Grim Fandango Remastered

Tim Schafer, the designer of all-time PC Gamer favourites like Grim Fandango, Full Throttle and Day of the Tentacle received the BAFTA Fellowship last week in recognition of his creative contribution to games. Along with much of the staff at Double Fine, Schafer is currently working on a sequel to cult classic Psychonauts 2, which was successfully crowdfunded in January 2016. 

We never seem to pass up an opportunity to talk to Schafer, and at EGX Rezzed last Friday I sat down with him to ask how Psychonauts 2 is coming along and whether he'd be interested in remastering more of Lucasarts' treasure trove of adventure games—even if they weren't games he worked on. 

How does receiving the BAFTA Fellowship make you feel?

Besides old? It's really nice. It's coming from an organisation that values creativity and tries to encourage that in a generation of young talent, and that's something I feel like we've always tried to do as a company, so it feels very relevant and important to recognition—and a very heavy trophy. 

It was an interesting spread of winners this year—particular Edith Finch winning Best Game. That sends a strong message. 

Those are great games. It was nice to see Night In The Woods and Gorogoa win awards, as well as Hellblade winning so many. 

Double Fine is at an interesting mid-point between developer and publisher. How has your role changed in the last decade or so?

Well, some things are new, and some things are the same. I still try to hold on to the parts of the job that I love, like writing. I'm still writing on Psychonauts 2, I'm hard at work getting all those cutscenes and levels writing done. But we've added a lot more things with an eye on the industry at large—trying to be a good heart of the indie games community, doing things like Day of the Devs and Double Fine Presents. There are so many games out there that disappear, and we want to help showcase the ones we think are the best. So I've added that kind of stuff, but I've left the parts of the job I'm not good at or don't enjoy like biz dev, money raising and work schedule. Team management I've sometimes left to other people smarter and better people than me so I can focus on still being creative, but still reaching out to the industry at large, trying to be a good citizen. 

You've talked a few times about the amount of games out there, and the struggle to stand out. Do you feel like you've found the right way of getting games to a larger audience?

Yeah. There are actually a lot of indie developers doing this now, like Finji, who are helping out other indie developers. We're picking games that really stand out to us, or speak to us, and need what we have to offer. We're not sitting on a huge pile of money, though we are investing more and more in the publishing side. We've been around a long time. We know how to do everything from crowdfunding to relating to platform holders to how to get featured, how to outsource—all those things a developer might not know on their first game out. A lot of that is the hard work and curation of Greg Rice, our VP of business development, who runs Double Fine Presents. He's spending time at the show checking out all the games, seeing what stands out and meeting developers we might want to work with. We talk about it too, as a team, we play the games. At lunchtime we invite the whole company at Double Fine to come play some of these new games and see which ones we think are special.

You've gotten pretty good at the crowdfunding process. Are you less reliant on work-for-hire than you used to be?

To make a game as large as Psychonauts, we needed help from a publisher and that's when we really put together a flexible source of revenue. We have our own back catalogue now from games that we've self-published, like Brütal Legend on the PC, and all of our games that we've published we build to generate revenue from them, and every time we have a big Steam sale or a Humble Bundle we'll generate more money we can invest back into Psychonauts 2. But we also have Starbreeze publishing. So I think crowdfunding is still a great way to serve underserved markets like adventure games and things, where publishers might not be able to risk money on [them], but it's also a great way to connect with your strongest advocates out there in the community who really want to be backers, not just financially but emotionally and spiritually. 

Can you talk about how Psychonauts 2 is coming along?

Yeah, we have about five level teams cranking away on the mental world. In Psychonauts you go into the minds of people and see their inner demons and fight the nightmares. We have multiple teams working on new levels for that, and we just did an update about the level teams and how they work. I'm almost done writing the cutscenes for the game, and we're just starting to look at casting for the voices.

When you make move the release date of a game, like you did with Psychonauts 2 in December, do you feel more pressure making those decisions when it's a crowdfunded game? 

