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Movement off the horse, such as in a dungeon or mine, occurs with no player input, putting focus solely on clearing away baddies. Combat is handled via two main powers controlled by each hand. The right hand casts a damage-dealing attack spell, while the left hand can push enemies back or fling environmental objects at them. To execute either attack, you simply aim at the intended target and push your lower arm away from your upper arm with the palm facing out. While it’s a simple combat system, it truly feels that you are the one casting the spells -- always a victory for motion-based titles. Common variances like needing the left hand to pull the armor off of an enemy, while dealing damage with the right prevents gameplay from seeming stale.

Sure, you see the hero grow from a child to an adult, but the childhood lasts about five minutes and adolescence no longer than ten. The rest of the game simply sees you controlling your average adult warrior. There are also elements like marriage and family drama that come into play that never realize their full potential. Instead of being an experience where you truly assume the role of another being, it’s built like an average RPG with some nifty life-building elements thrown in. Still, it’s a criticism of the game as old as time itself (or at least the Xbox 360) and the important thing is that the game is still enthralling all the way through.

While Molyneux has certainly made this attitude a recurring (and expected) one, many of the creative ideas from him are the ones that never saw the light of day. Personally, I’m of the small camp who believe the Kinect/Natal demo Milo was an interesting idea that deserved to be investigated upon further ; maybe not with Kinect, but with the idea of simply talking to a person and developing a social relationship with them over time, similar to how you build the foundation of a city into a giant metropolis. Molyneux’s Milo project became one of the most iconic figures of the early years of Kinect, but the project was never realized, Kinect functionality or not. And quite frankly, Milo remained one of the more interesting Kinect projects. Considering the widespread disapproval of Kinect, one of the few good things to come out of it was the potential of a game like Milo . Molyneux was trying to make something cool out of something massively disliked: Milo out of Kinect.

And really, Peter Molyneux, for all his broken promises and enormous aspirations, is an innovator. He’s proven his enchantment with taking well-tread ideas and making them into something unexpected. Populous remains one of the most important games of all time, and that couldn’t have happened without some desire to step beyond the established setting. Fable to a lesser extent and certainly with the Milo demo, Peter Molyneux hasn’t made anything flat-out terrible in decades. But his tendency to get excited about his new ideas so much has led to a negative perception of who he is: many in the gaming community consider him a dreamer, not a doer. Quite frankly, I think that’s unfair to say. Some companies are perfectly content with what they’re doing in gaming, but Molyneux has proven time and again that he’s never satisfied with his creations. He’s always reaching further, even if his eagerness to progress has made him despise the past and ignore the present in awkwardly narrow-sighted ways.

Another cool feature is that of photograph locations throughout the map that when touched display a viewpoint from the original Xbox game. This is quite nifty as it allows you to match up with your television and see exactly what has been improved for the Anniversary edition. It’s also said that backgrounds for key players have been written and are viewable upon meeting them, but I was unable to find how to access these. A title update will be supposedly be released on launch day, so perhaps they will become easier to find then. The only real negative of the experience is that it doesn’t show the NPCs that can be interacted with on the map. Unfortunately, this makes it so you can’t rely solely on your tablet/smartphone, which is a bit of a bummer.

Project Ego sounded like nothing I had played before. Being able to pick and choose which quests to take wasn't exactly groundbreaking, but the idea of the game taking place across the character's lifetime was intriguing. There was talk about how the character would be designed and uniquely tailored to the player's gameplay and they would be able to have children that would have a significant impact in the world. The character would receive unique scars from battle, they could plant a sapling and watch it grow in a massive tree throughout the course of the game and the NPCs would have unique reactions to the player based on their deeds to create the sense of a living world the player was truly a part of.

While creating a sprawling Adventure Game missions controlled only by body movements may seem impossible, the world has been carefully sculpted around the concept. Nearly the entire game is on-rails, with player-controlled progress limited to traveling via horse and carriage. Movement of Seren is controlled by grabbing onto the reins. Once holding on, jerking both hands up in a cracking motion makes the horse go faster, while pulling your hands up towards your body stops her. To move left or right, you pull the hand of the intended direction towards you while extending the opposite arm. Intensity is based on how fast and dramatic the gestures are. Instead of simply darting to the next area, however, players must pay attention to not run into obstacles while scoping out any side-areas, where treasure chests or revealing NPCs can be found.