Metascore
60

Mixed or average reviews - based on 22 Critics

Critic score distribution:
  1. Positive: 4 out of 22
  2. Negative: 3 out of 22
  1. If you have read the book, you should still enjoy the game and appreciate both the faithfulness to its source material and the liberties taken with the material. If the game is your first exposure to MOTOE, then it is most likely inevitable that you will then want to read the book.
  2. There's nothing here that hasn't been done before in many other adventure games before it, but Agatha Christie: Murder on the Orient Express is a splendid showcase of richly compelling narrative and atmosphere at work.
  3. Looking back at MOTOE, I had mixed reactions. On the one hand, the game is unusual in its setting, very well-produced, full of rich and enticing atmosphere. Yet, on the other hand, it's very linear, full of repetitive busy work, and really seems more like an interactive novel than a game where your actions can impact the game world and possible outcome.
  4. A trip well worth taking. Most relaxing and enjoyable I thought, with enough challenge to keep experienced adventurers entertained and enough guidance for new players to join in and have plenty of fun.
  5. The production values of the game are just fine. The train looks authentic, the voice acting is believable, and there are several quality cinematic sequences sprinkled throughout the investigation. But what you do in the adventure isn’t all that fun or exciting, and so I’m not exactly sure who would enjoy it.
  6. There are a handful of intriguing puzzles, but with its sumptuous atmosphere and superb voice acting--slightly stylized and exaggerated to pump up the melodrama--Murder succeeds less as a classic adventure game than as a splendidly illustrated piece of interactive fiction; in this case, a subtle but important distinction. [Mar 2007, p.65]
  7. A great presentation of a classic book. As an adventure game, though, it is a little lacking.
  8. I would only recommend this game to adventure fans that are into the Agatha Christie series of novels. However, they should prepare to be faced with repetitive and secretarial tasks.
  9. 61
    Character interactions are numerous, but so linear in their progression it makes it feel as though you're turning pages in a book than affecting a game world.
  10. The dialogue is disappointing, being a case of exhausting the options rather than picking the right thing to say. [Apr 2007, p.68]
  11. They have stretched imagination and creativity in a few scenes with things like being outside the train while looking at a few of the doors to compartments instead of the standard inside view. Other than these occasional bright points Murder On The Orient Express is just not much above average.
  12. Save yourself the tedium and just read the novel. [Mar 2007, p.72]
  13. Worth playing through for the story, but questionable design issues prevent it from being nearly the classic that comes bundled with it.
  14. The newest Agatha Christie adventure game suffers from monotonous tasks and contrived plot twists that drag it down to mediocrity.
  15. The game’s not terrible, but a poor example of what a novel adaptation could be, and so might only be enjoyed by those who really like the tales of Poirot, and a good mystery. It’s a good thing the original novel comes packaged with the game, because in this case, I’d recommend giving it a read instead.
  16. Poirot is the strongest and best performed character, which makes his background role a great mistake. Competently built, OE is too often directionless, but most of all, dull. Dull, dull, dull. In conclusion: dull.
  17. But even as a flawed game, Murder on the Orient Express still manages to draw you in with lush environments, a stellar score and top-notch voice acting (which manage to make most of the protracted conversations at least marginally interesting).
  18. Hardly entertaining, the game features presentation problems and boring play that isn’t worth the effort. Read the book instead.
  19. Perhaps the worst aspect of this game is that you, the main character, do little to actually determine the murderer. Instead you are really Poirot’s minion. The ending and solution inevitably comes from him, with a little input from you.
  20. Despite the genuinely lovely mood created by the mid 1930s settings, haunting soundtrack and clever use of lighting, even the train full of believable – if not slightly stereotyped – personalities can’t make up for the lack of care gone into the unrewarding finish of Murder on the Orient Express.
  21. The game becomes a painfully slow and suffocating linear trudge through every single cabin on the train - for the fifth time - in an effort to find everyone and get hold of their passports for investigation purposes, while asking all nineteen passengers and crew practically the exact same set of twenty odd questions.
  22. Go buy the book, it'll last longer, give you more joy and won't make you feel like your brain's leaking out of your ears. [Mar 2007, p.76]

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