Fable II (Xbox 360)
Fable II promises the world. But be careful what you wish for.
10/22/2008 7:02 PM | 10 Comments | Page 2 of 3
What's Hot: Fascinating moral dilemmas; An ever-changing world; Innovative approach to role-play
What's Not: Poorly sketched characters; Awful maps; Weak co-op
Gus Mastrapa
Status: Chickens that shoot lasers out of their eyes.
Fun fact: Nobody likes being eviscerated.
The sacrifices made by Peter Molyneux's team are many. See,
Fable II is far from perfect. For every heart-wrenching plot point or intriguing moral dilemma they've woven into the game's tapestry, another, less momentous thread unravels. Many mundane, but vital features feel frayed around the edges. Getting around Albion is made easier by a sparkling trail of bread crumbs. That's because the game's maps are damn near useless. And the button that allows you to inspect and interact with townsfolk is the same that makes you draw your gun and threaten the poor saps.
There's a laundry list of inelegant faults in
Fable II. The game's most half-baked feature is cooperative play. Friends can join other players' stories, but only in bit roles. That avatar into which you've invested so much heart and soul is shed when you warp into your buddy's alternate Albion. Instead you tag along as henchman. Playing with an online friend is further hampered by a crappy, uncontrollable camera, making adventuring more chore than fun. There's still plenty for two to do, though. More than a couple non-essential, but fun, Achievements require the help of a friend.
It's close to midnight and something evil's lurking in the dark.
But for each unfortunate kludge there's something fresh -- a novel approach or a moment of storytelling that nearly forgives the shortcoming -- because there's just so much to do in
Fable II. Sure, there's that plot waiting to happen. That face-off between good and evil (or evil and evil if that's the way you swing) is off on the horizon. Albion may not be a big world, but it's full of people and places to explore. Many of the distractions are fairly traditional -- there are keys to collect, quests to complete and a handful of demon door puzzles to solve. More interesting are the unique slices of life the player encounters when they're in the right place at the right time. One quest culminates in a young gay man coming out to his father. And the hero Reaver, played by actor Steven Fry, provides a hilarious running gag if you stick around long enough after accepting his quests.
You could say that
Fable II makes up for its shortcomings with innovative simulations and heartfelt story, but where it counts the game hits a single, but resounding sour note. Though you can marry, start a household, and raise children, the game doesn't quite allow players to make emotional connections with wives, friends and even that faithful pooch that follows your every footstep. Alyx Vance in
Half-Life 2 is the gold standard when it comes to in-game relationships. Alyx, a near-constant companion in
Episode 1, never needs help. She's self-sufficient, complimentary and more than capable of taking out enemies. That's a good reason to like her, but not enough to engender love. Those feelings come because she's allowed to become a character. We hear her father and friends talk about her. We see her vulnerable. And we see her grow.
Save gold, work hard, and you can own this house. More proof that
Fable II takes place in a fantasy world.
The dog in
Fable II isn't allowed to blossom into character. He (or she) has no arc. The pet is merely a tool -- one that sniffs out treasure and very, very occasionally kills an enemy for you. Molyneux forces the player to conjure empathy for the beast out of proximity and convenience, rather than intimacy. The same could be said for Rose, who is murdered before her character is given a chance to develop. By the end of
Half-Life 2: Episode 1 the player is poised to repopulate the planet with Alyx Vance. And they're glad to do so. In the final moments of
Fable II, no such emotional connection exists. And if it does, it's one that the player brought to the table. See, Molyneux is more than capable of creating living, breathing characters. During the course of the game we see another hero experience great loss, change, and change again, but no such life is breathed into Rose or the dog -- the two characters that should be the most vital.
