GO: Game writers or reporters or whatever you want to call them are experiencing this moment where it's sort of no longer hip to talk about the way a game looks because it's all they were talking about once the discrete 3D card thing happened. That said, Fable 2, I'll risk annoying a bunch of people for saying, looks...let's just say that I'm pausing quite a lot just to watch the sun go up and come back down again.
PM: Well those are the amazing, incredible people that I work with. They're just fantastically obsessive about the world that they've created. And I think their brilliance is in making something which is both familiar and strange at the same time. And when I say you have not seen anything yet, I promise you that's absolutely true. It's funny, when you're designing games, the temptation all the time is to show off as quickly as possible, partly because you want to convince people that you're smart and clever, and partly because you're itching for people to see it and you're frightened that they're going to stop playing, and you want to keep pulling out bigger and bigger rabbits just as quickly as possible. We resisted that temptation, resisted it in gameplay, because not much happens in childhood, for instance, to be honest with you. We resisted visually...you know, you've only so far seen the really pretty side of the starting city, but you're soon going to see the other side of Albion [Fable 2's game world, also an ancient name for Great Britain] which is a much darker side, and actually a much more dramatic one.
Next: Political machinations and rhetorical subtexts, a game of you, "zero to hero" versus "hero to zero," monomyths, lessons learned and science experiments, the once and future casual paradigm, and the state of PC gaming.