Here's a question for ya. When I was first playing MI2, I kept thinking that Inky Island and Dinky Island and whatever all the various names regarding the location of the treasure of big whoop sounded an awful lot like a misheard "Monkey Island"
WAS the island at the end of MI2 really Monkey Island?
Maybe this was explained in a later game, but it's escaping me right now, so maybe a fan could even answer this for me.
I guess I missed this? Why do people think guybrush and elaine arent married?
There's some weird thread on the main forum about this. Because apparently Guybrush only has one ring on the preview so it means it's an engagement ring and he's not married to Elaine, despite all the various references in MI4/5. I just wanted to hear from the horses mouth
Here's a question for ya. When I was first playing MI2, I kept thinking that Inky Island and Dinky Island and whatever all the various names regarding the location of the treasure of big whoop sounded an awful lot like "Monkey Island"
WAS the island at the end of MI2 really Monkey Island?
Maybe this was explained in a later game, but it's escaping me right now, so maybe a fan could even answer this for me.
From the articles everywhere i've always assumed Dinky really was just an island of Monkey Island, would be interesting to hear what the team thinks.
Q. You guys have said you're sticking to canon (more or less). In this case, is Herman Toothrot still Grandpa Marley, or are you not gonna bother touching this chestnut? That bit really bugs me because if he sailed around Australia and everything it ruins the nice backstory for him in the original MI
From the articles everywhere i've always assumed Dinky really was just an island of Monkey Island, would be interesting to hear what the team thinks.(
I thought that both islands were connected by the pipelines below which Guybrush get to know on Dinky Island and if I'm right, Herman mentioned that in MI2 but that I don't know for sure.
One question: You get some ideas from other people outside the Dev-Team. Are these people credited at the end of the game?
Yeah, there are 3 volume controls in TMI. I would eventually like to get us back to one volume control, but the mix in Wallace & Gromit was, all said and done, still too unpredictable, and I didn't want to take that risk with Monkey, so we're back to three!
Here's a tip that I wish whoever was responsible for these things would take on board...
If I turn the "music" down in the mix, it's because I want to hear what the characters are saying more clearly (or because the background music has become annoying). But for some reason your musical numbers are also on this channel! If it's part of the storyline, it should go on the vocal channel!
I'd suggest renaming the "music" channel to "BACKGROUND music".
(For example: I had to sit through the "THEM" musical number twice: First with the music so low I could barely hear what they were saying, totally blowing all the surprises, and then again after I'd altered the "music" to being as loud as the vocals. Kind of killed the joyous surprise... and there's nothing worse than watching a musical number with the music turned down low.)
Yeah, there are 3 volume controls in TMI. I would eventually like to get us back to one volume control, but the mix in Wallace & Gromit was, all said and done, still too unpredictable, and I didn't want to take that risk with Monkey, so we're back to three!
One word:
"Locked" button. To lock the three volume sliders together. Like Windows' own "Speaker Volume" dialog.
Okay, that's more than two words...
np: Electric President - You Forget (Not Given Lightly (Disc 1))
Any chance of seeing some of our ideeas into the game? *beating eyelashes*
Man we'd ruin the series :cool:
I think we should basically have TTG locked in a basement (a very comfortable basement) in total seclusion until they finish the game so none of the fans' harebrained ideas catch on
I think we should basically have TTG locked in a basement (a very comfortable basement) in total seclusion until they finish the game so none of the fans' harebrained ideas catch on
I think we should basically have TTG locked in a basement (a very comfortable basement) in total seclusion until they finish the game so none of the fans' harebrained ideas catch on
How often do fans have a chance and put some of their own creativity in a game? In many cases, the game changes are technical and seldom content related and this only happens if the fans contact the developers. In this special case, TTG directed some creative brainstorming to us. That's kinda vice versa.
And you know that many were disappointed by the last games, so if they know what kind of jokes the fans wanna have in the game, they may think of jokes themselves.
Uhh a good question (to the team): What kind of jokes do you like? How often do you have to reject jokes because they were lame?
Uhh a good question: What kind of jokes do you like? How often do you have to reject jokes because they were lame?
I kind of formed my sense on humor during my childhood based upon the first three MI games... so, that kind is the kind of jokes that I like Maybe a little bit towards the morbid/dark sense of humor (cemeteries, coffins, talking skeletons, creepy environments).
Guys there will be some references/parodies of the Pirates of the Carrebean movies?
