Gaming News Message Board older than one year ago

Today is Bungie Day, making this the perfect time for reclusive founder Jason Jones to give his first proper interview in 11 years. The first of a three-part sitdown with IGN discusses the infamous potency of the pistol in Halo: Combat Evolved.

So, after consultation with some readers, it's been decided that former Xbox boss/current Zynga overlord Don Mattrick should be our next victim subject, coming from his appearance 30 years ago on a Canadian TV quiz show. Don't worry, I have more than just that one image for you smart 'Shoppers to use. If Mattrick appearing to say "What has two thumbs and, one day, an awesome house? This guy!" isn't exploitable enough, I've got some other scenes for you to doodle on, Presto Magix style. Let's have a look. That's two shots of Mattrick and Jeff Sember, with mildly exploitable expressions, facing questions on CBC's Front Page Challenge in March 1983. The two had founded, at age 17, the studio that would become EA Canada today. Here are a couple of frames that get the panelists into the action. Couple shots of the host and a panelist, in case you're going for a reaction guys-type joke. Finally, the shot that led our item yesterday. Most of you will probably use something from this. Alright! That should be enough ammo. Get to it. While most of you are smart enough to figure out how to upload images, here are some simple steps to take for those less familiar with the practice. 1. Create your 'Shop and save it to your desktop. 2. Go to the bottom of this post and click "Discuss." 3. This brings up a comment window. Click the icon that looks like a picture. 4. This brings up another window called "Insert Image." Click "Choose file" if you're uploading your 'shop from your desktop 5. Alternatively, you can upload the 'Shop to a free image hosting service. I suggest imgur. Then paste the image's URL into the field that says "Image URL." Note: this must be the URL of the image itself, not the page where it is displayed. That means the URL ends in .jpg, .gif, .png, whatever. 6. Add editorial commentary and hit submit and your image will load. If it doesn't, upload the image to imgur and paste the image URL as a comment. I promise I will look at it. 7. Large-size images may not upload properly, though we have seen some big-ass animated .gifs upwards of 5 MB. If you're still having trouble uploading the image, try to keep its longest dimension (horizontal or vertical) under 1000 pixels, or the whole thing under 2 MB. Alright! Have at it. Thanks very much for your participation. To contact the author of this post, write to owen@kotaku.com or find him on Twitter @owengood.

Welcome to Kotaku's Sunday Comics, your weekly roundup of the best webcomics, chosen by our readership. The images enlarge if you click on the magnifying glass icon in the lower right corner. Brentalfloss the Comic by Brent Black, Andrew Dobson and Dan Roth. Published July 4. Read more of Brentalfloss the Comic Penny Arcade by Jerry Holkins and Mike Krahulik. Published July 5. Read more of Penny Arcade Awkward Zombie by Katie Tiedrich. Published July 1. Read more of Awkward Zombie Manly Guys Doing Manly Things by Kelly Turnbull. Published July 1. Read more of Manly Guys Doing Manly Things Nerf NOW!! by Josué Pereira. Published July 3. Read more of Nerf NOW!! Virtual Shackles by Jace Proctor and Colin Adams. Published July 4. Read more of Virtual Shackles Corpse Run by Alex Di Stasi. Published July 4. Read more of Corpse Run Nerd Rage by Andy Kluthe. Published July 5. Read more of Nerd Rage To contact the author of this post, write to owen@kotaku.com or find him on Twitter @owengood.

Alex speeds through one of the Super Nintendo's best driving games, and instructs you on proper car selection.

Dude! What the hell is that growing on your face?! Oh, this? It's a fungal infection. I've got some Absorbine Jr. I can put—No, dude, I'm talking about that nasty-ass Pac-Man on your cheek! The misadventures of Mr. Pac-Man Beard Fail and the kid who got Super Mario shaved into his head provided the grist for our latest Kotaku 'Shop Contest. We've got 15 great finalists, name-checking Hitman and Deadpool, calling back to The Villager and Far Cry, and ruining someone's wedding picture. But the overall No. 1 goes to MrSchaffner. Congrats! We'll see everyone back here tomorrow for another contest. Boognish4200 Brandon0151 Docherty England93 gametr4x Gurkenlord Kcity MrSchaffner nitesh132 NotGoodForYou Racmocon sciteach SteveFish The_Green_Smile Xelos Uchiha To contact the author of this post, write to owen@kotaku.com or find him on Twitter @owengood.

At long last, EarthBound is coming to the Wii U's Virtual Console later this year, but if you can't wait, and you have a ridiculous amount of disposable income, an eBay seller is now auctioning the ultimate in collectible cartridges. This prototype cart of EarthBound is so rare, it can't be given a grade by the Video Game Authority, other than NG—"no grade." That's because the VGA grades are based on comparative values, and as a one-of-a-kind item, this prototype has nothing to which it can be compared. The seller supplies images of the cartridge playing the game, indicating that it is functioning, although he then sent it off to the VGA for grading, and it's been sealed in a plastic box since. He doesn't advise prying off the box in order to play the thing, as it may damage the cart. He notes that complete copies of the game graded by the VGA have sold for more than $4,000, while regular versions typically command prices in the hundreds. Prototype: Earthbound SNES Super Nintendo Game VGA Proto! [eBay, h/t Kaiser499]

Little Witch Academia, an animated short released by Studio Trigger in April, was one of the year's most charming surprises. Think Harry Potter, except Japanese—and way, way cuter. It's difficult to watch the short and not come out wanting more—and amazingly, it seems that's going to be a possibility. Today, Trigger tweeted the following: So we have announced that we are currently trying to get the Kickstarter project for Little Witch Academia 2 (Title pending). — たっつん (@Trigger_Tattun) July 6, 2013 The announcement happened during the Anime Expo currently going on in LA. Not much more is known at this point, aside from there now being littlewitchacademia.com. Haven't watched the short? You should!

Interesting moment of candor earlier today from Min-Liang Tan, the CEO and "chief gamer" of Razer, maker of peripherals, laptops and other gaming hardware. On Twitter, Tan offered that he was "dusting off my PS3" to play The Last of Us. That dust, he said, is the reason Razer doesn't make products for that console. Here's what got everything started. Heard so much about "The Last of Us" that I'm dusting off my PS3 just to play it. — Min-Liang Tan (@minliangtan) July 6, 2013 Sounds good. "I'm totally into story driven games," he told another follower. "Looking forward to it." But then: One of the big reasons why we don't make Playstation accessories is because I don't really spend time with mine. — Min-Liang Tan (@minliangtan) July 6, 2013 He went on to say that Infamous got him to spend "two straight days on it," but that he hasn't felt any need to return to it since. When another follower suggested his reasoning for not making PS3 peripherals was "selfish," Tan didn't back away. @GWAlistair Why's it selfish? I design stuff I actually want as a gamer rather than sell stuff to gamers for money. — Min-Liang Tan (@minliangtan) July 6, 2013 Tan conceded that Razer fans who enjoy his products are shut out from using them on the PS3 for what seems like an arbitrary reason, "but there's got to be games I want to play on the PS3. I really like Infamous so hopefully I'll like Last of Us." Asked by the professional gamer Matias Oliva if Razer would be making anything for the PS4, Tan demurred. "I had my Ps3 for a long time, and it gathered a lot of dust," he said. "Literally." Razer's current console offerings include the Onza and Sabretooth line of gamepads, the Atrox fightstick and the Chimaera line of headsets for the Xbox 360, but no other console line is supported. Razer Doesn’t Make PlayStation Accessories Because Its Boss’ PS3 “Gathered a Lot of Dust” [DualShockers]

Yeah, yeah, Nintendo's president told investors the Wii Vitality Sensor has been canned. But he says that every year, just about. What fascinated me about his Q&A with shareholders was the fact Nintendo employees think the chow at the company's cafeteria is pretty bad. From the transcript: "I heard that the quality of the company cafeteria is not so good from one of my acquaintances who works for Nintendo. I think you should ensure that everybody is able to enjoy eating at the cafeteria as a part of the employee welfare program and improve internal communication among employees." To that, Nintendo president Satoru Iwata replied. "We regularly hear the same opinion when we gather feedback from employees. However, opinions vary considerably by individual and not all the employees agree with this. Still I examine such an opinion as an issue of the company because we receive such feedback constantly. Thank you." While Iwata didn't say the cafeteria didn't suck, notice there's not a denial that it does: "We regularly hear the same opinion," and "we receive such feedback constantly," sound to me like a guy who knows the grub ain't so hot. Hell, at least they have a cafeteria. The Q&A at an annual shareholders' meeting can be kind of a free-for-all. Many folks have their own specific, sometimes petty issues of concern and are delighted to get the top honcho to respond to them. A year ago someone complained to Iwata about getting lost in the subway trying to get to Nintendo's Kyoto headquarters. And earlier in this Q&A someone asked for Virtual Boy games on the 3DS. (Take that, Reggie!) Iwata's reply to that was no more commital than his response on the cafeteria: "I believe your comment is that we should take advantage of our software assets from Virtual Boy and I would like to take note of that advice for the future." The 73rd Annual General Meeting of Shareholders: Q&A [Nintendo] Image by Shutterstock.

