Haven: Call of the King
| Industry | Video game development |
|---|---|
| Products | Haven: Call of the King |
Haven: Call of the King is a 2002 action-adventure title developed by Traveller's Tales and released by Midway Games exclusively for the PlayStation 2. Although versions for Xbox and GameCube were planned under the publishing of Xicat Interactive, these editions were ultimately cancelled, along with a proposed Game Boy Advance adaptation.
Conceived as the inaugural entry in a trilogy, Haven underwent over three years of development, blending multiple gameplay styles such as action, platforming, puzzles, shoot 'em up sequences, racing, and space combat. Midway coined the term "FreeFormer gameplay" to highlight the game's fluid transitions between these diverse genres.
Despite an extensive marketing push branding it as "the next major development in videogaming," the game garnered mixed critical responses. Reviewers often pointed to its ambitious scope as a factor that diluted the quality of individual gameplay elements. The title failed to attract significant media buzz or commercial success, leading to the cancellation of its planned sequels.
Gameplay
Primarily, Haven: Call of the King functions as a third-person action-adventure experience with strong platforming components. The player controls Haven, who can perform actions including jumping, double jumping, crouching, attacking, and activating an energy shield. This shield absorbs incoming projectiles but drains energy when used; it can also be wielded offensively through a "shield smash" move effective against certain foes or to access hidden areas.
The protagonist’s main weapon is a customized yo-yo known as a "mag-ball," which serves multiple purposes: combat engagement, breaking objects, and maneuvering on "mag-rides"—electrically powered transports scattered throughout stages. The mag-ball also enables a special "power-spin" attack. In addition to this weapon, Haven gains access to various firearms that temporarily replace the mag-ball, including laser guns, rapid-fire cannons, ricochet weapons, five-way shooters, and plasma arms.
Collecting items plays a significant role: hearts restore health; catana orbs refill an antidote meter that prevents health deterioration; shield energy pickups replenish defensive strength. Feathers summon Talon, a mechanical bird vital for progression and uncovering secret zones. Cogs activate machinery necessary for advancing the narrative. Silver keys open Runepots containing Runestones required to enter secret Runetowers. Successfully completing challenges within these Runetowers grants Black Diamonds needed for full game completion.
Additional gameplay modes incorporate varied control schemes: jet packs provide upward thrust at the expense of fuel; gliders feature air brakes; biplanes allow barrel rolls; speedboats and quadracers include acceleration and braking mechanics; turrets and spacecraft utilize missile attacks with targeting locks. The late-game spaceship Sunsurfer offers multiple missile types alongside an equipable shield system.
Background
A thousand years prior to the events portrayed in the game, King Athellion departed his realm to join an interstellar crusade, leaving behind the Golden Voice bell atop the Mount of Sighs—a signal meant to announce his return if necessary. Subsequently, Lord Vetch conquered Athellion’s people and enslaved them in mining operations. To maintain dominance over his subjects, Vetch infected all slaves with a virus that required continual antidote administration—a supply he controlled exclusively—while simultaneously erasing all memory of both the Golden Voice and King Athellion himself.
Plot
The narrative begins with Vetch (voiced by Steve Tarlow) receiving information from his lieutenant Overlord (Jason Gregory) that a slave named Haven has been experiencing visions of the Golden Voice, which Vetch intends to exploit for his own ends. In Ferra’s Virescent Village, Haven (Jake Rosewall-Gallagher) works in the mines and observes a guard interrogating his friend Chess (Regan Kerwan). After an unsuccessful attempt to shoot Haven triggers a mine collapse, he awakens to find Chess has disappeared.
Determined to find her, Haven arrives at Darkwater Castle where Overlord is questioning Chess about Haven’s dreams. Haven kills Overlord and liberates Chess, who reveals that while imprisoned she heard tales of a wise old slave residing on the Isle of Heroes. There, the Wise Man (Terry Bertram) shares the legend of Athellion: after failing to conquer the city of Aurias—protected by its blinding light—Vetch bribed a council member to unleash a virus upon it. The location of the Mount of Sighs had been forgotten over time, but the Wise Man provides Haven with a map directing him there.
Upon reaching the Mount, Haven rings the Golden Voice bell and discovers he must await Athellion’s return. Chess contacts him requesting an antidote, prompting Haven to return to Ferra to rescue her. However, Chess discloses her true loyalty lies with Vetch, who has placed her as a spy among the slaves to monitor any mention of the Golden Voice. Vetch admits manipulating Chess to draw Haven away from the Mount because if the bell-ringer leaves, Athellion is compelled to appear where they are—Vetch’s plan is to kill him there.
