Fable:

Yes or no?

Depends, action is OK, story and pretty much everything else sucks though.

Much replayability?

>>3
Not so much, but it has some. You have ability to be good and bad, but neither path is final and you see both choices.

How about the weapons and equips? Is there a large range?

And how about character building (eg stats)?

FABLE IS MADE OF WIN AND GOD
just make sure to get the lost chapters, not half-fable. half fable is the version they released for xbox before the damn thing was even finished. now if you'll excuse me, I'm going to go play Fable some more.

Could have been better.

They explained how your character would age and grow in real time and have to periodically shave and get a haircut, then get gray hairs and wrinkles and die of old age.  Wounds would leave scars and have to be healed.  You could get a tattoo, dye your hair, etc.  You would be known for your skills, whether it was fishing or swordfighting.  Enemy characters and rivals could try to defeat you in real time.  I was expecting something like Morrowind... only without the suckitude.

Fable: worst save system ever.

wat the fuck is fable, faggots?

"Project Ego," Fable’s working title throughout its early development, was hyped from the beginning as being the most open-ended game in history, with an incredibly vast array of gameplay and character customization options, and also with an incredibly dynamic world, where every single thing players do could change the outcome of the game.

In a GameSpot preview for "Project Ego," dated April 19, 2002, several features of the game were listed, including:

    * Admiring townsfolk who mimic the character's dress and style
    * Competing heroes who can actually beat the player to a quest
    * The ability to carve the character's name into a tree
    * A heroes guild in every town
    * The ability to vandalize all manner of public and private property (the example used was a sundial)
    * The ability to have children
    * ...and more

Other features mentioned in other previews and interviews included..

    * Finding a unique item called the "Singing Sword" by Peter Molyneux in an interview a few weeks before the game was released (the game had already gone gold)
    * The ability for players to have their own personal unique weapon that could be upgraded and enchanted as to make it more powerful as they played through the game
    * NPCs with other NPC relatives (a given example by Peter Molyneux was a tester of the game had married the daughter of a rich town mayor. The player then killed the mayor secretly and ended up inheriting the mayor's wealth)
    * The ability to become a were-balvarine
    * A vibrant, living world where NPCs didn't have strictly scripted actions to perform each day (somewhat like the 'Radiant AI' found in The Elder Scrolls IV: Oblivion)
    * Freedom of exploration throughout the world of Fable, often labeled as "If you can see a place in the distance, you can go there", this was likened to the world exploration found in games such as The Elder Scrolls III: Morrowind


Few of these features appeared in the final game, and those that did were only vaguely similar to the original features mentioned.

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weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you

>>12
>>13

I'm the OP and I'm Australian. You fucking faggot, you fail a million times.

Anyways, thanks for the replies people, except for the attention whore.

>>16
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fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you 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fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you weeamerikan fuck you 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>>11
see, that game sounds a million times better than fable. maybe like fable running on source or something. sounds like they ran out of time and money or something. still a freakin' good game tho. (see >>6 for my previous post on how awesome fable tlc is)

Ok. so... I install Fable TLC.. right... I try to run the game.. and it immediately closes the moment it tries to load. I can't open it.

>>21
Well fuck me.. never mind... it won't run due to Window Blinds. Yeah I think it IS time to get rid of that shit

>>20
Well, it's typical Molyneux. That guy always promises many things, but doesn't fullfill those promises.

Fable is designed to offer pure, concentrated role-playing, with a primary emphasis on open character development and influential interaction with the game world. The game begins as the player's character enters the fantasy land of Albion, a growing, interactive environment that develops and changes with each new event. The character grows and changes as well, beginning the adventure as a youth but slowly aging as he or she lives life in Albion, gaining wrinkled skin, graying hair, and (hopefully) becoming quite elderly by the end of the story.

The game is designed such that every choice and action the character makes can have an effect on his or her development. Physically active characters become more fit, while those who spend their time studying the arcane arts may develop receding hairlines. Characters who spend time working in the hot sun will get a tan and individual wounds heal into distinct, telling scars. Less tangible characteristics mature according to behavior as well. Players are free to commit nearly any conceivable action, but acts of cruelty will lead to vilification by NPC townsfolk, while noble and altruistic deeds may inspire loyalty and adulation from the masses.

It is important to note that instead of focusing on a limited number of scripted "good versus evil" plot points, character development in this game occurs mostly through hundreds of minor day-to-day decisions that gradually come to define and refine the player's place in the game world. In short, !Xbox gamers are offered a virtual lifetime of choices to play through. Fable is developed by Big Blue Box, an affiliate of Lionhead Studios, whose popular Black White shares the theme of free-form, consequential character development over a broad span of time.

