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:
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:
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
The HUDs
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
Dead to Rights: Double Tap was supposed to be the follow-up to Dead to Rights: Reckoning. Unfortunately, the game didn’t progress far into development aside from a few concept artworks. According to Project Lead Tim Jones, the game would have used the Guncon capabilities on the PS2 to introduce players to an impeccable light-gun experience, but again, it didn’t happen. Here’s a section from what Tim Jones shared with me:
“There were plans to follow up DTR Reckoning with a light gun shooter for the PlayStation 2 Guncon accessory. It had a working title of Dead to Rights: Double-Tap. We’d already done a couple of lightgun games at Rebellion (with Gufighter and Gunfighter 2: The Legend of Jesse James), so it seemed to make sense. Sadly, it never materialised…”
It is unknown whether we will ever get to see the concept design of the game, but hey, it’s here now for you to know about it!
The Mark of Kri is a stylish and satisfying hack-and-slash title that debuted on the PlayStation 2 before being ported to the PlayStation 4 years later. It made full use of the right analogue stick to streamline combat, delivering a truly revolutionary control system for its time. The game is best remembered for its striking art direction, robust combat mechanics, brutal finishing moves, and impeccable sound design.
Interestingly, the origins of The Mark of Kri trace back to the original PlayStation. During its early development, the project carried the codename Barbarian, before being briefly renamed Fuzzy Kittens on the PS2, and ultimately settling on the title we know today. Below you can see a few early sketches of Rau and Tati from the game’s initial production phase.
Credit: thanks to artist Jeff Merghart.
Images:
Video: Mini-Interview with Jeff Merghart and Dan Mueller
Terminal Reality and Midway Games once attempted to revive the vehicular combat genre through their open-world experiment, Roadkill. The game ultimately failed to make an impact, but its original pitch turned out to be far more ambitious. Much of the planned content never made it into the final version, and in fact, the early concept looked almost nothing like what Roadkill became.
The project originally began under the name Highway Hunter. The initial vision included destructible environments, shifting terrain, and an advanced weather system with tornadoes, dust storms, and even natural disasters like volcanic eruptions and earthquakes. Anomalies such as radiation zones and toxic waters were also considered. The tone was intended to be much darker than the final game. In the end, only tornadoes carried over into Roadkill. This article takes a closer look at that early pitch. Let’s begin:
The Highway Hunter Pitch
The roots of Highway Hunter can be traced back to 2001, when Terminal Reality set out to push the vehicular combat genre in a new direction with fresh mechanics and a more mature story. According to the design document, the team drew inspiration from a range of sources: films like The Warriors for a planned gang management system, Mad Max for the overall tone, and even reference books such as The Eyewitness series.
One of the first big ideas was to create a combat game in a world that constantly changed. Set in a post-apocalyptic landscape, the setting was meant to feel unstable and dangerous, shaped by ongoing disasters. That’s where the advanced weather system came in, though most of it was eventually cut.
Other early features included a vehicle hijacking system, allowing players to take over cars on the road. Terminal Reality envisioned something closer to the mechanics later seen in Vin Diesel’s Wheelman game, but this never materialised.
Destruction physics were also part of the plan. The team wanted more than just car battles; buildings could collapse under fire, and the environment itself would change over time. The idea was for players to gradually feel the world deteriorating as they played—a concept that was ultimately left on the cutting room floor.
The Planned Story for Highway Hunter
Both Roadkill and Highway Hunter’s story were about revenge, but the way the events started are different. For Roadkill, the main plot was the following:
“In Roadkill, you play as Mason Strong, a survivor of a plague known as “The Rot” that wiped out much of society and left the world in the hands of violent gangs. Mason’s goal is to hunt down Axl and his gang, the Sentinels, who betrayed him. To do this, he takes on jobs for different gangs across the three cities of Hell County—Lava Falls, Blister Canyon, and Paradise City—while engaging in vehicular combat. Along the way, Mason collects vehicle and weapon blueprints, allowing him to upgrade his arsenal and grow stronger.”
However, Highway Hunter’s story was the following:
“Gunn and his crew work as mercenaries in a post-apocalyptic world, forming a working relationship with Major Anspaugh, the city guard chief of New Canaan. They’re paid to escort mysterious pilgrims, who carry strange mechanical parts marked with a winged logo.
While raiding an old military base, Gunn finds another part with the same symbol and gives it to his close friend Low-Prow for safekeeping. But when they deliver more pilgrims, New Canaan’s guards suddenly turn on them, killing Low-Prow, most of the crew, and the pilgrims. Anspaugh steals the winged part and vanishes behind the city gates.Enraged,
Gunn teams up with a vengeful pilgrim girl and the few surviving members of his crew. They set out to infiltrate New Canaan, uncovering that the city is run by insane, tyrannical rulers who enslave outsiders and seek to collect all the winged parts. Their goal? To gain control of deadly war satellites in orbit and rule the post-apocalyptic world.
Now, Gunn is out for revenge and total destruction, ready to bring the city down — one villain at a time.”
Different Main Characters, Same Objective (kinda)
Mason Strong was the main character of Roadkill. Whereas Highway Hunter’s character was called Carson Gunn. Both characters were very different from one another. Look below:
Mason Strong
Carson Gunn
Even the wingmen for both Roadkill and Highway Hunter were slightly different. Let’s check below:
The Cars
The initial cars planned for Highway Hunter were also different from Roadkill, but it is possible that some of these were remade for the final product.
It is unknown why this pitch was cancelled. It is also unknown how far the game progressed in development or if a prototype build still exists or not. All that is known is that Highway Hunter was far too ambitious. Perhaps Midway Games saw it as a risky project and decided to scale it back heavily. We’ll never know. Below, you can also find various concept images of characters that didn’t make it from Highway Hunter
Images
A fan-documentary video covering the making of Roadkill and other information from producer Jeremy Airey
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