This is a page listing every difference between the original and remastered versions of The Sam & Max Telltale Trilogy, including both minor and major changes.

This page will be including cut content, changed lines, fixed subtitles, UI differences, and any other changes made in the remastering process.

General Changes

The Game has been re-lit from the ground up.

This is probably the most apparent change, so it’s at the top of the list. This was partly done out of necessity (the latest version of the game's engine doesn't even support the pre-baked lighting from the original 2006/2007 release), but mostly because Skunkape Games knew the improvement would be huge. Lighting was one of the roughest parts of early Telltale releases, and updating it brings out the beauty and style of the original art while adding new features (like dynamic time-of-day shifts and moving shadows) and new ambiance. (Pay special attention to how the lighting in Sybil's office changes along with her jobs!) The Devil's Playhouse is lit head to toe in beautiful cinematic lighting, dynamic shadows, and color grading, with an eye toward keeping its original "old stinky film" look while letting the world shine through in a way meant to evoke Steve Purcell's original comics. Skunkape touched all the lighting in the game, from the biggest environments to the tiniest cutscenes. They also added some new atmospheric effects to this season, most notably some soft volumetric sun shafts that appear in the occasional shot.All environments and characters are higher resolution, in some cases with new added details.

All environments and characters are higher resolution, in some cases with new added details.

The original release was built to run on low-end Windows XP computers, and as a result the polygon count and texture detail was low even by 2006 - 2010 standards. This was something Skunkape Games could finally fix! Some of the original source assets were higher resolution than what shipped originally, so those assets were able to be used for the updated versions. For other assets, the details have been upped by hand, in some cases (especially with characters) pushing the style further—sometimes going back and forth with Sam & Max creator Steve Purcell, sometimes referring back to ideas from the original concept art, and sometimes using the experience creating characters across all three seasons.

Music, sound effects, and voice were remastered, and new music was added.

Skunkape Games were able to go back to the original master recordings for voice, sound, and music and re-encode them to modern standards. Some existing music was updated with new instrument samples, or was split apart to create new variant tracks. Plus, five new pieces of music were added throughout the Season One, and many others in Season Two, all written by long-time series composer Jared Emerson-Johnson and performed and produced by some of the same people as the original score.

Bosco's Character was recast by Ogie Banks.

Quite possibly the most controversial change in all of the remasters. Skunkape Games understood that to some who played the original game, the old voice performance was Bosco, and this isn’t a decision they made lightly. The bottom line is he was voiced by Joey Camen, a white actor, who was doing a stereotypical impression of an African American that made us, The Skunkape Team, The Community, and literally everyone to cringe all these years later. Skunkape Games wanted to make this right by casting a black actor in the role. Though old fans may notice some differences in delivery, they're very happy with the end result and luckily, at the end of the day, the community gave him a chance and made him the real and new voice of Bosco.

The whole seasons are bundled together as a single games.

When Telltale first shipped The Sam & Max Trilogy, downloadable games were just getting started as a concept. The original seasons were distributed as five to six separate games—one .exe file for each episode. The new version is assembled more like later Telltale releases, with a season-wide launcher and new, modern UI and menus that unify the episodes and bring in some features from the later Sam & Max seasons.

You can now play with a mouse, a mouse and keyboard, or a controller.

The original release only had a mouse-driven point & click interface. On PC you can still play that way, but they've also added keyboard and gamepad support. The Nintendo Switch version also supports touch screen controls in handheld mode!

The game runs in 16:9 widescreen, at any resolution your monitor and operating system support.

Built at the very end of the CRT monitor era, Sam & Max Season One and Two was originally a 4:3 game that could only run at 800x600 or 1024x768. The Devil's Playhouse has support for higher resolutions, but the game only showed up in a 16:9 aspect ratio, even when playing on 4:3 resolutions (even on the PS3 version!) Fortunately now it should just work with whatever resolution you play with.

Easter Eggs have been added throughout the game that reference later seasons, other Telltale games, and other Sam & Max media.

