This selfish man sitting in the confessional booth is here not because he truly feels guilty, or sad, but because he wishes to escape the fate he has created for himself. He felt no empathy for the homeless man he swiftly worked to death, and he never thought twice about the servants he had in his charge. In fact, he didn’t even seem to care for his wife much; he just wanted a supermodel, because men are supposed to want these things. This man is the epitome of desire, using any means necessary to get what he wants, or what he should want - and the means here was c

Taking the body of his daughter, the Stand returns, plunging her young fingers into and through the skin of his neck before giving him a challenge that can, possibly, save his life. Flick a piece of popcorn high into the air, above the nearby streetlights, and then catch it in his mouth, three times in a row. Failure results in him losing his head. He fails, but that’s not really the point here: what fascinated me was the popc

This is when Kishibe Rohan realises that this story, being told to him by the man himself, is impossible. He is dead. Or, should be. And that’s when he reveals that he is alive and well, because he is the same as he has always been: a cheat, with zero empathy for those around him. He used his vast wealth and his legion of servants to quite literally have someone else take his place, forever. The one that has seemingly acted as a corn magnate (sorry I cannot get over this) for years and raised his young daughter is actually a servant that has undergone plastic surgery to look like his master, and the master did the same so he could blend in amongst the servants: linked resource site a trick so intricate it even had the stupid psychic Stand curse fooled. I also have no doubt that this is where Hideo Kojima gleaned Metal Gear Solid 5 ’s big twist f

One change that should definitely be made to how MGS5 handles this system, however, is the removal of the Fulton recovery balloons that makes capturing enemies very easy. Instead, players should have to physically take Mules and Demens to different facilities, possibly to a specific few that have the ability to rehabilitate these enemies, making each recruitment a much more intimate encounter. Given that the entire narrative of Death Stranding involves connecting Sam to the other characters around him as much as connecting the United Cities of America, having the chance to rescue people would really help drive those themes h

Just like Aesop’s Fables, this short, self-contained story has a powerful message, but one that Aesop could never have predicted in a world ravaged by global capitalism. The powerful abuse others, the powerful feel no empathy, and the powerful will use those around them to get what they want, even at the cost of their own happiness. But ultimately, no matter what, the powerful do not feel the brunt of their curse. They do not have to face the consequences of their actions. They just let those around them do it for them, and keep walking forward, living their life. As the man rises from the confessional booth and leaves the church we see the headless servant, bearing the man’s old face, crawl behind him, alongside the homeless man from years before, while the corn magnate himself strolls out, unscathed, with a face that isn’t even his

Instead of murdering people in the middle of Bowerstone and growing big devilish horns, you had to manage a kingdom and decide whether it was more important to build a school or a brothel. This structure is excellently designed, mind, and went on to define similar systems in other games like Dragon Age: Inquisition. But the magic of Fable’s chaotic mayhem was rechanneled into something a bit more serious, a bit more grounded. While I vastly preferred the old versions of Fable, this wasn’t a bad thing. Fable games are anything if not ambitious, and once a game tries something new that’s genuinely worthwhile… well, I don’t care all that much if it’s not up my street — even failed experiments can help steer progress. Now that a new Fable game is confirmed to be in the works , I’m immensely glad that Fable 3 exists, because for as much stink as people talk about it, it’s a smart, audacious, and important game.

Halo has been delayed but that doesn't mean the Xbox has nothing on its slate as a brand new Fable is coming our way in the next generation . The last mainline entry was 3 which released a decade ago in 2010.

Fable 3 is ten years old today. It’s not as good as Fable or Fable 2 — if you’ve read this far, you’ll know that isn’t the argument I’m making. The argument is that Fable 3 is an oddly unique game. Ten years later, I’ve yet to see anything remotely like it, and I think you’d be hard pressed to find something that is more unanimously ambitious than it is. Yes, there have been more impressive art styles. Yes, I’m sure another game has a far better skill system. But as a whole, nobody ever told the people making Fable 3 that actually, what they were doing was a bit too much. Actually, maybe more is not better. Actually, we can have property management and an entire monarch simulator lapped onto the end of an industrial revolution/medieval fantasy hybrid RPG, but come on. Do we really need full animations for baking pies and dog tricks? "Of course we do," came Lionhead’s resounding response in my imagination. "Otherwise it wouldn’t be Fable."