Disclaimer
The copy of the game used for this review was provided by the publisher at no cost to the reviewer.
Introduction
Wolverine. Whether it’s the comic book iteration, from any number of animated shows, or the versions featured in iconic film appearances, it’s a name that’s pretty much instantly recognisable.
When I heard that Insomniac had a game planned around the titular character, I was intrigued but also a little skeptical, given that at the time Spider-Man 2 wasn’t determined to be an experience that might be accessible. without sight and playing the 2018 Spider-Man game with sighted assistance was the only way to experience it.
After Spider-Man 2 released and was updated with navigation assist and the like, I and others were very much intrigued as to the possibility of what a brutal and accessible title could look like with a Marvel license attached coming from this high-production studio.
Now, several years on from that initial announcement, we get to answer that question for ourselves: Just how accessible is Marvel’s Wolverine as a gamer without sight?
First Boot
On first boot, the iconic PlayStation Studios and Marvel logos play, though unfortunately with no audio description (AD) or haptics. This is sad, the haptic part especially, as PlayStation games had a run of including cool haptic elements as well to further immerse you in the experience, even as it began.
The first thing you hear after this is actually a popup, asking you whether you want to keep the screen reader enabled or not. Having this option straight away allows those who need it to keep it on, whilst hopefully also placating those who strongly dislike screen readers being in games for whatever reason. Having it be circle to keep enabled and cross to turn off might confuse people at first, but listening carefully to the instructions should let you carry on as desired.
After this, with a version of the main theme coming in underneath, the first thing you hear, surprisingly not a title screen prompt, but “new game”. This menu allows you to turn off the screen reader with square as well, in case you accidentally hit circle to keep it enabled.
There is, within this initial version of the menu, an option to set your challenge level, which we’ll come on to later, seeming like it wants you to get right into the action, even if you have to adjust settings first for an optimal experience.
Non-Dynamic Narration?
Unfortunately, a key point of note is that the screen reader speed is slow by default, though it can be adjusted (more on that in a bit). This slow speed also made me immediately wonder whether the game was passing text through dynamically or using pre-recorded files, though with the way the resulting audio ended up sounding and an additional element you’ll read about shortly, I am of a strong belief that this title again uses pre-recorded files.
A Question Of Challenge
Difficulty in games is always a thorny topic, almost as likely to draw rage as someone annoying Wolverine himself for some. With Insomniac’s approach however, you again have adjustable overall challenge level, with this title including descriptions for its various levels of difficulty that describe aggressiveness and other factors by means of percentages. From what I saw, the sliders don’t go up to 100% at the highest level, which seems odd as it is the hardest difficulty.
I chose to play on the game’s recommended difficulty, The Mutant, for my first playthrough, though I did modify settings as I went depending on my needs or just to try things out.
It’s clear that, with adjustable stealth awareness, enemy damage and health, the arguable key bases are covered, though it would’ve been nice to also see player damage be an adjustable modifier here as well for those who want to play on the hardest settings from the beginning without having to struggle to dish out the pain as well as take it, should they have trouble.
So Many Settings
As previously referenced, throughout this initial flow, you’ll see that the square button is available to disable the screen reader, so even if you thought you wanted it on but now don’t, you have the ability to remove that from the equation should you so wish.
You’ll also notice that even in a settings menu, you’ll see new game listed at the top even when you’re inside other screens which, though it feels like an odd choice, does make sense as it allows players to jump in once they’ve set challenge level and the rest of the game to their liking from anywhere, should they want to.
I won’t go through all the options available during setup otherwise we’d be here for a long time just on that section alone. Suffice it to say that left and right trigger allow you to jump to the previous and next designated area of the settings, with some areas including settings that seem like they should have their own section. These sections are, in certain cases, also collapsable if you want to make things a little easier on yourself too, especially relevant when the game has 100 options in one menu (no, I’m not exaggerating).
Looking through the various options available under settings, L3 is lock-on, which feels rather strange coming from titles like God Of War Ragnarok, where it is mapped to R3.
During these investigations of the subset of options that are found on booting up the game for the first time, I didn’t find a reference to what Navigation Assist was mapped to at this stage or how it could be accessed, but we’ll come on to that as it is able to be discovered under the view all settings option, then under Accessibility.
