Okay, I must admit, I’m just not much of a comic book person. My acquaintance with comic books is pretty much limited to the occasional film, in turn determined by who’s in it. So I’ve seen a bunch of the X-Men movies (mmm, Hugh Jackman), the last couple of Batman movies (mmm, Christian Bale), and – as it happens – the first two Spider-Man movies (mmm, Tobey Maguire). I haven’t seen The Hulk, because I don’t think Eric Bana is that hot, although I suppose he kinda looked okay in Star Trek. 

Anyway. Spider-Man: Shattered Dimensions starts out with Spider-Man and Mysterio having some sort of scuffle. From my extensive pre-review research, this is apparently standard comic book stuff. During the course of this particular scuffle, however, this thing called “The Tablet of Order and Chaos” is broken, and in the peculiar logic of anything that uses blank spaces instead of conjunctions and relative clauses for plot exposition, this upsets multiple Marvel Universe realities. So this chick called Madame Web dials what might be the first ever pan-dimensional conference call and tasks four different Spider-Mans in four different Spider-Man realities with retrieving all the bits of the artefact to restore balance to the universe. Go web.

The four Spider-Mans… Spider-Men? Spider-Mans. So the four Spider-Mans in play are the titular manspiders of The Amazing Spider-Man (regular Spider-Man), Spider-Man Noir (a sort of 1930s steampunk Spider-Man), Spider-Man 2099 (futuristic Spider-Man), and The Ultimate Spider-Man (an alternate version of regular Spider-Man, plus added bonus bio-buddy symbiote). Each Spider-Man plays more or less the same when it comes to punching stuff, but also features some unique traits and abilities to keep things interesting. Each reality, moreover, has its own distinct aesthetics, where Spider-Man Noir totally steals the show with its completely unique sepia colour grading and some exquisite use of lighting. These parts of the game are simply – and quite literally – spectacular. 

Actually, while I realise it might’ve become a little tedious at length, Spider-Man Noir could perhaps have been a game all on its own. Somewhat reminiscent of Batman: Arkham Asylum, the Noir segments of the game feature stealth gameplay and stylish takedowns, and the whole lot just feels like a comic book in motion. Which is kinda the big idea.

While the concept has loads of potential, the story’s not up to much, nor is the fundamental level design. I mean, you basically go through a stage, bash some goons, confront a boss and swap threats, save a few civilians or push some buttons, finish off the boss, and reclaim whatever bit of the Tablet of Order and Chaos they had. That’s about it. Sorry, SPOILERS. You can also break bits of the scenery here and there, but there doesn’t seem to be any point to it. So while the gameplay is occasionally like Batman: Arkham Asylum, this isn’t Batman: Arkham Asylum. It’s rather a shame, and feels like a missed opportunity to do something genuinely interesting with each Spider-Man world. Four missed opportunities, at that.

This drab linearity notwithstanding, however, the gameplay is robust and engaging enough to save the game from becoming too dreary, and the addition of collectible spider tokens and 15 challenges in each level makes space for some replayability if you’re a pathological completionist or Achievement / Trophy slut. Completing challenges also accrues some kind of magical spidery goo stuff that – conveniently – you can exchange for upgrades. 

Overall, it’s a decent action game, and Spider-Man fans will doubtless geek out over the authentic visual adaptations and villains and inscrutable references to plot arcs from 1964 or whatever else comic book nerds are into.

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