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innuendostudios · 2 years

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Nietzsche's Eternal Return (to Monkey Island)

[spoilers ahoy]

Theme The person who is returning to Monkey Island here is, most obviously, Ron Gilbert. He got him brand back. Go Ron! And, look, I was skeptical. I mean, I was, above all, cautiously optimistic! But I was keeping my skeptic hat on the coat rack next to my hoodie, you know? I said the philosophy of The Secret of Monkey Island is "cheerful nihilism," and I stand by that. But Ron Gilbert's nihilism is not always cheerful. Or, actually, I think he's usually having a good time, but it often feels at my expense. How badly did I want him to take me back to the first series I ever loved?

I am on record as having never liked the ending of Monkey Island 2, which is the last Monkey Island game Ron directed (though he apparently had some peripheral involvement in Tales of Monkey Island). I am also on record as having haaaaaaaaaated the ending of his last adventure game, Thimbleweed Park. Ron likes a cop-out ending. Frankly you should know that by now - don't play Return to Monkey Island if you aren't prepared for a cop-out ending. It's what Ron does. And sometimes... sometimes it's a deliberate rug-pull. Sometimes he's laughing at you for expecting the ending to be good.

The Secret of Monkey Island's ending was a bit of a piss-take. It was short, it was abrupt, it rendered the entire plot up to that point irrelevant. Its instant replays and Blimp-cams and snarky final lines made it a parody of a video game ending. But, parody or no, it was an ending! It was a climax. You returned to the starting point, blew up the villain, and reunited with the love interest. Even in air quotes, it was the way you expect stories to end.

Monkey Island 2 intentionally denied you that ending. Refused closure. Told you all the events you just witness, and the events of the previous game, may never have happened. I originally played the game on its "easier puzzles" mode, and, when I got to the end, thought there must be a proper ending if you play normally, but nope. Spent a solid year stuck on Part II, refusing to get a hint book, before finally getting back to the ending, and thbthbthbthbthb. Fuck me for caring I guess.

The joke of The Secret of Monkey Island is Monkey Island having a secret is brought up in Part I, so you expect it to be relevant, given the game's title and all, and then, once the plot kicks into gear, you get focused on Elaine's kidnapping and the rescue mission and confronting LeChuck, and it's not til sometime after you finish that you think, "Wait... they never told us the secret." I don't think it's even mentioned after Part I.

Monkey Island 2 never lets you forget its macguffin. You are searching for the treasure of Big Whoop. No one knows what it is, but it's what you're after. There is no distraction, no romantic subplot that takes over your attention. Hell, the game makes it clear that Guybrush's obsession with being the kind of famous pirate who would look for Big Whoop has ruined his relationship and annoys his friends. The game hinges on Big Whoop. But, once again, you never find out what it is, and it's not an "oh that's funny" moment that hits you an hour after you play; it is, as Cobain would say, a denial.

And then Gilbert left LucasArts, the series was continued by other developers, and whatever resolution he had in mind for the MI2's putative "cliffhanger" ending was left to our imaginations for thirty years. Until now.

So the question is not whether, in Return to Monkey Island, you will finally find the secret. You oughtta know you're not finding that secret. The question is: which kind of cop-out will Ron give you?

And what Ron has done is kind of amazing: he has found a cop-out ending that is, for the first time in the series, emotional. He has made the denial of closure resonant. He has gone meta that quiet, knowing way that most Neil Gaiman stories are meta: yes, this is a fun story about pirates, but it's also a story about stories about pirates. This is Guybrush, the guy who couldn't shut up about the greatness of his adventures in Monkey Island 2, telling his son a story. He's not telling it because the ending is exciting, because the Secret of Monkey Island is so mind-blowing once revealed. He's telling it to relate to his son.

The ending is a big nothing. It's a joke. Elaine walks up when it's over and says "you tell that story differently every time." When your son presses you to tell him what the secret is, the game gives you six dialogue options with different answers. It doesn't matter what the secret is. And, unlike when a young Guybrush found the empty chest of Big Whoop, this time he knows it. He has a family and a storied life. That's the treasure a lifetime on the seas brought him.

Some people hate this ending. But, maybe for the first time, I'm on Ron's side of a polarizing ending. Monkey Island has always made me laugh; even the mixed bags that are Escape and Tales find chuckles somewhere. And the developers who are not Ron Gilbert have attempted pathos before; Tales went so far as to let Guybrush die - like, not fake his death like in Curse but legit die - but the results were mixed. This is the first time Monkey Island has given me feelings. Ron Gilbert, the man who told stories deep-fried in irony, who gave me the finger for expecting them to resolve, finally, all these years later, gave me feelings. Maybe he could only do it after thirty years, once a sarcastic parody of a pirate game starts to feel nostalgic simply because it's been in your life so long. But he did it.

Go Ron.

Design The clever thing about Return's structure is how it apes, subverts, and expands upon those of Ron's other two entries. You spend a decent chunk of this game tracing the footsteps of Secret: Part I is on Mêlée Island, with the Scumm Bar and Otis locked in jail and its twisty forest surveyed with weird maps; Part II is on a ship to Monkey Island where you have to recreate the potion that took you there in the first game; Part III is on Monkey Island itself, with its banana tree on the beach and its giant monkey head and its incredible view from the mountaintop; and Part IV seems to be wrapping things up, as you hurry back to Mêlée because the place you needed to be all along is back where you started.

And just when you think the game is wrapping up... it turns into Monkey Island 2.