I'm running through all of episode one's references/parodies/jokes in my head. So far I can't think of any that are direct reference to the POTC movie. But considering that each episode contains roughly 1600 lines of dialog it's quite possible that I'm not remembering one. Mike Stemmle may chime in and give a definitive answer...
I kind of formed my sense on humor during my childhood based upon the first three MI games... so, that kind is the kind of jokes that I like Maybe a little bit towards the morbid/dark sense of humor (cemeteries, coffins, talking skeletons, creepy environments).
I meant the team... but sure nice to know what kind of jokes you like.^^
I like sarcasm and punning, but mostly in German. Black humor is something that I prefer, too like in Little Britain.
We also don't have icons for Wallace and Gromit or Strong Bad!
SO! Question time!
When making a game like Monkey Island, the schedule must be fairly intensely followed. What's different about the process of making an episodic game like Tales rather than a "full" game?
What gets made first, second, etc?
Woot! A production related question. The development schedule for episodic games is quite a bit different compared to a "traditional" schedule. For example at this stage of development a portion of the team is dedicated to polishing and fixing the last remaining bugs for the first episode. Simultaneously much of the development staff is in full production on the second episode. While the third episode is going through it's script writing stage. And the forth is in early puzzle design. The Designers typically work and are dedicated to a single episode. While the environment artist, animators, cinematic artists, audio and content programmers work on everything. We try to schedule things so people are able to complete their work an given episodes before moving onto the next one. (bugs are the only thing that could keep them on a previous episode a bit longer than anticipated) As a result the overlapping production schedule needs to be coordinated precisely and all dependencies carefully orchestrated.
A traditional 18-36 month project (non Telltale game) can be scheduled with some buffer and can tolerate mistakes and people missing their dates.
What is the exact order in which you guys start working on a project? i.e. The story in general, then the actual script (rough first, finished second), then the casting...etc
I don't know if anyone has asked this yet, but will it possible to die in the new games?
(Without really really trying as in SMI when Guybrush is underwater).
Thanks!
Looking forward very much to playing these games!
I'm running through all of episode one's references/parodies/jokes in my head. So far I can't think of any that are direct reference to the POTC movie. But considering that each episode contains roughly 1600 lines of dialog it's quite possible that I'm not remembering one. Mike Stemmle may chime in and give a definitive answer...
Of course, what you really need to check is if you've made any self-indulgent "only the team will know" references to the canceled Curse of Monkey Island movie, which it seems PoTC1/2 pretty much lifted half of the story of. Then again, Johnny Depp is great to watch, and it's even more satisfying when you know its an MI story. Though I hope Orlando Bloom suddenly catches a camera phobia so I don't have to think "man if this was animated, Dominic Armato would do such a better job".... I'm ranting now. And not answering any questions. I should probably stop
Q. (just incase you skipped the rant ) How easy is it, on episodic release, to manipulate certain aspects of the game if you receive bad feedback from fans. LA's remake seems to be pretty spot on in many peoples' opinion, yet Guybrush's sprite is receiving alot of criticism. Would episodic release make it easier, in theory, to make minor changes to try to address such an issue without messing up the continuity of the episodes?
Woot! A production related question. The development schedule for episodic games is quite a bit different compared to a "traditional" schedule. For example at this stage of development a portion of the team is dedicated to polishing and fixing the last remaining bugs for the first episode. Simultaneously much of the development staff is in full production on the second episode. While the third episode is going through it's script writing stage. And the forth is in early puzzle design. The Designers typically work and are dedicated to a single episode. While the environment artist, animators, cinematic artists, audio and content programmers work on everything. We try to schedule things so people are able to complete their work an given episodes before moving onto the next one. (bugs are the only thing that could keep them on a previous episode a bit longer than anticipated) As a result the overlapping production schedule needs to be coordinated precisely and all dependencies carefully orchestrated.
A traditional 18-36 month project (non Telltale game) can be scheduled with some buffer and can tolerate mistakes and people missing their dates.
Wow, thanks for the answering this -- it's very interesting! So each episode is generally handled by a different designer? Are these designers the writers, too?
The development schedule for episodic games is quite a bit different compared to a "traditional" schedule. (description cut)
A traditional 18-36 month project (non Telltale game) can be scheduled with some buffer and can tolerate mistakes and people missing their dates.
It still doesn't cease to amaze me that you're able to pull it off, episode after episode, series after series. :cool:
Wow, thanks for the answering this -- it's very interesting! So each episode is generally handled by a different designer? Are these designers the writers, too?
Yes, that's generally the case. Mike and Mark have sort of set the tone and vision for the series, as well as the major over-arching story, but each designer owns their own episode's design and script.
