As you may have noticed since my 150th game review special, I ended up awarding passing grades far less often than middling or failing ones. It was to the point where I had gone at least two different months of this year without awarding a single one, causing me to promise to review at least one good game the following month. To be honest, I’m not entirely sure why things turned out that way, though reviewing long-running series that took a few installments to finally get good probably had something to do with it (the Bubsy series was responsible for three failing grades by itself). Either way, we’ve finally reached the games I can straight-up recommend, so if you haven’t played them, seek them out.
Well, February of 2019 marks a momentous occasion for this site. After discussing Jumper, I have now reviewed at least one game for every letter of the alphabet. To ensure this claim stuck, I ended up reviewing Zombie Nation because while I had reviewed Zelda II: The Adventure of Link quite a while ago, I sorted it under “L” with the other The Legend of Zelda installments. Now, I just need to do the same with films and I’m good to go.
In the 2010s, Connie Smith, Sony’s Vice President of Product Development, approached Insomniac Games, wishing to speak with CEO Ted Price. Following the release of Insomniac’s Xbox One-exclusive Sunset Overdrive, Ms. Booth had an interesting proposal, suggesting the studio work on a game based on a Marvel property. As the company had built its reputation with original properties such as Spyro the Dragon and Ratchet & Clank, Mr. Price’s response was, by his own admission, “fairly neutral”. He had never considered working with an existing property. However, while the CEO had his reservations, his development team’s attitude was another story; they were ecstatic over the prospect of working with a Marvel property.
It’s plain to see why the team would be so enthusiastic; during the 2010s, Marvel was at the height of their mainstream popularity, having myriad success stories with the cinematic universe they created. No other company attempting to create such a long-running film franchise experienced the success Marvel had. It was to the point where the average filmgoer could expect a quality release bearing the Marvel brand on an annual basis. This success had profound ramifications both inside and outside of the industry. Many other companies, including their prominent rivals, DC, would attempt to creative their own shared cinematic universes, yet they didn’t quite meet the same levels of critical admiration. Perhaps the most profound impact the Marvel Cinematic Universe had on pop culture was giving their more obscure characters a new lease on life. Though certain heroes, including Iron Man, Captain America, and Spider-Man were well-known before the universe’s inception in 2008, its success allowed comparatively obscure characters such as Black Panther and Ant-Man to become household names.
Once Insomniac accepted Ms. Smith’s proposal, Jay Ong, the head of games at Marvel decided it was time for a change. According to him, they had previously released games based on or directly tied to the release of films that adapted their properties. While this led to a significant output, it also meant developers didn’t have time to create anything impressive or memorable. It did result in Treyarch’s well-received adaptation of the film Spider-Man 2 in 2004, but fans dismissed most of these titles as shovelware, and they cemented the generally negative perception of licensed games as a result. Fortunately, Marvel was not interested in a game based on an existing film or comic book story, giving Insomniac carte blanche to choose any character they wished and develop an original plot for them. The team thought long and hard about which character to use, and they ultimately settled on Spider-Man, citing his relatability and charming everyman persona, Peter Parker. Activision had been responsible for publishing the games based off the 2000s Spider-Man trilogy, but the franchise was now truly in the hands of Insomniac and Sony.
Though the team started off excited about the project, they also found it to be a daunting experience. With the wealth of stories and versions across almost every conceivable medium, how could they possibly do such an enormously popular character justice? Art director Jacinda Chew, on the other hand, saw this as an opportunity, and subsequently interviewed the Marvel staff members who were the most familiar with the character. From there, it was up to a team of writers led by Jon Paquette to create an original take on Spider-Man that still remained true to the character. Insomniac had even gone as far as receiving ideas from two comic book writers, Christos Gage and Dan Slott, the former of whom co-wrote the script. Though they drew upon many iterations of the character in order to understand what made a compelling Spider-Man story, Mr. Paquette was insistent on not drawing too much from any one version.
Development of this game, which would simply be titled Marvel’s Spider-Man, began in 2014 and took roughly four years to complete, seeing its release in September of 2018. Fans and critics alike were expecting Marvel’s Spider-Man to be, at best, a modest success. The game instead went on to become the sleeper hit of 2018, outselling the unanimously praised God of War and becoming the PlayStation 4’s killer app in the process. The game was praised for its good writing, solid combat engine, and successfully incorporating Spider-Man’s signature web-slinging abilities. Many critics called it the greatest superhero game ever made, comparing it favorably to Batman: Arkham Asylum and its sequel, Arkham City. Such was the extent of its positive reception that Jamie Fristrom, the man who programmed the web-slinging mechanics in the game based off of Spider-Man 2, had nothing but praise for Insomniac’s own take on them. Was Marvel’s Spider-Man truly the prolific company’s answer to the Batman: Arkham series?