Peter Molyneux's hand has always been smack dab on top of gaming innovation, dating all the way back to his first commercially successful title, Populous, a game that literally made you God. Years later, Molyneux's crew at Lionhead Studios embarked on an equally ambitious venture, creating a vast world that boasted real-time AI and full freedom to play the game exactly how you wanted - nice guy (well, creature), evil villain or something in between; it's all up to you. But even the gaming legend himself admitted that this game, Black & White, was a whole lot less than he hoped for, because of a paltry storyline that provided gamers not much reason to explore around the next corner.

But based on a behind-closed-doors demo at E3, Black & White was but a mere technology demo for the latest and greatest project up Molyneux and company's collective sleeve: Project Ego, a sure-to-be-blockbuster RPG (we'll use that categorization loosely) coming exclusively to the Xbox.

Returning home after an extended leave at the ripe age of 15, the main character is immediately traumatized by the horrific news that his parents have been abducted and his dog -- and best friend - has been killed, with the only evidence left behind being a decapitated canine head firmly mounted to the front door of the house. After understandably growing upset and vowing to find his parents, he uncovers news that his father was once one of the great heroes of his land. It's in his blood; he'll find his parents, no problem.

That's the basics of the story, but beyond that, what separates Project Ego from every other RPG is that there is no predefined character the developers have forced the gamer to play with. Take control of the young boy, customize basic things like his name and initial visual appearance, and from there the road ahead - the development of boy into man - is entirely up to you. And we're not kidding.

Project Ego takes full advantage of the morphing technology used in Black & White -- it's just two to three years more advanced and takes the level of detail to something we've never seen before. Not only will wrinkles slowly develop under your teenager's eyes as he grows older, but nearly all of his attributes are directly affected by actions within the game. The actual size of his muscles increase every time a weapon is swung or a physical act is performed. You may not notice each incremental change, though, because the aging process spans 30 to 40 game years.


How you doin'?
In Project Ego, you aren't the only one who realizes the world is in disarray and in dire need of intervention from a greater being. Here's where it starts to get juicy. You're in constant competition, so to speak, with other heroes in the game - some of them bad and others just wanting to make the world a safer place, but you're all fighting over a finite amount of admiration from the common folk. Stumbling upon a task that asks our hero to climb to the top of a nearby mountain in order to slay a monster might be met with disappointment after finding another hero is already half way up the hill, set surely on completing the deed that otherwise would have garnered more fame and admiration for yourself.

By the same token, there's a good chance you'll slap some baddies around way out in the middle of nowhere with no one around to witness your greatness. Granted, you just might have to take them out depending on the situation, but greater gains will be found by taunting them back to a local village to slay in front of a group of onlookers cheering loudly for their hero. But if the tables are suddenly turned, if you get knocked around in your attempt to impress your friends, the level of admiration your followers have will dramatically decrease. To further demonstrate the true versatility of Project Ego, the option exists to drag back a dead carcass or severed head to town for only a modest hero rating increase, since the risk involved is obviously much lower.

So what's the worth of admiration? It's incredibly valuable to increase your standing among peers, as people will be more likely to come to you with missions because of their confidence, which not only increases general admiration and the possibility for future missions, but also aids in the development of your physical prowess, which is necessary for you to reach your final destination … wherever that might be. You'll be able to view how you stack up against other heroes by traveling to a Hero Guild, which is essentially a scoreboard.

The game's open-ended nature is staggering. Kill enough things with, say, a frying pan (really, anything goes!) and the reputation for that weapon increases, with people growing well aware of its danger. Go ahead - cut your hair a certain way, and you'll find young kids in the village getting the same hairdo in homage to their hero. Want to settle down and get married, maybe have some kids of your own? You can do that too - it'll just set you back about 10 years. Molyneux repeatedly stressed that everything in Project Ego is simulated using real-time AI rather than predefined events.

It's worth noting that Molyneux also plans to show Project Ego at next year's E3, so there's still plenty of time to see where it goes and report whether or not it actually manages, or even comes close, to replicating its tremendously ambitious vision. That said, if anyone is capable of pulling off such a game, it's Molyneux and his crew, despite the disappointment of Black & White.

Since it's announcement, Microsoft's XBox has been receiving a lot of negative feedback from developers, hardware manufacturers, and even yours truly. Offering what so far only seems to be previously released or enhanced games, the XBox hasn't had too many exclusive titles that have turned the collective heads of the gaming industry.

Let's consider that last statement past tense, shall we?

"Project Ego," an XBox exclusive title featuring the creative genius of famed Black and White mastermind Peter Molyneux, is one of the most highly ambitious and so far anticipated XBox titles yet. Showcased at this year's E3 expo, Project Ego is setting out to raise the bar for free form RPG's as we know it. Taking the lead from where games like Shenmue and Everquest began, developer Big Blue Box is not only looking to make a living, breathing world, but a living, breathing character to live, grow, and die in that world.

