Tron: Evolution by Propaganda Games was the official tie-in game for the Tron: Legacy movie, but before Disney published this one for Xbox 360, PS3 and PC in 2008 they asked to different studios to pitch a game for their TRON sequel. The film was still internally known with the WIP-title of TR2N and one of these prototypes was made by Day 1 Studios, a team mostly known for the MechAssault series. In the short pitch demos created by D1S in just a few weeks it was possible to play similar scenes to the ones seen in the first official Tron: Legacy trailer from Sandiego Comic Con 2008: a multiplayer racing track and a single player Identity Disc combat sequence (which had 2 playable versions, one of which was built around a rhythm mechanic). Unfortunately Disney wanted to have a fully complete game in less than a year, to be sure to release it as soon as the movie was out. In the end they greenlight the pitch by Propaganda Games and the TR2N prototype by Day 1 Studios was not developed further.
State of Crisis is a cancelled real time strategy first person shooter that was in development in 2010 / 2011 for PS3, Xbox 360 and PC by french studio Darkworks. After Ubisofttook away I Am Alive from Darkworks in 2008 to make it finish to Ubisoft Shanghai, the team tried to create many different prototypes to pitch to publishers, to get another contract to survive. We can assume that at the time Darkworks tough that shooters were the most marketable genre to be greenlighted by publishers, so they conceived a few ones (State of Crisis, Black Dead, The Deep) with interesting / original features.
In State of Crisis players would have been able to switch to different teammates in real time, to use a satellite to get strategical information about the enemies and the area, to interact with electronic devices and to requests laser attacks from above. For example we could have been able to study the map of the building in which we would have entered to, checking if there were lights to deactivate to hide in the darkness, to mark enemies and see their position on the map, to place beacon to track an helicopter and destroying it with a powerful laser shoot from the satellite.
To use ammos, the satellite and to hack devices would have cost a certain sum of money from a limited budget for the mission and at the end of each level one could have seen how much the team spent to save the place from terrorists. As far as we can gain from the prototype demo, State of Crisis could have been divided in many different missions to complete as fast as possible and by spending as less money as possible, to gain an higher final score or to save funds to buy better equipment.
Unfortunately Darkworks were not able to find any publisher to fund State of Crisis and the game was quietly cancelled. In 2012 the company was placed into compulsory liquidation and then closed down. In about 15 years of activity, Darkworks were able to successfully complete and release only 2 games (Alone in the Dark: The New Nightmare in 2001 and Cold Fear in 2005), while all their other projects were either cancelled or moved to other developers: a sad ending for one of the most interesting gaming studios in Europe.
The first volume of the untold history of Japanese game developers, released about one year ago, was basically unique: a large collection of interviews that finally documented some of the most obscure aspects of the history of Japanese games, from the humble beginnings on the first personal computers to the more recent doujin titles.
Now that the second volume is finally out, we can safely claim that the author had made a worthy follow up of the original, both in regards of the content and, especially, of the editing: the original conversations were re-translated by a professional, with the result that the flow of the interviews feels now more natural.
The first article of the book is a collective discussion, taken in a japanese game bar called Area 51, with some game developers that preferred to remain anonymous. It’s without a doubt the most controversial section of this work, because the interviewees sincerely talk about the dark role of the Yakuza in the early japanese videogames industry.
Another fascinating chapter of this second volume is dedicated to Zainsoft, a little software house that in the 80s created sidescrollers with dark atmospheres and eccentric stories such as DIOS for PC-88. The president of the company, Takahiro Miyamoto, was a really odd character: obsessed by money, he was later arrested for fraud and disappeared forever.
But the largest part of the book is rightly devoted to Human Entertainment, which not only made revolutionary titles like Clock Tower and Mizzurna Falls, but also pioneered game development teaching with their Human Creative School; for example, highly original productions such asSOS and The Fireman for SNES actually started as graduation projects.
The author was also been able to interview a few women that were / are in the japanese videogames industry, and while almost everyone of them answered that it wasn’t particularly hard to work in gaming studios, Rica Matsumura, veteran programmer and Agatsuma‘s general manager, talks rather honestly about the discrimination she suffered not just in japanese companies but also in America.
Other important highlights of this Volume 2 include: extensive discussions with Masaya (mainly known in the west for Cybernator) former employers; an in-depth look to Hudson games and their virtually unknown, yet just as innovative, hardware; an interview with the man behind the seminal Hydlide saga. Oh, and don’t forget the full transcript of our interview with Yukiharu Sambe, R&D manager of the unreleased Taito WOWOW.
Moreover, Mr. Szczepaniak is an huge fan of beta and unreleased titles. These are just some of the cancelled games discussed in the book:
An hi-res 2d remake of Golden Axe done in a similar style to Vanillaware titles for Ps3 / Xbox 360.
An unnamed Space Harrier clone for Virtual Boy made by Hudson.
Notorious, a shooter developed by Gearbox where some american marines somehow ended up in 16th or 17th century Japan. It was supposed to be published by Square-enix.
Satellite Man, a SNES side-scrolling beat-’em-up created by t&e soft.
