“Spider-Man & The X-Men in Arcade’s Revenge” is a very curious video game, because it did not stop appearing in the second year of Supernintendo’s life in the West, in 1992, and even so, graphically it appeared full of anachronisms, promoted with a cover constructed with scraps of comics from the 70s and the game itself being based on a story by Chris Claremont and John Byrne from the end of that same decade:
Of course, it could be said that it was a provisional cover, because the one that LJN finally gave the game was one more in line with the themes of the time, but even so, when we started to play the game we found that the plot adapted the story of Claremont and Byrne, a garbage truck that captures the X Patrol included:
And yet, as you can see, the Spiderman we found ourselves in the game was McFarlane’s, with oversized eyes and a multitude of cobwebs. But the story that was told was clearly that the developer, Software Creations, had based it on Uncanny X-Men 124. Logically and taking into account modernity, they had adapted the protagonists to more “modern” ones, changing to Banshee, Colossus or Ronda by Gambito’s cantamañanas, but what are we going to do, hey, it was the toll that had to be paid in the early 90s. Despite everything and because I suppose they liked to give us one of lime and one of sand, something also happened Quite curious, because they took as a “modern” reference to Cyclops this X Factor costume designed by Walter Simonson:
While the rest of the characters are taken, as is, from the infamous cover of X-Men #1… Cover in which Cyclops himself also appeared, but nobody should have noticed it because I don’t know, they liked the fat X better. Even so, and in light of some internal development documents that one of the developers has recently shared, we see that there was some debate about the Scott Summers references:
That those from the editor were angry because they had been told that they had the correct reference and no, they don’t, because the hood of Cyclops’s suit does not have “the stripe”. Anyone would think that the publisher, LJN, could have demanded that they wear Jim Lee’s suit -which has no hood- but no, it looks like either LJN was pulling the classic suit that the character used in the story of Claremont and Byrne, or they had also pulled the X Factor suit, but this other one….
Of course that suit is yellow and dark blue and not white and dark blue. It doesn’t matter, the same documents say that in a previous version of the game there was a mistake in which he was called Scott Saunders instead of Summers (it sounds like a transcription of hearsay, because these people who are very passionate about comics should not be, no) and well, the Cyclops and the hairline thing was fixed in the most sloppy way possible:
It gives the impression that the developers of Software Creations must have been a bit up to the same as LJN and its corrections, because the fix is so unfortunate that as a player and comic reader I spent years wondering what the hell came from that “misprint” in the suit. And you see, taking into account that the communication between the publisher and the developer was done mainly by fax, it seems that all the screens that were sent to them were mostly in black and white, and that is the reason why they thought that “ Mike” was wrong in his Cyclops reference because he had put “that hairline” on it and that couldn’t be, when Mike was absolutely right in the world.
Of course, what does not explain all this warfare is how everyone was put on a 90s suit and Cíclope the one from Factor X. That I am not going to be the one who complains that they have put Simonson’s design on it, no sir , but wow, that is a very strange thing.
Otherwise, the game was pretty unplayable, the music was tremendous – it had been done by Tim Follin, known for being one of the best video game music composers of his generation – and the game passed unnoticed on the shelves. It is true that LJN -which at the time had the exclusive Marvel license on consoles and well that dragged it through the mud, with tremendously unfortunate games and at the same time making it impossible (for the bastards!) to port arcade games like X- Men from Konami and to a certain extent Capcom’s Punisher, which had to come out later than it should have, was a video game publisher famous for making underused license games, having the debatable honor of being considered one of the largest manufacturers. of crap for Nintendo and Supernintendo, highlighting among them what is probably the worst game (or at least one of the worst) on the Nintendo Entertainment System, Silver Surfer:
With all of you, the Galactus Butanero!
That if you look a little bit yes, it is very slightly based on Steve Englehart and Marshall Rogers/Ron Lim’s Estela Plataada. The game is impossible, it controls like a cockroach soaked in engine grease and the only thing that everyone stands out as something positive about it is that, of course, the soundtrack is provided by Tim Follin. That since we are, this was his music for Spider-Man and the X-Men:
By the way, you have all the faxes from the oligophrenic editor who writes his notes in capital letters and in bold here.
In short, if developing video games thirty years ago already had its difficulties, how about also carrying an incompetent publisher and Nintendo putting up problems! And note that these were lucky that at that time Marvel did not put any trouble, because they come to run into Disney…
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Spider-Man and the X-Men in Arcade’s Revenge: Nintendo Doesn’t Like Killerworld
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