A common assumption about adventure games is the inherent superiority of the Lucasarts design method to the Sierra approach. In a Lucasarts game, you can never die (with a few exceptions) and can always backtrack to get whatever item you need. In a Sierra game, bizarre crap kills you all the time, and sometimes you can’t backtrack to get a key item. This means starting over or going back to an old save. The assumption is that backtracking automatically makes the Sierra approach inferior. This argument is a bit unfair because it presumes that all adventure games are meant to do is tell a coherent story. Ron Gilbert (Lead Designer for Monkey Island 1 & 2) explains in a blog post why death and getting stuck are terrible for story oriented games, “As the story builds, we are pulled into the game and leave the real world behind. As designers, our job is to keep people in this state for as long as possible. Every time the player has to restore a saved game, or pound his head on the desk in frustration, the suspension of disbelief is gone. At this time he is most likely to shut off the computer and go watch TV, at which point we all have lost” (“Why Adventure Games Suck”, Grumpy Gamer, 22 May 2004).
The issue is that Sierra games aren’t always concerned with telling a complex story, sometimes their games are just a collection of puzzles scattered around a fairy tale landscape. Most of the plots in the early titles are explained from the very beginning. In King’s Quest IV, the fairy queen explains that the magic fruit that you need is located to the East. In Space Quest 2, you’re there to stop Vohaul from unleashing his Insurance Agent Robots. In Leisure Suit Larry, you’re told to find love or the closest thing to it. You find a lot of the closest thing to it. You solve a lot of puzzles along the way, but that’s pretty much how each game ends. There is no character development or even significant supporting characters. These games are just a laundry list of side characters and references to various myths, television shows, movies, or other original material. From this perspective, death is not really an impediment to story because such stories are just archetypal. The puzzles are the heart of the experience.