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The hunting and gathering lifestyle adopted by human ancestors around 2 Ma required a large increase in aerobic activity. High levels of physical activity altered the shape of the human body, enabling access to new food resources (e.g. animal protein) in a changing environment. Recent experimental work provides strong evidence that both acute bouts of exercise and long-term exercise training increase the size of brain components and improve cognitive performance in humans and other taxa. However, to date, researchers have not explored the possibility that the increases in aerobic capacity and physical activity that occurred during human evolution directly influenced the human brain. Here, we hypothesize that proximate mechanisms linking physical activity and neurobiology in living species may help to explain changes in brain size and cognitive function during human evolution. We review evidence that selection acting on endurance increased baseline neurotrophin and growth factor signalling (compounds responsible for both brain growth and for metabolic regulation during exercise) in some mammals, which in turn led to increased overall brain growth and development. This hypothesis suggests that a significant portion of human neurobiology evolved due to selection acting on features unrelated to cognitive performance.
1. Introduction
A wealth of recent studies detail connections between physical activity and neurobiology [1,2]. In particular, aerobic physical activity (APA) generates, and protects new neurons, increases the volume of brain structures and improves cognition in humans and other mammals [2–8]. These neurobiological effects accrue during an individual's lifetime, and a great deal of research has begun to explore the implications of APA for cognitive health [5]. However, recent data also suggest that there is an evolutionary relationship between APA and the brain, including a positive correlation between aerobic capacity and brain size across a wide range of mammals [6]. Here, we review this growing body of evidence suggesting that the relationship between APA and neurobiology exists across evolutionary timescales, and that selection acting on endurance capacity in mammals may have had important effects on the evolution of brain size in these taxa.
In addition to neurobiological effects on mammals in general, this recent work has profound implications for human brain evolution. The human brain is approximately three times larger than expected for our body size, due to increases in several brain components, including the frontal lobe, temporal lobe and cerebellum [9,10]. This major increase in both absolute brain size and brain size relative to body mass occurred during the early evolution of the genus Homo, becoming especially pronounced during the evolution of Homo erectus [9,11–13] (figure 1). Because brain size changes in human evolution are often interpreted in the context of cognition [11], previous hypotheses for increased brain size in hominins have focused on greater social complexity [14] or enhanced ecological demands on cognition [15,16]. However, at the same time as brain size began to increase in the human lineage, aerobic activity levels appear to have changed dramatically [17–20]. Our ancestors, beginning with H. erectus, shifted to a hunting and gathering lifestyle that required higher levels of aerobic activity [21–24], with morphological evidence showing adaptations for increased long-distance trekking and the adoption of endurance running (ER; aerobic running for distances of more than 5 km) as a new hunting method [17,18]. Thus, in addition to reviewing patterns of brain evolution in non-human mammals, we propose the novel hypothesis that selection acting on human locomotor endurance had a measurable effect on the evolution of human brain structure and cognition.
To explore hypotheses linking physical activity and brain evolution, we begin by reviewing proximate mechanisms that allow APA to alter the adult mammalian brain. We then examine intra- and interspecific studies (as well as artificial selection experiments) that suggest selection acting to improve endurance capacity alters these proximate mechanisms and, in the end, affects neurobiological evolution in mammals that have an evolutionary history of endurance activity (athletic species). Finally, we explore correlations between APA and neurobiology across evolutionary timescales in the human lineage. The purpose of this review is not to suggest that aerobic activity alone is responsible for all aspects of human brain size or cognitive evolution. However, our review suggests that aerobic activity represents a previously unrecognized factor in mammalian neurobiological evolution, and highlights the possibility that non-cognitive selection pressures may have played an important role in the development of the human brain.
2. Effects of aerobic physical activity on the brain: proximate mechanisms
Many studies suggest that APA leads to the formation of new neurons (neurogenesis) in some portions of the adult brain [2–4,7,25–27]. In rodents, voluntary wheel-running produces a three- to fourfold increase in neurons in the dentate gyrus of the hippocampus [2,8]. There is also some limited evidence that neurobiological changes associated with APA occur in other brain regions [2]. For example, there is a trend towards increased neurogenesis, and evidence of gliogenesis (generation of new glia that support neuronal activity) with APA in the frontal cortex of rats [28,29], and neurogenerative activity induced by APA was found in superficial cortical layers and in the motor cortex of rodents [29].