Don Mattrick has, reportedly, 50 million reasons to smile this week, ditching Microsoft and all things Xbox for Zynga and the leadership of all things 'Ville. But you can see traces of that big money smile going back 30 years, when he appeared on a newsmakers-style quiz show on CBC. Here he is on "Front Page Challenge" with Jeff Sember, the co-founder of Distinctive Software, Inc., the studio the two set up as teenagers in 1982. It became what is today EA Canada, the oldest and largest studio owned by the publisher, and makers of the NHL and FIFA series and the original developers of Need for Speed. Mattrick and Sember made news in 1983 as a couple of enterprising video game tycoons who had made a lot of money. "Front Page Challenge" featured a panel of journalists who attempted to guess, 20-questions style, who was in the studio and why they had been in the news. After their identities were revealed, they were interviewed. The clip is below, it's about 8 minutes long and you'll have to watch two ads from the CBC first, but it's worth it to see Mattrick dance when the panelist guesses (facetiously) that they're the comedy duo Wayne and Shuster. Video Games: Video Kids Strike It Rich [CBC, via Xbox One Daily] To contact the author of this post, write to owen@kotaku.com or find him on Twitter @owengood.

We're all familiar with the etymology behind "Xbox"—it's a truncation of "DirectX Box." But, as one of the console's creators told Edge, Microsoft lawyers at first weren't too sure of "Xbox" for some reason, and the alternatives favored by the suits were all hideous. The final stage of naming the console "was a battle between us and the naming guys, when we decided we just wanted to risk it and go with Xbox," Seamus Blackley (pictured) told Edge, in an interview just now published online. "They wanted, for some unknowable reason, to call it ‘11-X’ or ‘Eleven-X’." Blackley provided Edge with a list of about three dozen alternative names from an earlier stage of the naming battle, "the 'acronym' phase from the naming geniuses," as he called it. You should go check it out, it ranges from MAX to MARZ to MEGA to FACE, everything but WTF. Blackley told Edge there was an even worse list of alternatives, which he threw away, but it included the "Microsoft Bunduss" as a joke making fun of the whole inane process. Ultimately, "Xbox" won out, as it should have in the first place. Can you imagine calling this thing the E2 and taking that to E3? 11-X, WEP, Midway, CyberPlayGround, FACE – the rejected names for Microsoft’s first console [Edge]

What's happened in the business of video games this past week ... QUOTE | "I'm not allowed to say bad things."—Resident Evil creator Shinji Mikami talking about his new game The Evil Within while avoiding saying what he thinks of the recent directions Capcom has taken with Resident Evil. QUOTE | "I think this news will make some revisit and question the wisdom of the entire Xbox One strategy."—Industry analyst Lewis Ward, talking about Don Mattrick's departure from Microsoft to become CEO of Zynga. QUOTE | "I see our approach on PS4 as really taking Sony Computer Entertainment back to our original roots."—Andrew House, president of SCEA, talking about how Sony is giving smaller developers a chance. QUOTE | "Maybe the AAA of 60-hours with everything on a disc will kind of disappear."—Patrice Desilets, former creative director of Assassin's Creed, talking about how games will be created in smaller chunks. QUOTE | "There's no way on God's green Earth that we would take on a venture like this on our own."—Matias Myllyrinne, CEO of Remedy Entertainment, talking about making Quantum Break, combining a game and a TV show. QUOTE | "Atari has been really abused by a succession of shareholders who were just interested in the royalty streams."—Nolan Bushnell, founder of Atari, talking about how successive Atari owners didn't care about games. QUOTE | "Eventually, you have to go free."—Michael Schade, CEO of developer Fishlabs, talking about how their AAA mobile game could have made seven figures a month if it was designed as F2P from the start. QUOTE | "Now that Mr. Mattrick has taken the job at Zynga, EA is back to square one in its search."—Michael Pachter, talking about how Don Mattrick was the leading candidate for the job of CEO at Electronic Arts. QUOTE | "Full market transparency, including digital, is incredibly important to the health of the industry."—David McQuillan, president of the Games group at NPD, talking about why they will start reporting digital sales numbers monthly this year. QUOTE | "For us it's a great feature, it's a must-have for the new generation of consoles."—Ubisoft managing director Nicolas Rioux, talking about the studio's new drive for second-screen companion apps to console games. STAT | 25—Number of studios working on AAA console games worldwide, according to EA's chief creative officer Rich Hilleman; 7 or 8 years ago that number was 125, but the total number of people is about the same. QUOTE | "It certainly seems like Sony are embracing indie developers and self-publishing models."—Jackbox Games GM Mike Bilder, talking about how the company is only interested in self-publishing on consoles. STAT | 17 million—Number of downloads of the Xbox SmartGlass companion app, according to Microsoft; users are spending 16 minutes on average with SmartGlass per application. This Week in the Business courtesy of GamesIndustry International Image by Shutterstock

Mid-week days off are always strange, aren't they? It barely felt like a real week! And yet, as evidenced by Kotaku Selects—where I round up all our best content—it most certainly was a real week. As for the 'revenge' pic above, it's the fantastic work of Vincent Bocognani, found by Dotcore. Check out Vincent's Flickr page for more awesome and simultaneously creepy imagery. To contact the author of this post, write to tina@kotaku.com or find her on Twitter at @tinaamini.

Reviews Editor Richard Mitchell wrote the War and Peace-length rivaling review of the Ouya and posted it while most of us were stuffing our faces with hamburgers, hot dogs and the vegetarian alternatives to the aforementioned products. He also took a look at games that highlight the $99 console. What's everyone playing this weekend?

Unfortunately, due to a number of server issues from having so many people try to download the game—which the developers say has acted similar to a DDoS attack—not everyone has been able to buy Cube World, the awesome-looking voxel adventure-RPG. What's the next best thing? Watching other people play it while we wait for the servers to stabilize, of course. The first video in this post is a guide for starting players by GenerationHollow—it might be good to watch as prep before you play. These next few are just good 'ol gameplay videos (from customization, combat, and some other stuff) by ZeMachinima, SoTotallyToby and GLOCKlan2. The game looks about as fantastic as you'd expect.

