![]() ![]() ![]() ![]() He will play each scene in the game over and over again, making sure that the programming, art, text, and design are running smoothly. Robin Bradley is the game's quality assurance tester. Meanwhile, team composer, Chris Braymen leads music in writing original themes for each of the game's major characters and locations, and producing innumerable sound effects that take place during game play. The scripts also provide the more than 6,000 lines of written messages that will appear in the final game.Īs the art progresses, the team's programmers, lead by Robert Lindsley, begin the intricate process of weaving the game elements together with code. The scripts define for the programmers what the game response will be for any player action, including the timing and placement of the animation. While animation and backgrounds are in progress, Jane writes the scripts. Michael Hutchison leads the efforts of the animators as each cell of the video-captured actors is artistically enhanced on the computer to more closely fit the hand-painted backgrounds. In the end, the animation and backgrounds must match up believably. The 2000 plus character actions in King's Quest VI will be produced by capturing the movement of the live actors on video, then on the computer. Roberta and Bil have carefully chosen the actors and costuming for the entire game. The video-capture animation process begins. Shortly thereafter, the background painter, John Shroades, begins the pencil sketches for the game's 80 background paintings. Project manager and co-director Bil Skirvin and the King's Quest IV artists begin the storyboard and character sketches. The rest of the thirteen person development team begins work. Jane and Roberta worked together for the whole month of July and part of August to come up with the design ideas.Īfter five months of hard work and long hours, the documentation for the design was complete. Series creator Roberta Williams and co-designer Jane Jensen meet for the first time to discuss the design. The King's Quest VI team is not ashamed to admit they're delighted with the results. This astonishing journey through the imagination was 14 months in the making, and by far the most ambitious project Sierra has ever attempted. I wanted to get away from just putting together a jumble of puzzles in some sort of meaningless quest: you should have a clear sense of what you you're doing and why, with some emotion behind it" Title Changes Īt one point, KQ6 had a different title, King's Quest VI: Genie, Meenie, Minie, Moe. Valanice finally got some time on the screen I knew she had to play a major part in a sequel. You'll miss half the story, but you'll finish. King's Quest VI had to be harder AND easier than King’s Quest V in that you can get through it on a minimal level. We needed more optional puzzles, multiple solutions to puzzles, multiple uses for the same object a few “red herrings” and lots of timers so things would need to be done within a certain amount of time. Co-designer Jane Jensen and I bounced a lot of ideas around. ![]() But I had to look at things from other angles for King's Quest VI: we needed professional voice actors, and the plot had to be less linear. I'm pleased to say it also won the Software Publishers' Association's “Best Adventure Game" award in 1991. "King's Quest V broke a lot of ground: VGA, icon interface, and lots of acting. Continuing in a long tradition, Jane Jensen, who would go on to design the industry bestselling Gabriel Knight: Sins of the Fathers, assisted Roberta Williams in game design of this epic. The King’s Quest VI love song “Girl In the Tower,” a soulful duet featuring the voices of Bob Bergthold and Debbie Seibert, rivaled the best motion picture anthems of the year. The character graphics were based on motion captures of real actors, giving the game an unprecedented ‘feel’ of reality. The state-of-the-art “floating camera” sequence that opened the game, featuring young Prince Alexander as he sets out to find his “girl in the tower,” gave computer gamers the world over a real view of what the new age of multimedia computersĬould bring to classic storytelling. įrom the opening sequence of the game, there could be no doubt that if King’s Quest V redefined what computer gaming actually was, King’s Quest VI provided the quality standard for the next generation. There is a darkness to the scenes not found in earlier quests. KQ6 can be seen as a sharp departure from the previous quests, in large part because it was the first quest in which creator/designer Roberta Williams had a collaborator. 4 Excerpts from the Game Design Document for "King's Quest VI" by Roberta Williams and Jane Jensen.3 Welcome in the King's Quest 6 Hintbook. ![]()
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