Post by Ryan_MYeah on Jan 7, 2024 22:21:49 GMT
It’s finally here! And I finally ended up playing it after getting it for Christmas.
I adored Insomniac’s Spider-Man. I considered it one of my absolute favorite video games, and while my opinions have cooled over time, I still stand by those thoughts. I think it was the most perfect representation of Spider-Man that has ever been brought to fruition. While I didn’t love the semi-sequel Miles Morales as much, I think it was a terrific side-story, and packed a nice emotional wallop.
So it’s really saying something when I say that this game is probably better than both of them.
How do you make web-swinging, still my favorite method of travel in gaming, even better than the first? Adding web-wings and refining the fluidity certainly doesn’t hurt. Web-swinging has never felt more satisfying than it does here, to the point that the next time I play this game, I’m NEVER using a fast travel system. The same euphoric feeling of zipping between buildings, soaring along the mighty heights of skyscrapers, and diving to the ground before pulling up in a pendulum-like sway is still not old. The added benefits of loops and web launches even afford for greater flash, which is before mentioning the web wings. The addition of the gliding mechanic allows for some stunning scenic displays, coupled with the wind tunnels that you can rely on to speed yourself up. Even if you’re not going from mission to mission, it’s still fun just to traverse the environment, taking in the sights of the city and districts below.
Speaking of which, the map has been expanded, no longer restricting you just to Manhattan, but free to explore Queens and Brooklyn. Opening up the map allows for some breathtaking displays and exploration, with the freedom to visit staples like Coney Island. However, while they have increased the size of the map, they’ve also streamlined the side missions, no longer relying on RNG to pad out the map. The side missions allow for their own satisfying bottle stories, whether it be the returning Aaron Davis, a target hunt involving a classic Spidey foe, or a series of twisty combat missions through Mysterio’s illusions. They all have natural progression, and satisfying conclusions, but some of the best ones are not even about combat. It’s about listening, and taking in the beauty of the city. Some of these include a quick deviation with Hailey (Miles’ love interest), a flashback to Peter’s early Bugle days, and a search for a missing grandpa that turns into beautiful reminiscence. The side mission that hit me hardest is one involving Howard, whose heart-wrenching finale sells the point of what Spider-Man is truly about. Not simply the superheroics, but the people and the city he protects.
But when it does come to superheroics, combat has seen a significant step up. Satisfying finishers and combos make a return with some spruce ups, but what makes it even better is the evolved hardware and fighting styles of BOTH Peter and Miles. The game doesn’t treat them the same at all, both of them making remarkable use of their abilities to their advantages. In Peter’s case, it’s the addition of the Spider legs and the later implemented Symbiote powers. For Miles, it’s his evolving Venom powers, and his cloaking abilities. Both of them make for worthy fighters, each suited for different objectives, and complementing what the other may lack.
But I’m mainly here for the Spidey story, which continues to be the most perfect adaptation of his crazy world. Not just Pete, but Miles as well, as while Pete struggles with the feeling of irrelevance and tragic loss that comes with the territory of Spider-Man, Miles is coming to grips not only with the responsibility of the job, but who he is underneath the mask. They’re both experiencing severe grief that manifests in often ugly ways, Pete showing it in more obvious ways with the Symbiote heightening his aggression and anger, while Miles is driven by vengeance for the returning Martin Li. While Yuri Lowenthal’s rendition of Pete is STILL the best interpretation of the character to date, I actually find it’s Nadji Jeter’s Miles who rises above as the true secret weapon, making him a natural successor to the Spider-Man mantle.
Side characters continue to be a delight, bringing together the casts of both Pete’s world and Miles’ world, and matching them seamlessly into a cohesive whole. The returning likes of MJ, Ganke, Rio Morales, and more continue to impress (including the fact that we FINALLY see JJJ in the flesh), but Harry Osborn becomes a scene stealing presence, managing to walk a fine balance between a figure of tragic and fragile circumstance, with the intensity of an embittered and angry young man.
But here’s where I really get to nerd out… THE VILLAINS. While Spider-Man 2 goes for more of the famous Spidey rogues (compared to earlier entries where Tombstone and Tinkerer were significant players), that’s not a bad thing, given their near perfect renditions. My wishes to receive Mysterio and the Lizard were met, and their adaptations are terrific, but those are practically side dishes. Heck, the game’s tutorial is a boss battle with Sandman, and the nice blend that they showcase of villains from the first two games, on top of the new guys that make their way in here, makes for a giddy showcase of Spidey rogues.
