Support Strikers

  • Reading time:4 min(s) read

So here’s a hot take.

The King of Fighters has always carved out a queer-friendly space. It has an enormous cast, defined more than anything by personality dynamics—representing a huge array of gender expressions and unconventional relationships. The team dynamics in this series are akin to found families. With a few exceptions, no one in KoF is ever fighting alone. Personal support systems are the norm.

Of the fourteen main games in the series, The King of Fighters 2001 is easily the queerest—with ’99 as closest runner-up. (That whole K’/Krizalid storyline sure is something!) Those bookends to the NESTS saga (the second story arc in the series, with KoF 2000 in the center) are the most I-don’t-give-a-fuck, expressive chapters in the series, unconcerned with expectations, with fitting into forms. Instead they spend their time grasping and scraping the margins to say what they feel they have to say, even if it comes off as broken or ugly or annoying.

The preceding Orochi saga had been, to a large extent, about living up to roles and expectations foretold centuries before one was even born. There are queer dynamics within that, but what’s astounding about the NESTS arc is how it dumps the rest and redoubles its attention on those elements.

There is something so essentially queer about the NESTS saga, coming up as it does to shred everything that came before, oust the main character, and refocus the series on this new sci-fi story about finding identity that’s been systemically stolen.

The team dynamics, which define KoF as a sereies, becomes all the stronger in this period, with larger teams allowing a more complete and varied support system and more potentials for character interaction. Part of the story progress is watching the likes of K’ slowly assemble his crew—which takes almost-full form with 2001.

All of the principle cast, during the NESTS years—it’s about discovering who they really are apart from how everyone else views them and all the burdens they carry. Even Kyo and Iori getting dumped from the burden of series leads for a while to focus on each other fits this.

2001 is the least fuckful of the trilogy, both in its astounding-it-even-got-made design and its story and aesthetics. It is what it is. The characters are embracing who they are, the good and the bad. The art isn’t trying for gloss: it’s as straight-up expressive as it’s been. I am on record for feeling the most affinity with this game, out of all of them. I think I’m developing a better handle on why.

King, the most stable presence in the franchise—so named for her gender ambiguity in her first role.

Also, on the EDM/queerness axis, the NESTS era has the best music in the series. Which is saying something, considering the series is known for its music almost as much as Castlevania or Mega Man or Sonic. Into which I stubbornly rope the 2001 AST, yes:

Though given their polish, ’99 and 2000 are a bit of an easier argument:

I mean. If you’re gonna have a queer-coded sci-fi revamp, might as well go full EDM, right?

And Christ, if we’re talking about associated emotional issues, the level of angst the series rises to in this arc:

List #1: A Ranking of Videogame Movies

  • Reading time:13 min(s) read

A while back I had a gig producing content for a social network that later took an unfortunate turn. Before all of this stuff disappears, I’m going to repost as much of that writing as I can.

We begin with a kind of stupid entry, dealing with videogames adapted into feature films. The idea is that people would vote these items up and down, producing a sort of ranked list. As it turns out, I drew up this list at about the same time as the list feature stopped to work and the site ceased to promote it — so not a single person voted. Oh well! Here it is in semi-alphabetical order.

Adapting a game to cinema is never an easy task. Videogames and film are different kinds of art, that serve to explore different things in different ways. Videogames are all about banging your head against the rules of the environment to get a sense of how a world works. Film is all about telling a story using a stream of imagery over time. In film, there is no way to actively explore rules and in videogames a story generally exists at best to lend context to what the player is doing.

So, most game-to-film adaptations stink. It is up to you, dear readers, to vote up the best of the bunch and to vote down the worst. Some of these are probably worth seeing! We’ll find out which, presently.

Alone in the Dark

This series has had a bad time of it lately. The first three games were groundbreaking; Shinji Mikami substantially cloned the games in creating his Resident Evil series. Then the properties started to shift hands. Whenever a new up-and-coming studio wants to try a few cool techniques, they seem to buy into the Alone in the Dark license. The results are always interesting on an experimental level but somewhere between horrible and disappointing when it comes to actual game design. The concept has also strayed pretty far from the original games. Our friend Uwe Boll seized on the property for cheap, as people tend to, and spat this out. He managed to nab Christian Slater as Edward Carnby. This was before Boll’s reputation became public knowledge.


The second of many Uwe Boll films to clutter this list. Uwe Boll is a strange character; a charlatan who deliberately makes the quickest, worst movies possible so that he can cash in on Germany’s national film funding and various forms of insurance. It’s like he saw Mel Brooks’ The Producers as a set of step-by-step instructions.