Popularity Contest
I also discovered during my exploration of the menus, a category interestingly titled “popular settings”
It surprised me, when looking at this submenu that though UI text size is in the most popular settings, subtitles or narrator speed are not. I personally would prefer if the popularity of settings wasn’t discussed so openly, as it could make players feel excluded potentially, but that’s a different discussion.
On a good positive note, though it’s become more of a standard of course, it’s always appreciated to see that subtitles are on by default. Even if I don’t personally need them it’s great for those watching any streams I do in the future to be able to follow the game along with me.
Even with these various smaller settings menus, there is the option to “view all settings” right at the bottom of this menu system. Given what I needed to look for that I couldn’t seem to find initially (including narrator speed which is one of the first things I look to adjust on a new game), I clicked this and found the wealth of adjustable elements mentioned above.
Propagation Of Presets
As with most of the well-known PlayStation games that have included accessibility in recent years for multiple disabilities, this title also includes presets to change large numbers of options at once. Whilst you’d think the “vision” preset might also turn on colour contrast and you’d have to change everything back as happened with The Last Of Us for me, this game includes a very interesting scenario.
The vision presets presented here include both a “some” option and a “full” option. The some option, possibly representing some usable vision, turns on a bunch of high contrast colorations that, whilst not useful for me, will hopefully help players who can see to play the game.
The full option is what gamers without sight like myself will likely be interested in, as it does not enable any of these high contrast settings and instead turns on pretty much all the features I found to personally need during my playthrough, other than turning down the music to 5 and autocompletion for Quick Time Events (QTEs) which I disabled, at least initially.
It was a little frustrating to see the narration implementation showing a crack or two already, with the words “apply preset to settings” being spoken every time you moved left and right in the popup to select a vision preset option. Much like the other small issues seen throughout the rest of this review, I hope these can be updated in a patch of some kind to polish the experience even further.
Gotta Go Fast
I mentioned that the speed didn’t seem to be adjustable from what I could find earlier. However, when scrolling through the myriad options, I finally found a speed control for the narration functionality.
This element, sadly, seems like it’s not running the game’s strings through any kind of actual speed change during the recording process (for lack of a better description), instead just adding an audio effect over the existing recording after it has taken place. This makes the end result less clear than the original, thus also making for less of a consistent experience. As a result, I left the narration on the default settings throughout my playthrough, as I personally couldn’t stand to listen to filtered audio for the entirety of the game).
On an additional note in terms of narration, though it might seem as if the speaking of the type of control or list position can’t be disabled, it’s actually a setting that’s a little hidden away that let’s you achieve this, though it’s not recommended for new players. It’s called verbosity and it’s available under the accessibility options. I enabled this after a while of playing to see how much it changed things and it certainly helped me, though your mileage may vary.
What I configured
Here’s a note of the elements I changed, outside of those adjusted by the vision preset being set to full. I’m putting this here in case it might help anyone else in future.
- Changed taps to holds
- Turned off QTE autocomplete
- Turned music volume back up to full
- Mapped screen reader status to down on DPad
- Mapped goal switch to right on DPad
- Mapped critical strike to up on DPad
- Changed vibration to experieencial
- Did not adjust screen reader speed as the filter used was too jarring.
After a good while of adjusting settings, looking through menus and trying to understand what I could about how things might work, I realised the best course of action was just to jump in and see how everything plays first-hand.
The game Itself
After hitting new game, you’re greeted, as might be expected in a game like this, with your first of many cutscenes, which are all audio described. The text that goes alongside it announcing a time period, in this case, are narrated by text to speech which, though some might find this jarring, I personally didn’t mind.
The audio description, provided by the same describer as Spider-man 2 (who again has done a fantastic job with a very well-written script), always reflects the full level of violence even if that’s not what’s displayed on screen. It’s understandable as to why, but I was pleased to see it mentioned in the settings menus, as it was a consideration I’d had about streaming the game too.
The audio cues, if you have them on of course, might be very familiar to you, given most of them are pulled straight from The Last Of Us.
Whilst I understand why this might’ve been done (in the sense that these cues are now familiar to a vast number of people), I would also have liked to see more cues that are specific to this game alone or at least Insomniac Games, giving the titles a more distinct identity. For example, the kill cue that I got to hear via the audio and vibration cue glossary is exactly the same as The last of Us. Whilst I appreciate its inclusion, it did feel somewhat at odds in the back of my mind with the brutality of the game, though I could never put my finger on why it felt out of place.