A Pokemon fan has many stages as they grow older. Evolutions, if you will—which Dorkly illustrates with a funny comic about the different types of Pokemon fans that exist. Mind, these aren't all the possible Pokemon fans out there. But surely you've met some of these, yeah? Which would you say you are, if any? The Evolution of Pokemon Players [Dorkly]

It's no surprise that Hideo Kojima, maker of games about people, giant robots and war would like a new summer blockbuster about people, giant robots and monsters. (Hey, two out of three...) It is nevertheless refreshing to see how gleeful the Metal Gear mastermind is about next week's Guillermo Del Toro action flick, Pacific Rim. Because this is the year 2013, Kojima has given his appraisal of Pacific Rim via Twitter. Dear twitter friends, The followings are my comment regarding "Pacific Rim". Luckily I was allowed to tweet in public by WB. — HIDEO_KOJIMA (@HIDEO_KOJIMA_EN) July 5, 2013 I have never imagined that I would be fortunate enough to see a film like this in my life. — HIDEO_KOJIMA (@HIDEO_KOJIMA_EN) July 5, 2013 The emotional rush I had inside me was the same kind I had when I felt the outer space via "2001: A Space Odyssey" and.... — HIDEO_KOJIMA (@HIDEO_KOJIMA_EN) July 5, 2013 and when I had touched the dinosaur in "Jurassic Park". Animation and special effects movies and shows that I loved in my childhood days - — HIDEO_KOJIMA (@HIDEO_KOJIMA_EN) July 5, 2013 they all truly exist in the screen. Director Guillermo del Toro offers this spectacular vision of massive kaijus and robots in PACIFIC RIM. — HIDEO_KOJIMA (@HIDEO_KOJIMA_EN) July 5, 2013 This film is not simply a film to be respected, but most importantly, it let us dream the future of entertainment movies. — HIDEO_KOJIMA (@HIDEO_KOJIMA_EN) July 5, 2013 Pacific Rim is the ultimate otaku film that all of us had always been waiting for. Who are you, if you are Japanese and won't watch this? — HIDEO_KOJIMA (@HIDEO_KOJIMA_EN) July 5, 2013 I hope you would accept this inspirational love letter that had traveled across the Pacific, written by Director Guillermo del Toro. — HIDEO_KOJIMA (@HIDEO_KOJIMA_EN) July 5, 2013 And if you don't want to take Kojima's word for it, heres the word of that of the expert of things that are the greatest of all time, Kanye West. I saw a pre-screening of Pacific Rim yesterday and it's easily one of my favorite movies of all time. — KANYE WEST (@kanyewest) July 4, 2013 This is not another "Robot" movie. Guillermo del Toro is a master. — KANYE WEST (@kanyewest) July 4, 2013

Indian gamers are waging a Twitter campaign against EA with the hashtag #EAPCIndia. Their beef? EA has jacked up the price of PC games this year. Last year's Battlefield 3 had cost roughly the equivalent of $20 in India. Battlefield 4 will be close to $60, or 3,499 rupees. IndianVideoGamer.com has the story and the explanation that EA and its distributor are probably trying to unify prices worldwide.

No Random Encounters today—sorry!—but here, have 13 minutes of Lightning Returns: Final Fantasy XIII gameplay from the Japan Expo in France this week. For more on Lightning Returns, check out my hands-on impressions from E3 last month.

West End and Wizards of the Coast had their go. Now it's Fantasy Flight Games' turn at tackling Star Wars tabletop role-playing, and they're off to a gruff and gritty start with Edge of the Empire. Who wants to be a bounty hunter? Rather than attempting to represent the length and breadth of the Star Wars universe in a single product, Fantasy Flight is tackling three different aspects of the setting with three different core sets, the first of which officially launches this week. Edge of the Empire is all about living on the outer rim. It's charming smugglers and deadly bounty hunters. Who could ask for anything more? In 2014 the line expands with the Rebel-centric Age of Rebellion, and then come the Jedi in 2015 with Force of Destiny. That's nice. I want to be a smuggler. More than that, I'd like my old tabletop role-playing group back, so I'm not just filling out a character sheet and then crying over it for hours. The Core Rulebook, dice and Game Masters Kit for Edge of the Empire are now available at Fantasy Flight's website and wherever such things are sold.

Sony's Xperia Tablet Z is one of the best full-sized Android tablets on the market, but is it enough to make you ditch your iPad?

Batman ’66 #1: It’s that most miserable of times in the mainline Batman continuity, the period after someone close to Batman dies. So, of course, Bruce Wayne’s busy alienating everyone who cares for or works with him. Who knows how long this bout of Dark Knight grumpiness will continue? That’s why it’s great that Batman ’66 is coming out now. The digital-first series was announced a while back and then was talked up as part of DC Comics’ new Dynamic Content platform. It’s fun but doesn’t feel frivolous. Most surprisingly, Batman ’66 goes a long way towards making you think that the campy version of DC Comics’ nocturnal avenger could actually kick ass. Jonathan Case’s art evokes the non-threatening avuncular vibe of Adam West’s portrayal but also renders this Batman as athletic and agile. Writer Jeff Parker shows a keen understanding of what made that 1966 TV Batman so hilarious. With a zany Rogue’s Gallery, a utility belt that seemingly held everything and a penchant for having Batman spout off random facts to show off his encyclopedic knowledge, the show’s writers had fun edging Batman into the absurd. Parker mimics all of that but gently grounds it a bit more. You believe that there are actual stakes here and that this Batman is trying to stop crime and not just goof around. The moment that got me in Batman ’66 was the sequence in the GIF above where I thought, “Oh, shit, they ARE going dark on this one.” Because of the way that this motion comic works, the beat between the reactions lasts as long as you want it. The next moment where you realize the Riddler isn’t actually dead comes as a sigh of relief. It’s nice to have a spot where Batman doesn’t live in oppressive darkness all the damn time. Satellite Sam #1: With legendary writer/artist Howard Chaykin on board, I knew some of what to expect from Satellite Sam, done in partnership with Matt Fraction. There’d be stylish yet penchily effective page layouts, women in retro lingerie, loads of sex, cursing and otherwise questionable behavior. All of that is in evidence in the series’ first issue (though the sex is mostly implied). It’s the stuff that I wasn’t expecting that’s got me hooked. Satellite Sam #1 really drives home the frantic pressure of what the production of live TV must have been like. A flubbed line, chaos with props or, worst of all, waving an actor not show up—the plot point around which this issue turns—meant panic of the highest order. The creators accomplish the difficult trick of throwing around enough jargon to make the proceedings feel naturalistic but understandable to the uninitiated reader. The other thing that SS #1 does is bring to life the political, logistical and technological considerations of getting TV out there. In particular, conversations about trying to get the federal government to open up the airwaves for TV mirror the present-day discussions about spectrum and the internet today. Art-wise, Chaykin’s on fire here. The strong graphic design sense he’s brought to his best work makes each page feel buzzy and alive, filled with prickly details rendered with amazing texture. And the cranky, expressive faces of the cast make them feel like real people with real sweat, real stakes and real hormones moving through the page. You don’t need to be a fan of television’s first Golden Age to get into this comic. You’re being taken care of by masters of the comic-book form. Just sit back and enjoy. Daredevil: Dark Nights #2: For years, it felt like I was one of the only fans who liked Lee Weeks’ artwork. Of course that wasn’t the case, but it seemed like Weeks’ mid-1990s tenure on the Man Without Fear never got mentioned alongside the other classic runs. Thankfully, someone in Marvel editorial disagreed. This is the second issue of a DD anthology book featuring takes on Matt Murdock by a rotating roster of creators. Weeks both writes and draws here and communicates a sense of what makes Daredevil a great concept, taking advantage of the opportunities for lush description offered by a main character with super-senses. He also nails the almost-self-destructive nature of Daredevil’s heroism, which is something that’s fused well with the character’s Catholic faith. This may be a run that winds up more ‘personal favorite’ than ‘modern-day classic’ but it goes a bit further to shoring up Weeks’ status as one of the best creators to work on the blind superhero. Superior Foes of Spider-Man #1: There’s no truth in the title of this new villain-centric comic from Nick Spencer and Steve Lieber. The second-string bad guys assembled here aren’t in anyway superior to Spider-Man’s A-list nemeses. But that’s where all the fun of this debut comes from. A fractured mirror of the deconstructed work that Matt Fraction, David Aja and crew have been doing on Hawkeye, Superior Foes centers on the villains that are part of the Sinister Six villain team. The book feels like a bad-guy sitcom in the best way, dipping into the desperation of characters who get the butts handed to them all the time and finding a way to make them sympathetic. There’s a mundane day-in, day-out rhythm to this issue that’s stripped of all the bombast of a typical super slugfest. And it’ll make you laugh a whole lot. Highly recommended.

Everything about this game looks amazing.

Come down from your post-E3 high with the 8-4 crew, who finally reunite to discuss Animal Crossing: New Leaf, every single god**n new StreetPass game for the 3DS (in detail), Ouya, Limbo iOS, Ricky Martin, Atlus's financial woes, Chibi Robo, and the effect (or lack thereof) of Xbox exec Don Mattrick's departure.

Get a copy of Gameloft's acclaimed MMORPG for iPhone, iPod touch and iPad completely free - no strings attached!

