When Fable came out in 2004, it was met with both acclaim and disappointment. Hyperbolic lead designer Peter Molyneux had promised gamers the stars, then failed to deliver: Fable was supposed to be an epic RPG in which one played a character from childhood to old age, affecting the fantasy world of Albion in lasting and distinctive ways. When Fable came out, though, gamers found themselves with little more than a clever, pretty adventure game with some RPG and action elements. (Pissy hardcore RPG fans were, shall we say, not pleased.) But despite its shortcomings, Fable worked really, really well for what it was: a solid, personable adventure title that made excellent use of some RPG elements.
In some ways, Fable II lives up to Molyneux’s earlier promises—and in others, it reinforces the persistent limitations of both games and technology. There’s nothing earth-shaking here, but if you dug the first Fable, you’ll find plenty to like in Fable II—a bigger, broader, prettier version of the original.
Taking place 500 years after the first game, Fable II introduces a few major changes: Your weapons now include firearms alongside swords and magic; a job system adds some tedious but profitable mini-games; and, in the most welcome addition, players are now accompanied by a faithful, helpful dog. (Think of your interactions with your dog as being kinda like Nintendogs, except here there’s actually something to do.)
But despite those changes—and an Albion that’s 10 times larger than the first game’s—the core experience remains the same: You hack and slash at monsters; buy houses and get married (or, conversely, pawn the ring and hit up whorehouses); work your way though quests both epic and mundane; chat with and/or slaughter townsfolk; and get drunk and gamble, etc. There’s a lot to do, but it’s all pretty lighthearted: In terms of depth, nuance, and overall world building, this is no Oblivion, and it’s not meant to be. Instead, Fable II is content to both refine and surpass its predecessor. It’s a fun, solid adventure that’s full of witty writing, gorgeous and evocative environments, and enough charm to win over even the grumpiest Molyneux hater. ERIK HENRIKSEN