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Review: Fable II

One of my main issues with the original Fable was that the “are you good or evil?” premise was never fully realised. You could be bad, true, but it never had any more effect on your experience than causing people to run away muttering something about that messy rampage that may have accidentally taken place last week. The world changing shifts, however, just weren’t evident.

The sequel to Lionhead’s action-RPG begins with a very subtle and engaging tutorial. Wandering around a snow covered old town, basic mechanics are explained and the story is unveiled. Early quests are constructed in such a way as to allow a nice or nasty path to completion, or even a hint of both. For instance, whilst clearing a warehouse of bugs a leering old man offers gold in return for the destruction of the stock. Certainly a tempting offer and an indication of how a personalised moral maze can be mapped through the land of Albion.

Choices will affect more than just how citizens react a hero’s presence. There are key moments that can affect the look and feel of the land itself. Helping or hindering a lawman will see a suburb flourish or sink into disrepair; not donating to a renovation fund for a remote village could cause it to be taken over by criminal elements; and turning a blind eye to bandits in the forest early may allow them to run riot.

Realising that these differences are down to your actions (or lack of) can be quite striking. Though knowing a community has been condemned or helped can only truly be appreciated if you are either in constant chatter with friends going down different paths or are willing to play through Fable II multiple times.

Whilst these grander effects are clearly evident, more minor inter-person misdemeanours are seldom as weighty or permanent. Most can be laughed off with a quick jig or arm pump meaning that some negative actions can be performed time and time again without fear of reprisal, causing a disconnect from the larger principle of Fable.

The main story line is even less affected by a player’s behaviour and is played out extremely weakly, possibly to cover this fact. Whether you create the biggest, baddest, most corrupt and ugliest son-of-a-balverine that the poor citizens of Albion have ever happened upon or a character on a path that will ultimately see you walking on water, the main quest will continue undeterred.

Alignment does, however, open up different side-quests and whether they are enough to replay the whole experience is down to personal tastes. Following the path of righteousness has its benefits whilst the darker route definitely offers more comedic highs. Nowhere else can offer Social Displacement missions (“’kidnapping’ didn’t poll very well with the public”) or enlistment into the Temple of Shadows (where the Wheel of Misfortune keeps its members happy until poker night).

Personally, this is where the strength Fable comes from: in the distractions that it has to offer. Much like the framework set out by other open games, if progress in the storyline is tough then choose from a wide variety of additional activities. Try some socialising, economic expansion or just some simple light hearted side-quests. Hours would literally pass by before I remembered about the main quest and I would have to excuse my current activity (usually Gargoyle hunting), grab my sword and head off into the forest.

For the vast majority of my initial playthrough, I spent my time starting a family and providing for them through my ever-expanding business empire. Getting my wife Jessica the Farmer to notice me at first was easy enough, with a few heroic poses and dance moves gestured in her direction, but wooing a fine maiden comes at a price. So came the graft at local jobs (wooding cutting, blacksmithing and bar tending, which all come in the form of a mini-game to raise cash) to buy her presents and overtime at the chopping block filled my purse enough to buy a quaint cottage on the outskirts of town. Not content with that, we saved enough gold to buy the fruit and veg stall on our doorstep and slowly the profits from that went into buying up half the village.

For Fable to turn out to be a wannabe-property-mogul’s dream was surprising. Investing in the housing market is a sure-fire way to earn money, with rent being collected every few minutes. This is offset by having to pay maintenance on any families secreted about the landscape but before long money will not be an issue.

Cash on the whole is moot point, anyway. Considering the game’s scope, there aren’t that many items to buy from the world’s shops with only a comparatively modest selection of weapons and clothing. If Too Human had too much loot then Fable sits at the opposite end of the spectrum with not enough variety to make characters feel truly unique. A hero will know which getup best suits them so don’t expect to be rooting round dungeons or stalls at midnight expecting to find a hidden gem of an epic hat.

Whenever that pesky matter of saving the world does crop up a solid quest line is presented, throwing bandits, goblin-like Hobbes, ninjas and werewolf-esque Balverines around liberally. No fear, though, as each hero comes equipped with a melee attack, some form of ranged weaponry and a bag full of magic at their disposal. Each is assigned to their own button respectively and fights play out as you see fit, bashing on the attack of your choice.

