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Screenplay by





A man is staring at the camera.

MAN (O.S.) So-- this is our hero.


Who? This?

The two men talking are RON and the PRESIDENT. The first is dressed in white while the latter in black.

RON Yes, mister president.

PRESIDENT Come on? What's he doing there? And why? It's only a very old video game!

On a screen, the first scene of the game this film is adapted from. The president looks away, then stands up and goes around in the room on a hoverboard.

PRESIDENT look: I understand it's not easy these days, with the


clones and that animators union problem--

RON But nobody has ever done this before! I found some crazy stories while browsing these old files. In one there were disembodied tentacles, in another a musician monk-- But this! A love story, great antagonist, ghosts, everything we're looking for! Uh, and a great protagonist too-- Yeah.

PRESIDENT OK, OK-- Enough with the telling already, do you have something to show me? I give you only ten, fifteen minutes top.

RON Just a second, then. I'll set it up.

Ron types furiously on a keyboard with his eyes closed while reciting/mumbling a mantra. A car flies up behind the window, noticed with surprise by the--

PRESIDENT The future of cars, eh?-- mine consumes far less up to ten thousands miles. What model do you have, Ron?

He's not listening, he is--


RON Okay-- I think we're okay-- Ready?

The president sits down while the camera moves towards the screen and--

Fade to black


Caption: Deep in the Caribbean We see an island with a lookout point up on a cliff. A town with a dock and a beach stand on the opposite sides of the island, divided by a road.


A group of unnamed SAILORS is drinking and chanting on deck.


The young cabin boy GUYBRUSH THREEPWOOD is writing a letter while sitting on top

of a cannon. He wears a white blouse, black breeches, white socks and small black shoes.

GUYBRUSH Dear mother, I hope you received my last letter. How are things at home? I am near Mêlée island now. Not even the pirates stopped me and my men. I am sure you and dad are proud of--

He runs out of ink, then starts looking to find some more of it.


(sniffing) Whoa! What's this smell?

SALOR 2 (O.S.)

(shouting) Guybrush, what have you done?

SAILOR 3 (O.S.) (shouting and stuttering) Uhh, pirates! Filthy pirates! Filthy ghost pirates! Where did they come from?


(gulping) Pirates?-- Oh well, ghost pirates! I guess the bar never closes on a ship.

He puts the unfinished letter in a bottle, closes it with a cork and throws it out in the sea. Then he takes a clinking bag from a table, puts in his pockets and goes up.



Guybrush receives a blow and gets thrown out in the sea.


The only one to notice him is BOB, one of the ghost pirates that seized the ship.

BOB Man overboard! Man overboard-- Get him--

nothing to worry 'bout.

Oh OK,
Oh OK,

(walking to the ship rail) Who cares about him?-- And who cares about LeChuck?--

Ye are glad to be dead, right Bob? Oh yes sir. I feel so lucky

that you happened to capture my ship, then murdered me


and everyone on board-- --yes sir-- lucky.


A shadow is then cast by LeChuck over Bob's face as soon as he finishes speaking.


Guybrush regain consciousness on a beach, stands up with a crab on his head.



He takes off the algae from his clothes and the crab from his head. He looks for a way inside the island but finds none. Then he spots a fire up on the cliff, and starts climbing up.


An old man stands by a crackling fire, overlooking with thick glasses the sea. Guybrush

pops out behind him

, giggling a bit then panting heavily.



That was easy--




The old man looks around him without noticing anything.



He finally notices Guybrush but still talking without looking steadily at him.


Yikes! Don't sneak up on me like that!

GUYBRUSH (waves his hand in front of the man) My name is--


OLD MAN Ah! Jack! You're finally here!

He sniffs around.

Where's the grog?

Go to the SCUMM Bar



and get me some!

OLD MAN Oh, come on! Of all the boys on Mêlée, why did I end up with you, if you can't understand anything? Do you think this is just a game? I'll tell you everything later if you have questions, I'm thirsty. Just go!




