Jump to content



  • Posts

  • Joined

  • Last visited

  • Days Won


KestrelPi last won the day on September 29 2022

KestrelPi had the most liked content!

Personal Information

  • Resolution
  • Height in cm

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

KestrelPi's Achievements


Mentor (12/14)

  • Posting Machine Rare
  • Very Popular Rare
  • Dedicated Rare
  • Conversation Starter Rare
  • Reacting Well Rare

Recent Badges



  1. Someone who knows these files might know where to look better than me because I've just spent about an hour looking with no luck... I'm trying to find those sounds that accompany the little TV programs that play on the TV in Psychonauts? Y'know the one with the cowboy on a horse, and an alien one, and a ninja one. Any idea where those might live?
  2. Recently had a little 'Elaine-as-antagonist' pondering I'm like 99% sure this isn't intentional but I was just looking at the last conversation you have with her and thinking... 'What if she's the one putting a spell on Guybrush?' The last conversation you have with her is... weird. First Guybrush says something like 'there you are' and she says 'where else would I be in a bit of a ... strange tone of voice. It's a weird thing to say anyway. Then when he says he's confused where he is she dismisses everything he's saying as time flying when he's having fun, and then when he asks how she got there ahead she just says something vague about keeping one step ahead. Later she shrugs it off by saying 'that ending gets weirder every time you tell it', almost like she's deliberately encouraging him to become more confused about what really happened. And then as soon as he starts to think about it too much... she distracts him with news of a new adventure. It's a bit of a weird interaction, but it makes a lot of sense if you think about it as her putting a spell on him or working things from the background. Also you remember how at the end of MI2 she says 'I hope LeChuck hasn't put a horrible SPELL over him or something.' Again, slightly weird thing to say, makes sense in the context of the ending but also makes sense if you think of it as her saying it sarcastically, because... well, she knows that's what's happened as she's behind it. She has no reason to know LeChuck would even be down there. Same with the 'Oh dear' as he falls in the pit. Might LeChuck be in cahoots with Elaine somehow? Well, maybe there's more to that L+E carving and bridal veil than the game is letting on. Again, I don't really think they're doing this deliberately, but I'm interested in it as an alternate read.
  3. The way i see it is that it's a good cap off to the series no matter what, but there's plenty of room for other stories happening at different times. Revisiting what Dave said about it in interviews, it was something like "At some point it's going to be hard to put numbers on these games and in a way it might not be important" which was really to me the biggest clue that the game was going to do something structurally interesting like this. I think it can be the 'end' of the Monkey Island series, and it makes a lot of sense to be that as it provides the necessary emotional closure for ... what the value of stories told in this world is. But it can be that and also not The Last Game In The Monkey Island Series To Be Made
  4. I'm not sure about... any of this. I don't mind that you don't like the art, you've been fairly polite about it. I don't really totally get it, because I ended up in the same place as Dom described as finding it hard to imagine not liking it, but there's no accounting for matters of taste and sometimes that's all it is, and that's okay. But I think if anything Return re-affirms the well-established precedent of Monkey Island games constantly toying with the art style: "we always knew that MI1 and MI2 had similar/identical character models" okay, but quite different everything-else, and since they were made just a year apart, there was only so much that was technically achievable as far as sprite work went. "that if Tales Season 2 happened it would have looked like Tales Season 1" okay, but we know the main driver of that would have been budget "Return is overwhelmingly well-received to the point of demanding an immediate sequel then its art will look the same." Nobody is going to be able to demand an immediate sequel from Ron and Dave no matter how badly people wanted one, and even if they could, I think that there would be a strong chance that he'd once again want to find a new visual feel for the game, since at this point it is practically a tradition for the series. I mean I say this as someone who really enjoy's Rex's take, and can be said to be biased insofar as I've met him a couple of times in person and shares some mutual friends... I would be way more interested in a MI7 with a new artist than one that does this again. It is The Way. And very in keeping with the themes of RMI too. These stories don't just stay the same. They change, and they look different through the eyes of different people. RMI wants us to know this, so why would they want to make another one that looks exactly the same again?
  5. For 2 a good rule of thumb is that Land composed Scabb, McConnell composed Booty and Bajakian composed Phatt. But there are probably exceptions to this and some level of collaboration on all of it. I think I heard Largo's theme was a group effort which is plausible but it wouldn't surprise me if McConnell was the driving force behind that as it containst a lot of his fingerprints. Compare that theme for example to Swanky Maximino from Grim Fandango (which incidentally was a tune originally written from Monkey 2, which they couldn't find a use for)
