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mechanikism

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  1. I posted about this over in the Games of Yore thread before an official Full Throttle Remastered board was up. Sorry for the double-ish post. Full Throttle is one of my favorite games of all time, so I’m pretty excited for the HD remaster they just announced. I did always feel like that game was a little short, though (or I just enjoyed it so much that I wished there were more of it), so while entertaining the idea of a remaster over the years, I thought that it might benefit from additional content - not removing or replacing anything, but possibly adding in scenes and sequences. Unfortunately, we can’t get any new dialog for Ben since Roy Conrad’s passing back in 2002, so that leaves Ben-centric stuff out. This led me to think that it could be possible to drop in a section where the player actually plays as Maureen between her escape from Melonweed and when Ben shows up at the mink ranch looking for her. It’d be an opportunity to flesh out her character a little more, and show her connection with the Vultures before Ben finds her at their hideout in Coreville. Maybe Mo ends up at another town between Melonweed and the mink farm, and has some interaction with Vultures there? Or the whole sequence could take place at the mink farm, with a member or two of the Vultures present (who leave before she does, since she’s still there when Ben arrives). It’d change the overall tone of the game, probably, splitting the action between two characters, but it’d be a chance to explore the game’s world a bit more. I've heard of the peyote sequence, which always sounded like just an old joke from the LucasArts offices to me (I can't imagine how many other proposed drug-fueled sequences were shot down for other games). And I saw mention of the water world, which seemed to be mostly rooted in the canceled sequel to Full Throttle. What else could be changed for the better in the HD remaster? I don't think the action sequences should be cut; they were really easy, and dropping them shortens an already short game.
  2. These are nitpicks, but stand out in my mind. I've played through Act I about six times now, and there are two instances - both in Vella's story - where characters end up knowing each other's names for no reason. The first is Gus. Vella talks to Walt'r and Ch't about Gus, so she knows who he is when she finds him (as long as she *did* talk to them...), but her dialogue options with him never include anything naming him as Gus ("You're in trouble, young man."), and his responses never indicate that he's Gus, and hers never name her as Vella. Meanwhile, when you drop through the weak butt spot to knock him onto the Whoops-A-Birdie guard, he says "Hey, Vera, can you drop me off at the arcade?" While I initially assumed this was Gus being dumb and failing to get her name right, she never tells him her name during dialogue progression. Meanwhile, if this is some sort of pun or play on words, I can't figure out what it's referencing (sorry!). The second instance is Curtis. I love the Curits scene, but there is no point during which Vella names herself, yet by the end of the conversation Curtis calls her Vella. He can't be so hipster that he knew her name before she was cool... One final nitpick is the progression in Vella's opening scene in the house. I feel like dialogue about Mog Chothra is just all over the place. Depending on what character you talk to, you get very random bits of information about the Maiden's Feast and the Mogs, until you talk to Levina and Brommel. Otherwise, Vella is almost randomly suggesting to kill Mog Chothra, but then even when she talks to Levina she gets scolded for not paying attention during Maiden Training, suggesting that she should know everything we're prompting this character to ask about. I feel like no one in the room should have dialogue progression beyond questions about the knife until she talks to Levina, so she has proper knowledge of the Mogs and the history of the Maiden's Feast, but the puzzle shouldn't end until she's asked the other characters about Mog Chotrha following that revelation, so there's a proper build-up to her wanting to fight the monster.
  3. I clocked Act I in at four hours, mostly from just watching cutscenes and exploring all of the dialogue trees to completion. The puzzles were easy, but I feel like that was only from the viewpoint of a seasoned adventure gamer. Someone who didn't play classic LucasArts adventure games probably wouldn't have had as easy of a time with the game. I loved it for what it was. It's gorgeous, it's funny, it's endearing, and clever. It's short, however; particularly if you ever had to use a rubber chicken with a pulley in the middle to get to Hook Island. I feel like it's no less significant than Full Throttle, which was easily the shortest adventure game of the golden era. If Act 2 delivers another four hours, then it'll be right on par.
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