Guybrush walks away, but suddenly stops.


Where did you say I had to go?

OLD MAN How many times do I have to tell you?

The Scumm Bar.

Just go down there!



Guybrush leaves

and starts walking on the road.


Road signs with BEACH and SCUMM BAR written on them.


Guybrush is walking at a very slow pace. He gets scared by any strange sound coming from the surrounding forest. On a sudden he hears footstep approaching and shivers.



Two men walk towards Guybrush in the almost pitch dark, with things that appear like swords in their hands.


This is the end for you, you gutter-crawling cur!



No, he's mine!


Soon he'll be wearing my sword like a shish

GUYBRUSH Take this! It's all I have! Spare me! Please!

The two pirates look at each other with surprise, while Guybrush starts running after giving them the bag in his pocket.


An exhausted and almost crying

Scumm Bar.


Guybrush walks down the dock, where he finds the

He enters. The bar consists of two rooms and is packed with drinking, shouting pirates,

He enters. The bar consists of two rooms and is packed with drinking, shouting pirates,

one even on a chandelier.

He enters. The bar consists of two rooms and is packed with drinking, shouting pirates, one


He advances to the counter, but nobody is on the other side.

GUYBRUSH Excuse me, can I get a drink?

He receives an answer from a pirate standing next to him.


You could wait for the cook to notice you, but that could

take all day. Just find a mug and sneak into the kitchen.

That's what we all do.


Guybrush leaves the counter and bumps into a pirate who is throwing a dart. Someone screams. Scared, Guybrush walks in reverse with his hands up and his eyes almost closed.

Sorry, sorry--



He goes near

two pirates

sitting on a table

laying between the chairs


near the wall. He steps on the tail of

behind the pirates.


Sorry little doggy--

The dog starts barking.



It continues.

a small dog




Woof, lee chuck?


The dog begins to growl, while one of the two pirates turns his head and body to them.


(to the dog) Hey, Spiffy! Who are you talking to?

(looking up while sniffing)

Ahoy there

, fisherboy. You got a nice mouth-watering crab

smell on you.

GUYBRUSH Oh, no, no. That's my new deodorant.


Indeed, you look more like a flooring inspector. So, who are

Indeed, you look more like a flooring inspector. So, who are


Indeed, you look more like a flooring inspector. So, who are you?


My name is Guybrush Threepwood. I'm new in town.


Guybrush Threepwood? That's the stupidest name I've ever

Guybrush Threepwood? That's the stupidest name I've ever


Guybrush Threepwood? That's the stupidest name I've ever heard!


I don't know. I kind of like Guybrush.


But it's not even a name!


Well, what's your name?


My name is Mancomb Seepgood.

a seat!

And this is Estevan. Take

Guybrush sits down on the opposite side, then looks at Estevan who is wearing an eye- patch.


What are you looking at me for?

No, nothing--


ESTEVAN Come on, boy, speak!




What happened to your eye?


ESTEVAN (mimicking Guybrush while saying the first word)


I was putting in my contact lens when-- Hey, wait a

second! That's none of your business!



(to Estevan) Hey, hey! Calm down.

(to Guybrush)

So, what brings you to Mêlée Island anyway?

GUYBRUSH Well, it's a long story.

Mancomb and Estevan are not really listening.

GUYBRUSH (CONT’D) I am the captain of the Merchandising, a merchant ship. We were almost arrived safely here while all of a sudden someone attacked us! There were fifty of them! I fought against almost ten but then I slipped and--

Mancomb is almost asleep, while Estevan looks somewhere else while drinking.

GUYBRUSH (clearing his throat) So, well--

Guybrush looks at the poster on the wall on his left. In it, the picture of a young attractive

woman, ELAINE MARLEY, with the caption: “Re-elect governor Marley. One candidate,

one choice.”



Where I can find the Governor?


