Top Five: Games Cancelled After Release

Cancelled games are an unfortunately common occurrence in our industry. The reasons given for their premature demises can be any one of many: A developer might either run out of money or decide to re-focus on some other project in the works, where publishers have been known to pivot on dimes and give up on games the moment the going gets rough. In other cases, a game simply can’t come together in time for a deadline, or otherwise lingers so long in development hell as to see no way forward. In any case, the consensus ultimately reached in all these verdicts is that it is better for these games to not see the light of day, rather than to de-value the companies involved — to see them fail to turn a profit, or turn dissatisfied consumers against them. Frankly speaking, the fact that video games ever actually manage to get released at all is something of a miracle, considering the staggering odds stacked against them.

Sometimes, though, something particularly odd happens: A game can be completely finished, make its way onto shelves and digital storefronts, and only later be discovered to be “cancelled” after the fact — leaving consumers and distributors alike to collectively scratch their heads while staring at the apocryphal product already in their hands. We’re not talking about games that simply sell through their allotted copies, disappear digitally due to expiring license agreements, or otherwise get delisted due to changing distribution or publishers going out of business: We’re talking about games that are put up for sale on a given day, before being promptly pulled from circulation on the next — issuing refunds to their small handfuls of purchasers, and seeing publishers apologize for ever having sold them in the first place. It’s not every day that you see game companies voluntarily turn down the opportunity to try and turn at least some sort of profit where they can, even off of knowingly sub-par products. As such, the small number of known instances where they have are all fairly noteworthy.

Needless to say, we’ll be going over several examples of this rare phenomena today — covering the subject of games “cancelled” after already being released. In order to qualify for this list, a game must have been available for purchase for at least a brief moment in time (whether appearing at physical retailers or as an online offering) and unexpectedly pulled from circulation shortly thereafter, with no plans for the game to be re-released in the future. This discounts cases like Grand Theft Auto: San Andreas being temporarily pulled in the wake of the “Hot Coffee” controversy; where after having their ESRB rating changed to an ‘AO’ and seeing the title briefly pulled off shelves, Rockstar Games quickly worked to “fix” the game before just as promptly re-issuing it. Similarly, we won’t be counting cases where the games have been pulled due to unforeseen legal troubles (such as The Guy Game and X-Men Destiny), since that warrants something like its own list. Seeing publishers offer refunds is to be expected – as a gesture of goodwill and humility – but not a requisite in my books. Same goes for apologies being issued by developers / publishers in the wake of cancellation. With those ground rules laid, let’s get to listing.

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Battle: Los Angeles

“Shit, I’d Rather be in Afghanistan.”

“I have a bag of C-4 on the bus.
Give this to my wife.”

XBLA release store icon.

We’ve seen licensed movie tie-in games come a long way in the past decade. Where rising to even the level of competence was once a rare treat (Enter the Matrix, Jaws: Unleashed, Scarface: The World is Yours and so forth), and genuinely great games came of it only once in a blue moon (GoldenEye 007, Spider-Man 2, The Chronicles of Riddick); the times have a-changed,[♫] and consumer expectations have changed along with them. Now when a hot new blockbuster movie comes along, players can look forward to playing absolutely nothing based on them! Yes, movie studios and game publishers finally seemed to learn their lesson somewhere around the time of the early 2010s, and movie tie-in games for consoles and handhelds have since come to a complete halt — to where the most you can expect to find now are usually just half-assed mobile games made to ape other already-successful apps. Balance has been restored, and justice has been served.

Yes, I’m deliberately playing somewhat facetious here: Production on [non-mobile] movie tie-in games never really stopped, so much as it has just dramatically diminished. When they do come out now, they’re usually homages to the glory days of legacy franchises — the likes of Friday the 13th: The Game or [INSERT STAR WARS GAME HERE]. And then every couple of years, you get something more contemporary like a Fast & Furious Crossroads to remind us why these sorts of games are usually a bad idea in the first place. It’s a cycle which does a solid job of keeping consumer expectations generally low, occasionally surprises them with something that has no right to be as good as it is (anybody ever play The Mummy Demastered?), and then swiftly crushes that enthusiasm with something expectedly soulless and wretched (anybody remember Reservoir Dogs: Bloody Days?). Come to think of it, I guess that’s not really all too different from how things used to be…

If there was indeed something like a turning point for movie tie-in games, 2011’s release of Battle: Los Angeles might well serve as one of the prime suspects. As the interactive adaptation of a thoroughly underwhelming movie, Konami and Saber Interactive’s first-person shooter lives up to its source material by being a thoroughly disposable bit of interactive media; to be played once, quickly regretted, and just as soon forgotten. And with a price tag slightly higher than the going rate for a movie ticket, paired with a total playtime measuring at less than one-third the movie’s runtime, you can be sure that the disappointment on the part of unfortunate purchasers was as immediate as it was palpable. Today, we undertake the dangerous operation of discussing this ill-advised digital download — tracing its point of origin, coordinating a retaliatory review, and surveying the damage done in its wake. No bad game left behind, soldiers.

William Martinez: Looks like we’re getting into some heavy shit.
Michael Nantz: It’s been my experience, Lieutenant, heavy shit is highly overrated.

