However, towards the end of my time with Journey, I had honestly given up on even trying to be accurate with shots, and instead sent spells out wherever, only to use Aftertouch to try and properly direct them. When the system worked, it played decently enough. It got particularly annoying in sections that asked me to aim and hit a specific area target on-screen, as actually making the mark proved an exercise in patience and luck.Īt one point, it was almost a literal exercise, with more than a few moments of sore shoulders as I kept repeating the same motion. Half the challenge of the combat for me though was getting Kinect to read these motion. To cast a spell you, presumably, push the hand that has that spell equipped in a straight, forward motion. Unfortunately, the combat portions are where Journey seemed to break down. One such effect was a handy little ability called Aftertouch, which allows you redirect the course of a spell you just fired. Spells can also be upgraded of course for more damage and added effects. Spells in Journey run the gamut of many of the series’ staples, so expect to see Shock, Flames, and Force among others. With a gauntlet system similar to what was in Fable III, players can tie one spell to each hand, firing a maximum of two at a time. As well as the steering portions of game worked, combat was a whole other story.Įschewing the past entries’ combat trio of might, skill, and will, combat in Journey is all magic-based. You can also rest your arms when not steering left or right, which is a nice touch. With a few exceptions, Kinect read my steering motions well enough, with the only notable ones cropping up randomly. Again, a pretty straightforward system, and a pretty reliable one too. To go right, just pull your right arm in towards yourself, while extending the left, and vice versa to go in the opposite direction. Steering from left to right is similarly straightforward. If you want to slow down, you bring you arms up to your chest, mimicking the motion of pulling in the reigns.
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To travel more quickly, you simply crack down again. To make your horse go, you simply hold your arms out front and crack forward as if cracking a real reign. The whole system basically boils down to you imagining that you have real reigns in your hand. Once in-game, the first thing we try out is the horse riding, which actually worked pretty well.
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It’s standard RPG fare for that matter, but it keeps in well with what the Fable series does, and works here. The story here seems to be your standard Fable fare, the unassuming hero cast forward by unforeseen circumstances into a greater destiny. His assistance against the corruption, in exchange for his horse’s life. They escape, but not without scars to Gabriel’s trusty steed, prompting him to strike a deal with Theresa. While trying to find his way back to tribe, Gabriel runs across series staple Theresa, who’s fleeing from a mysterious and evil corruption. After falling behind from the rest of the convoy, he finds himself hopelessly separated from the group. Taking place 50 years after the last game, Fable: The Journey follows the story of Gabriel, a clumsy screw-up from the wandering Dweller tribe. That is, when the controls actually work. While the early criticisms that called it on-rails were not off, my recent session with Fable: The Journey showed that it can still be enjoyable. Over time, I grew to live with these changes, just in time for Fable III which, while not stellar, proved to be a solid entry.Īnd now we have Fable: The Journey, a title with a lot to prove, as it’s been taking heat since its first showing at E3 2011. The single-button combat system, abrupt story, and often numbing lack of difficulty were changes that I simply couldn’t swallow. When it returned with 2008’s Fable II, though, I wept for the series. Despite the now-infamous promises it never delivered on, I absolutely adored the first Fable, as what was delivered was a finely crafted game, and one of my favorite RPG titles of all time. I have a bit of a sordid history with the Fable franchise.
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