The highly anticipated PlayStation 5 title, Marvel’s Wolverine, has received a mixed critical reception, with its Metacritic review score described as “not great” by Forbes. Critics are divided, praising some aspects while highlighting significant weaknesses in others, preventing Insomniac Games’ latest offering from reaching the high bar set by their Spider-Man series.

Marvel’s Wolverine Metacritic Score Reflects Divided Critical Opinion

Reviewers largely agree on the excellence of the game’s protagonist portrayal but diverge sharply on its core gameplay and narrative execution. Game Informer praises the game for “nailing one very specific thing with near perfection: the brutal efficiency of the lead character’s destructive ferocity,” capturing Wolverine’s high speed, brutal slashing, and unstoppable force. They describe the M-rated battles as “deeply satisfying and smartly balanced,” driven by a momentum-based loop that powers Logan’s healing and rage, consistently providing new ways to tackle enemies.

Conversely, The Guardian offers a more critical assessment, stating that the game is “let down by crude, boring battling” and describing the combat as feeling like “a bludgeoning production line of identical fights against increasingly over-familiar enemy types.” This review notes that while fights are smooth, they rarely encourage creativity, a contrast to other acclaimed melee brawlers like Devil May Cry and Bayonetta, which “demand varied techniques from players.”

Narrative and World Design Draw Mixed Feedback

The game’s story, set years before the X-Men’s founding, sees a disenfranchised Logan reunite with Sabretooth and Mystique to confront a mutant-hating billionaire. The Guardian acknowledges a “decent setup, filled with the sort of intrigue, violence and Freudian tension we expect from the X-Men,” but points to “lapses in narrative and emotional arcs.” The exploration of Wolverine’s past trauma, delivered through mini-challenges, is even described as an “insensitive way to portray and process PTSD.” Game Informer similarly notes that the story “sometimes stumbles,” particularly in its later half, where hints about future developments can leave even lifelong fans “scratching [their] head,” potentially becoming “impenetrable” for new players.

Another area of critique is the game’s environment. Both outlets confirm a predominantly linear experience, a departure from the open-world exploration of Insomniac’s Spider-Man titles. The Guardian highlights that even “big, inviting cities such as Madripoor or Tokyo” feature “roads closed off and invisible walls,” making the world feel like a “theatrical backdrop.” Game Informer explicitly advises that any “illusions that you might have of the open-world exploration Insomniac delivered in that first hero’s adventures are best left at the door.”

Despite these criticisms, the game’s interpretation of Logan is a standout success. The Guardian hails Liam McIntyre’s “brilliant performance” and “exquisite character art and animation,” bringing to life a “flawed, often unwilling hero, capable of extreme brutality and touching vulnerability.” Game Informer also praises the “excellent” moment-to-moment interactions between characters, bolstered by an “impressive voice cast.”

FAQ

How is Wolverine portrayed in the game?

Wolverine is depicted as a “flawed, often unwilling hero, capable of extreme brutality and touching vulnerability,” brought to life by Liam McIntyre’s performance and exquisite character art. Game Informer also highlights the game’s near-perfect capture of his “brutal efficiency” and “destructive ferocity.”

Is Marvel’s Wolverine an open-world game?

No, the game is largely linear. The Guardian notes it “thrusts us from set-piece to set-piece,” with “roads closed off and invisible walls” even in visually detailed cities. Game Informer confirms this by advising players not to expect the open-world exploration of previous Insomniac titles.