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Showing content with the highest reputation since 08/27/20 in all areas

  1. 4 points
    From Noah Falstein Facebook. Terryl Whitlatch's drawings of the intelligent alien race in Falstein's version of the Dig (circa 1990). Whitlatch will later design Sebulba or Jar Jar Binks for Geoge Lucas in SW Episode 1.
  2. 4 points
    Tim Schafer mentioned how they fought with the management at LucasArts to even get the name of the project lead on the cover of the games they made. MI2 finally had Ron Gilbert's name on the cover, but since the fight to get it there was a pain in the neck, I imagine he wasn't too thrilled to go through that process again with the LucasArts brass. Plus, Ron wanted to make adventure games for children, to get them interested in adventure games young so they'd carry that interest into adulthood, something LucasArts wasn't keen on doing (Mortimer and the Riddles of the Medallion being the sole game in that genre by LucasArts, quite a bit after Ron left). As he owned Humongous Entertainment, he could make the games he wanted to make and be credited for it. Plus, he had a deal with LucasArts that allowed him to fork the SPUTM engine and SCUMM language for the HE games, allowing him to continue using the tools he created at LucasArts. It was definitely a win-win situation for him.
  3. 3 points
    I seem to remember reading that MI2 sold more copies in its first month than MI1 sold altogether, so I don't think management there was disappointed with the sales. I also don't think anyone was "stopping" anyone from making MI3, either, I just don't think anyone had a strong idea for what they wanted to pitch. Plus I don't think Ron would have considered staying at LEC just to work on MI3 when he obviously was yearning to have more control with his own company. Setting up his own company with Shelley Day was likely far more important to him than coming up with a fully fleshed out idea for MI3. When I got to meet Ron in London a few years ago, he told me that he started work on MI2 before it had even been greenlit by management. ("It's better to ask for forgiveness than permission" is how he put it.) So going straight onto a THIRD Monkey Island game after that was probably the last thing he felt like doing, too. Finally, I think people make too much of MI2's ending. Bill Tiller (who admittedly isn't always the most reliable) says that it was always Ron's idea to end MI1 with his "child's dream" thing, but Tim and Dave managed to talk him out of it. When they got to MI2's ending they didn't know what to do, so they relented and let Ron have his mischievous ending... but then tacked on a few things so that someone could make a sequel. I really doubt that Ron had anything deeply or seriously planned for MI3. Maybe a couple of notions, but I think it's mostly a bit of mischievous myth-making, which is why he's never revealed it.
  4. 2 points
    Oh man I had to go waaay back into my YouTube liked videos list to find this one. Bonus points for the cosplay "Ahhh my violin... I like to keep it where my heart used to be."
  5. 2 points
  6. 2 points
    Mortimer and the Riddles of the Medallion, released in 1996, was published by LucasArts (EDIT: apparently during the time period after the learning division(s) merged into LucasArts, but before Lucas Learning was spun back out into its own division). According to the Los Angeles Times, The Mystery of the Disappearing Ducks: A Paul Parkranger Mystery (released in 1991 or 1992, and was the winner of a Cindy Award for special achievement in instructional design) was only one of at least two of these types of instructional discs released by Lucas in the early 1990s. The other was GTV: A Geographic Perspective on American History (released in 1990 or 1991, and was selected by Technology & Learning magazine as one of the top five educational software programs for 1990-91). EDIT: I did a little more digging. SFGate revealed a third early 1990s educational disc by Lucas: Life Story: The Race for the Double Helix. EDIT 2: More digging. According to the New York Times, the learning division of the Lucas companies was founded in 1987 as LucasArts Learning. GTV was made in association with the National Geographic Society, the California State Department of Education, and Apple Computers. Life Story was made in association with Apple's Multimedia Lab, the Smithsonian Institution, and Adrian Malone Productions. Paul Parkranger was developed in association with the National Audubon Society (which we already knew). LucasArts Learning also developed an experimental program titled Mac Magic, which was developed in association with the Marin Community Foundation, the San Rafael, Calif., School District and Apple Computers. It