It may not have been the first Marvel IP to get Japanese treatment, but it certainly was the first to get Capcom's CPS-II brand of unparalleled, hyper-stylish animation and design. To this day, it stands out as one of the best titles from Capcom's CPS-II Golden Era, and its highly-sought-after reputation amongst video game collectors and Marvel fans alike prove that.

X-MEN: Children of the Atom stands-out as one of my first experiences with Capcom's CPS-II Golden Age, and as one of the last remaining memories of the greatly-missed local arcades I first played it at. My memories of this particular Capcom game span across several years of my life. I think the first time I played it was at Go-Karts & Games in Commerce City, Colorado. This place had a knack for getting awesome games. Aurora was city and suburbs, but Commerce City was an old industry town that didn't even have sidewalks (until recently). That being said, Go-Karts & Games wasn't the typical mall arcade or strip-mall arcade in a convenient, commercial location. Rather, it was a warehouse connected to an industrial warehouse, inconveniently surrounded by highways. The Mile High Flea Market was just opposite of it. The Internet has no record of it being at 6300 East 88th Avenue, Unit 1, Henderson, Colorado 80640 (giving the implication that it never existed at all). The place was a nightmare to get to, be it by foot or motor vehicle. If crossing the highway overpass wasn't already dangerous, then crossing the traffic to get to there was (and a near-fatal accident was a testament to this). Perhaps this could have been a factor in why its doors were eventually closed. Blatant theft of medallions used for Go-Kart currency were possibly another factor in its demise. Either way, a recent visit to where it once was left me hollow with a heavy heart. It is almost incomprehensible to think about how a site of such great memories for me and my friends, from our youth, is no longer there. As explained in a previous article, our hearts ache with the empty feeling of nostalgia to go back in time to a place or moment that no longer exists. These memories may occupy nostalgic parts of our heart, but we are left empty from the yearning to go back to that which once was, has long-passed, and never will be, again. My eyes see the cold, heartless place that is in its location now, but my concsience can still see the bright and lively Go-Karts & Games that was once there.

The inside of the place looked just like it did on the outside; like a warehouse, with high ceilings, air-conditioning, and plenty of space to run around. And run around we did, from one entertainment attraction to another. On the way to each, it was impossible not to notice the unique - and impossible to miss - wall decor of family photos. Family photos were certainly not synonimous with video game arcades and/or fun centers (unless it had to do with contest winners), but these ones were autographed photo shoots. It turned-out that the family who owned the place was related to the eldest son of the family from 90's TV show "Home Improvement". It would appear that Go-Karts & Games lasted about as long as the TV show (from approximately 1991 to 1999, if that). We probably went there originally for the Go-Karts (as their name implied), but stayed for the arcade games, and eventually got around to taking complete advantage of a loophole with the ticket games like Skee-Ball and "Hot-Dog!" basketball. Watching those things spit out tickets was absolutely hilarious. We spent almost as much time rolling on the floor laughing at ticket games as we did standing up at the X-MEN: Children of the Atom machine. Together with all the games, the Go-Karts and Bumper-Boats, it was like paradise for a kid. The summer sun washing over us, the brilliant blue water, the boats, the sunglasses, the fountain drinks, the summer food, the swimwear...

...these memories of Go-Karts & Games would forever be connected to X-MEN: Children of the Atom through an uncanny resemblance to Iceman's beach stage. Whenever I fight Iceman in his stage, these memories always come back. I will never forget Iceman's explosive double-digit hail Super Move combos and multi-directional Ice Beam Special Moves atop a fracturing glacier drifting past busy beach onlookers, para-sailors, and speeding yachts. If you jump high-enough, you can even spot a helicopter above your ensuing battle on a drifting glacier at sea. The intricacy of the backgrounds in this game was unparalleled at the time, and I remember being excited to discover new things in them. An aspect of XMCOTA that is rarely mentioned is the feeling of mystique and discovery that immerses the player beyond the head-to-head fighting. The fighting is the focus of the player, but there are active background and foreground planes that immerse the player beyond it. Even to bystanders, onlookers, or any other type of observer, one of the things that makes XMCOTA such an enticing game isn't just what the fighters are doing, but what is happening around them.

