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Frank has made a scan of the official poster (the one Jake has as well). Currently it will most likely be used by Limited Run Games, so we are not sharing it just yet.

I have seen the source because I helped with the material prep for the event today. That’s how I knew there was no evidence of Spiffy in it when I made that post. I couldn’t talk about it yet because the event wasn’t announced.

It was incredible...! Plus I managed to get two questions asked at the end, too

HYPE

Did everyone notice that the VGHF had a higher resolution version of the Monkey 1 poster as their video background?

Stream is over now. That was really cool ! I hope the new arts, rooms and scenes will be shared with everybody

My Lucas collection about 5 years ago

This is going to be great. I think you'll like what this is turning into.

Mojo's interview with Gary Winnick is another-timer in my book. It was until now missing not only its images but some of its actual content as well.

Great anecdote from Ron about Maniac Mansion NES, Jennifer. I will of course be stealing it.

Meeting Ron was a life highlight, I must say. The guy is clearly super smart, but also seemingly very nice and chilled. A good combination.

NutriSpecs were held back because of a web game the marketing team was working on which was supposed to reveal them, but that marketing stuff got canceled. Only the little youtube trailer that unveiled them got released, but the rest of it never happened. Those guys were really bummed out that they weren't able to build all of it, to my memory, but I wasn't doing a lot of marketing on season 3 so I don't know the exact reason why they got shelved. I had hoped NutriSpecs would get patched back in for the DVD release (and I think I said as much on here or the TTG forums at the time) but that didn't happen, I think because Telltale was traditionally very conservative about patching for fear it'd introduce new bugs.

People don't behave according to how they should in your mind. You're not God. You can't base entire theories on how you think people behave in every situation and take every deviation of that as proof that something nefarious is going on.

It's left as a joke. Try to type "smash cave" and the game replies with ""Maybe next game. We're behind schedule."

I’ve written a few posts in here saying the theory is bullshit - because it is - but deleted them because just saying that alone didn’t seem like it would be enough. I thought just saying “this is BS” would be less helpful than what I ultimately did say. But apparently I was wrong, as you only quoted the last sentence of my reply to try and throw it back at me, but didn’t engage with any of the substance of the post. Multiple people have already said in this thread what I would have said myself: Game development (and making commercial entertainment in general) is a messy process. I’ve never been on a project that was guided precisely by some master hand, aiming to reach a long agreed on goal. That’s just not how it has ever worked. As you make something, the act of making changes it. Your goals change. You learn and refine what the strengths of tour project are as you make it. Anyone who chases the same perfect goal from beginning to end without adjusting as they go will make a bad game, film, whatever. This applies at the studio level too: Different teams are not ideological entities but are closer to porous buckets in the loose shape of the games they are working on, with different team members pouring from one bucket to another as the different games need different resources over the course of their development. If there is a master hand at work here it is only management trying their damndest to keep things held together enough to ship, to make sure games have enough people on them at the right time to literally be content complete, get QA, etc. The idea that there is some big philosophy from the top down is almost impossible to imagine, since all the work that actually goes into what makes the games what they are happens bottom up, from the hands and minds of the people making the games. Marketing and PR messaging sent out to the fans and investors tries it’s best to tell the story of designers’ visions and to map the games along some meaningful trajectory or company goal, but that is the work that is truly reactionary - responding to the games the teams are creating (through some combination of initial goals, re-assessed goals, technical and financial limitations and of course the makeup of the people on the team itself) and trying to craft a message of meaning and intent behind it. That my posting in here to tell you you’re wrong somehow “confirms” anything to you other than you being wrong, should be evidence enough to people reading this thread that it is in fact a conspiracy theory.

If this conspiracy extends to anyone who's worked with LucasArts alumni then there's no way that it wouldn't have come out by now.

AT it’s just as likely that you are making up a read behind those photos as the author of that Twitter account is. Like in the Outlaws thread you basically made up that the document was for two separate games (I guess citing Last Crusade as precedence, despite the action game not being an in house project in that case), and then continued to pile evidence on top of that as if it was true, and repeatedly challenged people who might claim otherwise - with no additional evidence other than how well it fits into your theory, which is not actually evidence. You cannot both invent the foundation yourself, and refute other people citing flaws in the foundation, without additional hard evidence that strengthens that foundation itself. (How well it enhances other ideas further downstream from that foundation is not further evidence of the validity of that foundation, that’s not how it works.) Your pattern seems to be: Create a hypothesis/foundation and then declare “if that is true, it gives new meaning to all these other things,” which is often very interesting and lets us see previously unrelated things in a new and possibly-interconnected light, but if your foundation is also your hypothesis you absolutely have to be more graciously accepting of challenges to the hypothesis. Indy could just as easily be questioning the snake might be real, and given his pattern of fearing snakes it’s more likely what is happening than his entire character being misrepresented by him being “revenant” to a snake. But that would disrupt your own ideas downstream of that hypothesis so you give it no credence, despite like you it being posted by a fan. Your arguments will forever be weak if you take this defensive approach. It seems like you are more interested in building up your own theories than pursuing the truth.

I must say none of the broader conspiracy stuff being peddled really holds my interest, but maybe I can shed some modest light onto the confusion with Loom/The Dig. Moriarty has stated that while he had the basic ideas for two Loom sequels, he was too burnt out from the original game's production to actually pursue them. Following Loom he spent some time in the educational division working on an ill-fated Young Indiana Jones game(s). That division was in a physically separate office, or maybe even separate building, from the regular "games group," which is why Moriarty has no insight on the Forge designs that were kicked around -- he wasn't there to participate. And when he came back to the LucasArts building and took over The Dig, he apparently wasn't interested in digging them up. Interestingly, there seems to have been no less than two versions of Forge proposed. There's the one already mentioned, headed by Mike Ebert and Kalani Streicher (a duo that in the end never got the opportunity to design a SCUMM game, but ended up being instrumental in some 16-bit console classics), but there was also, apparently, an outline put together by Jenny Sward, Sean Clark and Mike Stemmle toward the end of Fate of Atlantis. Sward pitched it to no success, and Clark and Stemmle moved to Sam & Max Hit the Road. Moriarty not working on the Loom sequels was his own choice, though it's possibly one he came to regret in retrospect.