was a cooperative learning program for classrooms that taught language and history skills to ethnically and academically diverse students. It started in 1989 and ran for at least four years. It was awarded the "Point of Light" award from President H.W. Bush in January 1993, less than two weeks before he left the White House. EDIT 3: According to a New York Times article, LucasArts Learning was merged into the LucasArts Entertainment Company in 1993. And according to the Los Angeles Times article above, the learning division was then spun out from LucasArts as Lucas Learning in 1996. EDIT 4: After even more digging, T.H.E. (Technological Horizons In Education) Journal revealed one more videodisc for classrooms by LucasArts Learning: Choices & Decisions: Taking Charge of Your Life. It was developed in association with Visa. It was used in at least six classrooms beginning in 1992 and taught students financial management and consumer life skills. EDIT 5: Apparently, according to a New York Times article, George Lucas created another learning division in 1989 after filming Indiana Jones and the Last Crusade titled Lucasfilm Learning Systems. GTV was published in 1990 by that division. EDIT 6 (8 hours later): I decided to do another search, and the 1992 book Transforming American Education mentions another Laserdisc title by Lucasfilm Learning Systems in the GTV series: GTV: Planetary Manager. It's an exploration of the connections between science, the environment, and society.
  7. 2 points
    Honestly, I would just play the game with a walkthrough. Better to "cheat" and have played Zak at all than to get frustrated and miss out, as I gather many have. I personally like Zak about as much as anybody outside of Germany seems to. I like how it's something of a reaction to Maniac Mansion, which was a "single location" game in a sense, while Zak is wide open and globe-trotting -- kind of a wackier Indiana Jones. The main objection to Zak is that it's the most dated LucasArts game in terms of design philosophy. As with Maniac, you can die and get stuck, but these flaws are magnified with Zak because of its scope. Nothing is worse than realizing you've been stalemated because you simply failed to pick an item that is in a location you can no longer access. At least with Maniac, the nature of the game is such that you could get back to wherever you were relatively quickly if you had to start over. Because it's relatively unforgiving, Zak is probably the most "Sierra-like" of the LucasArts catalog. It predates the jump in art/animation that came with Last Crusade and lacks the trailblazer status of Maniac, so it's sort of a middle child in that early period of SCUMM before Loom and Monkey Island 1 finished the recipe and firmed up the policy never to deny the player a winnable state. I think you almost have to be familiar with the kinds of adventure games that were otherwise being released in 1988 to get a sense of how Zak represented progress, and how a lot of its worst aspects in hindsight were practically pro-forma in those days. The mazes in particular are unpleasant and utterly bald attempts to pad the game's duration, but they were also an uncritically accepted feature of the genre at the time. Zak's introduction of multiple valid puzzle solutions was something of a quiet breakthrough in my opinion, and the game deserves credit for its ambition. I think it's telling, however, that the most enjoyable scene for me is an extremely self-contained one: when you have Zak wreak havoc on the airplane and ruin a stewardess's day. It's a classic "being an asshole" adventure game moment that would have made Guybrush proud.
  8. 2 points
    A more recent and high quality picture (I have some alternative versions of Loom and others that aren’t here, but this is the bulk of it)
  9. 2 points
    Here's a really, really badly made attempt at reconstructing spiffy I did a few years ago.
  10. 1 point
    It's definitely not that and it will be very apparent what the design is because you will come across it eventually. I hope that's vague enough.
  11. 1 point
    We've come a long way from listening to midi files by Highland Productions. We need a thread for sharing the excellent music covers on Youtube. This guy has done several Monkey Island covers, I particularly like his Barbery Coast and Jojo covers but they are all good.
  12. 1 point
    I'm pretty sure you already saw it, but Noah Falstein dig out some old files from Star Trek : The Computer Game (1988)
  13. 1 point
    Mike from HappyGiant here chiming in, cuz I like MixnMojo (: This is not gonna be a mini game. This is def on the big/huge side for VR. Thanks for your support More soon! Mike
  14. 1 point
    This is probably my favourite cover of the Monkey Island theme.
