The secret of monkey island get in the cannon
You have to be a little flexible in that stuff.
Ron: Which I think the other games did as well.
And the other caveat is that too much canon can get in the way of the story you’re trying to tell, so we decided that we would adhere to canon unless it was going to get in the way, and we would ignore some minor details if we needed to. So a little bit of paradox is necessary and probably healthy for us as creators and as human beings. One of which is, it’s actually kind of hard to keep track of everything that’s canon, and some of these other games don’t even agree with each other. We didn’t make them, but there are still a lot of good things in those games, and we wanted to embrace those, not whisk them away.ĭave: We talked all about canon and these other games, and the fact that we liked them, and the audience liked them, and so we made it our point of philosophy to adhere to canon wherever possible, but with two caveats. But the thing we finally came around to is, these are very beloved games. I remember some of those conversations Dave and I had, there was this kind of tendency to just throw everything out, let’s just start over. So we were very, very careful about that. We embrace a lot of the things we liked in those games. We’re not saying any of those things didn’t happen, we don’t talk down to them at all. Ron: We very purposefully don’t do anything to invalidate any of the canon that’s happened in those games. In the end we really felt the that new audio, including the music and voice acting really helped draw you into the world of Monkey Island and complete the experience where often there was just silence before.In recent interviews Ron and Dave have said that the other games continue to be “canon,” but also it’s best to not fixate on it too much: It was a particular pleasure to be able to add new sounds to the fight between Guybrush and Fester Shinetop that happens behind the wall in the Governor’s mansion which originally only had text and a couple of explosions as a guide to what was going on.
So myself and Adam Bormann reviewed all the game’s animations and figured out how many we could add sound to before the end of the project. This meant that I was able to make better quality versions of the same old sounds and throwing in a little more variation to it to make it sound less repetitive.Īs I added those new sounds, I began to realize that more and more never implemented sounds needed to be added! Fortunately it was at that time that we realized that it was fairly easy to add new sounds to animations which opened up the door for a load more audio. The originals had been reduced to a very low quality in order to fit on the floppies.Īs a fan of the original I really wanted to be true to the spirit of it and I was delighted when I came across the original source material for the seagull cries and the piranha poodle barks among others in our sound library. I then set about replacing the 60 odd sound effects that were used in the original game, from the sword fighting to the cannon sounds. Adding ambiance to each screen was an obvious first step in order to give the game’s audio an up to date immersive feel. Upon returning to the original I was surprised at how little audio was present aside from the music, and just how much silence there was. It was The Secret of Monkey Island that first introduced me to video games almost 20 years ago, so to have the chance to work on the sound design on it for me was a dream come true.