Additionally, a cue you’ll hear a large amount throughout your journey is one for when you need to parry attacks, a key mechanic that is tutorialised very early on. The cue used isn’t the one from God Of War Ragnarok, with its relatively quick start with no real fade in to speak of, but instead is funnily enough the sound used to indicate the need to dodge in both The Last Of Us games, which seemed like a rather odd choice given it has a fade in at the beginning and thus can’t realistically be reacted to as quickly. This is because, by the time the sound starts, the parry opportunity might already have come and gone, meaning you’ve been hit in the face by an oncoming enemy instead of blocking and retaliating as might be your want to continue the encounter unscathed.
As a fun side note, having the audio and vibrations be featured as a part of the same glossary is useful, given most players would likely be experiencing the game with haptics on anyway. Though this isn’t the first game that’s done that, that award potentially going to Assassin’s Creed Black Flag Resynced, matching both the sound and haptics together seems like a straightforward choice and works well here.
You are eventually presented with your first button prompt, that being to unsheathe your claws, accomplished with L2 and R2. The adaptive triggers put in work here, as they do throughout the rest of the game when they’re needed and it must be said that the impact of that first moment definitely sent a rush through me as a small taste of combat began, even if it was only brief for now.
Once you get into what could be described as “actual gameplay”, you are told that you can sprint by holding R2 and moving forward. However, the key thing you are not told is about nav assist and how to use it, in contrast to titles like The Last Of Us or God of War Ragnarok.
This means, in practice, that at first you might be trying to move toward targets manually which, whilst it does technically work, can be a bit of a pain.
What you are intended to do, from what I could figure out, is press nav assist and move forward, or towards the audio cue if it goes off in a different direction repeatedly. There were a few points later on in the game where this happened and I did manage to get past it, but I was sad to see this issue return from Spider-Man 2’s experience.
Another interesting quirk I noticed was that, at times, at default speeds, the TTS takes too long to get through tutorial information, meaning that it breaks up the flow of gameplay. Sometimes, the tutorials are even seemingly cut off by the gameplay itself, meaning you have no idea of some of the extra mechanical depth that may exist.
Stealthy Strategies
As much as Wolverine is all about violently dismembering enemies with adamantium claws, sometimes said limb removals have to happen quietly. Such is the case where, early on, you are tasked with taking out enemies without alerting others, until it all goes loud (at least that’s what can happen).
The game does use enemy heartbeat audio to somewhat useful effect here, though triangulating them can be difficult as they only show up when enemies are nearby, when they’re in front of you and can also do so through obstructions. This means that whilst you can see an enemy, there is sometimes no easy way to get to them without just following the nav assist pathing and hoping you get a leap cue.
Speaking of which, the leap cue is new to this game and indicates when a takedown is available, rather than using text to speech narration to detail a triangle button press, for instance. This is a breath of fresh air and means I’ve been able to take down multiple enemies in rapid succession, without having to worry about just what’s going to happen if I press it, even though interact and leap are on the same button. This approach not only showcases the value of cues, but also shows the potential for differentiating story and non-story interactions, something that this game doesn’t follow through on.
Techniques and Tutorials
Throughout the game, you’ll level up and unlock skills, in this game called techniques. Unfortunately the first time you see this screen, you are forced not to unlock one singular technique, but choose between two. If you’re wondering why this is a problem, it’s specifically because the game, at least when playing during the review period, did not speak which option I was on, instead giving me the tutorial prompt until I selected one of the two options by moving around and pressing cross until I found a hold to unlock whatever of the two options I happened to discover by accident.
This is yet another example of an element I hope can be patched, but given you’ll want to unlock everything anyway and the pre-order editions give you 3 technique points, it’s arguably less of an issue than it otherwise might be.
The way the UI is designed also presents some interesting scenarios, not necessarily for navigation directly, but for narration. The narration of the techniques area is filled with information like XP and levels before you hear what the technique you’re highlighting actually does, as well as identifying the screen as a “double grid”.
This confused me at first, until I realised that because there are “techniques” and “special techniques”, which are not the same thing, on the one screen, the distinction had to be made for comprehension.
As much as the techniques are explained when you purchase them, you don’t get to see what they sound like in practice, as there is no audio preview. This is such a shame when the audio is already so good, as it would definitely be helpful to know what you expect to see happen when in the heat of battle.
A range of attacks
I reference the idea of parrying attacks earlier, a core tenet of Wolverine’s gameplay. However, there’s another aspect to the game when ranged enemies come into play and that’s dodging.
