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My favorite part of the new downloadable addition to the new Spider Man Peter Parker, hungry and exhausted, eats a pizza on the roof of a building with the silhouette of the city behind him on PS4. Crowd families at war, stolen art works, love triangle between Black Cat, Mary Jane, can all wait. Everyone has to eat. same Spider Man.
The scene stands out in this first chapter of The Never-Falling City, a paid three-part extension of the game that begins with this week's installment, The Heist. This is a break with a fun but repetitive extension, an idea that repackages the ideas of the main game but brings nothing new and reserves few surprises.
The Heist occurs after the events of the main game. The criminal families of New York have resurfaced to fill the void left by the villains beaten at the end of the campaign. Mary Jane was informed that one of them was planning to enter the Museum of Contemporary Art in Manhattan. There he finds Felicia Hardy, aka Black Cat, stealing a particular painting, apparently in connection with a criminal family called Maggia, headed by Hammerhead. Black Cat, then discovers Spider-Man, has his own motives. A gang war and a love triangle ensue.
All the adventure is looped in a separate part of the menu screen. So when you read the DLC, you use the DLC. Everything happens at night, the spontaneous criminal events of the main game having been replaced by events related to Maggia, most of which are familiar, with the exception of a defusing of car bombs with the spider drone.
Much of this happens in a pattern: go to the checkpoint, beat the bad guys, learn a little bit about Black Cat, and explain why the anti-hero thief suddenly decided to come back in the life of Parker. As a person who has enjoyed the fight of the main game and the Web en masse, this routine always provides a welcome list of additional tasks. As a fan of Spider ManThe penchant for trying to do the right thing, but somehow annoying everyone, looking awkwardly trying to navigate in simultaneous working relationships with MJ and Black Cat was extremely rewarding.
The opening mission is a good example of how DLC procedures often feel indistinct. The museum in which it is installed is vast, with side galleries and a main room large enough for the Web, but nothing on the scale of the most memorable places of the main game, like the Grand Central Terminal, for example. It has ventilation slots and perches on which you can chain webbed enemies in silence, but everything seems a bit chaotic and chaotic, a bit like the expressionist paintings that line the walls.
Enemies are scattered in the lobby and second floor hallways for such long distances that you can sometimes quickly eliminate small groups without causing a bigger fight. The meetings are not orchestrated with precision and do not make good use of the lines of sight and the ventilation ducts. Eliminating the waves of villains, which you end up committing several times between collecting fingerprints and viewing sequences of security cameras, does not feel like interrupting a robbery, but to crush a agreement. At the end of the mission, you must prevent enemies from fleeing through the main gate with stolen works of art, while others fire rockets at you.
The rest of "The Heist" feels the same baffled. Maggia's hiding places, crime scenes and street fights mingle with each other. The intrigue developments with the black cat involve an intriguing secret that has little bearing on what you actually do as Spider-Man, which has not changed at all in relation to at the main game. Compared to the plot of super-villains involving the Sinister Six, beating the offender seems pedestrian, especially when you bring your full arsenal of gadgets and status improvements to the original campaign.
Most of "The Heist" resumes the basic game. In lieu of collectible backpacks, players recover stolen art works hidden in the city by the first black cat, Walter Hardy. The Maggia grunts you are fighting are all variants of guys you've ever faced. There is a gangster holding a sand gun instead of a sand mercenary, a guy with rolled up sleeves and a vest burglar in a jeweler's shop instead of a random street thug. There's a new guy, an oversized strong man who's wearing a gatling machine gun, but he's defeated with focus focus or a lot of straps and punches, like many other powerful enemies in the main game.
"The Heist" introduces no new abilities or new powers. There are three new costumes – the Resistant Suit, the Spider-UK Suit and the Scarlet Spider II Suit – but each is purely aesthetic. There is no boss fight, no villain with the charisma of Dr. Octopus or Norman Osborn.
The grace that saves is that the fight and movement in Spider Man is always amazing. I've reviewed the game, completed all the secondary content, got each trophy, and still entered "The Heist" taking advantage of every second of Web-induced acrobatics. Although there are not really new ideas here, it's still a fun time. It took me about five hours to finish everything hard. Now that the ultimate difficulty of the game has been added, anyone who really wants to extend the experience and take on challenges should probably play it in this context.
"The Heist" ends with a cliffhanger that leads to "Turf Wars" in November, followed by "Silver Lining" in December. I hope Insomniac Games has kept its best assets for these later chapters. "The Heist" proves that they are not no need to reinvent Spider Man for it to be worth coming back, but I would rather live something new.
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