No, not unless you're asking for more money from them, because we're not. With Broken Age we doubled the length of time we'd take to make the game, but we also put in a bunch of our own money to match what the backers gave it. I feel like we're saying, thanks for waiting, we do apologise it's taking a while—so don't apologise. because that decision is to make a better game. You see announcements in the news about, 'oh, this game slipped' and everyone's all mad. The real bad news is the game's getting shipped when it's not ready. That's the opposite of that news release, right? And no one ever sees that announcement, because they don't make that announcement, but that's where the players really suffer—not from having to wait for a good game.

You've got former 2K Marin design director Zak McClendon as your lead designer on Psychonauts 2. What's that collaboration like?

Zak is an experienced leader of design. He worked on BioShock 2, a really great version of BioShock, and he brings a lot of expertise to the mechanics and the tuning and the physical side of level design and a lot of things we wanted to improve on in the second game. We felt like we can still do story and creativity and art really well, but we wanted to improve the platforming and level design on a mechanical level. I think he has a lot to offer there. 

How is your studio divided across different projects right now?

We've got two games [going ahead]. After Brütal Legend, we split into four 15-person teams instead of one 60-person team. Three of those together is Psychonauts, and another team that's working on a secret unannounced game. So I always want to have multiple games going on because it gives you some perspective, flexibility and variety in the company which is important.

That moment where you split into those four teams felt like the start of an important new phase for Double Fine. 

Definitely. And it was a great growth moment where we got to have people like Lee Petty, Tasha [Harris], Nathan [Martz] and Brad [Muir] run their own projects. Everyone got to try something new and everyone got to move up. We got a whole bunch of new genres nobody had ever done before. It helps us be nimble, trying to do something like Iron Brigade which was a mechanics-first type game rather than a story or narrative game. It lets us try to do things Once Upon A Monster or an RPG with Costume Quest and not bet the whole farm on it every time. 

What was it like to revisit your old games for the recent remasters?

It was the kind of thing I had to give my permission to do. I've always had an instinct to stay away from the past, make a game, move on and make the next game. Don't rest on your laurels. You should always be trying to pull out new ideas. But then, 20 years go by for some of these games. It's been enough time that there's some value in going back and looking at them. 

Also, they were falling apart. They weren't available anymore, they didn't run so you'd have to pirate them if you wanted to buy some of them. We thought it was time. Also, the source material was ageing. A lot of it was on tape drives that are crumbling. Some of the team had passed away. While everyone's still around, let's make a definitive version of this game. We can get the team back together to comment on it, and gather that art, go to the archives and find what we can find. So we made versions of the game that are really phenomenal, and they gather a lot of that source material so you can see who we were at the time we made that game, who the team was. We can also do things like remix the audio, have it cleaner and not compressed.

Between that and Psychonauts 2, then, you have opened yourself up to the idea of looking back.

Yeah. Although Psychonauts 2 is a sequel, and we don't usually do that, but the story is a whole new chapter and it's something I wanted to do back when I made the first game. I had these ideas for how that story would continue, and being able to wrap up some of those loose ends that we started in the first game has been really satisfying.

With the Lucasarts remasters, you've now worked on your major projects there. Would you be open to taking on Lucasarts adventure games that could do with similar treatment, even if they're not games you worked on?

We'd love to, and in some ways it's up to Disney, if they want to do that, obviously, and if the original creators want to be involved, you know. That's what makes those remasters special, that the original creators came back and were able to say what to improve on, what to leave alone. 

If Disney expressed interest in doing sequels to your older games, would you be interested in doing that, or are you all about owning your own games now?

The reason I started the company was to own what we make, so it is important to me to own them, and I had to be talked into doing those remasters on the business side. Our biz dev person at the time, Justin, was like 'you should do this'. [And I was like], 'we don't own them, what's the point?' and I'm really glad we did decide to do them, even though we don't own them. First of all we made money off of them, which is something I couldn't do in the past. We made money off Full Throttle, but we sold more copies of Grim Fandango this time around than the first time around, and so that was exciting to be a part of. 