Having tutorials early on using visual information as a reference point, rather than the audio cues is infuriating and you come up against this with your first ranged enemy. The tutorial text says “when a ranged enemy’s weapon glows, dodge to avoid there attack”,
Granted there are audio cues for these designed into the game itself in the form of enemies loading their guns before they fire, but such cues don’t always let you dodge cleanly as they can be hard to hear at times in the heat of battle, they might sound similar and attacks have different speeds etc, even if the audio cue for the attack type is the same or the gun they’re holding acts differently.
The combat is fluid and visceral, with rage cues happening dynamically without being identified specifically. This does demand patience on the part of the player to learn them, but it also means that gameplay isn’t broken up by even more tutorials.
Speaking of fluiditiy, if you want to double check what buttons do, you can view controls, but it’s one long string. This means it’s pretty much impossible to easily find what you want in terms of information, but this is not the first time we’ve seen this trend either.
It additionally seemed like there was little in the way of button mapping from what I could tell, which was unfortunate for those who might want to , say, switch lock-on and navigation assist (as I would’ve done), or to map sprint to L3 even for a more conventional experience.
(Update): I was informed after launch that mapping functionality can be found under: options menu>controller layout>custom 1 or custom 2, including allowing for remapping L3 and R3 as suggested above, though as of the time of writing I haven’t tried this myself. I will update this review with some information on other post-launch discoveries from my live streams too when I can.
I realised throughout my time with the game that it would be good to be able to turn off hints and the navigation assist audio cue, even if the system works better than I’d have thought it might. A beacon would’ve been better here, much as it would’ve been in Spider-Man 2, but the fact that I already got so far into the game without assistance and needed minimal help on very few occasions was a great delight to me personally.
Unfortunately, there are points where the narration stops working (which can hopefully be fixed with a patch). These are somewhat frequent, but are easily solved with a pause, moving up and down in the menu, then resuming. This was a strange issue to come across, but at least the solve was straightforward and here’s hoping that much like the other small pain points it can be a non-issue via an update.
A Bit Of A Nightmare
Something that a lot of action games have had over the years are challenges or trials. Rarely though are these accessible without additional assistance. Spider-Man 2’s trials turned out to be doable, at least if memory serves, so I was interested to see what Wolverine would offer in this regard.
As much as I was pleased to see Nightmare Doors, this game’s trial system, appear, what I felt dubious about was the inclusion of traversal trials in the mix alongside combat-oriented ones.
Thankfully I didn’t have much to be worried about as, though the traversal trial times are ludicrously short for the best possible results and cannot seemingly be met with nav assist usage (at least I was unable to manage it), I was able to complete all of the trials without assistance even if it took me longer than a sighted player.
The question of traversal is particularly interesting as the game relies heavily on climbing and jumping from place to place and there is even a jump cue in the glossary. That being said, trying to navigate with auto traversal off seems like it would be a bad experience from what little experimentation I did with it disabled, partly because the autotraversal setting apparently also ups the magnetism of surfaces that you would need to hit in order to progress.
This means you have to rely on navigation assist the whole way through, which further slows down your gameplay depending on how you move, but until a constant audio tone manifests itself into one of these games, even as an experiment, this is at least better than nothing.
Equally, a problem that returns from Spider-man is that of tiny interaction radii, notable when trying to pick up collectables that are precariously positioned on ledges and the like where one wrong move sees you having to go all the way round and back to where you fell off previously.
Additionally, even when having to use melee attacks to destroy objects, some of these destructible elements are difficult to connect with, forcing you to move backwards and forwards trying to line them up correctly. Again, I hope these can be fixed in a patch as they are integral to levelling yourself up.
Where Do We Go Now?
I know I’ve spoken about navigation assist before, but during my time with the game, there were a few points where either the pathing or having to rely on waiting for the system to function correctly caused me significant issues and I was forced to obtain sighted assistance to verify what was going on and get past these pain points.
Boss fights are iconic in Insomniac games and the Sentinel fight, which has been mentioned in other coverage from various outlets (inclding video footage posted to social media), is no exception. However, with slight spoilers, there is one moment in the fight that I had to get sighted assistance to pass and that was only because the navigation did not allow me to quickly get to where I needed to be.
This is where the turn camera-style system, other than causing strain on players thumbs, wrists etc also falls flat. If the area of safety or objective had an audio cue to follow instead, it would allow for greater fluidity and mean that you weren’t stuck waiting for the camera to turn you to where you need to go, wasting precious seconds or leading to an untimely demise.