Free RPG's are nothing new to the genre; numerous titles have claimed complete freedom in how the player moves around in these interactive worlds. Unfortunately, all have failed to truly bring a gaming experience unlike any other to the masses. Project Ego may succeed where many have failed. The game begins with choosing the sex of your character; taking place in what may turn out to be old England, you are sent on an errand. Upon returning, your character discovers that his or her entire family has been disposed of. A sad turn of events indeed, but necessary for your character to strike it out on their own. From this point on, it is the player and the world; each having definite effects on one another through countless forms of interaction.

As with the norm for newer RPG's, players will have the ability to choose whatever path their character follows. Be it evil or righteous, each action taken in the world of Project Ego will alter your character, and alter the perception that the people hold for your character. Sinister actions will turn your character into a hated and feared individual, loathed wherever he or she may go. Brave and noble actions will have the world singing your praise; friends wherever you may go, and a quaint little bar where everybody knows your name.

Well, we can strike that last comment off the record for copyright purposes, but the basic idea is easy to grasp. What moves your character makes in life will leave a permanent mark on the minds of everyone he or she comes in to contact with. And don't think that the NPC's of Project Ego will forget who you are; the characters living within the world will act and think as though they are truly existing within that place. This is because, well, basically they ARE living within Project Ego's world. Interaction with the people of Ego can range from a friendly conversation to a mugging; this goes for all characters, at all times. Of course, if you're yet a sapling at the age of 21, and attempt to take on a 30-some year old lumberjack, don't expect to win.

Battles will be taking place in Ego often, and they too will have a lasting effect on your character. Chicks dig scars, and from what has been revealed, your character may have quite a few of them. Cuts, bruises, broken bones and gashes will be treated and will act like real wounds. A gash will heal into a scar; a more serious injury could have a worse history with your character, or even possibly kill them. These effects will not disappear when you save and reload your game after a nights play through, oh no. If your character receives a nasty scar on the leg when they're 18, come the age of 60 that scar will still be there. Aging is a process that Project Ego has taken into more consideration than any other game, and like real life, characters will not live forever.

But aging in itself is not enough. The team behind Project Ego has revealed the lengths of which characters can and will change throughout the game, and the effects are simply amazing. Working off of a tangent, let me be quite honest; I am a very pasty fellow. I'd like to get a tan, but unfortunately I'm inside most of the time working or writing (or just sleeping and being a lazy ass). I want my character in Project Ego to be a complete opposite; he'll be tan, very muscular, and sport a wicked crew cut. And amazingly enough, I can do this.

Should I want a pale, sickly looking character, I'll just keep him indoors, or let him roam the nights. If I want a buffed out mountain man of a character, I'll have him do lots of manual labor. These types of choices in your characters daily routine affect their health, their appearance, and sometimes the general opinion of them. Hair length, stature...all these options are easily changed in Project Ego; the character is at the players complete will.

I just realized that I have yet to discuss the games graphics, I must've gotten swept away in all of the excitement and whatnot, pardon me. So far, at such an early stage, Project Ego is looking fantastic. At it's unveiling, Big Blue Box showed some embarrassment over its appearance, and this just leaves me enthralled as to how spectacular the finished project will be.

Characters look especially detailed at this point, and they will only continue to impress as time drags on. The environments are fully realized in polygonal glory; blades of grass sway, flowers twist in the wind, and trees hang overhead. Expect an amazing amount of organic detail; the developers are looking to make the world of Project Ego one that rivals our own. Although no where near completion, what Big Blue Box has revealed is already showing up numerous other titles.

Although I could go on and on about Project Ego in deeper detail, I only hope that this has sparked an interest among gamers. Look forward to more coverage of Big Blue Box's upcoming XBox RPG.

Since the tentatively titled Project Ego was first announced, the game has been the focus of much attention. The game's ambitious take on the RPG genre, coupled with the involvement of Peter Molyneux, has positioned Ego as one of the most promising Xbox titles. While details on the game have trickled out at a snail's pace, we got one of our best glimpses of the game at this year's GDC, where Molyneux and members of developer Big Blue Box opened up about what to expect from the game.

Intended to be the "greatest role-playing game of all time" according to Molyneux, Project Ego is certainly an ambitious game that looks to offer one of the freshest and most unique interpretations of an RPG to be seen in quite some time. While the game follows some of the standard RPG conventions and stars a protagonist who is traumatized by family tragedy and sets out on a quest that will save the world, how you'll go about that is decidedly different. If the game comes together as presented, Project Ego's defining features will be the game's unprecedented freedom and interactivity.

The game begins simply enough--you assume the role of a 15-year-old boy sent into town to run an errand for his family. Upon returning, you'll discover your family has been kidnapped and your beloved dog has joined the ranks of notable pets like Old Yeller in the afterlife. Vowing to find your family and seek your dog's killer, you set off on a journey that will find you becoming the greatest hero of all time--that is, if you're lucky. Ultimately, what your character becomes when you complete the game is pretty much up to you.