And also, I got to make sure they were done right, and still be associated with the new versions of the game and not let someone else do that. That was really important to me. So I'm glad we did that. I would like to own them some day, mostly just to make sure I can preserve them. We lucked out, we made those remasters [with people] that were fans of the old games at Disney and at Lucasarts, and people still wanted to see those kept alive. 

What do you think the state of comedy in games is now?

I feel like it's getting better. There are a lot of indie games that are really funny and light-hearted. The games industry dwells too much in the over serious, the grim hero of action games and hyper-macho things. The film industry is not known for being super inventive all the time, but even they have comedies every year and romance. Those things are not well-treated in mainstream games very often, but indie games I think have shown the way, by being games about anything. Making games that are funny, making games that are serious. 

Jazzpunk and West of Loathing come to mind as great comedy games of recent years. Jazzpunk is particularly great at allowing the player to play a role in creating jokes. 

I feel like interactive comedy is all about giving the comedy tools to the player. Giving them the wacky ability to squirt ink on everybody, or act and behave bad. It's like you're staging a play and there's this drunk improv character in the middle of it being rude to everybody, and that's the player. You've got to react to that, and as long as you give the player good props and good costumes to wear, and good actions they can do, they'll have a lot of fun, and be able to be funny. 

What's it like working with a Psychonauts 2 team made up of both fans of the original game and people who were fans of it?

I think it's an important mix to have, because you want people who remember the special ways you made the first game stand out, how did you achieve that, and to remind you that we had some of the same problems with the first game that we had in the second game, insofar as there's periods where the level has to be rebooted. We rebooted one of the worlds five times, I think, and it's good to have that kind of perspective on it. Then it's also good to have people who don't have that history, who just started with some new ideas and new ways of doing things that can make the game better.

How has your writing process changed over the years, and how is that conveyed through your work?

When I do the remasters and I read my old writing, I remember how I was feeling when I wrote that. I feel like my process is still really similar. I do a lot of free writing, I do a lot of brainstorming, and I do a lot of writing locked in my office. I try to absorb the characters completely in my brain, and then treat it like improv acting where I act every part out as I'm writing, and I think that is basically the same. I feel like I've been through more as a human being, and that I've lived more, and that that's made me more empathetic towards human beings, and so maybe that comes through in the writing a little more. I worked really hard to become a better writer, and that's harder to do when you get more established—to find more ways to improve your craft, but I think it's really important. Even after you feel like you've arrived or succeeded, you don't stop learning how to do better, because I think that's the only way to have a long career—to always be getting better. 


The Humble Store is holding a huge Double Fine sale today. The sale runs through 10 a.m. Pacific (1 p.m. Eastern) tomorrow, Thursday, January 25, and includes games that the studio both developed and published. You can find all the games in question by searching for Double Fine in the store, or by following this link. Here are some of the best games and discounts available:  

Some online stores give us a small cut if you buy something through one of our links. Read our affiliate policy for more info. 

Grim Fandango Remastered

Day of the Devs is an upcoming gaming event where fans can meet up with a bunch of game developers to hang out and revel in their mutual passion. It's also the catalyst for Humble Bundle's latest bundle, which is offering $131 worth of games at obscene discounts. 

Spend any amount on the Day of the Devs bundle and you'll get TumbleSeed, a 2D roguelike about pushing a seed up a mountain with a balance beam; Loot Rascals, a grid-based roguelike about exploring alien planets; and Grim Fandango Remastered, the definitive version of Double Fine's classic (which we loved)

At the time of writing, the bundle's average donation is $6.02. Chip in more than that and you'll get Abzu, one of the best underwater games around; Flinthook, a cheerful, skill-based platformer; and Day of the Tentacle Remastered, another fantastic adventure game which benefited immensely from an HD face-lift.

