Plot
The name of this sequel is a pun on the title of the novel and film The Princess Bride by William Goldman. Like most King's Quest titles, it is also a reference to the plot. Rosella is soon to be a bride, but ends up in another world shortly before her marriage.
As the game opens, Queen Valanice is lecturing her daughter, Princess Rosella about the importance of marriage. Rosella is somewhat rebellious, and dreams of adventure rather than marriage. She catches a glimpse of a magical seahorse-like creature momentarily jumping out and into a pond, leaving behind an image of a castle in clouds, and Rosella dives in. Valanice follows. They find themselves caught inside a gigantic magical whirlpool-like vortex. Rosella, who is being sucked down, and Valanice desperately try to reach each other, but suddenly, a troll-like arm sticks in from the side of the whirlpool, grabs Rosella, and snatches her away. Valanice is left staring helplessly in horror as the scene ends.
Valanice lands in a desert in the land of Eldritch, while Rosella finds herself transformed into a troll and engaged to be married to the King of the Trolls. As the two characters attempt to find each other, they discover that all of Eldritch is in danger. The evil sorceress Malicia has attacked or imprisoned the leaders of the different kingdoms of Eldritch, and plots to destroy the land.
Read more about this topic: King's Quest VII: The Princeless Bride
Famous quotes containing the word plot:
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)
“Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.”
—Mark Twain [Samuel Langhorne Clemens] (1835–1910)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)