July is usually my favorite month of the year, though these past two ones have been unusually difficult for some reason. I apologize for the sudden lack of content, though some decidedly strange circumstances ended up interfering with my writing process. For instance, my internet went down at the end of this month, resulting in this update post being delayed. I didn’t even get to see any films at home, though I personally blame that on Stranger Things.
Despite not selling as many copies as its direct predecessor, King’s Quest VI was yet another success for Sierra’s flagship franchise upon its 1992 release. While King’s Quest V was a major step up from its own direct predecessor in terms of presentation and gameplay, King’s Quest VI ironed out a majority of its flaws. The untrained office employees were replaced by professional voice actors. Combined with more user-friendly design choices and sensible puzzle solutions, there was little question King’s Quest VI managed to be the pinnacle of the franchise as soon as it debuted. Even if making a sequel was the logical thing to do, series creator Roberta Williams had her work cut out for her.
During this time, Disney’s success after having fully recovered from a nearly fatal slump in the 1980s effected what is believed to be the studio’s renaissance. The film most commonly cited for starting this era was The Little Mermaid in 1989. This triumph was then followed up by Beauty and the Beast in 1991 and Aladdin in 1992. All three of these films are beloved classics by anyone versed in the medium – and even those who aren’t. Realizing just how much life these films breathed into the medium, the Sierra staff sought to capture that energy and transplant it into the next King’s Quest installment.
With the rising popularity of the CD-ROM format, Ms. Williams had begun drafting ideas for a game featuring heavy amounts of full-motion video footage. Its name was to be Phantasmagoria. As a result of her busy schedule, she helmed the development of King’s Quest VII alongside two other new directors: Lorelei Shannon and Andy Hoyos. Even so, Ms. Williams was enthusiastic about the project, often bouncing ideas off of Ms. Shannon. It was to the point where they were sad when the planning process came to an end, for Ms. Shannon believed they could have devised new ideas for the next two years.
In order to make as good of an impression as possible, Sierra’s co-founder, Ken Williams, had the idea to contact an up-and-coming animation studio known as Pixar. They had made a favorable impression on animation enthusiasts with their collection of short films, and were in the process of creating their theatrical debut: Toy Story. To Mr. Williams’s surprise, he received a call from Pixar founder Steve Jobs almost immediately after proposing a possible collaboration. Unfortunately for Sierra, the plan fell through when it became clear the Pixar team was far too busy to entertain making a short film for them. To bring their vision of an interactive cartoon into reality, Sierra contracted four animation houses: Animation Magic Inc., Dungeon Ink & Paint, LA West Film Production, and Animotion.
Despite the fact that most of these animators had limited experience in computer gaming, the development cycle proceeded fairly smoothly. The project eventually saw its completion in November of 1994 under the name King’s Quest VII: The Princeless Bride. Being the seventh installment of a long-running franchise, King’s Quest VII had no problems finding an audience, selling 3.8 million copies within the next eighteen months. However, while fans and critics alike were enthusiastic about the series’ previous entries, the seventh left them divided. Some disliked the Disney-inspired presentation while others had nothing but praise for it. Although many games to follow the franchise’s pinnacle gain a new lease on life with the power of hindsight, King’s Quest VII remains a divisive entry to this very day. Was it even possible for Sierra to successfully follow up a game as beloved as King’s Quest VI?