In the case of 103, Joe Pinney and I co-designed it and because he's headed off to China for a couple weeks vacation, I'm writing the script (right this second, in fact.)
Uhh a good question (to the team): What kind of jokes do you like? How often do you have to reject jokes because they were lame?
Answer: funny ones.
And it's not so much "rejecting" jokes as it is spitballing until a joke is good enough. That being said, I don't really write punch-line like jokes, as much as I like to write funny scenarios with quipy dialog. All of the writers have different senses of humor though.
With Mark Darin, Mike Stemmle, Dave Grossman, Joe Pinney and Brendan Ferguson (and Chuck Jordan when he'll spare the time) in the room, you laugh all the time. I don't think I've ever mentally "rejected" any jokes. You spend more time sifting through this limitless mound of gags that builds up in the writer's room and plugging in the one that seems to fit.
All this talk about jokes leads me to something Dave Grossman said that I want to echo: there's going to be some serious stuff in TMI (as there always has been in MI). It's a story ABOUT something, and that means (for the writer) not always going for the gag. It can be easy to sell out your serious moment for a laugh and sometimes hard to resist.
I'm writing the script (right this second, in fact.)
Can you put in a throwaway line about Italy, just for me? I'm not from Italy or anything, it's just when I need to think of something, Italy is the first thing to pop into my head.
Yes, that's generally the case. Mike and Mark have sort of set the tone and vision for the series, as well as the major over-arching story, but each designer owns their own episode's design and script.
In the case of 103, Joe Pinney and I co-designed it and because he's headed off to China for a couple weeks vacation, I'm writing the script (right this second, in fact.)
this is interesting. hopefully it keeps each episode fresh and fun. i just started a thread in the main MI section about how all the MI games seem to lose a bit of steam after the first half.
I would say that our episodes tend to get better as you get further into the season (regardless of who is writing them. It's a case of finding our stride for a given season.). I personally am really really looking forward to episodes 4 and 5 of Monkey.
Comments
So where did you wear yours then?
WAS the island at the end of MI2 really Monkey Island?
Maybe this was explained in a later game, but it's escaping me right now, so maybe a fan could even answer this for me.
Thanks
There's some weird thread on the main forum about this. Because apparently Guybrush only has one ring on the preview so it means it's an engagement ring and he's not married to Elaine, despite all the various references in MI4/5. I just wanted to hear from the horses mouth
From the articles everywhere i've always assumed Dinky really was just an island of Monkey Island, would be interesting to hear what the team thinks.
Q. You guys have said you're sticking to canon (more or less). In this case, is Herman Toothrot still Grandpa Marley, or are you not gonna bother touching this chestnut? That bit really bugs me because if he sailed around Australia and everything it ruins the nice backstory for him in the original MI
Will there be an option for difficulty settings?
Will Guybrush keep his outfit throughout the entire game, or will he change, it depending on the island, as we've seen in MI4?
I thought that both islands were connected by the pipelines below which Guybrush get to know on Dinky Island and if I'm right, Herman mentioned that in MI2 but that I don't know for sure.
One question: You get some ideas from other people outside the Dev-Team. Are these people credited at the end of the game?
Any chance of seeing some of our ideeas into the game? *beating eyelashes*
Here's a tip that I wish whoever was responsible for these things would take on board...
If I turn the "music" down in the mix, it's because I want to hear what the characters are saying more clearly (or because the background music has become annoying). But for some reason your musical numbers are also on this channel! If it's part of the storyline, it should go on the vocal channel!
I'd suggest renaming the "music" channel to "BACKGROUND music".
(For example: I had to sit through the "THEM" musical number twice: First with the music so low I could barely hear what they were saying, totally blowing all the surprises, and then again after I'd altered the "music" to being as loud as the vocals. Kind of killed the joyous surprise... and there's nothing worse than watching a musical number with the music turned down low.)
Thank you!
OMG! I've just noticed that Homer and Marge Simpson aren't married either!!!! (;))
"I was a sucker who preordered Tales of Monkey Island
And all I got was this stupid T-shirt!" ?
"Locked" button. To lock the three volume sliders together. Like Windows' own "Speaker Volume" dialog.
Okay, that's more than two words...
np: Electric President - You Forget (Not Given Lightly (Disc 1))
Are there any plans to do monkey island extras like the Sam and Max season case files? If so - any hints what might be in them?
Thanks
Man we'd ruin the series :cool:
I think we should basically have TTG locked in a basement (a very comfortable basement) in total seclusion until they finish the game so none of the fans' harebrained ideas catch on
: ) ) ) True, true...