Suddenly you have a ship and a map of the surrounding seas and a whole bunch of new islands to check out. It's that enormous sprawl from Part II of LeChuck's Revenge.

It's a bit cheeky to get to what feels like the end and think, "huh, I guess this game is a tight 7 hours," and then run aground on the game's surprise second half.

The player's (presumed) familiarity with the series becomes a playground for the designers. You expect insult swordfighting, so you laugh when LeChuck gives you two comebacks in a row and then just punches you. (It's also cute that Guybrush and Carla the Swordmaster can only converse while swordfighting.) You already know the potion that takes you to Monkey Island requires a pressed human skull, so of course this time it's Murray; "pressed" is his default emotion! You expect Guybrush to fall off the side of the plateau and get bounced back up by a rubber tree, so you laugh when Guybrush keeps jumping up and down on the bit that broke before only to have it stay solid, and then later when he gets kicked off you think "ahahahaaa, he's going to land on the rubber tree!" only to find him twisted and mangled having landed on... a rubber tree stump.

LeChuck's Revenge was such a departure from the first game that you can see, in Curse, how the new developers wanted to course correct. This is a trend, I've found: an IP comes out that is widely beloved; the first sequel is the same team doing something weirder and more ambitious, and is met with divided response; then the series it taken over by fans of the original who, instead of being weird and ambitious, ignore the first sequel's innovations and turn the original entry into a formula. I guess what I'm saying is, much as I enjoy it, Curse of Monkey Island is the Jurassic Park III of the series. (See also: Myst.)

First island: map, ship, crew. Then a stretch on a boat. Then a new Island. Then a (usually short and lackluster) confrontation with LeChuck. There will be some variant of insult swordfighting. You will have to decipher an obtuse map. Everything that made the first game unique will be repeated. This is true of Curse, and much of it holds for Escape and Tales.

Return knows this formula has been established, knows you have expectations. And anywhere the player has expectations, they can be confounded.

Character The Guybrush of Return to Monkey Island feels like a magic trick. He manages to feel continuous with every previous iteration of the character, none of whom felt continuous with each other. He blends the naïveté of Secret's Guybrush with the amorality of LeChuck's Revenge Guybrush, the wiseassery of Curse's Guybrush with the dipshittery of Escape's Guybrush. (I don't really remember what Tales' Guybrush was like.) You can see how this guy(brush) grew from the straight man of the first game, chilled out from the asshole of the second game, wised up from the fool of the fourth game. The series' inconsistencies now seem like one person in different phases of his life.

Who Guybrush is is more relational than in games past. His marriage to Elaine (properly written as the most competent person in the room, finally) seems like it could be in danger, as she becomes steadily more aware of how amorally Guybrush is acting in pursuit of The Secret. LeChuck is framed for the first time as a foil for Guybrush, as the two start to resemble each other the more obsessed each becomes with beating the other to the prize. (One character says of their enmity, "you deserve each other.")

These are, of course, both handwaved in the end. Elaine confronts Guybrush with his misdeeds, but just asks whether The Secret can possibly be worth all the questionable things he's done. (She's not fussed that her husband is amoral, she married a friggin' pirate.) The LeChuck confrontation is a big nothing because, right when you're about to confront him, the cop-out rug-pull happens. Guybrush not telling his son what The Secret is shows that he clearly learned the right lesson and did not turn into LeChuck. The game simply elides the inevitable confrontation-and-epiphany moment; why does the game need to show it to you if you already know it's coming?

And it's just nice to see Elaine and Guybrush... be together. They get together at the end of the first game and are broken up in the second, and she spends the next three getting damseled over and over. Serialized stories are always bringing romantic pairings together and splitting them up, because reuniting is easier than the drama of maintaining a relationship. (I mean, how many times have Nathan Drake and Elena broken up between games?) The moments where you get a sense of Guybrush and Elaine's relationship, how little time they get to spend together because he's a pirate and she's a professional do-gooder, how he adores her like a goddess and she adores him like a puppy.

Beats the hell out of Tales' ill-advised love triangle with a "human-again" LeChuck.

On another note, it is interesting that, for all the effort the game makes to not contradict the canon of the non-Gilbert games, it doesn't mine them for content, either. Murray is the only character from Curse onward to make an appearance. Morgan LeFlay got a passing mention in mine. But there's no Cap'n Blondebeard, no Edward Van Helgen or Cutthroat Bill, no Ozzie Mandrill, no Pegnose Pete. Meanwhile, seemingly everyone from Monkey Island 1 & 2 show up. There are the obvious ones - The Voodoo Lady (finally given a name), Wally, Stan. But there's also Otis and Carla, and the Scumm Bar cook, and Herman Toothrot is in a cave, Kate Capsize gets a mention, I'm pretty sure "Apple Bob" is the skeleton who pops his head off in the first game (now voice by Rob Paulsen, great choice), Cobb is still in the bar with his Ask Me About LOOM button ("I'm more button than man")... come to think of it, I think even the LOOM seagull who stole your map piece in MI2 gets a cameo. Narrative economy, I guess - if you find skeletons on Terror Island, they might as well be the Men of Low Moral Fiber, right?

While it would be interesting to see Ron and Dave Grossman's take on some of those characters, many of whom have, I would say, unrealized potential - they do a bang-up job with Murray - it's clear this is about wrapping up the story they started back in 1990. It may be improbable that half the people you meet are people you already know, but... it's good to see them all the same.

Conclusion No I'm not making a video about this.

#capsule review #adventure games #return to monkey island

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