Is there enough room for Kingdoms of Amalur?

I've been watching the progress and press of Kingdoms of Amalur (from here-on referred to as KoA) with increasing interest and excitement as details of this new IP from Electronic Arts are released.  Impression-wise, I do get the feeling that KoA is under the radar for a lot of people and not least because of who its publisher is.

Before we get into KoA, I would like to dispense my own views on Electronic Arts and the recent hate that this long-serving publisher has drawn of late (some deserved, some not).  Much of the groans seem to stem from the recently released and buggy 'Battlefield 3' as well as the implementation of online pass and series 'subscriptions.' While E.A. is far from alone in these new strategies, it can at least be complimented for continuing to support development of new IPs unlike others (*cough* Activision *cough*) such as Dead Space or Mirror's Edge.  Regardless of what you think of such titles, both IPs were heavy risks at the time they were released and have certainly influenced, if not enriched, the gaming world.  E.A. can also be credited with saving 'Brutal Legend' from the clutches of vaporware after being dumped by Activision and having more legal money than Kotick to scare them off blocking it.  You see? E.A. - it's not ALL bad.

So on to KoA...is it another 'me too' title or does it deserve the attention of something better?  This recent video on gamespot would say that KoA is well-placed to earn the trust of the gaming public and like all great things: before you judge a game, look at who's behind it.


Writing - R.A. Salvatore

Before one concept drawing or one line of code was dropped, R.A. Salvatore created a 10,000 year world synopsis through which the studio could anchor its entire game.  Every race, every building, every book (yes, lots of those in KoA as well) and every quest is firmly rooted on a rich base of epic storytelling at its best.  Salvatore does not need to reach far to find such inspiration and his track record speaks for itself starting with the most noted of his career: Dungeons and Dragons - 'Forgotten Realms'.

Even if you haven't played a campaign (tabletop style) or read one of Salvatore's books, the title must ring a bell and why not as it has been credited with inspiring Pool of Radiance, Baldur's Gate, Icewind Dale and Neverwinter Nights.  Salvatore's singularly recognized storytelling through Forgotten Realms resides on the right throne of all that is modern fantasy rpg.  He has single-handedly created more worlds and characters in the fantasy genre within one franchise than most will in their entire careers...and Salvatore did much more than Forgotten Realms.

His New York best-selling fantasy novels (many dozen across multiple franchises) have been gracing shelves over the span of three decades.  He has even ventured into science-fiction and holds credit for Star Wars: Vector Prime.  It is quite conceivable that, knowingly or unknowingly, all modern fantasy writers and designers have at some point been inspired by Salvatores' works.  He is a god amongst fantasy authors; the 'Steven Spielberg' of the fantasy rpg universe and now he, once inspired by the great J.R.R. Tolkien himself, has extended his legendary talent to KoA.


Art Direction - Todd McFarlane

It's unlikely that most people nowadays will know who he is but I was personally surprised and delighted to learn that Todd McFarlane is firmly seated in the 'Art Director' chair for KoA.   Recognized for his award-winning work as key artist for Marvel on the legendary 'Spiderman' comic series, while with Marvel, McFarlane exploited the opportunity to create the first incarnation of 'Eddie Brock' a.k.a. 'Venom.'  He then went on to create McFarlane Entertainment and through M.E. created the enormously successful 'Spawn' franchise.  M.E. also changed the action figure landscape in the late-nineties by introducing a new line of highly-detailed toys that continues to delight collectors to this day.

McFarlane's pedigree in art direction is undeniable.  If you've ever seen him in interview, you will immediately sense his eccentric 'schoolboy' persona in discussing anything to do with fun and fantasy.  His borderline-insane enthusiasm is both comical and infectious.  It has made him a multi-millionaire in his own right and his portfolio of creative characters and worlds bring a powerhouse of potential to KoA.  In his own words, his only concern is that you find KoA 'cool.'


Design - Ken Rolston

When 38 Studios pitched KoA to E.A., there's no doubt that Ken Rolston was an immediate boost to KoA's talent roster.  Rolston's best credit is the critically-acclaimed 'Morrowind' of the Elder Scrolls series and it is Rolston that Elder Scrolls owes its rich tapestry of rpg existence.  Seeking a change to found a new story on a new, fresh engine, Rolston has been firmly focused on refining all that has made Elder Scrolls great while tuning out those limitations and inflexibilities that rpg games can often introduce by forcing gamers to make too many choices, too early on in a game.   As rich as Elder Scrolls has been, KoA will prove to rival it in many ways because both games originate from the same source: Ken Rolson.


More than that, however, KoA does not begin and end at Elder Scrolls.  In many ways (subject to both praise and criticism) KoA unmistakeably resembles a darker, deeper 'Fable' and shares a lot of similar traits as its Lionhead Studios' rival.  It should come as no surprise that many critics of KoA feel as though E.A. is simply trying to capitalise on the popularity of Fable and possess it for itself.  That may be a fair comment but I do not feel this will be at the expense of gaming.  Even if the direction of 'adapting a proven model' appeals to some of E.A.'s corporate-minded executives, where KoA could be a godsend to us gamers is by finally bringing forward the 'Fable' game we always wanted but would never receive from Peter Molyneux.

The opportunity to play a rich and dark rpg adventure that 'borrows' the best from Fable but leaves out much of the clichéd cheese is something that deeply appeals to me and I suspect many others.  I loved and adored Fable II which seemed to show its character without losing balance but lost my appeal for the series with Fable III that I found to be an overly-contrived and linear title seemingly more focused on Molyneux's obsession with uninteresting moral dilemma rather than engaging gameplay.  Knowing that Fable IV is to be some sort of half-baked Kinect title, there is plenty of opportunity for 38 Studios and E.A. to seize the gap that Lionhead has left and enhance it back towards a pure rpg vein rife with choice, world and most notably: blood.

If all is to be taken at face value (and many have already said 'It IS!') then KoA represents a hybrid of the accessible gameplay and style of the 'Fable' series intermeshed with the darker, richer storytelling and rpg purity of 'Morrowind'; all this and careful tweaking to achieve the best of rpg gameplay by those who love (and can take credit for) the best rpg games.  E.A. seems to have an occasional knack for recognising when the right people are behind the right project.  Glen Schofield, a self-professed lover of sci-fi horror, proved himself as the key man for 'Dead Space'; no less can be side, in my opinion, about the team behind 'Kingdom of Amalur.'