LucasArts Adventure Games

LucasArts Adventure Games

From the late 1980s to the early 2000s, LucasArts was well known for their point-and-click graphic adventure games, nearly all of which received high scoring reviews at the time of their release. Their style tended towards the humorous, often irreverent or slapstick humour, with the exceptions of Loom and The Dig. Their game design philosophy was that the player should never die or reach a complete dead-end, although there were exceptions to the former.

Many of the games shared similar game interfaces and technology, powered by SCUMM (Script Creation Utility for Maniac Mansion). After 1997, these games transitioned into 3D graphics with the GrimE game engine. Common features between the games include in-joke references to both other LucasArts games and Lucasfilm productions, as well as other running gags, such as Chuck the Plant and Sam & Max cameo appearances, that spanned numerous games. Most of the games were designed by the people with experience from creating preceding adventure games for LucasArts, whilst the same composers were involved in the majority of productions.

In 2004, after a string of titles that never reached release, LucasArts ceased development on graphic adventure games. Many of the development staff involved in the making of these games moved on to form new companies, continuing to produce similar games at studios such as Telltale Games and Double Fine Productions. In 2009, however, LucasArts announced collaboration with Telltale to revive the Monkey Island series, one of the old LucasArts adventure franchises, as well as stating its intent to revisit its past portfolio. The Monkey Island game was later released in July of that year as Tales of Monkey Island.

Read more about LucasArts Adventure Games:  Canceled Projects, Descendent Companies and Titles

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Famous quotes containing the words games and/or adventure:

    Whatever games are played with us, we must play no games with ourselves, but deal in our privacy with the last honesty and truth.
    Ralph Waldo Emerson (1803–1882)

    Typically, the hero of the fairy tale achieves a domestic, microcosmic triumph, and the hero of myth a world-historical, macrocosmic triumph. Whereas the former—the youngest or despised child who becomes the master of extraordinary powers—prevails over his personal oppressors, the latter brings back from his adventure the means for the regeneration of his society as a whole.
    Joseph Campbell (1904–1987)