Activity-induced neurogenesis has a major impact on cognitive function and on the size of brain components. For example, performance in memory and spatial learning tasks improves following APA in non-human taxa such as monkeys [30] and rodents [8,31,32]. In humans, aerobic fitness is positively correlated with hippocampal and basal ganglia volume in children and older adults [25,33,34], with grey matter density in the insula of young adults [35], as well as with the amount of grey and white matter in the frontal lobe and other brain areas of older adults [27]. These structural changes across many brain regions appear to have significant functional effects. In school-aged children, fitness levels and participation in higher amounts of physical activity are correlated with improved cognitive function [5,26,36]. In healthy young adults (approx. 22 years of age), both acute and long-term APA improves performance on memory tasks, suggesting enhanced hippocampal function [37]. Finally, several studies have linked APA with either improved cognitive performance (especially executive functions and spatial memory) or a reduction in cognitive decline in older populations [3,38,39].
(a) Neurotrophins and growth factors
Aerobic physical activity (APA) appears to lead to neurogenesis, neuroprotection and cognitive improvements in adults primarily through the upregulation of neurotrophins and growth factors [40]. Neurotrophins are a family of proteins that play a major role in the development and maintenance of new neurons, and regulate neuronal structure and activity [1,2,4,8,32,41]. Brain-derived neurotrophic factor (BDNF) is among the more important neurotrophins involved in APA-induced neurogenesis [1]. Voluntary and forced running in rodents and humans results in a significant upregulation of BDNF, which improves neuronal survival [40,42,43], and APA-induced neurogenesis is diminished when BDNF signalling is blocked using antibodies to its receptor (TrkB) [1].
In addition to BDNF, concentrations of two growth factors—insulin-like growth factor I (IGF-1) and vascular endothelial growth factor (VEGF)—increase with physical activity, and both are known to play a role in neurogenesis [4,44]. For example, infusion of IGF-1 in the periphery leads to increased hippocampal neurogenesis [45], while hippocampal gene transfer of VEGF also enhances neurogenesis [46]. The role of VEGF and IGF-1 in neurogenesis was confirmed in a set of experiments showing that blocking peripheral VEGF and IGF-1 significantly inhibited APA-induced neurogenesis [4,7]. Long-term endurance training increases circulating levels of IGF-1 and VEGF in humans at rest [47,48], indicating that the neuroprotective effects of APA may also be enhanced by increased physical activity over time.
In addition to neurobiological functions, BDNF, IGF-1 and VEGF all have important effects on metabolic pathways, suggesting selection for APA performance may have had pleiotropic effects. First, increases in IGF-1 and VEGF occur peripherally in response to activity to stimulate tissue and vascular system growth and repair, which improves oxygen delivery to muscles and increases aerobic performance [49,50]. For example, VEGF signalling regulates muscle capillary density, which is a major determinant of maximal aerobic capacity across mammals [51,52]. Second, BDNF and IGF-1 facilitate lipid oxidation in muscles [53] and glucose metabolism [1], which are essential for energy regulation during submaximal activity [54]. Peripheral production of neurotrophins and growth factors can lead to effects on the central nervous system (CNS) because they all cross the blood–brain barrier, resulting in correlated peripheral and CNS concentrations [55]. It is possible that growth factors are upregulated in the periphery for their beneficial effects on metabolic and vascular systems, and then cross the blood–brain barrier, triggering neurogenic actions. Because athletic individuals have high resting levels of both IGF-1 and VEGF [47,48], baseline levels of these neurotrophins are important indicators of aerobic performance.
Based on the effects of APA on neurotrophins and growth factors, researchers have suggested two hypotheses for activity-induced adult neurogenesis [56,57]. First, neurotrophins and growth factors may be upregulated in the periphery to support endurance activity (metabolism, vascular growth), with ancillary effects on the brain [56]. Second, links between activity and neurogenesis may create a neurogenic reserve during foraging in novel or complex environments to enhance cognitive engagement during locomotor bouts [56,57]. Indeed, cognitive engagement following APA has an additive effect on neurogenesis in response to physical activity [57], supporting this hypothesis. While these functional hypotheses may explain why APA-induced neurobiological effects accrue during an individual's lifetime, recent evidence suggests that selection acting on neurotrophin and growth factor signalling may have had broader impacts on the evolution of the brain [6]. Below, we detail an evolutionary model that links these proximate mechanisms acting on adults to brain growth and development, and suggests that the evolution of high levels of aerobic activity had an important effect on brain evolution in athletic taxa.