The "graphic ingenuity" of XMCOTA's environments was perfectly-detailed by Nick Rox in GameFan (February 1996) when he described the "astounding" Professor X Danger Room stage for Cyclops and its cycling between "holodeck-style background themes" by citing the "underwater theme" which "has manta rays and schools of fish swimming around your feet". His his holodeck description was so accurate that it left virtually-nothing for me to use here, but since he was probably under the space constraints usually associated with magazine publishing and page numbers, I will expand upon it with fewer constraints. Professor X has you battling in a simulated tropical jungle floor of his Danger Room one moment, then suddenly plunges you into shady ocean floor depths with the mast of a sunken ship as your compass to the glimmering surface overhead. Special Moves like Wolverine's Tornado Claw reveal the heights (and depths) of XMCOTA's environments as opponents are launched higher and higher into the air with each consecutive hit. Racking-up those hits with rapid button-pressing is fun, but part of what makes it so fulfilling in a stage like this is the feeling of emerging from the depths of the ocean to burst through its canopy ceiling to the surface. That feeling of wonder is confirmed when the timing of that emergence coincides with simulation transition into galactic astral projections of boundless infinity space and beyond. Robotic worms slither and startle unsuspecting players as they penetrate the floor and analyze in the foreground. A mere simulation conducted by Professor X in the game immerses the real-life player on a level unseen even in modern fighting games.

Professor X's Danger Room is arguably the most elaborate backdrop in the game with its flickering locale simulations, but it is one amongst a host of memorable locales. In that stage (and others like it), Special Moves and Super Jumps open up everything above the default plane of view in which the player(s) start on, but there are also scrolling stages akin to interactive tours. Wolverine's prehistoric Savage Land stage is the best example of this. As the battle progresses atop what would appear to be a drifting land mass during volcanic activity, parallell to a landmass where packs of small dinosaurs run amidst others who butt heads with thick skulls below flying ones overhead. If the fight goes on long enough, a hulking triceratops remains unseen in the bushes until revealing itself when the fight encroaches its territory. The destination is lunch with a T-Rex stomping about for its next meal (which may or may not be you). Thankfully, both players always survive this stage, but the adventurous nature tour doesn't end there (as long as one player chooses Omega Red). Omega Red's submersible tour of "The Deep" sea stage is a nightmare for claustrophobics, especially when the glass begins to crack with each attack sustained. Back then (before the Internet was as big as it is now), we always wondered if it was going to break, and if it did, what would happen? "Oh, shit, is that glass going to break?" "Dude, can you break the glass in this stage?" "What happens if the glass breaks?!" I can only imagine back then (before information traveled so quickly through the Internet) how many players were theorizing about how to break it, or spreading rumors about what happened if you did. Ah, those were the days...

But, it still doesn't stop there (literally)! Psylocke's service elevator stage starts out on a "Moon Night" industrial tour of sorts, from various floors of a vacant interior (occupied apparently only by the cats from Street Fighter Alpha), mechanically lifted and shifted before arriving at its rooftop destination under the stars. Beams and other structural obstructions appear in the foreground on the way to the top, adding a factor of visibility intentionally-avoided at all costs in recent Capcom games. Street Fighter V revealed proof of this with "fan" outcry over the excellent Kanzuki Beach and Field Of Fate expansion stages. Psylocke's stage is another one that always brought back memories of Go-Karts & Games, perhaps because it was often on the screen (demo or otherwise) when I was there. Capcom has always had a knack for designing industrial-themed battlegrounds, be it in X-Men: Children Of The Atom or X-Men - Mutant Apocalypse. It even brings back memories of DarkStalkers (which I didn't even know about because the marquee was so dark), which we will undoubtedly get to another day.

Those huge, multi-leveled stages were also something I was blown away by with XMCOTA, and the Saturn's VDP2 chip presents them with every single detail of their arcade glory. XMCOTA had us in quiet awe with stages that extended far into the sky above the limit we had seen SSFIIT and DS, then in roaring disbelief as we broke through floors to discover even more levels below. Spiral's abstract stage wasn't very interesting to us, but intetionally breaking through the floor of the structure was, and that was because it was so exciting to fight her on the way down to score a few extra hits (if she didn't block). Colossus was so beefy that collapsing the cement overpass you started on happened fast, dropping both fighters into front-row riverside seats to a raging battle with Sentinel robots, vehicles, and troops "Mutant Hunting". It's just as intruiging now to watch it all unfold as it was then. Surely, for XMCOTA it is not the case that "Extras aside though, this is still just a meat and potatoes fighting game, no better or worse than several others currently in the arcades" at the time. There has never really been another fighting game locale like it, made by Capcom or otherwise. I also distinctly remember Silver Samurai's rustic Samurai Shrine stage and its disappearing ninjas as I mashed to see how many Jab and Strong Punch buttons I could chain into Wolverine's combos; many of which still work to some degree in even the modern VS. series of Capcom fighting games! It was so fun! It was exhilirating! It was still Capcom in nature, yet different from Street Fighter. As iconic hardcore rock band Terror says in a similarly heartfelt anthem, "It was the time of my life, I won't forget!"

