SPIDER-MAN 2 REVIEW

“He’s not normally like that… right?”

Written by James Jensen

12 November 2023

Spider-man 2, Insomniac Games’ latest fray into the messy lives of New York’s favourite web-slingers, is a great video game. But I’m sure you already know this, as anyone familiar with Insomniac’s track record and the legitimately incredible Spider-Man (2018), knows that when it comes to character action games, Insomniac really has it in the bag. So review over, right? Spider-man 2 is excellent, everyone should play it. 

This is almost where I stand after my 25 hours with the game. While many aspects of the game are standouts, including open world design, a combat system that in a lot of ways is the best the genre has seen, and a narrative that, while a little predictable, delivers character moments that speak true to the themes of any good Spider-Man story, I honestly feel like Spider-man 2, and a lot of its best aspects, are something of a known quantity here. While I do believe it is a step up from its predecessor in nearly every single way, at times, it can also feel a little derivative, leaning a bit too heavy into some tropes from not just the genre but from Spider-man itself. While most every aspect of Spider-Man 2 is indicative of it being, again, a truly great video game, it often falls short of leaving the same impact as the original did back in 2018. 

Spiderman (2018) came as a surprise to many, with flashy, fun combat that felt like a meaningful evolution of that of the Batman Arkham games, some truly great spectacle driven set-pieces, with a level of visual splendour rarely seen before in a video game, and a movement system that, well, really made you feel like Spider-Man. 

All jokes aside, Spider-man (2018), was genuinely an excellent video game, and a strong Game-of-the-Year contender for many. What was most surprising about it for a game of its type was its bold choice to not shy away from just rolling with the emotional gut-punches, delivering a genuinely resonant narrative that wasn’t afraid to hit you right in the feels.

Games had been doing this for a while, with Naughty Dog’s seminal The Last of Us and even 2018’s  very own Sad Dad Simulator, God of War, however this felt like the first time that a Superhero game really committed to a level of storytelling to rival that of great films, and through some absolutely gut-wrenching performances from Yuri Lowenthal and William Salyers, cemented Spider-man 2018 as not just one of the best games of the year, but one of the best Superhero games ever made.

So how exactly do you follow up one of the best Superhero games ever made? 

It’s an incredibly high bar to clear, and Insomniac seems to have gone the “if it ain’t broke, don’t fix it” route here, focusing instead on iterative improvements to game systems and quality of life updates that will be sure to leave any fan of the original overjoyed to be behind the wheel of the web slinging machine once more.

Spider-Man 2 means there are 2 Spider-Men. Both Peter Parker and Miles Morales are playable here, and while Miles doesn’t feel too different to control from his own game, the duo feel distinct enough in their combat styles and overall animations to keep both feeling fresh over the game’s runtime. You can swap between the two at any time in the open world, with some side content only available to Miles or Peter respectively, whilst main missions will see you play as certain characters at specific times. This system really allows for a good amount of variety when swinging through Manhattan or following the main story.

“How exactly do you follow up one of the best Superhero games ever made?

Combat is notably a big step up from the original in my opinion, and while the actual combat system might be technically similar, it’s these iterative quality of life updates that take something that was great in the original and evolve it into something more contemporary.

Engaging in combat is such a fundamental part of this experience, and it’s no exaggeration to say this may be the best iteration of the Arkham-style combat system in any video-game to date. The highest praise I can give here is that the combat system is so good that you actively want to engage with it as frequently as possible, as it not only strikes the perfect balance between the superhero power-fantasy and genuine challenge, but the addition of many new enemy types leads to combat feeling much more strategic overall. While you have more tools at your disposal to deal with threats, so do enemies, and new additions can be very effective at zoning you around combat arenas, meaning you have to pick targets wisely, or risk an untimely demise.

The new robot dog enemy, part of Kraven’s Hunters, has a large AOE silence, rendering you far less useful in combat when these guys are on the battlefield, meaning they are almost always a priority target. Said silence often makes it quite challenging to manoeuvre your way through the horde of baddies to get to them, adding an interesting layer to combat not present in the previous game. It’s this careful balance of target focus combined with air to ground to air combos, juggling enemies whilst zipping across the battlefield, dodging your foes’ attempts to pin you down, and all in all, is incredibly satisfying to pull off. 