In Sam & Max Season One and Two's remasters, Skunkape Games added new details related to The Devil's Playhouse and Beyond Time and Space, for example:

• A Sign of The Museum of Mostly Natural History
• A bust of Sammun-Mak in 204
• A Photo of Season Three Jurgen in 203

Clementine from "The Walking Dead", and the house we first meet her in, make a cameo in 203.

Momma Bosco's face is now featured on the sign for Bosco's Inconvenience starting from 101 onwards.

As of October 8th, with version 2.0.0 of Sam & Max Save the World. The Former Child Star House was made to look accurate to The Theater from 302^[1]

New Accessibility Options!

For the Remasters of Sam & Max Season Two and Three, Skunkape Games added new options of accessibility, to make the game fit a player's standards. The driving, boxing, and surfing mini-games can now be skipped in Season Two. Flashing lights and other photosensitive effects can also be turned off in them.

Save The World (Season One) Changes

Sam & Max Save The World was the first of the trilogy that got the remastered treatment back on December 2nd, 2020. Let's see what has changed!

101, Culture Shock:

• The Jimmy Two-Teeth interrogation has new lighting, camerawork, and music (called “Good Sam, Bad Max” on the soundtrack), all added to accentuate the mood and to make this early puzzle more rewarding.

• The spray paint can has been moved from its original location. Dating back to Culture Shock’s 2006 release, a lot of players had trouble finding the spray paint on the car parked behind the DeSoto, and Skunkape Games wanted to eliminate a frustration point in an early puzzle. The new location is on the newspaper stand outside Bosco’s Inconvenience.

• When chasing the Soda Poppers in their van, day slowly becomes night. In the original game, it was always night time outside Brady Culture’s Home for Former Child Stars, but when you went back to the street it was daytime again. Now the entire game switches to night for the finale. Also, the street environment features a new, more lonely variant track (“Empty Streets”), based on the original street music.

• The office looks a bit different during Sam’s psychoanalysis and the hypnotic dream sequence. Culture Shock was one of Telltale’s first episodes, and they were still figuring out how to reuse assets back then. Skunkape Games want to avoid the repetitive feeling of returning to the same location over and over, and so looked for ways to enhance these two scenes without changing the gameplay.

• The cinematography inside Brady Culture’s asylum is plussed up. When Skunkape went back and looked at the set for Brady’s theater-turned-asylum, they realized it was huge and really beautifully built, but almost none of it was visible from the original camera angles. They reframed much of the sequence to give it a more expansive and epic feel, both to make Brady seem more formidable and interesting and to better show off the great art.

• One line of dialog was shortened (and possibly changed due to the poor, dated reference): Instead of saying his latest BoscoTech innovation will “clear out a room of militant college students in no time, guaranteed,” Bosco now says it will “clear out a room in no time, guaranteed."

102, Situation: Comedy:

• This episode features new music in Bosco’s Inconvenience (“Inconvenienced”). Bosco’s has always felt repetitive when visiting it from episode to episode. Skunkape were able to use Sybil’s new jobs as an excuse to redecorate her office in the remaster, but Bosco’s doesn’t have such a fictional conceit. They decided music would help alleviate that feeling of sameness and make Bosco’s a little more surprising when Sam and Max walk into it for the first time in episode 2, so they invented a B-side for the only cassette Bosco seems to own. This music appears in all of the even numbered episodes.

• WARP studios feels a little bigger! Episodes 2 and 3 were originally developed almost simultaneously, and that meant smaller budgets and scopes than other episodes had. One result of this was that their central locations had no exterior shots, which contributed to these episodes feeling more claustrophobic than the rest. Skunkape designed and built the outside of WARP TV and added a collection of TV show–style establishing shots that play whenever Sam and Max return, including adding posters that referenced multiple events in the game and in subsequent ones.

• The TV studio is also home to another new piece of music (“WARP”). In the original release, the TV studio had one big piece of music. It’s mysterious, eerie jazz that sounds like it’s coming out of the dark corners of the empty TV studio, but it was the only background music for most of the episode. They wanted to mix up the mood and decided on something more upbeat and “classic Sam & Max.” The new track takes over each TV studio room after you complete its main puzzle.

