Dear Blue (親愛なる青 ?) is the name of a new Konami RPG for Nintendo 64 that seems to have been quietly announced in 1998 on the March issue of Nintendo Power Magazine (Volume 106) and later seen in many list of “in development” N64 projects (such as this on by IGN). In Nintendo Power’s “Pak Watch” section we can read:
“Konami told Pak Watch to expect a new NBA title, a hockey title, an RPG tentatively called Dear Blue, a new fighting game and a game that has something to do with graffiti.”
The game was never mentioned again by magazines or websites, so we can speculate 3 possible reasons: the game was canned, the title and genre was a mistranslation of something else that was released (Goemon’s Great Adventure?), the game was canned for N64 and then released for another console (maybe Lost in Blue for Nintendo DS?).
It’ also interesting to notice that there’s a song titled “Dear Blue” in Konami’s Kukeiha Club Pro-Fusion Salamander OST released in 1996. If you’d like to dream, we could say Dear Blue was a planned Salamander RPG for Nintendo 64. But actually that’s highly improbable and we’ll never know the truth.
If you have more details about this lost N64 RPG, please let us know!
Cleric is a cancelled game that was in development for PC by Texas based studio Plutonium Games, and from what we have found, this could have been a quite unique and interesting project. It was a First Person Survival Horror (game) mixed with puzzle elements, action and role playing.
There were plans to release it around the month of December in 2003 but that didn’t happen. On April 14 in 2004 it was announced it was put on indefinite hiatus or cancelled altogether according to a post on the main website of Plutonium Games. There were hints that they had difficulties finding a publisher for their game:
“After a long trip, it looks as if Cleric may not be made for a long time to come, if ever. I want to thank everyone that has supported us over the years. This site will remain up as will the forums. I have recently (3 months ago) taken a job with another studio (Destineer Studios) as a 3D Artist on their tactical shooter project “Close Combat – Marines: First to Fight“. Who knows? Maybe a few years down the road, I’ll get the opportunity to start Plutonium Games back up again. Until then, I’ll be building up my portfolio & experience with Destineer. Thanks again for all the great support!”
As for more information pertaining to how the game would have turned out, here’s a brief story and design summary. Cleric’s story is set in 16th century Russia and the dead are walking again. Women are disappearing and it is up to Reverend Father Aronos Schuler (the main character of the game) to investigate this mystery and to put an end to the plight of the undead. What was interesting is regardless of his position, he was meant to be a character of little faith and the story would have developed around the mystery of the undead of course but also of the Reverend’s internal struggles. Multiple path scenarios were considered with multiple endings as well depending on the player’s actions throughout the game.
Players would have had 2 different holy symbols to use for their main weapons. These would have given a series of different abilities like flying, sensing danger, re-animating the dead, healing and summoning, to list a few. Some traditional weapons like swords, maces and old muskets would have also been weapons the Reverend could find during his travels. Fore more story and gameplay details, you can check an old Gamespot preview and their image gallery.
Judging from the video, you can tell the focus wasn’t exactly just about shooting since the musket would need reloading after every shot. You have a symbol that repels the undead used like a holy cross and if held long enough, they start to catch fire. It seems the mission was to escort a woman to a shelter whilst protecting her from the undead. Later in the video the reverend approaches a statue and acquires a miracle power that lets him summon lightning to strike the undead!
Just before Nintendo’s acquisition of Monolith the team started working on the third Baten Kaitos, but the project halted when Namco sold them to Nintendo. We can assume this “Baten Kaitos 2” (as it would have been a sequel to the first game) would have been developed for Wii, as the console was released in late 2006 just a few months after BK: Origins. Yasuyuki Honne (director and producer for the Baten Kaitos series) unveiled some details about their “Baten Kaitos 3” on Twitter in September 2018, as translated by a ResetEra user:
“It’s been more than 10 years since the release of Baten Kaitos II, and even now it pains me that I continue to receive requests for a sequel. I think the statute of limitations has run out, so I can say a little bit about it. Immediately after the release of Baten Kaitos II, Namco (now Bandai Namco) worked on a sequel up until the pre-production phase, but just before Baten Kaitos III could become a reality, the story ended due to the circumstances of the involved parties.