It is incredible to think about how far and wide such a cutting-edge product in animation and technology, designed many lands and oceans away, was able to reach. It's unbelieveable to think about how this game went from being designed in the hustle and bustle of crowded Japanese office buildings, to a completed product in arcades in places less-crowded and less metropolitan. It captured the hearts and forever changed the minds of young people such as myself, in such a small industry town. Growing up with both Marvel comics and video games, it was amazing. I couldn't get enough of this game. Even when I wasn't playing it, I wanted to be reading about it; seeing it. I was apalled at how little GamePro magazine (December, 1994) covered it in their "Hot At The Arcades" section (quite literally). It was only about 1/3 of the page, and the handful of tiny screenshots they had for it did not do the game's lush, beautiful environments or the visual fireworks and spectacular animation the credit it deserved. Their lame coverage was made worse by mostly obvious stuff recycled from Street Fighter II content they had been using for ages. After playing both Super Street Fighter II and DarkStalkers, had anyone assumed that players wouldn't be able to have mirror matches? It was a total waste of space. Spiral and Sentinel were also listed as bosses together with Juggernaut and Magneto. Huh? What? EGM2 had something similar. Was this information given erroneously by Capcom Japan to Capcom USA, or by Capcom USA to the press? Or did they just make it up and follow the leader? This severely-lacking coverage would be eclipsed by their own "Fighter's Edge" section strategy guide a few issues later (which I was more pleased with), but why wasn't the game given more attention earlier? It had more screenshots that more accurately depicted what the game was really like, but it seemed like their only purpose was to be a crude visual representation of listed Special and/or Super Moves. You can learn something from anything, and it was in that GamePro feature that I learned Wolverine had a Healing Factor move that would baffle my human opponents.

I don't have every issue of GamePro and/or GameFan, but Whether in its dismal initial coverage (December 1994), or in its strategy guide (April 1995), GamePro's coverage of XMCOTA didn't even compare to the absolutely gorgeous features GameFan did for the game (November 1994, April 1995), and it wasn't even close. It's not even up for debate. GameFan's Nick Rox at first acknowledged the excellence of X-Men: Children Of The Atom, but seemed to hold DarkStalkers and Street Fighter Alpha in higher regard, yet still managed to do X-Men more justice than GamePro. Bigger, more colorful screenshots that displayed the brilliance of XMCOTA for all to see, with meaningful written content. It was always disappointing to see how bad GamePro often was at screenshot choreography (often times their tiny shots weren't even from the right games), and that was magnified by comparing any coverage of any game in GameFan. Nick Rox is said to have been meticulous in his approach to screen captures, and it shows. Whether or not he did screenshots for articles in GameFan he didn't write (it seems like he did, but I've never seen an official confirmation), the bottom line is that the ones in the articles he wrote were the best in Western print media. Bar-none, plain and simple. GameFan's screenshots, layout, and overall design were all in strong synergy that made it clear that Capcom's X-Men - Children Of The Atom was an impactful masterpiece. Wolverine's screen-slashing Berserker Barrage, Storm's sizzling Lightning Storm, Silver Samurai's smoldering Fire Sword, Omega Red's thrashing Omega Destroyer, Psylocke's lustful Ninjutsu cloning, Iceman's crushing Ice Ball, and Juggernaut's crushing straight were instrumental in GameFan's XMCOTA feature as an awesome display of how the player could essentially control and manipulate the comics. GameFan's feature perfectly encapsulates everything that XMCOTA is about. I can only hope what I have created here can do the same.