• The WARP sound stages now have live TV monitors in the rafters. Skunkape were always looking for ways to make the environments a little more alive and dynamic, and it made perfect sense that you’d see yourself on TV in a TV studio. If you watch carefully, there are a couple places around the studio where Max can notice he’s on TV and act accordingly.

• One line of dialog was changed: Instead of saying the Skinbodies are like “skinheads, but ten times worse,” Bosco now says they’re like “those hairless cats, but ten times worse."

103, The Mole, The Mob, and The Meatball:

• Ted E. Bear’s Mafia-Free Playland and Casino now has an exterior! Similar to WARP TV above, Skunkape thought the casino would benefit from an establishing shot, to make it feel more like a real place. It also gave them an opportunity to hint at the Hypnobear factory behind the casino, and to add a nod to the buffet that Max can’t stop bringing up.

• There’s a new piece of music when interrogating Leonard, called “Oh, Mama!” They thought an upbeat change in music would make the office feel fresh and complement how Sam and Max were playfully toying with Leonard.

• A change to dialog: Instead of saying you may call him “Jean-Francois Sissypants, the cowardly French anarchist,” Bosco now says you may call him “Jean-Francois Band-A-Parte, the new wave French anarchist,” and refers to himself again by that name in another line.
  • Originally, due to an oversight in editing, Sam and Max still referred to Bosco by the old name. This was fixed in version 1.0.3.

104, Abe Lincoln Must Die!:

• The War Song got a lot of lighting polish. In addition to swinging spotlights and lights shaped like stars, the remaster added some industrial shutters that seal off the Oval Office when war is declared, to give the later half of the game a different feeling and to add some theatrical flair to the beginning of the song. They also added a cymbal monkey to the song, because it felt right.

  

  • The War Song was one of the first things Skunkape Games thought about when considering a full lighting remaster of the game.

• Skunkape Games eliminated unnecessary backtracking to and from the White House. Late in the game, you arrive directly inside the Oval Office, allowing you to skip going to the front lawn, and you can leave straight from the War Room by clickicking the security TV by the War Room door.

• There are a number of small changes and enhancements around the episode. For example, the submarine in the White House pool is now fully modeled; the leaves on the trees rustle in the breeze now; and the rubble created when Abe Lincoln is destroyed by the Washington Monument has been remodelled.

105, Reality 2.0:

• Originally this episode was the visual powerhouse of the season, or at least the surprise combo breaker that came in and shook up Season One’s aesthetic at a point when people thought they knew what the world looked and felt like. Skunkape wanted that to be true of the new release, too, and pushed Reality 2.0 into even more of a stylized “cartoon cyberspace.” They took inspiration from Tron, of course, and also the covers of 90s issues of Wired magazine, and movie posters and promotional material from hacking and early-internet techno thrillers of that era. Reality 2.0 felt of its time when it came out in 2007 and now almost feels quaint, and preserving and enhancing that feeling of “the early Internet” was important. (Miss the original lighting? You can catch a quick glimpse of it just before Max yells “there go the graphics!”)

• The Banco Lavadero minigame’s visuals are completely overhauled. Skunkape Games didn’t want to touch the puzzle design, but the look of that sequence never really matched the bubbly digital weirdness of the rest of the episode. They've also added some animation effects to help communicate where your money is going as it stumbles around the internet.

• A change to two lines of dialog with the COPS: When Sam and Max get their Reality 2.0 goggles, Bob now says they have a pair of wide-fit goggles for Max, designed for “playing while bicycling or enjoying full-contact sports” and Curt chimes in “Safety first!” The original joke was that they were designed for “special-needs children so that the little ones can play along.”

• A change to two lines of dialog with Bosco: When talking about his half-elf form in Reality 2.0, Bosco used to say everyone on the internet has to pick an avatar like a dwarf or an orc or a “hot young fifteen-year-old girl curious about the adult world and willing to experiment.” Now he says “like a dwarf, or an orc, or a troll... but we’ve got enough trolls.” He also calls Max a “troll” instead of a “foo’” in a follow-up line.

106: The Bright Side of The Moon:

• In the tradition of creating exotic Sam & Max locations without any research or reference material, they added fog to the Moon. It looks pretty good, and is something the real Moon should consider to liven things up over there.