Finally, for $9 or more, you'll get Everything, which is a pretty good bargain when you think about it, and Full Throttle Remastered, which rounds out Double Fine's showing in this sale. 

Additionally, the $9 package comes with a VIP ticket to the Day of the Devs event itself. It's being organized by Double Fine and production company iam8bit, and will be held in San Francisco on Saturday, November 11 at The Midway venue located at 900 Marin Street, for you San Francisco locals. For non-Californians, the VIP ticket doubles as a coupon worth 20 percent off a variety of merchandise from iam8bit's online store. 

The Day of the Devs bundle will be available through 12 pm Pacific (3 pm Eastern) on November 11. The iam8bit VIP coupon is valid through December 31. 

Day of the Tentacle Remastered

Good news, Twitch Prime subscribers: you get to play one of the best point-and-click adventures of all time for free. All you need to do is get the Twitch desktop app and head over to Day of the Tentacle Remastered's Twitch page to start downloading.

If you like point-and-clicks then you'll probably love this one, but if you're still on the fence head over to Andy's review. It's an updated version of Lucas Art's 1993 classic, and is arguably the publisher's funniest effort. It usually costs around £11/$15.

Make your mind up sharpish, mind, because the offer ends on Tuesday (August 8).

Twitch Prime is included for free in Amazon Prime memberships — click here to find out how to activate it. If you subscribe you'll get free games, DLC, and ad-free viewing on Twitch. 

Previous goodies include Oxenfree, Titan Souls, and Overwatch loot boxes. Basically, there's some decent stuff on offer. It's probably not a good enough reason alone to pay for Amazon Prime but it certainly makes it look more attractive. 

Plus, there's probably a lot of people with Amazon Prime subscriptions that don't realise they're missing out on free loot (I've been a member for years and I had no idea until last month — don't be like me).

Day of the Tentacle Remastered - Spaff
It's a three day weekend, which means an extra 24 hours of gaming time has just appeared in your life, just like when you put on an old pair of jeans and find a $20 bill in the pocket.

How will you use it? So many options!

It's OK you don't need to think for yourself, we'll tell you what to do - Play this all-time classic adventure game at this crazy low low discounted price! There's literally not a better answer available to you and anyone who says there is is clearly deluded, or a huge liar, or maybe both.

If you encounter them simply raise your hand up in front of their face, and repeat after me "Speak the newly-mutated tentacle-hand bozo!!" That should put them in their place.

Now you are free to enjoy Day of the Tentacle Remastered! Have fun!
Day of the Tentacle Remastered - Valve
Today's Deal: Save 66% on Day of the Tentacle Remastered!*

Look for the deals each day on the front page of Steam. Or follow us on twitter or Facebook for instant notifications wherever you are!

*Offer ends Wednesday at 10AM Pacific Time
Oct 14, 2016
Day of the Tentacle Remastered - Spaff
Attention all time traveling penguins, the Linux version of Day of the Tentacle Remastered has been updated with the following changes:

  • Performance - introduced some optimisations that significantly reduce CPU usage
  • Controls - pulled in upstream controllerdefs.txt to add support for additional gamepads
  • Audio - added `--audio-devices` and `--audio-device` launch options for ALSA users and anybody having the game use the wrong audio device (see readme file for usage)

Day of the Tentacle Remastered - Spaff
We're happy to report that the Linux version of Day of the Tentacle Remastered is now available! Thanks very much to Cheese for the hard work porting the game, and also to everyone who helped with testing!
Day of the Tentacle Remastered

This article was originally published in PC Gamer issue 292. For more quality articles about all things PC gaming, you can subscribe now in the UK and the US.

I never played Day of the Tentacle, despite its reputation as one of the best adventure games ever made. With the remastered edition now available, Andy has challenged me to finish it without a walkthrough. It s my chance to experience the game as it was meant to be played without the safety net of the internet. In the spirit of the era, I can use Andy as my very own LucasArts helpline. Be warned, there are puzzle and plot spoilers throughout this article.