Governor Marley? Her mansion is on the other side of

town. Buccaneers like us aren't as welcome around her

place as they used to be.


GUYBRUSH Wait, what? Buccaneers? I really thought you were pirates!

MANCOMB No, no. We're nothing like those pirates-- here in the Caribbean.

Why not?




They are just evil foul-smelling, grog-swilling pigs.

We are

at least forty percent less evil.

Anyways, it's just a story. I


don't believe any of it. Estevan here instead takes the whole

thing very seriously.


ESTEVAN How can't ye? Things really got ugly after!

GUYBRUSH Why? What did that guy do?

Guybrush face gets more and more terrified as he begins to listen to the--


LeChuck's story as imagined by Estevan, while we also start seeing an exaggerated animated version of it.

ESTEVAN (V.O.) That guy? He's not that guy. He is LeChuck, an evil and fearsome buccaneer. You can almost call him a pirate. Nobody knows why he is so evil, but I heard he lost his parents during their trip to the new world, devoured by a--


MANCOMB Who cares! Tell him about the governor!

ESTEVAN Oh, ye! I was only setting the story!


As before, brief exaggerated animated scenes: a tall, big pirate with a black beard doing what Estevan tells; we're not able to look directly at his face.


So, the last time governor Marley had a buccaneer over for


dinner, he was LeChuck, and he fell in love with her.


LeChuck tried to impress the governor by sailing off to find


the Secret of Monkey Island. But a mysterious storm came


up and sank his ship, leaving no survivors. We thought that

was the end of the fearsome buccaneer LeChuck. We were


wrong. Now he still sails the waters between here and


Monkey Island. His ghost ship is an unholy terror upon the



Guybrush tries to impress them again by saying--


GUYBRUSH Wait a second, I fought those ghost pirates! I was telling you before!


Who? You?


Mancomb and Estevan laugh.

ESTEVAN (to Mancomb, laughing)

We're all in here and not out in the sea because of LeChuck

and he fought them!

(finish laughing, then serious)

LeChuck really made things rather uncomfortable for


everybody. We're even getting dangerously low on grog

and mugs.


Estevan's hand starts shaking, while a ridiculed and terrified Guybrush is comforted by Mancomb.


Here, here, drink some grog.


It's going flat

Guybrush sips some grog from the mug.

--too much.


GUYBRUSH (almost spitting) What's in this?

so it won't hurt


spitting) What's in this? so it won't hurt MANCOMB We don't know for certain. It's a

We don't know for certain. It's a secret mixture which

don't know for certain. It's a secret mixture which contains one or more of the following:

contains one or more of the following: kerosene, propylene

contains one or more of the following: kerosene, propylene glycol, artificial sweeteners, sulphuric acid, rum, acetone,

glycol, artificial sweeteners, sulphuric acid, rum, acetone,

glycol, artificial sweeteners, sulphuric acid, rum, acetone, red dye number two, scumm, axle grease, battery acid,

red dye number two, scumm, axle grease, battery acid,

red dye number two, scumm, axle grease, battery acid, and/or pepperoni. ESTEVAN It's one of the

and/or pepperoni.


scumm, axle grease, battery acid, and/or pepperoni. ESTEVAN It's one of the most caustic, volatile substances

It's one of the most caustic, volatile substances known to

one of the most caustic, volatile substances known to man. The stuff eats right through your

man. The stuff eats right through your sobriety. The cook is

man. The stuff eats right through your sobriety. The cook is losing a fortune replacing these

losing a fortune replacing these mugs!

Guybrush body starts oscillating left and right. He has a smile on his face and suddenly he stands up.



Nice talking to you, guys. I'll just be running along now

leave you to your grog.




, I

Come back later and tell us how ye're doing.


Both smirk. Guybrush leaves the table and walks toward to exit bumping into pirates without care.


Guybrush exits the bar

and walks, swaying unsteadily in the street scarce of people.


He goes near three buccaneers, each with a different colour identifying him.


