Dogs - regardless of whether or not you're a little bit scared of them, or the fact that they occasionally choose to store their defecations under your favourite chrysanthemum, chew up the newspaper before you've done the crossword or scare the bejeezus out of you by barking for no apparent reason at imagined prowlers - are great. Not only are they man's best friend in every clichéd cartoon or teenage drama ever to come out of Hollywoodland but they can also play emotional parts that tug at the heartstrings in a way that no human-to-human relationship can, as seen, for example, in I Am Legend. So it's no surprise that the videogame industry has cottoned on to the concept and implemented it into two of 2008's biggest and most anticipated games, one being Fallout 3 and the second being the subject of this review - Lionhead Studio's life-simulating action adventure mammoth, Fable II.

Although not a focal point of the overall narrative, the little doggy companion who follows you for almost the entire span of Fable II is a wonderful addition. He - or she, if you choose to so name aforementioned pooch - is an invaluable teammate who helps you in fights, sniffs out chests and buried treasure for you, performs tricks and generally endears himself to you, whether your actions turn him into a golden-fleeced Lassie or a red-eyed Kujo. Lionhead further compound the connection to your furry friend by introducing him right at the beginning of the game, when your character is a scrawny little street urchin living off scraps and his or her wits with big sister Rose; you rescue the dog from an unscrupulous bully and from that point on it's clear that Peter Molyneux wants you to care about your canine companion and, by extension, the world you both inhabit. Albion, just like your pooch (I named mine Tinker, by the way) changes and reacts to your every action. You have to care about how you treat both, even if you treat both badly. It's impossible not to care.

Dog notwithstanding, Fable II's opening hour is very similar to the first game, in that you begin as a child (male or female this time around) who must perform various quests for the citizens of your hometown in order to raise five gold pieces. The reason behind this is that a travelling merchant has come to Bowerstone City and is selling, among other things, a musical box that he proclaims will grant whoever plays it a single wish. Although initially sceptical about the box's actual powers, the words of a blind witch named Theresa urge your sister to buy the box and play it, wishing - bless her heart - to live in a castle - Fairfax Castle, to be precise, which towers above the city. Once the box is played, however, things quickly sour and - without revealing too much - you find yourself an only child, raised by Theresa in a small gypsy commune with your only real friend being the trusty dog that you saved earlier. Although not particularly riveting, the opening childhood chapter teaches you the fundamentals of Fable II, most notably the breadcrumb trail of twinkling lights that guides you to your quest objectives.

From here, the narrative jumps forwards ten years to reveal you as a young, impressionable novice, sent out into the big wide world by Theresa on a mission of vengeance against the evil Lord Lucien who, incidentally, has been missing for a decade. From the very off, I must stress that to really get the most out of Fable II you have to dismiss most of what you've read before playing it and understand that you will reap exactly what you sow. If you play the main quest line without distraction then you'll probably finish the game in under ten hours and end up feeling somewhat disappointed. Likewise, if you come into the game expecting to find something that revolutionises the way videogames are played - as per the ridiculous hype - you may be left wanting in some departments. If, however, you ignore the hype that surrounded the development of the game and also free yourself from the idea that you have to complete it as soon as possible (as with many other games), and simply enjoy the journey from penniless urchin to all-conquering hero at your own pace, you'll find Fable II to be one of the richest, deepest, most immersive and rewarding role-playing games you've ever experienced. Just turn off that breadcrumb trail for ten minutes or so and see where you end up on your own merits…

I'm not going to go into detail concerning the storyline; suffice to say that it involves the tracking down of three great heroes, one of Strength, one of Skill and one of Will, who are instrumental to foiling Lord Lucien's dastardly plans. Instead, I'd much rather talk about the technical side of things and the frankly incredible variety of tasks, quests, skills and equipment in Fable II. For one, it's not all roses and trumpets. If there's one thing that stops this game from achieving that elusive 10/10 score it's the technical blips that occasionally detract from the experience. Aside from pretty consistent collision issues with dead bodies and - notably - your dog, the game also suffers from a fair amount of slowdown and pop-up, as well as the odd bug concerning the targeting crosshair. The menu system would have benefited from another few months in development too, as it's one of the slowest and clunkiest I've ever used, especially in an action-RPG. However, most of these issues are forgivable every time the astonishing art design throws up another gasp-worthy vista.

