Development
Grim Fandango was designed by Tim Schafer, co-designer of Day of the Tentacle and creator of Full Throttle and the more recent Psychonauts and Brütal Legend. Schafer had begun work on the game soon after completing Full Throttle in June 1995, though he conceived the idea of Day of the Dead-themed adventure before production on the latter began. Grim Fandango was an attempt by LucasArts to rejuvenate the graphic adventure genre, in decline by 1998. According to Schafer, the game was developed on a $3 million budget. It was the first LucasArts adventure since Labyrinth not to use the SCUMM engine, instead using the Sith engine, pioneered by Jedi Knight: Dark Forces II, as the basis of the new GrimE engine. The GrimE engine was built using the scripting language Lua. This design decision was due to LucasArts programmer Bret Mogilefsky's interest in the language, and is considered one of the first uses of Lua in gaming applications. The game's success led to the language's use in many other games and applications, including Escape from Monkey Island and Baldur's Gate.
Grim Fandango mixed static pre-rendered background images with 3D characters and objects. Part of this decision was based on how the calaca figures would appear in three dimensions. There were more than 90 sets and 50 characters in the game to be created and rendered; Manny's character alone comprised 250 polygons. The development team found that by utilizing three-dimensional models to pre-render the backgrounds, they could alter the camera shot to achieve more effective or dramatic angles for certain scenes simply by re-rendering the background, instead of having to have an artist redraw the background for a traditional 2D adventure game. The team adapted the engine to allow Manny's head to move separately from his body to make the player aware of important objects nearby. The 3D engine also aided in the choreography between the spoken dialog and body and arm movements of the characters. Additionally, full-motion video cutscenes were incorporated to advance the plot, using the same in-game style for the characters and backgrounds to make them nearly indistinguishable from the actual game.
The game combines several Aztec beliefs of the afterlife and underworld with 1930s Art Deco design motifs and a dark plot reminiscent of the film noir genre. The Aztec motifs of the game were influenced by Schafer's decade-long fascination with folklore and talks with forklorist Alan Dundes, with Schafer recognizing that the four-year journey of the soul in the afterlife would set the stage for an adventure game. Schafer stated that once he had set on the Afterlife setting: "Then I thought, what role would a person want to play in a Day of the Dead scenario? You'd want to be the grim reaper himself. That's how Manny got his job. Then I imagined him picking up people in the land of the living and bringing them to the land of the dead, like he's really just a glorified limo or taxi driver. So the idea came of Manny having this really mundane job that looks glamorous because he has the robe and the scythe, but really, he's just punching the clock." The division of the game into four years was a way of breaking the game's overall puzzle into four discrete sections. Each year was divided into several non-linear branches of puzzles that all had to be solved before the player could progress to the next year.
Several film noir movies were inspiration for much of the game's plot and characters. Tim Schafer stated that the true inspiration was drawn from films like Double Indemnity, in which a weak and undistinguished insurance salesman finds himself entangled in a murder plot. The design and early plot are fashioned after films such as Chinatown and Glengarry Glen Ross. Several scenes in Grim Fandango are directly inspired by the genre's films such as The Maltese Falcon, The Third Man, Key Largo, and most notably Casablanca: two characters in the game's second act are directly modeled after the roles played by Peter Lorre and Claude Rains in the film. The main villain, Hector LeMans, was designed to resemble Sydney Greenstreet's character of Signor Ferrari from Casablanca. His voice was also modeled after Greenstreet, complete with his trademark chuckle.
Visually, the game drew inspiration from various sources: the skeletal character designs were based largely on the calaca figures used in Mexican Day of the Dead festivities, while the architecture ranged from Art Deco skyscrapers to an Aztec temple. The team turned to LucasArts artist Peter Chan to create the calaca figures. The art of Ed "Big Daddy" Roth was used as inspiration for the designs of the hot rods and the demon characters like Glottis.
The game featured a large cast for voice acting in the game's dialog and cutscenes, employing many Latino actors to help with the Spanish slang. Voice actors included Tony Plana as Manny, Maria Canals as Meche, Alan Blumenfeld as Glottis, and Jim Ward as Hector. The game's music, a mix of an orchestral score, South American folk music, jazz, swing and big band sounds, was composed at LucasArts by Peter McConnell and inspired by the likes of Duke Ellington and Benny Goodman as well as film composers Max Steiner and Adolph Deutsch. The score featured live musicians that McConnell knew or made contact with in San Francisco's Mission District, including a mariachi band. The soundtrack was released as a CD in 1998.
Originally, the game was to be shipped in the first half of 1998 but was delayed; as a result, the game was released on October 30, 1998, the Friday before November 2, the actual date of the Day of the Dead celebration. Even with the delay, the team had to drop several of the puzzles and characters from the game, including a climactic five-step puzzle against Hector LeMans at the conclusion of the game; Schafer later noted that they would have needed one to two more years to implement their original designs. Tim Schafer left LucasArts shortly after Grim Fandango's release, and created his own company, Double Fine Productions, in 2000 along with many of those involved in the development of Grim Fandango. The company has found similar critical success with their first title, Psychonauts. Schafer has stated that while there is strong interest from fans and that he "would love to go back and spend time with the characters from any game worked on", a sequel to Grim Fandango or his other previous games is unlikely as "I always want to make something new."
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