Despite what you may have heard, The Boy and the Heron is not Hayao Miyazaki’s final film. But if there’s anything that screams with all the fury and noise of a coda to the brilliant career of one of our greatest filmmakers, this is it.

Coming 10 years after The Wind Rises (his last final film), The Boy and the Heron is a chaotic, cosmic concoction that dares the audience to try to understand the mysterious inner workings of the anime auteur’s mind. Where The Wind Rises’ subdued and elegant craftsmanship showed a director with something to prove — that he is a serious artist capable of more than the childlike whimsy many have reduced him to — The Boy and the Heron shows an artist with nothing else to prove.

Imagine your old college buddy invites himself to couch-surf at your place for a weekend and never leaves. Only in this scenario, he’s actually an alien parasite and the couch is your body. This is Venom, Peter Parker’s most iconic frenemy.

With the help of the ooey-gooey alien symbiote, Marvel’s Spider-Man 2, out October 20 from Insomniac Games, sees Peter and Miles Morales team up to take down a host of baddies. Only this time around, Peter is… different. The symbiote bonds to him, making Peter stronger than ever, while dramatically altering his personality. His abilities shift from the Thiwp! of a friendly neighborhood web-slinger to the tentacular belches of a deep-sea squid.

“In combat, how Peter's able to leverage those symbiote abilities is really about the transformation. He isn’t just leading with a fist. He's got tentacles, and you can stick enemies to the wall, you can grab a group of enemies and launch them,” game director Ryan Smith says of Peter’s spiffy new tendrils. “It’s an opportunity for putting power out into the gameplay space a little bit differently than we would've done before, by interacting with more enemies.”