The way your character develops in Project Ego is one of the game's mind-boggling and appealing features, thanks to the incredible depth available to players. Based on the way you play through the game, your character will develop dynamically in a variety of ways. If you are incredibly active and do a lot of running, your character will develop strong leg muscles. Along the same lines, if your character used a single-handed sword, your arm will be more muscular. If you spend a lot of time in the sun, your skin will become tanned. If you get cut in battle, you'll have scars after you heal. As you progress through the game, you'll age accordingly. The ambitious aging model will also take into account your character's stress levels. You'll notice bags developing under your eyes if you're too stressed and age even faster if you're always stressed. Another major factor that also affects your character's aging process is your use of magic. Using magic in the game draws on your life force and will subsequently accelerate the aging process and leave you looking like Gandalf from Lord of the Rings if you become too liberal with your spellcasting. To keep you from aging--so much that you'll be forced to go into your final battles with a walker and a pair of Depends undergarments--the game manages your aging process enough to ensure you'll be able to complete the game. In fact, time is compressed and expanded over the course of the game to best serve the story. For example, a stay in prison is one way to adjust your character's age.

The subtle physical changes you'll undergo throughout your virtual life in Project Ego eventually manifest themselves in more obvious ways as you progress through the game. Aggressive players whose muscles are honed through a plethora of combat will eventually come to look like something out of Conan the Barbarian. If you choose to forgo the use of massive swords and decide on a stealthier play style, your character will be slimmer and offer more refined abilities, like being dexterous and speedy enough to catch arrows. As mentioned earlier, players who rely heavily on magic will be physically weaker and age quicker. You'll be able to get an idea of which path your character is on via key moments of animation that occur in the game. For example, at certain points in the game, characters undergo specific bits of animation that reflects their alignment. A fighter may have his muscles bulge at a set time, or a magic user will have smoking eyes to show off the strength of his willpower. Another physical manifestation of your play style, along the same lines as stress affecting you, are facial ticks that your virtual self develops if you choose to run like a hare at the first sign of trouble or are generally timid in tense situations.

Besides the physical changes that are reflected on your character as a result of how you play through the game, you'll find a number of elements on your character that you'll be able to modify to suit your tastes. You'll be able to wear any clothes that you see on people in the world (even women's dresses, apparently) or run about in your underwear, design tattoos for yourself, cut your hair in a specific style, and grow facial hair. Your appearance also affects how other characters in the game treat you. For example, don't expect to be revered much if you decide to traipse through the countryside in ladies' summer frock, even if you're packing a sword.

The final aspect that affects what your character becomes is a bit more elusive and calls to mind Black & White for the PC. Much like in that game, your actions in Project Ego eventually start to affect your character's alignment to good or evil. The effect is developed further in Ego, since your reputation eventually proceeds you on your journey. As a result, if you stay true to the quintessential hero archetype, you'll come to be treated like a pop star in some towns--compete with hangers-on, who mimic your appearance. If you prefer to take a darker path through the game and enjoy massacring towns on a whim, you'll receive a decidedly different and fearful reaction as you go about your business. Sadly, the enormous complexity of the character's physical development has forced Big Blue Box to limit the sex of the main character to a male. While early discussions on the game's development toyed with the idea of giving players a choice to play as a male or a female character, the developers decided to stick with a male character to keep game development and bug testing manageable.

The freedom in developing your character extends to going through the game as well. While Project Ego obviously has a linear story at its core, like all good RPGs, the game features a fair share of side quests as well. These digressions from the main story come in a variety of guises. Besides the traditional side quests, you'll be able to try your hand at chatting up the local women and settling down for a bit to start a family. To keep players from becoming too distracted by child rearing, the game prods gamers via their aforementioned groupies, who razz you if you choose to live a sedentary life. In addition, you'll come across guilds in each town that you can visit to check on your ranking. In an interesting departure from most RPGs, you'll encounter other adventurers out to become the greatest heroes of all time. In some cases, you might actually find that you've been beaten by one of your competitors, who has taken on the same side quest. The guilds let you keep tabs on how you're faring next to the competition, which should add a unique sense of urgency to the game.

To complement the dynamic character and story development, the world of Project Ego is an evolving land that not only changes in time along with your character, but also reflects your actions. Thanks to the Xbox hard drive, Project Ego tracks a host of minutiae related to your character's actions--minutiae that affects the land. The goal is to make the world so detailed that actions you take in the game affect the world in the future. For example, if you choose to carve your initials in a tree, the initials will still be there if you come back to the tree 10 years later. There are also plans to apply a slightly more detailed system to the NPCs in the game. You'll be remembered if you return to towns after a long absence. Whether the memories your return call up are positive or negative depends on you. If you went on a killing spree years earlier and then pop back to the same town, odds are that the townsfolk won't be overjoyed to see you again. NPC communication also features a degree of variety, based on a number of factors from your reputation, hero standing, your appearance, and your interaction with them. There hasn't been a great deal of concrete information released on the game's communication system, which looks to be best described as a context-sensitive gesture system. In a brief demo, we saw that it was possible to flip the bird at local residents with impunity, which should make the Ego's world a suitable outlet for real life's day-to-day frustrations.