The one that instantly caught my attention was Kraven, one of my favorite Spidey villains, and his interpretation does not disappoint, and that’s largely because of how well they key into his proud character. Kraven, in this game, is not in the best health, motivated by his disappointment in finding prey worthy of his vicious skills, and desperate to find one last great kill, or even to *be* killed by his prey. Kraven doesn’t hunt Spidey as a means to commit more petty crimes, but simply because he sees Spider-Man as a beast finally worthy of his skills, and sees their impending duel as the ultimate battle of equals. It’s surprisingly layered characterization for a character of this caliber.
Soooo… Venom. Mr Turd in the Wind himself. I have never considered myself a Venom fanboy, but this interpretation of the character is fantastic, and shows what someone can do with him when they’re passionate. Even before the character’s signature manifestation, you can feel the budding tension and hostility when it’s latched onto Pete, feeling like a persistent danger in the story, before taking on the monstrous final form. And the game does not skimp us on the character’s brutality, leaning headfirst into the violent streak and squeamish body horror. (I’m genuinely impressed Insomniac got away with putting this in a T rated game.) That said, the menacing tones of Tony Todd go a long way in amplifying the threat that he poses. And for those of you who have played the game… THAT tangent: I’m shocked I didn’t get it spoiled for me, but I’m happy I didn’t.
So Spider-Man 2… arguably surpasses the original games. Is it perfect? No, but once again, it is as close to perfect as you could ever expect out of a dream Spider-Man game. The only question I have is “how do you top this?” I already have ideas of where they’re gonna take the sequel, and the teases that they DO leave have me itching for more, but I almost want them to stop while they’re ahead, because I don’t know how you’re going to improve what’s already spectacular to begin with.
But try they will, and I will be eager for it (Give. Me. Goblin!). Because just from these last three games, Insomniac shows that they not only understand Spider-Man (even as they make deviations from the source material), but can seamlessly go from translating the innovations of the original comics, to creating innovations of their own.
I adored Insomniac’s Spider-Man. I considered it one of my absolute favorite video games, and while my opinions have cooled over time, I still stand by those thoughts. I think it was the most perfect representation of Spider-Man that has ever been brought to fruition. While I didn’t love the semi-sequel Miles Morales as much, I think it was a terrific side-story, and packed a nice emotional wallop.
So it’s really saying something when I say that this game is probably better than both of them.
How do you make web-swinging, still my favorite method of travel in gaming, even better than the first? Adding web-wings and refining the fluidity certainly doesn’t hurt. Web-swinging has never felt more satisfying than it does here, to the point that the next time I play this game, I’m NEVER using a fast travel system. The same euphoric feeling of zipping between buildings, soaring along the mighty heights of skyscrapers, and diving to the ground before pulling up in a pendulum-like sway is still not old. The added benefits of loops and web launches even afford for greater flash, which is before mentioning the web wings. The addition of the gliding mechanic allows for some stunning scenic displays, coupled with the wind tunnels that you can rely on to speed yourself up. Even if you’re not going from mission to mission, it’s still fun just to traverse the environment, taking in the sights of the city and districts below.
Speaking of which, the map has been expanded, no longer restricting you just to Manhattan, but free to explore Queens and Brooklyn. Opening up the map allows for some breathtaking displays and exploration, with the freedom to visit staples like Coney Island. However, while they have increased the size of the map, they’ve also streamlined the side missions, no longer relying on RNG to pad out the map. The side missions allow for their own satisfying bottle stories, whether it be the returning Aaron Davis, a target hunt involving a classic Spidey foe, or a series of twisty combat missions through Mysterio’s illusions. They all have natural progression, and satisfying conclusions, but some of the best ones are not even about combat. It’s about listening, and taking in the beauty of the city. Some of these include a quick deviation with Hailey (Miles’ love interest), a flashback to Peter’s early Bugle days, and a search for a missing grandpa that turns into beautiful reminiscence. The side mission that hit me hardest is one involving Howard, whose heart-wrenching finale sells the point of what Spider-Man is truly about. Not simply the superheroics, but the people and the city he protects.