A similar issue came into being much later into the game, where of 3 objectives, the first two worked as intended and led me to an interaction, but the last one broke, apparently because the waypoint system was potentially looking for a direct path which did not exist. Instead of being able to go in a straight line, the game wanted me to go outside of the building I was in, which it did not lead me to, instead leaving me to wander around at my leisure which is, in a word, unhelpful.
A further pivotal boss fight also did not allow me to skip a QTE-style sequence which involved looking around as a part of its mechanics, as well as hitting cues that had no prompt for some reason. IN turn, this meant I had to utilise trial and error to get through it. This, understandably,did not make that part of the game fun, merely frustrating and possibly unable to be completed by some, though the lack of cue may have been an oversight.
A final small section with issues happened relatively near the end of the game, where again the pathfinding wanted me to go to an area, but with all the geometry in the way I was unable to get there without help, as once again the pathfinding was being rather too direct.
The fact that I can talk about these issues and count them on one hand though, I would argue, is pretty encouraging, even if Spider-Man arguably had a similar number of problematic circumstances. With Spider-Man 2, there were issues with maps and cursor-based navigation, as well as being unable to track subobjectives, all of which are not present here, though the navigation system still apparently needs work in this game too for effective, efficient and most of all, compelling gameplay to be fully realised.
Having to get sighted assistance is not something everyone can do and I understand it is seen as a luxury of sorts, but if the above frustration points can be resolved along with any others not on that list, I’d estimate that this game could be easily completed without help in terms of the main story.
In amongst all these strange occurrances, I found I had to restart the last checkpoint far more frequently than I’d want to, though I hope that with any navigation patches this number may be reduced.
Even the side content is not immune from problems, as the combat trials include wave-based ones, which whilst accessible require you to destroy an idol under a time limit. Ostensibly letting you choose, but without giving you a simple menu to allow you to do so and making you listen to TTS at a lower than default speed makes any such process less accessible for gamers without sight, though as said above, all the trials are in fact doable. You have to partly count on the idols you get being useful for the way you fight.
I managed to beat the entire main story, with minimal sighted assistance, in pretty much a week off and on, with the majority of my time on the recommended difficulty. I did customise some elements based on the situation (including turning up stealth awareness so enemy encounters would theoretically start sooner, meaning I could also finish them more quickly), or adjusting other aspects to see if I could make the aforementioned Sentinel boss fight less stressful (which it turned out didn’t seem to work).
I also spent a lot of time in the trials, completing the vast majority of the main ones and only missing a single one during my main run. The only obstacle remaining for me was to complete them all with bronze times, which I knew would be difficult to accomplish, but I did in fact achieve.
Driving Me Crazy
I’d seen a fair amount of discourse around bikes in Wolverine, probably apt given the character commonly rides some kind of motorcycle at various points throughout his career. This game does feature minimal vehicular navigation, unfortunately the sections I can remember that include this are not as smooth as I would’ve liked, with navigation leading you sometimes directly into collisions with oncoming traffic. That being said though, this is probably what sighted players experience their first time through and if that is indeed the case, then I’m ok with a little extra challenge here and there.
Thankfully vehicle navigation is only present in a couple of areas later on in the game as part of set pieces, making it less of a problem than it otherwise would be and frankly, I’m ok with that. After all, Wolverine’s deal is running around hacking and slashing enemies, not running them over with large tyres. If nav assist were tightened up to allow for greater ease of navigation though, that wouldn’t go amiss either.
A Fine Addition To My Collection
As much as they are worthy of inclusion in terms of lore, cool writing or interesting reactions from characters, collectables are something that nearly always annoys me in games, mostly because spending the time to find them is a tedious and at times unrewarding process, making you wander around for hours with no real idea of where things are. Wolverine, sadly, is no exception, having to get assistance to obtain the collectables that I missed on my initial run through the game, via the admittedly helpful mission replay feature.
It’s a shame that the collectable tracker is limited in range, particularly once you’ve completed a mission, though this could be down to the pathfinding implementation currently in play. Unfortunately, it turned out that collectables were not the only barrier to obtaining all the trophies in the game to 100% it, as I found after collecting what I hoped would be the final one.
Instead, I discovered on reading the trophy list Insomniac put out before the game’s launch that there were a couple of potentially tricky to find candidates that might be blocking me from another platinum.
