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Conan received fair-to-good ratings from critics. As of 2008, review aggregator sites Metacritic and Game Rankings selected 80-odd reviews and calculated average scores of 69 (out of 100) and 70% for the game, respectively. Most critics agreed that the game's best selling point was its variety in combat. They had a lot of fun with its easy-to-learn controls, skill customization, and most of all, the varied brutal depictions of Conan's kills. Their enjoyment was also enhanced by the pounding, militaristic orchestra tunes accompanying the action.

Many critics complained that Conan copied many ideas from God of War . A few reviewers, however, found this forgivable and stated that the game was made to be fun without any higher ambitions. Conan 's camera system irritated several critics for failing to provide an adequate view of the situation at certain critical moments. Its puzzles were overly simple and lacked clear directions for players to proceed to the next step of the puzzle. The artificial intelligence for the foes in the game was found to be predictable and flawed by a few critics. In addition, they said that the final encounter with Graven was one of the worst boss fights in video game history.

The critics had mixed opinions toward three prominent features of the game: voice acting, artwork, and faithfulness to Howard's works. For his voice acting of Conan, Perlman has earned acclaim for his performance and gravely voice that matched the game's dialog, but he also received criticisms that he did not sound like a barbarian. A few applauded Nihilistic for capturing the oil painting feel of Frazetta's work, but several others said that the graphics featured drab-looking environments that were jagged-edged and pixelated when zoomed in. Although the animations were rated to be smooth and vivid, the lack of varieties among enemy character models was a criticism on the graphics. Several critics also praised Nihilistic for recreating the atmosphere of Howard's stories. The decision to have Conan using magic was, however, called a "blasphemy" by IGN. G4techTV Canada disagreed and forgave the game on the grounds of it being mostly faithful to the books. Ray Huling of The Escapist said that the game's developers misunderstood the reason behind Conan's appeal to the masses. Howard's depictions of Conan's brutal physical nature were to inform readers of the dull nature of their lives and offer them an escape from it. Huling said that Nihilistic used the characteristics of Conan for superficial purposes. Furthermore, in copying the mechanics of another game without any groundbreaking innovations of their own, Nihilistic missed the essence of Howard's stories and created a shell of what their game could have been.

Despite the generally favorable reviews and history of Howard's franchise, Conan did not attain commercial success. It sold poorly and failed to recoup THQ's investment in it. The publisher publicly announced that the game's poor sales contributed to them writing off US$20 million in their financial year for 2008. Although the game's violence was praised by the gaming industry, it was condemned by the National Institute on Media and the Family. The watchdog body placed Conan on a list of games and urged parents to avoid buying these games for their children. When Conan was released, its Mature rating from the Entertainment Software Rating Board made it a target for a law being pushed in California, United States. The law was proposed in 2005 by Senator Leeland Yee who believed that sales of Mature-rated games should be regulated for their depictions of cruel injuries. His proposal was stopped from passing by a legal challenge from the gaming industry in 2007. However, California Governor Arnold Schwarzenegger, who acted as Conan in the 1982 film, appealed against the judgment, seeking to ensure that Conan and other games with similar levels of violence would be sold only to those above the age of 17. As of 2008, the case has yet to be ruled for.

References

1. ^ ^{a b c d e f g h i} Hilary Goldstein (2007-10-23). Conan Review. IGN. Retrieved on 2008-04-26.
2. ^ ^{a b c d} Steve Steinberg (2007-11-07). Conan. GameSpy. Retrieved on 2008-04-26.
3. ^ ^{a b c d e f} Andrew Reiner; Matt Miller (November 2007). "Conan". Game Informer . United States: GameStop. ISSN 1067-6392 . Retrieved on 2008-04-26.  
4. ^ ^{a b c} Gerald Villoria (2007-07-16). Conan. GameSpy. Retrieved on 2008-04-26.
5. ^ ^{a b c d e f} GameSpot staff (2007-06-29). Q&A: Conan developer Nihilistic. GameSpot. Retrieved on 2008-04-26.
6. ^ ^{a b c d e} Brad Shoemaker (2007-09-07). Conan—The Barbaric Preview. GameSpot. Retrieved on 2008-04-26.
7. ^ ^{a b c d e f g h i j k l} Ryan Davis (2007-10-24). Conan Review. GameSpot. Retrieved on 2008-04-26.
8. ^ ^{a b c d} Adam Rosenberg (2007-10-23). Conan Review. UGO. Retrieved on 2008-04-26.
9. ^ ^{a b c} GameSpot staff (2007-02-28). Conan Q&A: Barbarian Influences. GameSpot. Retrieved on 2008-04-26.
10. ^ Ricardo Torres (2007-03-01). Conan First Look. GameSpot. Retrieved on 2008-04-26.
11. ^ ^{a b} Don Herron . The Dark Barbarian: The Writings of Robert E. Howard : a Critical Anthology . New England, United States: Greenwood Press, p. 174. ISBN 0-313-23281-4 . Retrieved on 2008-05-30 .  
12. ^ Santiago Fouz-Hernandez; Alfredo Martinez-Exposito . "Muscular Bodies", Live Flesh: The Male Body in Contemporary Spanish Cinema . London, United Kingdom: I.B. Tauris, p. 72. ISBN 1-845-11450-7 . Retrieved on 2008-04-30 .  
13. ^ ^{a b c} GameStop staff (2007). Developer Q&A for GameStop. GameStop. Retrieved on 2008-04-26.
14. ^ IGN PlayStation Team (2007-09-14). Conan Magic Vignette. IGN. Retrieved on 2008-04-26.
15. ^ ^{a b c d} Gerald Villoria (2007-08-28). The Art of Conan. GameSpy. Retrieved on 2008-04-26.
16. ^ César A. Berardini. "Top Talent to Contribute to Development of Conan", TeamXbox, 2007-09-07 . Retrieved on 2008-05-26 .

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