该工作室推出了许多创新，但不可否认的是，该公司的最强大遗产是80至90年代的图像冒险游戏。例如《Grim Fandango》、《猴岛的秘密》、《Zak McKracken》以及《the Alien Mindbenders》等独特、故事性以及通俗易上手的冒险游戏。
在这些回复中，Lucasfilm Games元老David Fox以内部人的身份发表了独到的见解（见本文第2部分）。
——Mike Mika（Other Ocean Interactive开发总监）
人们一直在讨论制作喜剧游戏的难度，这也许是真的，但LucasArts却让这个过程看起来很轻松。我每两年都会和妻子一起重温《Day of the Tentacle》，这款游戏确实堪称完美。
——Adam Rippon（Muteki Corporation公司的《Dragon Fantasy》开发者）
——游戏设计师Tyler Sigman（代表作包括《HOARD》、《Sonic Rivals》）
例如，“你是《猴岛》粉丝？那我懂了。还是关心《Maniac Mansion》中将仓鼠放进微波炉的事情？不错，你喜欢《The Dig》？!好极了，我也是……”
——电子游戏PR专员Elizabeth Olson（她在担任《Game Informer》杂志创刊编辑时学到了许多冒险游戏知识）
像Ron Gilbert和Tim Schafer等LucasArts编剧、设计师创造了十分出彩的角色和对话，我认为人们至今仍在讨论这些早期作品的一大原因就是我们仍记得自己最喜爱的游戏场景。
——游戏作曲人Peter McConnell（曾为LucasArts冒险游戏作曲，其中包括《猴岛2》、《Indiana Jones and the Fate of Atlantis》、《Sam & Max Hit the Road》、《Day of the Tentacle》以及《Grim Fandango》
——研究人员兼学者Chara Fernandez Vara
坦白地说，我都不知道该如何说起，他们有如此多出众的游戏。他们的冒险游戏，例如《Maniac Mansion》、《Day of the Tentacle》、《Escape from Monkey Island》、《Full Throttle》、《Grim Fandango》几乎定义了一个时代。
《Indiana Jones and the Fate of Atlantis》可能是我最喜欢的冒险游戏之一。将 Indiana Jones 与冒险游戏题材结合起来效果真的很棒。对我来说Fate of Atlantis不但是我最喜欢的冒险故事，而且也是史上最佳的 Indiana Jones故事之一。
——Infinity Ward执行制作人Mark Rubin
Why are We Still Talking about LucasArts’ Old Adventure Games?
by Frank Cifaldi
This story is being highlighted as one of Gamasutra’s best stories of 2013.
The gutting of LucasArts earlier this week was a tragic loss for the video game industry, but for many of us, it was more than that.
It was more severe of a loss than the cancelled projects, the rumored 150 job losses, or the between-the-lines message that even a company as diverse and global as Disney puts little value in game development.
No, for us, the death of LucasArts was the death of a dream. A dream rose-tinted by nostalgia, perhaps, but a dream nevertheless. A dream that one day, the unique environment that birthed what may have been the most wildly creative studio in mainstream game development history would, somehow, come back.
It was a far-fetched dream, but as long as the name LucasArts continued to exist, a small part of us held onto it.
A lot of innovation came out of the studio, but without a doubt, the strongest legacy it left behind was its series of graphical adventure games from the ’80s and ’90s. Unique, story-driven, easily-accessible adventures with titles like Grim Fandango, The Secret of Monkey Island, and Zak McKracken and the Alien Mindbenders.
By most accounts the last truly great LucasArts (or Lucasfilm Games, if you go back far enough) game was released almost 15 years ago, and yet, many in the industry still hold these titles as the benchmark not only for comedy writing in games, but for narrative-driven games of all kinds.
But why is that? Why is it that we still consider these games among our pinnacle achievements as an industry? Why do developers still namedrop Monkey Island in pitch meetings when discussing their proposed game’s story? Why do we all continue to mentally associate the word “LucasArts” as the splash screen we see before a graphical adventure game, even though the company hadn’t released one in over a decade?
We turned to our game development community to find out. Specifically, we asked via Twitter and Facebook:
What is it about the classic LucasArts adventure games that makes them timeless? Why are we still talking about them today?
We’ve collected a good majority of the answers below. Following these responses, as a special treat, Lucasfilm Games veteran David Fox attempts to answer that question with his own insider perspective.
(Image credits: MobyGames, Lemon64, The Scumm Bar)
Helping Green Tentacle get a recording contract was the least of your worries in Maniac Mansion.
They often broke the fourth wall and made you feel like you were in on the joke. As if the joke was “Can you believe we get to make these things?”
It was exhilarating and inspiring. Even today, my fantasy of what game development nirvana feels like stems from my experience playing those games, and the insinuation that they were created in the most liberating and creative environment on earth.
- Mike Mika, development director at Other Ocean Interactive
People always talk about how hard it is to make a comedy game, and maybe it’s true, but LucasArts made it look easy. I still go back and play Day of the Tentacle every couple years with my wife, and man, that game holds up thanks to its perfect delivery.
From that one game I have learned a lot about how to be funny despite players having control over the timing of a scene, and I learned when you really just have to yank control away from them in order to drive a joke home.
- Dragon Fantasy creator Adam Rippon, of Muteki Corporation
They were that rare combination of original themes and interesting stories mixed with accessible gameplay. In some ways, they are exactly what is hard to greenlight in many modern studios because of the risk of creating new IP on big-budget projects.
