Monkey Island 2: LeChuck's Revenge

1938:, he was unable to discern the in-game context for his work on a particular event in the title due to Gilbert's abstract directions. According to Ahern, he "tried asking questions about it, and said, 'Just do this, this, this, and this, laundry list, check it off', and I got real frustrated with that". He then enquired with Schafer and Grossman about the purpose of the character actions that he was tasked to choreograph. Ahern explained that the co-designers proceeded to describe to him the intended effect of the respective scenes, and "I'd say, 'Oh, well, wouldn't it be more fun if I did it this way', and they'd go, 'Yeah, that'd be even better. Go do that'". As a result, Ahern asked Schafer and Grossman to negotiate Gilbert's approval for his proposal, a concern which the two agreed to address. 928: 1518:

Captain Kate into yielding the object–and gradually forwent truistic prospects for the players' progress until the exhaustion of such ideas. Provided that those options were entirely discarded, the team moved to devise an unorthodox new avenue for the resolution of the puzzle: in Grossman's example, it required players to engender a situation in the title that led to the arrest of Captain Kate in order for the character's belongings to become accessible. The designers' consequent goal was to develop the logic of events within which the intended outcome could eventuate. As outlined by Grossman, those criteria guided for the team's entire work on the development of puzzles for

1564:, the equivoque did not apply culturally to territories beyond the North American market and thus was difficult to translate into the overseas versions of the game. Gilbert later described the result of this misconception as his least accomplished design of a puzzle and apologized to players for its addition to the game. The experience led him to realize that the prospect of his games' distribution beyond the American market would necessitate cultural adaptation of their contextual elements, an aspect Gilbert has attempted to account for in his subsequent works. Gilbert nevertheless stated his belief that he was able to materialize the vast majority of his plans for 2205:

devised an identifiable designation for the system and proceeded to explicate their design to LucasArts personnel, which clarified the issue. McConnell remarked that, although he and Land were confident in the practicability of the iMUSE system during its inception, the composers found the application of its initial version to be very complicated. Bajakian cited major difficulties in ensuring that the encoded sound and music data were compatible with the available variety of sound cards on the computer hardware market. McConnell stated that the technology was required to undergo several iterations across five years from the release of

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sentiments among the title's audiences "from day one". He explained that he purposely engendered the provocative nature of the ending in an attempt to elicit differing public perceptions thereof, a reaction which he believed to be evidence of creative accomplishment. Although Gilbert said in 2015 that the finale provided "perfect" closure for the game's storyline, he had conceded after his departure from LucasArts that the ending's ambiguousness complicated any plans of a direct continuation. Specifically, he expressed his belief that the development team for the next series installment,

1191: 1582: 963:. As a result, the creative personnel were allotted to small groups that worked across a series of planning sessions to establish the sequel's narrative and gameplay features. During development, the artistic staff were situated on a different floor of LucasArts' headquarters building from the location of the designers; the latter were thus required to pay frequent visits to the office of the graphics specialists to review their works-in-progress. Although intended from the very beginning to exceed the scope of its predecessor, Rob Smith estimated that 1357: 695: 2037:

a year after the launch of the game, Dave Grossman described aspects of its presentation with the term "interactive cartoon", in that the title was conducive to "crazy and cartoony" interactive sequences. He cited the example of the game's sequence wherein Largo LaGrande extorted money and valuables from Guybrush Threepwood on the bridge leading to Woodtick, an event which Grossman said to prompt players " the game at that point so they could go back and watch it a few times". Peter Chan said that the artistic direction of

1975:, Steve Purcell was responsible the game's cover artwork. The preparation of the game's packaging involved Collette Michaud, Purcell's then-girlfriend and future wife. Although at the time that the game's branding was devised, the majority of the packaging solutions for planned LucasArts products were conceived by the company's executive officers, Purcell stated that the project leaders for those titles were strongly inclined to promote their own vision for the styling of the games' covers. Purcell specified that for 1802: 1469:

participants to spit their saliva across the longest distance, a challenge that he believed to be unique in contrast to those that featured in other adventure games at the time. Artists were also encouraged to submit their opinions in the course of the planning process. Grossman recalled that the staff held the corresponding meetings in a confined working space, and "those sessions often became hilarious enough to be dangerous, with me asthmatically coughing up my own brain from laughing too much".

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background graphics by adding elements that suggested the presence of a foreground visual dimension in the on-screen depiction of settings such as the Bloody Lip Bar, a location which the player character visits in Woodtick. Citing that same scene, Purcell remarked that he attempted to provide the environmental visuals with humorous imagery, which, with respect to Purcell's example, meant details "like the spitoon with overshot loogies all over the doorframe". He was also inclined to introduce

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mandatory playable situations, reconsidering the solutions to each of the mainline game's puzzles. Gilbert gave this example: if the team discovered a puzzle that required players to obtain a key to a locked in-game doorway after their progress through many in-between events, the team would render the passage readily open to hasten the resolution of that part of the game. To accomplish a "presolved" adaptation of the game in its easy mode, they identified chains of puzzles within the design of

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main musical theme has been removed, purportedly because it displayed credits for the original game, now outdated. Players can opt to switch from the updated version into the original at any time during the game, though an option allows players to retain the voice-overs of the remake. Players can opt to use the original point-and-click control scheme, or can directly control the movements of Guybrush using a control pad or similar device.

1987:, Purcell painted sketches that displayed his concepts for the cover's presentation to establish the basic design of the artwork. Purcell noted that those pictures were intended to convey general ideas that he wanted to bring to completion, rather than to comprise fully formed illustrations. After Purcell delivered the paintings, LucasArts selected a satisfactory cover archetype and tasked him to "transfer the sketch to the board". 1729: 5845: 1930:

LucasArts still used the software-based solution to generate the majority of the characters' animations, whose creation the art staff believed to be expedited when realized under a computer interface. Michaud stated that Turner's professional background and humorous sensibilities inspired the individual contributions of his team, "allowing them to open up and have some fun with the animations".

2122:: the members were willing to exchange their duties in writing music for the game's individual locations, and created some of the tracks collaboratively. As with the previous series game, Michael Land coordinated his contributions with Ron Gilbert, who nevertheless was largely disengaged from the music's development. After relating to Land a general request to compose music driven by 1544:. Although Gilbert remarked that the sequel epitomized his accrued experience and practices in attempting to create a comprehensive template of an adventure game, he had also stated that certain puzzles and scenes in the game qualified as redundant in retrospect. Specifically, Gilbert, Schafer and Grossman cited concerns with the puzzle wherein players were meant to use a 1485:. As part of this technique, Gilbert also laid out specific scenarios in the title that featured successions of interactive problems, which were designed in reverse: the premises of the first and intermediary elements were recursively inferred from the rationale of the final logical step. Taken as singular entities, these puzzle sequences were then aligned into 2145:" aesthetic across the individual compositions. The trio thus sought to establish an overriding thematic direction that disassociated the players' perception of the tracks from their attribution to the characters. The composers only broke away from that paradigm when preparing music that pertained to notable members of the game's cast such as the Voodoo Lady. 2126:-inspired percussion, Gilbert refrained from further involvement, as he gave significant credence to Land's professional capabilities. Describing his area of focus, Land remarked that "from the beginning of the game, I wanted the music to sound like what you'd hear coming out of a radio if you were walking down a street on a Caribbean Island". 1340:; whenever a decision would lead to Guybrush's death (such as not escaping LeChuck's deathtrap), Elaine will interject that this contradicts Guybrush being alive in front of her, allowing the player to retry. One of Gilbert's other ideas was that the average challenge level in contemporary adventure games was too low and harmed their 1177:

staff members. However, Rob Smith retroactively indicated that the team maintained a "straightforward" pace of development, in part due to familiarity with SCUMM's nuances grown from their past work. He specifically noted that the SCUMM engine's capabilities allowed them to introduce concepts, dialogues, and interactive scenes within

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accounting for the frequency of the player character's visits to an area in the game and their subsequent actions therein, in response to which the engine would alter the music to suit the circumstances of current gameplay segment and apply sound effects that were appropriate. Flock stated that Land was able to build up

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provided for additions to the game's length and difficulty, and specified edits to its storyline and puzzles. Discussing Gilbert's response, Hampton noted that he encouraged agency among the development staff over the course of the creative process and thus approved of the testing personnel's considerations.

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game. Derrick, a devoted enthusiast of the series, had sought an opportunity to participate in the franchise since the start of his employment at LucasArts, who at the time were disinterested in adventure game development. This situation led Derrick to face difficulties in negotiating an approval for

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in a game. He noted that, in past adventure titles, the protagonist's appearance in a location within the game triggered a looping composition with a static structure that was divorced from the player-driven events in the scene. According to Flock, Land and McConnell's system contrasted this trend by

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The game's artists and animators - as well as its composers - collaborated with LucasArts programmers to shape an engaging realization of the game's scenario, stylized to utilize cinematic techniques such as scrolling panoramas of the title's environments and proportional character scaling. Less than

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character Captain Kate. From this perspective, the team began by setting an in-game objective of stealing an item from the character. They proceeded to identify every realistic solution to the situation–which included the opportunity for the player character to covertly embezzle the item or to coerce

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helped the creative staff members "to focus on being creative rather than worrying about technical mumbo jumbo". Similarly, in 2013 Ron Gilbert recalled that the underlying functionalities of the SCUMM system enabled the staff to incorporate new ideas into the game's interactive environment directly

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began, according to Gilbert, was his personal interest in expanding his work in the original game rather than commercially oriented suggestions from Lucasfilm Games' management. Gilbert commented that the game's origin would have been improbable in the latter case, as the company was unable to assess

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Frustrated with the state of music in games at the time, two composers at LucasArts Peter MccConnell and Michal Land created one of the first adaptive music systems, called iMuse. iMuse (Interactive MUsic Streaming Engine) let composers insert branch and loop markers into a sequence that would allow

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s music, whose integration with the title's gameplay he believed to be unsatisfactory. By the time that McConnell was recruited by LucasArts, Land had envisioned an audio sequencing system that could construct a flexible progression of a given soundtrack's compositions in an interactive environment.

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in the creation of the environmental paintings, LucasArts developed a process that involved an amalgam of graphical techniques. Initially, the artists used colored pen markers to draw a rough representation of a scene–an approach originated by Chan–whose details they then augmented and reinforced by

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A further aspect of the development wherein Gilbert sought design input from LucasArts staff members beyond the principal creative team was the planning of the game's ending. He had struggled to conceive a satisfactory finale for the sequel, and postponed the consideration of this problem repeatedly

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that managed the location of objects and characters and simulated character activities. This included FLEM, the code for object states and walking area boundaries, and BILE, a "cel-based animation emulator" that allowed artists to animate individual body parts. The variety of subset programs allowed

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The special edition includes updated graphics, updated high-quality audio engine, new voice-overs, additional content such as concept art, and an in-game hint system. The "lite" mode from the original game ("for game reviewers") has been omitted. Further, the original introductory sequence with the

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it for internally developed titles, which led the engine to perpetuate as a commonplace feature of SCUMM-based adventure games. Flock summarized that Land and McConnell's work was critical to the design of the ambiance in those titles and labeled it as "probably the single most important technology

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that governed the engine's various capabilities. McConnell recalled that LucasArts staff was initially confused as to the classification of the technology, whose subset programs and their associated MIDI track data "took up an entire floppy disk in a five-disk game". In reaction, McConnell and Land

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at the time, in keeping with the company's small-scale distribution of its staff resources. The duties of lead artists were assigned to him and Steve Purcell, designations that Chan said to be perfunctory, as "for us, I think because it was so new, lead artist just meant the guy who was stuck doing

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by incrementally building on the game's simplified model. Instead, they did the inverse: the development staff originally implemented the hard mode as the core template of the game and then restructured this into an abbreviated counterpart. To that end, they gradually reviewed the planned layout of

1381:: the game would adapt the composition and complexity of its playable sections according to a preferred gameplay mode chosen from a prompt at the start of the game. He initially wanted the sequel to offer three escalating grades of difficulty, a feature which was in the originally revealed build of 1176:

s development, Wilson suggested that LucasArts' three-part process proved to be "a mixed blessing": although intended to provide momentum to the overall production, the procedure only simplified the programmers' workload in the first phase, offset by "trade-offs" to the performance of the remaining

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From his island fortress, LeChuck swears revenge against Guybrush. The Voodoo Lady reveals that Big Whoop contains the secret to another world which will allow Guybrush to escape LeChuck forever. She gives Guybrush a book which says that the four pirates who discovered the treasure created a map to

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s head artists, Purcell sought to ensure the overall visual consistency between the game and its predecessor. A series of lengthy planning discussions guided the creation of the game's audiovisuals, which were fashioned to complement the game's plotline. Overall, Rik Haynes estimated the resulting

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scenes navigated by placeholder characters from a number of other then in-development LucasArts games. After this version was delivered LucasArts held an internal "pizza orgy" to commemorate the occasion, during which personnel from the wider company were involved in the initial playtesting of the

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Navigating a mazelike jungle with the help of a talking parrot, Guybrush locates the site where Big Whoop is supposedly buried. He digs until he hits concrete, and uses dynamite to blast through it. Elaine hears the explosion from Booty Island and sets out to investigate, finding Guybrush dangling

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footage. The success of those titles prompted LucasArts to incorporate a scanning-based method into the production of their game's visuals. Reminiscing on that development, Purcell explained the artists' capability to initially model the in-game locations on paper and then to implement the images

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s then current version. James Hampton stated that this document, internally dubbed the "Giant "D" ("D" for "Design") Bug", was collaboratively developed by him and the game's other testers and offered "our ideas and reactions to the earliest builds of the game". Their recommendations particularly

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were created prior to its storyline. Around that time that the project commenced, the vast majority of the plot's details were unestablished. Gilbert's diagrammatic framework of the puzzles supplied the general layout of the game's plot-oriented events, and the team then "made up as we went". He

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Guybrush's search takes him back and forth between three islands: Scabb, Phatt, and Booty. On Phatt Island he is imprisoned by order of Governor Phatt, who hopes to claim the bounty LeChuck has placed on him, but Guybrush manages to escape. On Booty Island he encounters Stan, a used ship salesman

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s series finale - which revealed the events of that show to exist in a dream-like fictional universe - provided the basis for the closing scenes of the game. Gilbert stated the idea for the game's denouement came from his ongoing anxiety over the lack of an appropriate concept in the face of the

