The Journey takes place fifty years after the events of Fable III. Players take on the role of Gabriel, a dweller who is living a happy, but simple life with his tribe in Albion. After a sudden lightning storm, Gabriel is separated from his caravan and forced to find an alternate route to reunite with them. Soon after, our hero is caught up in the attack of an earth-shattering force known as The Corruption. Narrowly escaping the spreading darkness, Gabriel meets the mysterious Theresa. The last of the hero bloodline, she’s tasked with protecting the world from evil that threatens it. Gabriel must help restore her power by taking her to the Tattered Spire. To assist in this quest, spell-casting bracelets are harnessed to protect them from the evils of Albion.

Fable eventually was released in 2005 to high anticipation, but the game failed to live up to Molyneux’s sky-high aspirations. The game earned acclaim for its real-time combat and various methods of dispatching foes, but the morality system was much more limited than originally pitched (good and evil were the only really distinctive ways to progress in the game) and a number of features such as the children component were missing. The abilities to impact the story and the world around you were disappointingly limited as well. But despite these problems, Fable was still received with enough praise that it became a full-fledged series, with Fable II dropping in 2008 and Fable III in 2010.

Whether you like him or not, Peter Molyneux is a man that’s in a perpetual state of dissatisfaction with the status quo of the industry, and that’s really what makes his career so incredibly fascinating.

With a sprawling, graphically intense world part of a near fifteen-hour campaign, Fable: The Journey breaks any conceptions of what a Kinect title can be. It’s not demo material or a novelty release, but an uncompromising adventure game beginner Guide game that weaves an engrossing story while utilizing the full potential of motion control. It doesn’t always work flawlessly, but the sheer ambition alone makes it a must-own for Fable and Kinect fans alike.

Fable III was another big moment for Molyneux. The game introduced more management features in ruling the kingdom, but was panned for many of the same simplification qualms that plagued the first Fable . It certainly wasn’t poorly received, but it showed that many of these ideas that Molyneux pitches are ones that are much less practical and efficient within the current state of the medium. If the first part of the Molyneux Paradigm is hyping up a game to ridiculous levels, then the second part is to show unequivocal disdain for the game a ways after release. Fable III has been labeled by Molyneux as a "train wreck," when, all things considered, it really wasn’t. It had flaws, but the things that worked actually worked rather well. This same attitude was also delivered from Molyneux with Fable II . During the lead-up to Fable III , Fable II was considered "rubbish." Everything in the game, from the story to the controls to the aesthetic design, was bashed to no end by Molyneux himself. To make this concept even more surreal, Molyneux has even been severely self-critical to his game Populous , one of the keystones of the god game genre.

Anyone who's seen a Mad Max movie will easily be able to spot the direct influence of those films in Borderlands , Gearbox Software's colorful, cel shaded open world role-playing shooter. The alien planet of Pandora is a dangerous wasteland and pretty much everyone who lives there is insane, but that's all part of its charm. The plot of the games follows groups of fortune seekers who are trying to track down mysterious Vaults full of immensely powerful alien technology, and we'd love to see a filmmaker tackle both the offbeat humor and the treasure-hunting quest at the heart of the Borderlands ser

NPC reactions is an area where Fable probably could have benefited from some more tweaking, since early on in the game no one takes the hero seriously, but after playing a few hours the player is likely either the most beloved or feared resident of Albion. The citizens of Albion are superficial as once the fame came in so did the opportunity to take on a spouse or three. Fable was progressive in terms of marriage, allowing the player to take a spouse of the same gender and engage in polygamy. Well, maybe polygamy wasn't accepted in Albion since there could only be one spouse per town, so these multiple partners weren't exactly legit. They ended up leaving me anyway since I never spent any time with them or gave them gifts, but considering how difficult and time consuming it was to actually take a spouse to bed, they seemed to be more trouble than they were worth. The main purpose spouses served in Fable was when playing as an evil character, killing them would net so many evil alignment points.

In fact, it’s such a classic that describing such a widely-known story seems irrelevant until you realize that there are prospective gamers who weren’t even out of diapers when the game was originally released, so here goes: Fable sees you take the role of "The Hero of Oakvale" who begins his quest as an unassuming boy until his village is brought to ruins by invading barbarians. The hero survives and is rescued by an even older hero named Maze. Maze sees great potential in the boy and takes him under his wing at the Heroes’ Guild. The hero grows up here, honing his skills and training for the perils that lie ahead. When he’s finally old enough, he sets off on his quest and can choose to either be the savior of Albion or its reckoner. This is of course the major gimmick of Fable, a game that allows you to choose the path of your character throughout their entire life. It was a concept that was ahead of its time in 2004 and remains interesting even after ten years and countless imitators. Of course, it’s major flaw is still the missed potential that was put in the spotlight thanks to the endless hyperbole from Peter Molynex.