Revision 1

Marvel's Wolverine was built specifically for PlayStation 5 and does not run on the previous console generation. Insomniac set a 60 frames per second target early and treated ray tracing as part of that target rather than as a separate quality mode.

Performance

The base PS5 runs the game at 60 frames per second with ray tracing, and that is the default mode. Head of technology Mike Fitzgerald has framed it as the game being a 60 frames per second game with ray tracing as the PS5 should have, and senior project director Jess Reiner-Reed has said the team knew from early in development that it wanted 60 frames per second working on the base PS5 in performance mode.

On PS5 Pro the game is PS5 Pro Enhanced and uses PlayStation Spectral Super Resolution for image quality and frame rate.

Platform features

Character rendering

Insomniac has singled out character fidelity as the project's main technical investment. Mike Daly has said the team knew it had to make a big tech investment in higher quality hair that could be more carefully groomed, and that hair reacts to weather rather than sitting static. The wider goal was cinematic-quality character rendering during ordinary gameplay rather than only in cutscenes, which matters more here than in most games because the camera sits tight in on Logan.

Blood got its own treatment. Senior art lead Grant Hollis has described building it to feel viscous and wet, so that it decals everywhere and smears when it hits a wall.

How much of that is shown is player-controlled: Violence Preset, Dynamic Blood, Dismemberment, and Visceral Healing are all separate toggles. See Accessibility Options.

Interface

The HUD is deliberately minimalist. Mike Daly has said the interface is intentionally pretty minimalist because the team wants the player's eyes, and thoughts, on the world. Several readouts that would normally be fixed, including the boss and hero health bars, are toggles rather than permanent fixtures. Chase sequences add a temporary red trail marking the route; see Combat.

Audio

The score is by David Fleming, and the game also contains licensed music: a Streaming Mode option toggles between licensed and composed tracks, which exists so that recorded or streamed play does not carry licensed audio. A Single Language Audio option swaps dialogue spoken in other languages to match the chosen voice language, which matters in the Japanese and Madripoorian sections of the campaign.

Composer and performer credits are on Cast and Crew.