One King to Loot them All

High-octane action doesn't lend itself well to adventure game engines designed for exploration and puzzles. Indeed, it's almost impossible to imagine parser games without some exploration and puzzling.

But this game presents an alternative and perhaps more exciting approach to interactivity. Originally made for the Single Choice Jam, its spartan design allows no room for superfluous commands for players to get stuck on. You are a barbarian who's taken over the kingdom, not some lowly adventurer. You have no need for the standard Inform 7 verbs: you don't open chests, you > loot them. You > smite any instances of downtime, > regard the rich textual descriptions, and > march toward the antagonist for one final showdown. And if you simply want to indulge in the spectacle, you can switch on and off the story mode at any point in the game.

You are the One King to Loot Them All.

Your interest in this game begins and ends in how interested you are in the spectacle of sword-and-sorcery stories. The game abandons any pretense of more conventional interactive fiction sensibilities; it instead revels in the genre as a pastiche. Love it or hate it, all the cliches are there. It will not attempt to subvert the genre or go beyond. The game simply asks for your commitment to roleplaying as this barbarian king.

This straightforward approach to storytelling may be too old-fashioned for many people, but adapting it to a parser work makes the story refreshing to me. Like Plundered Hearts, the game seems uninterested in IF works before it -- the implementer was unaware of Treasures of a Slaver's Kingdom weeks after they started developing the game and the only influence it had was on the help system -- but it's definitely infatuated with the sword-and-sorcery genre and is more than happy to learn from it. The stories of Robert E. Howard's Conan the Barbarian and C.L. Moore's Jirel of Joiry are all about escalating tension. They're always in danger, but once they've killed their enemies, more will appear -- and there will be more bloodshed. Only when they've slain everyone will they finally put down their swords and axes. I can't imagine how much effort it would take to adapt these conventions to the Inform 7 engine, but it's definitely worth the effort. Scenes feel seamless as you encounter one obstacle after another. Your actions are always purposeful and move the story forward. And the descriptions feel authentic to anyone who's read their fair share of sword-and-sorcery works. Playing it brought back fond memories of immersing myself in the world of pulp fiction.

But it's more than that: when I type in the words and read the player character swooping the corpses away, I feel like I'm actually interacting with the story. I'm brought into the power fantasy not just as a macho hunk, but as someone who can meaningfully change the state of the game world. To borrow from Jimmy Maher's appraisal of Plundered Hearts, it's close to the "Infocom ideal of interactive fiction" because there's a "narrative urgency" that pushes players and events to move forward. It's interactive and fiction the way I thought of those terms: there's a lot of action going on and we, the players, have to interact with it.

One King to Loot Them All is therefore not just an orthodox version of sword-and-sorcery fiction. It may open up new avenues for interactive fiction as a medium, perhaps taking a cue from a recent review of Plundered Hearts that brought up the notion of "story-forward games" from another review. We can > seize these opportunities if we dare to break this paradigm and try something different. They don't have to be a minority. The promise of interactive fiction is still great, and I look forward to seeing more works with action-heavy plots like this terrific game.