(b) Physical activity and the evolution of brain growth: a model
The proximate mechanisms described above generally affect regional changes in brain structure following physical activity in adults. Here, we propose an evolutionary model where selection in athletic taxa leads to the upregulation of circulating neurotrophins and growth factors, but has pleiotropic effects on brain growth. Research in both humans and animal models supports a strong role for neurotrophins and growth factors in brain development. Experimental work in rodents has shown that deficiencies in neurotrophins and growth factors during development in utero and post-natally lead to smaller overall adult brain sizes [45,58–60], whereas overexpression of IGF-1 leads to significantly larger brain sizes at adulthood [61]. For example, in mice with homozygous inactivation of VEGF, brain size is significantly smaller than controls [62]. Additionally, mice with lower levels of BDNF owing to genetic manipulation grew significantly smaller brains during development [59]. Human data generally support experimental studies in animal models; however, we should interpret these results with some caution because sample sizes are often smaller and studies are observational in nature. In humans, naturally low levels of circulating IGF-1 leads to reduced brain size in offspring [63], and pre-term infants show a strong correlation between circulating IGF-1 concentrations and brain volume measured by MRI [64]. Pre-term human infants also have lower levels of BDNF, which correlates with negative neurodevelopmental outcomes [65].
Based on the proximate mechanisms linking energy regulation and vascular growth during APA with neurotrophins, growth factors and neurogenesis, we propose a model where selection acting to improve APA performance through enhanced metabolic regulation and oxygen transport alters baseline neurotrophin and growth factor signalling (figure 2), as is found in highly athletic subjects [47,48]. This evolutionary change in baseline signalling would lead to increased brain growth during ontogeny in species adapted for endurance activities, effectively linking selection for increased locomotor performance to brain size in some taxa. This is not the only possible way to explain evolutionary links between APA and neurobiology (see §5); however, we believe this model provides an important avenue for generating predictions and testing the overall hypothesis that there is an evolutionary relationship between APA and the brain. Below, we present a wide array of evidence in support of this model, including intraspecific data, interspecific data from a broad sample of mammals and data from evolution experiments that clearly show neurobiological changes when mammals undergo selection for APA performance.
3. Evolutionary links between aerobic physical activity and neurobiology
Intraspecific evidence suggests that population and individual variations in neurotrophins and brain size are strongly correlated with APA performance. First, in rats, variation in the distance run voluntarily on running wheels in different strains is correlated with variation in brain BDNF levels at rest, but not after activity [66]. Importantly, BDNF levels were measured in rats that were not given access to running wheels, suggesting the differences in BDNF levels are not simply plastic responses to physical activity during their lifetimes, but rather reflect differences between strains accumulated over multiple generations [66]. Second, in adult gerbils without prior exercise training, total brain size was positively correlated with maximum aerobic capacity (VO2,max) during voluntary wheel running, a good measure of endurance capacity [67]. Finally, a polymorphism in the human VEGF gene is correlated with higher VO2,max prior to exercise training, as well as with a greater response in VO2,max to exercise training [68], showing that heritable changes in the human genome link APA performance to growth factors. Combined, these studies suggest that if selection were to act on APA performance, it is likely that a change in circulating neurotrophins, growth factors and brain size would occur.
A recent interspecific study supports this evolutionary hypothesis in a wider range of mammalian taxa. Raichlen & Gordon [6] showed, using conventional and phylogenetically controlled analyses, that VO2,max is significantly correlated with brain size across non-human mammals, including rodents, ungulates, canids and felids. In this dataset, animals were not trained over long periods of time, providing further evidence that correlations between aerobic capacity and neurobiology are inherited traits. The relationship between VO2,max and brain size across mammals is likely to be related to differences in VEGF expression in more athletic taxa [6], because VO2,max is positively correlated with the volume of muscle capillary networks across mammals, driven by the need to deliver oxygen during APA [52]. Because skeletal muscle capillarity is regulated by VEGF [51,69], the increased volume of the capillary network found in mammals with high aerobic capacities may be due to evolutionarily altered VEGF signalling.
