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Evidently, Sherlock Holmes: Crimes and Punishments isn't about rights and wrongs so much as it is about interpretation and judgement. Being right all the time is a fitting tribute to Homes' monstrous ego, and it's also an interesting premise for a detective game - a more effective one than it might initially seem. However, the lack of character development and some lacklustre supporting players result in a feeling of detachment from a game that only excels if you are invested in it. That's a shame, because there was potential for Crimes and Punishments to be a truly great detective game, instead of just a mechanically sound one.
I find myself thinking back to a Gabe Newell quote from the book Half Life 2: Raising the Bar, regarding the game's large portions of missing content. "It doesn't matter what we cut, so long as we cut it and it gives us the time to focus on other things." I feel like this outlook is more pertinent than ever; there are too many games being released these days for them to waste players' time in the way Battlemage does. Editing in game design is as important as it is in writing or filmmaking. Get to the point. Respect both the time and financial investment of your audience. Above all else, don't send me chasing after the goddamn lorry.
As soon as I finished The Vanishing of Ethan Carter, I started it again and was greeted by that same warning. "This game is a narrative experience that does not hold your hand." Originally I thought it was telling me that I was going to be challenged by what followed and that I shouldn't expect any help in figuring it out. And I still think that. But I also suspect The Vanishing of Ethan Carter, which rarely uses a word more than it has to, is making a broader point when it says it doesn't intend to hold your hand.
Sadly, the biggest problem with this whole package may be that Arrowhead has already made a truly great Gauntlet tribute anyway, and it was Magicka. There was a game with the freedom to choose its own first principles, while still having Gauntlet's mean-spirited playfulness baked into it. The difference, I suspect, is between being creatively inspired by the spirit and ethos of a legendary design, and being cast as a kind of well-intentioned caretaker.
Pocket fighter.
There's plenty to see and do in Mordor when you're dead; all that's left, in the words of a wise old wandering wizard, is to decide what to do with the time that is given to you.
It's going to be a busy season for racing games, with sim hopeful Project Cars, ambitious online "CarPG" The Crew and the social score-attack of DriveClub all jostling for attention. Horizon 2 sets an intimidatingly high bar for those games to meet on every front, but in one aspect it seems unbeatable. I can't imagine any of them are going to feel this happy.
That, perhaps, is FIFA's defining contradiction. EA can quite fairly claim to have again delivered the best football game ever made. But every year the developers seem to have less of an idea what that means.
These mostly minor issues aside, Wasteland 2 is a great sequel. It's very clearly made with love to be true to the original game while still learning from the games that followed. In going for something so unapologetically old-school it does sacrifice the ability to do anything new with the format, as Divinity: Original Sin managed to do in many ways; that game's flexibility does arguably make it the better of this year's two old-school, turn-based computer RPGs. This hardly matters, though, because if you like one you're almost certainly going to like the other. Both are great games that set out to stick their fingers in the same quivering part of your brain and make it throb like it's the 1990s. Choose magic, choose a shotgun, or better still, find time for both; computer RPG fans haven't had it this good in ages.
But in the white heat of the Strike playlists - or in Heroic mission runs with a friend, or in the unheralded arrival of a public event whilst tooling around in Patrol - Destiny blazes a clear trail through the middle of the desolate no man's land that, for years now, has segregated the bombastic emptiness of shooter campaigns from the frenetic slaughter of multiplayer. And it does so with a poise and depth that its few peers - games like the charming but scrappy Borderlands and Far Cry - cannot match; a poise and depth that will keep people playing it for years.
Hyrule Warriors rewards thoughtful play and demands a strategic approach that transcends the brute force combo-strings of its moment-to-moment gameplay. The marriage of Zelda and Musou is an unexpected success, then - a game that recounts the Zelda myth not just in a new way, but in a whole new language.
Don't get me wrong. I do still think that featuring a Death Star in an RTS is a fantastic achievement. I just wish they'd also included something worth fighting for.
If that sounds too much like hard work then you may be right and Hack 'n' Slash won't be the game for you. If the concept behind it elicits even the slightest flicker of interest, however, you should definitely give it a try. You may even learn something.
Much like the recent MouseCraft, which at least had a Tetris twist, Flockers struggles to move out of the shadow cast by Lemmings' brilliantly pure concept. While that adherence to a classic template yields considerable amusement, over time the features that should have lifted it higher start to become frustrating. Not only does it not move beyond the 1991 formula in any meaningful way, in the long term it struggles to match it. Flockers is not without its appeal for the patient and nostalgic, but Team 17 is ultimately just grazing on DMA's old patch when it could be striking out for pastures new.
The Sims 4 is both fresh and yet also predictable, pleasant, comfortable and rarely overstimulating. It's wobbly, and you can still see some of its joins, or hear the creaks as new parts settle into place. It's not likely to win over any new players, but it will satisfy a lot of its old ones. For many of its fans, it will feel like moving into a new home. They'll settle.
Despite the game's dipped-nose poise, its obsession with speed and clocks, it rewards those who take their time, who perfect their technique on each stage, and who savour an arcade game that's been lovingly embellished and expanded to its full and likely final potential.
Overall, The Curse of Naxxramas seems well worth owning, then. The solo content has its ups and downs, but it is most often fun, and also offers some welcome environmental refreshment. Things like a new game board, new music, new enemy emotes and all the trappings of Blizzard's typically lavish production values might sound trivial to some, but for those of us who have spent hundreds of hours playing Hearthstone already they are as much a part of the experience as anything else, and that shouldn't be overlooked. As for the new cards, the cunning behind many of them is likely to echo throughout the seasons, even though not all of them are showing up in regular play at the moment. And if you're anything like me, you won't want to be without them.
Madden 15 a step forward, then, yet still a year behind schedule. There's a good game here, but there's still work to do to bring it up to the level of many of its sports game peers.
It remains a shame that Clementine never quite became the truly different kind of lead that the first episode promised, but in the final analysis, what The Walking Dead offers still more than makes up for its occasional stumbles. It's definitely a road trip worth taking - as long as you don't mind its highs being its most devastating lows, its good endings being little but the trap where optimism goes to die.
First Light's weird, limbo nature makes it a hard one to pin down. Considered as a DLC add-on, it's pretty generous and fans of Second Son will certainly appreciate the extra backstory and another chance to romp around Seattle. As a standalone game, it earns points for trimming the fat from the open-world template, but is also as generic as they come. First Light is an adequate diversion for fans but unlikely to dazzle anybody else.