The Bloodrayne games were exploitative trash following in the wake of Tomb Raider; they only really existed to cash in on the existing development climate. So, hey. Uwe Boll comes up to you with a small wad of cash, you take it. Result: another Uwe Boll movie.

DOA: Dead or Alive

The games started off as hacks of Virtua Fighter that added ridiculous breast physics and somewhat more visceral back-and-forth combat. They later developed into a consciously exploitative and yet still technically respectable series that can just about get away with its T&A action on the basis of its solid game design. Aside from the boobs there’s still little reason to play the games over any other first-tier 3D fighter, but whatever.

What I wonder is why so, so many game movies are based on games from such inappropriate genres. How many fighting games do we have on this list? Granted, the DOA characters do have convoluted backgrounds — but really, is there a story here?


Andrzej Bartkowiak was cinematographer on plenty of respectable films, from Falling Down to Speed to U.S. Marshals. As a director… hmm.

Well, it’s got Eomer from Lord of the Rings in it. And Dwayne “The Rock” Johnson.

Later, the same dude would go on to direct Street Fighter: The Legend of Chun-Li. Some career he’s building up, here.

Double Dragon

Man, remember when these games were big? Technos took the gaming world by storm, first by creating the first versus fighter (Karate Champ), then by creating the first side-scrolling brawler (Renegade), then by refining the latter model into a two-player masterpiece full of advanced moves, interactive and varied terrain, weapons that you can pick up and carry, distinctive enemies, and some of the rockingest theme music ever. The story was simple: Billy Lee’s girlfriend gets kidnapped by street punks, so he and his brother Jimmy set out to rescue her with their fists. The movie… it’s something about a magical medallion that gives a couple of middle-class kids the power to beat up mutants. Not sure where this came from.

Far Cry

I didn’t even know that this movie existed. The games are technically very advanced and ambitious first-person shooters that mostly take place in natural environments and have very stiff, stilted-feeling design. Uwe Boll apparently leapt in and grabbed the film rights before the game was even released. Joke’s on him; the series has actually become pretty successful. But conversely, Joke’s on Crytek and Ubisoft, because — well, Uwe Boll.

Final Fantasy: The Spirits Within

This movie nearly bankrupted Square, and put founder and FF series director Hironobu Sakaguchi in the doghouse, leading the way to his departure from Square soon thereafter.

See, as great as Final Fantasy VII was in many other respects, the thing that everyone talked about at the time was its pre-rendered CG cutscenes. For the next game, Sakaguchi decided to play to the crowd and made the cutscenes practically the whole point. From there, the logical next step was to just remove the game part completely. Thus, we have this weirdly neutered film. In place of the wacky fantasy of the original games, we have a clumsy and frankly boring sci-fi story calculated to appeal to American mainstream audiences — a goal undermined by the uncanny valley of mostly-realistic CG actors.


Basically these are action games with minor adventure and large third-person shooter components. You play as a hitman who largely has to find his weapons in the field, often through offing people along the way. So there’s a strategic element and a stealth element, and they have that free-form sandbox thing that was so popular in the early noughts. The movie… well, Roger Ebert liked it: “Hitman stands right on the threshold between video games and art. On the wrong side of the threshold, but still, give it credit.”

House of the Dead

House of the Dead is based on Sega WOW’s arcade shooting gallery series, and features a cameo from Sega of America’s then-president. By all accounts it is one of the more confusing things devoted to film, explained by the involvement of Uwe Boll. By the time the movie was released (to universal scorn), he had moved on.

In the Name of the King

Have you ever played Dungeon Siege? It’s a generic hack-and-slash RPG based closely on the BioWare/Black Isle design popularized by games like Baldur’s Gate and Neverwinter Nights. Generic enough and unlikely enough to make perfect Uwe Boll fodder. Yes, this movie is somehow an adaptation of the game. By all accounts it comes off like a pathetic Lord of the Rings clone — which puts it on a level with most fantasy fiction of the last 50 years or so.

The King of Fighters

Of all the fighting games that you could turn into a movie, The King of Fighters perhaps makes the most sense. KOF is basically a serial martial arts drama that has been going on since 1994, with yearly updates up through KOF2003 and then occasional chapters in the years since. The series features dozens upon dozens of characters, each with complex backgrounds and intertwined stories. The games themselves trace all manner of alliance, betrayal, and epic goings-on. You could create a long-running Smallville-type TV series out of this material with little effort. And yet this movie borrows only loosely from the games, then makes little sense of its own. Who is this supposed to appeal to? Why bother?

Lara Croft: Tomb Raider

The title says it all; by this point the game series had become a joke, and all that anyone remembered about it was its protagonist — who always looked uncannily like Angelina Jolie, so hey. There were two movies with Jolie, and as of early 2011 the series is now being “rebooted”. As with Silent Hill and Resident Evil, at least this movie more or less works cinematically, as a Mummy-level Indiana Jones knock-off.