As in all RPGs, you'll find a variety of weapons items to use over the course of your adventures. Ego's weapon system differs from the standard RPG archetype in that you'll able to use your character's willpower and experience to imbue practically anything in the game with hero status. Information on the game's item system hasn't offered many hints as to whether or not it features the same type of twist, but at the very least, you can expect to find items to carry around on your travels.

Given Project Ego's rich gameplay system, the game's graphics engine has to shoulder a heavy burden. We caught a look at the game running and were impressed by what we saw. While still quite early, the frame rate had yet to be optimized, and the game looks very sharp and showcases an insane amount of detail. Obviously, the hero looked great, thanks to his high poly count and stylized look. Although the hero has elements that are reminiscent of anime, his overall design is decidedly western. The town interior we caught a look at featured detailed textures, like a huge draw distance that ran off into the distant horizon. Forests and grassy areas featured a ton of greenery that was individually modeled and looked great.

From what we've seen of Project Ego so far, the game looks to be as ambitious as Molyneux, and Big Blue Box has stated it will be. With the graphics engine coming together, the next several months will see work focusing on refining gameplay, integrating voice acting, copious amounts of bug testing, and refining the game's story. We are certainly intrigued by what it promises and are curious to see if it can all come together to be the game that Molyneux and Big Blue Box are aiming for. Look for more on Project Ego in the coming months.

GameSpot: So Fable is finally done. What's it been, four years?

Peter Molyneux: It must be. 2001, yeah, that’s when we first announced it. And it’s 2004--before that it was a different titled game on the PC. If I wanted to be impressive I’d say three years. But it’s probably a little bit more than that. You know, the seeds of the idea started before the Xbox. But to justify it a little bit, there are 70 people on Fable now, and it started with basically two. And in that time, to go from two people to 70 people with a game like Fable is an amazing achievement, really. You know, to invent everything from scratch as it is, is a pretty amazing achievement. But it is done, yes. We had the official getting-enormously-drunk [party] last Wednesday. Gold time, yes.

GS: Yeah, it was kind of funny how word of that leaked out. Basically somebody held out the gold master in front of a webcam inside the studio. Was that intentionally done?

PM: Well, I think that [Microsoft] wanted it to be a proper announcement. But I mean, we’ve got webcams pointing into the studio the whole time. There were just so many people looking at the webcams, and they could see that this game had gone gold because there were people running through the office waving their arms about. It was just a fantastic feeling.

GS: Yeah, it’s kind of funny how many cameras are in this place.

PM: I really love the idea of giving the ability to the communities to look in on the development process. We've got someone here called Sam who tries to expose as much stuff as he can to the communities. And it would seem pretty strange to me that we didn’t announce to the communities as soon as we possibly could that the game was gold. We should have probably held off and got an official announcement from Microsoft, but it was an irresistible urge...

GS: I can imagine. When you first announced Fable you said you wanted to make "the greatest role-playing game of all time."

PM: That was the ambition, yes.

GS: Do you feel like you've succeeded?

PM: That sort of press line is the most dangerous statement that you can possibly make. I didn't really think that people would take me seriously when I said that. Being a little British company, we had never done a role-playing game before, never done a console game before. Who the hell are we to say such an ambitious thing? That was the ambition, and I'm all about when you actually start making a game there is no point in turning and saying, "I'm going to make quite a good role-playing game." I mean what's the point? You might as well just have a license. You've got to go out there and you've got to say: "This will be the greatest game that we can possibly make; this will be the greatest role-playing game."

Is it the greatest role-playing game ever? Could I have made more changes, could there be more polish, could there be a few things in there which shouldn't be in there? There are things I could certainly think about, but I think I'm incredibly proud of the achievement. Firstly, I think what we've done is we've made a game that people absolutely enjoy playing, and they're playing over and over again. Secondly, what we ended up making was an action role-playing game. Now, action role-playing games are different from role-playing games and I think we should have said that, and we sort of merged an action game and a role-playing game in a pretty unique way. There is so much love and passion in that game, and so much hard work, I can't help but be anything but enormously proud of what we've done.

DEV TIME
GS: Now, I know you're averse to putting a timetable on a game's development. But do you think that the three-and-a-half or four years that it took to make Fable could become standard with games?

PM: I think there's one guiding factor that really limits the amount of time that we can do a game for. Obviously, there's money, and obviously, people get tired of hearing the same idea. But the one important factor is the team. A team of people working on the same game for four to five years is just not going to work. I mean, if we can make a game from the first spark of that idea--the first page of the concept to actually be in the shops--if that can be under three years, then I think that is the ideal time. But going to four years...if you look at the number of babies that have been born during the creation of Fable, it's over 20 babies.