Once Chess’s role is fulfilled, Vetch condemns both her and Haven. Athellion arrives and offers surrender in exchange for their lives; Vetch agrees but subsequently imprisons them and transports Athellion back to the Mount. Haven manages to escape but fails to free Chess and pursues Vetch alone. At the Mount of Sighs, Haven witnesses Vetch kill Athellion but ultimately defeats Vetch in combat. Unable to kill Haven due to the Mount’s power, Vetch chains him beside Athellion’s corpse and leaves him to perish—ending on a cliffhanger.
Development
Haven: Call of the King was announced on 16 May 2002 when Midway Games collaborated with Traveller's Tales to create a multi-genre title. Midway disclosed that it would be a third-person experience blending platforming with turret shooting, land and water racing, space combat, and arena-style battles. Initially released for PlayStation 2, versions for Xbox and GameCube were planned subsequently.
The game was showcased at the 2002 E3 with a playable demo featuring levels set in Virescent Village and a refinery. Midway highlighted the open-world gameplay that enabled players to explore expansive environments on foot before seamlessly piloting spaceships into outer space and back. GameSpot praised the smooth transitions without loading screens and noted how environmental detail dynamically increased as players approached.
In an interview from June, Traveller's Tales revealed that development had spanned over three years, initially self-funded before Midway's involvement. They engineered a proprietary game engine facilitating fluid transitions between third-person action and vehicle control, also supporting dynamic cutscenes with sweeping camera movements. Utilizing PlayStation 2's vector processors, they generated fractal landscapes allowing extended draw distances. The game incorporated day/night cycles and weather effects such as rain influencing character behavior. Traveller's Tales aimed for invisible loading through efficient streaming and memory management. Plans for post-PlayStation 2 releases included Game Boy Advance, GameCube, and Xbox versions.
In 2006, writer/director Jon Burton explained his inspiration drawn from the classic Mercenary, focusing on progressive world exploration via diverse vehicles—from boats to spaceships—that allowed players to traverse fractal planets with varied environments.
By July, a more complete demo demonstrated platforming, space battles, racing segments, and underwater exploration. The storyline was developed first with concept art by Rodney Matthews; specialized designers handled individual gameplay genres before integration into a cohesive experience by the core team. The engine showcased advanced effects including heat distortion, particle systems, real-time lighting and shadows, reflections, day/night cycles, and dynamic weather.
GameSpot remarked that PlayStation 2’s vector units enabled impressive fractal landscapes along with seamless transitions from planetary surfaces into space without loading interruptions. Detail levels adjusted dynamically based on altitude during flight sequences.
Despite these technical achievements, by August IGN's Hilary Goldstein expressed concern over the game’s low visibility and limited promotional efforts. On 30 October, Midway trademarked "FreeFormer gameplay" to describe its cinematic-style fluidity across multiple gameplay mechanics in Haven: Call of the King.
Cancelled ports
On 29 May 2003, Xicat Interactive announced intentions to publish versions for Xbox and GameCube despite poor sales on PlayStation 2; however, neither port was ultimately released.
Reception
Haven: Call of the King garnered mixed reviews according to Metacritic.
GameSpot’s Mathew Gallant described it as "an often surprising action-packed platformer featuring distinctive style and considerable challenge," though he criticized the mag-ball weapon for complicating gameplay and causing frustration. He noted its fast pace and variety would appeal to platformer enthusiasts despite some control issues.
IGN’s Chris Roper commended its diverse gameplay and smooth integration of genres but found the narrative weak with certain sections becoming dull or frustrating. He concluded it was an ambitious title worth experiencing for its gameplay variety.
Eurogamer’s Kristan Reed regarded Haven as an above-average platformer influenced by games like Jak & Daxter and Ratchet & Clank, though lacking groundbreaking innovation. He acknowledged its appeal for dedicated platform fans despite not surpassing its predecessors.
GameRevolution’s Johnny Liu criticized its core platforming as generic item collection with inconsistent graphical quality. He felt ambition was undermined by attempting too much without allowing players freedom to switch gameplay styles at will.
GameSpy’s Benjamin Turner appreciated efforts to blend platforming, third-person shooting, and vehicular action but found execution mediocre across all areas. He highlighted problems with collision detection, level design flaws, and issues with the mag-ball weapon; concluding that while more polish could have elevated it into a good game, it ultimately felt unfinished.
Cancelled sequels
Originally intended as the first entry in a trilogy, Haven’s commercial failure halted development on subsequent installments. Writer/director/designer Jon Burton considered this project highly personal; in 2006 he remarked that because it started as a straightforward platformer many players and critics dismissed it: "Because the first hour was basically a platform game people would play the game and write it off as another platformer." Burton had clear plans for continuing the storyline which was crafted as an allegory reflecting themes from the Christian Gospel: