Ojo,
OJO:
A few hours into Wolverine I found myself asking, “Why did Insomniac Games make this?” There are obvious answers, of course: It has three excellent Spider-Man games under its belt; it’s an opportunity to expand its Marvel Universe; and Wolverine presents ample opportunities for a brutal and bloody action game. But none of that explains why Insomniac Games, specifically, made Wolverine.
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There are very few distinguishing elements of Wolverine’s combat system that make it stand out. The closest it comes is a leaping attack, which allows players to launch him across distances to close the gap and begin an assault on unsuspecting enemies. It’s an undeniably satisfying tool to keep up the intensity of each skirmish and ensure you’re always applying pressure, but loses its luster after a couple of hours when it becomes clear that it can be employed pretty mindlessly.
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The main issues with Wolverine’s combat are that it often feels like it lacks weight, is missing lethality up until he goes berserk, and never finds rhythm. As a result, I often felt frustrated that the game was undermining the sense of power and ferocity that I wanted to feel as Wolverine. And at the same time, the individual components of the combat doesn’t have the connective tissue to create a natural flow that made me feel like I developed a mastery of Wolverine’s skills.
The adamantium claws that serve as Wolverine’s dealers of death and destruction often felt more like needles than blades. The feedback on each attack always felt just a little lacking, and enemies never responded to being struck in a way that made me feel empowered. Quite the opposite, in fact. I can’t count the number of times that I would be mid-combo, clawing away at an enemy, and they’d suddenly ignore incoming damage to clobber me over the head with a rifle or slice me with their own blade. It came off as the game deciding it was the enemy’s turn to attack because it needed to put an end to my barrage. It made me feel like an angry cat being bonked on the head to calm down.
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Everything is on a cooldown, which suggests that timing and strategy is important in how they’re used, but in practice, they can be employed thoughtlessly without much consequence.
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Defensively, Wolverine suffers similar issues. Tapping the L1 button at the right moment will parry an attack, but the window–even before you use an adaptation to make it more forgiving–is pretty lenient, so it doesn’t really take much skill to parry. In fact, I had a few occasions where I was surrounded by enemies all attacking me, sometimes overlapping, and I was able to survive their onslaught and take no damage by spamming the parry button with my eyes closed.
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But as someone who wants to feel engaged and challenged, the vast majority of my time playing Wolverine felt rote.
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Everything in between the combat fits into the Uncharted-esque guided platforming mold, so you’ll spend a lot of time jumping from handhold to handhold, swinging from branches and poles, or hopping across rooftops. But because Wolverine has very limited mobility and no interesting traversal mechanic to speak of beyond a big jump, the running, jumping, and climbing portions of the game often feel equally uneventful.
https://www.gamespot.com/reviews/wolver ... tout-hero/By contrast the rest of the game feels thin, and largely consists of boxy corridors that top and tail Tokyo with shallow combat luges broken up by cutscene checkpoints and little else. Unlike the studio's Spider-Man games, Wolverine is strictly chapter-based and linear, more like Uncharted but without the finesse.
https://www.gamesradar.com/games/action ... ne-review/There's no denying that wielding those claws is slick, punchy, and wonderfully bloody. It's just a shame, then, that halfway through Wolverine's 15-hour string of missions, I felt like I'd had my fill. The fundamentals are solid, but combat needed a stronger sense of progression to sustain that sensation over a game of this length – especially when you’re asked to cut down hundreds of enemies at a near-relentless pace. Yes, there are unlockable skills and special abilities to build into your repertoire, but only a handful, and you'll gain access to them relatively early on.
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More often than not, missions take the form of a series of corridors opening up into arenas where getting ambushed is a predictable probability. These arenas aren’t constructed in overly interesting ways either, mainly involving a large flat area filled with melee-based grunts and a sprinkle of higher platforms around the edge for ranged troublemakers.
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Outside of the action, there’s not too much to shout about, either. Each linear level does contain collectibles, including material caches required to unlock new outfits, which have both deep cuts and surface scratchers alike when it comes to Wolverine’s design history.
https://www.ign.com/articles/marvels-wolverine-reviewLas críticas son demoledoras: jugabilidad demasiado sencilla, con escasos combos que conllevan una rápida sensación de repetitividad, una dificultad baja (literalmente hablan de poder hacer parry hasta con los ojos cerrados, porque la ventana para ejecutarlo es excesivamente generosa) y un avance extremadamente guiado que recuerda a un Uncharted.
Ahora mismo tiene un 77 de media en Metacritic, lo cuál para ser una propuesta triple A es una cifra baja (teniendo en cuenta los estándares que se manejan), más teniendo en cuenta que hay precedentes de Sony considerando como fracasos puntuaciones similares como las que recibió Days Gone.
Seguro que los nipones no pronosticaron este escenario y esperaban rozar el 90 de nota, lo que supone un duro golpe para sus aspiraciones. Falta por confirmar si dichas críticas están justificadas y el impacto a nivel comercial, pero de primeras, seguro que Sony no espera ni por asomo esta "tibia" acogida.
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