What be ye wantin' boy?


I want to be one of you.

I can do it!


Oh, yeah? You don't become like us just by asking.


I can hold my breath for ten minutes!

prove myself!

Give me my trials to


Get lost, boy, you bother us.

A monkey is walking among them, in the background. It approaches one pirate.

GUYBRUSH Look behind you! A three-headed monkey!


Yeah, yeah. I said get lost!

Why bother us?


You're a bunch of pigs! I will kill you all!

The buccaneers laugh for a moment, look into each other eyes, nod, then--

GREEN BUCCANEER OK boy, hear this. You should--

But Guybrush is more interested in the monkey, who's leaving the scene.

GUYBRUSH Where are you going monkey monkey monkey? Come


The monkey starts going into the forest and Guybrush follows him.

Outline of The Secret of Monkey Island film adaptation

While the added prologue tries to be an ironic look at the film adaptation from video games as of today, the structure will be put in the foreground. The protagonist will “fly” in all the first three acts, and in the climax towards the end of the fourth. The first flight, not present in the game, is abrupt and leaves him unconscious; in the second (which in this adaptation serves to move the plot forward more than in the game) he is already almost passed out; the third and the fourth (in the confrontation with the antagonist) are willingly caused by him. The choice to retain these ellipses is motivated by the mixed genres considered for this film. While the safety of the flights would be guaranteed by the fantasy, comedy and/or adventure elements of genre and style, they serve also for the construction of the main character, which is constructed stretching the limits of character identification. While the protagonist would appear passive at the very beginning (trying to translate the loss of interactivity), as the plot unfolds he would then show traits of the energetic and the intentional characters, as well as a back story in a moment of self revelation and tentative acts of heroism in the end. His development as well as that of the other characters will be highlighted throughout the outline.


A man is looking right into the camera, addressing the audience and asking “Who's this? What's he doing there?”. A man named Ron is pitching a feature film to the president of a studio, some decades from now. He sets up the screening, so they start watching it.

First act

The year is unknown, while the century seems to be the eighteenth but there are some anachronisms as they are present in the game. A ponytailed 20-something man named GUYBRUSH THREEPWOOD is on a galleon sailing in the Caribbean sea. Below deck, he is writing a letter to his mother in which he tells her how he has finally become a captain.

(nature of protagonist) He actually is still a clumsy cabin boy. The reason of his voyage is not stated at this point. He only seems superficial and still not an adult, since he has not a clear goal except running away from everything. Apart from clumsy, he worries easily, but he is also curious and energetic.

(inciting incident) For this reason a really scared Guybrush goes up on the deck but he gets thrown out in the sea. The ghost pirate LECHUCK has seized the ship. His ghost first mate BOB sees the man in the water, but he leaves him be since there is probably nothing to worry about.

(nature of the antagonist) The presence of LeChuck is never fully shown until the fourth act, in this case only described and told by Bob. From the middle of the first act until the third, we're showed animated exaggerated sequences about LeChuck's life and the secret of Monkey Island portrayed in different style as narrated in voice over from the different characters the protagonist meet, each focusing on a specific trait (e.g. parents, love, etc.).

An unconscious Guybrush washes up on the shore of Mêlée Island. After climbing up a cliff, he meets an old man who mistakes him for someone else and tells him to go fetch some grog in the SCUMM bar. Guybrush accepts since the old man looks harmless enough to talk with.

On his way to the bar Guybrush gets robbed by two pirates in the dark, who attacks him with swords and ironic insults. In reality they are just practising for the swordfighting tournament, but Guybrush is too scared to understand. Exhausted, he arrives in town.

He finds the bar and tries to get some grog but unsuccessfully. This is not really his place, so he starts speaking to a dog. Soon its owner, MANCOMB SEEPGOOD, notices him. He sits and talks with him and his friend ESTEVAN.

