Monday 17 Nov 2008

There are few people in the gaming industry who are as intimately familiar with the consequences of broken promises as Peter Molyneux. In 2004, when his wildly anticipated game Fable was released on the original Xbox, it wasn’t quite the revolutionary title that he had led people to believe it would be. Much-hyped features were nowhere to be found, and the Internet all but erupted in a roar of disapproval from thousands of scorned gamers. It was a pity, as the real victim in this drama was the game itself, an excellent action-RPG that was prematurely and unfairly written off as a disappointment.

When Fable II was announced in 2006, many had already dismissed Molyneux as being past his prime, and assumed that the sequel would be marred by yet more unkept promises. Gamers are after all a fickle and unforgiving bunch and apart from a few cautiously optimistic media previews, Fable II’s development carried on fairly quietly, while higher-profile RPGs like Mass Effect and Fallout 3 got all the attention. But now Fable II is finally here, and it begs the question: has Peter Molyneux been redeemed? The answer is a resounding ‘Yes.’

Fable II is a marvel - a rare and precious jewel of a game. While it isn’t perfectly polished and has some visible flaws, its prettiest facets (and there are many) sparkle so brightly that the game stands among the very best of the RPG genre.

Not your average fable

At first glance, Fable II is a fairly traditional and straightforward action-RPG. You play a character who is destined to become a great hero, and has to overcome various obstacles and complete a series of quests in order to save the world. But other than this basic premise, there is very little that is traditional or straightforward about Fable II. The developers have managed to spruce up and refresh almost every aspect of the design, resulting in a game that positively bristles with freshness and individuality.

The first noteworthy aspect of the game’s design is its accessibility. One of Lionhead’s publicly stated goals was to create an RPG that would appeal to both core and casual gamers, and on that front it most definitely succeeds. From the opening moments right through to the end credits Fable II’s design is simple, streamlined and elegant. Starting the game, there is only one decision to make: will your Hero be male or female? And then the story begins, with no laborious stat screens, skill trees or the like to slow one down. Gamers who are generally put off by the ‘accounting’ that’s so often associated with the RPG genre will certainly respond positively to this approach. This simplicity carries through to the rest of the game, apart from a few minor exceptions. The result is that nothing in Fable II is notably hard or difficult, and yet it remains thoroughly involving.

A tale of Heroes

Just like its predecessor, Fable II starts off in our Hero’s childhood. This time around though the childhood phase has been shortened significantly, and reduced to what is a playable introduction rather than a full chapter. This does a great job of serving as a tutorial to take players through the primary game mechanics. The story is at once charming and enchanting, but quickly takes a dramatic turn, ending the childhood phase in a dark and shocking plot twist. Soon after this, adulthood commences and the game proper begins.

Gamers might play the role of the Hero, but the real star here is the game world. Lionhead have done an incredible job of creating a rich and vibrant fantasy world, one which is unequalled in the extent to which it is alive. Set 500 years after the first game, the kingdom of Albion is brimming with charm, enchantment and an impeccable sense of detail. But it is also deliciously eerie and macabre. This is the kind of world where one can imagine the original Grimm Brothers’ fairytales taking place. The most remarkable aspect of the world, though, is its dynamic and responsive nature. The world changes during the course of the game, based not only upon scripted plot events but also the player’s actions and choices. As such, it is akin to a Russian doll, where as soon as you think you’ve seen it all, another delightful and surprising layer is revealed. As with the first game, the world is not a single ongoing environment, but divided up into specific areas that one can travel between. The areas are considerably larger this time around, though, making for a definite sense of expansiveness, and gamers will find exploring its many nooks and crannies an absolute treat.

Hero’s Quest

As with most action-RPGs, gameplay is organised around quests, and in the case of Fable II these are fairly similar to the mission-based structure of games such as Grand Theft Auto. While the basic nature of many quests is similar, Lionhead have been fairly creative with regards to the actual quest content, and players will not find themselves getting bored. Side quests are constantly popping up all over the world, which players can choose to engage in or ignore, making for hours upon hours of wonderful distractions. Furthermore, there are non-quest activities to keep players busy and which make it possible to earn gold without having to loot or dungeon-crawl. Jobs such as blacksmithing, bartending and woodcutting are available in different towns at different times, and players can also buy, rent out or sell just about any building found in the game.

