Grim fandango remastered graphics problem
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With dialogue supplied by Cuban actor Tony Plana, Calavera is a well-drawn and magnetic figure to spend our time with. In fact, Grim Fandango was the first game where I can recall genuinely caring about the protagonist (I’m so sorry, Doomguy). And, the part we played in Manny’s small triumphs strengthened our bond with Fandango‘s leading man. Once one of the game’s particularly complicated obstacles had been overcome – such as Year 2’s betting stub/cat-race photo-finish conundrum – there was a huge sense of accomplishment. But, the game’s compelling narrative and stylised world motivated my younger self to resist rage-quitting. With no hint system and clues only subtly alluded to via dialogue, Fandango’s often perplexing routes forward could take hours to crack. Depending on how your brain is wired up, play-time can vary quite dramatically.
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Credit: Double Fine ProductionsĪs with its spiritual forebears Full Throttle, The Secret of Monkey Island and Day of the Tentacle, gameplay is predominantly based on solving an array of puzzles. With Meche lost in the wilderness of the Land of the Dead, we embark on a journey to find her… Astonished that she still somehow doesn’t qualify, Manny’s suspicions are raised. Unable to make his commission, we assist our papier-mâché-headed protagonist with a little industrial espionage, covertly acquiring the positively saint-like Mercedes ‘Meche’ Colomar. Calavera has hit a slump however, finding himself dogged by a revolving door of sub-par souls. Those that have lived good lives qualify for speedier travel via a sports car, ocean cruise or – if an exceptionally virtuous life had been led – swift departure via the top-of-the-line express train, the Number Nine. Manny isn’t travel agent-ing in the conventional sense of the word though, as the opening cutscene reveals, Manny’s job is to try and sell recently arrived souls routes across this hazard-filled domain to reach the Land of Eternal Rest.
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Grim‘s charismatic hero is the aforementioned Manny Calavera, a skeletal travel agent in the purgatorial Land of the Dead, working for the ‘Department of Death’. That was, until Grim Fandango opened my eyes to the fact that not only could games actually compete on those fronts, but that interactive entertainment could even forge stronger emotional hooks. It was an impression so pervasive that even avid players like myself shruggingly accepted the medium’s limitations. Video games just weren’t supposed to have such high-brow conceits as character development, year-spanning story arcs or musical scores that could rival anything playing at the nearest cinema. Many considered games to be a childish pursuit, designed to keep hyperactive kids at bay. There were few exemplars when it came to first-rate video game narratives back then. The game had a wholly original, irresistible aesthetic. Depicting the afterlife of Aztec folklore, infused with a jazz-era soundtrack and populated by characters straight out of a Raymond Chandler novel. Cannily melding the 3D engine of Jedi Knight: Dark Forces II with beautifully illustrated pre-rendered sets, Fandango’s designers were able to create a stunningly unique and absorbing game world. Developed over a three-year period, Fandango had been conceived and driven by Full Throttle-visionary Tim Schafer (he of later Psychonauts fame) as a further evolution of the genre on both technological and stylistic fronts. Released in October 1998, Grim Fandango was to be LucasArts’ final foray in the adventure game genre that it had perfected. I didn’t know it at the time but I was about to discover my favourite video game. READ MORE: ‘Tomb Raider’ at 25 – Ian Livingstone talks about the birth of Lara Croft.
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Returning from my family’s annual West Country jaunt the next day, I raced upstairs to install the demo of the cryptically titled Grim Fandango. Somewhere between the Zone’s endorsement, the fact that it was a new LucasArts title and this intriguing depiction of death’s beckoning hand seized my 11-year-old self’s gaze.
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Clad in his reaper cloak, Manny adorned the front of PC Zone‘s cover-disc, under the tantalising offer to ‘be the first to play LucasArts’ fantastic new adventure’. I first met Manuel Calavera in a small Cornish newsagent.