The introduction of a parry means you won’t just be dodging enemy attacks this time around. When your Spider-senses glow red it means that attacks can be parried by tapping L1, with a somewhat generous timing window, not only blocking the damage but opening the enemy up for a counter attack. Some enemy types have attacks that can only be parried or only dodged, meaning you really need to be quite switched on during combat, lest being knocked on your arse.

“The combat system is so good that you actively want to engage with it as frequently as possible.”

Peter and Miles also have their own distinct fighting style and abilities, Peter initially leaning on a set of Spider-Arms inspired by the iconic Iron Spider Armour from the MCU, and Miles’ returning bio-electricity. These abilities are the key difference between the two Spider-Men, and thankfully their abilities are unique enough to keep combat feeling fresh and each character feeling distinct. Miles is notably more nimble than Peter, more able to rely on stealth with his invisibility. Peter eventually dons the Symbiote suit shown in the game’s trailers, and this diversifies combat in ways more meaningful than just a colour switch. Pete’s attacks become brutal, losing the typical Spider-Man restraint and fully committing to pummeling the bad guys to a pulp. It feels vicious, and is yet another distinction between the two characters. The game is also notably more difficult this time around, with enemies being considerably more relentless in their onslaught to compensate for the power-creep from these new abilities. 

The framing of the action also feels so visceral. The way the camera swings around behind you lends such weight to your movements, only deepened by the addition of the black suit. The previous two games really did a great job at combat spectacle, yet the way combat looks here is a massive improvement, strengthening systems that were already excellent. A God of War style rage mode only makes this better, giving Peter the ability to dash around the battlefield using the full capabilities of the Symbiote, it feels fierce, animalistic, exaggerated in part not just by great sound design but by an excellent voice performance from Yuri Lowenthal. 

Boss fights have also been re-worked, focusing more heavily on learning specific attack patterns and combining usage of environmental hazards, dodges and parries to take down your enemies. These boss fights push your knowledge of the combat system to its limits, and some late game encounters really require you to use every tool at your disposal. They also incorporate some of Spider-Man’s more interesting villains, some expected and some surprising. They are truly a high point of the game.

This is only exemplified by completely mind-blowing set-pieces, taking a game that was almost defined by its spectacle and upping the ante ten fold. Being dragged through Queens’ East River while being chased by the Lizard is just as thrilling as it is in the trailer, and this is only a fraction of the visual splendour on display here. Encounters can be so bombastic, so over the top, there really are few words to describe them other than: fucking awesome. The way that Peter and Miles can work together during combat in these sections, and just the thrill of swinging through New York at top speed in hot pursuit of your enemies, the sheer scale and marvel of these moments is something to behold, they definitely don’t disappoint.

I think it’s worth talking about the game’s villains separate from that of the narrative for the time being. Without spoiling anything, Kraven the Hunter has this presence every time he is on screen, every time he makes an appearance it demands attention. His ruthlessness yet refusal to indiscriminately kill make him all the more threatening when it comes to his goals in New York. Insomniac’s commitment to making their villains feel more menacing than ever really lends to the vibe. 

Venom takes this aura and amplifies it ten fold. He is just so captivating in a way that must be seen to be understood. This very well might be the most terrifying and threatening rendition of perhaps Spider-Man’s most iconic villain in a game yet.

The game’s narrative is definitely broader in scope this time around. The game picks up right after Miles Morales, with both Spider-Men struggling to find balance in their lives, constantly being pulled away from their commitments by the next big bad. Miles is getting ready to attend university, and finds his life as the web-slinger severely interfering with ability to write a sound college application letter. Pete, struggling to hold down a job and his strained relationship with Mary Jane Watson suffers a similar problem. Spider-Man stories have always been about this duality, two lives constantly at odds with each other, and the deep personal toll that donning the mask takes, not only on the individual, but those around them in their absence, and Spider-Man 2 smartly delivers on these themes. Peter’s best friend Harry Osbourne makes a return after recovering from a mysterious illness, and their relationship is appropriately fleshed out by some charming flashback sequences, really selling the ties that bind these characters.