Heroic battles

Combat takes a central role in Fable II, and the combat system has been significantly altered and refined from the first game. The accessibility that is such a prime focus of the design is especially important here, as Fable II’s combat is intuitive and simple. Similar to last year’s Assassin’s Creed, the challenge with the combat is not in surviving – it’s really not very difficult at all – but rather in getting through each combat scenario looking as stylish as possible. Using one face button for each of the three types of attacks (melee, ranged and magic) makes for a system where players are encouraged to experiment and learn to pull off surprisingly impressive feats without the need to memorise combos. It keeps the combat interesting and fresh, and goes a great distance toward making the player really feel like a Hero. Players can switch between different attack modes in an instant, and putting together an impressive and varied performance is rewarded with increased experience points. Experience points can be used to level up basic attributes and purchase new abilities as part of a very simple and easy-to-use levelling system.

Ranged combat has been upgraded from the first game through the addition of firearms, which replace the longbows this time around. The magic system in particular represents an inspired design move. It uses just a handful of spells, at different potency levels, each usable as either a targeted or area attack, and all mapped to the same button. It’s a system which on paper seems ridiculously complicated and tedious, and yet in practice it is easily the most robust, user-friendly and intuitive system we have seen in years. It is astounding in its ingenuity.

The combat and magic systems represent a step forward for the genre, one which will hopefully become a trend. Some gamers will complain about the low difficulty, but embracing the system and understanding what the game expects of the player reveals a level of depth that is easily on par with genre standards.

Heroic choices

Perfectly complementing the game world is the Hero, who is every bit as dynamic and responsive as the environments he interacts with. In Fable II, the concept of choice is paramount: players will constantly make choices as they navigate the game, and these choices have subtle but profound effects on the Hero. For example, choosing to focus on melee attacks and its associated abilities will make the Hero more beefy and muscular, while a ranged focus will make him (or her) taller and leaner. More important are the value-laden choices. In the world of Fable II most acts can be deemed good or evil, pure or corrupt. Good and pure choices and actions will result in a Hero that is more attractive, whereas evil or corrupt actions will have the opposite effect. Even the Hero’s diet has an effect on their look, with richer and fatty foods leading to a pudgy or obese physique. The effects are not just superficial though, as the Hero’s morality, purity and appearance affects the way the game world responds to him. Adding to this is the fact that the choices are not always easy, and this is where Fable II succeeds far beyond most other RPGs. More often than not, the good choice will have the harsher consequences, and players will have to stop and think about what they want to do. The result is a game that is truly involving and engaging on an emotional level. Having so many variables in play could have resulted in a game bogged down by excessive stats-tracking and number-crunching, but thankfully this is not the case. Players will simply play the way they want to play, and the game will take care of the rest. It’s an excellent approach that brings actual role-playing back to the RPG genre.

Another aspect where the Fable II design strays from the conventional, with positive results, is in the ways the Hero interacts with the game world. The Hero is not a speaking role, and there is not one dialogue tree to be found in the game. Instead, expressions are used to communicate with NPCs. A variety of expressions are learned and required to convey all sorts of messages, from threats to romantic gestures. Players will most notably use them to woo one or more NPCs in order to seduce or marry them, which can even lead to having children. Experimenting with different expressions on different NPCs also never fail to produce interesting and often hilarious results.