Judging by the screenshots provided by both GamePro and GameFan at the end of the year in 1994, it would appear that they were provided by Capcom themselves. Of course, GameFan dedicated a whole page to the game, but 3 of the 11 screenshots on that page were the exact same 3 that GamePro used in their 1/3 of a page. Most of the shots GameFan featured were larger and more vibrant. GamePro's inconsistencies with screenshots never really did anything for Capcom's high-energy fighting games, but I guess with XMCOTA it wasn't really their fault if indeed the media all got the same screenshots from Capcom. GamePro's screenshots would "get the job done" and "serve their purpose" later for the "Fighter's Edge" moves list, but you could tell GamePro's screenshots of XMCOTA did little else. It's not easy to capture (trust me, I know), and there's a time and a place for different types of screenshots, but I really wanted more happening in content and footage to convey just how unbelieveable this fighting game really was. GameFan delivered on that, and it was a collaborative effort. To their credit, GamePro did preview XMCOTA (December 1994) while EGM did not, but it was still a paltry effort compared to the feature GF did (November 1994). Strangely, Cyclops' biggest beam move reminded me of GamePro, but I'm not sure why (as I cannot find the image in my memories in their pages). Not surprisingly, stalwarts Next Generation magazine were unimpressed, as mentioned earlier (probably because it wasn't 3-D).

Back then, Electronic Gaming Monthly was actually pretty good still (before their rapid decline), but I couldn't find X-Men - Children Of The Atom even in an issue dedicated specifically to the X-Men IP (December 1994). Don't get me wrong, the issue did feature Capcom's other X-Men (Mutant Apocalypse), which I also love. I've always considered X-Men Mutant Apocalypse to be the perfect side-scrolling fighting game in the same way I have always seen X-Men: Children Of The Atom to be the perfect head-to-head fighting game. I really enjoyed the way they put side-scrolling cinematic parts like X-Men - Mutant Apocalypse in X-Men Children Of The Atom, though. There are so many similarities the two games share, and it was always really cool to see that sort-of cross-promotion of a company's own products. I could be wrong, but I saw no coverage of X-Men: Children Of The Atom in that issue or subsequent issues of EGM at that time; only in EGM2 (March 1995). The screenshots in EGM2 were bigger with some better choreography, but the color of the ones in GamePro's feature were a little easier on the eyes. Oddly, both magazines similarly wasted space on character bios in space that could have been used for content more closely-related to the game or its development. Even in its slow, steady decline, EGM had still been putting out better content then GP. Despite my criticisms, neither was ever as boring as magazine Video Games & Computer Entertainment. GamePro's single page of coverage for the Saturn version, however, would stick with me. Again, their coverage, layout, and design would still be inferior to the feature Nick Rox and GameFan would make for it, but this time GamePro would actually have something I agreed with. They scored XMCOTA on Saturn nearly perfectly, docking it on only a half point. The coverage from Ultra Game Players was about in the middle; nothing surprising. What was surprising, though, was the restraint in enthusiasm Nick Rox would show in his evaluation of the game in GameFan. Like XMMA on SNES, he wasn't as enthused about XMCOTA coming to Saturn as I thought he would be (unless there was a Viewpoint review and/or score mix-up). Even in his lack of enthusiasm, the outstanding content he created for XMCOTA was meaningful and stands the test of time. For as unenthusiastic as he sounds about XMCOTA in his comparison to SFA and DS, he sure represented it with a remarkable degree of accuracy and admiration.

It was during that time in which Nick Rox did some of his most iconic work with GameFan that we played XMCOTA in another place I have fond memories of. Though I put many a credit into X-MEN: Children of the Atom at that Go-Karts & Games, I also played X-Men - Children Of The Atom in another memorable place, which would be the now-defunct Aurora, Colorado Brunswick Bowl (mentioned in another article). Now wracked with the decay and dilapidation of bad local leadership, I can still remember the building and its area well in the mid-90s. That arcade was a small, well-let room in the Southeast part of the building, away from the lanes and near the rental register counter. This arcade was small, with only about 5-6 games, but they were almost always only the best! SSFIIT was next to XMCOTA at Brunswick Bowl, and we were glad. SSFIIT had issues. First-off, it was too fast. Plain and simple. You'd figure that with completely changed moves that went completely off the rails, there'd be a more approachable speed. Of course, that wasn't the case. Second, the game was unbelievably hard. The only time we really had fun with that game was when we were playing against one another. Controller-reading bullshit-abound. No matter where in the state I played SSFIIT, it was the same frustrating experience. Lastly, Akuma broke the game and the only thing that stopped desperate opportunists from using him was input error (which never happened). SSFIIT was everywhere, too, which didn't make sense because SFA was such a better game all-around, yet was virtually nowhere to be found. Both arcade operators and Capcom dropped the ball on this big-time...