  6. I half expected it to happen in the final shot of Guybrush sitting on the bench. Boybrush has to wonder for longer just like we all did, but we get to share in Guybrush's thoughts once Boybrush goes away. I think that would have been a quite sweet way of handling it, but I still think I'm glad they showed restraint.
  7. I think for me the biggest thing that stops this game from quite reaching the heights of some of the older games is that feeling that the new locations feel a bit empty, a bit like they're just locations for puzzles to occur in rather than having a strong personality. It's just 'ice island', 'scary island', 'lime island'. They feel a bit like video game levels rather than places. I can't imagine ever feeling like I understand Brrr Muda the way I do Scabb, Booty, Phatt, Melee, even Plunder and Blood, or even some of the places in the 3D ones, they're just a bit... thin in comparison, here. I think what makes up for it for me is just how it adds to the framing of the Monkey Island universe. It's almost like the story and locations are backdrop to the main thing that the game wants to convey. And while I can't deny I wish that they'd have fleshed out that backdrop a bit more, I also am still so in love with what it does around it that I'm giving it a pass on a lot of that stuff (also it's not like it's bad, just a bit slight). I learn a lot about the game moments that are really important to me when I think about how I skip through let's plays of a game on youtube. For MI1 I always watch most of Part 1, then I tend to skip to arriving on Monkey Island, then sometimes I'll just skip straight to the final part of the game and outro. For MI2 I will always want to watch parts of part 1, the end of part 1, I find myself seeking out certain parts of part 2 (the password puzzle, governor marley, Stan, the bone dance), I tend to watch the acid pit escape, then skip to the X marks the spot. For CMI I watch the opening, any part with Murray, the pirate song, bits and pieces of blood island and big whoop parts. For EMI I have tried but usually abort watching shortly into part 1 (sorry). Tales I'm most interested in seeing people play through parts 3-5 For RMI I've been watching the intro, a little bit of the first part, and then I tend to skip all the way to the final part. And I think that's because I don't really care that much about the middle of the game. I don't hate it, and I rather like it but there isn't a part of me that's begging to know what so-and-so thought of this bit or that bit. That said, I recently watched someone play through the part with the Chums stories, and that I did rather enjoy. But I might be more interested in seeing their reaction to the start and end of this game more than anything else in the whole series, with the possible exception of MI2's ending (which is of course closely related)
  8. The way I read Elaine in RMI is similar to how Ronzo described it in that recent interview. She used to be more into Guybrush's flights of fancy and more willing to indulge in her own but she's moved on a bit. She has her own agenda and tolerates whatever Guybrush is doing, maybe even finds it a little endearing but is keen to point out to him when he might be getting carried away. She's also not above enabling it, as we see at the end. Maybe she even recognises that it's something Guybrush needs. Maybe a bit of her still enjoys it herself.
  9. I do think it sort of makes different people's accounts of things a little confusing, and you have to wonder how much of it is people's memory versus their memory of their memory of their memory of it, etc. I'm sure at some point Ron or Tim or someone said they don't remember anything about it being the original ending to MI1, but this seems to make it clear that it was actually. And Ron's talked about how the amusement park ending came to him very close to the end of MI2 and they had no idea how to end it before that... which I took to mean that they weren't really thinking about it before, but judging from the new interview it was at least something that was in his head since the start and they were just choosing to surface it.
  10. I mean I obviously completely disagree with almost all of this, but all of it I'd file under 'each to their own' apart from the following which I take complete exception to: That's just false. I love it, and I've seen it recently, and I'm very secure in my loving of it. I know when I'm viewing something through rose tinted glasses or not, and I'm not. Don't try to tell me that it's only possible for me to do if I'm looking at it wrong, that's the sort of thing that makes me grumpy. I think about this film a LOT. I'm even planning on recording a podcast about it soon (we decided to look at 2 rather than 1 because we felt that the first one has been talked about plenty, and 2 has just so much to talk about). So, no. I love it. Unreservedly, and glasses off. OK, grump moment over.
