"It was the perfect game for my first outing as art director" John McCormack, Art Director, Fable 2įor art director John McCormack, the jump was a double-edged sword: the gap made his job easier in that he could differentiate the look of the game more from the original. “You can’t write scripts for quests when there’s no world to put them in.” “The problem when you’re a small studio making a large game is that you end up with a bunch of people who have literally nothing to do until you’re well into pre-production,” he says. While a smaller team worked on the DLC, Dene shifted across to Fable II, keen to establish the foundations that would give the rest of the development team plenty to do. Some of those ideas made it into The Lost Chapters, an add-on which released a year later. That it ended as well as it did is a miracle, and a testament to an incredibly talented team.” “We were children, dreaming up a game about simulation, self-expression, magic, gothic horror and unintended consequences, who became young adults who didn’t know enough to know what was possible. “Dene and I had been thinking about Fable for at least ten years before we started on it, and not necessarily in the most grounded of ways,” he says. “We’d put an enormous amount of work into it, especially the team, and we were a bit burnt out.” Yet there was hardly a shortage of ideas on the table – as Simon recalls, more ideas didn’t make it into Fable than did. “We were all pretty knackered after Fable,” Molyneux tells us. Edge magazine is one of the most-respected and well-established voices in video-gaming, and you can subscribe in digital form for as little as $9 for three issues.įable II, however, got off to a slow start.
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