They tell him about the pirate LeChuck, who apparently died while sailing to the mysterious Monkey Island, an act that was meant to conquer the love of the governor ELAINE MARLEY. His ship sank, and he was reincarnated as a ghost that terrorises the seas from his base deep beneath Monkey Island.

Drunk on the really acid beverage known as grog, he leaves the bar. He starts blabbering and also has hallucinations among which a three-headed monkey running around people.

Guybrush follows the monkey running randomly in the island and in a clearing he finds the travelling circus owned and represented by the (fantastic flying) FETTUCINI BROTHERS. Still tipsy he lies down while looking at flowers. While discussing on who should test their cannon, they find out an almost sleeping Guybrush on the other side of the tent. They pick him up, put an helmet on his head and a handsome sum in his pocket and shoot him with the cannon, farther away than expected.

Ending first act/second act

(protagonist) He flies all over the island and ends up, crashing through a window, on a bed in the mansion of the Governor Marley. Throughout the first act he was mostly a passive character hiding his past and fabricating lies about it, but from this moment thereon he becomes more active and intentional in his acts, opening up his needs.

Still alive, he catches up his sobriety when confronted by the ferocious piranha poodles. Trying to back them up, he looks desperately in his pockets, only to find some flowers. He succeeds though, and poisons them and wanders inside the mansion. He sees the sheriff FESTER SHINETOP talking with Elaine in another room, so he imagines they have an affair. They hear some noises. Fester catches Guybrush and almost arrests him, but is stopped by Governor Marley. (plot point) Guybrush falls in love with her instantly and at first he is too shy to talk (understandably). Fester leaves, while the two walk around the town. Among other things they talk about Monkey Island and LeChuck, and she imagines the real reason (for her) of him being so evil, as also the subsequent other characters would do.

They vaguely seem to interest each other and Guybrush confesses to her why he left home to see the new world. The most important reason being that his parents abandoned him when he was a kid. Nobody in his life was ever proud of him. While talking they notice a poster for an Insult swordfighting tournament. Guybrush misunderstands Elaine and decides to try to win it and prove his bravery to her. As he is about to leave, with Elaine gone, a very jealous Fester stops him, and after revealing that he has a sinister plan for Elaine, takes him to the pier. He ties his legs to a very big rock and thrown him into the sea. Guybrush manages to escape and climbs ashore.

The following day he meets Mancomb and they send him to the store selling swords. Instead, he enters in a shop called the House of mojo, specialised in voodoo. The owner, VOODOO LADY, tells him his future in a somewhat hazily way, such as finding his true self, the treasure of all treasures in human life. After going to the right store and purchasing a sword, he starts duelling pirates, always losing.

He'll never win the tournament and impress Elaine. Disillusioned, he walks on the streets of the island, when he's stopped by a shady character selling goods. He buys a map to the Legendary lost treasure of Mêlée Island and then proceeds to find it and dig it up. It's only a t- shirt. Returning to the town, though, he notices a cabin in the woods and goes there, hungry.

The owner is CAPTAIN SMIRK, an eye-patched, muscle-bound with a buzz-cut, cigar

smoking word trainer. He teaches to Guybrush the art of insult swordfighting, which is fought in the principle that a sharp wit is as important as a sharp blade. He uses The machine, a device controlled by a small monkey using a series of levers and ropes.

Back in town, Guybrush grows stronger as he learns new insults and comebacks while fighting pirates. He faces up sheriff Fester too, who starts to recognise his opponent's strength (and wit) and pretends to lose.

Ending second act/Third act

Guybrush finally enters and wins the tournament over the strongest fighter on the island, CARLA THE SWORDMASTER.

(plot point) While going to the mansion with the trophy (another t-shirt), a never-been- so-confident Guybrush finds out LeChuck's ghost ship has long sailed to Monkey Island with the kidnapped Elaine on board. Shinetop was a human disguise used by LeChuck in order to stay close to Elaine and keep the local pirates under control, which now loot the mansion in her absence. Guybrush swears to destroy LeChuck and save Elaine.