Hero’s best friend

The most striking of the new additions, though, is the dog. From the start of the game, the Hero is accompanied by a constant and loyal canine companion. The lifelike nature of the dog is truly remarkable. As a real-life ‘dog person,’ I found my emotional attachment to the dog to eclipse almost anything I’ve ever experienced in a videogame, with the sole exception of Agro in Shadow of the Colossus. The dog is real and alive and players will fall in love with him. Sometimes, he will get injured, and it will break your heart. What makes it even more remarkable is the fact that the dog is also functional. In what is one of the game’s most inventive design elements, many gameplay functions that are traditionally served by the HUD or inventory objects have here been integrated into the dog. The dog serves as a ‘radar,’ alerting the Hero when danger is nearby, but also scouting out treasures and other collectibles. He will also assist in combat, taking care of downed enemies and distracting others. As with everything else in the game, the dog is dynamic and responsive to the Hero’s actions. The player’s actions effect not only the dog’s appearance, but also his behaviour and his proficiency at tasks such as treasure hunting and combat. In short, what could’ve been a gimmicky addition is executed so masterfully that it represents a truly unique addition to the genre.

A funny tale

One of the things that players will most appreciate about Fable II is the humour, which is colourful and sharp throughout. Books, letters, notes and even item descriptions each have a hilarious punch line, and passing comments made by NPCs never fail to elicit a chuckle. Fans of exaggerated British humour, such as Terry Pratchett or even Monty Python, will definitely feel at home in this world. The dialogue is given substance through excellent vocal performances, particularly from Stephen Fry. But it’s not all funny, though. The humour and wit is often offset by a dark and unsettling undercurrent. The plot takes a few genuinely disturbing twists, and there are many moments of gooseflesh-inducing eeriness. This is without a doubt one of the moodiest games of the year.

The game’s art direction is also incredible. The interplay between the game’s light and dark aspects is perfectly expressed through gorgeous and dazzling designs that never cease to mesmerise. While the technical quality of the graphics is not the absolute best currently on offer, the visual direction goes a long way towards making this one of the best-looking games I’ve ever played. The lighting effects in particular are often gobsmackingly impressive, with the very sight of Albion’s sunrise or sunset being just breathtaking. Going hand-in-hand with the visual design is a stunning orchestral score that manages to capture and enhance the mood of the game even further.

The Hero’s weakness

While there is much to adore in Fable II, there are some flaws as well. For starters, the game’s focus on accessibility falters somewhat with the menu design, which is overly clunky and complex. Certain gameplay functions, such as eating food or drinking potions, can only be done through the menus, making these unnecessarily tedious tasks which, luckily, most players will not be required to perform all too often. Another weak point is found in the human relationships. While Fable II allows and encourages romantic interactions, marriage (even between same-sex couples) and having children, these interactions are overly simple and uninvolving. Players will not really find themselves growing attached to their spouses or offspring, as they never develop beyond being simple NPCs. This is especially disappointing in light of how well the relationship between the Hero and the dog was executed. While this is not serious enough to constitute a fundamental flaw in the game’s design, it most certainly represents a missed opportunity. Lastly, the co-operative mode, which works both offline and over Xbox Live, comes across as something that was added as an afterthought, and is not something that most gamers will return to after trying out once or twice. Fortunately this does not really detract from the overall quality, as the game was clearly designed as a single-player experience. So while the above-mentioned flaws may cause a few niggles here and there, none of them are severe enough to spoil this otherwise unforgettable game.

The tale’s end

Fable II is a lengthy game. The main quest can be completed in 10 to 12 hours, but very few players will approach the game in this way, as there are just so many delightful distractions to be found. My first play-through took 42 hours, and I continued playing even after completing it, as some side quests will only become available after completing the main storyline. The way in which individual choices affect the game also lends it excellent replay value. Most gamers will definitely find that they got their money’s worth.

In closing, I cannot recommend Fable II highly enough. It offers the type of role-playing experience that we just don’t see often enough, and serves to push the action-RPG genre forward in bold and exciting ways. It’s a game that never ceases to charm, amaze, surprise or reward the player, and stands as not only one of the best games of the year, but also one of the most memorable and unique gaming experiences of recent times. Buy it, play it and live your own Fable.

Pros: Incredibly dynamic and engrossing game world; accessible and intuitive gameplay and design; many unique and inventive game mechanics.

Cons: Clunky menu system; under-developed human relationships; disappointing co-op mode.

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Contributor:	Mark

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