Don't Wait For Fable, Play Fable 2 Instead

Hidden within this week's Xbox Podcast was exciting news, and a touch of disappointment, regarding Playground Games' highly anticipated Fable. The "treasure"—a rare glimpse of gameplay—came with the unfortunate "curse" of a delay. Initially slated for release this year, Fable is now set for a 2026 launch.

While delays are rarely welcome, they often signal a commitment to quality. Hopefully, this extra time will allow Fable's richly detailed world to fully flourish. But this extra year presents a perfect opportunity: revisit (or discover!) the Fable games, particularly Fable 2, the series' undisputed peak, and rediscover this unique 2008 RPG from Lionhead Studios.

By today's standards, Fable 2 is remarkably unusual. Even compared to its 2008 contemporaries (like Fallout 3 and early BioWare 3D titles), its vision is singular. While featuring a traditional campaign structure with a linear main story and optional side quests, its RPG systems are surprisingly streamlined. This approachability makes it perfect for newcomers to the genre, simplifying complex mechanics.

A mere six main skills govern health, strength, and speed. Weapon damage is the sole stat to consider for weapons; armor and accessories lack comparable stats. Combat, though frequent, is refreshingly straightforward, enhanced by creative spellcasting (like the delightful Chaos spell). Even death holds minimal consequence—losing all hit points results in only a minor XP penalty.

Fable 2 is the perfect RPG entry point. In 2008, Oblivion's vast Cyrodiil might have overwhelmed newcomers, but Fable 2's Albion offered manageable, easily navigable maps. Players freely traverse these areas, aided by a loyal canine companion, uncovering secrets like buried treasure and hidden caves. This creates a sense of scale exceeding the game's actual size. Albion's geography, however, is somewhat restrictive, guiding players along linear paths. It's not a world designed for getting lost in the traditional sense.

Albion, as a physical space, pales in comparison to the expansive worlds of BioWare's Infinity Engine games or Bethesda's Morrowind. However, judging it by modern or even contemporary RPG standards is unfair. Fable 2 prioritizes a bustling, vibrant world over vast, sprawling landscapes. Viewing it through the lens of The Sims reveals a remarkable societal simulation.

Albion functions like a complex, organic mechanism. Daily routines unfold as citizens wake, shops open, and the day progresses, mirroring the life cycles in The Sims. Each citizen possesses individual personalities, likes, and dislikes. A comprehensive gesture system allows players to interact, charming or antagonizing NPCs. A well-timed fart might elicit laughter in a pub, while mocking children could send them running to their parents. Fable 2 uniquely achieves the often-discussed goal of creating a truly reactive, living city.

While the player is a destined Hero, Fable 2 shines when fully integrated into its society. Players can purchase and manage properties, working various jobs (woodcutting and blacksmithing offer calming, albeit repetitive, minigames). They can become landlords or furnish their homes. Romance is also an option, leading to marriage and even parenthood. While individual elements feel artificial, the cumulative effect creates a genuine sense of life.

A well-executed fart might have the patrons of a pub howling into their beers. Few RPGs have replicated this aspect. Even Baldur's Gate 3 lacks comparable organic romances and property market mechanics. However, Red Dead Redemption 2 offers an unexpected successor, boasting a highly responsive world with reactive NPCs. Interactions, similar to Fable 2's gesture system, shape player reputation. Meaningful actions, like saving someone from a snakebite, might be remembered and rewarded later. If Playground's Fable stays true to its roots, Rockstar's living world should serve as a model, rather than current tabletop-inspired RPGs.

Other crucial elements must be preserved. Fable's British humor, witty satire, and a memorable cast are essential. The binary approach to good and evil, a hallmark of Lionhead's work, is also vital.

Peter Molyneux, Lionhead's founder, emphasized the good vs. evil dichotomy in Black & White and subsequent projects. However, Lionhead's approach differs from the nuanced choices in The Witcher or BioWare games. Fable 2 embraces comedic extremes; choices are starkly angelic or demonic. An early quest involves helping or harming a trader; later, a ghost seeks revenge on his former lover, offering only extreme options.

Modern RPGs prioritize complex player expression, exploring a spectrum of human behavior. Moral dilemmas are rarely simple. Fable, however, thrives on this binary. It allows players to be utterly heroic or villainous. The sequel enhances this, with branching quests and a reactive world shaping reputation. Moral choices often feel underwhelming when focusing on the middle ground; Fable 2 embraces the extremes, allowing players to fully embrace the dark side.

Playground Games' execution remains uncertain. The recent gameplay footage showcased a more detailed world than previous entries, suggesting a less restrictive open world. A city scene hints at a vibrant, Sims-like societal simulation. The hope is that Playground stays true to Fable 2's unique qualities.

This is all a year away. In the meantime, revisiting Fable 2 is highly recommended. Its beloved qualities highlight the importance of preserving Fable's distinctive elements. The new Fable shouldn't be a Witcher, Baldur's Gate, or Dragon Age clone; it needs to be Fable, in all its quirky glory.