Insomniac Games’ long-awaited title, *Marvel’s Wolverine*, finally gained new prominence during Sony’s State of Play event in 2026, after a long period of teasers. However, the recent presentation of the game, which approaches its release in September, has raised questions about the depth and originality of the representation of the famous clawed hero, suggesting a possible dependence on clichés of the action and adventure genre.
Wolverine’s most extensive demo yet began with the protagonist atop a rooftop, observing the armed guards protecting his objective. In characteristic fashion, he leapt from above, his claws already bared, neutralizing a surprise enemy with an aerial strike. Then, Logan quickly eliminated another opponent before hiding, using his adamantium claws to dig in and pull a third guard into his makeshift cover, hiding the traces.
The sequence that followed featured about eight minutes of action-adventure gameplay that many found familiar. Wolverine alternates between stealthy maneuvers and brutal displays of combat, culminating in an all-out battle where Jean Grey, another prominent X-Men figure, joins the action. During the confrontation, the hero sometimes radiates an intense red glow, while the scenery around him loses color, an effect reminiscent of a berserker mode of combat, similar to that seen in *God of War*. The segment ends with a dynamic scene of jumps between moving vehicles, directly reminiscent of sequences from big-budget films or even titles like *Uncharted 2*.
Although the experience seems fun and undoubtedly violent, it also conveys a feeling of sameness, with no elements that make it stand out. The critic points out that the game’s visuals and sound are similar to several other AAA action and adventure games released before and after, provoking a reflection on why such an iconic franchise seems so similar to others.
After nearly a decade dedicated to developing Spider-Man games, which have always preserved the hero’s friendly image, it’s notable to see Insomniac take an opposite path with *Marvel’s Wolverine*, adopting a grotesque approach. The way Wolverine dismembers his enemies directly evokes the cartoonish violence of previous Insomniac titles, such as *Sunset Overdrive*, and the darker atmosphere of the *Resistance* franchise. It’s interesting to watch the developers explore this territory, but there was an expectation that the game would feature a more distinctive aesthetic by returning to this style.
Insomniac is a studio often praised for giving its franchises a unique feel or aesthetic, creating visual and mechanical identities that differentiate them both from each other and from the competition. Notable examples include the freedom and fluidity of Spider-Man’s movement through the city, the punk attitude and fourth-wall breaking script of *Sunset Overdrive*, and the iconic weapons of *Resistance* and the acclaimed *Ratchet & Clank* series. Many of the team’s games share elements that reinforce the studio’s strengths, such as creative weapon designs or innovative movement technologies, but the company also demonstrates an ability to integrate these techniques and concepts into broad, imaginative narratives.
With *Wolverine*, Insomniac Games seems to have found a limit to its capacity for experimentation. There is a perception that the studio, which has become a driving force in Sony’s exclusive blockbuster empire, may need more space to innovate and conceive something truly new. The pressure to launch multiple franchises at a rapid pace, often in the time it takes Naughty Dog to produce a single game, may be compromising the team’s ability to evolve significantly between projects. This trend, common among large studios, can lead to creative standardization that, in the long term, limits the diversity and originality of experiences in the AAA games market.
Instead of daring, the game seems to have accommodated itself. The mold that *Marvel’s Wolverine* fits into, and apparently successfully so, sounds like a trap. The AAA action-adventure genre, with its all-encompassing nature and focus on freedom of choice, is seen as tired and directionless, a reflection of the fear of committing to an audacious vision. It would be paradoxical if Wolverine, one of the most intrepid characters in fiction, did not star in an equally daring experience.
Throughout his various appearances in comics, TV series and films, Logan has experienced countless stories. He faced samurai and the Yakuza, survived the savagery of the Canadian forests and fought in both World Wars. He witnessed the repeated deaths of friends and family due to his longevity, traveled to other realities and even inhabited the Moon. In other words, there is much more to the essence of this character than the title of superhero, the unbridled violence and his ability to tear opponents to pieces, however brutal that may be.
The fact that *Marvel’s Wolverine* — which will likely be one of the biggest releases of 2026, rivaling *Grand Theft Auto 6* — seems so superficial, considering its rich history, serves as one of the biggest criticisms of the gaming industry’s current trajectory. A Wolverine that resembles Nathan Drake, James Bond, Batman, Spider-Man or any of the protagonists of the *Assassin’s Creed* franchise is surprising. There are several types of games and genres that could explore Wolverine’s strengths as a character — a stealth survival game in a vast open world where Wolverine was the hunter, for example, would be an impactful idea — but instead, he emerges as more of an action hero, more of an adventure protagonist, distancing himself from his true identity. The moderation of Insomniac’s next game is not surprising, but the timidity of its ambitions generates growing disappointment.
The biggest game studios, with their vast resources and market influence, should have the freedom and incentive to be bold. However, the impression that remains is that the most ambitious teams are compelled to hold back, which invariably harms the rest of the industry. This seems to be the case with *Marvel’s Wolverine*, which, despite the rating for over 18s, presents itself as an average title. While it’s sure to please many — the State of Play demo appears to have impressed most fans — expectations were higher for a game and studio of such caliber, where the potential always seemed limitless. Wolverine may yet defy these predictions, but doubts about his ability to do so are beginning to intensify.