Thus, both intra- and interspecific data show that variables associated with endurance are correlated with increased neurotrophin and growth factor expression and larger brain size. However, because these analyses are correlational in nature, they do not clearly demonstrate evolutionary mechanisms. To do that, we explore data from artificial selection experiments that show how changes in neurobiology are associated with the evolution of increased exercise capacity in two rodent species.
(a) Artificial selection experiments
Two artificial selection experiments help show exactly how intraspecific variation in neurotrophins can be altered by selection for improved APA performance, and in the end, how these evolutionary events impact neurobiology. In one experiment, researchers selected for high and low VO2,max in rats, and in a second experiment, researchers selected for high amounts of voluntary wheel running in mice. It is important to note that in both evolution experiments, the target of selection was APA rather than the cognitive demands associated with activity.
In rats, selection for high levels of aerobic capacity is associated with evolutionary effects on both VEGF and IGF-1, as predicted by our model. High-aerobic-capacity rats have significantly higher muscle capillary density than low-aerobic-capacity rats, suggesting an evolutionary effect on the VEGF pathway [70]. High-aerobic-capacity rats also have significantly higher baseline levels of IGF-1 compared with low-aerobic-capacity rats [71]. The evolution of high aerobic capacity in rats also affects cognition. High-aerobic-capacity rats perform better on cognitive tasks (e.g. spatial memory) and learn faster than low-aerobic-capacity rats, while performance on motor learning tasks does not differ significantly [72]. In these experiments, VEGF, IGF-1 and cognition were measured in subjects that did not undergo exercise training during their lifetimes, showing that differences between rat groups are not due to plastic changes, but are due to an evolutionary change in each lineage [70,72].
In another artificial selection experiment, mice were selectively bred for high amounts of voluntary wheel-running [73]. Four lines of selected mice voluntarily ran about three times further per day than control lines [73], and this type of selection also increases VO2,max in these mice [74]. Selected mice had higher BDNF levels following several days of voluntary wheel-running compared with control lines [75], and selected mice showed significantly greater cell genesis in the hippocampus when allowed to run, compared with control mice [76]. In addition, two of the selected mouse lines have significantly higher baseline VEGF levels than control mice, which was correlated with higher muscle capillary density (the other two lines showed a strong trend towards higher VEGF levels than controls, but the difference fell just outside statistical significance; p = 0.055) [77]. Just as in the rat evolution experiment, the evolution of ER in mice leads to increased circulating levels of compounds essential for both brain growth and increased aerobic capacity.
Finally, this research group has begun investigating changes in brain architecture and size associated with the evolution of high levels of voluntary wheel-running. Kolb [78,79] and Rhodes et al. [76] found significant differences in the size of brain components in selected mice compared with control mice. Specifically selected mice had significantly larger mid-brain and dentate gyrus volumes compared with control mice [76,78,79], and selected mice had significantly increased non-cerebellar brain masses compared with controls [78,79].
These studies clearly demonstrate how selection for high aerobic capacity and APA frequency can lead to increases in the size of brain structures. Importantly, these studies confirm two essential components of our model, and help demonstrate evolutionary mechanisms suggested by inter- and intraspecific studies detailed above. First, selection acting on either APA frequency or aerobic capacity leads to altered neurotrophin and growth factor signalling. Increased VEGF and IGF-1 at baseline was found in selected groups, and increased BDNF signalling followed APA in selected mice. Second, and most importantly, these evolutionary changes in APA performance are associated with changes in brain size and cognition, showing that selection specifically targeting athletic ability, rather than cognitive performance, can have significant effects on the brain.
4. Human evolution
Through intraspecific data, interspecific comparisons and evolution experiments, we have shown how selection acting on APA performance can affect the mammalian brain. As described earlier, recent work suggests humans may have undergone such selection for increased APA performance [17–20], implying the same evolutionary patterns at work in the brains of athletic mammals may explain some portion of human neurobiological evolution. However, testing this hypothesis is made difficult by the fact that humans have an evolutionary history tied to the primate lineage. Primates are not generally considered endurance athletes, and do not usually engage in high levels of sustained aerobic activity [17]. Thus, human endurance athleticism arose from an evolutionary starting point very different from the athletic abilities of most quadrupedal cursorial mammals. As with other studies of brain size [80], humans, and primates more generally, must be examined in their appropriate phylogenetic context, and not in comparisons with a wide array of non-primate mammals [6]. Unfortunately, physiological measures of athletic performance are not available for other primates, and are unknown for our fossil ancestors. Therefore, we must examine other variables that are related to endurance capacity for evidence of correlated neurobiological and APA evolution in the human lineage.
