After three hours with Lionhead's sequel, we tell you why Peter Molyneux might really, finally have cracked it this time.
Tuesday 13 June 2006
A trailer is all anyone has seen of Fable 2 outside of Lionhead's studios - a tease, a hint, a sample clip devoid of the in-game footage or solid info we hoped for. But at least the game can finally be taken off the 'highly probable' pile and slapped into 'coming soon'.
The details are still scarce but, set 300 years after the original, this sequel again promises a changed and growing world where moral choices once again decide your path. And guns. Yes, guns.
The Second Coming and Godot are two things wed happily bet big money on arriving before Peter Molyneux manages to push his second generation action/adventure/RPG hybrid Fable 2 out of the doors of his Lionhead Studios HQ and onto a shiny, shiny disc or two.
But for once the potato-headed software philosopher and part-time propagandist seems to be aware of his previous problems with ‘shipping product and so has decided to share some of the burdens of development. And that means using
"Fable 2 will be a landmark game... We have the most beautiful environments... 10 to 20 times larger than the original's... Huge weapons... A spectacular magic system... It will make you feel things you've never felt before in a videogame."
Peter Molyneux is at it again. The last time he hyped a game this much, we all got pretty excited...only to be pretty disappointed when the final product didn't blow our minds. The original Fable is a perfectly good action-RPG, no mistake, but it's not the
Set in a Dickensian world of top hats, industry, and gaslight, Fable III dumps Fable II’s Expression wheel and even its experience system, replacing them with new mechanics which Peter reckons are ‘real game-changers’. Well, he would, wouldn’t he?
We keep learning all kinds of ways that Fable III has evolved from its predecessors. It may still not be the life-simulator it purported to be years ago, but it certainly has a unique personality. Check out these ten things we didn’t know before…
The creator of Fable is famous for enthusiastically overhyping his games to the point that they cannot possibly live up to players' expectations. So imagine my surprise, when I meet Peter Molyneux for a Fable III demo during E3 last week, and the first thing he says to me is: "Fable II's story was rubbish."
He wasn't done. Before the end of our half-hour together, the legendary designer had used that same word to trash the maps, menus, visuals, weapons and co-op in his last game as well. Whether you agree or disagree, Molyneux wants us to know that these things will be vastly improved for Fable III. Here are five of the things he promises to do better…
Completely out of character, Peter Molyneux has been talking up Fable III's new features with a great deal of showboating enthusiasm. Bigger moral quandries. The ability to rule the kingdom of Albion. A chance to reach out and touch its people in a very real, very physical sense. You probably have Molyneux's new checklist burnt into brain like a cattle branding by now.
But what really matters is how that stuff really makes Fable III play. Is it a genuine evolution for RPG immersion? Or is it just Fable II with a couple of extra gimmicks? We'll tell you that right now. Because yesterday, we got to play it and found out just how Lionhead's new epic compares.
No one was really all that
excited when Fable: The Journey was revealed last year at E3. The prospect of a
Kinect-powered Fable game just didn't do it for anyone, and we didn't really
disagree, but after getting hands-on time with the game we walked away a bit
Peter Moore used to lead the line at Microsoft’s games division; before that he worked at Sega and helped launch the Dreamcast. Why the walk through Moore’s resume? Because he moved to EA last year and FaceBreaker is the first sign of where he feels the publisher’s been going wrong. FaceBreaker aims to take the core gameplay of Fight Night Round 3 and push it through a cartoon filter, injecting arcade nonsense into the genre not