I m not too bad at modern adventure games I completed the Blackwell series without a walkthrough but I m less adept at the older ones. Monkey Island 2 had me utterly stumped. Judging by Day of the Tentacle s opening cutscene, I m worried this will be more of the same. It appears to take place in a slapstick cartoon, where logic has upped sticks and bought a quaint country cottage in a heartland of zany adventure. I m in trouble.

We open to the lobby of Doctor Fred s combined hotel, laboratory and psych ward. I recognise my first puzzle: a coin on the floor that s stuck to some gum. I go to pick it up, but it won t budge. No doubt this is part of some long, elaborate puzzle chain. If I was a standup comedian, here is where I d go on a long routine imagining common tasks through the lens of adventure game logic. Perhaps a skit about acquiring milk by using leather cushions to trick a cow into letting me near her udders.

No time for that, though, as I trigger a cutscene by climbing into a grandfather clock. Soon, a time travel mishap occurs. The three playable characters now exist in three different time zones. Equable roadie Hoagie is in the past, and skittish student Laverne finds herself in a future ruled by tentacle monsters. Both must get power to their Chron-o-Johns. Back (or forward) in the present, bookish Bernard must buy an expensive diamond to bring his pals home.

I quickly make what seems like progress by picking up every item I can find. Pretty soon Hoagie and Bernard s pockets are bulging. Not Laverne s though, because she s stuck up a tree. Also, I ve talked to the founding fathers of the United States. They seem nice.

Climbing into a grandfather clock in the past as Hoagie, I find Fred s ancestor, Red Edison. He s going to help me build a super-battery, but only if I provide him with three things: oil, vinegar and gold. I suspect these aren t the ingredients for a battery, but then Fight Club lied about the recipe for homemade napalm, and the most cartoonish thing about that was Jared Leto s hair. Thanks to my earlier hoarding, I already have the oil.

Next: vinegar. I don t find any, but I do have a bottle of wine. As any sommelier will tell you, wine plus time equals rhyme. And also vinegar. I m about to drop the wine bottle into the Chron-o-John which lets me transport inanimate objects between time periods when I realise a conceptual flaw in my plan. If I send the wine forward in time, it will still be wine. I need to hide the wine in the past, and have one of the other characters retrieve it and send it back. I am a clever boy.

Admittedly not that clever, as it takes me a while to realise I need to put the wine in Thomas Jefferson s time capsule. In the meantime, I cajole George Washington into cutting down a kumquat tree by painting its fruit the colour of cherries. This frees Laverne. I d gloat, but it was accidental. I recognised the basic template of an adventure puzzle, and attempted to solve it regardless of reason. I also add an amendment to the Constitution requiring vacuum cleaners in every basement. I assume this will, at some point, be of use.

Freed from the tree, Laverne is locked up by tentacles. Releasing her proves surprisingly easy. Feigning sickness, I steal a chart of tentacle anatomy and send it back to Hoagie. He hands it to a seamstress who assumes it s the template for a new American flag. In the future, Laverne is able retrieve the flag and wear it as a disguise. Did I say it was easy? I meant stupid. Free to wander the future mansion, I find the time capsule. Laverne can t open it with her bare hands, though. Didn t I see a crowbar back in Bernard s time?

Doing things for no reason works for a while, but pretty soon I m stuck.

I did! The crowbar lets me pick up the coin from the lobby, and also steal a stack of quarters from a candy machine. What I can t do is send it into the future to help Laverne. Instead, I do more things that don t make sense. I use the dime to shake a fat man off a sweater. (Why?) I put the sweater in a tumble dryer and use my stack of quarters to send it spinning into Laverne s time. (Er?) Later, I tell Bernard to steal a hamster. (What?) I put the hamster in an ice box. (Oh, come on!) In the future, Laverne retrieves the frozen rodent and puts it in the microwave. (Seriously?) I place the thoroughly damp hamster in the dryer-shrunken sweater to warm him up. (WTF, adventure games.)