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of conditions for player-made progress that were constructed to culminate at a common in-game destination. From that point of convergence, a further diagram of the same type would be established and extended into subsequent, similarly ordered schemes; the reiteration of those patterns formed the

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that depicted the arrangement of the puzzles in the game, or in his words "Puzzle Dependecy Charts". He employed this method to plan divergent structures of the required solutions to the puzzles as models of overarching and situational milestones that players were to advance through in Gilbert's

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whose ghost Guybrush defeated in the previous game. Largo has imposed an embargo on the island, preventing anyone from leaving. Visiting the International House of Mojo in the island's swamp, Guybrush receives guidance from the Voodoo Lady who assisted him in his first adventure. Through actions

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and supplement it with new functionalities in the same timeframe during which the completed iteration of the first remake was crafted. Those additions included the feature that enabled the playback in the game of the background audio commentary by Gilbert, Schafer and Grossman, recorded for the

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In contrast, Ahern retrospectively voiced his discontent with some of the game's animation, which he said was uneven because of the animators' capability to add stylistically disparate graphics assets to the title without immediate supervision. He explained that "there was nobody officially art

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was a more collaborative process. The creation of the game's puzzles involved the game's principal writers and programmers, whose output Rik Haynes described as "funny and bizarre". For example, Schafer was responsible for the game's event that engaged players to win a contest that required the

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games, Gilbert remarked in 2006, meant that both projects occurred continuously, as a singular creative process. As such, the staff carried over into the sequel the majority of their previously unrealized ideas that had been developed for the first game. Gilbert's assessment was later echoed by

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The game was one of the few adventure games that offered the player a choice in levels of puzzle difficulty. In some versions, before starting the game, the player is prompted to choose between regular version and "Monkey 2 Lite", a relatively stripped-down experience that bypasses many puzzles

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for the cover's depictions of Guybrush Threepwood and LeChuck to provide Purcell with a reference point for the light distribution in the artwork. According to Purcell, the cover's visuals were meant to reveal to players lifesized representations of the game's characters and setting, portrayed

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was rated highly for several reasons. The game is considered user friendly as it has a "lite" mode. This allowed beginners to play the game at an easier setting. The overall difficulty of both modes is also considered to be good. The redesign in controls, such as the fewer verbs and graphical

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as an outgrowth of the game's subversive brand of humor, and admitted that the climax was contrary to popular expectations. Gilbert acknowledged that the sequel's conclusion has proven to be controversial among players since its release, and that he had planned the ending to invoke conflicted

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material that had been planned to feature in its predecessor. As with the previous game, Gilbert distributed the writing duties for discrete sections of the game between Schafer and Grossman, and assigned each of them to individual scenes and characters in accordance with the designers' comic

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at all possible phases of the game's development, even directly ahead of its release. According to Smith, the convenience of the team's situation enabled them to conclude work on the sequel within one year from its start. Gilbert asserted that the development staff did not encounter corporate

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images. The second algorithm was primarily employed to produce animations that contained large objects; Michaud explained that the artists found their efforts to be streamlined when such assets were originally depicted on paper and then imported into a suitable form for digital manipulation.

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The background artwork was primarily developed by Chan and partly created by Purcell, who was responsible for locations such as the interior of Wally B. Feed's cabin in Woodtick. Sean Turner also painted the visual designs for certain scenes in the game. Purcell sought to impart depth to the

1821:, LucasArts art department supervisor Collette Michaud suggested that the creation of the game's visuals was representative of the company's then-ongoing push into modernizing its graphics production pipeline. The company allotted a larger number of artists than those of its past projects to 1665:. From the conceptualized story foundation, the team developed the game's characters. Gilbert noted that certain returning characters from the previous game were carried over due to their popularity among the staff, and others, such as the Voodoo Lady, were included to reinforce particular 544:

LeChuck begs Guybrush to remove his mask, revealing that he is actually Guybrush's creepy brother, Chuckie. Their reunion is interrupted by a workman, who says that "you kids" should not be there. The two brothers, now appearing as children, exit the tunnels together and meet their parents

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s more linear approach. He also noted that the puzzle structure in the sequel was distinguished by its greater reliance on "dialogue puzzles", a term that alluded to nonlinear scenarios of player-driven conversations with the game's characters which featured alternative response options.

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was noted for its use of the iMUSE system. Reviewers noted that for the first time the sound is an integral part of the atmosphere. Graphically, the game was considered an improvement over its predecessor, with reviewers very impressed. It is also noted by critics that the developers of

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on March 10, 2010, with the previous creators of the adventures, Ron Gilbert, Tim Schafer and Dave Grossman, in attendance. The trio of game designers have recorded a commentary track for the Special Edition that can be brought up in many locations, using silhouettes in the fashion of

1274:, a developer of edutainment games for younger audiences. After likewise departing from the former company in 1994, Grossman moved to join Gilbert in his new venture, and Schafer remained at LucasArts as a designer until 2000 when he and several other staff members left to establish 2652:

was given a score of B+ by Gaming Bus; the site stated that there was more music and it was of higher quality, the graphics were improved, there was additional content, and the core game was still intact, though the hints were too helpful and there were some problems with controls.

2050:, or that needs to look more like this'". Ahern was frustrated with this situation, which he believed to be the source of a major stylistic dissonance between the game's individual animated scenes. As a result of this experience, when Ahern was appointed to serve as an animator for 1914:, Ron Gilbert sought to ensure that the movements of the game's characters were rendered in a "simple and cartoony" style, in keeping with the previous game. The team of artists that worked on that aspect of the game was led by Turner, a former employee of Lucasfilm subsidiary 971:. In retrospect, Gilbert recalled the number of personnel that worked on the sequel to be larger than that of his previous game, albeit "small enough that we all talked every day and everyone had a good understanding of the whole game being made". He added that the creation of 1720:. Reminiscing on the game testers' contributions, Gilbert said that they "have a unique perspective on the game and poke not only at the bugs but also the design and the thought process of playing a game" and "are a critical gear in the machinery that makes up making a game". 2209:

to become suitable for widespread use by LucasArts audio programmers. However, he noted that the core engine managed an average delivery of high-end audio performance during its host titles' gameplay, which helped to obscure the system's underlying complexity from the staff.

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game which employed ironic subversion of its own archetypical traits and those of other contemporary computer games. He explained that "every time that you expected a payoff, would do something that was kind of a non-payoff" and that " taste of humor not for everybody".

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s summer 1992 issue. He described the creation of the dual difficulty system to be troublesome for the team, in that they were required to avoid repetition in the two variations and to differentiate the identity of each solution to the gameplay. Falstein concluded that

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the music to change based on the decisions of the player. The iMuse engine was one the first significant contributions to interactive music for video games. Its importance in shaping many of the techniques that you see in video games today cannot be overemphasized.

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believed that the theme of revenge served as a universally resonant narrative premise, and the story was thus based around LeChuck's pursuance of vengeance against Guybrush Threepwood in reprisal for the former's loss in their confrontation in the previous game.

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Land engaged him to collaborate on this concept, and McConnell later commented that "we made a very good design team in realizing and expanding on this vision". According to McConnell, the composers' reference for the iMUSE system was a speculative image of a

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was already decided when he joined its team, which focused his efforts on attempting to mimic existing visual references, although the corporate culture of LucasArts at the time allowed him opportunities to introduce unplanned graphical elements in the game.

412: 4563: 1890:, utilized to eliminate "soft edges". Upon the digitization of those visualizations, LucasArts added further adjustments and effects "not easily achieved with traditional painting methods" to the resulting pictures with proprietary graphics software. 1669:

in the story. Rik Haynes commented that, aside from the conversations with the characters that were added solely to facilitate the title's atmosphere, specific dialogues were written to telegraph suggestions to players for advancing through the game.

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served as a reference point for Gilbert: he intended the sequel to forgo those titles' tendency to kill the protagonist for player mistakes in favor of a more forgiving model. This approach coincided with his earlier concept that had been applied in

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Land, McConnell and Bajakian split the scoring responsibilities between themselves in equal measure, and did not allot the title of lead composer to a specific musician. McConnell likened their collective's working dynamic to that of a professional

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Ensuring the accessibility of the sequel's gameplay to the widest variety of players regardless of their skill was a related concern of the team, as expressed by both Gilbert and Dave Grossman. To this end, Gilbert decided to introduce alternative

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s narrative scope and gameplay elements. Gilbert wanted a more open-ended adventure game than the first game, where one navigates confined isolated areas. Consequently, he decided on exploration of multiple islands as the overarching feature of

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specialists. This staff layout was the result of LucasArts's wider decision to increase the aggregate amount of its planned titles' art resources, mandated by the evolving technological demands of the computer game industry. Specifically, the

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licensed games. Gilbert eventually convinced Lucasfilm Games to commit to the creation of the sequel regardless of its profitability, a decision which Gilbert attributed to the "simpler days" of that period of his involvement with the company.

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tracks via a dedicated sound program that McConnell had written as his first job at the company. The in-game arrangements of the compositions employed recordings of the composers' live performances of the tracks over a MIDI keyboard and a

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Larry Ahern also remarked that Gilbert instructed the animators by providing them with lists describing the game's entities that were required to move in a specific scene. Ahern recalled that, in the initial period of his engagement with

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s cover art has garnered a positive public reception since the game's release, which Purcell stated "makes all the effort worthwhile". Purcell still possesses the original painting of the cover, which is currently placed in his office.

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Interviewed by Rob Smith in 2008, LucasArts then general manager Kelly Flock stated that the iMUSE technology marked the introduction of a novel avenue for the designers to mediate the relationship between the players' actions and the

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were submitted to a group of programmers to be input to the technological framework for the game. The latter task involved the setting of boundaries for the interactive space of a "room", its integration the material with the encoded

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nearing completion of the title's development. He explained that he imagined the resultant rendition of the ending spontaneously, when "one day, literally laying in bed on a Saturday morning, it just kind of hit me how to end".

624:. Gilbert explained that, although the earlier game's team had omitted several of its design decisions to complete it within deadline, "it didn't matter because I could just save the work out and come back to it in the sequel". 2196:

functionalities. Describing the summarized effect of those features when applied in practice, Gilbert commented that "the starts at the beginning and ends at the end of the game, and is just one ever-evolving piece of music".

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Gilbert recalled that the sequel's gameplay segments were arranged around the concept of the game's multiple settings, and he described the result as "a complicated web of puzzles kind of jumbled all around", in contrast to

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with the company's management due to their uncertainty about the financial feasibility of renewing LucasArts' former association with the genre, whose popularity they assumed to be in decline. After the successful release of

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named it the year's best adventure game, praising its "challenging puzzles and wonderful sense of humor, along with a stunning visual presentation". In 1996 the magazine ranked it as the 74th best game of all time. In 1994,

1095:: the marketers put still images of the game's provisional art into the design of the backside of the retail box. Concurrently the company organized the exposure of the game at prospective trade shows and the involvement of 529:

over a deep hole which he then falls down, winding up in an underground facility. LeChuck arrives, claims that he is Guybrush's brother, and proceeds to torture him using a voodoo doll. In the tunnels, Guybrush discovers an

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Derrick commented the result of this distributed process satisfied his expectations. Prior to the game's release, Gilbert reported to have been pleased with the remake's rendition of the gameplay and technical elements of

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In the second phase of production, output from the initial stage was revised, as the artists and programmers reiterated on and refined their earlier work. The sketch-based monochrome graphics were processed through the

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and Singapore departments. He mentioned that, although this type of delegated work caused certain difficulties in the teams' collaboration, the Singapore division had been previously involved with certain aspects of

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and then excised or modified those sequences' elements. Rather than to substantially reimagine the sequel's story and gameplay for its shorter variant, the designers' focus was merely to determine which sections of

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Wally, who determines that Big Whoop is on Dinky Island. Wally and the map are soon kidnapped by LeChuck. Guybrush infiltrates LeChuck's fortress but is captured, and LeChuck places him and Wally in an elaborate

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franchise and to skilled players who expected a challenging sequel. Similarly, Gilbert later stated his belief of the feature's continued relevance for modern adventure game design, as he perceived a growth of

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the viability of a potential sequel due to its then limited knowledge of the first title's sales performance. The initial uncertainty of the first game's commercial success also encouraged Gilbert to start the

1918:, and was also composed of Michaud, Larry Ahern, Mike McLaughlin and Steve Purcell. Turner's primary responsibility concerned shaping the aesthetics and stylistic direction of the dynamic visuals in the game. 2180:

whose conductor closely observed the enactment of the scored material and could "direct virtuoso musicians to make smooth transitions to any place in the music at any time, in a way that is, well, musical".

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during a video conversation with the Video Games History Foundation. These included early character prototypes, deleted scenes, unused animations and alternative game environments from the first two games.

4432: 2054:, he requested LucasArts for the authority to institute uniform design criteria for that title's art team, so as to facilitate a cohesive artistic process. Conversely, Grossman later indicated that 2810: 419:

shows the protagonist Guybrush Threepwood imprisoned on Phatt Island. Below the scene, the game displays the list of the verb commands and items in the player's inventory in a point-and-click menu.

4514: 1229:, had assumed the position of the game's publisher in the relevant territories. The Amiga version was ultimately released in Summer 1992; the development house in charge of the conversion divided 4485: 1568:

in the released version of the game. However, previously, after the game's release, Gilbert had stated that he " still trying to figure out how to get everything I want into an adventure game".

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for the PlayStation 3, iPhone, iPod Touch, Microsoft Windows, and Xbox 360 in July 2010. The Mac OS X version has not yet been released, while the iOS version was retired in March 2015.

