Eurogamer's Scores

  • Games
For 4,674 reviews, this publication has graded:
  • 31% higher than the average critic
  • 4% same as the average critic
  • 65% lower than the average critic
On average, this publication grades 6.4 points lower than other critics. (0-100 point scale)
Average Game review score: 67
Highest review score: 100 Okami
Lowest review score: 10 George of the Jungle and the Search for the Secret
Score distribution:
4,674 game reviews
    • 60 Metascore
    • 50 Critic Score
    All Zombies Must Die takes a timeworn premise that should be fun and cathartic and seemingly goes out of its way to make it repetitive, fiddly and annoying. If you have a trio of friends close to hand, the co-op aspect might just be enough to rescue it from the depths of mediocrity, but if you're planning on playing solo you'd be far better served by trying one of the dozens of other zombie blasters on the market.
    • 67 Metascore
    • 50 Critic Score
    Love is perplexing, challenging, and confusing. Thus, the cold, calculating puzzles should complement the emotional relationship parable. Hazelden wants it to work. We want it to work. But the sad truth is that in this instance the two simply don't have enough in common. Sometimes love just isn't enough.
    • 58 Metascore
    • 50 Critic Score
    It's all just a bit sad really, and while devoted Jackson fans will find more reason than most to gloss over the practical shortcomings of the game, they run the risk of being left even sadder.
    • 66 Metascore
    • 50 Critic Score
    Glossy rather than glorious, decidedly wobbly and very limited.
    • 64 Metascore
    • 50 Critic Score
    It all adds up to shallow pleasure that quickly gives way to a litany of niggling frustrations. Nexuiz is fine with the broad strokes, thanks largely to a tried-and-trusted style of gameplay that is inherently appealing, but it's in the nuance and details that it really comes unstuck.
    • 52 Metascore
    • 50 Critic Score
    There's something endearing about invulnerable enemies dropped into the action to create tense stealth bottlenecks, but whose AI is so bad they frequently end up falling off cliffs and killing themselves before they've laid a claw on you.
    • 69 Metascore
    • 50 Critic Score
    We really should expect better treatment for titles of this calibre. Nothing better sums up the sheer laziness of it all than a glaring typo scrolling past in the new credits.
    • 55 Metascore
    • 50 Critic Score
    An incoherent and clumsy compilation, one driven more by brand synergy than any creative imperative.
    • 62 Metascore
    • 50 Critic Score
    Pineapple Smash Crew's weapons are by far its strongest point, an arsenal well engineered enough to support a much more intense game. Here they're wasted on a shooter that starts slowly and never speeds up, with solid foundations but nothing on top.
    • 54 Metascore
    • 50 Critic Score
    If there is a poignancy to A Valley Without Wind, it's that you really are playing through a post-apocalyptic world, just one that's failed creatively rather than ecologically. The designers were too ambitious, built to high, and you're free to explore what's left.
    • 57 Metascore
    • 50 Critic Score
    It's better with Move because it was made for it. It's not, though, reason enough to buy one. But if you do have Sony's under-supported device stuffed in a drawer, Datura is a flawed experiment that's worth a look if only because it reaches towards - and occasionally touches - something that feels genuinely fresh.
    • 60 Metascore
    • 50 Critic Score
    It's the little things that add up, one by one, to an often hypnotically bland, slapdash campaign. The core is sound enough, but Burning Skies is far too shabby in places for what is supposed to be the flagship first-party shooter on the Vita - indeed, the flagship shooter on handhelds, full stop.
    • 53 Metascore
    • 50 Critic Score
    A bad game? Not really: just an underwhelming one. Your pulse may quicken occasionally, but your world is unlikely to turn upside down.
    • 38 Metascore
    • 50 Critic Score
    Would Heavy Armor be a better game if it ditched Kinect and focused purely on the tried-and-tested buttons? In all honesty, no - because without the novelty of raising your arm to pull down a periscope or punch your fleeing co-pilot in the face, this would be a comparatively dull experience.
