Combat is incredibly simple. You can only hold one weapon at a time, and these are picked up with the same hand-wave used to interact with the game world. Bringing your hands up in a boxer's stance puts you in "focus mode" and your view will then lock on to any nearby enemies. Punching and slashing with either hand delivers the blows as required. Some items - scalpels, explosive vials, claws - can be thrown, and later in the game you gain an energy weapon on your left hand that disintegrates enemies with a charged blast.

When these factors all work in harmony, it's surprisingly entertaining. Motion control adds little to the gameplay but undeniably enhances the experience. Being stalked by a hulking brute and having to physically freeze on the spot so he won't catch you is an inspired use of the tech. Ditto for the freakish opera-singer enemies whose inhuman screams can drive you insane if you don't put your hands over your ears.

But when the motion controls don't work, they really don't work. These pitfalls generally come when the game gets a little too greedy and asks you to tackle large groups of enemies at once. Suddenly the imprecise turning and lackadaisical jogging speed become deadly weaknesses, and the game can easily lose track of your movements as you struggle to survive. The auto lock becomes a hindrance, as you're unable to turn while in combat, and with enemies that spit vomit all over the screen, leaving you unable to see, what should be cathartic becomes infuriating.

Even more problematic are some of the traps and obstacles you're expected to navigate. Whirling blades and thrusting spikes that would be embarrassingly easy to dodge with a joypad become a trial of patience as you steer Josh like a wonky supermarket trolley between their deadly blades. With slack checkpoints and a fondness for instant-death, dodge-or-die moments, there were times when I was ready to throw the Kinect sensor out of the window.

The initial pleasures of the 3D exploration quickly pale, even in a story that barely lasts an afternoon. You soon realise that a lot of the gestures aren't even necessary - one lazy wave is enough to climb a ladder, swimming can be performed by just flapping your hands by your sides. Combat, too, is less detailed than it first appears. Aiming a blow precisely is a haphazard affair, and the game clearly doesn't take into account the power of your strikes: a half-hearted swipe still lands a killer blow if it lands in the right place. In many ways, it's close to early Wii games like Red Steel, where you're given the illusion of one-to-one motion tracking rather than the real thing.

Just like the mad scientist whose baffling plot drives the action, Rise of Nightmares is a failed experiment. But it's also a worthy experiment, and there are enough ideas here that almost succeed to suggest that Kinect may yet play host to a brilliant adventure game. As it stands, this is a bizarre curiosity piece, but only of passing value to the gamers it so eagerly wanted to impress.

5 /10

About the author

Dan Whitehead

Dan Whitehead

Senior Contributor,

Dan has been writing for Eurogamer since 2006 and specialises in RPGs, shooters and games for children. His bestest game ever is Julian Gollop's Chaos.