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medium. Turner utilized two distinct procedures to develop his output: the artwork was alternately built with software tools in DeluxePaint Animation and scanned from sequences of hand-drawn

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project without express approval of the wider company. He wanted to avoid a scenario where Lucasfilm Games' discontent with the first game's sales would prompt the company to forfeit any new

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from the first game who is now selling used coffins. He also reunites with Elaine, who is bitter toward him and says that their relationship was a mistake. Through various quests involving a

1704:" non-playable sequences depicting the player character during travel between the islands in the game's setting on an onscreen map of the overworld, as a pastiche of analogous scenes in the 3656: 1540:

reported that the team's co-authorship of the design for the game contributed to the increased complexity of its puzzles, including the emergence of the latter's consecutive successions in

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of Largo, which Guybrush uses against him. However, Guybrush makes the mistake of showing Largo LeChuck's still-living beard, which Largo steals and uses to resurrect LeChuck as an undead

1027:

mechanics, and the programming for the objects within the modeled scene. The emphasis of the first "pass" was to program everything as fast as possible. The first phase produced an early

2475:

sold about 25,000 copies, despite its being released at a time when LucasArts was "really excited if we sold 100,000 copies of a PC graphic adventure". Following the underperformance of

1217:

in December 1991. Gilbert later remarked that LucasArts' choice of the release medium for the game, which was distributed on six floppy disks, led him to excise five planned scenes from

4828: 1758:

James Hampton claimed that a meeting was convened to establish the game's climax including LucasArts game testers, in the process of which his suggestion for an ending akin to that of

2391:, but was unable to proceed with this incentive due to scheduling setbacks on the side of an unidentified party. Derrick attributed the implementation of the feature in the remake of 2001:. With respect to the scale of the painting, Purcell decided to "do it big – two by three feet", and he spent a month developing the resultant artwork. Michaud posed in costume as a 5634: 3883: 4301: 2419:

s capability to allow for the instant transition between the game's new and original audiovisuals "really showed the care, love, and respect that LucasArts has for these games".

2223:

in sections of the game with aural manipulations, a concept that the prievous LucasArts products did not incorporate. In commercializing the iMUSE system, LucasArts chose not to

1624:

to be "a little bit dark" intrinsically and simultaneously conducive to comedic writing; earlier he had remarked that he regarded the game as an avenue to realize the unexplored

2184:

The resultant solution allowed the compositions in the game to dynamically alter in response to the playable character's interaction with a specific environment or situation in

3913: 1685:

According to Gilbert, contiguous suggestions that addressed the issue of the game's playability came from LucasArts game testers as they reviewed various development builds of

956:

work with film-like qualities, and believed that the adoption of the former approach allowed LucasArts to build the sequel's plotline and gameplay without excessive resources.

2371:

division. To match the scope and complexity of the original 1991 title, LucasArts was led to leverage a greater amount of development resources for the renewed counterpart of

852:

the engine to execute multiple script functions for an entity, such as those handling the rendition of its audiovisual data. Though the engine was designed as cross-platform,

6607: 5881: 2192:

arrangements that adapted to the events throughout the course of the game's story, as well as logical transitions from one track to another, and provided for several other

1080:. On average, the artists spent up to an entire day revising graphics for an in-game scene; by contrast, they required a roughly an hour to create the placeholder visuals. 2977: 2847: 1385:. Only two options of gameplay were ultimately implemented, specifically the streamlined and abridged mode, "Monkey Lite", and the mainline complex one, "Monkey Classic". 1138:. As production continued, personnel began to work overtime to bring the game's assets to completion, a trend which would extend to the company's subsequent games such as 1689:. He recalled an instance during development when Judith Lucero and members of her team submitted to him an e-mail that detailed an extensive proposal for an overhaul of 1134:

The third and last phase required LucasArts to "put the absolute finishing touches", as put by Johnny L. Wilson, to the entirety of the previously developed material for

2378:

According to Derrick, the increased workload was mitigated by his colleagues' accumulated experience and access to technological solutions that had been introduced for

948:

underwent a smooth development cycle because of how cheaply games in its genre could be made. Specifically, he likened a typical adventure title of that period to a

2734:

No, I'm in search of treasure. The biggest treasure of them all. A treasure so valuable and so well hidden, that it haunts the dreams of every pirate on the seas. /

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Along with technological solutions streamlining the development, the company also decided on a "tight" way of distributing its staff members who were assigned to

1182:

pressure during their work on the game, and reported that the sequel's creation provided him with satisfaction, although "perhaps not as much as the first one".

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the fourth best computer game of all time. The editors wrote: "Anyone who claims to have an interest in adventuring cannot afford to be without this". In 1996,

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visual interface had become the graphics standard for high-end personal computers and the latter's hard drive components had dropped in price by the time that

6597: 990:

development, as with LucasArts' other contemporary adventure games. As part of its streamlining of in-house development practices, LucasArts employed image

681:

s release in October 1990. As with most of their contemporary releases, LucasArts both developed the sequel and self-published the game's original release.

6587: 4418: 2338:

s production was overseen by Craig Derrick and his team at LucasArts, known internally as "Team 3", which had been responsible for the remake of the first

1771:

He later indicated that the ending was intended to convey a metaphor rather than to be subject to a literal interpretation. Schafer regarded the finale of

975:

was devoid of disagreements within the team, and that they were able to resolve situational production concerns in the ordinary course of the development.

751:

The principal staff members from the original game reprised their duties for the creation of its sequel. Gilbert reassumed the role of project leader, and

5067: 2798: 2387:

remake at the 2010 Game Developers Conference. Derrick had planned to procure the designers' engagement in the creation of a similar commentary track for

5525: 4500: 1850:-compatible version of the previous game was rendered in a limited palette of 16 colors, the company's adoption of the VGA format's 256-color scheme for 1388:

Monkey Lite was set to give players a brief overview of the game's basics, as a sample of the content in the full version, as Noah Falstein explained in

1083:

The resultant graphics materials were submitted to LucasArts' marketing department to shape the game's promotion. LucasArts gave to publications such as

5470: 4974: 4475: 3679: 1259:, would prove to be ill-suited to the developing standards of the adventure genre. LucasArts later carried over the revised SCUMM-based interface from 578:

as the first of a trilogy of adventure games, although without fully developing their overarching narrative direction yet. The possibility of a second

4353: 2461:

noted that the games were "relatively minor hit" in the United States, but became blockbusters on the PC and the Amiga throughout Europe. Conversely,

6542: 4786: 4696: 3373: 3274: 6502: 5919: 5874: 3634: 1221:

to fit it in the allotted size limitations. By the month of its initial release, the sequel's launch for the Amiga was delayed to early 1992, and

549:. Guybrush is confused, and Chuckie's eyes glow with evil energy. Back on Dinky Island, Elaine wonders if LeChuck has cast a spell over Guybrush. 4725: 744:

was set for the development of the sequel, under which process further "rough due-dates" were decided and a fully recruited team was allotted to

537:

station, a "lost parents" area with the skeletal remains of his parents, and an elevator leading to Mêlée Island, which he previously visited in

3132: 1419:

The team's design practices were unaffected by the mode division, Gilbert remarked in 2015, as they had decided against developing the basis of

1233:

into four sequential playable sections that were distributed across eleven floppy disks to adapt the game to the platform's memory constraints.

6612: 5965: 736: 5496: 4814: 6331: 6098: 4006:

Staff (August 2009). "Master of Unreality: The life and times of Tim Schafer, from metal to LucasArts and Double Fine—and back to metal...".

3088: 3075: 1979:, Gilbert requested a cover illustration resembling that of a classic book. Purcell recalled that his capacity as an artist on the first two 1642: 4385: 4103: 445:

on the lower right-hand corner. A Sentence Line is located below the Animation Window and serves in describing the actions of the player.

4287: 1841:

Peter Chan, for whom the title marked his debut in video game development, remarked that LucasArts productions lacked the position of an

6617: 4756: 1869:

led them to consider atypical devices for realizing the game's static visuals. Around that time, competing companies Sierra On-Line and

467:

is on Scabb Island searching for the legendary treasure of "Big Whoop". He is robbed by Largo LaGrande, former first mate of the pirate

6577: 6572: 6557: 6537: 6048: 5867: 5696: 4901: 4041: 2746:

None other. Now I'm trying to charter a ship and look someplace else. When I return, I'll have riches galore, and a whole new story.

5808: 5249: 5146: 5099: 3617: 3584: 800:

supervisor Judith Lucero, who also authored the instruction manual for the game; and game tester James Hampton. At the same time,

6552: 6487: 6429: 5612: 2969: 2825: 2164:

engine that was co-designed by Land and McConnell. The technology originated from Land's frustration with the implementation of

1921:

An experienced specialist in traditional animation, he wanted his work with 2D digital visuals to exceed the limitations of the

1788:

with which he could build on the sequel's narrative and finish the overarching story arc of his planned adventure game trilogy.

1677:. Rik Haynes reported that Gilbert "was so absorbed by the process, in fact, that he even solved tricky problems in his sleep". 521:. They manage to escape, but Guybrush accidentally sets off an explosion which propels him to Dinky Island. There he encounters 6380: 5997: 3891: 2493: 1441:

basis. Gilbert found this practice to exhibit his preference to base his games on broadly defined plans, as opposed to precise

911: 659: 5264: 4338: 767:

in their respective capacities. Grossman briefly disengaged from the game's production when LucasArts requested him to assist

6179: 2565: 1603: 1310:

s gameplay. In August 1991, Gilbert described the sequel as the most nonlinear game being produced at LucasArts at the time.

760: 358: 127: 6055: 4939: 4142: 1464:

s team built on Gilbert's own concepts and outlines that had been developed prior to that game's production, the design of

1437:. Gilbert recalled that the game's underlying technology allowed LucasArts to alter and adjust elements of the title on an 6492: 6214: 5689: 1509:

was to mimic the approach of a player to those challenges from the standpoint of everyday logic. In a 2006 interview with

1247:

s publication, Gilbert was unwilling to develop such a version of the game. His rationale was that the intricacies of the

741: 4447: 3826: 2675: 2200:

Land and McConnell spent nine months on the creation of the iMUSE system's first incarnation, an integrated framework of

2061:

s artwork–along with its music–imparted "a terrific sense of place" and a "tremendously cinematic" ambiance to the game.

449:

entirely. On the back of the game's packaging it is jokingly stated that this mode is intended for video-game reviewers.

6532: 6527: 5905: 5815: 4263: 2287: 880: 84: 5331: 4887: 3292: 1813:, including the sequel's cover artwork, and attempted to ensure visual continuity between the game and its predecessor. 927: 6567: 6359: 5951: 5729: 2265: 459: 345: 5348: 5176: 4592: 2101:, both newly hired by LucasArts to work on the game. The game's music was developed on a Macintosh II computer using 1915: 488:, who has broken up with him. Guybrush charters a ship sailed by Captain Dread, and sets out to find the map pieces. 484:

its location which they divided into four parts. One of the pirates was the grandfather of Guybrush's love interest,

5664: 3765: 3395: 2244:

One of the changes for the Special Edition (bottom) from the original (top) is the updated high-definition graphics.

703: 6273: 6011: 5743: 5269: 3980: 3552: 2457: 2293: 2281: 1560:

was relevant with regard to the game's domestic audience due to the underlying phrase's predominant circulation in

1123: 381: 2491:. According to Schafer, the pressure to develop a more commercially viable game ultimately led to the creation of 2240: 1505:

In retrospect, Grossman remarked that the team's starting point in the design of specific interactive problems in

1091:

and gameplay screenshots for press coverage. Also around this time LucasArts completed the packaging solution for

6472: 6324: 6169: 6030: 5979: 5890: 5750: 4543: 4362: 4230: 3510: 2834: 1847: 1112: 667: 584: 512:, and temporarily resurrecting the dead, Guybrush manages to collect the map pieces. He takes them to diminutive 5059: 2137:, their use in the game eschewed an emphasis on character-related tracks that McConnell stated to be typical of 1673:

Reconciling the planned puzzles for the game with its narrative was a major point of focus for the designers of

6562: 6517: 6477: 5421: 2568:

genre, and it still stands up well against modern adventure game titles. The game holds a rating of 90% on the

2546: 1659: 868: 311: 5517: 4964: 3014: 5458: 2367:

with staff from the company's foreign departments, and assigned the majority of the production duties to its

6622: 6507: 6399: 6281: 6080: 5764: 5030: 4398: 3671: 2269:

and its sequel were later released physically for Xbox 360, PlayStation 3 and PC (exclusively in Europe) as

1983:

games enabled him to readily identify the prospective cover's core visual elements. Continuing a trend from

1780:, "would mention that I had made their life hell". Gilbert nevertheless asserted that the completion of the 1403:

s capacity as a twofold interactive experience served to make the sequel appealing both to newcomers to the

1328:, whose design excluded events leading to the player character's death so as to emphasize the narrative and 1271: 1190: 844: 518: 472:

involving laundry collection and grave-robbing, Guybrush collects the necessary materials for her to make a

391: 606:. Gilbert remarked that his opportunity to develop the sequel came in part from the company's contemporary 6627: 6297: 6073: 6023: 5848: 5757: 4774: 3856: 2621: 1073: 721: 301: 210: 4682: 5213: 4476:"I am Ron Gilbert, creator of adventure games Thimbleweed Park, Monkey Island, and Maniac Mansion, AMA!" 3260: 3211: 2605: 1926: 1333: 1003: 892: 118: 5635:"Video Game History Foundation begins new preservation project starting with Monkey Island cut content" 4717: 1590: 780:

in the early development of that title. After concluding this assignment, Grossman resumed his work on

2970:""I actually was hunting Ewoks". The Original Lucasfilm Games Team Talk About Life at Skywalker Ranch" 2560:. The game is still considered very high quality with contemporary reviewers scoring the game highly. 1700:

As a result, a number of their concepts were implemented in the finalized game, such as the idea for "

1552:

to open a passageway to a previously restricted location, in an allusion to the English language term

6547: 6522: 6482: 6317: 6004: 4628: 3146: 2446: 2382:. He explained that those accrued assets enabled LucasArts to materialize an authentic recreation of 1513:, he gave an overview of the wider planning algorithm in terms of a speculative puzzle that involved 1151: 1045: 953: 887: 769: 51: 39: 1198:

on the floppy disk medium led to the omission of certain narrative sequences from the final product.

1076:

and later implemented along with the modified environmental visuals into the then current builds of

441:

commands are listed in the lower left-hand corner of the screen, while Inventory items are shown as

6373: 6149: 5972: 5781: 5492: 4112: 3141: 2119: 1826: 1473: 1140: 1121:

estimated that the game "is still a long way from completion", and later in August, Amaya Lopez of

1006:

images of environments that were set to feature in the game, termed "rooms", in the form of pencil

805: 505: 464: 333: 186: 149: 108: 96: 2141:. Instead, he and his colleagues utilized the musical device to convey an invocation of a "pirate 935:

after that of a puppet show (example pictured above) to help minimize the game's production costs.