Announced yesterday during the Japan Expo in Paris, Naruto Shippuden Ultimate Ninja Storm 3 is getting an upgrade this winter, with fresh missions, enhanced visuals, a new playable character and — most importantly — a PC version. Namco Bandai is calling this enhanced version of the last installment of CyberConnect2's long-running franchise Naruto Shippuden Ultimate Ninja Storm 3: Full Burst. The new installemnt pads the already lengthy storm mode with a new chapter, pitting the Uchiha brothers against new playable character Sage Mode Kabuto. There'll be 100 new missions to keep players occupied, revamped cinematics, and all 38 DLC costumes will be included in the pack as well. The fresh content (sans costumes) will be available as a downloadable add-on for owners of the original game on Xbox 360 and PlayStation 3. The coolest news, however, is the debut of the series on PC. This is not the sort of title I'd ever expected to see make the trip to my platform of choice, and even though I played through the original on PlayStation 3, I can't wait to do it all over again on my gaming rig. It's a sign of the times, my friends. The lines between console and PC are blurring more every day, as more publishers slip across the border from console country. It's where the flavor is.

It's the perfect time for Patrick to spend a few minutes with Michael's most celebrated achievement.

As mainstream video games strived to be more cinematic and as gaming emerged as a major source of entertainment revenues, it was only a matter of time until the talent from the film industry would attempt to get in on the action. Such a thing has indeed happened numerous times. For whatever reason, it typically has not worked out. But let's start with an exception. The most obvious example of Hollywood talent getting gaming right a large percentage of the time is George Lucas, who was way ahead of the curve when he founded Lucasfilm Games (later known as LucasArts) in the early 1980s. Over LucasArts' storied thirty year history, the company left its indelible mark on the industry through countless Star Wars titles and unforgettable adventure games like Monkey Island, Full Throttle, and Maniac Mansion that conveyed an unabashedly unique design sensibility. LucasArts' story is a rarity. The following set of stories is an attempt at collating all of the attempts of director-gaming collaborations that, for whatever reason, did not work out. This particularly focuses on Western-developed games with talent whose primary experience lies in the live-action/non-animated film sphere. I have no doubt I have missed a number of Japanese-developed collaborations that fell through. Many of these projects may seem misguided or magnificently mediocre, but there are some gems here and at least a couple of games that probably would have been fun to play. Steven Spielberg and Nora Ephron's "That's Life" In a section of her book The Men Who Would Be King: An Almost Epic Tale Of Moguls, Movies, and a Company Called DreamWorks, journalist Nicole LaPorte gives an account of the early days of Steven Spielberg's DreamWorks Interactive — including an unannounced mid-90s collaboration with the late writer-director Nora Ephron. As LaPorte explains, Spielberg was intent on using his then-nascent interactive division to expand the horizons of the gaming medium beyond a focus on "adrenaline," and reflect the sort of genre diversity found in the average movieplex. The inclination to diversify games led Spielberg to devise a concept for a game called That's Life, which LaPorte described as a title along the lines of The Sims "that hinged on the basic interactions and decisions made during the course of a regular day (taking out the trash, making lunch, going out on a date)." LaPorte says this was so alien to DreamWorks Interactive staffers used to action-heavy titles that "Spielberg might have as well proposed making a video game based on The Bridges of Madison County." Industry legend Noah Falstein told LaPorte he found the idea of virtualizing mundanity to be absolutely absurd, and remarked in the book that he thought the idea "was only really appealing to people like Steven Spielberg, who are so famous that they never have to go to the grocery store or wander around in the streets." Spielberg thought his Hollywood friend Nora Ephron, fresh off the hit film Sleepless in Seattle, would be the perfect fit for fleshing out the emotional and relational contexts of the game, so he hired her for the game. Alan Hartman, another early DreamWorks Interactive staffer, told LaPorte he found Ephron amiable in their interactions but got the sense that she agreed to work on the game only because Spielberg asked her to. Issues quickly arose: Ephron, used to writing for linear media, was not accustomed to a game requiring branching narratives and much more dialogue than a typical film script. As time went on, she became more interested in devoting her energies to her next film, the John Travolta angel fantasy-dramedy Michael. Spielberg thought his Hollywood friend Nora Ephron, fresh off the hit film Sleepless in Seattle, would be the perfect fit for fleshing out the emotional and relational contexts of the game. Ultimately, That's Life fizzled, and DreamWorks Interactive pursued another Spielberg concept, which became Medal of Honor. Steven Spielberg's "LMNO" In October 2005, about a decade after That's Life's cancellation and several years after Spielberg sold DreamWorks Interactive to Electronic Arts, EA struck a deal with Steven Spielberg "to create three new original franchise properties" with the teams at Electronic Arts' Los Angeles studio, which was created from the DreamWorks Interactive sale. (At the time, EALA also employed Spielberg's son Max as a level designer.) Only two of those three intellectual properties entered development, and only one of the IPs was actually released — the Wii physics puzzler Boom Blox, which spawned one sequel. The other title, codenamed LMNO, was another attempt at pushing the emotive boundaries of the interactive medium: then-EALA studio head Neil Young said in a 2005 interview following the deal announcement that he hoped this title could resolve whether a computer game could make a person cry. Writer Matt Leone exhaustively chronicled LMNO's troubled development in a fantastic 2010 1UP piece. To head up LMNO, EA hired famed game designer Doug Church, known for his lateral-minded game development philosophies. Randy Smith, who worked alongside Church at Looking Glass Studios, was lead designer on the project. In the first iteration of LMNO led by Church, the title was "a first-person action-adventure" with a contemporary setting somewhat along the lines of Mirror's Edge. Leone says designers "wanted to make a game that lasted two or three hours, but could be replayed with a lot of variety each time." The game revolved around the relationship between the player-controlled character Lincoln and a mysterious AI companion Eve. Designers spent a long time trying to perfect complex AI technology for Eve that would transcend typical in-game scripted responses and allow for her to react dynamically to gameplay situations and player actions in a manner that could meaningfully change in the relationship between the characters and the game's trajectory. Rather than a lengthier AAA experience, Leone says designers "wanted to make a game that lasted two or three hours, but could be replayed with a lot of variety each time," though there was "doubt" among the team that executive-level staff, who were concerned with having enough content to counter used game sales, would approve of the idea. Leone's sources suggested to him that LMNO was "perpetually in a prototype state" and did not get very far along the development process. The team at EALA worked with Arkane Studios to develop a fully formed small slice of the game. After two years, the LMNO team only really had one small diner scene, much to the chagrin of those outside the team. In mid-2008, Neil Young—perhaps the primary advocate of LMNO within EA's organization—left EA to found mobile publisher ngmoco, placing the project under the scrutiny of EA executives. EA ultimately elected to lay off most of the LMNO team as part of its fall 2008 layoffs, but Leone says management "kept a skeleton team of under 10 people around for a few months while deciding what to do with the concept." Church left EALA in early 2009, and executives opted to initiate a reboot of LMNO as "The Escape Artist," a more standard combat-heavy, third-person shooter along the lines of Uncharted. Leone says "The Escape Artist" spent about a half-year in development before EA opted to cancel it as part of a larger strategic decision to reorient the priorities of EA's costly Los Angeles studio. Wes Craven's "Principles of Fear" In 1996, adventure game publisher Cyberdreams (best known for Dark Seed and I Have No Mouth, and I Must Scream) announced via a press release it had partnered with developer Asylum Entertainment and "horror film master" Wes Craven for the PC game Wes Craven's Principles of Fear, "due out just in time for the 1997 Halloween season." Asylum Entertainment, a for-hire firm, was perhaps an unusual choice for a horror game—their credits included a Mac port of SimFarm, a military game Allied General, and a sound driver for Apple. David Mullich, creative director for Cyberdreams, said in the press release that they hoped "to create an action-adventure which encompasses all levels of human fear and conflict within a challenging game scenario" and combined both "ferocious combat" and "psychological challenge." The game trapped players in a haunted house and forced them to confront "their Seven Mortal Fears: Fear of the Bad Parent, Fear of the Predator, Fear of Immobility, Fear of Falling, Fear of Drowning, Fear of Loss of Self, and Fear of Chaos. The game began with the players as children forcing with the Fear of the Bad Parent and eventually progressed to "the social, emotional and intellectual disasters that haunt players as teens and adults." The game trapped players in a haunted house and forced them to confront "their Seven Mortal Fears: Fear of the Bad Parent, Fear of the Predator, Fear of Immobility, Fear of Falling, Fear of Drowning, Fear of Loss of Self, and Fear of Chaos. According to adventure game fan site Game Nostalgia's chronology of Cyberdreams, Wes Craven's involvement in the game was fairly peripheral: Craven apparently had just written one page with his so-called principles of fear, and Cyberdreams contracted a firm called Dream Fabrication & Design Inc. to turn those principles of fear into an entire game script and game design document. Asylum Entertainment was then hired to turn that script and design document into an actual game. Principles of Fear made it further than most director-gaming collaborations: there was a playable demo apparently released, and the game was even exhibited at the 1997 Electronic Entertainment Expo in Atlanta. However, Cyberdreams closed shop in mid-1997, and Asylum was unable to find a new publisher for Principles of Fear, forcing them to cancel the project a number of months away from completion. Wes Craven's Other New Game In an interview at the 2006 MI6 Game Marketing Conference, Wes Craven told journalist Dean Takahashi that "he was in talks to create an original game," but refused to provide any further details. Though this potential project was probably in his horror wheelhouse, Craven echoed Spielberg's sentiments about diversifying the emotions found in gaming, saying developers should move beyond "[appealing] to the 14-year-old males with too much testosterone" and incorporate an edifying purpose into their games. David Lynch's "Woodcutters From Fiery Ships" In early 1998, Japanese multimedia publisher and developer Synergy issued a press release announcing it had struck a deal with "David [L]ynch and his Hollywood-based interactive