Guybrush needs to find a ship and a crew, but almost every one is busy looting. Wandering around town the only person willing to help is OTIS, a prisoner who was rotting in jail for picking flowers illegally, and he frees him up. Outside the jail he meets Carla and MEATHOOK, a tall muscular pirate whose hands have been replaced by hooks, and they join him too.

He purchases the ship Sea Monkey, which legend has it has once before sailed to Monkey Island, from STAN, a confident hand-waving salesman.

Out on the high seas, Guybrush's crew mutinies setting out sunbathing chairs. Unable to convince them, he is forced to get to Monkey Island on his own. Searching the ship for clues he finds a voodoo recipe in the captain's cabin, entitled Directions to Monkey Island, which he cooks. A cloud of powerful fumes knocks him and his crew unconscious and awakens off the coast of Monkey Island.

It is day now, but the crew is still unwilling to do anything, so Guybrush uses the cannon to shoot himself on the island since no rowboat was available.

There he discovers a village full of CANNIBALS wearing distinctly over-sized masks, who are in a middle of a trial against HERMAN TOOTHROT, an almost insane ragged

castaway. He tries to be his lawyer, but they are both condemned to death. At the last moment they are pardoned thanks to the common hatred towards LeChuck. He now knows that his ghost ship is in an underground cavern underneath a Giant monkey head.

Herman has the key to the monkey head, while he cannibals offer to make a potion to use against LeChuck with a magical root which he stole from them, if Guybrush can bring it back.

Ending third act/Fourth act

Using a magical navigator's head, Guybrush navigates the underground Caverns of meat and boards LeChuck's ghost ship wearing a necklace that makes him invisible to ghosts. He finds the brig where Elaine is being held captive, but the heavy ghost guard around her makes her impossible to rescue. Instead he retrieves a magical voodoo root and returns to the cannibals, who provide him with a seltzer bottle of voodoo root elixir that can destroy ghosts and turns out to be very similar to root beer.

(plot point) Guybrush returns to the underground cavern with the elixir, but from the single ghost left behind he learns that LeChuck has already left and has taken Elaine back to Mêlée Island to marry her at the church.

Guybrush returns to Mêlée Island and rushes to the church, using the ghost-zapping potion on any ghost in his way. He stops the ceremony only to ruin Elaine's own plan for escape. As LeChuck challenges him, Elaine abseils down from the ceiling and the figure in the wedding dress turns out to be two monkeys with a root beer bottle. Guybrush scares them and they ran away while Elaine pursues them to get the bottle. She is almost the opposite of the heroine in distress waiting to be saved.

(climax) The secret of Monkey Island was never found. LeChuck, shown in flashbacks which are actually tall tales, as the incarnation of evil, even as ghost, fears Guybrush as he tries to use the potion. But it jams. A furious LeChuck begins to punch him all over the island in a rather one-sided fight. Finally Guybrush lands in the grog machine near Stan's shop. A bottle of root beer spills out of the machine and he manages to spray LeChuck with it. (falling and resolution) Elaine shows up and they enjoy a romantic moment, watching LeChuck's body bursting in a series of fireworks all over the night sky.

A less scared and more confident Guybrush, now not alone, has finally found his place in the world. Scared of less than everything, he has now proved his bravery to himself, he's confident but still a bit clumsy.

Material for The Secret of Monkey Island film adaptation


The choice to write an outline and a script for a feature film with a story adapted from a 1990 video game comes from the privileged point of view offered by the task. As Ryan (2004) states, “since media present themselves only through individual texts, the problem of passing from observations gathered from the text to principles that describe the medium as a whole is one of the greatest challenges of media studies”.

And also for film studies as well, as Dudley Andrew (quoted in Leitch, 2003) did in his call for the integration of adaptation study, where he reminds us that the distinctive feature of the adaptation, “the matching of the cinematic sign system to prior achievement in some other system, can be shown to be distinctive of all representational cinema.”