Extra abilities and combos can be bought and upgraded by spending accumulated XP to open up a more interesting brand of combat. Initially my hero started out as a brawler but as time went on I unlocked the ability to raise a horde of the undead to do my bidding and swamp my foes. Eventually I stepped away from necromancy and I finished my heroic career as a marksman with the skill to snipe a man in the crotch at a hundred paces.

The melee and ranged combat are reasonably standard no matter what weapon is being wielded and so the variety will be down to the type of magic employed. Force pushes, lightning strikes, fireballs, time control and flying daggers are all on offer. Mixing and matching those on the fly is where those wanting stylish combat can truly find it and it seems that no two people have the same fighting style. Some opt for teleporting behind a target and stabbing them in the back whilst others have the common decency to at least flame them face to face.

It would be nice to think that these skills could be shared with a friend in drop-in/drop-out co-op but I would not recommend it. Fixed to the primary player’s camera view, co-op partners are limited to making expressions and bashing people over the head, all with a character that has no resemblance to your hero, too. The whole premise is far too limiting to be a worthwhile experience.

Fable II to me is like Crackdown: a game where I loved being involved in a journey through a world from the beginning to the end. However, now I’m done I’d prefer to start over rather than tour that same world now it’s been saved. Aside from the very poor payoff for doing so, I loved building up a reputation, taking my first steps to owning all the property in the city and generally fighting my way up from the bottom of the pile. When the biggest boss in the game has been defeated, what else is there to do?

Restarting is not something that would be a chore, either. After you’ve played Molyneux’s game through once you’ll want to try and explore the avenues that you missed, both in the world and in your moral judgement. What would happen if I joined that dark cult? If I were faster to that person’s aid could I have saved them? Where is that last blasted Gargoyle? Don’t expect stories to be rewritten but there is enough charm and depth to make it well worth your while.

9/10

Birthday Honours

I have now turned the ripe old age of 27 and to commemorate the fact I thought I’d do my own honours list to celebrate the games that over the last year that have taken my fancy.

The First Annual Birthday Honours Awards Award

For services to shooting: Halo 3

I’ve said plenty on this little beauty so we’ll leave it short: personally, I don’t think you need anything else with its sandbox encounters and expansive multiplayer.

For services to storyline: Bioshock

I can’t actually remember when I game grabbed me and pulled me in so deeply to a plotline. Admitedly it was a little ropey at the end but it was a wrench everytime I had to put the controller down as I always wanted to find out what audio diary was around the next corner. Simply put, this is a beautiful and well put together title that everyone should give a chance to.

For services to originiality: Portal

I still haven’t touched the rest of the Orange Box. Portal was the only reason I bought Valve’s value collection and alone it is still worth the price of the whole thing. The humour, the gameplay, the challenge and the final payoff all make this one of the smallest games of the year I think ever conceived… despite the cake being a lie.

For services to board games: Carcassonne

Although Catan may have been my first step into European board games online, Carcassonne was the one that really hooked me. A devestatingly simple game but with a great depth of tactics and possibilities.

I like it so much I now have about three different real-world versions at home.

For services to kelptomaniacs: Crackdown

Some say “take the orbs out of Crackdown and you would have nothing”; why on earth would you do that? Crackdown was not only fun because of its over-exagerated crime fighting but for its hide and seek orbs. I liked nothing more than bounding around the city, spotting a glowing sphere in the sky and then setting about scaling great heights to grab it.

I even reset my game so I could go through it all again.

Honourable Honours Mentions

Whilst they may be my Top 5 games of the year I think others deserve a mention.

I had great fun with Rainbox Six: Vegas at the start of the year, a great tactical shooter that is now unfortunately gathering dust.

Catan should also be given a nod and if it weren’t for those stubborn, headset-less wearing players that refused to trade online it may have been given more.

Overlord, a delightfully British game where you basically control evil Pikmin. If it wasn’t for Bioshock coming out at roughly the same time I would (and probably should) have made more of it.

And, finally, Sneak King. My god. Has there ever been a more sinister game created by man’s own hand?