——Lateef Martin（Miscellaneum Studios）
——Chris Campbell（Big Fish Games工作室首席制作人）
——grand Davies（Endgame Studios）
——Steve Gaynor（The Fullbright Company）
——Kyle Kulyk（Itzy Interactive）
多亏了《Full Throttle》，我开始理解到优秀的故事对于一款游戏的强大作用。《The Dig》，《猴子岛》，《冥界狂想曲》等游戏世界都深深吸引了我。故事，世界以及角色的每个细节都被具体化了，即超越了我之前看过的任何游戏中的内容。
——Dan Silvers（Lantana Games）
为了让本文足够圆满，我们询问了LucasArts Games的元老级任务David Fox，听听他对于为何该工作室的图像冒险游戏仍备受尊重的看法。以下是他的回答。
Why are We Still Talking about LucasArts’ Old Adventure Games?
by Frank Cifaldi
Maniac Mansion was crafted with seamless perfection. In the same way Mario is timeless and can be enjoyed by any generation, so can the point and click adventure of a group of teens infiltrating a creepy house to rescue their friend.
I enjoyed the storytelling, the clean and appealing aesthetic and after all these years, I can still beatbox Michael’s theme!
Lateef Martin, Miscellaneum Studios
LucasArts adventures are timeless because they introduced an entire generation to the real potential of what a game could do! I remember vividly the excitement anytime I would GET a new adventure game from LucasArts. I’d get so excited I’d READ the manual front-to-back before getting home. I always knew that regardless of the game I purchased, I could PUSH the button toTURN ON the computer where then I’d be invited to GO TO some crazy place.
Perhaps you’d find a NEW KID that needed help? You could GIVE someone a bottle of root beer, READ the National Inquisitor, or PULL up on your motorcycle going full throttle. You could ask WHAT IS the difference between a green and purple tentacle and PICK UP a ticket for the Number Nine. Yes you had to OPEN your mind and USE your brain, but what a wonderfully inspiring and imaginative way to spend years and years and years.
Chris Campbell, senior producer, studios at Big Fish Games
It’s easy to pick holes in adventure games. Generally speaking, those that came out of LucasArts didn’t have any. They were clearly a product of passionate game makers. In addition to their brilliant execution though, their permissive adventures were something that the player could enjoy along with the characters. Not through agency, but through direct experience of their carefully crafted worlds.
Ultimately though, I think their place in our hearts is as much to do with them being brought into our collective consciousness as the first sizeable generation of gamers and game developers were finding their feet. LucasArts adventure games played out alongside us during our formative years and have, as such, stuck with us since.
Gareth Jenkins, of independent developer 36peas
These were not games, they were stories and experiences that were unlike anything players had experienced before. The developers had stories and experiences that they need to create, and they were given a chance to do just that.
Seth Sivak, of independent developer Proletariat
I think all game developers appreciate clever games, and you can always talk to them about their favorite puzzle in Day of the Tentacle (putting the sweater in the dryer for 400 years to shrink it to hamster size for example).
LucasArts adventure games are a rare breed of game you can return to every few years, not remember all the puzzles, and still have a blast trying to solve them again whilst enjoying the wonderfully goofy characters and their dialogue.
Grand Davies, Endgame Studios
In adventure games, verbs are mechanics and writing is gameplay. The two can live in harmony. LucasArts made some of the best — by turns thrilling, funny, strangely morbid — and I will always be grateful for that.
C.J. Kershner, scriptwriter, Ubisoft Montreal
The dialog is still funny, even today. The gameplay mechanics are dated, the puzzles are hard, and sometimes obscure, but I play them today mostly for the lines of dialog. From trying every action on an object, or every object with every other, to exhausting dialog trees to wring every last drop of humor from the game. It is definitely the writing that stands the test of time.
Andrew Goulding, of Melbourne-based Brawsome
LucasArts games have always had a special place in my heart; from Loom to Koronis Rift to Ballblazer and the Monkey Island series. Not (just) because they were ground breaking titles for their time but they had that extra special element which fired my own imagination and made me think “what if?” and “wouldn’t it be great if I could do this,” elevating a fun game with great mechanics into a world which you wanted to explore and make up your own stories in.