Doing things for no reason works for a while, but pretty soon I m stuck. It s time to turn to my only hope: Andy Kelly, who is standing in for the LucasArts tips line. For a while, I d harboured dreams of completing the game without ever calling him especially as he ll be billing me for every hint I receive. Alas, I m at a loss. I email Andy and ask how to send the crowbar to the future.

Thanks for calling the LucasArts hint line. Calls to this 1-900 number are charged at $3 for the first minute, and $1 for every additional minute. Your hint is as follows: there are other ways to open a time capsule. The charge for this call is $4.

What a rip off! That is no help at all. I ve already been through the rest of my inventory, and there s no other item that could realistically open a... oh, it s the can opener, isn t it? That would be the most nonsensical solution, and so it s clearly the correct one. I send Laverne the can opener that Hoagie is inexplicably carrying and, yes, it works. Vinegar acquired. Just the gold to go.

Elsewhere, I m starting to understand what I must do in the other time periods. For Laverne, I need to lure away the tentacle guarding the grandfather clock that leads to the basement. To do that, I ll need to free the prisoners by offering their warden the free dinner that can be won from the tentacle s Crufts-like human beauty contest. Problem: I don t know where to get a human.

In Bernard s time, I engineer a situation that results in Fred sleepwalking to his safe. But every time I go to grab the contract secured inside, he sleepslams the door shut. What a sleepjerk.

Back in Hoagie s time, I can t find the gold. It s probably the pen by the draft Constitution, but I can t tell if the horse s dentures are gold or grubby yellow. Oh, right, yes: there s a talking horse. I can t wait to discover what logical, grounded and not at all contrived puzzle he s involved in.

I attempt to get some value for money by tricking Andy into revealing more than he should. How do I get the gold? I ask. And, if it has anything to do with starting a rainstorm, how do I get the soap? The latter has to do with a puzzle thread I don t really understand, but I m convinced will make me angry once it s played out. I m not even sure it s relevant to my current situation. Mostly, I m just frustrated that there s an inventory item I can t pick up. Every time I try, the cleaner scolds me and walks off with it.

My hope is that by my questioning a link between the two puzzles, Andy will be a bit broader in his hints. It doesn t work. You need to keep the maid busy long enough to grab the soap. As for the gold, the pen is mightier than the sword. $6.

What a swindle! $6 for information I (mostly) knew! I d already figured I d need to keep the maid busy, I just don t know how. The only interactive element in Washington s room is the bed, and I can t seem to use any item on it. In desperation, I try using the bed by itself. It works. Hoagie nudges against it, messing up the blankets. I call the maid and grab the soap.

As for the other hint, I suppose it at least confirms that it s the pen I m after. Also, now I have the soap I can clean the cart to trigger a rainstorm. Let s not stop to consider how idiotic that last sentence is, and instead stop to wonder why I need to trigger a rainstorm. I have no clue. I do it anyway, and, as a result, Benjamin Franklin returns to the hotel. I guess that s progress.

Using a letter from the past, Bernard gains access to a flag gun which I swap with a cigar lighter so as to pilfer an exploding cigar without blowing my face off. Perhaps, at times over the last two decades, you ve wondered why adventure games died out. I d argue that the answer lies within this paragraph. If you re au fait with the genre, you should be able to puzzle out the answer. No? Here s another clue: I then gave the exploding cigar to George Washington to blow out his false teeth.

Here I realise that I can use the chattering joke teeth from Bernard s time. If I can give them to Washington, people will assume he s cold and light the fire. I m not sure how this will help, but I figure any puzzle to do with the founding fathers will get me the gold pen.

The trouble is I can t get the chattering teeth. They bounce away whenever Bernard gets near them. Once again, I try everything in my inventory to no avail. Fine, Andy, you win again.

Catching the chattering teeth? That would be grate. $3.

