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Niemandswasser's Achievements


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  1. Oh, and let's not forget that grog contains artificial sweeteners and pepperoni
  2. The SCUMM Bar kitchen has stew in the full version. If you add the meat, it returns to your inventory as "stewed meat." Likewise with the herring--guess Guybrush grew up between the demo and the full game! Other foods: MI1: --Fettucini (obviously) --Wax lips (It's food! Look it up!) --Spice cake (One of LeChuck-as-Fester's manglings of "Threepwood") Bananas --Mushrooms (Guybrush hates them) --Lemon (a case could be made for Lemonheads, the candy, as well) MI2: --Muenster cheese (the Men of Low Moral Fiber's rat's name is Muenster Monster) --Potatoes (Bernard the chef is peeling and tossing them) --Vanilla (the color of the envelope with Captain Kate's belongings) --Birdseed ("parrot chow") --Governor Phatt references a lot of different foods when he talks in his sleep--can't remember them all, but definitely eclaires, cheese, and chocolate sprinkles --Whatever the fish is that Guybrush uses to win the bet with the angler --Honey (Young Lindy invested in a restaurant chain called "Gangrene n Honey")
  3. He had said previously that 13,000+ lines had been sent off for mastering, but I don't think he specified that was ALL the dialogue. Must have still been some stuff that needed recording.
  4. My unpopular opinion: Bill Tiller has always given me weird, uncomfortable vibes, and I never liked anything he did post-LEC. It always struck me as a bit dishonest how willing he was to present himself as part of the "LucasArts brain trust" when publicizing his subsequent solo games, glossing over the fact that he'd only ever been involved in the art department rather than with design or writing. He seemed weirdly fixated on being the one to restore "the Good Old Days of adventure gaming," despite not having any kind of track record as a writer or designer on the games to which he advertised his connections, and he seemed to assume that a fanbase would materialize for each project he put out on the sole basis of his involvement. Then there was the weird thing he started doing a few years back where he'd only refer to CMI as "The Pirate Curse of Monkey Island" because that was its "original" title in development...he just struck me as having an inflated sense of his own importance and a disproportionate feeling of ownership over a game to which he'd been one of many contributors. (I'm using the past tense here because he doesn't seem to be active in game design anymore.) I've never interacted with him and he may be a lovely person for all I know, but in all his public-facing appearances over the years I just never got good vibes.
  5. The joke is that that kind of art hasn't even been invented yet, much less become well-regarded enough to be in a museum. They're playing with the fact that everybody in the Monkey Island games tend to blithely accept anachronisms as part of their reality, but in actuality there's no reason a 17th century sailor would know what post-impressionism is. Also, it's funny because King Andre is playing at being the all-knowing villain with a plan the hero can't possibly grasp, but the "foreknowledge" he's claiming is just...what art movements will eventually get big? What's so funny about King Andre to me is how grandiose he acts versus how banal everything he's actually doing and saying is. (And Dave Fennoy's A+ performance of course.)
  6. Patrick Pinney, Patrick Fraley, and Gavin Hammond. Hammond returning for ReMI makes Fraley the only one-off, since Pinney returned for the two Special Editions. Personally I've never thought any of them got quite to the heart of his inborn Stanfulness, but Fraley was probably closest for me.
  7. It was the same for me. I played a couple of hours then stopped because it was just obnoxious. Played it all the way through after they introduced the toggle switch and...still didn't like it very much. If I never play another adventure game that's just about how great adventure games are it'll be too soon.
  8. Seeing all the various versions reminds me of my earliest Loom experience. I don't know how or why, but when I first played Loom on floppy as part of the "Classic Adventures" collection on my Windows 3.11 PC, it showed up in a bizarre 3-color presentation--yellow, black and white. In some parts of the game this rendered the dialogue totally illegible--I remember not knowing that Stoke had any lines, assuming that for some reason it just kept showing me his glowering face to let me know he was upset with me. Same with Cob. By complete accident I eventually realized that this was apparently happening because I was playing without the disk in the drive--putting it in caused the game to boot in full 16-color mode. None of the other games in that collection played any differently without the disk in the drive, and I've never heard anyone else mention this happening, so I've sometimes wondered over the years if I imagined it--but my memories of it are so clear and specific that I can't quite make myself believe it. (I remember being shocked on seeing Master Goodmold in EGA because I'd assumed he was wearing a full-face black mask with lenses over the eye-holes, and on seeing Fleece because I'd thought she was supposed to be quite elderly.) Clearly the game was never MEANT to be played like that, but I've always wondered what the deal was and if it ever happened to anyone else.
  9. Why should we put the onus on artists to avoid all commentary on the work they put into the world, on the assumption that there's nothing to be done about people acting hideously when responding to it, rather than on players/viewers/readers etc. to be more mature and respectful when offering criticism? There's a world of difference between "I never liked the artwork in Day of the Tentacle because it wasn't an aesthetic I ever enjoyed" and "You sellout hack, you only chose this art style because the corporate hog at whose teat you greedily suckle has rendered you a flaccid, boneless puppet." The first guy is sharing an opinion; if somebody can't handle that, yeah, maybe avoid any critique of your work. The second guy is being a prick, and we don't have to just put up with that as a fait accompli. Personally I think it's better and healthier for everyone to say "Knock that off, we don't need that here and you're making it worse for everybody" than it is to tell his target "Maybe just rearrange your life so you can't hear him, because he's never going away."
  10. I'm not sure where you're getting the idea that A) Monkey Island 2 has a bruised and battered reputation in need of rehabilitation, B) there's some widespread consensus that the ending confirms the "child's fantasy" take, with most players unaware of any ambiguity on the subject, or C) that the Mojo community needs reminding of the ending's finer details. None of those are true. Every single human being currently posting on this message board is aware of the ambiguities present in the ending, and of what Elaine and LeChuck say and do there. We've been debating it for 30 years. Some people favor one interpretation, others favor another, but NO ONE is operating under the misapprehension that the issue has ever been settled, and I'd need more than an article saying "Here's what people think" without citing sources or saying who "people" are to make me think we're somehow an anomaly over here in that regard.
  11. You just asked people to stop referring to the ending a certain way and keep insisting that, regardless of how others might read it, the game most objectively supports your personal interpretation of things.
  12. I mean, they can strongly dislike that interpretation all they want, but if it causes them to actually dislike the ending itself...maybe they just didn't like the ending to begin with? There's nothing in the game that gives the ending a definitive explanation, so anyone who dislikes a given take on it is free to interpret it another way. Personally that read of the ending never rang true for me, but I also think it's ridiculous to propose adopting a broad policy that we should stop talking about it "for the sake of the franchise" or something. It's not hurting anything or anyone to mull over different interpretations.
  13. I'd like to go on record as stating that I've never met anyone until now who thought Monkey Island 2 suffered because some people interpreted the ending a certain way
  14. I actually once had the chance to ask Dave Grossman about this bit...and he couldn't remember who it referenced. What's especially frustrating is that everything about it seems to point to the navigator head except for the missing eye...while MI1 also features a character whose defining visual characteristic is that he has a glass eye.
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