South Bank Skate Park Also in the episode “The Blind Banker” Sherlock and Watson cryptic symbols graffitied on the walls of the South Bank Skate Park, which is located between the Hunger ford Bridge and Waterloo Bridge. While the exteriors of the Landmark London Hotel on Marlene were used, the interiors were filmed at the Daffodil in Cheltenham.
Bristol South Swimming Pool The eerily lit Bristol South Swimming Pool can be seen where the Sherlock and Moriarty come face-to-face for the first time in Season One’s “The Great Game” (and in the following episode “A Scandal in Belgrade”. The Sherlock New Year’s special, “The Abominable Bride” features Tyntesfield House in Bristol.
The fast, snappy and ambitious sequel pits Holmes (Robert Downey Jr) against his nemesis Moriarty (Jared Harris), living out in the open as a mild-mannered professor, but secretly planning to profit from an impending European war. There’s a brief location shot of Place de la Cathedral in Strasbourg, France, as an anarchist bomb explodes in front of the Cathedral.
With his nuptials approaching, Dr John Watson (Jude Law) looks for ward to enjoying a raucous stag night, driving one of those newfangled horseless carriages (built specially for the film) through a digitally recreated Trafalgar Square to the ‘Theater of Varieties’, seemingly on the Thames riverside. He’s appalled to discover that Holmes has hijacked the evening for his own ends, and a meeting with his brilliant older brother Mycroft (Stephen Fry).
The theater is Wilton’s Music Hall, 1 Grace’s Alley, Well close Square, off Cable Street, in London’s East End. The usually stripped down (and photogenically distressed) auditorium is brought back to glittering life with loads of period dressing, including a recreation of its original 1725 Mahogany Bar.
Sherlock Holmes: A Game Of Shadows location: Moriarty’s book signing, and the ‘Parisian’ hotel: Adhesion Manor, Amesbury, Buckingham shire A clue leads Holmes to deduce that the Anarchist group is running a secret printing press from a wine cellar.
The interior is Lancaster House, Pall Mall, a much-used stand-in for nearby ‘Buckingham Palace’ in productions such as King Ralph and National Treasure: Book Of Secrets. The restaurant at the foot of the ‘Eiffel Tower’, where Holmes, Watson and Sim meet up, was a set built in the gardens of Hampton Court.
In His Last Bow, Sir Arthur Conan Doyle mentions that Holmes retired to a small farm on the Downs five miles from Eastbound where he was “living the life of a hermit” among his bees and books. Occasionally, fans of Doyle’s famous series will hold walks along a small portion of South Downs Way to enjoy the scenery, as well as the house.
In 1981, producer Michael Cox, fervent admirer of Arthur Conan Doyle, suggested to Granada that the original Sherlock Holmes stories should be adapted to the television for the first time in color. Firmly set on being scrupulously true to Conan Doyle, Michael Cox built Holmes and Watson Baker Street in Manchester with the utmost care.
To embody the enigmatic, brilliant and eccentric sleuth, Cox chose Jeremy Brett who, according to him, had everything the part needed : the voice, the presence, the energy, the bearing of a gentleman and the classical training. Unfortunately, Granada and Jeremy Brett did not have time to complete the 62 Sherlock Holmes stories written by Conan Doyle.
Its last entry, 2014’s Crimes & Punishments, answered these queries more astutely than most by placing the onus of responsibility squarely in the player’s hands. The latest entry in the series, Sherlock Holmes: The Devil’s Daughter, takes this unusual premise and applies it to five new Shylockian tales of intrigue, suspense, and gray moral quandaries.
Without the need to stretch out one case over the length of an entire game, these bite-sized stories are free to move along at a fairly brisk pace, maintaining suspense throughout and hitting satisfying crescendos. There’s some foreshadowing sprinkled throughout that alludes to the titular Devil’s Daughter, but otherwise these are all disparate cases, branching a range of interesting subjects, from peculiar murders, to a deceptive traffic accident, and even an attempt on Sherlock’s life.
If you’ve played Crimes & Punishments, locations like Scotland Yard and Sherlock’s flat on Baker Street will be instantly familiar, yet The Devil’s Daughter still resembles a soft reboot of sorts. This is partly due to the sprightly redesigns of both Sherlock and his trusty sidekick Dr. Watson--with Holmes transforming into a bit of a Jon Hamm-alike.
It's hard to not notice his Jon Hamm-nessYou can now venture out onto the streets of Victorian London for the first time in the series--passing merchants shilling their wares, or overhearing the downtrodden complaining about the economy--but it’s mostly inconsequential. You’ll occasionally have to find a house or two by following road signs, but you spend most of the game fast-travelling from one location to another (the long loading times will test your patience).
While at first this adventure to the outside world seems novel--providing the game with a welcome sense of time and place--it soon becomes an afterthought as early as the second case, and feels like a missed opportunity. In fact, the most meaningful usage of London’s cobblestone streets arrives early in the first case, when you play as young Wiggins (Sherlock’s eyes-on-the-street) and are tasked with tailing a potential suspect through the winding back alleys of Whitechapel.
If you’re rolling your eyes at the very thought of a tailing mission, you’re right to do so: this bout of stalking is as bad here as any Assassin’s Creed game. There’s one part where you switch between Sherlock and Watson to pull levers and push boxes in order to reach a higher platform, and a comical bar fight that is overcome with a most egregious process of trial and error.
The basic mechanics work as they have done previously--with a few minor tweaks here and there--and revolve around surveying crime scenes to gather evidence, interrogating suspects and witnesses alike, and using Sherlock’s divine powers of deduction to piece everything together. They’re varied, too--taking you from an opulent bowls club to an illegal gambling den perched on one of London’s ramshackle docks--and sleuthing your way through them is a real treat.
I’ve always enjoyed the interrogation component of crime solving games, and The Devil’s Daughter puts a wonderfully felicitous spin on proceedings. A sewn patch on a child’s clothing, for example, might look insignificant, but to Sherlock it’s an indication that his parents take good care of him; and that his skinny arms (a sign of malnourishment) aren’t born from negligence, but from a severe lack of income.
If you’re missing a particular piece of information, you’ll lose out on these opportunities, which injects a welcome dose of meaningful interactivity into what was previously a passive affair. There’s an inkling of the supernatural scattered throughout. Once you’ve spoken to enough people and gathered the requisite evidence, it’s time to piece everything together and come to a conclusion.
Yet, more than any other game of its ilk, it made me think and contemplate my decisions in a way that had me scouring back through all the evidence, just to make sure I was absolutely confident in my answer. Ultimately, Sherlock Holmes: The Devil’s Daughter succeeds where its predecessor did, by presenting a generous spate of intriguing cases, and giving you the freedom to come to your own conclusions.
It’s a fantastic detective game; it’s just a shame that it's bogged down by myriad technical issues, and a mediocre attempt to inject some action into proceedings.