GS: Wow.

PM: And you know, nowadays this industry is different than what it was. We all used to sit in a room and we used to just drink Coke, eat pizzas, and work until five in the morning. But we've all got partners, and families, and you just can't do that, it's just not possible to do that anymore. And it's also not possible to sit down with someone and say, "Look, this will take four years." If someone works 40 years of their life, this one game will represent 10 percent of their total entire working life. Maybe even more. People just lose the enthusiasm and the spark. So, really, again going back, if we could make games and finish games in three years, I think that would be the ideal thing. That's how long it takes to make a movie, from that first spark to finding the people to getting it all together to doing the locations. That's the sort of length of time I think we should be able to do a game in.

THE GAME
GS: One of the reasons that Fable is getting so much attention is that it basically allows you to do just about anything, no matter how morally reprehensible. What's the worst thing you could possibly do?

PM: Oh, there was some pretty terrible, awful, atrocious things that you could do, which we had to take out.

GS: You had to remove some things?

PM: We had to definitely remove some things. I was really passionate about the idea of having children in the game. You know, here we are, we're trying to create a realistic world, and I couldn't understand why not many games had children. So I said, "Right, in this town, there are going to be children. They would go to school and they would get up in the morning, they would go home, and that's it." Within a day of releasing Fable to testing, the most horrendous, nightmarish scenes of carnage within the school had been played out. I just thought, "My God, this can never be seen by humankind. This is going to be, you know, on the front page of [British tabloid] The Sun, and the computer game is going to be banned." So that freedom needed to be curbed a little bit, because it was horrendous. That's the sort of things that you could do.

And it was fascinating the way people pushed the limits. Some people turned into the most vicious, evil, property developer you could possibly imagine just by going into a town and killing all the people off, which would make all the house prices go down. They would buy up all of the houses and then rent them all out! I mean, that's pretty evil, you know. If you did that in the real world you would get told off severely, at least. So, there is a lot of stuff that pushes the boundaries. The fascinating thing is, I still play the game and I still find little things that surprise me.

GS: So you feel like you've pushed the boundaries enough then?

PM: I really would love to take that further and you know, I just think, God, you can just see that the door has been opened a little way and you know, what we can hopefully carry on doing is keep continuing to push it open. And this idea of making you be a hero, feeling like you're a hero, feeling like you're inside the world, feeling like you can explore that world and not only explore it geographically, but explore it emotionally and seeing how the world changes and how the world reacts to you...I think that is an amazing area for growth.

PM: Well, it was last Wednesday when we finished, so it’s a real touch on the early side to say, “Hey guys, let’s start on Fable 2!” If I said that, my life expectancy would be measured in seconds.

GS: Do you have any new next-generation projects on the slate?

PM: [Nods] Mmm-hmm.

GS: And, can you tell me what they are?

PM: No, you know, the way to get that out of me is just to put, just that amount [measures several inches] of alcohol in a glass and I’ll probably begin...

GameSpot: Tell us about Project Ego's development.

Peter Molyneux: I'll be completely open and honest about this, it's the first game I've ever designed specifically for consoles. I've been thinking about Project Ego's game design for 20 years. I've been playing role-playing games forever. I've played a huge number of them and loved every second of a majority of them. The first thing I realized coming to a console for the first time is that it's like going back to school. It's like a new job. There are assumptions you make on the PC about the way people play games (how they play games, what they use to play games, where they're sitting when they play games, what their attention span is when they play games) that you have to completely rewrite. So I found that immensely rewarding and enormously challenging.

GameSpot: How much did you have to change your approach when you started work on the game?

Peter Molyneux: Well, when I say it was like going back to school, it was. Sitting down and thinking about the simple things. A really simple thing is that--and this is oversimplifying it a lot, but it's actually true--PCs are things that you set up and sit in front of and play a game for hours and hours and hours and there are no other distractions around. Console games are things that you go down to the pub, you get half drunk, you come back with your mates, and you play a game.

The other element, which can't be stressed enough, is that the mouse on the PC allows us to make certain sorts of games. And those sorts of games really shouldn't be brought to consoles, except in very notable cases. The gamepad on the consoles allows us to make certain types of games that really shouldn't be done on a PC. So the control mechanism, the way people play the game, the sort of content that we're providing--it's all completely different.

Now, that's not to say that we don't think, "Well what can we take from the PC? What on the PC is unique to the PC that hasn't been seen on consoles before?" And that's what is very bold and incredibly scary about the game. I'm probably going to get beat up in the press for saying this one line--I am just opening up my trousers and asking you to kick me in the b**** for saying this--but the ambition of Project Ego is to make the greatest role-playing game of all time. And that is it. It defines everything. The reason why we're making that ambitious claim is because we're taking some of the things we've done on the PC and putting them on a console, and those things have never been seen before. And I'm talking about things like not setting a role-playing game in a scripted world where one hour, two minutes into the game, this happens. We're setting it in a simulated world that reacts to what your character is doing. Your character will influence and change the world in some way. Things like the fact that a typical role-playing game is always set over a weekend!