A benefit felt also by Dancyger and Rush (1995), who state that “to disregard other forms of writing or to view scriptwriting as an exclusive art form is to cut yourself from a large cultural community with which you have more in common than you might realize.”


Regarding the process of adaptation, Hutcheon (2006) stresses the importance of the “conceptual flipping back and forth between the work we know and the work we are experiencing” and, she continues, “as if this were not complex enough, the context in which we experience the adaptation -cultural, social, historical- is another important factor in the meaning and significance we grant to this ubiquitous palimpsestic form.”

Some films in the recent times were based on video games characters and stories, 1 but, as Leitch

(2007) states, “so far [

postliterary adaptations that has progressed much beyond sarcasm or outrage.”

neither reviewers nor theorists have developed a way of talking about


1 List of films based on video games Accessed on Nov. 14, 2012

The lowly appreciated products of adaptation from video games probably had a bad influence on the discourse, possibly at every level (theory, fan, professional).

Games theory On the other hand, considering for example the experience of video games on the neurological level, the explanation behind the mental experiences during the fruition of this medium is not simple, and as the cognitive researcher Daphne Bavelier said, “even within video games [ ], different video games have a different effect on your brains. So we actually need to step into the lab and really measure what is the effect of each video game.” 2 The discussion on the different degree of engagement in film and video games would then benefit from a more comprehensive outlook into the same medium.

Therefore, lacking a more appropriate cognitive research we might take a closer look at the gameplay genre of the game, i.e. the specific way in which players interact, in this case the (graphical) adventure game, which is normally perceived by players as the most narrative-driven gameplay genre alongside the text adventure game.

Narrative in the game As Black (2012) states, “many graphical adventure games, and particularly those produced for the SCUMM engine by LucasArts, were praised by reviewers and remembered by players for the narratives presented to them on-screen as much as, if not more than, any narrativized account of gameplay. In particular, Gilbert's The Secret of Monkey Island is a comedic pirate adventure noteworthy for its parody of other games.”

If we would ask a player about the story in this game then the answer would be strikingly similar to the walkthrough, which serves to the player to remove narrative obstacles, foretelling the game's ideal story depending on the levels of interactivity and openness (which are generally really are lower in this game and genre than in other games).

As Lindley (2004) states, “linear and interactive narratives form the highest level of pre-designed

2 Talks TEDx - Daphne Bavelier: Your brain on video games Accessed on Nov. 17, 2012

time structure, framing low-level simulation processes and intermediate level game moves within a high level structure typically based upon classic models of narrative form.”

There is a single protagonist, the goals (of character/player) are clear: he wants to be a pirate and to begin the adventure he has to pass three trials as ordered by the pirate leaders. Even if at first those goals seems to be better understood within what Aarseth (2004) calls quest narrative, the reason behind these character/player actions and characterizations in this game are actually better viewed if framed into the comedy genre, something very clear for those who played.

Knowing the audience: two opposite ideas Which audience should be better considered then, in this process?

The idea of recreating the experience of the player in a different medium as it was lived, nuancing proper elements of genres already present in the game, would may be preferable considering the fans of the game and it would retain for example the initial three trials mentioned before.

Hutcheon (2006) reminds us that “when a film [

particular work, those who like that work turn out for the adaptation, often to discover that only

the name remains and there is little resemblance to anything treasured and thus expected.”

announces itself as an adaptation of a


The other idea revolves instead around adding backstories, completely changing the plot or forcing characterizations which don't recall the originals, focusing mostly on the film stylistic coding (which in the game was limited by the budget and by the historical/technological constraints of the medium).

The choices made in this adaptation will instead highlight the importance of the reasons of the appreciation from the original audience (an interactive audience, as described by Jenkins (2002)) but at the same time focusing on the perceived consistency needed for a film adaptation.