company SubStation" to make a game called Woodcutters From Fiery Ships. Synergy had previously created the eerie Myst-esque adventure game Gadget: Invention, Travel and Adventure in collaboration with Japanese artist Haruhiko Shono. According to Lynch's statement in the press release, Gadget had caught Lynch's eye, and he was impressed with "the way that the game delivered an immersive experience to the user." The President of Synergy's American arm, Natalie Fey, who was "responsible in large part for the partnership," delivered a rather hyperbolic press release quote: "David Lynch is not just a filmmaker, but an artist who works with photography, paint, music, sculpture, and now interactive entertainment. His willingness to lend his talents to every phase of this project will lead it to a higher level than ever attained before in gaming. He's so cool because he wants create a game that even hard-care [sic] gamers will enjoy. He's not interested in just putting together a string of video clips for your PC." The press release stated that a "yet to be announced" group of developers in both Japan and America was going to develop the game for a "yet to be announced" platform "for release in the Fall of 1999." The press release also claimed that Synergy was going to self-publish the game in Japan but seek publishing partners for Western territories. Press release: "[Lynch] wants create a game that even hard-care [sic] gamers will enjoy. He's not interested in just putting together a string of video clips for your PC." Unfortunately, the game never quite coalesced. In a late 1999 interview with The Guardian, Lynch said Woodcutters From Fiery Ships was "blocked from the get-go because it would have been completely boring to game buffs." The paper said, "[Lynch] wanted a 'conundrum thing... a beautiful kind of place to put yourself. You try to make a little bit of a mystery and a bit of a story, but you want it to be able to bend back upon itself and get lost - really get lost.'" In other words: something distinctly Lynchian. In the same interview, Lynch also vaguely described the game's premise, explaining that: "Certain events have happened or are sort of happening in a bungalow which is behind another house in Los Angeles. And then suddenly the woodcutters arrive and they take the man who we think has witnessed these events, and their ship is... uh, silver, like a 30s sort of ship, and the fuel is logs. And they smoke pipes." Also of note: Hi-Tech Expressions, a developer and publisher of mostly licensed titles, was working on a Twin Peaks game for NES in 1990, though there is no indication David Lynch was actually involved. GamePro said the game was "going to be a mystery/brainteaser type [of] cart, rather than an action game," and Nintendo Power reported that "The plot [was] based on the second season, with multiple endings possible depending on which character [was] played." Vin Diesel's "Perrone" In 2002, Vin Diesel founded Tigon Studios as an attempt to get a greater degree of creative involvement in the then-unannounced Chronicles of Riddick game that was in development at the time at Starbreeze. Diesel intended for Tigon to oversee and incubate various interactive projects developed at external studios. When Diesel first confirmed his gaming ambitions while doing press for the DVD release of xXx, he mentioned the first title he hoped to develop, "a mature action-adventure [game] called Perrone." The game's title referred to Frank Perrone, a real-life NYPD officer during the 1970s who Diesel said "was simultaneously the most accoladed and excessively aggressive lawman on the force" and someone "involved with both the Mafia and police at the same time." The reason for Diesel's affinity for Perrone—a rather obscure ex-cop—is unclear, and details of Perrone's exploits are relatively hard to come by. There is only one article in The New York Times' archives about Perrone: a 1985 report by now-retired Times crime reporter Selwyn Raab on a ruling against the City of New York in a civil case over a 1978 shooting incident involving Perrone. Raab's report characterized Perrone as someone who became unhinged and unfit for duty, despite receiving numerous accolades in his early years. Perrone: Raised on Honor would be "a unique and epic story-driven game set in the South Bronx" between 1969 and 1979. Diesel's production company, One Race Films, was also developing a film based on Perrone's life story as a vehicle for Diesel to star in, though that never quite came together. A page on the Tigon Studios site, which went online in late 2005, describes Perrone: Raised on Honor as "a unique and epic story-driven game set in the South Bronx" between 1969 and 1979 based on Perrone's career. Tigon also says Perrone is as "a biographical game," and "a playable biography of Frank Perrone as well as a mini-biography of the decade" incorporating all sorts of happenings of the period into the game world. There is nothing to suggest, however, that Perrone exists in any manner beyond some pitch materials. Vin Diesel's "Melkor" and "Barca B.C." Tigon's site also revealed two other game concepts that do not exist beyond pitch materials—Melkor and Barca B.C. Melkor, named after Diesel's Dungeons & Dragons character, is an action-RPG Tigon's copy deems as a "hardcore mature take on Zelda 64." Tigon claimed Melkor's "action/adventure" and "stealth combat" aspects would lend it broad appeal "beyond the traditional fantasy market," but they were mindful of the deep, rich lore fantasy fans expect from their fantasy materials. (On a recent fan webcast, Diesel trotted out a Melkor document with a 2004 date, if you want to know how much progress has been made on the title.) The site described Barca B.C. as a "unique" "story-driven" hybrid of a third-person action game and a real-time strategy game "allowing the player to strategize campaigns and then fight in the thick of battle using a third person [point of view] while simultaneously controlling an army of thousands." The game was based on "the exploits of [Carthaginian general] Hannibal Barca, on [sic] of the greatest military leaders and strategists in the history of mankind." Melkor, named after Diesel's Dungeons & Dragons character, is an action-RPG deemed as a "hardcore mature take on Zelda 64." In a 2009 interview, Diesel suggested he had changed to the concept of Barca B.C. to a massively multiplayer title where "you create an avatar that lives in the reality of Hannibal Barca, the Punic Wars and life 200 B.C." This permutation has not quite panned out either. Like Perrone, Diesel's interest in Hannibal Barca isn't purely game-related: Diesel has been trying to get the ball rolling on a film about the general for more than a decade with no luck. Diesel also worked with BET on an animated Hannibal series that never aired, despite appearing twice at Comic-Con. Little has been heard of Tigon since the early 2009 releases of The Wheelman and Chronicles of Riddick: Assault on Dark Athena, and if they haven't been making any movies with the rise of social, mobile and other markets requiring less capital than traditional AAA, it might be safe to assume they are probably defunct. Bryan Singer's "Secret Service" and Quentin Tarantino's Who-Knows-What In November 2004, director Bryan Singer partnered with Tigon for a new intellectual property Secret Service. Prior to bringing it to Tigon, "Singer developed the project with Mark Feigin, a former staff member on the White House advance team." Conceptually, the game was "a character-driven, tactical action adventure" about a Secret Service agent protecting the president. Not one word was ever spoken about the project again, and Tigon quietly removed Secret Service from its website, a good indication it will never happen. Also, a 2005 MTV article casually mentioned that Tigon had "an untitled project with Quentin Tarantino," but I'm extremely skeptical of such a claim, given that it has not appeared elsewhere. And a collaboration with one of the most prominent contemporary directors is not something you hide quietly. John Woo's "Demonik" A few days before E3 2003, Variety reported that director John Woo and his production partner Terence Chang had established their own gaming firm Tiger Hill Entertainment, and entered into "multi-year first look development and publishing deal with Sega" under which the two companies would co-create action games based on original concepts and "films Woo has directed." Sega would have the first right to publish and develop any such projects, but as it was a non-exclusive pact, Tiger Hill could take their projects to other publishers or partners in the event Sega declined interest. According to Variety, Tiger Hill was also keen on creating intellectual property that could capitalize on the growing gaming industry and also be exploited as "films, TV shows, comic books and toys." Additionally, Sega hoped to use Tiger Hill's expertise for other Sega titles in development. Variety reported that the pair's first title "was expected to be released sometime in 2004." Sega of America's vice president Shinobu Toyoda told the trade that the publisher hoped to enter into a number of similar partnerships with Hollywood talent, and suggested the Tiger Hill deal was "a tip of the iceberg." The trade also wrote Tiger Hill hoped to similarly establish connections with leading writers and directors. Tiger Hill's then-newly appointed president Brad Foxhoven told Variety he wanted the firm to be an opportunity for people "to create cool new things without the burden of the studio system holding them back." Tiger Hill's website mentioned three intellectual properties the firm was developing — Sinner, Burglar, and Stranglehold. Sinner was about an assassin who had to battle his way through "Buddhist Hell" after being murdered during his final job, so he could "avenge his death" back on Earth. Burglar was about a master thief who was murdered in his home by a "common burglar." His "estranged son," who had never thieved prior, had to become a burglar "to avenge his father's death." The original Stranglehold concept was a bit different from the game Midway eventually released: rather than a sequel-of-sorts to Hard Boiled, Stranglehold was originally about the clash between "[t]wo men on opposite sides of the law" following the murder of a cop's son, which a gang leader is falsely blamed for. Above: E3 2005 trailer for Demonik None of these were, however, Tiger Hill's first title to enter development — that distinction goes to Terminal Reality's Demonik. Demonik was a third-person action title about a demon named Volwrath summoned to Earth by various people to exact revenge in various circumstances. The game's main novelty was Volwrath's various upgradable special powers he can use throughout the game, including possessing other people and manipulating his environment. Demonik's original writer Todd Farmer (Jason X, Drive Angry 3D) wrote in a blog post that Demonik was originally a Sega project, but Sega had a problem with the game's story—or apparent lack thereof—and "asked Tiger Hill to take a look at it" in June 2003. To tackle those issues, Tiger Hill tapped Farmer for a quick solution, but Sega ultimately passed on the project in July 2003, and Tiger Hill "later aquired [sic] the rights." In February 2004, while the game was without a publisher, Tiger Hill decided that they also wanted to develop Demonik into a feature film. Tiger Hill pitched Demonik to a number of publishers the following month—including Vivendi Universal, THQ, and Take-Two—but ultimately went with Majesco. Unfortunately for Farmer, the developers at Terminal Reality "were never a fan of his story" — particularly Farmer's "Faustian elements," which they feared would come off as too similar to the comic book Spawn. Farmer was incredulous at the notion that anyone thought Todd McFarlane "[owned] the copyright on deals with the