Geo Catastrophe, a SNES isometric RPG with an ecology theme. It was in development at Hudson in the middle of the 1990s.
Tiger house, a third person shooter made by Tri-Ace, cancelled due to its low quality by publisher Square-enix.
An unreleased PS1 RTS co-funded by Nintendo, via the Marigul company.
If you love reading about obscure, curious and strange stories from old-school Japanese gaming studios, The Untold History of Japanese Game Developers Volume 2 is a must-have book (especially as a Christmas present!), that shows how it’s still possible for western journalists to preserve information on the history of japanese videogames, before it could be forgot forever.
You can buy “The Untold History of Japanese Game Developers Volume 2” from
The first Crackdown was developed by Realtime Worlds, a company founded in 2002 by David Jones, former founder of DMA Design, the studio behind the Grand Theft Auto series (that later was acquired by Rockstar). This over-the-top open world game was in development for about 5 years and finally published by Microsoft as an exclusive title for their Xbox 360 in 2007. Realtime Worlds were ready to start development on a new Crackdown while they were still finishing the first one, but Microsoft were not sure about it being a profitable game (they even added a code to access the Halo 3 Beta to promote it) and were taking too much time to greenlight the second title.
After Crackdown 1 was released it became a huge success, surpassing Microsoft’s expectations. Quickly Microsoft changed their mind, wanting to publish a Crackdown sequel as soon as possible. Unfortunately at that time Realtime Worlds were too busy working on their ill-fated APB MMO and were not able to develop a new Crackdown anymore. Microsoft did not want to waste time and asked to Rare Ltd to start working on Crackdown 2.
The same team that created Kameo: Elements of Power worked on this Crackdown sequel for a few months along with other lost games as Kameo 2 and Black Widow, before Microsoft decided that Rare would have been better to create games for their Kinect add-on, boosting the casual gaming market on the Xbox 360. Crackdown 2 by Rare was then canned and the project was given to Ruffian Games, a team formed in 2008 by… former Realtime Worlds employee.
“The bottom line is that what we thought would happen is that a sequel would be done by a studio somewhere… maybe one of the internal studios, or others that they’ve worked with, and that would be the way it went forward,” […] “I think it was unfortunate that it had to be with a start-up in Dundee… it is challenging to get enough developers in one region as it is, so that was the only little big of negativity to the story.”
During an interview with Retro Gamer Magazine (issue 122) Phil Tossell, former Rare developer that contributed to the Crackdown prototype, shared some memories on the project:
“He spent several months working on an early version of Crackdown 2 and has a particular affection for Black Widow, an aborted first-person shooter featuring a spider mech and an ingenious “jump-and-gun” mechanic. […] I think we were handed a poisoned chalice,” he says, wearily. “We were being asked to make the games we’d always made for an audience that didn’t want those sort of games. The reason we did Black Widow, Crackdown and aged up Kameo was because we were trying to bridge that gap but Microsoft wouldn’t let us.”
Rare still kept a small connection with the released Crackdown 2. As written by Rare Gamer: “save data from Crackdown 2 is used to unlock the protagonist as a playable multiplayer character in Perfect Dark XBLA.”
Gladiator 3000 was a pitch from Ion Storm (the team behind such titles as Daikatana, Deus Ex and Anachronox) to Origin for a 3D man-to-man RPG combat simulator that would have been developed for the PC. Ion storm were looking for a budget of around $500,000 depending if an engine was already available for them to use. Ion Storm were awaiting concept approval so they could start development.
The game was going to use the ancient lore of Gladiatorial battles from ancient Rome and put them into the future on a very inhospitable planet in the farthest reaches of the Galaxy. There would only be one complex on this planet and it would be solely use for gladiatorial combat. Players would have taken the role of a warrior who had been enslaved by an alien race and the only way to win his freedom was to fight for it. This would have been against other gladiators, robots, animals and alien monsters.
The game was going to utilize a very popular RPG system where players would allocate points to their warriors in different stats that they would want to excel in, they would also have the option to pick a pre-generated warrior or randomize them. Many different alien races would have been available for the player to choose and each of these would have different strengths and weaknesses. The arena that the player would fight in would have different scenarios and landscapes and was described in the document as infinitely variable. There would have been water, fire, ice pits and mazes included, and the player would have to change tactics depending on the arena they were going to fight in.
The other main features that were to be included in the game were limbs that could be chopped off, dozens of weapons from primitive to advanced alien technology, numerous different combat manoeuvres, three levels of difficulty, head to head combat online. Graphically Ion Storm wanted to use bitmapped images over rendered 3D skeletons.
Described as the main risk for the game, was the actual 3D figure technology that would be used to animate the characters in the game. Ion Storm wanted to minimize the risk by utilising technology that Origin had already started developing, such as the corridor rendering technology form Bounty Hunter, Ion Storm thought that if they could not utilise the technology the risks would greatly increase in developing this game.
This game does not look like it was taken any further than the initial pitch and so there is not much more information that can be found on this game, if you do have any pleasefeel free to contact us.
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