6512: 6497: 5245: 4381: 3948: 3803: 3651: 3457: 3114: 2887: 1713: 1434: 1252: 1117: 848: 607: 230: 4117: 1648:- which provided the stylistic inspiration for the first game - as well as numerous nods to the 1493:, wherein the solution of the initial unit in the configuration segued into unrelated branching 1319: 730:

LucasArts sought to commit its projects to a new, more structured production template, to which

437:. Actions and dialogues are depicted on an Animation Window which covers the top of the screen; 716:, the staff of LucasArts (formerly Lucasfilm Games) relocated from their original workplace at 6240: 5944: 5306: 5142: 5132: 4897: 4872: 4748: 4186: 4065: 4013: 3985: 3907: 3613: 3242: 3084: 2635:

In a celebration of the series 30th anniversary, Ron Gilbert shared secrets from its original

2569: 2193: 2189: 2102: 2017: 1922: 1666: 1561: 1329: 1069: 1011: 896:, a LucasArts programmer admitted that even with this technique, they contributed around nine 857: 612: 501: 389:

was released in 2010, following a similar remake of the first game. In 2022, Gilbert released

386: 263: 168: 140: 31: 2291:

overlaid on the graphics. Craig Derrick announced on a new interface that was in the vein of

1040:

game and were engaged to offer design input. The early build informed the work of LucasArts'

6415: 6112: 5607: 5094: 5000:"'Monkey Island 2: SE' Features Commentary From Ron Gilbert, Tim Schafer, and Dave Grossman" 3848: 2915: 2625: 2215: 1873:

had released several titles whose graphics were generated from scanned images and digitized

1581: 1155: 1007: 916: 694: 442: 296: 4175:

Al Bustani, Hareth; Dimopoulos, Konstantinos; Jones, Darran (October 2020). "The Legacy of

2363:

was already occupied with another project. To compensate, LucasArts augmented the team for

2352:

in 2009, Derrick was able to readily convince LucasArts to pursue the idea for a remake of

6209: 6189: 6129: 5580: 5394: 5358: 5301: 5226: 5089: 4200: 4031: 4008: 3927:

Staff (July–August 1991). "Court Herald – Tidings of New Adventures From Hither and Yon".

3860: 3080: 2843: 2722: 2540: 2488: 2463: 2177: 2111: 2094: 2074: 1946: 1809:(2008 photograph) was responsible for several principal facets of the graphics design for 1734: 1442: 1146: 1061: 879:

command list menu and removed the "turn on" and "turn off" options. They also updated the

876: 813: 793: 717: 567: 509: 431: 195: 5602: 5241: 2451: 1150:

in 2009 that at the time, the staff members disregarded the risk of personal strain from

5392:

Daniel of Amiga Computing (February 1992). "Monkey Island 2: LeChuck's Revenge Review".

1641:

Among references to non-interactive media in the game, LucasArts added a tribute to the

1606:(right, 2007 photograph) co-wrote the game's plot with Gilbert and supplied programming. 6286: 6194: 6139: 5912: 5829: 4893: 3580: 3508:

Michaud, Collette (Fall 1991). "The Evolution of Lucasfilm Games: The Art Department".

2359:

By this time that this decision was sanctioned, the majority of staff from the team of

2305: 2301: 2161: 2098: 2002: 1898:

visual elements in the background artwork, although one of those elements, a "50's era

1887: 1862:

graphics assets to comprise around 6.4 million pixels of on-screen visual information.

1854:

meant that "we had all the colors we needed". As the only returning staff member among

1356: 1314: 1072:. The basic graphics and animations of the game's cast of characters were created with 1028: 949: 616:, as the staff was free to " around and do whatever we wanted". Further motivation for 546: 434: 411: 325: 199: 6309: 5274: 1902:" that was planned to feature in the Bloody Lip Bar, was omitted from the final game. 541:. He creates a voodoo doll of LeChuck, and dismembers his foe by tearing its leg off. 6466: 6450: 6422: 6387: 6267: 6199: 6164: 6018: 5822: 5786: 5713: 4770: 4744: 4713: 4572: 4225: 2396: 2201: 2173: 2123: 1806: 1760: 1650: 1553: 1438: 1337: 1024: 1015: 991: 875:-based commands as player inputs. For increased accessibility, the team enlarged the 789: 777: 485: 267: 145: 60: 5204:

Amiga Power staff (February 1992). "Preview of Monkey Island 2: LeChuck's Revenge".

2227:

its exploitation to competing companies, and instead appropriated the technology by

1865:

Haynes reported that the art team's concern with enhancing the graphical quality of

1801: 1751:

during the game's production. As such, by the time that LucasArts moved to finalize

6436: 6184: 5466: 5353: 5034: 4625:

should not be taken literally. It's a metaphor. Or is it simile? I confuse the two"

4333: 4328: 4258: 4137: 4060: 3547: 3009: 2910: 2573: 2523: 1991: 1842: 1717: 1486: 1374: 1248: 1065: 995: 890:

of the objects within the game. At the same time, according to Johnny L. Wilson of

582:

game was alluded to by Gilbert in a late 1990 interview with in-company newsletter

336:, who searches for the legendary treasure of Big Whoop and faces the zombie pirate 191: 4132: 1755:, Gilbert's concern with the development of the sequel's conclusion was renewed. 594:

in 2006 that "I knew there was going to be a sequel" before he completed work on

6408: 6341: 6291: 6204: 6174: 6159: 6144: 6134: 5802: 5565: 5205: 4867: 4616: 4471: 4324: 4249: 4181: 3832: 3538: 3452: 3237: 3109: 2996: 2944: 2882: 2636: 2612: 2593: 2468: 2437: 2317: 1956: 1895: 1874: 1785: 1599: 1494: 1409: 1368:

such as its difficulty and puzzle structure, and conceived the game's storyline.

1361: 1275: 1206: 1096: 836: 809: 756: 590: 571: 513: 473: 396: 354: 350: 218: 123: 101: 89: 2483:

was a failure and that they should make something else. He speculated that the

1716:

from the team that were included in the area via the element of an interactive

6443: 6154: 6105: 4620: 4390: 3836: 3378: 2949: 2806: 2679: 2597: 2138: 2093:

was composed by Michael Land in conjunction with his former college housemate

2014: 1964: 1739: 1490: 1341: 1256: 1036: 1020: 497: 493: 4253: 1498:

aggregate framework of puzzles in Gilbert's projects at LucasArts, including

6350: 5859: 5138: 4597: 4548: 4509: 4235: 3770: 3766:"The SCUMM Diary: Stories behind one of the greatest game engines ever made" 3515: 3301: 2708: 2368: 2313: 2309: 2134: 2047: 1882: 1728: 1701: 1413: 1222: 1159: 1053: 1041: 658:

subsidiaries were reorganized into integrated divisions of the newly formed

655: 642: 534: 379:

was a critical success, but a commercial disappointment. It was followed by

329: 74: 44: 2441:

called it the most eagerly awaited game of 1992. According to Ron Gilbert,

1068:

computer, being reworked into more detailed chromatic images of the game's

1629:

sensibilities. Several months after the game's release, Schafer described

1154:

practices because most of them had shared similar past experiences during

5443: 4865:

Al Bustani, Hareth (December 2018). "In the Chair with Peter McConnell".

4296: 4036: 3742: 3675: 3400: 3107:

Morganti, Emily (May 2013). "10 Things You Didn't Know About LucasArts".

2583:

inventory were rated well as increasing the game's ease of use. Music in

2556: 2321: 2220: 1557: 906: 897: 797: 620:

stemmed from Lucasfilm Games staff's desire to explore unused ideas from

530: 522: 271: 243: 5134:

Buttonless: Incredible iPhone and iPad Games and the Stories Behind Them

3542: 2497:, which became the first LucasArts adventure to sell one million units. 2006:

without the graphical limitations of the title's underlying technology.

6250: 5326: 4823: 4691: 4640: 3798: 3269: 2973: 2404:

and thus was able to coordinate an efficient approach to those issues.

2224: 1899: 1870: 1742:(2010 photograph), served as a source of inspiration for the ending of 1709: 1477: 983:

Three production phases, known as "passes" within the company, divided

468: 337: 4921: 5185: 4969: 4480: 3209:

Wilson, Johnny L. (October 1991). "Behind the Screens at Lucasfilm".

2880:

Wild, Kim (August 2006). "Developer Lookback: LucasArts (Part Two)".

2253: 2228: 2142: 1998: 1634: 1625: 1549: 1545: 1237: 1226: 1214: 1210: 1163: 861: 477: 251: 247: 69: 2624:

ranked the game 29th on their "Top 100 Games of All Time". In 2011,

1332:

aspects. In the game, this is realized by the story being told as a

1270:

That year, Gilbert left LucasArts alongside Shelley Day to co-found

5438:

CU Amiga staff (January 1995). "Monkey Island 2 Rerelease Review".

5416:

Rand, Paul; Boone, Tim (February 1992). "Monkey Island II Review".

3000: 2069: 1548:

entity that they had captured earlier in the game as an improvised

967:

ultimately involved around the same number of development staff as

6245: 6235: 6230: 3349: 2239: 2157: 2078: 2068: 1995: 1945: 1800: 1727: 1445:, and admitted that he would struggle to direct a similar work to 1355: 1189: 1128: 926: 840: 427: 410: 370: 366: 239: 223: 5038: 2467:

reported that both games "sold very poorly on release". Designer

1886:

applying paint. Thereby they finalized the overlaid drawing with

1712:

location with a multitude of references to the game's events and

1708:

films. Also carried over from the proposal was the conceit for a

1240:

releases of adventure games had become widespread by the time of

886:

The revised engine offered programmers shortcut commands for the

640:

titles in favor of ventures with greater consumer appeal such as

5681: 4427: 4088: 3953: 3747: 2596:

relatively smooth, but also noted that installing the game on a

2106: 872: 438: 6313: 5863: 5685: 3853: 2479:, Schafer recalled that the management came and told them that 1846:

most of the art". Purcell mentioned that, whereas the mainline

1291:

According to Ron Gilbert and Tim Schafer, their chief idea for

5004: 4452: 4358:

hands-on and Ron Gilbert interview – adventure like it's 1987"

2538:

received consistently high reviews for all versions, 95% from

1831: 864:

operating system, as with LucasArts' other games at the time.

259: 4889:

Writing Interactive Music for Video Games: A Composer's Guide

3343:

Tichacek, Petr (August 2010). "Retro Sektor – The Making of…

2554:

as a budget game, the reviews remained high getting 91% from

1971:

Aside from his immediate role in the graphics production for

1472:

Gilbert maintained the management of the design: he used the

1433:

could be easily revised so as to retain satisfactory overall

1412:

who appreciated gameplay avenues suited for their decreasing

939:

The overlap between the development assets for the first two

1127:

reported that the sequel was to be released for PCs and the

804:

was supplemented with newly hired personnel such as artists

2046:

directing and coming in and saying, 'No, that character's

1825:, who were divided into two groups: background artists and 847:

for the scripting language (internally dubbed SPUTUM), and

734:

was one of the company' first games to conform, along with

2395:

to the distribution of its development between LucasArts'

2280:

The remake was announced by LucasArts during their annual

1099:

in the game's development. In June 1991, LucasArts showed

3828:

DOUBLE FINE GAME CLUB: Monkey Island 2: LeChuck's Revenge

2077:(2010 photograph) was critical to the development of the 525:

Herman Toothrot, who he previously met on Monkey Island.

5090:"Hilarious Creator Commentary Jazzes Up Monkey Island 2" 1990:

The finished template image for the game's cover was an

883:, which replaced the text-only descriptions with icons. 670:

produced under the LucasArts brand name. Development of

4819:

Composer Peter McConnell on Communicating Cartooniness"

1476:

software on a Macintosh computer to generate schematic

610:

practices which he likened to the narrative setting of

566:

came about during its planning by the game's director,

4505:

creators stick to their roots with new adventure game"

4032:"Gamespot.com Presents: An interview with Ron Gilbert" 1255:

rate than that of contemporary high-end PCs' internal

2678:. LucasArts Entertainment Company LLC. Archived from 2455:

were still kicking our ass completely!" A writer for

2300:

s and a return of the original voice cast, including

915:

