The Amazing SpiderMan 2

The Amazing Spider-Man 2 

By Pro Tuber 

Forgiveness is not a rational choice. Emotions are what cause us to waver in our beliefs, to brush aside a questionable act from a loved one or to put blinders on when the truth overwhelms us. The idea of forgiveness is endemic to what The Amazing-Spider 2 is. Peter Parker is a grounded guy despite his extraordinary powers, and his innate relatability makes him likable.

The way he insults his enemies while knocking their heads together, and makes wry observations while swinging through the city, have always made me laugh. But I find it hard to accept his morally challenged choices. Is it all right for him to beat the stuffing out of ordinary criminals considering how much stronger he is? To steal information from a police officer’s laptop or bug wireless towers to spy on citizens? At what point does Spider-Man stop fighting for the greater good and start becoming a menace in his own right?

Such questions are never answered in The Amazing Spider-Man 2. But the question of forgiveness stayed with me throughout the adventure, and not just in regard to Spidey’s questionable acts, either. You see, to enjoy the game, you have to forgive it for its many problems. The Amazing Spider-Man 2 is as flawed as its sure-headed protagonist, equal parts enjoyable and aggravating, which made my feelings waver as I smacked down evil-minded foes in the well-realized Manhattan that Peter Parker calls home.

Spider-Man is at his best when he’s soaring above the congested streets of New York. Firing webbing at skyscrapers creates an incredible sense of locomotion in part because of how well it represents the way I imagine it would feel to be in Spider-Man’s tights. By independently shooting webs out of each hand, you guide yourself around buildings with speed and precision, and once you’re accustomed to the rhythm of movement, you can deftly scoot around corners without breaking a sweat.

When there aren’t any buildings, you fall to the ground, which is a little restrictive but made me choose my path smartly. I didn’t want to be stuck walking like a sucker. Still, the movement only has that freeing rush when you’re not acting with a purpose. When I would stop to collect a floating comic book or try to wall-run up the side of a skyscraper, I would often clip through surfaces as the camera jittered and shook. Such problems broke my immersion in a snap.

There’s similar problems in combat. Spider-Man spends a lot of time-fighting enemies, and much of it is blandly enjoyable. It’s easy enough to latch on to faraway enemies, pulling yourself toward them in a frenetic burst of violence as you teach them the follies of their ways with your fists. Dodging enemy attacks and retaliating with incredible force makes you feel like the purveyor of justice Spider-Man wants to be, and there were times when I was caught in the simple pleasure of making digital people squeal with pain. But it is very simple, and after a while, it becomes too predictable for its own good. Combat is closer to an elaborate quick-time event than a test of skill. Attack when your foe’s guard is down, dodge when he flashes red, and repeat until everyone is squirming at your feet.

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