...until Brunswick Bowl changed that when they replaced SSFIIT with SFA. And, while that is another article for another day, our amazing memories of SFA come with memories of XMCOTA that occupied the space next to it. It was a match made in Heaven. Ironically, XMCOTA would be better than SSFIIT, despite sharing two of the worst things from that game. First, the difficulty. The difficulty in XMCOTA is one of the only things that mar an otherwise perfect game. Like SSFIIT, the fun would end after one of us would run out of quarters. You wouldn't notice unless you're actively trying to beat the game, though. The difficulty is deceptive, allowing you to get a hit or combo off, then flattening you. While not quite as bad as SSFIIT, XMCOTA inherited some of the same dirty tricks after the first 2 matches or so. Colossus in XMCOTA is just as cheap as Zangief in SSFIIT, with impeccably-timed grabs that leave you wondering what happened to your lifebar. Characters like Cyclops are surprisingly-helpless against Colossus. Bosses Juggernaut and Magneto were mysterious characters to us back then, but once I was able to own the game and play them at long last, I realized how utterly cheap they really are. Both bosses aren't defeated by normal means, but by exploitation. You can't just fight them "normally". You absolutely must find what move(s) can be used over and over to either hit them out of their cheap attacks, or whittle their lifebar down bit-by-bit. It takes forever, and is actually really frustrating. Even characters like Colossus and Sentinel require this strategy sometimes, and its aggravating. Even with Akuma (and a defensive counter-attack Special Move I discovered at the time of this writing), the CPU in XMCOTA is difficult. Aside from Psylocke, Storm, and Cyclops, playing against the CPU is not fun. At all. This is precisely where X-Men - Children Of The Atom sequel Marvel Super Heroes improves upon its predecessor to achieve perfection.

Second, Akuma. Speed wasn't an issue like SSFIIT, even on the fastest setting. They actually balanced it in XMCOTA. XMCOTA and SSFIIT were released on close proximity to each other, along with DS. It's not a far reach to see assume they were also developed around the same time. That being said, hidden character Akuma in XMCOTA, Super Move guage design, and cheap difficulty connect XMCOTA and DS to SSFIIT. Other than those SSFIIT disappointments, though, XMCOTA was a breath of fresh air. It was exciting and fresh. Where SSFIIT focused on a half-baked "volleyball" system with limited juggles, XMCOTA had a lot more juggle freedom and added ground hits. When I first saw you could attack opponents on the ground if they didn't recover or get up quick-enough, I felt like I could finally utilize my quick-thinking and resourcefulness. This was one of the things that made XMCOTA so fun; juggling was much more natural and SSFIIT and DS, with ground attacks and newly-implemented wall-bounces! Newly-implemented Super Jumps gave you a chance to calculate your next move while flying through the air; and also gave your opponent a chance to attack you while doing so! Thankfully, the natural evolution of blocking in mid-air was carried over from DarkStalkers. There was always something new to discover in this game, and Wolverine's Healing Factor was one of them. Capcom also brought back destructible environments. You can just tell when a move is powerful because it doesn't just bring down your opponent, but support beams and cement pillars around them! Moving away and toward each other before the match began was crazy, and hitting your downed opponent after K.O. was crazy, too!

We were absolutely floored by how accurate each character's attacks to their comic/cartoon counterparts. Iceman didn't just shoot ice beams; you could turn his arms and legs into ice clubs and spears (which was already cool), but the icing on the cake (pun intended) was summoning glaciers to surprise unsuspecting opponents from below. These are all normal moves, by the way (not Special Moves or Super Moves). How cool is that? Ironically, Iceman is chiseled and handsome; a fact supported by proof in his conduct with the ladies in his ending. Wolverine's arsenal of moves are portrayed through a wide range of movement and contortions that convey his trademark savagery in a profoundly-faithful manner. The sublime nature of Wolverine's moves and animation in X-Men: Children Of The Atom would make a ferocious return in Marvel Super Heroes, X-Men VS. Street Fighter, Marvel Super Heroes VS. Street Fighter, and Marvel VS. Capcom, with no animated equal (video games or otherwise) until Capcom's themselves would upgrade him for Marvel VS. Capcom 3. When he's not ripping and tearing, Wolverine's gruff persona shows through his hairy arms and hunched, stout physique. Even his muscular ass looks savage! Cyclops looks as average as he should as the Ryu of the game, with a standard, cut build. He's kind-of an asshole always at odds with everyone, and that was carried-over well into XMCOTA. An arrogant side of his personality is depicted in Capcom's rendition of Cyclops during his Optic Blast Special Moves as he performs them with apparent ease while crossing his arms or putting them behind his back; a stylish, stark contrast to the stiff American depiction of this character.