    • 77 Metascore
    • 50 Critic Score
    A budget game, and Swift and her team can't be expected to match the perfect cohesion of Portal. The disappointment is that, in trying to do just that, they've undersold their own good ideas as well as inviting unflattering comparisons with a classic. Despite its frequent frustrations, it's a solid, intelligent puzzle adventure and represents good value for money, but it could have been much more by trying to be a bit less.
    • 64 Metascore
    • 50 Critic Score
    Overall, London 2012 is a lot better than I expected on a presentational level and in its best-realised events. But the lazy repetition of dull mechanics throughout the poorer activities (gymnastics, diving) means there's as many bores as scores.
    • 56 Metascore
    • 50 Critic Score
    This isn't a great game, it's not even a good game, but it is the closest thing we've got to a cops-and-robbers MMO - which is, I suspect, one of the all-time great video game concepts. One day, somebody's going to do it right, and they're going to become very rich indeed.
    • 54 Metascore
    • 50 Critic Score
    Despite the rugged, rough-hewn aesthetic of Skyrim, Hearthfire ultimately offers all the character and personality of an Ikea cupboard.
    • 67 Metascore
    • 50 Critic Score
    It's a game that can startle you, for sure, but one that more often bores, the gunplay a low thrumming drone rather than a high-pitched screech of rage.
    • 55 Metascore
    • 50 Critic Score
    There's been a backlash brewing for some time against the bombastic direction military shooters have taken, but it would be wrong to assume that Medal of Honor: Warfighter is simply the game unlucky enough to bear its brunt. The truth is far simpler and more depressing: it's just not that good.
    • 64 Metascore
    • 50 Critic Score
    Eight years in purgatory hasn't really been long enough to justify the move into down into the rosy red-tinted fires of Hell & Damnation. Sorry, Lucifer.
    • 72 Metascore
    • 50 Critic Score
    Sadly, torn between a character license it can't fully use and an experimental format of vague structure and uncertain purpose, Wonderbook's magic spell grows weaker over time, rather than building to a fantastical crescendo.
    • 60 Metascore
    • 50 Critic Score
    BioWare has had a year to get Omega right. It didn't.
    • 73 Metascore
    • 50 Critic Score
    Taken on it own, Scribblenauts Unlimited is dull, simplistic, and devoid of challenge. What begins as an unbridled experiment in omnipotence swiftly devolves into a lackadaisical chore. It's still rife with warmth, humour and creativity, and the Wii U's TV support transforms the solitary snickering of previous Scribblenauts into a party game that's especially well suited to the young or inebriated.
    • 45 Metascore
    • 50 Critic Score
    A fairly limited package that quickly runs out of ideas.
    • 51 Metascore
    • 50 Critic Score
    Eckert's game is too exasperating for a recommendation, but it's an interesting failure nonetheless. One of the best-looking and most chic indie titles of the past 18 months, it's evidence of a keen artistic talent - albeit one that needs pairing with more scrupulous game design in order to fully blossom.
    • 79 Metascore
    • 50 Critic Score
    Pixel People is an addictive proposition, one that many players will happily play - but few will be especially happy while doing so. Its pay-offs are irregular and require no skill, simply perseverance in clicking through the splicing options.
    • 54 Metascore
    • 50 Critic Score
    The Devil's Cartel is functional and fuss-free, a game that delivers the expected genre tropes with as little imagination and as much bluster as possible. It's not a bad game, but nor does it have anything beyond basic mechanical competence to mark it out as "good" - and even that competence wobbles more than it should.
    • 68 Metascore
    • 50 Critic Score
    There is absolutely no reason to trade money like that for a game like this, for a mouldy time-capsule that will likely mar your memories of the original. This time, history needs to be left to rest.
    • 60 Metascore
    • 50 Critic Score
    There's certainly a worthwhile game in here, teasingly close to the surface. Maybe in 12 months' time the TV show will be a big hit and the game will have been patched and updated into the experience it was clearly meant to be. If that's the case, it'll be a hard-earned and well-deserved victory. For now, proceed with caution.