Jane Jensen, the youngest of seven children, always had a fondness for computers. Attending Anderson University in Indiana, she received a BA in computer science, a quickly budding field at the time. Shortly thereafter, she found herself working for Hewlett-Packard as a systems programmer. She then felt inspired to enter the gaming industry after playing a classic adventure title called King’s Quest IV: The Perils of Rosella. As fate would have it, her passion for computers and creative writing, led to her finding a job at Sierra OnLine where she wrote the scenarios for Police Quest III: The Kindred and EcoQuest: The Search for Cetus. Both games were successes for the prolific company, but she was about to receive a task of even greater and personal importance.
In the year 1990, company co-founder Roberta Williams placed the finishing touches on King’s Quest V. This fifth installment in the company’s flagship series became the single greatest-selling game in the franchise. The following year, Ms. Williams, impressed with Ms. Jensen’s work, had an interesting proposal for the then-newcomer. She had already begun preliminary work on the newest King’s Quest game, having conceived a rough outline for the plot. The two of them then began working alongside each other, brainstorming new design ideas in the process. Their goal was to retain the familiar tone of the series had established in previous installments while giving the game an identity of its own. Furthermore, Ms. Williams wanted players to connect with the game on an emotional level, deciding to fulfill this objective by penning a central love story between two characters.
With King’s Quest V having been a significant technical leap from its predecessor, Ms. Williams sought to set her sights even higher for its sequel. Co-director Bill Skirvin along with the artists began work on storyboards and character designs. One artist in particular, John Shroades, had sketched the eighty backgrounds that would end up in the final product. Taking advantage of the recent advent of motion capture technology, the team ended up transcribing the movement of live-action actors for the potential player decisions and subsequent character animations – of which there were over 2,000. Similarly, the game would feature over 6,000 lines of written messages. Handling this task was Ms. Jensen, who scripted the game, defining for programmers how it should respond to a given action.
Development of this game was completed by September of 1992. In an interview for The New York Times, Ms. Williams estimated the game’s budget was around $700,000 USD. The crew, led by her, Mr. Skirvin, and Ms. Jensen, consisted of twenty people and the project took fourteen months to complete. Although it was scheduled for a release in September of 1992, Sierra delayed it until the thirteenth of October. Entitled King’s Quest IV: Heir Today, Gone Tomorrow, the fruit of their labor was originally released on nine floppy disks for DOS and Macintosh. It was rereleased upon an emerging format – the CD-ROM – in 1993 for DOS and Microsoft’s newest operating system, Windows. Taking advantage of this new format, the team added a voiceover for every single line of dialogue and included a ballad named “Girl in the Tower”, which was composed by Mark Seibert. Sierra sent a CD containing the song to local radio stations and included a pamphlet listing them along with every copy of the game. In the pamphlet, they suggested fans request the song to be played. The owners of said radio stations were not impressed; they legally threatened Sierra as a result of the myriad requests with which they were bombarded. This prompted a bemused Ken Williams to label the stations the real criminals for ignoring their customers – “something [he believed] no business should ever do”.
Although King’s Quest VI didn’t sell as many copies as the series’ fifth installment, it ended up being the single best-received game in the series. Every single one of its five predecessors was similarly well-received, yet King’s Quest VI seemed to possess something they lacked: staying power. When parsing the first five installments in the series from a modern perspective, one is likely to conclude they don’t hold up so well. They were all, to some extent, trailblazers, yet any contemporary review will invariably include phrases such as “fair for its time” or “aged horribly”. This isn’t true of King’s Quest VI – even now, you can find it on lists compiling the greatest PC games ever made. Is this the installment that allowed the series to finally escape the genre’s early trappings and deliver an experience worthy of being called an all-time classic?
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