Eurogamer critic calls Marvel's Wolverine 'infantilising' and 'brain-off'
Writer Chris argues that excessive hand-holding is a symptom of deeper systemic issues in the PS5 title.
Eurogamer writer Chris has criticized Marvel's Wolverine for PS5, describing its design as fundamentally flawed. Writing in the outlet's 'What we've been playing' column, Chris argues that the game's approach to player guidance is not only excessive but indicative of a larger lack of quality.
Addressing the widespread backlash regarding the game's signposting, Chris characterized the level of hand-holding as "bad" and "infantilising," noting that the guidance borders on "parody." However, he explicitly stated that he does not believe this intrusive level of assistance is the game's most significant problem. Instead, he described the title as a "brain-off linear game," suggesting the experience prioritizes a scripted, cinematic flow over meaningful player engagement.
The design conflict
These comments arrived shortly after the lifting of the game's review embargo, appearing as part of a regular Eurogamer feature where staff discuss their current rotations. The critique centers on the game's identity as a "Marvel movie in video game form," suggesting that the experience prioritizes a scripted, cinematic flow over meaningful player engagement. Chris concluded that, overall, he does not think the game is particularly good.
Why it matters
The critique highlights a growing tension in modern AAA game design between accessibility and player agency. By labeling the signposting as "infantilising," the analysis suggests that when a game removes all intellectual challenge, it ceases to function as a compelling interactive experience. For some critics, this lack of agency is not a standalone flaw but a symptom of a systemic problem with the game's structure, where the desire for a streamlined, movie-like experience overrides the necessity for depth and challenge.
What's next
As the community continues to digest the game following the embargo lift, the debate over "hand-holding" in high-budget titles is likely to intensify. It remains to be seen if other critics will echo the sentiment that Wolverine's linear nature is its primary failing, or if the industry will continue to lean into the "rollercoaster" model of game design for licensed IP. This tension reflects a broader industry struggle to balance the cinematic expectations of massive franchises with the core interactive requirements of the medium.