They are still relevant because many of today’s working creatives grew up in that golden age, so that trailblazing taught us how to be creative, and the nostalgia continues to inspire.
- Game designer Tyler Sigman (HOARD, Sonic Rivals)
What I love about the classic LucasArts adventures as a game industry person is that it seems like every single person in the game industry has played them. So a) you can use any of the games as shorthand when discussing something (“we need like a Manny character for this”) and more importantly b) you can instantly learn a lot about someone by what LucasArts adventures they like most.
“Ok, you’re a Monkey Island guy? Got it. Still focused on putting the hamster in the microwave in Maniac Mansion? Cool. You like The Dig?! Right on…”
Because everyone has played them, they’re basically a Rorschach test for people in the game industry at this point.
- Chris Charla, Microsoft Studios
Day of the Tentacle’s unique premise saw players finding creative ways to make objects travel through time.
For every adolescent who turned into a snarky teenager or a sardonic twenty-something, here were games made by our peers. They were games that made sense for where we were in life, made by people who walked the same road as we did.
The games endure because the stories are sharp and respect the audience’s intelligence, the humor is inclusive, and because still today when we see “Lucasfilm” or “LucasArts,” it brings us back to those childhood memories when all we wanted was a great adventure and friends to share it with.
- Paul Marzagalli, board of advisors, NAVGTR.
Maniac Mansion was one of the first adventure games I ever played, in the early days of Game Informer. It didn’t seem to matter that I wasn’t an expert gamer… I felt like I got as much out of it as my more veteran peers.
They were expert storytellers, spinning engaging takes with endearing and memorable characters spouting clever dialog. And with each little victory I felt like I was really becoming a gamer and better understanding why so many smart and talented people were dedicated to the hobby.
- Video game PR professional Elizabeth Olson, who cut her teeth on adventure games as the founding editor of Game Informer magazine.
Indiana Jones and the Fate of Atlantis is regarded by fans as a worthy successor to the trilogy of feature films.
LucasArts writers and designers like Ron Gilbert and Tim Schafer brought to the table a wonderful knack for character and dialog, and I think the reason people still talk about those early titles today is that we all have favorite scenes that we still remember.
They also achieved a kind of unstudied greatness that comes from not taking yourself too seriously. Monkey Island II actually ended gameplay with a long list of things you could go out and do other than play video games. Who does that now?
- Game composer Peter McConnell, who contributed music to LucasArts adventures including (but not limited to) Monkey Island II, Indiana Jones and the Fate of Atlantis, Sam & Max Hit the Road, Day of the Tentacle, and Grim Fandango
Monkey Island II was a revelation for me. I could make progress! I could mess up, try again, and eventually get through things! Here was this genre of games that I’d always liked the idea of, but never been able to really enjoy due to difficulty, and someone had finally said, “Hey, how about we ONLY have the fun part.” I mean, the beautiful art, the genuinely funny dialog, all of that was wonderful, but the thing I really fell in love with was being able to actually get through the game.
- Ian Adams, game designer at Seattle’s Z2Live
They were built on a winning combination of low-stress mechanics and propelled by genuinely good writing.
Many of the characters had heart and soul, the imagined worlds they inhabited were crafted with an impressive attention to detail, and in many cases the personalities and some aspect of the of the creators came through.
Each of the mid-’90s LucasArts adventure videogames is memorable on its own, but taken together they represent a studio’s glorious golden age that, in a fate similar to Atlantis (sorry), seemed to suddenly and cataclysmically sink beneath the ocean waves in the late ’90s.
- Craig “Superbrothers” Adams
Full Throttle, probably the only game to ever start you off in a dumpster outside of a biker bar.
The Curse of Monkey Island is still one of the funniest games I’ve ever played. Then there was Loom, a beautiful game with a completely unique user interface that used music in a way never used before or since, as far as I know. Finally on my truly memorable scale is Grim Fandango, a 3D evolution from the older SCUMM games — quirky, funny, mysterious and, once again, unique.
Technology in games is ever improving, but game design, when it’s done impeccably, is timeless.
- Game design consultant and author Rusel DeMaria
Manny Calavera feels a little ripped off in 1998′s Grim Fandango.
The worlds still feel original and fresh, and the writing was witty and memorable, where every character is distinct and remarkable.
Even in their time, they managed to cross cultural boundaries. Many people in my generation in Spain, where I’m from, know by heart most of the insults to win at sword fighting in Monkey Island.
Many adventure games coming from Europe will include nudges to LucasArts games, from direct quotes to similar puzzles (see Ben There, Dan That, or Ceville). They really struck a chord outside of North America.
- Researcher and scholar Clara Fernandez Vara
Honestly, I don’t even know where to begin; they had so many titles that stand out. Their adventures games basically defined an era, with Maniac Mansion, Day of the Tentacle, Escape from Monkey Island, Full Throttle, Grim Fandango.
Indiana Jones and the Fate of Atlantis is probably one of my favorite adventure games of all time. Indiana Jones and the adventure game genre go together… well, like Fedoras and bull whips. And for me Fate of Atlantis delivered not only one my favorite adventure stories but also one of the best Indiana Jones stories ever. Certainly better that the Crystal Skull. Sorry George.
- Infinity Ward executive producer Mark Rubin(source：gamasutra）