• Riding the Collide-O-Scope now features a kaleidoscopic experience, as promised (or strongly implied) by its name.

• One dialog exchange with Bosco was removed: Max asked if Bosco’s disguise as his mom was done surgically or hormonally, and Bosco threatened to beat him for bringing it up.
  • The follow-up joke about Bosco being “all natural” and Max “liking ’em bosomy” was initially unavailable, but was later restored in the 1.0.3 patch.

Beyond Time and Space (Season Two) Changes

The More Funnier, Expanded, Enhanced and Crazier Sequel, Sam & Max Beyond Time and Space, got remastered on December 8th, 2021. What has changed in this game, exactly?

General Change:

• DeSoto decals are easier to collect. A big update of Season Two Remastered is the ability to go back to previous episodes and get the car decals you missed. These will carry forward into future episodes without having to replay. Check out the decal poster next to the DeSoto to see which decals you still need to get.
  • For those who wish to redo getting the decals, they can simply restart the episode and the decals for that episode will be reset accordingly.

201, Ice Station Santa:

• The hole in the back wall of Sam & Max’s office is much, much larger. This better highlights Flint Paper (who becomes a major character later in the series), and allows the camera angle to sit in the whole, giving Beyond Time and Space’s version of the office its own unique look.
  • They also added multiple easter eggs including rats fighting, cosplaying as Sam and Max, or otherwise interacting with each other, visible on the beams of the walls.

• The Maimtron attack has new music. In the original release, when the Maimtron attacked, it was scored with an edit of the opening credits theme. Skunkape worked with series composer Jared Emerson-Johnson to create a new track just for this scene. Called “Maintron 9000’s Pancake Breakfast” on the Sam & Max: Beyond Time and Space soundtrack, it plays whenever the Maimtron is smashing the building. (If you miss the old track, don’t worry! The game transitions to it whenever the Maimtron is pondering one of life’s great questions.)

• The street looks and sounds a bit different. Skunkape added more rubble and the tunnel from Sam & Max: The Devil’s Playhouse, and the time of day has shifted to kick off the season at sunrise (it was midday in the original). Once the robot's done beating everything up, the Street gets a brand new piece of music, called "City Streets Saunter" on the soundtrack. They figured six episodes of the original Street track was enough, and Season Two could use a tune of its own. This way each season has its own take on the Street theme!

• The North Pole is much moodier. Watch out for the barbed wire, the working searchlight from the candy cane watchtower, and the new short opening cutscene that shows Sam and Max’s nighttime drive through the snow to get there. Yes, you heard that right: it’s snowing at the North Pole! In the original 2007 release, the game’s engine had no particle system, so effects like snow were very difficult to do convincingly. Now we have particles, and as a result we have lots and lots of fluffy snow falling from the sky. The passage of time in the episode is marked by the moon rising over Santa’s Workshop in the second act.

• Skunkape heavily reworked the inside of Santa’s Workshop. The original version of the workshop was built quickly by an outsourcing studio, and never delivered on the intended vibe of “cozy… but a little creepy, actually,” and they've gone in and added a lot of new art to try and get it there. The room was also built far huger than it needed to be, and they filled the empty space with a decorative second floor loft filled with abandoned elf workstations, and a huge window to let moonlight in for the final showdown. A new cutscene that plays when Sam & Max enter the workshop for the first time shows off some of the new decor. Keep an eye out for the Bop Buddy, who was a staple of the early Telltale office until someone punched him too hard (RIP), and the plate of waffles, because everything is better with waffles.

• Boxing is more stylish (and less annoying). A intro cutscene when Boxing Betty enters the ring and spruced up the rats watching from the stands was added and, more importantly, the UI and controls have been updated so the controls are better aligned between keyboard and gamepad and the UI is more out of the way. Additionally, the mini-game can now be skipped if you toggle that option on in the accessibility menu.

• Stinky’s got a facelift. Skunkape added the center tables from Sam & Max: The Devil’s Playhouse, upgraded the jukebox, and reworked the trivia board so it actually shows the trivia questions, even when you’re just walking around the scene. (There’s also a second trivia board, which be seen from the scene’s new camera angle.) Additionally, you can now see the street through the window, including the DeSoto and whatever upgrades and decals you might have found.