As a games journalist, Andy s idea of a cryptic clue involves puns. Still, I had previously tried to pry open the grate. Unless, that is, I can just open it. I tell Bernard to open it, and, of course, it opens. Stupid verb wall.

I give Washington the chattering teeth and, lo and behold, a fire is lit. This gives me an idea. I go to the roof and place John Hancock s blanket over the chimney, filling the downstairs room with smoke. The founding fathers evacuate, and I pinch their pen. Sorry America, no Constitution for you.

I hand the pen to Red, who makes me a battery. It s uncharged, which finally explains the point of Benjamin Franklin. Besides the founding of a nation stuff, I suppose.

It s time for some more sentences I d never imagined writing. I have found an entrant for the tentacles human show. It s Ted, the mummified corpse that exists in all three time zones. Progress is smooth, at first. I plop some wet noodles on his head, and use a fork to style them into a meatball laden hairdo. I also get my strongest competitor disqualified with some fake barf that, earlier, I d rescued from a ceiling.

Hair is only one of the categories by which a human (or mummy) is judged. The other two are smile and laugh. Once again, I am stuck.

You can t use the chattering teeth, but there s another set somewhere around in Hoagie s timeline. I had to look that up myself, so that ll be $6.

The horse! I knew it! The problem is, I ve already tried to get the horse s dentures, and failed over and over again. And so, like some desperate puzzle addict jonesing for just one more hint, I go crawling back to Andy.

There s a glass next to the horse. When do people put their dentures in a glass? $3.

This makes me so frustrated that I involuntarily stand up in exasperation. That s when I remember that I work in an openplan office. I grab the mug from my desk and walk off to make some coffee, thus creating a cover story for my sudden vertical outburst. The reason I m annoyed is that, in previously attempting to learn the purpose of Bernard s book, I d used it on just about every character. Each one had said that it made them feel sleepy. I d come so close, but, for whatever reason, I hadn t considered using it on the horse. Back at my desk, coffee in hand, I easily acquire the dentures. Great, my mummy has the best smile.

Illogical Invoice

A list of Andy's earnings: $3 Catching the teeth, $3 Making the mummy laugh, $3 Acquiring the lab coat, $3 Accessing the VCR, $3 Engineering a prisoner escape, $4 Opening the time capsule, $6 Acquiring the soap, $9 Making the mummy smile. $34 Total

I still can t work out how to do almost anything else. My progress has halted in each time zone. In the past, I need to persuade Red to give me his lab coat so I can hand it to Benny Franklin. In the present, I need to persuade Nurse Edna to let me access the security room s VCR. In the future, I need to persuade a panel of tentacle judges that my mummy has the best laugh. Instead of the usual back-and-forth, I send Andy a bumper list of requests.

An employee? Seems Red Edison wants help. Edna s a real pushover. Clowns often make people laugh. $9.

That was expensive, but worth it. In the present, I use the scalpel on the fake clown, take out his chuckling voice box and send it to Laverne. All items in place, she wins the competition. Also in the present, I notice the Help Wanted sign. I pick it up and send it to Hoagie. Red assumes he made the sign and gives Hoagie the lab coat. I deliver it to Franklin, who makes it into a kite. I attach the battery to said kite and hurl it into a lightning strike. Grabbing the now charged battery, I plug it into the Chron-o-John. I have completed the past!

As for Bernard, I wonder if it could really be so simple? I tell him to push Edna. He gives her chair a kick, sending her flying out of the room. Once again, I m a bit annoyed. Bernard is so mild that he refused to use a scalpel to cut gum off a floor. Now he s kicking lecherous old women? It s completely out of character. Yes, that s right, I m choosing to blame the game s inconsistent logic rather than my inability to use a verb wall.

I record Fred entering his safe code, and then watch as the IRS arrests him. I grab a contract out of the safe, and through a complicated series of events involving an ink-stained stamp collection, a painted mummy and some light dialogue puzzling post it in the past. As a result, Bernard has access to enough money to buy the diamond he s needed all this time. I stuff it into the time machine and complete the present day.