I was always amazed at how much we could see of the characters; not just female, but mechanical parts, as well. The amount of work that went into Sentinel's mechanical insides can be described as nothing short of phenominal. As in the comics, Sentinel uses a variety of weapons, tools, and abilities to attack and apprehend mutant targets; all of which are masterfully animated by Capcom's amazing design talent. Each of these attacks look vastly different from one another, depicted by 2-D frames of animation so intricately-detailed that Sentinel's mechanical are exposed as they function. I can still remember standing at the arcade machine and seeing Sentinel's exterior panels open to release steam, pressure, and electricity from his robotic skeletal structure as it flexed. It was both cool and eerie at the same time, and XMCOTA does this more than once with other characters like Spiral. This lumbering mechanical menace was full of surprises! Omega Red's menacing metallic tentacles aren't as eerie, even when they slither to constrict and electrify. XMCOTA represents X-Men's male and robotic characters faithfully, but its perfectly-designed Marvel female characters actually exceed their source counterparts in every way. X-Men: Children Of The Atom joins DarkStalkers in establishing the Capcom design pedigree for ultra-beautified female characters. XMCOTA actually serves as the debut of what is, quite possibly, the sexiest rendition of a licensed-IP character to ever come out from Capcom's talented design teams.

That character is Psylocke, and Capcom's design teams must have went through painstaking-effort until they had finally reached the unprecedented level of detail in form and animation we see today. She is gorgeously-illustrated from head to toe (literally), top(-heavy) to bottom(-heavy). Psylocke may have been designed as the perfect woman; brunette and stacked in every way with perfectly-drawn thighs, wide hips, a smooth abdomen, and full breasts. Psylocke has bigger child-birthing hips than in the comics, and it's a beautiful sight to bare witness to. Even in this day's modern age, Psylocke continues to drop jaws as her breasts flop and flatten with every movement. In all honesty, Psylocke has the most beautifully-animated breasts ever in a 2-D video game. She's perfect. Nick Rox of GameFan assessed that "Especially Psylocke in her anime incarnation...such the babe!", which I believe was meant to read that she was "such a babe", but point taken! All of the women in XMCOTA are stacked in their own way, but Psylocke immediately stands out as the queen of Capcom's licensed female character renditions. Speaking of queens, the bottom cut of her seamless high neck body suit is reminiscent of 90s-era race queen swimsuits. Not to be outdone by Psylocke, Storm blows us away with silver tights that accentuate her shockingly-beautiful form as she glides above ground. Jean Grey is actually also in the game, and comes out of nowhere to battle Psylocke for XMCOTA's "Ass-Queen Award" with an hour-glass form reminiscent of early-90's-era Playboy models. She bears a striking resemblance to the red-haired ones, in particular. Even the exotic Spiral was blessed (for how unattractive she seems) with heavy hangers and extremely tight jeans that are impossible to miss, making her the ultimate character you hate to love. Designers in the modern age, please take note that this is how you design female characters that are memorable for all the right reasons.

I saw it mentioned also that the cast of XMCOTA was odd or somehow unexpected. Aside from Spiral and Silver Samurai (who were previously-unknown to me and my friends at the time), all of the other characters were immediately familiar and not at all surprising to see. Upon further analysis of Capcom's history, and as a Japanese company that often pays tribute to its culture through its works, even those two unknown characters made sense for Capcom to include in its roster. I believe the roster of XMCOTA was meticulously-planned to lean into Capcom's strengths and history as a Japanese company. Look closely at the two characters who were likely in question - Spiral and Silver Samurai. What do they have in common that is connected to Japanese culture? One is a fully-armored samurai, and the other has a samurai helmet. To Japanese development staff at Capcom, these characters were probably familiar to them, functioning also as a way to include Japanese culture into a game based on an American theme. This right here is what makes this game and many other Capcom games so unique and successful. XMCOTA is the perfect example of the product which is possible with the perfect fusion of Eastern and Western sensibilities. It is as close to perfection as a game can get. Though based on an American comic book series, it is entirely animated in the Japanese style. Characters and backgrounds are all presented in Capcom's dinstinct hand-drawn quality, while retaining everything that made Marvel's X-Men series exciting. Character portraits and some cinematic panels appear to be taken from Marvel's American works (I cannot completely confirm the illustrators), but all character animation during battle was hand-drawn by Capcom Japan staff. Everything. Every single frame of beautiful animation was hand-drawn by the best animators on the planet. The impeccable detail has stood the test of time, and the price of this game (and others from the time by Capcom) reflect that.