Atmosphere is a big thing in Fable II and Peter Molyneux's team has sculpted some of the most beautiful and evocative environments ever seen; from the streets of Bowerstone City to the lush countryside and its sparkling lakes - all of which take on a completely different ambience when the inbuilt day-night cycle rolls past sunset - everything is amazing to look at. Rabbits bound across fields, crows scatter as you rush towards them, and the people of the cities are many and varied enough to have you believing that Albion truly is a living, breathing world. I mean, fair enough, a lot of the one-liners uttered by the townsfolk and bandits are repeated several times but they're acted so well and with so many different regional dialects that you can forgive such shortcomings. The musical score is perfectly composed and adds to the atmosphere brilliantly, while the scripting and voice-work (provided by, among others, Stephen Fry, Zoe Wannamaker and Ron Glass) is incredibly well done.

As mentioned earlier, you can now choose to be either male or female and while this choice has no bearing on the main storyline, it does open up a lot of new options for character customisation and diversity. Interestingly enough, what you choose to wear now has no effect whatsoever on your damage resistance; all of that is taken care of by how many experience points you spend in the 'toughness' branch of your Strength tree (more on that later), leaving you free to dress exactly how you please. If you want to slay balvarines in your underwear or take on a bandit camp dressed in nothing but a corset then go ahead, as the game won't penalise you for doing so, although you will attract a few sniggers and derogatory remarks from passers-by. The dynamic world means that what you wear does have a bearing on how people interact with you though. Wear bandit outfits and dark colours and people will fear you; cut a dashing figure in a noble gent's coat and a top hat and people will adore you. The possibilities for interaction and influence are almost limitless, as are the customisation options. In addition to the dozens of shirts, leggings, skirts, hats, masks, gloves, corsets, dresses and coats available, there are also several dozen dyes available with which to colour your clothes for even more individuality. Couple this with the physical manifestations of good and evil carried over from the first game, plus the new purity and corruption facets, and you'll find that it really is unlikely that any two avatars will look the same.

Just as in the original Fable, evil acts make you appear more fearsome and, conversely, good deeds make you look more divine. However, there is now a pure/corrupt bar that also affects your appearance. For example, if you're the kind of player who buys a property and rents it out at an extortionate rate then your corrupt side grows, further distorting your once fine looks. Eat too much meat and too many pies and you'll grow fat and slovenly; eat celery and fresh vegetables and you'll slim down and appear more healthy. It's not quite the same as real life but it does make you think hard about everything you do.

Another little innovation featured is that unlike other RPGs, you rarely get gold from completing quests in Fable II. If you want to make money then you'll have to work for it in the various jobs to be found around the land. You can become a blacksmith or a woodcutter, an assassin, bounty hunter or barman, all to help line your pockets with shiny gold pieces. The first three listed above are mini-games entered by holding the A button near a job sign. Once hired you simply press A at the right moment to do a good job, which eventually leads to promotion and more money. It's been said that a master blacksmith can make up to 1,000 gold pieces per sword, although I've not achieved this yet! The assassin and bounty hunter jobs are accepted from NPCs and require the fairly obvious to earn a reward. Once you have enough money, of course, you can branch out, perhaps become a landlord by purchasing property and renting it out (the game even allows you redecorate every house you buy), or you could buy a market stall, shop or pub and earn your money by taking a cut of the profit, or you could gamble your way to riches by partaking of Albion's wonderful variety of pub games. Either way, making cash in Fable II is fun and ridiculously distracting. You can even save up enough money to buy Fairfax Castle and crown yourself King or Queen. I mean, come on, how cool is that? And if you want to buy up property then what better way to make use of countless houses than by breeding like a mad rabbit? Yes, you can even have a family - or several families, if you choose. Same-sex marriage, protected or unprotected sex, pregnancy (for female characters) and all the pressures that go with them - including STDs, ankle-biting children and bank-breaking divorce - are available in Fable II.

Of course, it's not all extortion, debt collecting and home making; there is a quest for vengeance and a path to glory to worry about too, after all. As befitting for a legendary hero, such a path to glory is littered with the bodies of those who cross you; from bandits and highwaymen to balvarines, forest trolls and axe-wielding zombies, combat in Albion is varied and fast-paced. Much has been said about the new combat system in Fable II and most reports have been somewhat unfair, particularly those that label the combat as simplistic or overly easy. Admittedly, most previewers who called the combat "lacklustre" had only played the first couple of hours of the game, when only a basic attack, shoot and spell option is available. Later on, as you spend your experience points (XP) on different specialities, the combat becomes far richer. XP comes in orbs of four forms, which are granted each time you kill or significantly damage an enemy (as well as from various foods and potions). Red orbs are for Will, Albion's version of magic; blue orbs are for Strength, swordplay and hand-to-hand combat; and yellow orbs are for Skill, obtained by using your gun often. The fourth type, green orbs, are for general experience and can be used in conjunction with the other colours to purchase expensive skill sets. Spend a lot of XP on Strength and the various attacks, flourishes and combos you unlock turn combat into a much more complex and satisfying beast; improve your Skill and you learn to zoom in and even target specific body parts; focus on Will and you'll develop a devastating array of spells with which to wreak havoc upon the scum of the land. Specialise or generalise, it's up to you, but each skill tree truly comes into its own if you decide upon the former. In addition to more powerful attacks and spells, the three types of XP alter your appearance in very specific ways, too. Strength has a skill called physique that makes your muscles develop, Skill (specifically accuracy) makes you grow taller and more lithe, and Will covers your body in glowing tattoos, similar to those sported by Maze in the first game. Along with all the hairstyle, facial hair, make-up and tattoo options, this makes character development and progression truly deep and varied.