devil." Tiger Hill said they would back Farmer's creative choices, and "force the issue." Majesco—who apparently had similar "concerns" as the developers—would ultimately respect Tiger Hill's decision. At that juncture, Farmer decided to capitulate and work the developers' preferred story. Farmer even alleged "the designers never wanted a screenwriter playing in their sandbox." Despite being cancelled, Demonik was featured prominently in the abysmal Adam Sandler film Grandma's Boy. Dejected after having "[e]very outline, every suggestion, every idea [he] had shot down" by "the guy running the show at [Terminal Reality]," Farmer was surprised to learn in late 2004 that Majesco was keen to have him back on board the project, after the publisher found out they were paying him for his writing services but none of his writing was making the actual project. Farmer claimed the main narrative hurdle was the lead designer's insistence on saving "very interesting, very intricate backstory" the designer wrote for Demonik as some sort of reveal for the game's sequel, apparently rendering Demonik "a game with no story." In addition to reinstating Farmer's role, Majesco and Tiger Hill also "[wanted] to attach a director to work on the cutscenes as well as take the helm on the later feature version." Farmer said potential directors mentioned included Wes Craven, John Carpenter, and Clive Barker, whom Farmer "pushed for" personally. By early April 2005, Barker had officially signed on for the Demonik game and film, and Farmer exited the project. Majesco and Tiger Hill officially announced Demonik the following month, just prior to E3 2005. The title was set for release on the then-forthcoming Xbox 360 console in spring 2006, and was billed as Majesco's marquee next-generation game. Press materials described the game as "a detailed third-person action game that allows players to control the ultimate bad guy." E3 impressions from a behind closed doors alpha build demo of the game were, fairly positive. Previewers seem particularly impressed by the game's graphical whistles and physics engine. Demonik was eventually cancelled in early 2006 when Majesco exited the AAA games market after a disastrous fiscal year. That same month Demonik was featured prominently in the abysmal Adam Sandler film Grandma's Boy. The combination of those two things means Demonik is perhaps best remembered as "the game from Grandma's Boy," undoubtedly a fate far worse than mere cancellation. John Woo's "Psychopath" and "ShadowClan" Farmer was also developing another project, Psychopath, at John Woo's Tiger Hill. According to Variety, Psychopath was "about an ex-CIA operative called back into action to stop a serial killer who begins to question his own sanity." Farmer said the first developer Tiger Hill pitched Psychopath to was People Can Fly, who passed because they wanted to focus on a sequel to Painkiller. Soon after, Sega passed on the game, which is apparently "exactly what [Tiger Hill and Farmer] wanted to happen," so they could have latitude in finding partners for the game, and develop a film version simultaneously. Thereafter, Konami showed interest, but talks ultimately fell apart. Tiger Hill thought they could generate more interest in the property from game publishers and film studios if they attached a major name to the project, and Farmer opted for John Carpenter. And Carpenter officially signed on board by March 2005. Variety reported that Carpenter's contract was fairly similar to Barker's, with Carpenter "[overseeing] the game and [directing] its produced scenes and [also] attached to helm and co-write the film version." The following month, John Woo largely wrapped up Tiger Hill's gaming operations, so the director could concentrate on upcoming films. Two Tiger Hill principles—president Brad Foxhoven and creative director David Wohl—established their own independent game-focused transmedia firm Titan Productions. Titan absorbed most of Tiger Hill's slate, including Psychopath, which Variety reported now had an unnamed developer involved. Titan was, however, ultimately unsuccessful on getting any traction for Psychopath. According to IGN, ShadowClan was an Xbox 360 and PS3 game with a spring 2007 target release date putting players in "the role of a skilled ninja with control of multiple AI characters" in a contemporary New York environment. Titan also absorbed a Tiger Hill project called ShadowClan that had Woo attached in a major creative role. According to IGN, ShadowClan was an Xbox 360 and PS3 game with a spring 2007 target release date putting players in "the role of a skilled ninja with control of multiple AI characters" in a contemporary New York environment. Gameplay carried a stealth-action flavor, and your AI companions were to be used to "deploy strategic attacks throughout the urban levels." There was also a multiplayer component with "ninja clans." When Tiger Hill exited the picture on ShadowClan, Titan tried to find "a new director and talent" to replace Woo on the property, which the firm wanted to turn into a feature as well. But Titan was ultimately unable to get any further traction on ShadowClan. John Woo's "Ninja Gold" The winding down of Tiger Hill, however, did not mean an end for John Woo's interest in the gaming medium. Reuters reported in late May 2007 that Woo was collaborating with famed game designer Warren Spector and his studio Junction Point on a transmedia game and film property Ninja Gold. Reuters said Ninja Gold was focused on "a ninja warrior, [named Kat Sato], part of a centuries-old legacy and bloodline, forced to confront the reality of covert warfare in the modern world." Terence Chang told the wire service the idea for the game came from real-life stories of the Yakuza and Russian mob involvement in gold theft in South Africa. Spector told Reuters that Woo—who was very interested in pursuing "something involving traditional ninjas in a modern-day setting"—originated the idea, which piqued Spector's interest. The game designer said he was attracted to "the idea of what happens when the traditional and the contemporary come into conflict." Spector indicated that Woo was deeply involved in the conception of the game's characters, particularly Kat Sato, and early collaboration between the two would make Woo's autonomous work on the film, which Spector was executive producing, far easier. The report made no mention of a publisher for the game, but the film project was set up at Fox's short-lived genre-focused division Fox Atomic. Woo intended to direct the Ninja Gold film, and start production in 2008 following completion of a script. Spector wanted to make a piece of ninja media that was smart—something giving ninjas the sort of gravitas Game of Thrones lends to fantasy. On his then-active blog, Spector wrote in late June 2007 that one of his aims with Ninja Gold was to eschew the "juvenile manner" in which ninjas typically appear in fictional media. Spector wanted to make a piece of ninja media that was smart—something giving ninjas the sort of gravitas Game of Thrones lends to fantasy. He also referred to the project in past tense, indicating it might have already been cancelled in favor of Epic Mickey. However, things began unravelling for both the game and film quickly after the report. Ninja Gold's publisher, rumored to be Vivendi, dropped the project when it cancelled its slate of unannounced titles. And not long after that, Disney acquired Spector's Junction Point Studios in July 2007, causing the cancellation of the Ninja Gold game, which Junction Point had worked on for at least a year. Woo still tried to soldier ahead with the Ninja Gold film, but attempts to hire screenwriters were hobbled by the 2007 Writer's Strike, and the project never moved forward. While reflecting on Ninja Gold in a 2011 Eurogamer interview, the game's writer Sheldon J. Pacotti suggested to the site that the game "could have moved the art of the branching narrative in games forward by a decade." Pacotti said he wanted Ninja Gold's branching narrative to significantly change the game structurally—completely changing levels, mechanics and the game world itself. But there was some apprehension among the development team about the work and "expense" involved in making multiple versions of a single game map with significantly different environmental variables. George A. Romero's "City of the Dead" Game designer American McGee posted on his blog in August 2004 that he—through his firm TMIEC—was collaborating with zombie film pioneer George A. Romero and Asylum Entertainment (not the Wes Craven game company) on a "new [game] concept" titled City of the Dead. McGee said they already had a developer "lined up," and they were "in the process of shopping the interactive rights to games publishers." He also said the game's tagline was "the goriest game ever made," and mentioned Romero was keen on involvement in the game's development and marketing campaign. In December, McGee's firm helped broker a deal between Romero's Living Dead Productions and publisher Hip Games for the George A. Romero series of games for PC and consoles, including City of the Dead. Just prior to E3 2005, Hip Games officially announced City of the Dead for an early 2006 release, and confirmed the involvement of developer Kuju Entertainment and "horror icon Tom Savini." Hip also revealed the game's developer, Kuju Entertainment, and provided details about the game. City of the Dead was a shooter focusing on four survivors who exited a "zombie infested city by helicopter," only to have their helicopter crash on an island infested with zombies. Additionally, players could choose whether they wanted to be a person or zombie in the game's multiplayer. City of the Dead was a shooter focusing on four survivors who exited a "zombie infested city by helicopter," only to have their helicopter crash on an island infested with zombies. E3 previews characterized City of the Dead as an ultraviolent, frantic and unpretentious arcade first-person shooter in which you could shoot a bunch of zombies. Writers did, however, make note of the game's Burnout-inspired "one-shot" mode in which players lined up a shot in hopes of inflicting as much zombie damage as possible. In July, a few months after E3, Hip Games publisher Hip Interactive filed for bankruptcy, throwing the publisher's slate of titles—including City of the Dead—into limbo. Kuju confirmed in August that it was working with Hip's receiver Ernst & Young to shop the game to publishers, but none ultimately picked up the game, and City of the Dead was cancelled. Above: E3 2005 trailer for City of the Dead. Warning: Contains graphic zombie violence. John Singleton's "Fear & Respect" In late September 2004, about a month prior to the release of Grand Theft Auto: San Andreas, Midway announced Fear & Respect, a third-person action title that put players in the shoes of a "retired" gang member in South Central Los Angeles drawn back into the gang world after his release from prison. The game, developed in partnership with Oscar-nominated writer-director John Singleton, was set for release on PlayStation 2 and Xbox in late 2005. The press release was scarce on details, and made no mention of a developer, leading some to erroneously conclude Midway was developing the game internally. A few months later, Fear & Respect re-emerged as the subject of an eight-page Game Informer cover story, which revealed an assortment of details about the game. Singleton, a lifelong gamer, told the magazine that he worked with his agent for years "pitching games" to various publishers "around the world." Singleton had caught wind that "Midway was interested in doing a street game," and met with the company to pitch several game ideas he had, including one that eventually became Fear & Respect. Shortly after he struck a deal with Midway for the game, Singleton brought on his longtime friend Snoop Dogg, who