“The thrill of swinging through New York at top speed in hot pursuit of your enemies.”

There are some truly great character moments present in this game, with our protagonists needing to come to terms with the events of the previous games and the trauma that followed, only made more difficult by Pete’s acquisition of the Symbiote suit. The Symbiote is the antithesis of Spider-Man, turning a character with a strong moral compass and a desire to do good by everyone, into another, more selfish and obstinate, pushing those around him away in an effort to save New York on his own. 

The narrative does an excellent job at gently exploring how complex relationships develop when confronted with the harsh-reality of life. Illness, mental health and loss are all tackled here, and ultimately is about characters learning to rely on others when they need it most. Miles and Peter both have touching personal arcs that culminate and intersect in a thrilling conclusion. 

The one issue I have with the narrative is that, if you are aware of any Spider-Man mythos regarding Venom and the Symbiote, while compelling in its own right due to excellent performances and convincing and well developed character relationships, has this tendency to be quite predictable. Where Spider-Man 2018 was often able to subvert expectations and deliver some genuine surprises whilst sticking to a traditional Spider-Man plot, this can feel quite by the numbers and cliche in comparison, and while still a great experience, it likely won’t surprise you like the original did. 

Insomniac wowed everyone back in 2018 with their implementation of web swinging. The perfect mix of stylish and functional, getting around New York was not only easy, but so engaging and fun that most people I have spoken to about Spider-Man 2018 chose to actively avoid fast travel due to the movement feeling so good. The only issue with traversal in that game is that the speed at which you could move through the streets of New York was capped, mostly in part due to the streaming limits imposed by the PS4’s hard drive. This is a PS5 exclusive, and thus Insomniac once more makes use of the PS5’s SSD, which can lead to some truly spectacular moments in some set pieces.

The only problem I have with the side content is that the narrative can often present this great sense of urgency, and thus engaging with side content can often feel inappropriate at times. Some have described the game as being significantly too short, and I think this feeling of being funnelled into the main plot may contribute a lot to that. Very rarely does it feel like you have the time to complete side missions and stories, which is especially problematic as some of them are actually pretty good. 

Resource economy and progression systems are really well tuned. I completed 100% of the side content in the game and only hit max level right before the game’s conclusion. The power creep afforded to me never felt overbearing, and the level of difficulty increased at a rate that seemed to match my skill level and familiarity with the combat. New abilities are unlocked at a good cadence, allowing you plenty of time to become familiar with your current toolset before expanding it, with some abilities made available near the end game genuinely allowing you to change up your playstyle in certain situations. This system is expertly dialled in, a great example of Insomniac’s prowess in the industry.

FINAL THOUGHTS

Spider-Man 2 is an incredible experience, and while narratively it may not hit the harrowing emotional highs of its predecessor, it is nonetheless a technical wonder, meaningfully improving on almost every aspect that made the original so beloved. The story told, while predictable at times, houses a strong emotional foundation, carried by convincing character performances and strong pacing, speaking true to the themes of any good Spider-Man story. 

Combat is a highlight, improving on an already great system with meaningful quality of life improvements, keeping you on your toes with impressive enemy variety, and great challenge, and while its stealth system won’t blow you away, it doesn’t get in the way of otherwise thrilling encounters, with some truly great boss encounters. 

Somehow Insomniac managed to make the best traversal system in any video game even better, with the stunning addition of the Web Wings, allowing not only for more skill expression while navigating the environment, but also an increased sense of momentum, really giving you that rush of adrenaline as you move through gaming’s most realised rendition of the city that never sleeps. 

Minor gripes here or there don’t change the fact that this is a fantastic video game, and that it is absolutely worth your time. Its visual splendour combined with dazzling combat, a strong emotional core and great voice performances cement this experience as one of the best of the year, and yet again, Insomniac have created one of the best Superhero games ever made.