Just the future to untangle now, and doing so involves a puzzle so infuriatingly nonsensical that this remastered edition has an achievement that makes fun of it. Having given the prison warden my dinner coupon, I must now cajole the prisoners into staging an escape. Naturally, I have to consult Andy. He points me in the direction of the cat specifically to the fence it s scratching itself on and charges me another $3. Eventually, I realise I must use the correction fluid on the fence, which, as the cat returns for another scratch, leaves a white stripe along its back. Tempting the cat with a mouse, I grab him and take him to the cell. The prisoners naturally think he s a skunk, and make a run for it.

Look, I m just going to say it: I m glad adventure games died off. Fans used to lament the fact that mindless action had replaced their more cerebral pleasures. But Quake never asked me to paint a cat by proxy. That s not cerebral, just annoying puzzle design. The Longest Journey, an adventure game, has you use breadcrumbs to tempt a seagull into attacking a rubber duck so that you can retrieve a clothesline. Gabriel Knight 3, an adventure game, has you style a moustache out of syrup and cat hair in order to disguise yourself as a man who doesn t have a moustache. Adventure games deserved to die.

With the tentacle guarding the grandfather clock lured away, Laverne can now access the basement. I go to put the hamster on the treadmill of Fred s old generator in order to power the Chron-o-John. As I do, a boxing glove attached to an extending arm shoots out of the wall and punches Laverne in the face. This, I feel, is the perfect visual metaphor for my time playing this game.

Look, I m just going to say it: I m glad adventure games died off.

The hamster scurries into a mouse hole, but I d already amended the Constitution to mandate vacuum cleaners in every basement. I did this for no conceivable reason. Retrieving the hamster, I put him on his wheel and plug in the Chron-o-John.

All time periods are complete, and the three characters reunite for an epilogue. It is mercifully simple, requiring only that I hurl a bowling ball at some tentacles and talk another into firing his shrink ray at Fred s head mirror.

It s done. I have completed Day of the Tentacle without a walkthrough. I owe Andy $34. More than that, though, I now hate adventure games. It s something of a pyrrhic victory.

Jun 1, 2016
Day of the Tentacle Remastered - Spaff
Day of the Tentacle Remastered has been updated today with a mixture of bug fixes and requested features!

We looked at the highest rated issues on our support site, and tried to address everything we agreed would be great to have fixed or added. We ‘re happy to report that along with numerous fixes, we were able to address requests such as adding more save slots to Maniac Mansion, and adding in the classic compressed sound effects as an alternate sound option.

Unless major issues are discovered, this will be the final update for DOTT Remastered, allowing the team to move on to work on Full Throttle Remastered! (other than the Linux version which is coming soon!)

  • Maniac Mansion - added multiple save slots and support for saving anywhere (except during cutscenes).
  • Audio - added a setting to toggle between remastered and classic sound effects

  • Accessibility - added a command line flag "--UIModeAccessibility" that turns on some extra UI controls to remove need for keyboard input in some situations.
  • Audio - fixed "FIRE!!!" voice over line not playing if subtitles are turned off.

  • Audio - fixed a classic game bug where Bernard would say one of Laverne's lines in the Lobby in a specific situation.

  • Controls - added the ability to skip dialog lines by tapping on the screen when using touch controls. This is only available for touch screen PCs.

  • Controls - added a way to trigger object highlight using touch. Hold two fingers on the screen to use. This is only available for touch screen PCs.
  • UI - added touch UI for opening the pause menu in DoTT verb bar mode and in Maniac Mansion. This only appears when using touch controls.
  • UI - fixed a bug in verb dial mode where a certain inventory object's morph animation didn't play correctly during a certain puzzle.
  • Settings - fixed a bug where the fullscreen setting wouldn't save properly for some players.

  • OSX - touch pad taps now register as clicks.

  • OSX - clarified the controls help text to indicate you may need to press Fn+F1 to toggle render modes.


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