I hated the transition to point and click, because it turned into "hunt for the right pixel" -- with text based games you generally only needed to be in the vicinity of the object you were trying to manipulate.
If you, say have a movement disorder, this happens all too often.
Still I have so many great memories of Sierra’s games from my childhood that I can’t bring myself to hate all the foibles.
Can't imagine myself playing that kind of game again but back then this semi-serious and comfortably safe (no real danger and no sierra deadends as well) gameplay felt right for the 7-8 year old.
Oh, and Kyrandia..!
But did the industry find a better way to tell a story without resorting to action-packed gameplay? I mean, Grim Fandango kind of slow story supplemented by visuals?
Like the best interactive fiction, in classic Sierra games you’re interacting with the developers’ world to create the story. Free-form text input is key to this distinction. Play-throughs of richly written games like The Colonel’s Bequest are much more rewarding because your character isn’t limited to exploring the world via “look/talk/touch/use”.
Then, as the player progresses to the next episode the non-linearity would become a single step to the next episode, without any cross-episode interdependencies. Most well-designed adventure games have this branch-narrow-branch-narrow structure, where bottlenecks make sure the player is ready to proceed to the next level.
What was no very good about Sierra-style design is that they did introduce this non-linearity but there were often inter-episode links introduced. (e.g. "had to pick up this item a couple of episodes back it's late now"). So resorting to walkthroughs was the only way to avoid this kind of meaningless backtracking. It a very shady way to lengthen gameplay time!
The best games (again, I'd cite The Colonel's Bequest) had numerous game-stage dependent side-quests and optional puzzles or secrets that made for rich replay value.
Overall, I wouldn't undersell the value of the possibility of failure & the frisson it provides over a carefully guard-railed world.
There's certainly an aggressively evil way to structure games like this. The first that comes to mind is Infocom's The Hitchhiker's Guide to the Galaxy, but it's hard to escape the impression that the sadism towards the player was meant to be part of its charm.