The switch to Unreal Engine from Lionhead's internal tech used in the previous games is largely indiscernible. It's not much fun to read, but it goes with this chapter in the medium. Nevertheless, if journey is story - and video game players understand more than anyone that journey is story - then you must accept that a Kinect-driven journey will feature the odd paragraph in which a disgruntled human gesticulates madly at a television set while swearing a lot. In truth, Fable: The Journey's controls mostly work the way that they should, provided the sun is at the right point in the sky, the children are put to bed and the wind is still. But goodness, the only thing more tiresome than wrestling with an insubordinate Kinect is reading about how a game's motion controls don't quite work. It is, as with all Kinect games, at times stubborn and petulant, pretending to misunderstand your bodily instructions, as if its eyesight is beginning to fail as the Xbox enters its dotage. That much is true of Lionhead's latest excursion to Albion, too - the green, pleasant, accent-rich hinterland into which we now dive via a lens rather than plastic controller, hoping our sorcerer's arm sweeps will translate somehow to the screen. In that sense Fable: The Journey feels like a line drawn under this chapter in the medium, a chapter that's involved an awful lot of rearranging furniture and messing with curtains - a chapter of hand-waving followed by hand-wringing as we've calibrated and recalibrated the blink-less eye of the Kinect sensor. But, like the fake plastic guitars of the past, the stereoscopic 3D of the future and all those other tech gimmicks that sizzle in and fizzle out, it will in time be removed from our video games.
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