Marvel’s Wolverine is right around the corner with its September 15th release date on PS5, but that doesn’t mean it can’t have another trailer. Insomniac Games’ next superhero game was one of the games that led the September 2026 State of Play and showed off some new cutscenes in addition to a few gameplay snippets.
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The Latest Marvel’s Wolverine Trailer Gives Players One Last Look Before Launch
The above trailer is relatively brief — it doesn’t even crack 90 seconds — but yields one last look at the game before it comes out. It teases some of Wolverine’s conflicts with Sabretooth, Lady Deathstrike, and Omega Red, all villains who have already been confirmed. This trailer doesn’t have much totally new, per se, but it’s a collection of new and old scenes. There’s also not much pure gameplay, but has some bosses and other encounters, like with a big Sentinel, a fight that has been previously revealed to some controversy due to its perceived simplicity and likeness to a Ben 10 game.
Reviews of Marvel’s Wolverine will go live on September 10th, so more will be in store for players one final time before the game’s launch five days later. While the game has drawn some criticism — some of which seems to be blowback from PlayStation’s decision to stop making discs — it is still a hotly anticipated game because of the titular character and Insomniac’s track record, so expectations will be high.
This was a Japan-centric State of Play, as was promised, so it might seem strange Marvel’s Wolverine was one of the tentpoles of the stream. However, Insomniac in a PlayStation Blog post spoke about how it went to Japan for location scanning to find the “physical truth” of the country. In its trip that spanned hundreds of miles, the team went everywhere from “bamboo forests to sunbaked city streets” to “remote side-of-the-road temples” and local snow-covered mountains. All in all, Insomniac captured 5.6 TB worth of data, 600 scans, and 189,589 photos, which helped make assets for the final game (some of which can be seen in the aforementioned post).
“Being in Japan allowed the team to observe how structures are designed and constructed, how materials have weathered, and how local cultural details appear in the environment,” said principal technical artist Nathaniel Bell. “Even when a location in the game is fictional, firsthand research gives artists a stronger foundation to build from. Location scanning helps us create places that feel grounded and thoughtfully inspired rather than worlds pieced together from generic library assets.”
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Courtesy of Wizards of the Coast