  15. 1 point
    I'm also a big fan of Stan's theme. This is a rare arrangement found on the PS2 copy of Escape From Monkey Island. Ultimately they must have gone a different direction This guy must have learned it from the PC speaker version. Amazingly Resident Evil VII used the Stan theme for one of their central pieces of music And you know, I always love world of fish, a true classic
  16. 1 point
    I joined this forum mainly because I've been on a massive nostalgia kick lately, which is manifesting mainly in me playing Monkey Island and listening to the scores! The first guy you posted was a brilliant discovery, he captures a raw and authentic sound that makes me so very happy!
  17. 1 point
    For ZAMN I already have a perfect scan of this: So I basically only need material to remove the Genesis logo on the lady in the front (and the SNES manual cover looks like the best chance). Also I have a great version of the Ghoul Patrol US artwork, so I mainly need scans of the US version to get a clean version of the game's logo. EDIT: I just snagged the EU SNES version of Ghoul Patrol on eBay, so that's covered. And speaking of covered, I think I could use a version of the EU ZAMN artwork, without the kids' hands being covered by the logo. The SNES box seems to offer the biggest version of that: With only the label on the Genesis version showing the complete tree:
  18. 1 point
    Yeah, I always read it as not much more than a parody of the Darth Vader "No, I am your father"-scene, with the weirdness turned up to 11. If, in an alternate timeline, Ron would have stayed at Lucas and started designing Monkey 3 right after finishing 2, I'm sure the vast majority of the game would still take place in pirate land, with that being the real reality of that world. After all, we have Elaine almost winking at the camera and talking about it being a spell from LeChuck during the credits. I know not everyone is a fan of the way they did it, but I always liked how Curse handled it, with the characters themselves mostly being confused about what actually happened, and the writers shrugging their shoulders about the whole thing through LeChucks optional explanations at the end. All the modern references like the Coke machines in these games feel more like 90s Simpsons-esque jokes rather than hints about some Lost-like mystery, and Ron hinting that there might have been more to it in later years never felt completely genuine to me - I just don't think they were thinking that far ahead and just needed a funny ending. I should probably note that I really do like both Ron and the Monkey 2 ending though!
  19. 1 point
    You know, a list of "Make sure you... X" for adventure games is probably not a bad idea. I'd rather not use a guide, but there are times when old adventure games are just too unforgiving, so a list of the real "gotchas" would be good. ScummVM at least makes it easier to save. That said, whatever flaws Zak has, my memories of it are very fond. It's a really charming and fun game. And very much of its time in terms of cultural references and outlook. I'm sure you'll have fun!
  20. 1 point
    Good to know! I'm familiar with "Save Early, Save Often" (I came up with Sierra and LucasArts side-by-side), and I expected it to have some dead-ends but I'll keep more on top of it now that you both say that. Also, thanks for the heads-up about mazes. I will make sure to have a lot of pencil/paper at the ready too. I'm looking forward to doing this "the old fashioned way". Bit of an attempt to jumpstart that part of my brain towards creative problem-solving.
  21. 1 point
    By all accounts the culture of the studio changed quite a bit as a product of the restructuring of the early 90s. Ron and Shelley Day were not the only people to leave the company around that time. Presumably they were just ready to strike out on their own and have stake in their own creations. As far as the motive behind making adventure games aimed at children, Ron told Mojo that "it gave me a way to do more games in a short amount of time and experiment with design issues." I think Ron saw which way the wind was blowing with adventure games in terms of growing budgets dooming them to become unsustainable, and the early Humongous years can be seen as sort of an antecedent to the digital revolution that would come. The internet was not an option yet, so games aimed at children, who didn't demand bleeding-edge graphics and 60 hours of gameplay, was sort of an alternative manifestation of the same idea Telltale popularized: make adventure games quickly and cheaply and thus profitably. The evolution is even more striking when you look at what the short-lived Hulabee, the successor of Humongous, was attempting. Ron was openly talking about downloadable adventures games by then, but the business fell apart before he could really prove what he set out to. But you look at the six-chapter Moop and Dreadly, and it's like Ron was predicting the future. Interestingly enough, Freelance Police (which would have entered development around this time) was itself conceived as a six-chapter adventure game, and the team had lobbied for digital distribution, which was too radical for the management at the time. (Ironically, the same management ultimately cancelled the game because of the cost of bringing an adventure game to retail.) Finally, Sam & Max: Season 1 demonstrated that this could work, but it's funny how different people were independently working toward the same conclusion in the years leading up to that.
