Director Smith: The biggest takeaway from developing Marvel's Spider-Man was that the character's core essence must define the player experience. While that philosophy remains, the fundamental differences between Logan and Spider-Man necessitated a shift in approach.

Spider-Man is an agile hero, zipping through New York at 30 meters per second. Logan, however, is weighed down by his adamantium skeleton; he is far from nimble. Because he uses sharp claws for close-quarters combat, we had to pull the camera in much closer to capture the cinematic intensity. Furthermore, Logan is a nomad, not tied to a single locale. That required a tighter, more intimate narrative, which led us to choose a linear path over an open world.

Director Smith: It allowed us to weave level design and narrative much more tightly. We could provide a massive combat arena and then pepper in static moments where players can catch their breath and immerse themselves in the story. In an open world, player movement is unpredictable, but a linear space lets us craft the mission flow with much more precision.

Insomniac Games has built up plenty of know-how for linear missions, going back to the Ratchet & Clank and Spyro days. Despite the linear path, there is still plenty to explore, from finding collectibles to gathering materials for suit crafting. We have also included features like mission replay at different difficulties and a New Game Plus mode right from the start.

Director Smith: Every player tackles games differently, so I am hesitant to throw out an exact average. However, the time required to complete the game is in line with what you would expect from a typical AAA narrative-driven title.

Director Smith: That is because the fundamental fighting styles differ. Spider-Man uses webs for acrobatic, mid-air combat. Wolverine, on the other hand, relies on raw power—punches, claws, kicks, and headbutts. While the combat is visceral and close-range, there is naturally less variety in ranged attacks.

Consequently, Wolverine's combat is focused on juggling enemies in close quarters, managing health, and building up rage to finish them off quickly. It is not just about punching; you can use the environment, like impaling foes with a forklift. Both the combat system and enemy design were built with that intimate, hard-hitting feel in mind.

Director Smith: Early in development, we tested a standard passive health regeneration system, but just waiting for health to tick back up did not feel like Logan. Conversely, a system where players trigger rage whenever they want was fun but made the character too overpowered, which clashed with the lore of Logan struggling to control his inner rage.

After much trial and error, we combined the two. You have to attack enemies to build up a rage meter, which you then spend to regenerate health. It forces players to stay aggressive to survive. We also spent a massive amount of time tuning enemy health and patterns to maintain that perfect level of tension.

Director Smith: Gore was essential to stay true to the character of Wolverine. Of course, we have included extensive accessibility options so players who are uncomfortable with dismemberment or heavy blood can tone it down or turn it off entirely.

Rather than setting a strict rule, we found the sweet spot through constant iteration. For example, having Wolverine enjoy torturing enemies would be off-brand. Logan is efficient and violent when someone blocks the path, but Logan is not a sadist.

We were also careful not to humanize the enemies too much. If you eavesdrop on henchmen talking about their families or daily struggles, it creates a moral burden for the player. The enemies need to be a clear threat to the player.

Director Smith: It required a multi-faceted approach. First, we wanted to capture the tenacity of someone who feels every punch and gunshot but keeps getting up. We implemented animalistic senses, allowing the player to track enemies by sounds and smells that normal humans would miss. Also, players can choose to charge in, claws out, or stealthily pick off enemies from the brush. We rewarded aggressive play with the rage meter and cinematic takedowns.

Director Smith: Wolverine is a complex character grappling with fragmented memories and an identity crisis. Logan constantly questions whether Logan is a weapon, a human, or a mutant. To properly capture that dark narrative and the violence of the claws, we knew early on that this would be a mature-rated experience.

While this is a Marvel game and needs to be entertaining, Logan is not the quip-happy hero that Peter Parker is. So, we paired Logan with characters who would create emotional friction. We placed Sabretooth in the mix to force conflict, and balanced it out with the neutral stance of Mystique. This allowed us to dive deeper into the conflict between humans and mutants.

Director Smith: Initially, we brainstormed who was essential to fulfill the Wolverine fantasy. However, as the narrative evolved, some characters were dropped because they required too much exposition to explain their Marvel lore, or they simply did not fit the conflict with Logan.

Even if a character was important early on, we cut them if they didn't serve the flow. Conversely, some smaller roles grew as they became vital to the overall story. It is standard game development: lots of trial and error to get the current roster right.

Director Smith: Dealing with Omega-level mutants in superhero games is a balancing nightmare. So, in this game, Jean Grey is set at a point where the character is not yet comfortable with those abilities. In a world where mutants have to hide their identities, Jean Grey never had the chance to practice, so when the player first meets Jean Grey, Jean Grey is not yet the god-like, fully realized mutant.

Director Smith: There are no direct crossover events planned where Spider-Man and Wolverine meet. However, observant players will find plenty of familiar traces in the game that confirm we inhabit the same world. We have planted seeds that we can build upon if the opportunity arises.

Director Smith: Giving the player choice was our top priority. Personally, I love Logan in a simple, cozy flannel shirt (laughs). We prepared various outfits inspired by comics, TV shows, and films so players can play as their preferred version of Logan. Of course, there are also suits designed specifically for this game.

While we kept iconic features like the mask and claw shape familiar, we experimented with color palettes and details. We even included suits designed by Marvel artists specifically for this project, and I hope fans enjoy both the classics and the new designs.

Director Smith: The entire team at Insomniac Games is thrilled to share this project with fans around the world. I hope you connect deeply with the human struggles and the narrative that Logan and the mutants face. I cannot wait for everyone to jump in and experience this world for themselves.