Coming in late 2010.
Eurogamer Preview
Eurogamer Preview
"The entire Fable idea is a fairytale twist on European history and myth," says McCormack. "What we've settled on is to go about 50 years on from Fable II. So we've loosely chosen the Napoleonic period, and we've started to pull in a bit of Regency, a tiny bit of Victorian, and we're plugging in an early industrial age to Albion. It's a Napoleonic fairytale."
Ships and cannons and troops, metal and rivets and chattering pipework: Fable II was already a game built from details - anyone who ever stopped to watch the hot blast of animation thrown out whenever one of Albion's humble clockwork doors got ready to open will know that - and this tentatively mechanised environment is a proposition that sounds entirely fitting, even if it promises to significantly alter the familiar environments. "There's still a consistency," offers McCormack. "We never want to be photorealistic. The art style is: never put in straight lines, never use a right-angle, always break shades into opposing colours. There's rules within the art that hopefully turn it into a fairytale no matter where we go. I think we solidified the style with Fable II; with Fable III, we've nailed it.
Ships and cannons and troops, metal and rivets and chattering pipework: Fable II was already a game built from details - anyone who ever stopped to watch the hot blast of animation thrown out whenever one of Albion's humble clockwork doors got ready to open will know that - and this tentatively mechanised environment is a proposition that sounds entirely fitting, even if it promises to significantly alter the familiar environments. "There's still a consistency," offers McCormack. "We never want to be photorealistic. The art style is: never put in straight lines, never use a right-angle, always break shades into opposing colours. There's rules within the art that hopefully turn it into a fairytale no matter where we go. I think we solidified the style with Fable II; with Fable III, we've nailed it.



Comment