But when it does come to superheroics, combat has seen a significant step up. Satisfying finishers and combos make a return with some spruce ups, but what makes it even better is the evolved hardware and fighting styles of BOTH Peter and Miles. The game doesn’t treat them the same at all, both of them making remarkable use of their abilities to their advantages. In Peter’s case, it’s the addition of the Spider legs and the later implemented Symbiote powers. For Miles, it’s his evolving Venom powers, and his cloaking abilities. Both of them make for worthy fighters, each suited for different objectives, and complementing what the other may lack.
But I’m mainly here for the Spidey story, which continues to be the most perfect adaptation of his crazy world. Not just Pete, but Miles as well, as while Pete struggles with the feeling of irrelevance and tragic loss that comes with the territory of Spider-Man, Miles is coming to grips not only with the responsibility of the job, but who he is underneath the mask. They’re both experiencing severe grief that manifests in often ugly ways, Pete showing it in more obvious ways with the Symbiote heightening his aggression and anger, while Miles is driven by vengeance for the returning Martin Li. While Yuri Lowenthal’s rendition of Pete is STILL the best interpretation of the character to date, I actually find it’s Nadji Jeter’s Miles who rises above as the true secret weapon, making him a natural successor to the Spider-Man mantle.
Side characters continue to be a delight, bringing together the casts of both Pete’s world and Miles’ world, and matching them seamlessly into a cohesive whole. The returning likes of MJ, Ganke, Rio Morales, and more continue to impress (including the fact that we FINALLY see JJJ in the flesh), but Harry Osborn becomes a scene stealing presence, managing to walk a fine balance between a figure of tragic and fragile circumstance, with the intensity of an embittered and angry young man.
But here’s where I really get to nerd out… THE VILLAINS. While Spider-Man 2 goes for more of the famous Spidey rogues (compared to earlier entries where Tombstone and Tinkerer were significant players), that’s not a bad thing, given their near perfect renditions. My wishes to receive Mysterio and the Lizard were met, and their adaptations are terrific, but those are practically side dishes. Heck, the game’s tutorial is a boss battle with Sandman, and the nice blend that they showcase of villains from the first two games, on top of the new guys that make their way in here, makes for a giddy showcase of Spidey rogues.
The one that instantly caught my attention was Kraven, one of my favorite Spidey villains, and his interpretation does not disappoint, and that’s largely because of how well they key into his proud character. Kraven, in this game, is not in the best health, motivated by his disappointment in finding prey worthy of his vicious skills, and desperate to find one last great kill, or even to *be* killed by his prey. Kraven doesn’t hunt Spidey as a means to commit more petty crimes, but simply because he sees Spider-Man as a beast finally worthy of his skills, and sees their impending duel as the ultimate battle of equals. It’s surprisingly layered characterization for a character of this caliber.
Soooo… Venom. Mr Turd in the Wind himself. I have never considered myself a Venom fanboy, but this interpretation of the character is fantastic, and shows what someone can do with him when they’re passionate. Even before the character’s signature manifestation, you can feel the budding tension and hostility when it’s latched onto Pete, feeling like a persistent danger in the story, before taking on the monstrous final form. And the game does not skimp us on the character’s brutality, leaning headfirst into the violent streak and squeamish body horror. (I’m genuinely impressed Insomniac got away with putting this in a T rated game.) That said, the menacing tones of Tony Todd go a long way in amplifying the threat that he poses. And for those of you who have played the game… THAT tangent: I’m shocked I didn’t get it spoiled for me, but I’m happy I didn’t.
So Spider-Man 2… arguably surpasses the original games. Is it perfect? No, but once again, it is as close to perfect as you could ever expect out of a dream Spider-Man game. The only question I have is “how do you top this?” I already have ideas of where they’re gonna take the sequel, and the teases that they DO leave have me itching for more, but I almost want them to stop while they’re ahead, because I don’t know how you’re going to improve what’s already spectacular to begin with.
But try they will, and I will be eager for it (Give. Me. Goblin!). Because just from these last three games, Insomniac shows that they not only understand Spider-Man (even as they make deviations from the source material), but can seamlessly go from translating the innovations of the original comics, to creating innovations of their own.
