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DM sent, but it seems you haven't read it yet, and I'm also adding Japanese Yoda Stories and Screen Entertainment.

Two quasi-obscure jokes in CMI, especially for non-Americans: This is aboard the Sea Cucumber, which you may recall is the ship captained by an ape. The joke here is a reference to an old series of commercials by American Tourister, a luggage company. The durability of their product was advertised by depicting a suitcase thrown into a cage with an angry gorilla, which attempts to destroy it to no avail. It was an oft-parodied pop culture image -- this MST3K host segment being an example (look in the background). This line is triggered when you "Talk" to the pepper found by the Blood Island windmill. It's a catch-phrase from the NBC series Police Woman (1974-1978). Its titular heroine was Sgt. "Pepper" Anderson, who routinely went undercover on the orders of her superior, Bill Crowley. Dom's delivery is an impression of him. I think CMI in general is a little undersung when it comes to how stuffed full of tiny details it is. The first two games were made under circumstances that made it plausible to alter content up until the last minute, and the improvisatory possibilities were taken advantage of. CMI’s production required certain things to be locked down upfront, in particular the list of rooms, the puzzle chain, and the cutscene script. However, when it came to wiring the rooms, and thus writing all the interactive dialog (only like 90% of the game’s script), it seems that the programmers were given a similar kind of free reign and generous timeline for embedding jokes as they went, and it’s a huge part of the sense of density and polish that CMI boasts. Chuck Jordan and Chris Purvis deserve more credit than they probably usually get for serving a role similar to the one Tim and Dave did in 1990.

And there it is: I've added two versions of Steve Purcell's cover art for "Herc's Adventures":

And today he covered Curse! I really can't say enough good things about Jimmy Maher. He makes this stuff so compelling, really weaving all these disparate strands into a cohesive narrative about not just how the industry grew and changed in its formative years, but why, and what each development meant. I sometimes disagree with his takes on individual games, but rarely with his reasoning for them.