was apparently also in discussions with Midway for his own game, as a collaborator on Fear & Respect. Working alongside Midway and developers Edge of Reality, Singleton hoped to channel his upbringing in South Central to create a realistic portrait of the community that transcended mere exploitation and meaningfully contextualized the game's action. Singleton said he also wanted to use the game's narrative as an opportunity to explore the causes and effects of urban violence, a common thread of Singleton's earlier oeuvre that is almost entirely absent from gaming. Scott Lane, Midway's executive producer for Fear & Respect suggested to Game Informer that he thought "Singleton's presence [would] help blunt criticism of the game from all quarters, be it the residents of South Central or media watchdogs." The game's narrative focused on the aforementioned retired gang member—Goldie (voiced by and visually based on Snoop Dogg), a South Central resident who has two strikes on his criminal record and faces a life sentence if he receives a third strike, as per California's sentencing laws. Goldie genuinely wants to break from his criminal past, but as Game Informer explains, upon leaving prison, enemies he made inside jail "put out a hit on [Goldie]." And he gets further entangled "when his nephew gets in trouble," according to an IGN interview. To help give insight into how Goldie developed into a gang member, Fear & Respect featured a number of flashback sequences showing seminal moments in his formative years, such as the murder of his father. The game's primary novelty was a so-called "Fear & Respect meter," a sort of BioWare-esque moral binary game mechanic that Game Informer said "was conceived by Singleton himself." Fear & Respect was mostly a typical linear third-person action game with an emphasis on fists, gunplay and occasional stealth sequences, though producers wanted the game's action to feel rough and realistic. There were also small quasi-sandbox hub areas Game Informer likened to an RPG village where players could interact with NPCs, choose side quests, and learn more story details. The game's primary novelty was a so-called "Fear & Respect meter," a sort of BioWare-esque moral binary game mechanic that Game Informer said "was conceived by Singleton himself." The actions players took at pivotal moments of the game (choosing whether to kill a particular character or not) determined whether one gained fear or respect. The amount of fear or respect you collected influenced other NPCs' responses to you, as well the game's overall narrative. Letting a rival live early on could have posed problems for Goldie later on in the game. And there were three endings depending on where the player ended up on the meter — a fear ending, a respect ending and a neutral ending. Unfortunately for Midway, following the enormous success of San Andreas, Fear & Respect didn't seem to quite strike a chord with the masses, and the presence of Singleton did not seem to make much of a difference. The game soon disappeared — Midway did not show it at E3 2005, and announced a delay to 2006 just prior to the trade show. In August, GameSpot reported the game was moved to next-gen consoles "as a result of Midway's desire to make the game the AAA hit it believes it can be." In March 2006, then-Midway Games CEO David Zucker confirmed Fear & Respect's cancellation, but hinted that "[Midway was] still working with Snoop [Dogg] and John Singleton to do a game." Of course, no other Singleton/Snoop Dogg/Midway projects ever came to fruition. John McTiernan's Mystery Action Stealth Game In his early 2005 Hollywood Reporter article on Ubisoft's collaborations with Hollywood, contributor John Gaudiosi mentioned Die Hard director John McTiernan "[was] working with Ubisoft Paris on a new action stealth game." McTiernan told Gaudiosi that he wanted to "challenge" of working with a "team of developers because he was curious about the nature of the game business and how it worked." Gaudiosi wrote a Wired article several months later listing various director-gaming collaborations in the work, and identified the McTiernan project. Gaudiosi described the "untitled project" as "[a] heist caper game mixing action and stealth, set in contemporary Moscow," and dated it for release sometime in 2006, which never came to pass. In the piece, McTiernan also provided the following goofy quote: The hero is not the protagonist in action movies, he's the antagonist. The villain wants to change the world, and the hero just tries to stop him. And that's exactly how videogames are - they move forward based on your reactions to the villain's actions. A few years later, Gaudiosi mentioned briefly in a report that McTiernan had worked on Ubisoft's stealth-action franchise Splinter Cell, which a source familiar with the McTiernan-Ubisoft collaboration said occurred following the cancellation of the original stealth title. The source said the McTiernan-Ubisoft project "kicked around [for] awhile," and likened it to an early heist-themed iteration of Pandemic's Saboteur. Tony Scott's "Career Criminal" In January 2005, Midway Austin began developing a project called Career Criminal (later known as just Criminal) with Kent Hudson on board as creative director. Harvey Smith, a long-time colleague who had recently joined Midway Austin, lured Hudson to work on the project. Hudson said Career Criminal had already existed in the form of a hefty conceptual document circulating around at Midway, and he even heard another developer had previously created a prototype of the concept for Midway. That developer appears to be The Collective, who spent a year working on a considerably different, ultraviolent permutation of the concept (under the name "The Executives") after the developer wrapped up work on their Xbox Buffy the Vampire Slayer game in summer 2002. Criminal was an open-world crime game, but Hudson believes the game stood out from other titles in the genre because of the focus on virtualizing the experience of "being an intelligent criminal," which entailed a greater emphasis on "elaborate heists" over the "low-level violence" often found in open-world games. "There were systems in place to discourage violence, and the game incorporated the kind of planning and meticulous execution you see in heist movies like [Michael Mann's 1995 film] Heat," Hudson said. He said the game also featured stealth elements—such as a lock picking mini-game—to allow for alternate approaches in executing heists. The player's character worked with a crew to execute heists, and they could designate particular functions to their crew members. Hudson mentioned Michael Mann's crime epic as an initial major influence on the game's design, and cited the "We're here for the bank's money, not your money!" scene when describing what he thought was the most unique feature from Criminal—the ability to use intimidation to control a crime scene without killing anyone. "[The player] would start a heist [in the game] with a big 'Everybody get down!' moment, and once people were on the floor you could go around with your gun and point it at individual people, yelling at them to stay down instead of killing them," Hudson elaborated. However, NPCs you were trying to hold hostage would also try to escape out the door while you were looting items, so players had to balance their thievery with using intimidation to prevent hostages from escaping. And cops arriving on the scene at the conclusion of a heist triggered a chase sequence. When scoping out a potential robbery target, the player's character entered a location appearing to be normal customer, but then began attempting to ascertain the locations of security measures like alarm panels, security cameras and guards. Hudson also detailed the game's planning mechanics: when scoping out a potential robbery target, the player's character entered a location appearing to be normal customer, but then began attempting to ascertain the locations of security measures like alarm panels, security cameras and guards. If the player did all of these successfully, they were much closer to flawlessly executing their heist. Criminal also had the involvement of the late action auteur Tony Scott, who came on board a couple years into the game's development. Hudson admitted he is not 100 percent certain on the circumstances leading to their collaboration, but he recalled "someone in Midway marketing [having] a preexisting work relationship with [Tony Scott] and [floating] the idea [of working on Criminal] to Tony." Hudson added that the team was excited about the prospect of the collaboration. as they were big fans of his work. Hudson was saddened to hear of the director's passing last year, and said he still cherishes the experience of collaborating with Scott. Although the ins and outs of game production were new to Scott, Hudson said the director was "really engaged with learning about new things" and demonstrated an insatiable curiosity about the development process. "[What] I remember most about him [is that] he was always energetic and happy, [and] always excited to talk about the creative process. "We talked a lot about the differences in the creative process between movies and games, and we also talked about ways to draw from his movies," Hudson added. "For example, in his later films [such as Man on Fire and Domino], he started putting text directly on the screen, and we played around with doing that in the game as well, specifically in the heist introduction scenes." Hudson characterized the collaboration with Scott as multifaceted: not only did Hudson's team at Midway Austin work with Scott, but they also had access to his larger creative team, including a writer, Scott's producing partner and creative collaborator Skip Chaisson, and photographer and visual consultant Gusmano Cesaretti. According to Hudson, Scott's writer worked with the team on the game's script; Chaisson, a martial arts buff, helped the team implement nonlethal mechanics and other "nuts and bolts" work; and Cesaretti sent massive amounts of visual materials of "real-life criminals and gangsters" curated with Scott's help. Although Criminal began as a Michael Mann-esque game inspired by Collateral and Heat, after Scott came onboard, Hudson said the team worked to integrate director's sensibility throughout the project, and his touch was particularly evident in the game's cinematic style. Hudson remembers the malleability in the creation of cutscenes as being as particularly epiphanic for Scott, who was accustomed to having to deal with careful choice of specific lighting, angles, and film stocks in live-action film. After more than three-and-a-half years of work, a struggling Midway decided to cancel Criminal and make the game's team largely redundant. When explaining the decision for the game's cancellation, then-Midway CEO Matt Booty said he did not believe that Career Criminal had a decent chance of achieving success given the game's "resource needs, feature set, schedule and financial profile." Hudson estimated that Criminal was "still at least a year from completion" at the time of its cancellation, and says the team "had done a fairly significant pass of refocusing the game and scoping it down in the months before [the game] was cancelled." The team had been expecting an announcement sometime in 2008, but ultimately that never came. Editor's Note: Because Superannuation has dug up so many fascinating stories about failed Hollywood-gaming collaborations, Kotaku is presenting just the first half today. The second half, covering the gaming exploits of Guillermo Del Toro, Jerry Bruckheimer, Peter Jackson, Lars Von Trier and more, will be published next week. superannuation is a self-described "internet extraordinaire" residing somewhere in the Pacific Time Zone. He tweets, and can be reached at heyheymayday AT gmail DOT com. Photos in this story are from Getty Images.