You know all these role-playing games--you arrive on a Friday night, you realize the world's coming to an end, and by Monday morning it's all over and done with. So what we're doing with Project Ego is that the main character at the start of the game is a kid--he's 15 years old. And you play through the life of that character. By the end of the game, he may be 30 in your case, while in my case he may be 40, in another person's case he may be 50 or 60. You'll find changes that the game makes to the character are important. The character in Project Ego morphs to reflect the way you're playing. You don't have to be the good guy. You can be nasty. If you want to, if you really want to, if you want to walk into a town and think, "I don't like the way these people are looking at me. I'm gonna kill 'em all." Absolutely. Fair enough. And the world will change to reflect that.

Another element is the fact that you aren't the only hero in the world. That's the other thing about role-playing games--you're the only people who realize the whole world's about to come to an end. So why not have a role-playing game where there are other heroes trying to do the things you're doing and there's a slightly competitive nature to it? You know, to put it very simply--and this is not an example out of the game, just a simple example to illustrate it--is that if you're down in a town and someone in the town says, "A princess is being held captive in a castle and we have to help her" and you look up there and you may see another hero there who's just beaten you to it and rescued the princess you think, "You bastard! I wanted to rescue her!"

The whole object of this is yes to play through the story, because yes the world is under threat, and yes there's this big storyline. But actually, the key to the game is that you have got to be the greatest hero of all time. And what your hero is, how he is, what he looks like, the way his hair is cut, how many muscles he's got, and whether he's dexterous or whether he's got more intelligence and can use magic more is all based on how you play the character, not some decision you make.

What's always aggravated me about role-playing games is that at the start of the game quite often I'm asked if I want to play as a fighter, a mage, or a thief. Well, how am I supposed to know? I haven't even played the game yet. They should ask it at the end. So just taking that simple inspiration from Black & White, where we had that changing, morphing creature, and applying it to a human being is so much better than having a cow morphing into a more evil cow. I mean, your character will change as you use your skills. Of course, if you start to battle a lot he'll start to look like Conan the Barbarian after a while and have no stealth in him at all. Or if you have a character who is stealthy that's not as muscular. Or having a character who uses magic who's going to look like Gandalf from Lord of the Rings. Some of those sorts of innovations that were inspired from the PC enable us to do things that no one's tried before.

GameSpot: One of the conventions that's necessary in an RPG is that it has to end. How will the ability to finish the game at 30 instead of 40 affect the main story?

Peter Molyneux: You're absolutely right--without an end to the story and without there being clear objectives of what you have to do next in the game, you're going to get bored. You need to give players direction absolutely every time. Whether you're distracted by activities we put in front of you in addition to that the main story. Then it becomes a linear story that you weave around in your own choice. For example, because we play this out over a period of years rather than months and days, the way we tackle that is there are events in the story where time passes much faster. One example is that at one point in the story you're actually thrown in prison and you're there for 10 years, and your character ages, which will affect his appearance. Prior to that, if you'd been out in the sun, his skin would have been weathered and tan.

You can also chat up women in the game. You know you're a hero. I mean one of the benefits of being a hero, for god's sake, has to be that. If you can't chat up women, then what's the point? Standing on a mountaintop posing after performing a heroic deed will certainly make it easier to get a date. Whether or not you go off, get married, and have kids is totally and completely up to you. If I want to, I can just play through the game and go through the game as "the hero" and not be interested in sex. And it just means I might finish my game in 20 hours while you might finish yours in 25 hours.

GameSpot: What did you bring from your experiences on the PC?

Peter Molyneux: Well, the techniques of how to build a story, a linear story, and craft it into a simulated world that reacts to you. In some role-playing games, I can walk into town, go up to somebody, do almost anything in front of him or her really, and they'll say the exact same thing. I can be naked, or I can kill their firstborn, and they'll react exactly the same to me. That really compromises your experience in a simulated world. So we're trying to make sure people react to you accordingly.

GameSpot: Well, the techniques of how to build a story, a linear story, and craft it into a simulated world that reacts to you. In some role-playing games, I can walk into town, go up to somebody, do almost anything in front of him or her really, and they'll say the exact same thing. I can be naked, or I can kill their firstborn, and they'll react exactly the same to me. That really compromises your experience in a simulated world. So we're trying to make sure people react to you accordingly.

Peter Molyneux: Well, I've played them all my life, and a lot of what I've drawn on are the amazing production values. These are not trivial things anymore. They contain amazing cinematic sequences. I'm talking of games like Devil May Cry and even Metal Gear Solid, which I'd argue, is more like an RPG. This is why Project Ego has already been in development for almost two years and I almost don't know how long it's going to be in development for because we have to put that kind of production quality in. Coupled with the pure gameplay of something like the Zelda series, which I adored. I loved the incredibly clever way that there was always something to find that kept you going. They always made sure when you finished a challenge there was always the start of another one. Lots of those challenges were based around your character becoming something he or she wasn't before.

