And that's a problem because the taco vender in the next village can't sell extra spicy tacos any more because of a lawsuit." A bumbling, unlikely mini-narrative stretches out before DeathSpank, then, and at least one part of Gilbert's ambitious design looks to be in safe hands. "And not just any taco," smiles Gilbert, getting ahead of himself.
The exchange culminates, naturally, in a quest: Eubrick's happy to hand over the sword, but he'll only do it in exchange for a taco. As you might have expected, this results in a lot of wayward chat, with plenty of unlikely jokes, and dozens of dialogue options you'll take just to see what happens. (Granted, it's hard to tell whether this is a pastiche of a hated structural cliché, or just the employment of one.) Our hero needs to get a weapon, which means travelling to an aging local legend, Eubrick the retired - "formerly Eubrick the bitter, formerly Eubrick the undefeated, formerly Eubrick the Bastard of Hollhaven, formerly Sally the stable girl." - to borrow one of his old swords. It's early on in the story, and DeathSpank's lost all his deadly gear. The demo Gilbert walks me through starts in fairly safe adventure game territory. If you just want to go out there and spend four hours killing monsters, you can do that, and then the narrative stuff is woven in on top." DeathSpank is very non-linear, very open-ended. We've spent a lot of time making the game fit. And both genres are fundamentally about collecting items: in RPGs you get them by killing monsters, and in adventure games you steal them from people's houses. "If you think about it, adventure games are all about stories and characters, and RPGs are also about stories and characters too. "I think the game types actually fit together quite well," says Gilbert, when I suggest that the whole thing sounds, initially, like a bit of a conceptual squeeze.
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