• Christmas Past has new music. Attentive players will notice a holiday-infused version of the Leonard interrogation music from episode 3 of the Sam & Max Save the World remaster. The new track is called “Jingle Mama” on the soundtrack. Christmas Past has a longer opening cutscene now, too, so keep an eye out for that.

• Christmas Future looks more like Hell. When Ice Station Santa was made, Telltale knew Christmas Future would be a scene out of the finale. Hell hadn’t yet been designed or modeled, though, so the Christmas Future they came up with at the time was a lot less detailed than the sequence that eventually played out in What’s New, Beelzebub? Skunkape rectified this in the remaster, including swapping future Sam and Max’s positions to be consistent with the later scene.

202, Moai Better Blues:

• The Bermuda Triangle has new music and effects. Like the Maimtron attack in Ice Station Santa, the opening Bermuda Triangle chase scene was originally scored with a reuse of the opening credits track. Now it’s got music all its own, including a keyboard solo emitting from the Triangle itself. Look for “Bermuda Boogie” on the soundtrack to hear it yourself. The Bermuda Triangle now also emits a bright triangular light, bringing it in line with the real Bermuda Triangle.

• The street is gloomy. This provides a good contrast to the lush, tropical Easter Island environment.

• Easter Island is a little more kitschy. The biggest change is a new piece of music, “Easter Exotica,” that adds a little cheesy flair to the place. (The original music for this scene isn’t gone though—it can still be heard when you converse with characters in the scene, and during the finale.) The Secret Hidden Underground Cave sign has been redone to look more like the sort of tourist trap advertising found in Sam & Max’s other adventures. Other Easter Island updates include grass, sand, water effects, and an exit sign to make leaving the Tiki Bar area easier.

• The gong in Stinky’s Diner is no longer gold by default. This caused a lot of confusion in one of the game’s late puzzles, where the color of gongs and triangles is important.

• Baby Lindbergh has hair.

• The chimps come in more colors now. Before they were all exactly the same. Now they’re each a little bit different.

203, Night of the Raving Dead:

• Sam & Max’s street is littered with more zombies than ever before, and has music to match. A new zombified version of “City Streets Saunter,” called “Fright & Harrow,” plays on the street during the zombie attack and ratchets up in intensity when Sam and Max become zombies themselves.

• It’s raining in Stuttgart. The trash can outside the Zombie Factory is now easier to identify as a trash can, thanks to a newly added sign.
  • The Original Version was supposed to have Rain effects aswell.

• The Zombie Factory is a totally happening place! The disco ball, smoke machine, and strobe lights add to the ravey-feel (but if you’re sensitive to these types of effects, you can turn them off in the accessibility menu). The upgraded DJ booth can play five unique remixes of the club theme, four of them brand new to this remaster, versus in the original game where only the underlying drum loop changed from mix to mix.

• The camera angles in the shootout with Jesse James’ hand have been updated. Players have been long-confused by the way Jesse James’ hand moves, which is unfortunate since the movement of his hand is critical to the puzzle. The Puzzle has been tweaked so the camera angles make it more clear how his hand changes position during the shootout.

• Sybil’s and the TV studio received cosmetic tweaks. Sybil’s window shades are open, she’s received more presents and flowers from her suitors, and the Dating Game cards have been spruced up. The TV studio was updated in line with updates we made to it in Sam & Max Save the World.

204: Chariots of The Dogs:

• There’s new music to be found… in the past! In the original game, when you traveled to Stinky’s in the 1980s or Sam & Max’s office in the far future you were treated to new music appropriate for that era, but traveling to Bosco’s or the Oval Office in the 1960s gave you warmed-over tracks reused from the first season. Not anymore! Now Sam & Max’s visit to the Kennedy White House features a swingin’ sixties version of the Oval Office theme (“Camelot a Go-Go”), and retro Bosco’s has a low-key Motown tune with just a hint of the classic Bosco’s melody laced in (“Mama B’s”).

• The Oval Office has blue sky outside the windows.

