They were that rare combination of original themes and interesting stories mixed with accessible gameplay. In some ways, they are exactly what is hard to greenlight in many modern studios because of the risk of creating new IP on big-budget projects.
They are still relevant because many of today's working creatives grew up in that golden age, so that trailblazing taught us how to be creative, and the nostalgia continues to inspire.
- Game designer Tyler Sigman (HOARD, Sonic Rivals)
What I love about the classic LucasArts adventures as a game industry person is that it seems like every single person in the game industry has played them. So a) you can use any of the games as shorthand when discussing something ("we need like a Manny character for this") and more importantly b) you can instantly learn a lot about someone by what LucasArts adventures they like most.
"Ok, you're a Monkey Island guy? Got it. Still focused on putting the hamster in the microwave in Maniac Mansion? Cool. You like The Dig?! Right on..."
Because everyone has played them, they're basically a Rorschach test for people in the game industry at this point.
- Chris Charla, Microsoft Studios
Day of the Tentacle's unique premise saw players finding creative ways to make objects travel through time.
For every adolescent who turned into a snarky teenager or a sardonic twenty-something, here were games made by our peers. They were games that made sense for where we were in life, made by people who walked the same road as we did.
The games endure because the stories are sharp and respect the audience's intelligence, the humor is inclusive, and because still today when we see "Lucasfilm" or "LucasArts," it brings us back to those childhood memories when all we wanted was a great adventure and friends to share it with.
- Paul Marzagalli, board of advisors, NAVGTR.
Maniac Mansion was one of the first adventure games I ever played, in the early days of Game Informer. It didn't seem to matter that I wasn't an expert gamer... I felt like I got as much out of it as my more veteran peers.
They were expert storytellers, spinning engaging takes with endearing and memorable characters spouting clever dialog. And with each little victory I felt like I was really becoming a gamer and better understanding why so many smart and talented people were dedicated to the hobby.
- Video game PR professional Elizabeth Olson, who cut her teeth on adventure games as the founding editor of Game Informer magazine.
Indiana Jones and the Fate of Atlantis is regarded by fans as a worthy successor to the trilogy of feature films.
LucasArts writers and designers like Ron Gilbert and Tim Schafer brought to the table a wonderful knack for character and dialog, and I think the reason people still talk about those early titles today is that we all have favorite scenes that we still remember.
They also achieved a kind of unstudied greatness that comes from not taking yourself too seriously. Monkey Island II actually ended gameplay with a long list of things you could go out and do other than play video games. Who does that now?
- Game composer Peter McConnell, who contributed music to LucasArts adventures including (but not limited to) Monkey Island II, Indiana Jones and the Fate of Atlantis, Sam & Max Hit the Road, Day of the Tentacle, and Grim Fandango
First world problems for our intrepid reporter in Zak McKracken and the Alien Mindbenders.