A Tales for the Ages: We Review Fable 2


                                  We like to call this screenshot, "Killing the Undead" to peeve our logical readers. 

While today’s now-gen consoles allow for brilliantly intricate worlds to be modeled on our high definition televisions, these realms are often mired in convention. Since the industry’s inception, certain inalienable rules have always existed: lose your health and the game ends, reward and punish the player in a Pavlovian manner- until they understand the internal logic of the game’s design. The scant number of titles that circumvent these principals are often hugely successful, as witnessed by the Grand Theft Auto series. Fable 2 should be added to that paradigm-shifting pantheon, as its design determinatively evades the formulaic limitations still seen in a great majority of contemporary titles.

The game’s title is a bit of a misnomer. Whereas fables are usually short passages culminating in a moral lesson, the game is closer to a fairy tale, with a rich tapestry of emotive characters and poignant plot points. To disclose more of Fable 2’s narrative would be a disservice; we would advice the player to avoid any synopsis, and experience the title as the designers intended.  The game stands as the antithesis of the focus-group tested titles that are common today, instead harking back to a time when games were developed from a lead designer’s vision. Throughout the title’s development, many have derided its design decisions- from a one button combat system to a constantly visible waypoint marker, directing the player to the next objective.

After spending a few hours in Fable 2’s universe, it becomes clear that the reduction of videogame tropes was a brilliant decision. Lead designer Peter Molyneux and developer Lionhead Studios has created a game that transcends the rift between casual and hardcore player, by never penalizing the player too severely. When the player falls in combat, a few experience orbs are taken and a scar is added- no ‘game over’ splash screen followed by a reload of the last saved game. This punishment has lingered needlessly in console gaming’s DNA- a distant holdover from arcade gaming, where the contrivance was employed to limit play time.


                                                 It's not easy being the only dog in Albion. Treat him kindly.

While RPGs are characteristically text-heavy, Fable 2 has ingeniously streamlined the method of conveying information to the player. By providing a canine sidekick that accompanies the main character, the game gives unobtrusive auditory cues to the player. Having your dog growl when enemies are nearby, or bark to indicate treasure in the proximity is a wonderful departure from using a map-based system.  The game’s true triumph is its versatility- if players choose to be angelic paladin-types they will find townspeople crowding around them. On the other end, the player who walks the path of malevolence will see those around you cower in fright. Gamers can be single, marry once or choose polygamy.  The absence of any cultural or moral relativism is astounding.

Combat is much more intricate that early reports had speculated. The “X” button imitates a melee attack, “Y” launches a ranged shot, while the “B” button is used for magic. Each of these strikes has multiple layers of complexity- they can be chained, amplified or enemy attacks can even be parried. Magic can be focused around the player, or directed toward a target with a push of the right stick. Overall, combat is very engaging and marvelously executed.


                                            "Quick, Rover, lift your leg on him for massive damage!"
Fable 2’s music, cutscenes and sound effects display of level of craftsmanship characteristically reserved for Hollywood’s top auteurs. From the Dickens-esque prologue, where players watch a sparrow glide above the snow-littered Victorian streets, to the lush valleys and foreboding caverns, the title has a wonderful graphical opulence. The game’s soundtrack masterfully combines choral chants, booming orchestral hits, and gentle flutes to accompany the player’s journey. Occasionally, we would stop playing the game just to admire the richness of the music; few games have ever sounded as good as Fable 2.

A few minor quibbles prohibit the game from reaching a state of faultlessness. Most noticeable is the framerate, which can drop when a large number of characters are in a geographically complex region. The game’s menu system is a bit slow and feels clucky, as in-game FMV show you what spells and abilities look like. Lastly, while the expression system is the game allows for a considerable amount of non-verbal communication, it feels a bit shallow and immature in comparison to Mass Effect’s dialogue trees. Still, there problems are very minor and should in no way dissuade a purchase.


                                                                Since he's showing midriff, choose "flirty".

Fable 2 represents a significant shift in the way games are played. From it abandonment of gaming clichés to its rejection of moral prescription, developer Peter Molyneux has created a must-play experience. The title displays a synergistic mix of stunning art, top quality vocal talent, and a dazzling soundtrack, that will be remembered for years to come.


 Stumbleupon  Digg 

Posted by DesertEagle at 10/22/2008 3:29 PM
Categories: 360,Reviews
 

What did you think of this article?




Trackbacks
Trackback specific URL for this entry
  • No trackbacks exist for this entry.
Comments
Display comments as (Linear | Threaded)

Leave a comment

 Enter the above security code (required)

 Name

 Email (will not be published)

 Website

Your comment is 0 characters limited to 3000 characters.