If we made it, it would have been grand-scale game with settings at the bottom of the sea, on land, and in the sky. There’s a large amount of concept art for the sequel sealed away at Bandai Namco. Requests for a sequel should be directed not just to myself and Monolith Soft, but also to Bandai Namco.”
Unfortunately at the moment it seems unlikely that Bandai Namco would ever share or use concept art from this unrealized third Baten Kaitos project. The two released games sold poorly and even if Nintendo would have not acquired Monolith it’s possible that the game would have been cancelled anyway, just as it happened with the announced (and canned) “Baten Kaitos DS”.
According to Sugiura, Monolith Soft’s relations with Namco had undergone a negative change after Nakamura retired as head of Namco in 2002, three years before the merger with Bandai. The company underwent changes and Monolith Soft felt they were being given less creative freedom, and the newly-created Namco Bandai was less willing to take creative risks. The company then received consultation from Shinji Hatano, an executive director at Nintendo, who advised them to continue creating innovative projects. Spurred on by Hatano’s supportive attitude, Monolith Soft decided to break away from Namco Bandai to become a Nintendo subsidiary; this provided Monolith Soft creative freedom in exchange for software development exclusivity for Nintendo platforms. Nintendo’s purchasing of the majority of Monolith Soft’s shares from Bandai Namco Holdings was publicly announced in April 2007.
After the cancellation of the third Baten Kaitos, Monolith Soft developed and released many new games loved by fans, such as Soma Bringer, Disaster: Day of Crisis and the Xenoblade Chronicles series.
The 16-bit era brought many new possibilities into design and artistic fields on gaming. Colorful sprites, rich and fluid animation, stereo sound and many new features graced a period that for a long time was considered the most important for the video game industry.
One of the biggest hook for consumers in the 80’s and 90’s was the extensive licensed material. These decades would change video games forever as companies were beginning to understand it as a communication channel, more than just an electronic toy. Soon, adaptations from cartoons, anime, movies, comic books, novels and pretty much everything began to pop through. It was the “make a game of that” philosophy.
This means that game designers worked day and night to figure out how to work with whichever hardware came around, in every way possible to make something popular, playable. Sometimes this meant that something great was coming, sometimes it was just excuse to make more profit with a famous brand.
The only source available about this unseen game is a scan from a japanese magazine called Beep Mega Drive, dated 1991, which show us two screenshots, revealing the use of top-down perspective. We can also deduce by the menu displacement that it had classic j-rpg gameplay, including text-based actions, dialogues and multiple characters to use.
The game was also being co-produced by Sega.
Unfortunately we don’t know much more about this cancelled Mega Drive RPG: it quietly vanished forever with no official explanation. It remains one of the many lost 16bit games which will forever be forgotten by the majority of gamers all around the world.
The games is a successor to Lisa: The First, a freeware game made by Jorgensen in 2012. Lisa: The Painful was funded thanks to a Kickstarter campaign that started in November 2013: in the Kickstarter’s public feed of the game we can take a look on different phases of game development, Lisa beta versions and how the game changed over time.
Lisa Kickstarter Trailer
This trailer is our first glimpse of the game, and we can already notice some interesting “beta” elements. The trailer is basically cycling through two different animations, one showing Brad (the protagonist of LISA: The Painful) and his party, and the other one showing him ambushed by Buzzo and Columbo (two of the main antagonists), with text cards hinting at tough choices players will face through the game.
In this image we can clearly recognize some of the characters: Brad is the bald guy, Olan Hoyt is the one with a hat and the wrestler’s one is Rage Ironhead. The last one playing the guitar is a deleted character called Hawk, an early version of Rando.
A look on the pre-alpha battle screen: two of Brad’s initial friends, Cheeks Gaywood and Richard Weeks (along with Sticky Angoneli), were once playable (there is also another shot of the cut character Hawk). Other cut features are a team attack (shown in the picture) and a sneaking mechanic, possibly used to ambush enemies.
Lisa Kickstarter Demo
On November 20th 2013, Jorgensen uploaded a demo of LISA on Gamefront, the original file has since been deleted, but a backup version is available in here. This demo features various locations, characters and enemies (like the Men’s Hair Club, then called the Magnificent Manes Men’s Club), alongside different graphics for in-game dialogues and text.
During Lisa development many different characters were either dropped or their role in the story changed: our friends at The Cutting Room Floor have a nice page about them.