Author: Richard

Before the towering Kevin Peter Hall transformed Predator (which also battled Wolverine in a crossover) into one of cinema’s most legendary monsters in John McTiernan’s 1987 film, “Predator,” a then-unknown Jean-Claude Van Damme was cast to portray the antagonist. Action and sci-fi enthusiasts are aware of this fact as the narrative and background are notorious due to Van Damme’s notoriously challenging demeanor on set – even prior to his rise as the well-known action figure he is today. He was required to don an alien costume that bore no resemblance to the final version presented in the original movie and its initial sequel.

As special effects artists Steve Johnson and Matt Winston reminisced in a behind-the-scenes segment (via Stan Winston School), the original Predator outfit looked like a gigantic insect with an ant-esque head. It seemed more suited for an episode of the “Mighty Morphin Power Rangers” rather than an R-rated sci-fi action horror thriller. Van Damme despised it for various reasons. He deemed it ridiculous, physically confining, and struggled to breathe through a tube that was meant for that single purpose. He was chosen for the role primarily due to his agility in martial arts, effectively serving as a stunt performer. When it became clear that he couldn’t manage in the oversized rubber outfit, he was dismissed — along with the costume that the studio ordered to be reworked after viewing some test footage.

That is the largely accepted narrative of how JCVD departed from the Predator series before it truly got underway. Yet, if you inquire with the actual individuals involved in the film’s creation (as The Hollywood Reporter did in 2019), the personal stories become increasingly bizarre and contradictory with each recounting.

Different accounts of why Jean-Claude Van Damme was let go from Predator

According to THR’s article, “Predator” producer Joel Silver, actor Bill Duke, visual effects supervisor Joel Hynek, and stunt coordinator Craig Baxley all have slightly varying memories of what transpired concerning Jean-Claude Van Damme and the horrendously unattractive suit. Some assert that Van Damme exhibited an attitude issue from the very beginning, believing he was there to display his kickboxing skills. Others claimed he fainted multiple times during filming, due to the suit feeling like a rubber sauna in the heat of the Mexican jungle, leading to Silver’s decision to terminate his employment after a few weeks. There is also an account suggesting that Van Damme became alarmed when the costly ant-like prosthetic head was placed on him. He removed it and threw it to the ground, effectively shattering the piece.

We may never determine precisely what occurred, and that’s perfectly fine, as it truly holds no significance. Losing the role turned out to be a fortuitous turn of events for Van Damme, who seamlessly transitioned to filming 1989’s “Kickboxer,” which launched his career. With the costume revamped and a new stuntman stepping in, “Predator” achieved remarkable success at the box office, grossing over $59 million globally against a $15 million budget (via Box Office Mojo). It became one of the finest sci-fi action films ever produced. Ultimately, everything resolved in the best possible manner for all involved — and such outcomes are rarely witnessed in Hollywood.

The National Videogame Museum has announced its acquisition of a much-talked-about and iconic piece of video game heritage — the Nintendo PlayStation console, also known as the Sony MSF-1. This is the earliest known model of the collaborative console and, at present, the only unit believed to exist. It’s a bulky, unappealing device that bears little resemblance to what one would anticipate from a contemporary console. To comprehend the background, we need to travel back in time.

The original Sony PlayStation transformed the gaming landscape in 1994-1995 and set the foundation for modern gaming. It was the first to offer real-time rendering of intricate 3D environments and transitioned from cartridge-based game distribution to compact discs. However, a lesser-known aspect of the console’s early concepts, or rather its initial design, is that it was a joint effort between Nintendo and Sony. At that time, the industry was largely controlled by Nintendo and Sega, making a collaboration with Nintendo quite logical. As part of this partnership, the Sony console under development would have accommodated both the company’s soon-to-be hallmark CDs and Nintendo-style cartridges, while significantly enhancing the SNES’s processing power. Nintendo eventually withdrew from the agreement, and Sony proceeded to create the console known today as the PlayStation.

The Sony MSF-1 is an early prototype of the Super Nintendo CD add-on, which never reached final production nor underwent a more consumer-friendly design update. The National Videogame Museum now displays it at its facility in Texas, where those interested can view it up close. Additionally, the museum boasts the incredibly rare Atari Cosmos console, paired with a vast assortment of renowned video game displays.

The Sony MSF-1 is technically not a console

One of the first things you might notice, especially from the side angle, is that the MSF-1 oddly does not resemble a console at all, although it could align with the form and style of a traditional Nintendo console, like the SNES. This is due to the fact that it was initially intended to be an attachment. In the side view, you can spot a connector that likely would have plugged into the console’s cartridge port. On top of the MSF-1 is an additional cartridge port, alongside a separate compact disc slot at the front. This unit would have been referred to as the “Play Station,” or the SNES-CD.

Naturally, it boasts a completely different design than the Nintendo PlayStation Superdisc, or the original prototype held by one of the PlayStation co-creators, which was auctioned for $200,000. Consumer electronics often undergo numerous prototype stages to refine and test designs before their official launch. Interestingly, you can observe the various phases of this process in the early models of the Nintendo PlayStation, from the add-on for SNES to the operational console prototypes that are equally rare. It indeed raises questions about how circumstances might have unfolded if the Sony and Nintendo partnership had succeeded. The fallout of the collaboration is frequently cited as a catalyst for Norio Ohga, President of Sony, and Ken Kutaragi, Sony’s lead engineer, to significantly accelerate the development of the Sony PlayStation project. This is particularly noteworthy considering that the Sony PlayStation 5 has now sold over 50 million units and achieved tremendous success.