  11. Heck I mean what else is there to talk about RMI without spoilers at this point xD I agree that detail is a little hamfisted but if the first one could be said to have a flaw I would say it's that Marty can essentially do no wrong. The worst that could be said about his character is that he's a little impulsive, he sometimes acts without thinking and gets into trouble sometimes because of it. But even when he does, getting into trouble is usually set up as a way to make him look cool. At the end of BTTF Marty has actually overcome very little on a personal level. Maybe playing the guitar got him over some of his fear of rejection but it's not exactly made very clear in the narrative. At the end, he's the character that stays the same while the rest of his flawed family gets 'fixed' around him (Incidentally this, when you really think about it is a horrifying thing to happen - for your parents to become unrecognisable to you as people, and suddenly your memories of growing up being all wrong). He can't be said to have grown or learned anything in any meaningful way in the first film, and that's okay, a film doesn't have to deliver that... but over the course of a trilogy you probably would start to notice it. So I can understand why they felt that they had to give him something to overcome, and while it's a bit weird to have this bit introduced midway through the trilogy, I give it a pass because without it there really would be very little to tie the 3rd film back to the second (and by extention the first). It allows him to have a moment of personal growth that makes him realise he doesn't actually need to prove himself (even if he's forced to in the end), which comes full circle when he gets to change the moment when he would have been in the car crash. I feel like without that, BTTF3 would have felt less part of the whole than it does. On topic bit: something related I really like about RMI is (spoilertexted for very, very oblique allusions to some stuff that happens in the game)
  12. In recent years I think BTTF3 has seen something as a rehabilitation, as a fine conclusion to the series. I can't go with you on it being better than the second though, which is my favourite of the lot. I feel like the first one is just very well-formed, it's hard to find bad things to say about it, the second or third can't survive without it so if you could only save one of the films it'd probably have to be the first. But the second is an absolutely glorious mess, from its bizarre envisioning of 2015 (though accurate in more ways than it's given credit for) then very silly-yet-believable 1985 dystopia and then the revisit of the location and events of the first film in a way that's never been done as well since. I can't help but love it, it's so much. The trouble with BTTF3 to me is that it hangs so much on being a western pastiche, so if you're not really into that then it's wholly reliant on the characters and writing (which are still great!). The other thing is that it's so far back in time that aside from the clocktower which barely gets used, the locations are practically unrecognisable so you don't really get the fun of the same places being recontextualised like you do in the first two. So I get why people feel like it's 'apart' from the first two, but I think most people I talk to about it now agree it's a perfectly fine adventure in its own right, and concludes the trilogy well. On the whole I think it's probably one of the most consistently good trilogies ever.
  13. It makes sense to me that if you're going to reveal the secret after all these years then the way to do it is to reveal it, as originally intended, but in a way that will just leave fans debating for the next 30 years what the secret actually means about the world. I think the idea this game adds over and above MI2 is turning into a generational thing. Adding the whole element of these being stories which are passed down and change in the telling and are remembered differently by different people. Which of course adds a whole lot of flex to the 'canon' For me the definitive ending is taking the key but not opening the chest, choosing that it was better not to know. I see this story's ending being about Guybrush finally accepting what everyone else is trying to tell him. Good interview, though not much surprised me (except that I really did expect that having the T-shirt prize was probably an idea from 1990 as it is so in keeping with the first game)
  14. Nothing will ever top MI2 in the series for me, not because I think it's especially better than the others (though I do think there's truly special parts of it that none of the other games have matched) but because it caught me at just the right time, felt weirdly grown up when I was at an age where I was probably juuust starting to want stories with more edge to them, inspired me musically in so many ways, and really opened my mind about different kinds of storytelling. I don't think that 11 or so year old me would have properly understood all this, but it planted seeds, for sure. I loved MI1 before it too, and I've been thinking a lot about how much I enjoy that game's puzzles, but MI2 just feels unassailable. Nothing could ever be so formative. So I think it's a pretty big compliment from me to say that I think that Return could hang out with MI1 and CMI a little way below MI2 in terms of how I'm starting to feel about it. I've said elsewhere that I like it more for what it brings to the series as a whole than what it offers as a game individually (though that's cool too), and I like that, because I feel like MI1, CMI and RMI all give me different reasons to love them. MI1 is just so nostalgic, my very first adventure game experience and how could I not feel warm towards it? CMI came at a time when I was at the peak of my LucasArts fandom, and it was so nice to be so excited about the new game and have so much of that excitement validated by what we got. And RMI is the game that makes all the others better (this is very mild allusions to the start of the game)
  15. ^^^ this thing I said after they did that very first 10 second Melee Island snippet turned out to be a good shout. I'm glad they went here with it, it makes it feel familiar despite the zone previously being mostly silent.
  • Create New...