after suggestion, which thus introduced an aspect of

5060:"Creator Commentary Comes To Monkey Island 2 Remake" 4940:"Monkey Island Special Edition Collection Announced" 6397: 6348: 6259: 6223: 6122: 6090: 6065: 6040: 5989: 5936: 5897: 5795: 5774: 5721: 2188:. The iMUSE technology enabled the game to feature 307: 295: 277: 229: 217: 205: 185: 167: 139: 117: 107: 95: 83: 50: 38: 24: 4965:"Monkey Island 2 Special Edition Hits this Summer" 4290:Monkey Island 2 Special Edition: LeChuck's Revenge 3612:. Infotainment World Inc. pp. 200, 204, 207. 1449:in the face of formalized development procedures. 1002:. In the first "pass", artists originally created 835:uses the fifth revision of LucasArts' proprietary 808:and Larry Ahern as well as a scripter-programmer. 598:. He proceeded to conceive ideas specifically for 5181:Success Could Mean More Adventure From LucasArts" 4448:"The Past, Present and Future of Adventure Games" 3503: 3501: 3499: 3497: 3495: 3493: 3491: 3489: 3487: 650:In 1990, around the time that the development of 4025: 4023: 3912:: CS1 maint: bot: original URL status unknown ( 3485: 3483: 3481: 3479: 3477: 3475: 3473: 3471: 3469: 3467: 3068: 3066: 3064: 3062: 3060: 3058: 3056: 3054: 3052: 3050: 3048: 3046: 3044: 1556:. Grossman explained that, whereas the intended 1158:, as an outgrowth of the necessity to reside in 1010:. The outline drawings were processed through a 788:also included lead artist and cover illustrator 5661:"Review: Monkey Island 1 and 2 Special Edition" 3574: 3572: 3570: 3568: 3566: 3564: 3562: 3390: 3388: 3367:Scott, Ryan; Molloy, Sean (October 2007). "The 3226: 3224: 3222: 3042: 3040: 3038: 3036: 3034: 3032: 3030: 3028: 3026: 3024: 2564:is often considered one of the greatest in the 2256:of the sequel with updated audiovisuals titled 1784:project marked his discovery of a hypothetical 1612:As with the game's predecessor, the puzzles in 900:to finalize the object-oriented programming in 4532: 4530: 4528: 4526: 4524: 4391:"Ron Gilbert's Words of Wisdom to Tim Schafer" 4220: 4218: 4216: 4214: 4053: 4051: 3969: 3967: 3965: 3963: 3450:Staff (May 2013). "The Art of Steve Purcell". 3362: 3360: 3254: 3252: 3204: 3202: 3200: 3198: 3196: 3194: 3192: 3190: 3188: 3186: 3184: 3182: 3180: 3178: 3176: 3102: 3100: 2632:the eighth-best adventure game ever released. 2312:in his final performance as LeChuck, and even 6325: 5875: 5697: 5126: 5124: 5122: 5120: 5118: 5116: 4860: 4858: 4499:Dimopoulos, Konstantinos (December 2, 2014). 4058:Staff (December 1991). "Coming Attractions". 3894:. Archived from the original on July 29, 2021 3821: 3819: 3817: 3815: 3813: 3759: 3757: 3581:"Arcade Attack Podcast – March (2 of 4) 2018" 3445: 3443: 3174: 3172: 3170: 3168: 3166: 3164: 3162: 3160: 3158: 3156: 2875: 2873: 2871: 2869: 2867: 2865: 2863: 2861: 2859: 2857: 2792: 2790: 2788: 2786: 2784: 2782: 2780: 2778: 2776: 2774: 1364:(2013 photograph) supervised design areas of 8: 5433: 5431: 5299:Staff (August 2009). "Master of Unreality". 5294: 5292: 4856: 4854: 4852: 4850: 4848: 4846: 4844: 4842: 4840: 4838: 3738:Secret of Monkey Island 2: LeChuck's Revenge 3441: 3439: 3437: 3435: 3433: 3431: 3429: 3427: 3425: 3423: 3286: 3284: 2772: 2770: 2768: 2766: 2764: 2762: 2760: 2758: 2756: 2754: 2550:for the PC version. When Kixx XL rereleased 2402:The Secret of Monkey Island: Special Edition 2389:The Secret of Monkey Island: Special Edition 2380:The Secret of Monkey Island: Special Edition 2361:The Secret of Monkey Island: Special Edition 2350:The Secret of Monkey Island: Special Edition 931:The designers fashioned the presentation of 602:before Lucasfilm Games set about publishing 5493:"Monkey Island 2: LeChuck's Revenge review" 5349:"Monkey Island 2: LeChuck's Revenge for PC" 4808: 4806: 4804: 4802: 4800: 4798: 4796: 4319: 4317: 4315: 4313: 4311: 4170: 4168: 4166: 4164: 4162: 4160: 4158: 4156: 4154: 4152: 3877: 3875: 3873: 3871: 3869: 3731: 3729: 3727: 3725: 3723: 3721: 3719: 3717: 3715: 3713: 3711: 3709: 2991: 2989: 2987: 2695: 2693: 2691: 2689: 784:until its completion. Staff returning from 6608:Video games developed in the United States 6332: 6318: 6310: 5882: 5868: 5860: 5704: 5690: 5682: 5387: 5385: 5383: 5381: 5379: 4676: 4674: 4672: 4670: 4281: 4279: 4277: 4275: 4273: 4228:(Spring 1992). "The Kitchen Sink Factor". 4001: 3999: 3997: 3995: 3791: 3789: 3787: 3785: 3707: 3705: 3703: 3701: 3699: 3697: 3695: 3693: 3691: 3689: 3596: 3594: 2933: 2931: 2929: 2927: 2925: 2508: 2156:served as the first LucasArts game to use 654:was sanctioned, Lucasfilm Games and other 30: 21: 5343: 5341: 5170: 5168: 5166: 5164: 5162: 5160: 5158: 4993: 4991: 4739: 4737: 4735: 4708: 4706: 4668: 4666: 4664: 4662: 4660: 4658: 4656: 4654: 4652: 4650: 3601:Ashburn, Jo (March 1995). "The Making of 3533: 3531: 3529: 3527: 3525: 3338: 3336: 3235:Guide to Tim Schafer & Double Fine". 2904:Fish, Eliot (January 2005). "The Vault – 1963:s staff of the works (pictured above) of 5663:. Gaming Bus. 2011-09-19. Archived from 4605:from the original on September 13, 2012. 3374:Games for Windows: The Official Magazine 3334: 3332: 3330: 3328: 3326: 3324: 3322: 3320: 3318: 3316: 3126: 3124: 2271:Monkey Island Special Edition Collection 2081:interactive music engine, introduced in 365:was the sixth LucasArts game to use the 5920:Zak McKracken and the Alien Mindbenders 5322:"Geniuses at Play; Write the Lightning" 4593:"Man of Adventure: Ron Gilbert Profile" 4591:Matulef, Jeffrey (September 11, 2012). 4412: 4410: 4408: 4370:from the original on February 18, 2017. 4304:from the original on November 28, 2015. 4266:from the original on December 23, 2018. 3396:"Video Game History Month: Tim Schafer" 3353:(in Czech) (194). Burda Praha: 103–104. 3309:from the original on February 14, 2011. 3017:from the original on September 4, 2015. 2963: 2961: 2959: 2662: 2487:series' reputation grew as a result of 1878:digitally lent them "a greater range". 1162:and study at underground facilities on 5966:Indiana Jones and the Fate of Atlantis 5411: 5409: 5407: 5405: 5222: 5211: 5193:from the original on November 9, 2020. 4539:Day of the Tentacle – Maniac Mansion 2 4435:from the original on January 26, 2013. 4079:Staff (August 1991). "Lucasfilm Kills 3905: 3659:from the original on February 8, 2013. 3231:Gordon, Jonathan (January 2021). "The 2899: 2897: 2803:Series with Special Guest Ron Gilbert" 2670: 2668: 2666: 1109:Indiana Jones and the Fate of Atlantis 822:Indiana Jones and the Fate of Atlantis 755:co-designers, programmers and writers 737:Indiana Jones and the Fate of Atlantis 6593:Video games scored by Peter McConnell 6268:Rogue Leaders: The Story of LucasArts 6099:Zak McKracken: Between Time and Space 4341:from the original on August 14, 2014. 3796:"Hall of Fame: Guybrush Threepwood". 3076:Rogue Leaders: The Story of LucasArts 2676:"Part Two: The Classics, 1990 – 1994" 1313:Competing games in the genre such as 910:commented that SCUMM's capacity as a 7: 6603:Video games set on fictional islands 6583:Video games scored by Clint Bajakian 4352:Jenkins, David (February 17, 2017). 4131:Krueger, Pamela (October 31, 1998). 3802:. The Ultimate Retro Companion (3). 3764:Staff; Bevan, Mike (July 12, 2013). 3587:from the original on March 16, 2018. 2799:"Retronauts Vol. IV Episode 45: The 2513: 2445:and its predecessor "sold well, but 2105:and reformulated into PC-compatible 1225:, LucasArts' product distributor in 332:in 1991. Players control the pirate 6598:Video games set in the 17th century 5518:"CGW Salutes The Games of the Year" 4831:from the original on March 8, 2016. 4789:from the original on March 1, 2010. 4728:from the original on June 20, 2009. 4699:from the original on March 9, 2016. 4488:from the original on July 29, 2021. 4460:from the original on March 3, 2015. 4145:from the original on July 28, 2021. 4044:from the original on June 20, 2000. 3976:Monkey Island II: LeChuck's Revenge 3778:from the original on March 9, 2015. 3682:from the original on July 28, 2021. 3672:"Humongous, Hulabee founder jailed" 3277:from the original on March 9, 2016. 2850:from the original on June 10, 2011. 2813:from the original on July 28, 2021. 2702:Monkey Island 2: LeChuck's Revenge 2504: 2160:(iMUSE), the company's proprietary 1658:franchises, and an allusion to the 1263:into the CD-ROM updated version of 457:Several months after the events of 6588:Video games scored by Michael Land 6367:Monkey Island 2: LeChuck's Revenge 6049:Indiana Jones and the Iron Phoenix 5959:Monkey Island 2: LeChuck's Revenge 5927:Indiana Jones and the Last Crusade 5737:Monkey Island 2: LeChuck's Revenge 5603:"Top 100 All-Time Adventure Games" 5252:from the original on July 9, 2017. 4886:Sweet, Michael (October 2, 2014). 4759:from the original on July 8, 2011. 4566:Monkey Island 2: LeChuck's Revenge 4446:Andreadis, Kosta (March 2, 2015). 4205:Monkey Island 2: LeChuck's Revenge 3886:Monkey Island 2: LeChuck's Revenge 3579:Wallett, Adrian (March 12, 2018). 3408:from the original on March 1, 2014 3345:Monkey Island 2: LeChuck's Revenge 3135:Monkey Island 2: LeChuck's Revenge 2980:from the original on July 8, 2014. 2968:Rignall, Jaz (December 26, 2015). 2727:Monkey Island 2: LeChuck's Revenge 2592:made using the Amiga version's 11 2580:Monkey Island 2: LeChuck's Revenge 2433:Monkey Island 2: LeChuck's Revenge 2158:Interactive Music Streaming Engine 2154:Monkey Island 2: LeChuck's Revenge 2091:Monkey Island 2: LeChuck's Revenge 2083:Monkey Island 2: LeChuck's Revenge 1952:Monkey Island 2: LeChuck's Revenge 1811:Monkey Island 2: LeChuck's Revenge 1203:Monkey Island 2: LeChuck's Revenge 1196:Monkey Island 2: LeChuck's Revenge 1101:Monkey Island 2: LeChuck's Revenge 714:Monkey Island 2: LeChuck's Revenge 672:Monkey Island 2: LeChuck's Revenge 321:Monkey Island 2: LeChuck's Revenge 25:Monkey Island 2: LeChuck's Revenge 14: 5809:Star Wars: The Force Unleashed II 5615:from the original on June 4, 2012 4517:from the original on May 2, 2015. 4102:Kalata, Kurt (December 5, 2008). 3555:from the original on May 3, 2021. 3131:Kalata, Kurt (December 8, 2009). 2729:(DOS). Level/area: Scabb Island. 1881:After experimenting with various 1838:was growing close to completion. 1336:by Guybrush to his love interest 944:Grossman, who further noted that 904:. However, in 1992 Rik Haynes of 792:; animator Sean Turner; composer 712:In 1990, prior to the release of 496:party, a spitting competition, a 6430:Double Fine Happy Action Theater 5844: 5843: 5528:from the original on 2 July 2014 5305:. No. 204. United Kingdom: 3073:Smith, Rob (November 26, 2008). 2700:Lucero, Judith (December 1991). 2544:for the Amiga version, 96% from 2414:Monkey Island 2: Special Edition 2365:Monkey Island 2: Special Edition 2333:Monkey Island 2: Special Edition 2320:was also confirmed as Dread and 2258:Monkey Island 2: Special Edition 1589: 1580: 1267:, released in 1992 for IBM PCs. 1194:LucasArts’ choice to distribute 1014:color scanner and the resulting 843:. The company added a dedicated 702: 693: 545:above-ground in the "Big Whoop" 369:engine and the first to use the 6543:Point-and-click adventure games 6056:Sam & Max: Freelance Police 5549:148: 150 Best Games of All Time 5499:from the original on 2007-06-02 5473:from the original on 2007-06-13 5365:from the original on 2009-03-06 5131:Rigney, Ryan (April 19, 2016). 