Switching Goals
One thing that I was pleased to see in this game was the addition of a goal switch shortcut, allowing you to either track the main mission or collectables and interact points. Therein, however, lies an insidious issue or tow, in that either an interact might be part of the main story but you won’t know that until you hit it, or that collectables and interacts are lumped together, instead of being separated.
I am, however, pleased to report that though there is a range limit on this system for collectables, it did allow me to find most of them on my own. It’s just a shame that it won’t automatically switch like it does for when there aren no more in range, returning you to the pathing for the main mission.
Unlocking interesting ideas
Keypads found throughout videogames often also have codes attached, with Wolverine being no exception. The Last Of Us’s partly non-linear system doesn’t always help you find codes before the safes (its equivalent), so you have to brute force it in a fun way with haptics. Wolverine takes a similar approach with 4 digit codes, allowing the number of haptics on a digit to indicate the order it goes in (so the first digit has 1 haptic, the second has two, etc). This was a fun surprise given the prompt simply said to “look” with no instructions and discovering it myself made me feel like I was actually solving a puzzle, a much better option than being able to just skip it and have it autocomplete.
On a similar note, a touchpad swiping minigame that appears a couple of times, seemingly to clear the view of whatever you’re looking at to progress can be skipped but is also accessible, as is the looking minigame for multiple clues in a single interact. However, the prompts aren’t read for any controls like zooming, reading etc, yet another small but annoying text to speech issue that can hopefully be fixed at or after launch.
Voice acting and sound design
Moving away from the gameplay side, I’m very pleased to report that the sound design and voice acting, as well as the overall presentation in this title is, as might be expected, top quality, even if there were some issues with understanding dialogue with heavy effects during my review.
Wolverine is as gruff and rugged-sounding as I would’ve hoped, with all that pent up range showing through where it needed to. Additionally the rest of the cast deliver performances that all make for a solid roster, whether they are known characters to me or not.
The music fits the vibe well, with recurring themes you’ll pick up on through the story, and the DualSense haptics make for a very cinematic experience in combination with a good sound system (headphones or otherwise). It’s interesting to note that, whilst I did play a fair amount of the game on headphones, mostly to be able to easily pick out collectable cues, I also spent a large chunk of time running it through my surround system and was so glad I did, if only for the sheer scale it added to those big set piece moments.
Summary
Pros
- Most accessible game from Insomniac yet
- Includes narration, navigational assist and numerous other features that were in Spider-Man 2, including those added after launch.
- Audio description is well delivered and works well regardless of what sound system you’re playing on
- Combat is fluid and powerful, rewarding aggressive play
- Large chunks of the game are playable without sighted assistance
Cons
- Sighted assistance was required during the review period for a very small portion of the game
- Navigation assist was not tutorialised
- Some interactions, like jumps, were missing their cues during the review period.
- Cue systems initially seemed rather complicated for the heat of battle, particularly with the relative subtlety of lock-on cues
- Traversal trials, though completable, might not be completable at the highest levels with accessibility options enabled.
- You don’t appear to be able to flick stick to automatically switch targets during lock-on, which would make targeting and prioritising enemies much easier
- Trials involving prioritising targets require spamming navigation assist, which is not idea for long-term play sessions due to potential for repetitive strain. Something that could be resolved with audio beacons instead.
- Some relatively small issues with narration not functioning as intended with regards to tutorials and screens not reading when they do correctly in other situations
- Narration is not sped up dynamically, instead using an audio filter which makes it less desirable
- Narration spoils mission objectives during the pause menu, even if you’re in the cutscene that begins them
- Waypoints sometimes vanish completely, leaving you uncertain of where to go or how to proceed.
Conclusions
Marvel’s Wolverine is a prime example of what a developer can do when they seemingly take onboard feedback from their previous title, as well as of course crafting what I personally considered to be a great story with powerful and fluid combat.
In spite of the issues I experienced during this review period (which I’m confident can be fixed), I thoroughly enjoyed this and it was everything I thought it would be, even if finding collectables was an unfortunate time sink.
For gamers without sight who are interested in another accessible game, I would say give this one a shot after some patches, though your mileage may vary depending on how comfortable you are with the title’s navigation system and how to best handle the combat style this game goes for.
Above all, I look forward to see where Insomniac Games take the learning from this and other previous projects, partiularly given they’ve seemingly proven they’re getting closer and closer to a 100% playable experience without assistance.