Another instantly appealing aspect of X-MEN: Children of the Atom was its energizing audio. This is one area I do not agree with Nick Rox on. Excellent voiceovers like Wolverine's "Tornado Claw!", Sentinel's "Rocket Punch", and Storm's "Hoooooo!" all felt instantly familiar. The voices all perfectly suited their characters, with characters like Cyclops voicing equally-suitable Special Moves never before seen in the X-MEN cartoon and/or comic series. Cries from the beautifully-drawn Psylocke and Storm are profoundly personal as you see every frame of their defeat in slow-motion. "Dancing Sword" is as immediately recognizable as the oddly-attractive, bouncing Spiral herself. Incredible sound effects work together with compelling background music to create what is arguably one of Capcom's best audio experiences. Synthesizers, keyboards, electric guitars, and even bongo drums bring the theme of each character's unique battle locale to life with remarkable accuracy. I do not agree with Nick Rox that electric guitars were over-used (or even used that often, at that). The intro and Omega Red's stage are the most memorable, with Cyclops and Wolverine's stages not far behind. Like her surprisingly-stacked character design, Spiral's stage is oddly-appealing with undertones not of this world. My focus is largely on the visual experience of video games as an art form, but X-MEN: Children of the Atom is one of those cases where the audio is so powerful that it is deeply embedded into every aspect of the visuals. I couldn't imagine this game if it didn't have the exact visuals and sound that it has. It simply could not be another way. The suspenseful audio was clearly meant to thrill, and they suceeded in just that when you see how riled-up people got when they played it. I even still get riled-up playing it with friends over twenty years later!

Nick Rox dreaded the music in XMCOTA because of the guitars, but the guitars don't seem as prominent to me. Morrigan, Bishamon, Rikuo, Talbain, Pyron, Anakaris, and Felicia's background music in DarkStalkers all prove that Capcom was making music not primarily guitar-based. The guitar in existence at all in XMCOTA's soundtrack was probably a decision made in regards to familiarity connected to the (90s) X-Men cartoon of that time. Headquarters is much more knowledgeable than I in music, but it would appear that bits of piano and synthesizer heard in DS would appear to also be in XMCOTA. Yes, there is guitar, but it is in sync with the other instruments and sounds to the degree that it isn't even always noticeable. For instance, the guitars psylocke stage music rumble far below the hopeful xylophone melody and cascading percussion that drive the keyboard tunes. With his obvious dismay at the presence of guitars, I was surprised that Nic Rox didn't mention the tamborines or percussion. Even bongos are there (for delusional hippy college students who are into them, and actually critique if they're anything "like real bongos"). The background music for each stage matches the character for that stage so far beyond words that it must be heard. It is difficult to understand it from even the most clear descriptions. The savage Wolverine fights amidst dinosaurs (!) on a prehistoric isle brought to life by a primal background theme that couldn't be more fitting. Omega Red's upbeat underwater theme always has my head bobbing as it perfectly encapsulates the feeling of wonder at the depths of the ocean and its slideshow of mysterious sea life. Spiral's abstract locale is made even more mysterious by ominous background audio. We hear uplifting, careful reverb of the keyboard, percussion, and xylophone balanced with guitar as Psylocke has us over the moon. The character select is so decisively memorable that I still know it note for note all these years later.

I would eventually get the PlayStation version of X-Men: Children of the Atom at launch, but it wasn't the same. It came as a surprise release that everyone thought Capcom had forgotten about. Not only did it completely miss the original release window (which was to be not long after the Saturn version), but retailers had almost zero information about it. There were print ads, but some wondered if they were a mistake, since the Saturn version was actually an exclusive. Either way, I also loved that version of the game for being unique (and still do), but it just wasn't the same as the arcade-based Saturn version. That's not a bad thing; I love both versions for different reasons. There are visual differences here and there (bigger characters on Saturn like in Street Fighter Alpha), and different content (more playable characters on PlayStation) when you compare the two. The Saturn version contains more animation, but suffers from occasional flicker that almost nobody ever talks about. It's the Saturn version's only real affliction (likely due to sprite tiles). I remember no flicker in the PlayStation version, but less animation (likely due to textured polygons). I like the PlayStation version for its features, though, and it was cool to be able to play as Magneto and Juggernaut (in addition to Akuma). These two versions actually have a different look and feel to them (simply due to the differences of one being on a machine with a 2-D focus while the other on a machine with a 3-D focus), and I enjoyed finding different combos. But, to relive the particular experiences I had, it had to be the arcade-based Saturn version.