5102:from the original on 2010-06-25 5070:from the original on 2010-05-29 4977:from the original on 2010-03-14 3892:The International House of Mojo 3884:"LucasArts' Secret History #6: 3882:Capel, Chris (August 4, 2008). 3670:Rose, Alan (December 6, 2005). 3215:. No. 87. pp. 32, 34. 1064:graphics editing software on a 998:methods to generate assets for 912:high-level programming language 740:. This meant that a dedicated 660:LucasArts Entertainment Company 349:(1990), development was led by 6503:Fiction about Louisiana Voodoo 5601:AG Staff (December 30, 2011). 5563:Top 50 PC Games of All Time". 5524:. November 1992. p. 110. 5495:. Adventureclassicgaming.com. 5491:Linkola, Joonas (1997-11-06). 5265:"ECTS: Lucas Monkeying Around" 5240:Skylar, John (June 22, 2014). 4963:Crecente, Brian (2010-03-10). 3931:(7). Digital Expressions: 5–6. 2797:Mackey, Bob (August 3, 2015). 2375:than for the previous remake. 1817:Shortly before the release of 1620:In 2014, Gilbert acknowledged 1115:. That month, Paul Presley of 1105:The Secret of Monkey Island II 1044:department on the artwork for 1: 6613:Video games with commentaries 5569:. No. 5. pp. 43–56. 4813:Mackey, Bob (March 8, 2016). 4681:Mackey, Bob (March 8, 2016). 3974:Lopez, Amaya (August 1991). " 3835:. May 4, 2013. Archived from 3259:Mackey, Bob (June 25, 2018). 2938:Owen, Steve (January 1999). " 1910:For the animated graphics in 1344:, and he thus sought to make 668:adventure game by the company 5816:Poker Night at the Inventory 5263:Staff (September 11, 1996). 5242:"Interview with Ron Gilbert" 5175:Fahey, Mike (May 27, 2010). 5088:Mastrapa, Gus (2010-06-23). 4106:Secret of Monkey Island, The 3942:Presley, Paul (June 1991). " 3633:Ryan, James (July 2, 1998). 2288:Mystery Science Theater 3000 1916:Industrial Light & Magic 1732:Ron Gilbert's favorite film 1602:(left, 2016 photograph) and 1169:Summarizing his overview of 1052:, in particular that of the 952:performance as opposed to a 720:(left) to offices in nearby 6360:The Secret of Monkey Island 5952:The Secret of Monkey Island 5730:The Secret of Monkey Island 5581:"Top 100 Games of All Time" 5457:Howson, Greg (2005-07-06). 4894:Addison-Wesley Professional 4537:Brown, Khris (Fall 1992). " 3944:The Secret of Monkey Island 3859:September 27, 2013, at the 3371:Interview: Dave Grossman". 3291:Chris Remo (July 6, 2009). 2906:The Secret of Monkey Island 2345:The Secret of Monkey Island 2266:The Secret of Monkey Island 2250:The Secret of Monkey Island 2166:The Secret of Monkey Island 2129:Although the soundtrack of 1985:The Secret of Monkey Island 1528:The Secret of Monkey Island 1459:The Secret of Monkey Island 1326:The Secret of Monkey Island 1297:The Secret of Monkey Island 1265:The Secret of Monkey Island 1205:was originally released on 969:The Secret of Monkey Island 816:, was appointed to produce 786:The Secret of Monkey Island 753:The Secret of Monkey Island 676:The Secret of Monkey Island 622:The Secret of Monkey Island 596:The Secret of Monkey Island 576:The Secret of Monkey Island 564:The Secret of Monkey Island 539:The Secret of Monkey Island 460:The Secret of Monkey Island 346:The Secret of Monkey Island 328:developed and published by 6644: 6618:Xbox 360 Live Arcade games 6012:The Curse of Monkey Island 5980:Sam & Max Hit the Road 5744:The Curse of Monkey Island 4998:Clark, Matt (2010-06-16). 4562:Turi, Tim (July 8, 2010). 4417:Staff (January 25, 2013). 4329:"Puzzle Dependency Charts" 3736:Haynes, Rik (June 1992). " 3635:"PROFILE; On the Job With 2942:Interview - Ron Gilbert". 2294:The Curse of Monkey Island 2282:Game Developers Conference 1778:The Curse of Monkey Island 1213:as well as for MS-DOS and 1103:, then temporarily titled 382:The Curse of Monkey Island 6578:Video games about zombies 6573:Video games about pirates 6558:Single-player video games 6538:PlayStation Network games 6031:Escape from Monkey Island 5891:LucasArts adventure games 5839: 5751:Escape from Monkey Island 5559:Staff (April 1994). "The 2517: 2514: 2343:his proposal to recreate 1251:medium, such as a slower 1113:Consumer Electronics Show 763:also returned to work on 29: 16:1991 adventure video game 6340:Video games designed by 5422:Computer and Video Games 4286:Staff (April 23, 2010). 3888:– Developer Reflections" 3293:"Back in the Water: The 2826:"The Secret of Creating 2547:Computer and Video Games 2435:was highly anticipated; 2263:The Special Editions of 1644:Pirates of the Caribbean 1489:representations akin to 869:graphical user interface 562:The idea of a sequel to 500:, a drinking contest, a 6553:ScummVM-supported games 6488:Cancelled Sega CD games 6282:Humongous Entertainment 6081:Return to Monkey Island 5765:Return to Monkey Island 4922:"Disney Guest Services" 4399:Double Fine Productions 3609:Official Player's Guide 3083:. pp. 51, 53, 65. 2252:, LucasArts released a 2097:and high school friend 1272:Humongous Entertainment 1046:the packaging materials 820:at LucasArts alongside 392:Return to Monkey Island 6298:The LucasArts Archives 6074:Tales of Monkey Island 5758:Tales of Monkey Island 5221:Cite journal requires 4718:"Cartographer's Cabin" 4474:(September 26, 2017). 4395:Double Fine Adventure! 2324:as additional voices. 2245: 2232:that was developed ". 2086: 1994:by Purcell drawn on a 1968: 1814: 1747: 1369: 1199: 936: 722:San Rafael, California 666:thus became the first 420: 157:James Alexander Dollar 5522:Computer Gaming World 5031:"Monkey Island 2: SE" 4423:Erfinder Ron Gilbert" 4254:"Friday Questions #2" 3839:on September 27, 2013 3212:Computer Gaming World 2999:(September 1, 2015). 2606:Computer Gaming World 2243: 2072: 2013:as reminiscent of an 1949: 1804: 1731: 1359: 1193: 1087:the latest builds of 1085:Computer Gaming World 1074:DeluxePaint Animation 930: 893:Computer Gaming World 867:Also revised was the 574:. Gilbert envisioned 508:, rigged gambling, a 414: 6493:Classic Mac OS games 5590:(44): 77. July 1996. 5334:on October 24, 2007. 5141:. pp. 146–147. 4401:. February 24, 2012. 4252:(January 12, 2018). 4120:on January 14, 2018. 4085:The One for ST Games 3149:on January 11, 2018. 2412:, and remarked that 1950:The cover image for 1457:Whereas the work of 1352:Two difficulty modes 828:Engine and interface 674:began shortly after 6533:PlayStation 3 games 6528:Monkey Island games 6374:Day of the Tentacle 5973:Day of the Tentacle 5782:Guybrush Threepwood 4817:Day of the Tentacle 4685:Day of the Tentacle 4683:"Behind the Art of 4580:on August 25, 2019. 4327:(August 10, 2014). 4113:Hardcore Gaming 101 3263:Day of the Tentacle 3142:Hardcore Gaming 101 2952:. pp. 160–163. 2824:Staff (Fall 1990). 2511: 2052:Day of the Tentacle 1474:MicroPlanner X-Pert 1141:Day of the Tentacle 919:in the production. 849:background programs 465:Guybrush Threepwood 334:Guybrush Threepwood 6568:Video game sequels 6041:Cancelled projects 5639:Rock Paper Shotgun 5246:Night Dive Studios 4926:support.disney.com 3804:Imagine Publishing 3652:The New York Times 3458:Imagine Publishing 3265:: An Oral History" 3115:Imagine Publishing 2888:Imagine Publishing 2509: 2246: 2087: 1969: 1815: 1748: 1370: 1287:Overall principles 1282:Design and writing 1200: 1186:Release and format 1070:background scenery 1016:digitized graphics 937: 858:IBM PC compatibles 856:was developed for 608:project management 504:, a sunken ship's 421: 161:Michael McLaughlin 6460: 6459: 6307: 6306: 5857: 5856: 5641:. 16 October 2020 5459:"Point and click" 5440:CU Amiga Magazine 5309:. pp. 82–87. 5307:Future Publishing 4873:Future Publishing 4773:(March 2, 2011). 4747:(March 2, 2011). 4716:(June 16, 2009). 4187:Future Publishing 4083:Adventure Game". 4066:Future Publishing 4016:. pp. 82–87. 4014:Future Publishing 3986:Dennis Publishing 3583:. Arcade Attack. 3243:Future Publishing 3090:978-0-8118-6184-7 2682:on June 23, 2006. 2570:review aggregator 2532: 2531: 2194:sound engineering 2190:progressive music 2103:Digital Performer 2018:book illustration 1923:computer graphics 1562:the United States 1375:difficulty levels 1348:tougher overall. 1295:was to expand on 871:, which employed 613:Lord of the Flies 502:glass-bottom boat 424:LeChuck's Revenge 317: 316: 302:Graphic adventure 6635: 6473:1991 video games 6334: 6327: 6320: 6311: 6113:Thimbleweed Park 5884: 5877: 5870: 5861: 5847: 5846: 5706: 5699: 5692: 5683: 5676: 5675: 5673: 5672: 5657: 5651: 5650: 5648: 5646: 5631: 5625: 5624: 5622: 5620: 5608:Adventure Gamers 5598: 5592: 5591: 5585: 5577: 5571: 5570: 5556: 5550: 5544: 5538: 5537: 5535: 5533: 5514: 5508: 5507: 5505: 5504: 5488: 5482: 5481: 5479: 5478: 5454: 5448: 5447: 5435: 5426: 5425: 5413: 5400: 5399: 5389: 5374: 5373: 5371: 5370: 5345: 5336: 5335: 5330:. Archived from 5317: 5311: 5310: 5296: 5287: 5286: 5284: 5282: 5273:. Archived from 5260: 5254: 5253: 5237: 5231: 5230: 5224: 5219: 5217: 5209: 5201: 5195: 5194: 5172: 5153: 5152: 5128: 5111: 5110: 5108: 5107: 5085: 5079: 5078: 5076: 5075: 5056: 5050: 5049: 5047: 5046: 5037:. Archived from 5027: 5021: 5020: 5018: 5017: 5008:. Archived from 4995: 4986: 4985: 4983: 4982: 4960: 4954: 4953: 4951: 4950: 4944:TrueAchievements 4936: 4930: 4929: 4918: 4912: 4911: 4883: 4877: 4876: 4862: 4833: 4832: 4810: 4791: 4790: 4779:Memory For Sale" 4767: 4761: 4760: 4749:"The Bloody Lip" 4741: 4730: 4729: 4710: 4701: 4700: 4678: 4645: 4644: 4638: 4636: 4619:(May 29, 2009). 4613: 4607: 4606: 4588: 4582: 4581: 4576:. Archived from 4559: 4553: 4552: 4534: 4519: 4518: 4496: 4490: 4489: 4468: 4462: 4461: 4443: 4437: 4436: 4414: 4403: 4402: 4378: 4372: 4371: 4356:Thimbleweed Park 4349: 4343: 4342: 4321: 4306: 4305: 4283: 4268: 4267: 4246: 4240: 4239: 4222: 4209: 4208: 4197: 4191: 4190: 4172: 4147: 4146: 4128: 4122: 4121: 4116:. Archived from 4099: 4093: 4092: 4076: 4070: 4069: 4055: 4046: 4045: 4030:DeMaria, Rusel. 4027: 4018: 4017: 4012:. No. 204. 4003: 3990: 3989: 3971: 3958: 3957: 3939: 3933: 3932: 3929:Enchanted Realms 3924: 3918: 3917: 3911: 3903: 3901: 3899: 3879: 3864: 3852: 3846: 3844: 3823: 3808: 3807: 3806:: 188–189. 2010. 3793: 3780: 3779: 3761: 3752: 3751: 3733: 3684: 3683: 3667: 3661: 3660: 3630: 3624: 3623: 3598: 3589: 3588: 3576: 3557: 3556: 3535: 3520: 3519: 3505: 3462: 3461: 3447: 3418: 3417: 3415: 3413: 3404:. May 12, 2011. 3392: 3383: 3382: 3364: 3355: 3354: 3340: 3311: 3310: 3288: 3279: 3278: 3256: 3247: 3246: 3228: 3217: 3216: 3206: 3151: 3150: 3145:. Archived from 3128: 3119: 3118: 3104: 3095: 3094: 3070: 3019: 3018: 3001:"Happy Birthday 2993: 2982: 2981: 2965: 2954: 2953: 2935: 2920: 2919: 2916:Future Australia 2901: 2892: 2891: 2877: 2852: 2851: 2821: 2815: 2814: 2794: 2749: 2748: 2740:Bart & Fink: 2719: 2713: 2712: 2697: 2684: 2683: 2672: 2626:Adventure Gamers 2600:is recommended. 