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SSFF: Resident Evil 4’s Bizarre Mobile Ports | DELISTED

I had a hand in helping produce the latest couple of episodes for Stop Skeletons From Fighting’s DELISTED series! For starters, I wrote a brief on the J2ME versions of Resident Evil: Degeneration, as part of Derek and Grace’s look at the more fully-featured N-Gage 2.0 and iOS versions — for their episode titled “The Lost Resident Evil 4.5 | RE: Degeneration.” While certainly not the focal point of the video, I’m glad I got to write in a mention for them nonetheless, to help present the larger story as comprehensively as possible.

My contributions to the “Resident Evil 4’s Bizarre Mobile Ports” episode are a fair bit more substantial: I was put in charge of leading research, writing the script draft, and even capturing an odd bit of footage of the Android version. It took a lot of quadruple-checking to get some of the research details right, between a ton of misinformation regarding the game presented on the web. Figuring out so much as the correct release date was a process more complicated than it had any right to be! In any case, get a load of that Zeebo gameplay, eh? Gee, I’d sure love to share more cool facts with y’all about that odd piece of kit. Soon enough, I suppose…

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Indiepocalypse #21: Alex Kidd in the Enchanted Castle

( Full Title: “When Alex the Kidd Was a Very Young Lad, in Enchanted Castle He Went to the Bad.” )

Cover art by @bananpam.

Here we go again with our monthly feature for @PIZZAPRANKS‘ Indiepocalypse, with a travel guide for the scenic Enchanted Castle! Broadly, it gives us an excuse to talk about the history of the Alex Kidd franchise, while also giving us the opportunity to go into depth about the game’s most infamous mechanic: Mandatory “rock, paper, scissors” minigames gating much of the game’s content. Of course, since I’m a champion of unpopular stances, I take the position that forcing players to bet their virtual lives on dumb luck is actually an interesting mechanic, rather than an outright tedious one. There’s a writing sample to follow, but to see the whole of my argument, you’ll have to purchase the full issue and get access to a bunch of cool games as well:

So, here’s the thing about putting an entire video game on pause in order to make players gamble their in-game lives on games of chance: You can’t deny how effectively it raises the stakes, can you? To force a player to confront the fact that all their skills and abilities as gamers don’t amount to diddly-squat when pitted against the world’s dumbest, most random game. Sure, you might be able to play Dark Souls blindfolded or whatever other comparable metric it is we use to determine who are true masters of game these days (I remember back when Ikaruga was what we collectively settled on as the supposed “hardest game ever made”). But in a game of [seemingly] pure chance, you are forced to confront the fact that you are utterly powerless — if only for a brief moment in time. But it’s not enough when the stakes are just some currency that you can easily make back: To have to wager your ability to progress on chance is a daunting prospect. An understandably frustrating one to boot, when the odds don’t wind up being in your favor. But then again, shouldn’t that be the point?

Purchase the issue on itch.io!
Or, consider pledging to Indiepocalypse on Patreon!

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Indiepocalypse #20: Because I’m Bad, I’m Bad — Really, Really Bad (at Street Brawling)

Cover art by Teal Sather.

We’re back again with our monthly feature for @PIZZAPRANKS‘ Indiepocalypse, with a walk down Bad Street Brawler on NES! It’s a game which we’ve covered before here on the Bad Game Hall of Fame, but certainly still a title that I personally find fascinating and worthy of further examination. In our piece for Indiepocalypse, we cover a couple of the game’s unique mechanics and design decisions, which are perhaps worthy of  consideration / copycatting by modern day beat ’em up developers? Perhaps not, but that still won’t stop me from considering the contemporary possibilities!

I guess what I find most compelling about Bad Street Brawler is… how unapologetically Bad Street Brawler it all is? Beam were given the unenviable task of cleaning up their act after an edgelordy Speccy take on the game, and decided to sugarcoat it all to the point of tooth decay. If nothing else, there’s a lesson to be learned in being willing to pivot your design to something completely antithetical to what you once envisioned for it; in the event that a publisher might demand it, or if you should determine late into a game’s development that your original tone isn’t connecting as intended. One should never be afraid to play things on the sillier side, or to realize that going the route of “total farce” with your design can potentially serve as therapeutic. At the very least, Bad Street Brawler has managed to remain memorable for all these years on the back of its indulgence in goofiness — where a similar game with underwhelming mechanics and a lack of amusing aesthetic would likely wallow in obscurity. To that point: None of the previous iterations of Bad Street Brawler made much impact on the industry, or see mention too often in the history books. It’s the NES version that has stood the proverbial test of time, even if recollections of it seem to typically involve the words “bad” or “garbage.”

My personal highlight from this month’s games bundled in with the issue is Jeremy Couillard’s Fuzz Dungeon: A surreal bit of multi-genre mashup, with a striking aesthetic that immediately reminded me of Dario Alva’s work for 100 gecs. It also features a plot centered around a “sasquatch sex amulet,” which serves as a funny bit of coincidence with the sasquatch simulation game we just recently covered here on the site. In any case, this game definitely has me curious to check out more of Couillard’s works, and gets a strong recommend from me to those of you who don’t mind games on the wilder side. As always though, I’d generally recommend checking the entire lot of games included in the bundle, for a range of diverse games from the itch.io indie scene.

Purchase the issue on itch.io!
Or, consider pledging to Indiepocalypse on Patreon!

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