Aside from all of these aesthetic and monetary distractions, there are fifty trash-talking gargoyles to find and obliterate, several statues that require certain expressions to defeat, and the famous Demon Doors, all of which ask that you perform various, fairly random, feats before they will open up to you. The silver key chests also make a return, this time with over fifty keys to collect. Added to this there are also empty plinths dotted around that can be filled with statues of your heroic self, increasing your renown and making you famous into the bargain. It's important to note that many quests won't become available until you're famous enough to be proven worthy. Likewise, some houses will open more quests for you once they're purchased.

Perhaps the most consistent and faithful sequel ever seen in videogame form, Fable II builds upon the first game in every conceivable way. The game world is said to be ten times larger than its predecessor but it manages to maintain the same whimsical fairytale design and utterly British humour; the combat feels similar but far more complex and meaty, while the action and consequence dynamic is vastly improved, even going so far as to alter the look of various game areas dependant upon your actions. Once again, you'll rarely taste bitter defeat in combat, but even if you do there is no death; your Hero rises up again almost instantly, albeit permanently scarred. This is an interesting slant on the genre because whereas in most games death simply means restarting the same section over and over, in Fable II it puts an irrevocable mark upon your lovingly crafted avatar so you'll really try hard to avoid it.

One area in particular that would have benefited from more development is the multiplayer mode. Although Molyneux and Lionhead made a big deal about local and Live co-op, the game shipped with only the former possible - the Live aspect has to be integrated via a download. Whilst this is not a show-stopping problem, it's also not something you expect in a game as hyped as Fable II. Indeed, many gamers will feel somewhat short-changed by the co-op mode both online and off. Anyone expecting to be able to transport his or her own unique hero into someone else's universe ala an MMORPG (as was hinted at during the earlier hype) will be severely disappointed. Co-op, both local and online, only allows the host to use their avatar. Anyone joining a game is forced to select a character from a roster of pre-fabricated henchmen. Although you can choose the gender, alignment (good, evil, or neutral) and weaponry of the henchman, it still makes the multiplayer aspect feel like something that was promised in good faith yet snatched away in development. Obviously, it's still good fun to run around together completing quests and slaying Balvarines, but the experience is further hampered by a fixed camera. Apparently, this mechanic was inserted to stop players from wandering too far away from one another but all it really does is restrict you to the point of frustration. Offline, playing on a single Xbox 360, you will probably forgive this as a necessary evil, but to find the same restricting camera plaguing you across Live is close to unforgivable. The only really redeeming feature of online play is that you can interact with other players (identified by glowing orbs floating around the environment) without leaving your own world and view each other's stats, exchange and trade gifts and equipment and, of course, invite them to play with you.

It's a shame that online multiplayer has become almost a prerequisite for any 360 game, mainly because some games simply don't need it. If Lionhead had spent less time trying to hammer together a bolt-on Live mode and instead invested those (arguably) wasted hours in cleaning up the bugs, speeding up the menus and maybe throwing in a little more content where the main story is concerned, then Fable II could have achieved a 10/10 score without the need for online play. As it is, certain aspects of the game have suffered and we're left with co-operative modes of the 'take it or leave it' variety.

Peter Molyneux, once again, has bitten off a little more than he is able to chew and not quite delivered on every promise he made - such as the scale of the main quest - but you can't blame the guy for blowing his own trumpet. It's clear from the get-go that Fable II is a labour of love, a fantastically involving, sprawling, deep, rich and charming adventure that will take hold and not let go for literally hours on end. Whether you want to waste days strumming your lute to a crowded bar, playing fetch with your dog, chopping wood or bedding whores; whether you want to be a dashing hero, a fat, greedy thief or a beautiful yet deadly sorceress; whether you want to buy every building in Albion or kill every resident of every town, or maybe just run around slaying rabbits and kicking chickens in your undercrackers, the choice, this time around, really is yours.

Reviewed by Mick Fraser for AceGamez (All Rights Reserved).

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