2512: 2418: 2337: 2299: 2216:background music 2170: 2060: 2026: 1962: 1860: 1766: 1695: 1593: 1584: 1532: 1463: 1443:design documents 1402: 1394: 1309: 1301: 1246: 1175: 1156:higher education 989: 917:iterative design 881:player inventory 776:s then-director 775: 706: 697: 680: 426:plays like most 395:, set after the 282:Original version 236:Original version 163:Collette Michaud 73: 64: 34: 22: 6643: 6642: 6638: 6637: 6636: 6634: 6633: 6632: 6563:U.S. Gold games 6518:LucasArts games 6478:Adventure games 6463: 6462: 6461: 6456: 6393: 6344: 6338: 6308: 6303: 6255: 6219: 6210:Michael Stemmle 6190:Peter McConnell 6130:Jonathan Ackley 6118: 6086: 6061: 6036: 5985: 5932: 5893: 5888: 5858: 5853: 5835: 5791: 5770: 5717: 5710: 5680: 5679: 5670: 5668: 5659: 5658: 5654: 5644: 5642: 5633: 5632: 5628: 5618: 5616: 5600: 5599: 5595: 5583: 5579: 5578: 5574: 5558: 5557: 5553: 5545: 5541: 5531: 5529: 5516: 5515: 5511: 5502: 5500: 5490: 5489: 5485: 5476: 5474: 5456: 5455: 5451: 5437: 5436: 5429: 5415: 5414: 5403: 5395:Amiga Computing 5391: 5390: 5377: 5368: 5366: 5359:CBS Interactive 5347: 5346: 5339: 5319: 5318: 5314: 5298: 5297: 5290: 5280: 5278: 5277:on June 6, 1997 5270:Next Generation 5262: 5261: 5257: 5239: 5238: 5234: 5220: 5210: 5203: 5202: 5198: 5174: 5173: 5156: 5149: 5130: 5129: 5114: 5105: 5103: 5087: 5086: 5082: 5073: 5071: 5058: 5057: 5053: 5044: 5042: 5029: 5028: 5024: 5015: 5013: 4997: 4996: 4989: 4980: 4978: 4962: 4961: 4957: 4948: 4946: 4938: 4937: 4933: 4920: 4919: 4915: 4904: 4885: 4884: 4880: 4864: 4863: 4836: 4812: 4811: 4794: 4769: 4768: 4764: 4743: 4742: 4733: 4712: 4711: 4704: 4680: 4679: 4648: 4634: 4632: 4623:Monkey Island 2 4621:"The ending to 4615: 4614: 4610: 4590: 4589: 4585: 4561: 4560: 4556: 4536: 4535: 4522: 4498: 4497: 4493: 4470: 4469: 4465: 4445: 4444: 4440: 4419:"Interview mit 4416: 4415: 4406: 4389: 4386:Wayback Machine 4379: 4375: 4351: 4350: 4346: 4323: 4322: 4309: 4285: 4284: 4271: 4248: 4247: 4243: 4224: 4223: 4212: 4201:Lucasfilm Games 4199: 4198: 4194: 4174: 4173: 4150: 4130: 4129: 4125: 4101: 4100: 4096: 4078: 4077: 4073: 4057: 4056: 4049: 4029: 4028: 4021: 4005: 4004: 3993: 3973: 3972: 3961: 3941: 3940: 3936: 3926: 3925: 3921: 3904: 3897: 3895: 3881: 3880: 3867: 3861:Wayback Machine 3854:Full transcript 3842: 3840: 3825: 3824: 3811: 3795: 3794: 3783: 3763: 3762: 3755: 3735: 3734: 3687: 3669: 3668: 3664: 3632: 3631: 3627: 3620: 3600: 3599: 3592: 3578: 3577: 3560: 3543:"Judith Lucero" 3541:(May 2, 2021). 3537: 3536: 3523: 3507: 3506: 3465: 3449: 3448: 3421: 3411: 3409: 3394: 3393: 3386: 3366: 3365: 3358: 3342: 3341: 3314: 3290: 3289: 3282: 3258: 3257: 3250: 3230: 3229: 3220: 3208: 3207: 3154: 3130: 3129: 3122: 3106: 3105: 3098: 3091: 3081:Chronicle Books 3072: 3071: 3022: 2995: 2994: 2985: 2967: 2966: 2957: 2948:. No. 65. 2937: 2936: 2923: 2903: 2902: 2895: 2879: 2878: 2855: 2844:Lucasfilm Games 2823: 2822: 2818: 2796: 2795: 2752: 2723:Lucasfilm Games 2721: 2720: 2716: 2711:. pp. 3–5. 2699: 2698: 2687: 2674: 2673: 2664: 2659: 2650:Special Edition 2646: 2644:Special Edition 2630:Monkey Island 2 2618:Monkey Island 2 2590:Monkey Island 2 2585:Monkey Island 2 2566:point-and-click 2562:Monkey Island 2 2552:Monkey Island 2 2541:Amiga Computing 2536:Monkey Island 2 2533: 2510:Aggregate score 2507: 2503: 2489:software piracy 2477:Monkey Island 2 2473:Monkey Island 2 2458:Next Generation 2443:Monkey Island 2 2430: 2425: 2416: 2410:Monkey Island 2 2393:Monkey Island 2 2384:Monkey Island 2 2373:Monkey Island 2 2354:Monkey Island 2 2335: 2330: 2297: 2238: 2236:Special edition 2207:Monkey Island 2 2186:Monkey Island 2 2168: 2151: 2131:Monkey Island 2 2112:music sequencer 2095:Peter McConnell 2075:Peter McConnell 2067: 2058: 2056:Monkey Island 2 2039:Monkey Island 2 2034: 2024: 2022:Monkey Island 2 1977:Monkey Island 2 1973:Monkey Island 2 1960: 1944: 1936:Monkey Island 2 1912:Monkey Island 2 1908: 1888:colored pencils 1867:Monkey Island 2 1858: 1856:Monkey Island 2 1852:Monkey Island 2 1836:Monkey Island 2 1823:Monkey Island 2 1819:Monkey Island 2 1799: 1794: 1782:Monkey Island 2 1773:Monkey Island 2 1764: 1753:Monkey Island 2 1744:Monkey Island 2 1735:Blazing Saddles 1726: 1693: 1691:Monkey Island 2 1687:Monkey Island 2 1683: 1675:Monkey Island 2 1631:Monkey Island 2 1622:Monkey Island 2 1614:Monkey Island 2 1610: 1609: 1608: 1607: 1596: 1595: 1594: 1586: 1585: 1574: 1566:Monkey Island 2 1542:Monkey Island 2 1530: 1520:Monkey Island 2 1515:Monkey Island 2 1507:Monkey Island 2 1500:Monkey Island 2 1483:Monkey Island 2 1466:Monkey Island 2 1461: 1455: 1447:Monkey Island 2 1431:Monkey Island 2 1426:Monkey Island 2 1421:Monkey Island 2 1400: 1398:Monkey Island 2 1392: 1383:Monkey Island 2 1379:Monkey Island 2 1366:Monkey Island 2 1354: 1346:Monkey Island 2 1320:King's Quest IV 1307: 1305:Monkey Island 2 1299: 1293:Monkey Island 2 1289: 1284: 1261:Monkey Island 2 1244: 1242:Monkey Island 2 1231:Monkey Island 2 1219:Monkey Island 2 1188: 1179:Monkey Island 2 1173: 1171:Monkey Island 2 1144:. Schafer told 1136:Monkey Island 2 1093:Monkey Island 2 1089:Monkey Island 2 1078:Monkey Island 2 1050:Monkey Island 2 1035:which featured 1033:Monkey Island 2 1023:for the game's 1000:Monkey Island 2 987: 985:Monkey Island 2 981: 973:Monkey Island 2 965:Monkey Island 2 961:Monkey Island 2 946:Monkey Island 2 933:Monkey Island 2 925: 902:Monkey Island 2 877:point-and-click 854:Monkey Island 2 833:Monkey Island 2 830: 818:Monkey Island 2 814:Electronic Arts 802:Monkey Island 2 782:Monkey Island 2 773: 765:Monkey Island 2 746:Monkey Island 2 732:Monkey Island 2 728: 727: 726: 725: 718:Skywalker Ranch 709: 708: 707: 699: 698: 687: 678: 664:Monkey Island 2 652:Monkey Island 2 634:Monkey Island 2 629:Monkey Island 2 618:Monkey Island 2 600:Monkey Island 2 568:Lucasfilm Games 560: 555: 510:library catalog 455: 435:adventure games 432:point-and-click 417:Monkey Island 2 409: 401:Monkey Island 2 377:Monkey Island 2 373:sound system. 363:Monkey Island 2 290: 288:Special edition 286: 284: 258: 256:Special edition 254: 238: 198: 196:Peter McConnell 194: 180: 178: 176: 174: 162: 160: 158: 156: 154: 152: 148: 134: 132: 130: 126: 79: 68: 59: 20: 19:1991 video game 17: 12: 11: 5: 6641: 6639: 6631: 6630: 6625: 6623:Xbox 360 games 6620: 6615: 6610: 6605: 6600: 6595: 6590: 6585: 6580: 6575: 6570: 6565: 6560: 6555: 6550: 6545: 6540: 6535: 6530: 6525: 6520: 6515: 6510: 6508:FM Towns games 6505: 6500: 6495: 6490: 6485: 6480: 6475: 6465: 6464: 6458: 6457: 6455: 6454: 6447: 6440: 6433: 6426: 6419: 6412: 6404: 6402: 6395: 6394: 6392: 6391: 6384: 6377: 6370: 6363: 6355: 6353: 6346: 6345: 6339: 6337: 6336: 6329: 6322: 6314: 6305: 6304: 6302: 6301: 6294: 6289: 6287:Telltale Games 6284: 6279: 6275:Maniac Mansion 6271: 6263: 6261: 6257: 6256: 6254: 6253: 6248: 6243: 6238: 6233: 6227: 6225: 6221: 6220: 6218: 6217: 6212: 6207: 6202: 6197: 6195:Brian Moriarty 6192: 6187: 6182: 6177: 6172: 6167: 6162: 6157: 6152: 6147: 6142: 6140:Clint Bajakian 6137: 6132: 6126: 6124: 6120: 6119: 6117: 6116: 6109: 6102: 6094: 6092: 6088: 6087: 6085: 6084: 6077: 6069: 6067: 6066:Licensed games 6063: 6062: 6060: 6059: 6052: 6044: 6042: 6038: 6037: 6035: 6034: 6027: 6015: 6008: 6001: 5993: 5991: 5987: 5986: 5984: 5983: 5976: 5969: 5962: 5955: 5948: 5940: 5938: 5934: 5933: 5931: 5930: 5923: 5916: 5913:Maniac Mansion 5909: 5901: 5899: 5895: 5894: 5889: 5887: 5886: 5879: 5872: 5864: 5855: 5854: 5852: 5851: 5840: 5837: 5836: 5834: 5833: 5830:Sea of Thieves 5826: 5819: 5812: 5805: 5799: 5797: 5793: 5792: 5790: 5789: 5784: 5778: 5776: 5772: 5771: 5769: 5768: 5761: 5754: 5747: 5740: 5733: 5725: 5723: 5719: 5718: 5711: 5709: 5708: 5701: 5694: 5686: 5678: 5677: 5652: 5626: 5593: 5572: 5551: 5539: 5509: 5483: 5449: 5427: 5401: 5375: 5337: 5312: 5288: 5255: 5232: 5223:|journal= 5196: 5154: 5147: 5112: 5080: 5066:. 2010-04-26. 5051: 5022: 4987: 4955: 4931: 4913: 4903:978-0321961587 4902: 4896:. p. 99. 4878: 4834: 4792: 4771:Purcell, Steve 4762: 4745:Purcell, Steve 4731: 4714:Purcell, Steve 4702: 4646: 4608: 4583: 4554: 4544:The Adventurer 4520: 4503:Maniac Mansion 4491: 4463: 4438: 4404: 4373: 4344: 4307: 4269: 4241: 4231:The Adventurer 4226:Falstein, Noah 4210: 4192: 4148: 4133:"It Takes Two" 4123: 4094: 4071: 4047: 4019: 3991: 3959: 3934: 3919: 3865: 3809: 3781: 3753: 3685: 3662: 3625: 3618: 3607:Full Throttle 3590: 3558: 3521: 3511:The Adventurer 3463: 3419: 3384: 3356: 3312: 3280: 3248: 3218: 3152: 3120: 3096: 3089: 3020: 2983: 2955: 2921: 2893: 2853: 2835:The Adventurer 2816: 2750: 2738:You mean... / 2714: 2685: 2661: 2660: 2658: 2655: 2645: 2642: 2530: 2529: 2526: 2520: 2519: 2516: 2505: 2502: 2499: 2429: 2426: 2424: 2421: 2329: 2326: 2306:Alexandra Boyd 2302:Dominic Armato 2237: 2234: 2162:adaptive music 2150: 2147: 2099:Clint Bajakian 2089:The score for 2066: 2063: 2033: 2030: 1943: 1940: 1907: 1904: 1798: 1797:New technology 1795: 1793: 1790: 1738:, directed by 1725: 1722: 1682: 1679: 1598: 1597: 1588: 1587: 1579: 1578: 1577: 1576: 1575: 1573: 1570: 1481:games such as 1454: 1451: 1390:The Adventurer 1353: 1350: 1330:puzzle-solving 1315:Sierra On-Line 1288: 1285: 1283: 1280: 1187: 1184: 1131:in late 1991. 1111:at the Summer 980: 977: 950:puppet theatre 924: 921: 829: 826: 812:, formerly of 711: 710: 701: 700: 692: 691: 690: 689: 688: 686: 683: 588:, and he told 585:The Adventurer 559: 556: 554: 551: 547:amusement park 454: 451: 408: 405: 326:adventure game 315: 314: 309: 305: 304: 299: 293: 292: 279: 275: 274: 233: 227: 226: 221: 215: 214: 207: 203: 202: 200:Clint Bajakian 189: 183: 182: 171: 165: 164: 143: 137: 136: 121: 115: 114: 111: 105: 104: 99: 93: 92: 87: 81: 80: 78: 77: 66: 56: 54: 48: 47: 42: 36: 35: 27: 26: 18: 15: 13: 10: 9: 6: 4: 3: 2: 6640: 6629: 6628:Windows games 6626: 6624: 6621: 6619: 6616: 6614: 6611: 6609: 6606: 6604: 6601: 6599: 6596: 6594: 6591: 6589: 6586: 6584: 6581: 6579: 6576: 6574: 6571: 6569: 6566: 6564: 6561: 6559: 6556: 6554: 6551: 6549: 6546: 6544: 6541: 6539: 6536: 6534: 6531: 6529: 6526: 6524: 6521: 6519: 6516: 6514: 6511: 6509: 6506: 6504: 6501: 6499: 6496: 6494: 6491: 6489: 6486: 6484: 6481: 6479: 6476: 6474: 6471: 6470: 6468: 6453: 6452: 6451:Psychonauts 2 6448: 6446: 6445: 6441: 6439: 6438: 6434: 6432: 6431: 6427: 6425: 6424: 6423:Costume Quest 6420: 6418: 6417: 6416:Brütal Legend 6413: 6411: 6410: 6406: 6405: 6403: 6401: 6396: 6390: 6389: 6388:Grim Fandango 6385: 6383: 6382: 6381:Full Throttle 6378: 6376: 6375: 6371: 6369: 6368: 6364: 6362: 6361: 6357: 6356: 6354: 6352: 6347: 6343: 6335: 6330: 6328: 6323: 6321: 6316: 6315: 6312: 6300: 6299: 6295: 6293: 6290: 6288: 6285: 6283: 6280: 6278: 6276: 6272: 6270: 6269: 6265: 6264: 6262: 6258: 6252: 6249: 6247: 6244: 6242: 6239: 6237: 6234: 6232: 6229: 6228: 6226: 6222: 6216: 6213: 6211: 6208: 6206: 6203: 6201: 6200:Steve Purcell 6198: 6196: 6193: 6191: 6188: 6186: 6183: 6181: 6180:Dave Grossman 6178: 6176: 6173: 6171: 6168: 6166: 6165:Noah Falstein 6163: 6161: 6158: 6156: 6153: 6151: 6148: 6146: 6143: 6141: 6138: 6136: 6133: 6131: 6128: 6127: 6125: 6121: 6115: 6114: 6110: 6108: 6107: 6103: 6101: 6100: 6096: 6095: 6093: 6091:Related games 6089: 6083: 6082: 6078: 6076: 6075: 6071: 6070: 6068: 6064: 6058: 6057: 6053: 6051: 6050: 6046: 6045: 6043: 6039: 6033: 6032: 6028: 6025: 6021: 6020: 6019:Grim Fandango 6016: 6014: 6013: 6009: 6007: 6006: 6002: 6000: 5999: 5998:Full Throttle 5995: 5994: 5992: 5988: 5982: 5981: 5977: 