Here’s what’s going on Talk Among Yourselves, our reader-written blog: GiantBoyDetective declares that Japan, not the U.S., made the most American game ever. NotGoodForYou theorizes why Killing Floor: Calamity could wind up being great. And, FrogFro wants to know what you’re listening to. And you can always go join the voices talking about video games and life in TAY Classic and in the TAY: Open Forum.

Okay, it doesn't really have a dance soundtrack. But for some reason, developer Realmforge Studios thought it appropriate to go with a somewhat nightclubby mood for their stealth-action game's release trailer. DARK is, obviously, a vampire game. It stars Eric Bane, a fledgling vampire who's trying to hunt down his sire (ie. the vampire who first bit him) before he turns into a mindless ghoul. On the way, he takes on several missions in a wide variety of locales, where he presumably sucks the blood out of at least a few dozen unsuspecting guards. Here's Realmforge's features list: Stealth and action combine as players walk the world in darkness and silence, attacking their unsuspecting foes with supernatural furyUse powerful vampire abilities and hard-hitting melee attacks to defeat dangerous enemies — turn into a puff of smoke and disappear, or close in on your foes in an instant!Powerful and intelligently controlled AI enemies mix the fantastic with the real-world. Battle police and elite special forces along with ghouls and other vampiresCastles, museums, skyscrapers, nightclubs and more are rendered in stunning 3D cel-shaded graphics, beckoning the player to explore — but beware, powerful enemies hide everywhereRPG element mix with a compelling story – players will build up their skills through successful evasion and combat, while advancing the story through conversations with NPCs Judging by that trailer, I'm not so sure about the stunning graphics part—but hey, it might scratch that vampire game itch. Or it might just remind you to play through Vampire: Bloodlines again. Either way, win-win, eh? DARK is out now on Xbox 360 and on PC via Steam. Questions? Comments? Contact the author of this post at andras-AT-kotaku-DOT-com.