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With reference to this thread, and specifically this comment by Laserschwert, I decided to try running some of the localised game titles through Gigapixel AI and then merging them with Laser's cleaned posters from this thread as a proof of concept. I did a VERY lazy cut out of the text, and you will note that the Hit the Road title clips over the bottom because I just matched the position to the box, but I think the results are surprisingly promising! It will be interesting to see what these might look like when handled by someone who really knows what they're doing

Thank you for the kind words. I plan to start releasing all of my interviews as podcasts on Spotify / Apple Podcasts / etc. at the beginning of 2024 and from that point on, I'll release every interview as a podcast about a month after its YouTube premiere (I don't want to lose any YouTube views as they are important to the growth of our channel) If you use YouTube Premium, then you can listen to YouTube videos in the background. Or, you can wait for me to release them as podcasts at the beginning of 2024. You know, each interview takes up roughly 100 hours of my time, especially the lengthier ones. Typically, I dedicate about 40 hours to research, delving into previous interviews by watching or reading them. The actual recording process takes around 3-4 hours, while the bulk of the work, about 50-60 hours, involves editing, adjusting volume levels, and fixing audio issues. Considering the effort invested, the least I hope to get out of every viewer is one view on YouTube. Sadly, these niche interviews don't attract thousands of views, so every single view matters to me. Using YouTube-dl doesn't even guarantee that one view. But you do you.

Thanks for your reply! I look forward to the podcast versions, and I'll make sure to watch some parts of them on Youtube, so you'll get your views! It's the least you deserve for your fantastic, hard work!

3 hours and 45 minutes is not even my longest interview. Aric Wilmunder and Larry Ahern are 4.5 hours each! (Aric Wilmunder was so great and so into the conversation that we kept on talking for 1.5 hours off the record after we finished recording, which means that we both sat for a total of 6 hours and talked!) All of my interviews are recorded in one session. It's problematic to recorded a video interview in several sessions as you can clearly see on both people that it's not the same day (clothes / lighting / etc.). I tell my guests that they can ask for a break whenever they need one and I just edit that out. I usually finish recording these sessions at 3-4am in my timezone so I would have preferred to do it over several sessions, but again, it has to be in one session for authenticity.

Met up with Paco earlier this week (we're about to start production on a new short film at the moment) and we were just talking about this haha. There's also some wonderful versions of the Guybrush at the top if you google Monkey Island tattoos...

Here is what I think, based on recent interviews… Ron had this theme park twist idea early on, but it didn't make it into the game, and we ended up with a more 'normal' pirate story, though some remnants of the twist stuck around. While finishing up MI2, Ron didn’t know how to end it. He remembered the weird theme park idea and used it in while leaving it ambiguous, not entirely sure himself what it meant. After leaving Lucasarts, Ron thought of ways to resolve the cliffhanger, with one option being "Guybrush is actually in hell," as he mentioned on his blog. So, the whole lost child in a theme park thing wasn't true anymore; it became more about "Guybrush is in hell." When Ron (and Dave!) finally got back to Monkey Island, they were older and realized the hell idea might not be the best. They decided to circle back to the original theme park idea, keeping what fans loved over the years – the normal pirate story, humor, and ambiguity. Now, players get to choose what it all means. That's what makes the most sense to me.

I don't believe Ron's intention at the time ran much deeper than the impishness of doing a Monty Python and the Holy Grail ending. I hardly doubt he had "thoughts" for where he might have gone from there, and it is intriguing how that rug pull encourages you to re-examine the games' fourth wall humor as if it was conscious foreshadowing, but I think by and large he just liked the idea of a wild swerve to be answered for only when/if the time came to do so.