For the last five years, the small Finnish game studio Remedy has weathered a stormy economy, kept its studio small against the trendy tide of high production costs, and has somehow kept Microsoft at bay from canning its project after a half decade of tinkering. Come May 18, Alan Wake will finally have its day in the sun. Unlike so many games that lose their steam and tech edge after a five-year development cycle (witness Peter Molyneux’s first Fable and Dave Perry’s Wild 9), Remedy’s Alan Wake just seems to keep getting better.
Tag Archives: Fable 3
During the last demo of Fable 3 at Microsoft’s XO10 conference in San Francisco, Lionhead chief Peter Molyneux asked us if he could sit, as he explained, he had been working 10-12 hour days. Eventually has asked if he could get onto his knees to illuminate actions on the HDTV. Since my associate and I were the only guys in the last session of the day, we agreed. Molyneux, whose repertoire of games reaches back to the 8-bit and 16-bit days and includes hits such as Syndicate, Black and White, and Dungeon Keeper, is known for both charming audiences during his infamous demo sessions and overpromising on games that often only deliver a portion of those promises.
In our demo, Molyneux demonstrated exactly why he is so captivating as a speaker and as a game designer. He speaks personally to as many journalists as possible, to such a degree that his “handlers” have to end the sessions for him. He expresses a child-like joy for the games he makes, which you can hear in his voice and see on his face. And few of his games are proper, predictable sequels. They’re always packed with new ideas and attempts at doing something different. As the chief of Lionhead, he said, he loves his job, asking in what other position could he employ such off-the-wall ideas, or make such drastic changes, or have so much fun at his job?
Of course, the opposite can be said, and with conviction. Molyneux’s games often only contain a portion of the ideas he hypes, leaving lots of gamers frustrated and angry at him, and leaving a game that clearly looks like it has been cleaved (like Fable 1, for instance).
Fable 3 stands to build upon the previous Fables in the series, with more character customization and innovative options in three ways, says Molyneux: 1) by rewriting the rules of traditional story-telling in games, 2) by enabling an Ico-like hand-holding mechanic called “touch,” 3) and by enabling players to customize their weapon (as an outgrowth of customizing their characters).
THE HERO MYTH REWRITTEN
“Video games are always told by means of the hero’s journey,” said Molyneux, referring to the common concept of heroes from writer Joseph Campbell’s book, Hero of a Thousand Faces. “A big baddy does something really bad, you’re the hero, and you work all game long to beat him. Then, the worst thing happens. The credits roll. When you beat him, the story ends. In our game, after you beat the leader of the town of Logan halfway through the game, you become the king.”
Molyneux’s premise is that gamers always play the same story model, and by putting gamers in the shoes of the king, they’ll gain an enormous amount of power and then have to make decisions that will make some followers happy, but will eventually let other people down, giving players choices over how they’ll reign.
“Let’s face it, when it comes to expressions in Fable 1 and 2, it really came down to one funny ‘expression.’ Farting.” In Fable 3, Lionhead is borrowing the hand-holding mechanic first introduced in ICO to connect gamers with characters in the story.
Molyneux demonstrated the idea with a family of three, a father, mother, and a young, lost daughter. In order to find the daughter, the character relies on his pet dog to track her scent. Once located the father lifts the girl into his arms and they hug. Players can then punish or reward the daughter for running away.Your character then tries to lead her into the pub, where she responds by saying, “Daddy, that’s the pub. Mother said she never wanted you to go there again.”
They then walk back home hand-in-hand. “When we have couples who play game in co-op walk in hand in hand, everyone single one of them is moved,” said Molyneux. “It’s amazing how simple and effective it is.”
Molyneux also showed how “touch” negatively affects characters. By putting his character’s hand on the shoulder of a beggar and misguiding him into believing he’ll be fed, the father leads the beggar to a labor shop. Once the beggar realizes he’s going to the labor plant, he pulls and tugs and tries to break free from your grip. But no such luck. By physically connecting players with characters in the game, they’ll feel more attached and emotionally connected to the game, added Molyneux.
WEAPONRY: SAM’S AXE OF DEATH
Finally, Molyneux explained how the weapons have been changed and improved over Fable 2. “We were in a design meeting talking about weapons,” explained Molyneux. We had created about 300 weapons already (Molyneux signs with boredom at the thought of so many weapons) when we suddenly realized that we should allow you to create your own weapon.”
In the demo Molyneux shows a striped face warrior holding an unusually shaped axe. “It’s tall because of the 1,000 kills you’ve tallied. It’s spiked because of your Xbox 360 gamer skills. And it’s named ‘Sam’s axe of death,'” said Molyneux. The best part? You can trade or sell your weapon online, or buy another player’s weapon.