Lara Croft Tomb Raider: The Cradle of Life

Supposed to be a little better than the first movie. Roger Ebert actually got a kick out of this one.

Max Payne

Marky Mark stars as Remedy’s satirically gritty New York sourpuss. In the game, Max is an ex-cop seeking revenge while under tremendous physical and emotional pain — pain that leads him to hallucinations and that he tries to, well, remedy with medication. In the movie, he’s being chased by literal demons and monsters.


The dude who directed the movie, John Moore, was also behind the 2006 remake of The Omen. The people who made the game, in a long tradition, have aired their grievances and distanced themselves from his work.

Mortal Kombat

The game is ridiculous trash, that cashed in on the success of Street Fighter by filling its sprite banks with bad photographs of bad actors posing badly. Its lasting impact on the industry is mostly the establishment of the ESRB rating board, the concept of finishing moves in fighting games and elsewhere, and an endless string of hidden characters such as Akuma/Gouki in the later Street Fighter games.

The movie realizes that the game is ridiculous, and builds on all the most memorably ridiculous parts to construct a joyously stupid yet technically proficient martial arts movie. In some ways, the movie gets across the spirit of the game better than the game ever did.


As with Ewe Boll’s other films, the Postal license must have come cheap. The movie came out in 2007; the original game — which also was exploitative trash masquerading as satire — was released a decade earlier. A sequel was released in 2003, that tried to cash in on the Grand Theft Auto/sandbox design mania, but by 2007 the games had pretty much faded from everyone’s thoughts. With good reason. All the better makings for a deliberate flop.

Prince of Persia: The Sands of Time

Donnie Darko plays an Arab in this adaptation of a remake of a remake of Jordan Mechner’s 1989 classic tale of bloody deaths, leaps of faith, and little brothers in pajamas. As with the Tomb Raider movies, it’s sort of trying to be the Brendan Fraser remake of The Mummy.

Resident Evil

Pure trash, plus Milla Jovovich. Still, it basically works as a movie — and worked well enough to span at least four sequels. It’s probably a good idea to focus on Jovovich’s original character rather than the game’s original protagonists.

Resident Evil: Apocalypse

The second RE movie, which introduces Jill Valentine and is largely based on the third game. Worth mentioning that writer Paul W.S. Anderson, aside from writing and producing all the films in this series, also directed the first and fourth RE films plus the first Mortal Kombat film; and produced DOA: Dead or Alive. The dude’s almost like a higher-rent Uwe Boll. Oh, he’s also married to Milla Jovovich; they met on the set of the first movie. So this is also a family franchise.

The movie was received much less well than the first one — which itself received mixed reviews at best.

Resident Evil: Extinction

Third movie in the series. Milla Jovovich continues in the lead role. Here the story branches away from the game series completely. Although we meet several familiar characters from Capcom’s games, the plot and setting are all new. If game game is influenced by anything, it’s probably Code Veronica, what with the addition of Claire and Wesker, and a few setpieces from the game.

Although critically panned, this one earned the studio a hell of a lot of money.

Resident Evil: Afterlife

Fourth movie in the series; now it’s in 3D and IMAX. Based loosely on RE5 — including the introduction, finally, of Chris Redfield. Again with the critical derision contrasted with box office success. Apparently it’s the “most successful production in Canadian feature film history.” It’s unclear if that’s in dollars or professional satisfaction.

Silent Hill

A pretty decent adaptation of a less than totally obvious game, clearly produced by people who loved them some Konami. The film is more or less an adaptation of the first game, with elements of the second, and most of the context removed. If Pyramid Head is the projection of James Sunderland’s subconscious violence toward women, why is he in the movie? Although Silent Hill has always had a sort of feminine quality to it, there’s a reason why the first game is about a hapless, and obviously kind of broke, single father rather than a happily married upper middle-class mother. Regardless, the movie works on its own terms up until the last fifteen minutes or so. Not sure what they were trying to accomplish there.

Street Fighter

The movie that killed Raul Julia. Why does it focus on Guile, when the game is all about Ryu and Ken? Because Guile is an American, and the film was made for Universal. So if Guile is American, why is he played by Jean-Claude Van Damme? Well…

Super Mario Bros.

Less an adaptation; more an acid trip experienced against a backdrop of the Teenage Mutant Ninja Turtle films. There may be some kind of surreal brilliance in this tale of subterranean fungus and human-shaped dragons, if you take it strictly on its own logic and merits. As a representation of Miyamoto’s game, though, it’s more like that weird 1980s cover art that was often more disturbing than the actual game content.


