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LuigiHann last won the day on September 25

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  1. To be fair I think the comparable word from the last movie would be "Kingdom" which is... fine
  2. Like so much else in the game, it is and it isn't. The reveal of the Melee Facade is decidedly and clearly deliberately a narrative anticlimax, but I agree the last string of puzzles do represent an acceptable final confrontation, even if it isn't The Final Confrontation
  3. Love that sort of breakdown. It did puzzle me once or twice that RtMI had Guybrush pull a non-inventory sword from nowhere in a couple of scripted sequences (surely there are places where he could have used that instead of the knife?) but it is interesting to remember that it's been handled that way several times now.
  4. That's fun, I like it. Reminds me a little of the Frozen fan theory where... It makes just enough sense to be interesting to think about.
  5. Plot-wise I would call Curse a classic "soft reboot," in the sense that continuity is maintained but it's written and marketed to be consumed by fans and newcomers alike. The kind of fresh start that means people don't need to do homework to enjoy it. In theory all of the MI sequels are designed to be like that on some level, with Guybrush expositing to get people up to speed quickly on the few crucial narrative threads directly connecting the games. In terms of shared gameplay structures and mechanics, the rearranging and one-upping of gimmicks from the first game is pretty typical fare for game sequels. I do agree it's interesting to look back at MI2 in the context of the whole series, as it's the only sequel that totally leans away from rehashing elements of the first game, where the sequels generally lean way in. Certainly there are still shared characters and elements across MI1 and MI2, but since MI1 hadn't become legendary yet, there was no incentive to specifically recreate the feel of the first game. By Curse, MI1 had become a legacy sort of game, so they had to weave their own inventions into a concerted effort to feel familiar. Personally I also find Escape fascinating, because it apes so many settings and plot elements from the first game, but nonetheless probably "feels" the most different. Overall it is a fun series to observe as a whole
  6. Yeah, they shot them back to back after expanding one big script into two films My headcanon is that once the time-ripple-effect catches up to our Marty, he gradually becomes the Marty that was raised by confident parents, and thus his insecurity has taken a different form
  7. BTTF1 is an unparalleled work, a masterful screenplay filled with precise setups and callbacks, so no follow-up could truly do it justice. And really there was nowhere else in time that could really match the impact of a then-modern-day teen meeting his own parents specifically when they were his exact age. So I'm glad they didn't try to rehash that by meeting them again in a different but ultimately-less effective era. But I appreciate the way that the sequels mixed and matched between trying new things to broadly explore the time travel gimmick (visiting the the future, alternate timelines, avoiding crossing paths with yourself, and visiting the distant past basically cover the bases), and also remixed the first film's setups and payoffs to create a sort of unique grammar that makes the first film, on rewatch, feel like it's been setting up even more. The sequels definitely don't surpass the original, but I do think they enrich it. Some early drafts of BTTF2 are readable online or otherwise well-documented... so it's known that the 1955 revisit was a late-ish change (originally that segment was written to take place in 1967) and the wild west segment that became the whole of BTTF3 was going to be the final act of BTTF2 until they decided it would be too many characters to introduce that late in the film. Revisiting 1955 is admittedly efficient in terms of both casting and storytelling, and I guess you could see it as cynical but it seems pretty whimsical to me. And BTTF3 has grown on me as well, but I feel like when they expanded it from a single act to a full film, they went through and added plenty of what had become "cliches" of the franchise there as well. The chase, the dance, the punch, the manure, the climactic race against time. Even the "waking up with Lorraine in the dark" scene was there, arguably much more awkwardly shoehorned in. Part of what's charming about BTTF3 is that it shuffles roles within the now-familiar structure, where sometimes Doc has become the Marty, and such.
  8. I do agree that a "distract the judge" step would have made the fish swap make a bit more sense. Maybe they didn't include that aspect to avoid overlapping with the algebra one.
  9. I actually liked the pepper fish puzzle. The limited interactions available during the contest nudged me towards sneaking something onto my plate, and since I didn't currently have any non-peppered fish in my inventory, I had to think about how I'd resolve that next time. I definitely chased a few wrong answers before I came to the right one, but I thought the correct solution was logical enough, and actually a bit less complicated than I was thinking about. I didn't realize the fish reset based on your inventory, that's a bit silly. I didn't check especially often so I just figured it reset when you left the building.
  10. Oh yeah, the "prove you're the accountant" puzzle was probably the trickiest legitimate puzzle for me. Very clever. The final puzzle at the end definitely stumped me for a long long time, because I was so certain I had the correct solution that I thought I must just be entering it wrong. I'm sure it was intended to be tricky, but it comes across as one of those "legitimate answer not accepted by the program" situations, which are otherwise nearly nonexistent in this game.
  11. That was really well done. I don't remember them explicitly mentioning the rubber trees in Return (until you see the hover description on the stump) so I think that must be a very different emotional journey depending on how well one remembers the first game. And unless I'm misremembering, I think the cliffside is interactable when you first explore Monkey Island, and Guybrush will comment on how sturdy the cliffside is, messing with anybody hoping to trigger a reprise of that bounce.
  12. Love those examples, makes me want to replay it again as well. And to say it "felt right" is quite correct. I think Escape is ironically both the one that leaned the hardest into the modernish touristy theme-park aesthetic and also the one that landed the furthest from "feeling right" in terms of Monkey-Island-ness, so I do think the softer touch of Curse and Tales was the way to go. Though I do, again, feel like Escape also laid enough groundwork for the in-universe theme park to square with the ending of RtMI without too many compromises or leaps of logic. The world all still fits together whether you choose to take it literally or not.
  13. I thought Curse's approach was fun. Not only did they follow through with the tease at the end of MI2 (whether we like it or not, whether Ron liked it or not, MI2 ended with the implication that Guybrush was under the effects of LeChuck's curse), but they had LeChuck's theme park ride recount bits of the backstory and both games' events, and even had LeChuck explicitly answer endless questions to tie everything together. I feel like it was as tightly-woven as any sequel to anything could be. And they didn't drop the anachronisms, we've still got vending machines and fried chicken restaurants and tri-county areas, just slightly more integrated into the piratey setting than in previous games... and that could be chalked up as much to art style and screen resolution as anything, since they're forced to fill in gaps that would previously be left to the imagination. And I think it's nice that that setting laid the groundwork for the ambiguous timeframe of RtMI's frame story. There's always going to be a difference in output between a newcomer attempting to paint within the lines established by an original creator, versus the original creator returning and getting to go as far from the expected template as they want, because the true "essence" of the series exists in their own mind. One detail I really loved in Tales was that the distant walls of the giant tunnels of the underworld were styled with the same rivets and textures as the endgame tunnels of MI2. Just the right kind of ambiguous hint that works whether MI2's ending was really unearthly or if Tales is just taking place in real-life Guybrush's subconscious, and had super-interesting implications either way. Always kept an eye out for that kind of nod, didn't catch many others.
  14. As somebody does a 3-5 minute track for Brr-muda that I can stick on my Christmas playlist, I'll be happy. (I suppose I can always cut one down myself) I really do hope we get an official album for this one, if for no other reason, then because it'll be interesting to see how the composers choose to arrange these dynamic themes themselves.
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