• When you stop time, it really stops! Sam can stick his fingers into the literal inner workings of time and make everything freeze for a few seconds. In the original release, this played a sound effect and that was it. Now, the music will slow down and stop from wherever it was playing, as if Sam slowly pressed down on a record player in the middle of a song. The time-stopping finale also has a brand new piece of music, to add a little more tension and underscore that the clock is ticking. Look for “Secuencia de Autodestruccion” on the soundtrack.

205, What's New, Beelzebub?:

• Hell, LLC now looks more accurate. You can now walk around the whole Hell office, so take a productivity break and judge for yourself. (But don’t let Satan catch you. You’re on the clock!)

• Visual and continuity tweaks were made to various Hell dioramas. Peepers is no longer referred to as Max. The Toy Mafia is no longer associated with this version of the factory. The addition of toxic smoke to the action figure package makes that puzzle a little more intuitive. The cooking show background, camera, and chairs have been spruced up. And there are no waffles in Santa’s Workshop… because this is Hell.

• Satan, Momma Bosco, and the subway station now look like their Sam & Max: The Devil’s Playhouse counterparts.

• You can catch Harry Moleman—sorry, Death—doing some filing. Jimmy Two-Teeth’s file was easily missed, so a cutscene was added to help call attention to it. There are also added logos to the files that are lying near Timmy at Pimp Le Car, so his folder is more clearly meant for the afterlife and not an unrelated prop.

• When Hell freezes over, it snows!

• Jurgen was removed from Sybil and Abe’s wedding scene (the credits). This was done for both Story Related and Logical Reasons.

The Devil's Playhouse (Season Three) Changes:

The Final game of the trilogy, Sam & Max: The Devil's Playhouse, was the last to get remastered, on August 14th, 2024. Let's see the changes one last time!

General Changes:

• Film grain looks nicer, and you can turn it off if you want. The Devil's Playhouse was always supposed to feel a little bit like an old movie you're watching at a rep screening (or maybe on an old haunted film projector in the basement below your office). The original release had a film grain effect, but not only was it turned on all the time, it used six layers of full screen transparency, which heavily affected the frame rate on low spec PCs and in the PlayStation 3 and The 301 iPad ports. The film grain effect has been redone to be both more authentic and more performant, and most importantly it now has an on/off toggle in the game's settings screen.

• The game's user interface got an overhaul. Skunkape Games love the weird and wacky interfaces present across The Devil's Playhouse, and wanted them to truly shine in the remaster. In the case of Max Mode, the wheel has been completely rebuilt, inspired by the original concept renderings, and is now a beautiful piece of chrome glinting in the light, emitting all sorts of radiant beams and sound effects. Sam's detective notebook was also given an overhaul, with a cleaner graphic design treatment as well as fancier animations of him opening, closing, and turning the pages. And in the dialogue selection interface, Sam has gone 2D! He's now a keyframe-animated character who follows the mouse around, drawn by Calis (an artist in the animation industry) and supervised by Steve Purcell. Keep an eye out for his costume changes throughout the episodes!

• A few lost voice lines have been restored. During the remaster's development, Skunkape Games found a few places where a line or two of dialogue were intended to play, but couldn't. This usually happened because of a bug in the game's logic that meant the right conditions for the line to be heard could never occur, or something simpler: the object in question was never on camera, so the player couldn't click on it. The Lines have been restored across the game. Other than this restoration of some lost lines, no voice recording or dialogue has been altered in the game.

301, The Penal Zone:

• Completely New Location Designs. The Devil's Playhouse takes place around Manhattan on city streets that, for budgetary reasons, were cheaply built out of shared parts instead of being unique locations. Skunkape Games took many of the streets around this episode and rebuilt them entirely, starting from new concept art and modeled them from scratch. The flatiron building you visit now has a traffic jam and a neighborhood bodega across the street. BoscoTech Labs is now a haunted old brownstone on a sleepy neighborhood block. The toy store is nestled up against an elevated train line. Most of the streets in the original ended in dead-end alleys out of performance concerns, to make them feel more like part of a bigger city, they've opened many of those up to complete city blocks. They also added random New Yorkers walking around in the background of some scenes to add some more life.