Because we've got this morphing character we can really explore that. Part of a role-playing game is wondering what it's like to fight with this new weapon or have a new experience. And they always tempted you with another carrot in the game. Zelda was amazing at threading in different overlapping plot points to pull you in. And the sheer enjoyment of discovery of what was around the next corner. So I would say, in summary, Zelda, Metal Gear Solid, Devil May Cry and several other modern-day ones as well.

GameSpot: How big is the world you'll be exploring? How much interactivity will you have? Will it be something like Shenmue?

Peter Molyneux: Well, I thought Shenmue was an incredible achievement, but the balance was slightly off and it's a shame. We actually had discussions about objects in the game, and I think this will answer your question. When walking through a room or a dungeon, there are loads of objects around, and we could make it so you could use any object you like. We can make it in Project Ego that you can pick up a sword and by the force of your physical power it could become the sword of ultimate doom by the end of the game. But that means you walk into a room and almost anything could be significant in that room. Now that is actually really boring and tedious.

If you want to make that choice yourself, you should be able to see and identify the things that are important. So if there is sword lying in there and it is important to the story, then, absolutely, you need a big arrow. Well, not literally, but you need something that says, "Look at this." Without that being there you're not making entertainment, you're making a game where you have touch everything, pick up everything, talk to everyone, and so on, and that's kind of pointless. The point is you're playing through a story and there are shortcuts that we have to take, just like a film. If you're watching a film and it was just a single stationary camera looking down it would be really boring. Films use the camera to say what is important. What games have to do is use that same technique with players--if something's significant, you point it out to them. You don't leave them to guess it. That's not to say you're not allowed to do other things, some bizarre things, but there is direction there.

"[Fable] is going to be the greatest role-playing game of all time." - Peter Molyneux

An impressive claim, coming from the brains behind Black and White. Fable, previously known to the world at large as Project Ego, simply does not live up to its tremendous promises. This does not mean that it's a poor title, but greatest role-playing game of all time it ain't.

When compared side by side to graphics-rich PC games, an unfamiliar gamer would probably be hard pressed to pick the two apart. Bright colors, lush scenery, beautiful water, stylized models -- even the motions that your player character makes when notching an arrow and letting it find its new home in a baddy's skull are very similar to those in other well-built games. Featuring a game world that truly comes alive as you play, Fable represents a milestone in game developement. Villages bustle around you, shops feature dynamic supply/demand, forested areas hum and chirp with ambient life. Merchants wander trade routes and offer competitive prices to adventurers who guard them on their jouney between villages. Should you forsake them, it isnt uncommon to see them be cut down by wandering bandits -- nor is it uncommon to give in to that perverse desire to cut them down and bloody the path between towns yourself. Truly, Fable creates a world so detailed that it rivals even massively multiplayer online RPGs. Or at least, it would if it were a bit longer.

I'll be honest - when I finished Fable I thought the credits rolling by on my screen were a a premature joke. Fable is a prime example of a game that has everything going for it but is crippled by glaring problems that are bad enough to make the player turn a blind eye to all the great things it accomplishes for the genre. Most noteworthy, next to being easily the shortest "RPG" ever created, Fable is disappointingly linear. I'm not usually one to complain about linearity - infact, I'm one of those players who simply found Morrowind, perhaps the foremost example of wide open gameplay, simply too open-ended and ultimately daunting. Fable truly is the other extreme of the spectrum; the player is glued to rails the entire gameplay experience. The player has a choice of following the main "story" or taking various side quests offered. These mostly consist of wandering through very, very small "zones" that take almost as long to load as they do to play through, sewn together by cutscenes and small patches of enemies here and there. On very rare occaisons the player will find himself given quests to investigate dungeons (which, again, consist of maybe 5-10 tight "zones" with loading issues) or, more frequently, partake in dreaded escort quests. Side quests are another example of Fable shooting for the stars and ending up just barely above sea-level; depending on how you're playing your character you can choose to take "good" quests (ie, defend a farm from bandits) or "bad" quests (ie, help bandits raid the farm). The problem here is that there simply aren't enough of these to really have any impact on the overall length of the game; you can quite literally blast through every optional quest in the game in perhaps 1-3 hours. Further hampering this system is the way in which quests are assigned to you - you dont get quests from townsfolk "on the fly". You have to return to your 'headquarters' and pick the quests from a flat menu. Sure, it isnt a game-breaking issue, but it certainly ruins the immersion that the world is striving so hard for.

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i love fable to no end, but i still think it is outmatched by Oblivion and morrowind. its just a matter of freedom to do whatever you want. fable is quite limited

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