This basic idea is one that I still talk about to BioWare staff. If you can create a world which engages people’s imaginations and fuels and impassions them, they’ll take it to new heights.
Alistair McNally, BioWare
Classic LucasArts adventures are timeless because their influences are timeless. Frankenstein and film noir and buddy comedies and teen movies, classic pulpy sci-fi and swashbuckling movie serials crossed with irreverent, real, believable characters living in outrageous worlds.
I loved Full Throttle’s neo-noir before I knew what film noir was. I loved Day of the Tentacle’s Bernard, Hoagie, and Laverne archetypes before I’d ever seen the teen movie source material.
But regardless of the specific references and inspirations, classic LucasArts adventures are timeless because great, clever, earnest, memorable, human writing is timeless, and that is the foundation on which all those great games were built.
Steve Gaynor, of The Fullbright Company
The characters just stuck with me, and catching the in-jokes and cameos between games just made me feel like I was somehow connected, because they were in-jokes that I got.
There were serious moments in the titles, but it’s the humor that will always be with me. Like Monty Python sketches, these moments have just wormed their way into my mind and stuck, curled up with an amused smirk, waiting to spring to the forefront of my consciousness even 20 years later.
Basically, LucasArts titles infected my brain.
Kyle Kulyk, Itzy Interactive
What makes these games timeless for me is the combination of memorable characters and their hilariously witty dialogue. People remember bad writing in games – “All your base are belong to us” and they remember great writing – “That’s the second biggest monkey head I’ve ever seen!” Many games try to achieve great writing by imitating the successes of others, but end up falling flat somewhere in the middle.
Game designer Jordi Fine
It was thanks to Full Throttle that I began to understand the true power that a great story could have on a game. The Dig, Monkey Island, Grim Fandango… these worlds pulled me in and kept me there. Every detail of the story, worlds, and characters was fully fleshed out beyond anything else I had ever seen in games.
Dan Silvers, Lantana Games
To wrap this article up, we asked David Fox — a Lucasfilm Games alum who was there from the very beginning — to contribute his thoughts on why the studio’s graphical adventures are still held in such high esteem. Here’s what he had to say.
When I first started working at Lucasfilm in 1982, we had a heavy burden to bear. How could we create games that were as compelling as the Star Wars films but without mining ideas from the Star Wars universe? While other game companies of the 1980s had to rely on the income from their games to survive, we had the unheard-of luxury of taking our time to get our games right, with years to experiment, try new things, push the envelope, and with no pressure from marketing, focus testing, or even George Lucas. We also had time to develop our company culture, starting where the Lucasfilm culture left off.
So we’d spend months thinking about our games… brainstorming with the other brilliant designers, refining, reworking, revamping, tossing out the parts that didn’t work (or the entire concept) and starting again. One of our edicts was “don’t ship shit” and we wanted to make sure we never did.
Maybe working in a creatively supportive environment like that, one that wasn’t just focused on the bottom line, enabled us to think outside the box, take time to add tons of backstory and detail… tune, tune, and tune again. Until WE felt it was time to ship. Unheard of then and I’m sure even more unusual now (other than with indie games done by people in their spare time).
And yes, we had wonderfully creative people to work with. And that wasn’t an accident. For years, whenever a new designer was about to be hired, they had to run the gauntlet… interviewing with all the other designers. Would they fit in? How collaborative were they? How creative? It was a club where all the members had to vote to let the next one in. We weren’t about to change our culture or quality level, so we all took this responsibly very seriously. And our games showed it.
We never thought about our games lasting for more than a year or two on the shelves. Hardware was changing so fast then. We didn’t consider that people would build emulators and SCUMMVM so they could continue playing them on successively more powerful platforms. I wonder if we had known that if we wouldn’t have been much more self-conscious about our designs?
I think one thing that differentiated our graphic adventure games from “the competition” was our goal of creating puzzles that made people laugh with joy when they solved them. We wanted people to have that a-ha! moment when they figured it all out. I think “the competition’s” graphic adventures were sometimes mean-spirited, adding barriers to play that sometimes seemed like they were messing with the player.
I know that we learned a lot as we continued to refine the art of creating these games, but you can see elements of the above even with our first ones. We wanted to play with the player, and reward him/her for being outrageously creative in their solutions.(source:gamasutra)