By Christie Golden
The authentic prequel novel to the Xbox 360 videogame, Fable:™ The Journey
It’s been virtually a decade because the occasions of fantasy three, whilst the Hero vanquished the hazard around the sea and claimed his throne. As king he led Albion to an period of exceptional peace and prosperity. yet at the evening of his marriage ceremony to his new queen, ominous notice arrives: The darkness has returned.
past a harrowing mountain go, the unique barren region state Samarkand has been overrun by means of shadowy forces. in the partitions of its capital urban, a mysterious usurper identified in basic terms because the Empress has seized regulate. to guard his realm, the king needs to lead his such a lot depended on allies right into a unusual land unknown to outsiders. As they forge forward alongside Samarkand’s historical nice street, populated by way of undead terrors and remarkable creatures as soon as believed to be the stuff of legend, the king is drawn ever towards his maximum problem yet.
yet quickly Albion is engulfed in a battle of its personal. because the darkness spreads, city through city, a treacherous strength has infiltrated the queen’s circle. Now the destiny of all that's solid rests with a faint flicker of wish . . . that someplace, by some means, heroes nonetheless do exist.
© 2012 Microsoft company. All Rights Reserved. Microsoft, fantasy, Lionhead, the Lionhead emblem, Xbox, and the Xbox emblem are logos of the Microsoft staff of businesses.
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Extra info for Fable: Edge of the World
Addressing a range of film examples, from Run Lola Run to Short Cuts and Magnolia, Everett finds that the: […] concept of network has fundamental repercussions for the films’ narrative structure: echoing the random growth of the network, there is little or no linear development, and stories and events instead form complex web-like structures. The patterns underlying the apparent chaos are only gradually and partially recognized by the spectator, who must thus play an active role in the construction of meanings.
Lastly (although this is by no means an exhaustive list), there is Allan Cameron’s category of modular narratives (2006), which represent a variation on Kinder’s database narratives. Cameron acknowledges the tangential points between his and Kinder’s category, stating that both groups ‘foreground the relationship between the temporality of the story and the order of its telling’ (2006: 1). Cameron distinguishes his approach by focusing on the modularization of time, stating that with ‘the digital era comes a new set of possibilities and anxieties regarding temporal representation’ (2006: 19).
Cameron distinguishes his approach by focusing on the modularization of time, stating that with ‘the digital era comes a new set of possibilities and anxieties regarding temporal representation’ (2006: 19). He goes on to break down modular narratives into sub-groupings, some of which are reiterations of other theorists’ classifications: anachronic narratives, forking-path n arratives, episodic narratives, anthology. The modular aspect, though, is an insightful additional refinement to the database narrative, especially as modularity is one of the core properties of digital technology, and as such is also at the root of gaming structures.