’t told what powers the songbird spirit will afford you, except that they have something to do with creativity. Interestingly, each of the four spirits is mapped to a different face button on the Xbox 360 controller, and so each button can be used to perform a massive number of different moves depending on the context in which you press it.
Using only the monkey button during our presentation, the player was able to navigate a number of different obstacles, including high walls, columns, wide gaps, and narrow ledges. The animation was seamless, and the one-button control system is purportedly possible because of how aware Gia and other characters in Totems are of their surroundings. This was demonstrated to us in a number of different ways. When slowly moving toward the corner of a rooftop, for example, Gia automatically stopped and leaned over the edge to look down, and when left standing idle next to a low wall, she casually brushed her hand along the top of it.
The anthropomorphic tigers that attacked Gia at one point were also very aware of the geometry around them, and were incorporating parkour-style wall jumps and the like into some of their own combat moves. Like Gia’s, their moves were occasionally superhuman, including cat leaps and muscle-ups worthy of the Agency operatives in Crackdown(…).
Unfortunately, nearly one year after it’s announcement, 10Tacle Studios filed for bankruptcy in the beginning of August 2008, shutting down 10Tacle Studios Belgium and cancelling every projects within the studio. We learned via Planet-Adelpha that the development was stopped in March of the same year and that the team had decided to make a similar game using the technology initially created for Totems with Urban Race, also canceled:
“10Tacle AG is in a big financial crisis and it is not over yet. Here at elseWhere Entertainment it has been 6 months since they don’t pay us. The company took on its personal cash and contracted debts in order to keep paying the employees until 2 months ago (since June in fact). So it has been two months since we’re not paid which is a difficult situation for everyone here and Yves Grolet had to take a decision, we couldn’t wait much longer for the money of 10Tacle. So Yves decided to close the studios.”
“From the business and development point of view, Totems was paused (heavy) end of March due to cash issues of 10Tacle, we were doing the vertical slice demo. We had quite a lot of things to show and positive feedbacks. I guess you saw the problem with Michele Pes and stuff, 10Tacle AG suffered quite a lot due to Elveon cancel, Totems being late and more over wrong investments here and there. So 10Tacle was out of cash, without a CEO and investors were not happy at all. With the new CEO, investors decided to change company’s orientation, focusing only on online games and online worlds, they had already a project in mind. So for the team the last 6 months were quite depressing and there was a lot of uncertainties, some people left the company.”
“In the meantime as we saw that the financial situation was becoming critical at 10Tacle AG, the company decided to create a small spin off project based on what’ve being doing on Totems for 3 years, we worked on a project called Urban Race, a multiplayer parkour game yet very different from an esthetic point of view but really the same movement engine behind Totems.”
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