5975: 5974: 5970: 5968: 5967: 5963: 5961: 5960: 5956: 5954: 5953: 5949: 5947: 5946: 5942: 5941: 5939: 5935: 5929: 5928: 5924: 5922: 5921: 5917: 5915: 5914: 5910: 5908: 5907: 5903: 5902: 5900: 5896: 5892: 5885: 5880: 5878: 5873: 5871: 5866: 5865: 5862: 5850: 5842: 5841: 5838: 5832: 5831: 5827: 5825: 5824: 5823:Poker Night 2 5820: 5818: 5817: 5813: 5811: 5810: 5806: 5804: 5801: 5800: 5798: 5794: 5788: 5787:Elaine Marley 5785: 5783: 5780: 5779: 5777: 5773: 5767: 5766: 5762: 5760: 5759: 5755: 5753: 5752: 5748: 5746: 5745: 5741: 5739: 5738: 5734: 5732: 5731: 5727: 5726: 5724: 5720: 5716: 5715: 5714:Monkey Island 5707: 5702: 5700: 5695: 5693: 5688: 5687: 5684: 5667:on 2011-09-27 5666: 5662: 5656: 5653: 5640: 5636: 5630: 5627: 5614: 5610: 5609: 5604: 5597: 5594: 5589: 5582: 5576: 5573: 5568: 5567: 5562: 5555: 5552: 5548: 5543: 5540: 5527: 5523: 5519: 5513: 5510: 5498: 5494: 5487: 5484: 5472: 5468: 5464: 5460: 5453: 5450: 5445: 5441: 5434: 5432: 5428: 5423: 5419: 5412: 5410: 5408: 5406: 5402: 5397: 5396: 5388: 5386: 5384: 5382: 5380: 5376: 5364: 5360: 5356: 5355: 5350: 5344: 5342: 5338: 5333: 5329: 5328: 5323: 5316: 5313: 5308: 5304: 5303: 5295: 5293: 5289: 5276: 5272: 5271: 5266: 5259: 5256: 5251: 5247: 5243: 5236: 5233: 5228: 5215: 5207: 5200: 5197: 5192: 5188: 5187: 5182: 5180: 5179:Monkey Island 5171: 5169: 5167: 5165: 5163: 5161: 5159: 5155: 5150: 5148:9781439895856 5144: 5140: 5136: 5135: 5127: 5125: 5123: 5121: 5119: 5117: 5113: 5101: 5097: 5096: 5091: 5084: 5081: 5069: 5065: 5061: 5055: 5052: 5041:on 2010-03-15 5040: 5036: 5032: 5026: 5023: 5012:on 2012-03-24 5011: 5007: 5006: 5001: 4994: 4992: 4988: 4976: 4972: 4971: 4966: 4959: 4956: 4945: 4941: 4935: 4932: 4927: 4923: 4917: 4914: 4910: 4905: 4899: 4895: 4891: 4890: 4882: 4879: 4874: 4870: 4869: 4861: 4859: 4857: 4855: 4853: 4851: 4849: 4847: 4845: 4843: 4841: 4839: 4835: 4830: 4826: 4825: 4820: 4818: 4809: 4807: 4805: 4803: 4801: 4799: 4797: 4793: 4788: 4784: 4780: 4778: 4772: 4766: 4763: 4758: 4754: 4750: 4746: 4740: 4738: 4736: 4732: 4727: 4723: 4719: 4715: 4709: 4707: 4703: 4698: 4694: 4693: 4688: 4686: 4677: 4675: 4673: 4671: 4669: 4667: 4665: 4663: 4661: 4659: 4657: 4655: 4653: 4651: 4647: 4642: 4630: 4626: 4624: 4618: 4612: 4609: 4604: 4600: 4599: 4594: 4587: 4584: 4579: 4575: 4574: 4573:Game Informer 4569: 4567: 4558: 4555: 4550: 4546: 4545: 4540: 4533: 4531: 4529: 4527: 4525: 4521: 4516: 4512: 4511: 4506: 4504: 4495: 4492: 4487: 4483: 4482: 4477: 4473: 4467: 4464: 4459: 4455: 4454: 4449: 4442: 4439: 4434: 4431:(in German). 4430: 4429: 4424: 4422: 4421:Monkey-Island 4413: 4411: 4409: 4405: 4400: 4396: 4392: 4387: 4383: 4377: 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2751: 2747: 2745: 2742:Big Whoop? / 2741: 2737: 2733: 2728: 2724: 2718: 2715: 2710: 2706: 2703: 2696: 2694: 2692: 2690: 2686: 2681: 2677: 2671: 2669: 2667: 2663: 2656: 2654: 2651: 2643: 2641: 2638: 2633: 2631: 2627: 2623: 2619: 2615: 2614: 2608: 2607: 2601: 2599: 2595: 2591: 2586: 2581: 2577: 2575: 2571: 2567: 2563: 2559: 2558: 2553: 2549: 2548: 2543: 2542: 2537: 2527: 2525: 2522: 2521: 2500: 2498: 2496: 2495: 2494:Full Throttle 2490: 2486: 2485:Monkey Island 2482: 2478: 2474: 2470: 2466: 2465: 2460: 2459: 2454: 2453: 2448: 2447:Sierra Online 2444: 2440: 2439: 2434: 2427: 2422: 2420: 2415: 2411: 2405: 2403: 2398: 2397:San Francisco 2394: 2390: 2385: 2381: 2376: 2374: 2370: 2366: 2362: 2357: 2355: 2351: 2346: 2341: 2340:Monkey Island 2334: 2327: 2325: 2323: 2319: 2315: 2311: 2307: 2304:as Guybrush, 2303: 2296: 2295: 2290: 2289: 2283: 2278: 2274: 2272: 2268: 2267: 2261: 2259: 2255: 2251: 2242: 2235: 2233: 2230: 2226: 2222: 2217: 2211: 2208: 2203: 2202:audio drivers 2198: 2195: 2191: 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312:Single-player 310: 306: 303: 300: 298: 294: 289: 285:December 1991 283: 280: 276: 273: 269: 268:PlayStation 3 265: 261: 257: 253: 249: 245: 241: 237: 234: 232: 228: 225: 222: 220: 216: 213: 212: 211:Monkey Island 208: 204: 201: 197: 193: 190: 188: 184: 175:Dave Grossman 173:Tami Borowick 172: 170: 166: 151: 147: 146:Steve Purcell 144: 142: 138: 135:Tami Borowick 129: 128:Dave Grossman 125: 122: 120: 119:Programmer(s) 116: 112: 110: 106: 103: 100: 98: 94: 91: 88: 86: 82: 76: 71: 67: 62: 58: 57: 55: 53: 49: 46: 43: 41: 37: 33: 28: 23: 6449: 6442: 6437:Kinect Party 6435: 6428: 6421: 6414: 6407: 6386: 6379: 6372: 6366: 6365: 6358: 6296: 6274: 6266: 6215:Gary Winnick 6185:Michael Land 6111: 6104: 6097: 6079: 6072: 6054: 6047: 6029: 6017: 6010: 6003: 5996: 5978: 5971: 5964: 5958: 5957: 5950: 5943: 5925: 5918: 5911: 5904: 5828: 5821: 5814: 5807: 5763: 5756: 5749: 5742: 5736: 5735: 5728: 5712: 5669:. 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Retrieved 3399: 3372: 3368: 3348: 3344: 3300: 3294: 3268: 3262: 3236: 3232: 3210: 3147:the original 3140: 3134: 3108: 3074: 3010:Grumpy Gamer 3008: 3002: 2997:Gilbert, Ron 2943: 2939: 2911:PC PowerPlay 2909: 2905: 2881: 2839: 2833: 2827: 2819: 2800: 2743: 2739: 2735: 2731: 2730: 2726: 2717: 2705: 2701: 2680:the original 2649: 2647: 2634: 2629: 2617: 2611: 2604: 2602: 2594:floppy disks 2589: 2584: 2579: 2578: 2574:GameRankings 2561: 2555: 2551: 2545: 2539: 2535: 2534: 2524:GameRankings 2492: 2484: 2480: 2476: 2472: 2462: 2456: 2452:King's Quest 2450: 2442: 2436: 2432: 2431: 2413: 2409: 2406: 2401: 2392: 2388: 2383: 2379: 2377: 2372: 2364: 2360: 2358: 2353: 2349: 2344: 2339: 2332: 2331: 2292: 2286: 2279: 2275: 2270: 2264: 2262: 2257: 2249: 2247: 2212: 2206: 2199: 2185: 2183: 2165: 2153: 2152: 2130: 2128: 2116: 2090: 2088: 2082: 2055: 2051: 2044: 2038: 2035: 2021: 2010: 2008: 1992:oil painting 1989: 1984: 1980: 1976: 1972: 1970: 1955: 1951: 1935: 1932: 1920: 1911: 1909: 1892: 1880: 1866: 1864: 1855: 1851: 1843:art director 1840: 1835: 1822: 1818: 1816: 1810: 1805:Lead artist 1781: 1777: 1772: 1770: 1759: 1757: 1752: 1749: 1743: 1733: 1718:card catalog 1705: 1699: 1690: 1686: 1684: 1674: 1672: 1660: 1655: 1649: 1643: 1640: 1630: 1621: 1619: 1613: 1611: 1565: 1541: 1537: 1536: 1527: 1524: 1519: 1514: 1510: 1506: 1504: 1499: 1495:correlations 1482: 1471: 1465: 1458: 1456: 1446: 1430: 1425: 1420: 1418: 1404: 1397: 1389: 1387: 1382: 1378: 1371: 1365: 1345: 1325: 1318: 1312: 1304: 1296: 1292: 1290: 1269: 1264: 1260: 1249:compact disc 1241: 1235: 1230: 1218: 1207:floppy disks 1202: 1201: 1195: 1178: 1170: 1168: 1145: 1139: 1135: 1133: 1122: 1116: 1108: 1107:, alongside 1104: 1100: 1097:focus groups 1092: 1088: 1084: 1082: 1077: 1066:Macintosh II 1058: 1049: 1032: 999: 996:digitization 984: 982: 979:Three phases 972: 968: 964: 960: 958: 945: 940: 938: 932: 905: 901: 891: 885: 866: 853: 832: 831: 821: 817: 801: 796:; LucasArts 794:Michael Land 785: 781: 768: 764: 752: 750: 745: 735: 731: 729: 713: 675: 671: 663: 651: 649: 641: 637: 633: 628: 626: 621: 617: 611: 603: 599: 595: 589: 583: 579: 575: 563: 561: 543: 538: 527: 514:cartographer 490: 482: 458: 456: 447: 423: 422: 416: 400: 390: 380: 376: 375: 362: 344: 342: 320: 319: 318: 287: 281: 255: 235: 209: 192:Michael Land 177:Bret Barrett 133:Bret Barrett 52:Publisher(s) 40:Developer(s) 6548:SCUMM games 6523:MacOS games 6483:Amiga games 6409:Psychonauts 6400:Double Fine 6342:Tim Schafer 6292:Double Fine 6205:Tim Schafer 6175:Ron Gilbert 6160:Shelley Day 6145:Hal Barwood 6135:Larry Ahern 5990:1995 - 2000 5937:1990 - 1994 5898:1985 - 1989 5803:Ron Gilbert 5722:Video games 5645:14 December 5588:GamesMaster 5566:PC Gamer UK 5206:Amiga Power 4868:Retro Gamer 4182:Retro Gamer 3833:Double Fine 3641:Freddi Fish 3453:Retro Gamer 3238:Retro Gamer 3233:Retro Gamer 3110:Retro Gamer 2945:PC Gamer UK 2883:Retro Gamer 2637:source code 2622:GamesMaster 2613:PC Gamer UK 2469:Tim Schafer 2438:Amiga Power 2328:Development 2318:Phil LaMarr 2308:as Elaine, 2139:film scores 2011:Retro Gamer 1957:Retro Gamer 1875:live-action 1786:plot device 1714:easter eggs 1681:Playtesting 1600:Tim Schafer 1538:Retro Gamer 1511:Retro Gamer 1362:Ron Gilbert 1276:Double Fine 1257:hard drives 1166:territory. 1160:dormitories 1152:crunch time 845:interpreter 837:game engine 810:Shelley Day 798:playtesting 757:Tim Schafer 627:The reason 591:Retro Gamer 572:Ron Gilbert 553:Development 474:voodoo doll 415:A scene in 397:cliffhanger 385:in 1997. A 355:Tim Schafer 351:Ron Gilbert 291:7 July 2010 231:Platform(s) 187:Composer(s) 181:Ron Gilbert 179:Tim Schafer 159:Ken Macklin 155:Larry Ahern 153:Sean Turner 131:Ron Gilbert 124:Tim Schafer 113:Ron Gilbert 109:Designer(s) 102:Shelley Day 97:Producer(s) 90:Ron Gilbert 85:Director(s) 6467:Categories 6444:Broken Age 6224:Technology 6155:Sean Clark 6150:Peter Chan 6106:Broken Age 5775:Characters 5671:2011-09-19 5503:2007-06-16 5477:2007-06-16 5463:Games Blog 5369:2009-03-08 5106:2010-06-23 5074:2010-05-21 5064:Kotaku.com 5045:2010-03-22 5016:2010-06-16 4981:2010-03-11 4949:2023-07-22 4783:Spudvision 4753:Spudvision 4722:Spudvision 4501:"Q&A: 3645:Pajama Sam 3379:Ziff Davis 3297:Interview" 2950:Future plc 2807:Retronauts 2657:References 2598:hard drive 2515:Aggregator 2471:said that 2316:as Wally. 2135:leitmotifs 2015:N.C. Wyeth 1965:N.C. Wyeth 1740:Mel Brooks 1661:James Bond 1646:attraction 1491:flowcharts 1342:play value 1037:monochrome 1021:algorithms 1004:hand-drawn 898:man-months 806:Peter Chan 685:Production 519:death-trap 506:figurehead 498:bloodhound 494:Mardi Gras 150:Peter Chan 6513:IOS games 6498:DOS games 6351:LucasArts 6277:TV series 6170:David Fox 5906:Labyrinth 5139:CRC Press 4598:Eurogamer 4549:LucasArts 4510:Gamasutra 4236:LucasArts 3831:(Video). 3771:Gamasutra 3637:Putt-Putt 3516:LucasArts 3302:Gamasutra 2744:Guybrush: 2732:Guybrush: 2709:LucasArts 2506:Reception 2423:Reception 2369:Singapore 2314:Neil Ross 2310:Earl Boen 2229:patenting 2073:Composer 2048:off-model 1954:reminded 1906:Animation 1883:art media 1827:animation 1702:screwball 1656:Star Wars 1487:nonlinear 1439:impromptu 1414:free time 1360:Director 1334:flashback 1236:Although 1223:U.S. Gold 1062:Photoshop 1042:marketing 954:cinematic 923:Logistics 860:with the 656:Lucasfilm 643:Star Wars 570:employee 535:first aid 330:LucasArts 169:Writer(s) 141:Artist(s) 75:U.S. Gold 65:LucasArts 45:LucasArts 5849:Category 5619:April 7, 5613:Archived 5561:PC Gamer 5526:Archived 5497:Archived 5471:Archived 5444:CU Amiga 5363:Archived 5281:April 7, 5250:Archived 5191:Archived 5100:Archived 5068:Archived 4975:Archived 4875:: 89–93. 4829:Archived 4787:Archived 4757:Archived 4726:Archived 4697:Archived 4635:July 29, 4603:Archived 4515:Archived 4486:Archived 4458:Archived 4433:Archived 4384:and the 4368:Archived 4339:Archived 4302:Archived 4297:GameSpot 4292:Q&A" 4264:Archived 4203:(1991). 4189:: 18–31. 4143:Archived 4068:: 56–57. 4042:Archived 4037:GameSpot 3956:: 57–59. 3908:cite web 3898:July 29, 3857:Archived 3843:July 28, 3776:Archived 3750:: 46–49. 3743:CU Amiga 3680:Archived 3676:Engadget 3657:Archived 3585:Archived 3553:Archived 3460:: 30–31. 3406:Archived 3401:GameSpot 3381:: 30–32. 3307:Archived 3275:Archived 3245:: 46–53. 3117:: 34–35. 3015:Archived 2978:Archived 2940:PC Gamer 2918:: 94–97. 2890:: 20–25. 2848:Archived 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