Exclusive: Unveiled – Michael Jackson’s Aborted Game ‘Dark Rim’ by Shiny Entertainment, Creators of Enter the Matrix

Intriguing revelations have surfaced about a potential collaboration between the legendary musician Michael Jackson and Shiny Entertainment, the studio behind Earthworm Jim and Enter the Matrix. As detailed in a recent blog post by David Perry, founder of Shiny Entertainment (as reported by Time Extension), this partnership was once under discussion.

The story unfolds during the production phase of Enter the Matrix when Perry received an unexpected call from Michael Jackson’s Neverland Ranch. The King of Pop, a fervent admirer of The Matrix, inquired about playing Enter the Matrix before its release. In response, Perry arranged a visit to the ranch to demonstrate the game.

During this encounter, an unexpected event transpired: an impromptu egg fight erupted, with Perry nearly hitting Jackson’s son in the face with an egg. This lighthearted anecdote adds a unique twist to the tale of this potential collaboration that never came to fruition.

Following the meeting, it appears that Jackson extended an invitation to Perry and writer David Freeman to his Ranch with the intention of brainstorming a novel concept for a video game. Contrary to popular belief, this project was not intended to be a self-aggrandizing endeavor, as stated by Perry.

Rather than creating Michael Jackson: The Game, where players would embody the iconic artist, dance, perform, and potentially battle antagonists with music, the trio envisioned something far more ambitious. As Perry recollected, “Michael had already explored the realm of Moonwalker, and we were aiming for something grander and more captivating.”

Instead of centering the game around Jackson as the main character, they conceived a “serious, cinematic, third-person action-adventure game” that would showcase “original music, imagination, access to the realms of film and celebrity, and his distinctive sense of wonder.”

Perry disclosed that the game underwent various working titles, with Dark Rim being the final contender. Although he has yet to reveal any visuals from his archive of documents, he described the initial concept as a “fantasy action-adventure about kingdoms, war, magic, and a hero navigating different versions of truth.” As it evolved, the game morphed into something darker and more psychological, delving into themes such as dreams, depression, consciousness, and a hidden realm beyond sleep.

In an intriguing revelation, the game’s creator shared that one of the central gameplay concepts was remote possession. This feature would allow players to experience a battlefield from an eagle’s perspective, then assume control of other characters. The innovative idea extended beyond conventional combat, enabling players to manipulate enemies to open gates or turn creatures against their masters. The primary objective was not merely to provide weapons but to bestow powers that transformed the player’s perception of space, identity, and control.

The game world was populated with gifted children in villages who imparted unique abilities to players. Battles were more than just fights; they were ongoing conflicts that players would join mid-stream. The villains manipulated kingdoms from behind the scenes, and there were intricate themes of illusion, sound, magic, and the mind woven into the game. Ambitious indeed, perhaps even too ambitious, but such was the grandeur of the project.

In his reminiscence, Michael Jackson’s collaborator, Jordan Mechner, reflected on the untapped potential of a groundbreaking project. “At the time,” he mused, “games were beginning to garner significant attention, yet there remained a vast demographic that was still not fully grasping their appeal.” This group perceived games as a niche pursuit for children or adolescents, a misconception that Jackson’s global audience aimed to shatter.

Mechner’s vision was far-reaching. His audience transcended geographical boundaries, age groups, and cultural divides. The proposition was simple yet revolutionary: if Jackson’s next album could only be accessed through a video game, millions of individuals, hitherto uninitiated in the world of gaming, would embark on their first digital adventure.

Unfortunately, the game never saw the light of day. Mechner attributed this to “life taking its turn,” a cryptic phrase that may allude to various factors. However, it’s worth noting that the release of Enter the Matrix, another Jackson-themed game, occurred merely three months after the controversial documentary Living with Michael Jackson, and seven months before the singer was indicted on seven counts of child molestation (which he was acquitted of in 2005).