Working in-between with film theory The stress on the player experience though, is not important only for the loss of interactivity or for the mistified equivalence in the experiences, since it would be considered as “medium blindness”, a concept proposed by Hausken (2004) delineating a perspective which neglects the significance of the nature of the medium for a comprehension of the object of analysis At the same time, the concept of “text blindness”, i.e. neglecting the “features of the object of analysis that involve textual conditions” (a “blindness” considered by Hausken especially when reviewing theories on the so-called new media), comes to mind when thinking about privileging the second idea.

Therefore, the decision to submerge the trials in the plot seems in any case inevitable in the film adaptation, which tentatively tries to bridge the gap between the different audiences and media involved. In this sense, instead of parodying video games as in the game, here the focus would be on video game adaptations (for example in the prologue) and at the same time other films and the film itself (as when Mancomb explains the new difference between pirates of the Caribbean and buccaneers, not stressed in the outline for the sake of clarity).

Bringing the matter into film theory, the answers to the questions proposed for the analysis of narrative films by Kaes and Rentschler (2006) would then serve as a starting point, a blueprint upon which a construction of a film would highlight the strengths and the faults of the elements taken into consideration (walkthrough, 3 gamescript, 4 playing, watching longplay, 5 fan creations etc) as they would be experienced by the dual audience (or triple considering also players who don't like the game or the genre). So on one hand there are the people who know the story and played the game, who would be interested in how the game and the narrative experience are rendered in a film, in the fidelity or in the care for maybe not vital details (e.g. establishing shots from camera angles of the game, similar pro-filmic to some extent); on the other there are those who don't, who would instead find clarity in first instance or at least an understandable and compelling story without obscure references and character identification. Even if someone considered the characters in the game as “flat”, the adaptation process itself would give the possibility to “round” them.

3 Christensen Monkey Island 1 walkthrough Accessed on Nov. 15, 2012

4 Rahman (2003) The Secret of Monkey Island Game Script monkey-island/faqs/23891 Accessed on Nov. 15, 2012

5 Amiga Longplay [021] The Secret Of Monkey Island Accessed on Nov. 15, 2012

Structure and genres

In the outline then are reflected both the screenwriting advices by Dancyger and Rush and at the same time the theoretical frameworks around genres and audience engagement, as it will be clear.

The ironic four-act structure replicates the four parts plus prologue of the game, which starts from the old man scene. 6 Marked by the flights of the protagonist, since a serious engagement is relaxed "due to a manifest absurdity of the grounds for concern" (Olson, quoted in King, 2002), the intended genre would not be fixed, but it would be a mixture containing foremost a combination of the two different conceptions of comedy. As King (2002) explains, “comedy in the sense of laughter, anarchy and disruption of harmony, and comedy in the sense of a movement towards harmony, integration and the happy ending.”

As Chandler (1997) points out, “some genres are 'looser' - more open-ended in their conventions or more permeable in their boundaries - than others. Texts often exhibit the conventions of more than one genre.” Moreover, “if we are studying the way in which genre frames the reader's interpretation of a text then we would do well to focus on how readers identify genres rather than on theoretical distinctions.”

So if comedy should be seen as the prototypical genre (Swales, cited in Chandler, 1997), for the general surreality of the situations, the parody, the anachronisms in the mise-en-scène, the dialogue and the slapstick, there will be also elements of adventure genre, for the presence and the defeat of the (only legendary evil?) antagonist in order to save the (really in distress?) loved one (romantic genre) while going through a dramatic (though not definitive) coming-of-age change as explained in the outline.

As Horton (2000) states, “simply to pronounce the word 'comedy' creates an expectation of laughing out loud. And yet no comedy ever written or performed consists of nonstop laughter from start to finish. The degree to which you wish to blend the worlds of the comic and the emotional is yours to chose, having to do with your overall concept of what you wish to create for yourself and for your audience.”

6 In the script the yellow highlight is for quotations from the game, while the green highlight is for paraphrases.


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