This amazing game would would make it to the consumer market and into our homes quicker than anyone could have imagined. Magazines of the time covered the consumer release of X-Men: Children of the Atom, but not all understood the gravity of having such an epic game make the transition from those local arcades to the comfort of your own home so quickly. At the time, GamFan's Nick Rox commented that "Capcom is getting shockingly fast at these home conversions", noting that XMCOTA happened in "less than half a year". This would definitely be a testament to the Saturn being made for 2-D (and the PlayStation for 3-D). These fast arcade to home conversions of CPS-II masterpieces were made possible by the dual SH-2 CPUs and dual VDP GPUs of the Saturn's architecture, which was perfectly-optimized for 2-D processing with the VDP1 dedicated to character sprites and the VDP2 dedicated to backgrounds. There really couldn't have been a better configuration for 2-D video games at the time.

I didn't get the Saturn version until the end of the Saturn's life (unfortuantely), but I would have a chance to experience it not long after its release. The only place I would ever play XMCOTA outside of arcades (before buying it myself) was at a certain friend's house. This friend lived in the same town, not far from family. His name was David. He acknowledged the faithfullness of Capcom's 2-D games on the Saturn to their arcade origins, yet, never owning more than one at a time. X-Men: Children Of The Atom, Night Warriors, Street Fighter Alpha, Street Fighter Alpha 2, and Marvel Super Heroes, but no Japanese titles. He would have the same access as myself to the awesome Saturn ST-Key, but refused to invest in anything he couldn't dump-off near release day for higher trade value. Why even own a Saturn without importing? Still, it was a life experience. On one hand, it was exciting to have a friend that actually had these games from the arcade in such proximity to their home release. On the other hand, it was a fleeting, sad experience. This friend was one of those types who always had the best games, and always traded them for the worst games. Some of the best games of the Golden Age we played at his house. If there was ever anyone who owned most of the best games of the time, but came out of the generation still owning none of them, it was this guy. He was also an avid reader of the Ultra GamePlayers magazine, who weren't very enthusiastic about XMCOTA. Was it that tepidness that influenced its prompt trade? XMCOTA still being at Go-Karts & Games? Or was it pride in the face of loss? Either way, it was sad to see a 2-D masterpiece go completely unappreciated simply to obtain clearly-inferior 3-D titles that would stay on his shelf longer.

Of course, X-Men: Children of the Atom is a blast to play. That is undeniable. Its incredible visuals are a testament to something more than just its fun appeal, though. Under the surface and unnoticed by many is a group of American comic book characters, but drawn and animated in Japanese comic book style. Together with the audio, this profound union of American character design and Japanese animation is what made X-Men: Children of the Atom an unforgettable experience. Even now (over twenty years later), me and my friends cannot help but to voice what a spectacle X-Men: Children Of The Atom is. The game is truly a sight to behold. Some may argue that X-Men: Children of the Atom is somewhat primitive in comparison to the ground-breaking perfection of sequel Marvel Super Heroes, but I still see it as an important, iconic start to Capcom's Marvel games. Seeing, hearing, and playing X-MEN: Children of the Atom brings back fragrant memories of Go-Karts & Games and Brunswick Bowl. Conversely, a mere drive to the area Go-Karts & Games and/or Brunswick Bowl was in brings back fragrant memories of X-MEN: Children of the Atom and the peak Capcom era it was a part of. This game isn't just another one of Capcom's CPS-II Golden Age masterpieces from my youth. It's all that's left of special places which shine brightly in my memories, but the shrewdness of time has forgotten in the present. They were places that brought me and my friends considerable joy and memories; memories so fond, my heart aches to go back. I would frequent those places with those friends if they were still there! Although I can explore XMCOTA at long last in the comfort of my own home to my heart's content, what would we give to return back to the times which define the things we love most? As this recollection comes to a close, my chest heaves with sorrow for that which will never be, again. Why must the best times meet such untimely ends? My memories of X-Men: Children Of The Atom expand far and wide, having taught me even deeper appreciation for life and creation.

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