MMMMMMMHHHH-do-do-dodum-dum-dum-do-dum-do-dummmm-MMMMMHHH
np: Tosca - The Key (Suzuki)
How often do fans have a chance and put some of their own creativity in a game? In many cases, the game changes are technical and seldom content related and this only happens if the fans contact the developers. In this special case, TTG directed some creative brainstorming to us. That's kinda vice versa.
And you know that many were disappointed by the last games, so if they know what kind of jokes the fans wanna have in the game, they may think of jokes themselves.
Uhh a good question (to the team): What kind of jokes do you like? How often do you have to reject jokes because they were lame?
I wasn't being entirely serious ;-)
trapped... damnit :P
But this may also be of pleasure to read for TTG, what I think of their creative offers. C'mon give us more chances to be creative with words.^^
I kind of formed my sense on humor during my childhood based upon the first three MI games... so, that kind is the kind of jokes that I like
I'm running through all of episode one's references/parodies/jokes in my head. So far I can't think of any that are direct reference to the POTC movie. But considering that each episode contains roughly 1600 lines of dialog it's quite possible that I'm not remembering one. Mike Stemmle may chime in and give a definitive answer...
I meant the team... but sure nice to know what kind of jokes you like.^^
I like sarcasm and punning, but mostly in German. Black humor is something that I prefer, too like in Little Britain.
Woot! A production related question. The development schedule for episodic games is quite a bit different compared to a "traditional" schedule. For example at this stage of development a portion of the team is dedicated to polishing and fixing the last remaining bugs for the first episode. Simultaneously much of the development staff is in full production on the second episode. While the third episode is going through it's script writing stage. And the forth is in early puzzle design. The Designers typically work and are dedicated to a single episode. While the environment artist, animators, cinematic artists, audio and content programmers work on everything. We try to schedule things so people are able to complete their work an given episodes before moving onto the next one. (bugs are the only thing that could keep them on a previous episode a bit longer than anticipated) As a result the overlapping production schedule needs to be coordinated precisely and all dependencies carefully orchestrated.
A traditional 18-36 month project (non Telltale game) can be scheduled with some buffer and can tolerate mistakes and people missing their dates.
(Without really really trying as in SMI when Guybrush is underwater).
Thanks!
Looking forward very much to playing these games!
Of course, what you really need to check is if you've made any self-indulgent "only the team will know" references to the canceled Curse of Monkey Island movie, which it seems PoTC1/2 pretty much lifted half of the story of. Then again, Johnny Depp is great to watch, and it's even more satisfying when you know its an MI story. Though I hope Orlando Bloom suddenly catches a camera phobia so I don't have to think "man if this was animated, Dominic Armato would do such a better job".... I'm ranting now. And not answering any questions. I should probably stop
Q. (just incase you skipped the rant
P.S. Guybrush is looking better than ever
Wow, thanks for the answering this -- it's very interesting! So each episode is generally handled by a different designer? Are these designers the writers, too?
It still doesn't cease to amaze me that you're able to pull it off, episode after episode, series after series. :cool:
Yes, that's generally the case. Mike and Mark have sort of set the tone and vision for the series, as well as the major over-arching story, but each designer owns their own episode's design and script.
In the case of 103, Joe Pinney and I co-designed it and because he's headed off to China for a couple weeks vacation, I'm writing the script (right this second, in fact.)
Answer: funny ones.
And it's not so much "rejecting" jokes as it is spitballing until a joke is good enough. That being said, I don't really write punch-line like jokes, as much as I like to write funny scenarios with quipy dialog. All of the writers have different senses of humor though.
With Mark Darin, Mike Stemmle, Dave Grossman, Joe Pinney and Brendan Ferguson (and Chuck Jordan when he'll spare the time) in the room, you laugh all the time. I don't think I've ever mentally "rejected" any jokes. You spend more time sifting through this limitless mound of gags that builds up in the writer's room and plugging in the one that seems to fit.
All this talk about jokes leads me to something Dave Grossman said that I want to echo: there's going to be some serious stuff in TMI (as there always has been in MI). It's a story ABOUT something, and that means (for the writer) not always going for the gag. It can be easy to sell out your serious moment for a laugh and sometimes hard to resist.
Can you put in a throwaway line about Italy, just for me? I'm not from Italy or anything, it's just when I need to think of something, Italy is the first thing to pop into my head.
"Where'd he go?"
"I dunno... Italy?"