Overview
In the early 1990s, Marvel's partnership with Capcom began with the arcade beat ‘em up The Punisher (1993). The collaboration quickly shifted to fighting games with X-Men: Children of the Atom (1994), leveraging the immense popularity of the X-Men franchise at the time. However, Marvel was notoriously protective of its intellectual property during this era, imposing strict guidelines on how characters could behave, move, and even appear.
This guide examines a famous hurdle in game development: Marvel’s insistence that the Juggernaut—a virtually unstoppable, tank-like villain—could not jump. Former Capcom localization lead Takuya “Tom” Shiraiwa recounted the struggle to Time Extension, revealing how Capcom had to negotiate every animation frame. This case study serves as a practical tutorial for developers, producers, or licensing teams dealing with character restrictions in licensed games.
Prerequisites
- Familiarity with 2D fighting game mechanics: Understand why jumping, aerial combos, and vertical space are critical (e.g., in X-Men: Children of the Atom many characters fly).
- Knowledge of character licensing in the ‘90s: Marvel’s approval process required videotapes of animations for review.
- Basic understanding of negotiation tactics: Logical reasoning, providing alternative scenarios, and anticipating objections.
- Example scenario: A fighting game roster includes Juggernaut, a heavy character that players expect to be able to jump like all other fighters.
Step-by-Step Instructions
Step 1: Build the Initial Character Roster
Before any animations are created, developers must propose a list of playable characters. Marvel’s first gate is character approval—just because Spider-Man appears in X-Men comics doesn’t grant automatic inclusion in an X-Men game. Shiraiwa noted that the first round of conversations was always about which characters would be allowed. For Juggernaut, his inclusion as a major X-Men antagonist made sense, but his movement capabilities remained undefined at this stage.
Step 2: Submit Character Animations on Videotape
After the roster is locked, Capcom would animate each character’s full set of moves (idle, walk, attack, jump, etc.) and record them onto videotape for Marvel’s review. This was standard procedure. For Juggernaut, the submission included a jumping animation. Marvel’s response was clear: “No, Juggernaut can’t jump. He’s too heavy.”
Key documentation to prepare:
- Videotape or digital equivalent showing every animation loop.
- Written justification for each move, referencing source material where possible.
- Contingency plans for rejected animations (e.g., alternative movement like a ground pound).
Step 3: Reason with the Licensor Using Logical Scenarios
Shiraiwa acted as the middleman. He reasoned with Marvel using a practical question: “What’s he gonna do when he finds a big hole in front of him? Like a big gap? Will he be able to jump then?” Marvel’s surprising answer: “No, in that case, he will simply fall into the hole and just keep running when he lands.”
This response shows that Marvel’s logic was internally consistent—Juggernaut’s unstoppable nature meant he wouldn’t be deterred by a hole. But in a fighting game, that answer was unacceptable. Shiraiwa countered: “This is a head-to-head fighting game; he needs to jump.” He highlighted the core gameplay requirement: vertical space for aerial combos. Without jumping, Juggernaut would be unable to interact with flying characters or navigate platforms, making him unplayable.
Negotiation tactics used:
- Use concrete gameplay scenarios (gaps, opponents in the air).
- Appeal to the game’s genre conventions (jumping is universal in 2D fighters).
- Maintain respect for the license but assert practical necessity.
Step 4: Achieve Approval Through Persistence
Capcom eventually got its way. In X-Men: Children of the Atom and the follow-up Marvel Super Heroes, Juggernaut absolutely jumps. This was crucial because Capcom’s superhero games featured extra-high levels with ample vertical space for aerial combos—a major selling point. The approval likely came after multiple rounds of discussion and perhaps a compromise that Juggernaut’s jump could look weighty (e.g., a heavy landing).
Step 5: Observe the Post-Release Shift in Licensing Attitude
After Capcom released one or two extremely successful Marvel fighting games, Marvel’s stance changed dramatically. As Shiraiwa recalled, “They were like, ‘Anything goes. You can do whatever you want.’” This shift underscores the power of proven success. Modern Marvel, as seen in games like Marvel Rivals, is far less nitpicky about character movements—even allowing Juggernaut to twerk. The lesson: financial success can loosen rigid licensing rules.
Common Mistakes
Assuming the Licensor Will Be Flexible
Many developers expect early cooperation, but Marvel in the ‘90s had strict rules based on perceived character integrity. Do not assume that any animation will be approved without justification.
Failing to Provide Concrete Gameplay Context
Shiraiwa succeeded by asking a specific question about a hole. Vague arguments (“jumping is fun”) are weaker than functional necessities (“the character cannot progress through the level”). Always ground your requests in the game’s mechanics.
Ignoring the Possibility of Alternative Solutions
Marvel offered an alternative (fall into hole and keep running), but it didn’t solve the fighting game problem. Developers should be ready to propose multiple workarounds—but also stand firm on core needs.
Not Documenting the Approval Process
In the ‘90s, videotapes were used; today, modern equivalents (video files, frame-by-frame reviews) should be archived. Without records, future games may face the same hurdles.
Summary
This case study demonstrates how Capcom navigated Marvel’s strict character rules to allow Juggernaut to jump in X-Men: Children of the Atom. Key takeaways include: start with roster approval, submit detailed animations, use logical gameplay scenarios to reason with the licensor, persist through multiple rounds, and leverage success to relax future restrictions. For modern developers, the lesson is that early relationship-building and respectful negotiation can overcome seemingly absurd limitations—and that money, as Shiraiwa noted, changes everything.