• Straignt & Narrow is more in line with Season One and Two. In the earliest days of The Devli's Playhouse development, the team thought Sam & Max's street might feature more centrally in the story, like it did in the previous games. There was a belief that it was difficult to shoot because it was so long, and a belief that it should match the rest of the (cheaply built) city street environments. As a result, the street was given a big elbow bend in the middle, and was rebuilt out of parts that had less care and attention than the original. For the remaster, they restored the street to its original un-bent, hand-built glory, using the assets from Beyond Time and Space as a starting point, and then re-added The Devil's Playhouse's special touches. Stinky's has its new paint job. Bosco's is abandoned and covered in graffiti. Sam & Max's building is boarded up following the fallout of a Maimtron 9000 attack in the last game. Skunkape took things a little further too: you can now see into the construction site next door to the office, to give the street a little continuity between games. And careful viewers will catch a glimpse of Sybil's in the opening scene before it's squished by Skun-ka'pe's Ship.

• The Crime-Tron got an upgrade. It's now easier to place clues directly on the scanner bed from your inventory, and the state of the scanner is far more readable.
  • When you do find a match, the city map screen has an overhaul inspired by cheesy motion graphics of '70s/'80s movies.

Skun-ka'pe's ship is a little more alive. You can see the sun sweeping across the bridge when Skun-ka'pe steers his ship around the city. The water in the bottle by Sam & Max's cage bobbles around. Stinky's chair is actually hovering. The bubbles in the Alien Brain's tank actually bounce and move around him.

302, The Tomb of Sammun-Mak.

• Maximus got his hat back. Maximus's little hat has finally been added onto his 3D model, after being an absent design feature from the original concept art after 14 years.

• The Tomb now looks closer to the concept art, too. They re-lit the flames for the remaster, and also added the icky pools of water surrounding the inaccessible areas at the bottom of the scene.

• Sammeth & Maximus' street got longer. Years ago fans noticed the Esperanto Bookstore is missing from the street in the 1900s, even though it wasn't removed until a giant battle robot attacked the street in Beyond Time and Space. It's now a brand new Esperanto newspaper store. Snow effects have also been added.

• The theater now has an establishing shot. To keep this in line with many of our other environments across the trilogy, Skunkape thought it'd be nice to add an exterior establishing shot for the theater.

• The mole family basement got a fresh coat of paint. The original concept of the mole people apartment showed a freshly whitewashed brick room, so it was brought nto the game proper. Also, the basement environment is now more architecturally consistent across all its appearances in various episodes and various times in history.

303, They Stole Max's Brain!:

• Flint gives you interrogation advice from his own office. Instead of appearing in front of a low-resolution brick wall, now Sam's memory is more clear and he can picture exactly what Flint's office looked like on the day he was teaching Sam how to interrogate a suspect.

• Max's brain is now sloshing around in liquid. Skunkape Games went back to the original concept art and learned that Max's brain was supposed to be floating in a jar of demon broth, but that got lost or cut along the way, and in the original game he was just floating mid-jar with no explanation. It has been added back.

• The city streets during Act 3 and 4 look more alive and better.

304, Beyond the Alley of the Dolls:

• The Clone Chamber is more foggy and ominous. When Ryan Jones first drew a concept of the Clone Chamber, he painted it with an eerie green haze that filled the entire back of the room, with just the lights of the clone pods shining through. This looked great, except for one problem: the Telltale engine didn't support fog at the time. Now the fog effects and different lighting has been added back, restoring Ryan's eerie glow to the place.

• The golden shorts the clones wear are sparkly.

• The lever on the toaster actually animates and the toast toasts.

305, The City that Dares not Sleep!:

• The hologram in BoscoTech Labs stays on for the entire episode. It was previously only used for one shot in the opening cutscene. This is a small change, but was a nice way to set this version of the environment apart from its appearances earlier in the game.

• Cloned minions now have gold underwear, too. In the original 305, the clones were missing the gold underwear, this was changed back.

Gallery (Images of what's changed)

See Also

Sam & Max (Video Game Series)

Sam & Max Save the World

Sam & Max Beyond Time and Space

Sam & Max The Devil's Playhouse

Telltale Games

Skunkape Games