  22. 1 point
    Someone asked for all the known official posters... It looks like Full Throttle got one. There's a not-so-great one on eBay right now: https://www.ebay.com/itm/Full-Throttle-Large-Original-Poster-Lucasarts-PC-Game-vintage-Lucasfilm-Games/362934487559
  23. 1 point
    During the MixNMojo visit to LucasArts (and became a featured article), didn't the mojo crew snap a picture of some MI concept art that included the "pre-cannibal village lookout area"? I think that was the major first time that screen was made general knowledge. I couldn't find that image on MixNMojo so I had to go with this poor quality image from the internet. Ignore the red arrow and someone incorrectly thinking the image was of another part of Monkey Island topography. (The image is from this other article from a few weeks ago where other people just happened upon this image for the first time, but apparently within a broadcast news segment. https://kotaku.com/1990-tv-news-report-is-for-the-monkey-island-fans-in-th-1844598533 ) I had thought about working on "finishing" up the location properly. I also wonder as to the general point of such a location. I could see it as a preparation room before going to the cannibal village, as once you enter there you have to interact with them in some capacity. It might be a bit of a reprieve room, like when you need a reprieve from dealing with LeChuck hunting you down in the final acts of the games.
  24. 1 point
    I'm a big fan of The Cave too. If there was an option to hold two or more items at a time to reduce backtracking, it would be near perfect.
  25. 1 point
    If calling CMI meh is being a monster, then Frankenstein was in the right when he threw that little girl in the water. Or something like that.
  26. 1 point
    Marius, could you scan the other screenshots from that German box? I've been trying to find high-quality look at them for ages.
  27. 1 point
    That big font again makes it look like digital concept art to me more than something that ever saw prime time, but who knows. I Still Want To Believe. It looks sort of like the copy protection/"Meanwhile" font, but isn't quite the same.
  28. 1 point
    The Spiffy close-up was added back in the Ultimate Talkie Edition fan patch.
  29. 1 point
    I think I took the image from the back of the box and tried to paint out the parts that were covered up (there's a monkey and a sword over the lower part) so it would look as close to the original image file as I could get it. But I'm no @Laserschwert so it doesn't look particularly good!
  30. 1 point
  31. 1 point
    They might have been bold text at the bottom of the screen like in the finale.
  32. 1 point
    But the original Spiffy remains lost to time...
  33. 1 point
    After I made them aware of the fact that it's my restoration of the artwork they were using on their promo material, they were VERY humble about it. In fact, they found my version on Google and assumed it was the source artwork (and Disney apparently were okay with them using whatever they couldn't deliver themselves). They even had one of their artists remove the logo from my version, so they were somewhat shocked when I linked them my logoless version. Anyway, yes, I've got compensated and am now doing more or less regular paid work for them. I've contributed artwork to their releases of "Jedi Knight", "X-Wing" and "TIE Fighter". We'll see how much artwork Disney can deliver for the Monkey Island collection, and if I can contribute to that as well. Their reaction to my complaint made clear that this is a group of fine folks, well aware of the value of fan contributions (hell, they are fans themselves, otherwise they wouldn't put effort into releasing old games). Another discovery I made was when watching a flip through of Bitmap Books' Amiga compendium on YouTube, spotting my Monkey Island and Simon the Sorcerer restorations in there. I felt a bit silly bringing it up to the author 6 years after the release of the book, but it turned out Steve Purcell himself directed him to my poster thread. Ah well, in an artwork heavy book like that I understand that those two artworks are just a drop in the bucket.
  34. 1 point
    I'll go through the hosted sites in a week or so when I have some time again.
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