Another fighting game — albeit another one with deep, convoluted backstories for all its characters. Why adapt this instead of, say, Shenmue?

The guy behind the Tekken games, Katsuhiro Harada, wonders the same thing. “That Hollywood movie is terrible. We were not able to supervise that movie; it was a cruel contract. I’m not interested in that movie.”

Wing Commander

I’m not all that up on the Origin System games; from what I gather, they were huge because they were basically Star Wars games in all but name during that long period when Lucasarts avoided milking its film licenses and instead focused on games like Maniac Mansion and Monkey Island. The movie is a genial if somewhat generic sci-fi flick with that guy from Hackers. It’s totally watchable, if somewhat unrelated to the source material.

Teppoman 2 Jumps ‘n Sneaks ‘n Runs ‘n Guns

  • Reading time:1 min(s) read

Ikiki, an artist new to me yet well-known in some circles (and hugely active between 1999 and 2005), has reappeared from the woodwork to deliver one new major and one minor opus: respectively, Teppoman 2 and Nozumou.

Both games have sort of a covert SNK flavor to them, which comes across slightly in the design and greatly in the soundscape. The music and effects often have a King of Fighters feel, and with its mix of shooting, platforming, and humor Teppoman 2 will call to mind Metal Slug. Yet something about the game also also reminds me of P.O.W.: Prisoners of War — maybe the sounds, or how you recover weapons from enemies, or the limited ammo.

Anyway, Teppoman 2 brings a new perspective to the run-’n-gun by combining some advanced platformer elements and a slight stealth component.

( Continue reading at DIYGamer )

SNK: The Future is… Coming

  • Reading time:7 min(s) read

by Eric-Jon Rössel Waugh

I don’t know if this report even went live on the site. If so, it’s buried in the infrastructure. If not, well, that sort of thing happens at Insert Credit HQ. Either way, it’s here now.

Although my Wednesday plans called me to ask Akira Yamaoka stupid questions, on Wendesday Brandon called me to accompany him in asking SNK slightly less stupid questions.

We walked a dozen blocks, to a hotel decorated like a Roman bath. The door to the room was ajar; inside milled PR representative Michael Meyers, ensuring all was in place. On the enormous television to the right, the Xbox port of KOF: Maximum Impact; on the reasonable television head, the PS2 port of Metal Slug 4. On the coffee table to the left, a stack of DVD cases, the spine lettering on their temporary sleeves unified in all save size. Amongst these sleeves were The King of Fighters ’94 Re-Bout and Samurai Shodown V, and the new and unfortunate cover for Maximum Impact; to my recollection, all the sleeves were emblazoned with the Xbox logo.

While Brandon was drawn to Metal Slug, I asked of Michael Meyers questions that Brandon and I would again ask each subsequent person who entered the room.

E3 Errata

  • Reading time:1 min(s) read

by Eric-Jon Rössel Waugh

I really wanted Nanobreaker to be a step toward something excellent — or at least something compelling and odd. Or for it to show that Igarashi knows what he’s doing with 3D games. I don’t think it accomplishes any of this, in the state in which I saw it. I mean. It’s… sort of interesting in the sense that it’s just so damned bloody. Or. I guess Igarashi insists that this isn’t really blood, but oil or something. Whatever it is, it’s red and it’s goopy and it’s everywhere.

( Continue reading at Insert Credit )

KOF: Maximum Impact

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by Eric-Jon Rössel Waugh

From the beginning, SNK has tried to spruce up 2D fighters by incorporating elements of three-dimensionality. With 1991’s Fatal Fury, SNK introduced the idea of multi-planar fighting, where the characters may step along a Z axis, into or out of the screen. The King of Fighters ’94 adapted the idea of a sidestep for a single plane: press two buttons, and dodge into the background for a moment, to avoid being hit. SNK already had the technique down, that was not rediscovered until five years later, in Sega’s Virtua Fighter 3.

All of that I see now, in retrospect.

( Continue reading at Insert Credit )

Inner Dimensions

  • Reading time:3 min(s) read

by Eric-Jon Rössel Waugh

A bit of reporting for Xbox Nation Magazine, which was actually printed in both the May and June issues. It seemed I had an in for writing more complex material — I notice a bunch of notes for further articles — but then the magazine folded. A shame.

As relative newcomer to the console scene, Microsoft arrived in the silence after the storm. Those who were present recall the trials of the mid-nineties, as Sony squeezed the industry through a macabre cleansing operation. Developers were forced to convert to 3D development or not only risk public dismissal, but risk disapproval from Sony. Without Sony’s OK, games go unpublished — and Sony has its own agenda. Crushing to many smaller houses, this policy continues even today.

Even so, some studios, like SNK, refuse to surrender.