Bramble & Lieberman [17] suggest several morphological traits that highlight selection acting to increase endurance capacity in general, and specifically ER performance, during human evolution. We compiled data for the two traits with available samples in great apes, humans and hominin taxa: hindlimb length and semicircular canal dimensions. These traits allow us to begin testing the hypothesis that increased brain size during human evolution is, in part, related to a shift to higher levels of aerobic activity. Increased hindlimb length is often considered a hallmark trait for selection acting to generate endurance or cursorial behaviours in mammals [17]. In extant humans, long hindlimbs increase stride length (approx. 1 m longer than a similarly sized quadruped), allowing for high ER speeds and also reduced energy costs of walking and running, important for either long-distance trekking or ER [17]. The semicircular canal system is also a suggested target of selection for ER capabilities in humans [17] because it senses angular rotations of the head, coordinating head, eye and body movements essential to maintaining stability during ER [19,81,82]. The diameter of the canals is tuned to the frequency spectrum of head movements experienced by a particular taxon, with relatively larger canal dimensions strongly associated with animals that engage in faster, more agile locomotor behaviours that cause higher angular accelerations of the head [82]. Spoor et al. [82] showed that humans and H. erectus have increased anterior and posterior semicircular canal radii compared with earlier hominins (australopithecines) and great apes, with larger canals attributed to selection for running and other agile behaviours.
To test the hypothesis that there is an evolutionary association between APA and neurobiology in humans and our ancestors, we explored correlations between size-corrected ER variables (hindlimb length and semicircular canal radii) and encephalization quotients (EQs) in great apes, humans and fossil hominins. EQs quantify the difference between observed brain size and brain size expected for a mammal of similar body mass, and thus provide an important measure of brain size evolution [9]. After controlling for body mass, we found significant positive correlations between EQ and hindlimb length (r = 0.93), anterior (r = 0.77) and posterior semicircular canal radii (r = 0.66) in great apes, fossil hominins and humans (table 1 and figure 3). Importantly, these measures of ER capabilities index different parts of human athletic performance (speed/energy costs versus stability), supporting the idea that athletic ability in general is tied to neurobiological evolution. Although more work is clearly needed to test our hypothesis, this analysis of fossil data serves as important preliminary support for the idea that human aerobic activity capabilities are correlated with the evolutionary increase in brain size seen in fossil hominins.
5. Conclusions
This review addressed the novel hypothesis linking the evolution of APA to a change in some portion of mammalian neurobiology. Evidence for this evolutionary relationship includes: (i) intraspecific data linking aerobic capacity, brain size, neurotrophins and growth factors; (ii) interspecific data showing a relationship between aerobic capacity and brain size; and (iii) evolution experiments detailing how selection for aerobic performance alone can affect neurobiology. Based on this body of evidence for mammals, we proposed the novel hypothesis that human neurobiology was influenced by our evolutionary history as endurance athletes. As early as 1.8 Ma, our ancestors began walking and running longer distances than previous hominin taxa [17,19], and morphological adaptations for increased aerobic activity levels during human evolution are correlated with increases in brain size relative to body size across great apes and fossil hominins. This hypothesis is not meant to suggest that other factors were unimportant in the evolution of mammalian brains in general, nor in human brain evolution specifically. Social and ecological selection pressures played an essential role in human neurobiological evolution [10,14,15,89]. However, our review of evidence from humans, fossil hominins, rodents and other mammals suggests that the evolution of increased aerobic capacity had a significant effect on brain evolution in athletic mammals, including humans. In conjunction with other social and ecological selection pressures, this review suggests that human brain evolution was influenced, in part, by the evolution of our active lifestyle.
In exploring these relationships, we presented a model that attempts to explain how selection for aerobic athletic performance can impact the evolution of the mammalian brain; however, this model remains untested. There is much work to be done fleshing out the model described above and in devising experiments to test specific parts of the model. Studies in molecular and developmental biology can test the ontogenetic model described above, while greater emphasis on selection experiments across a wider array of mammals will continue to test our overall model for how selection acting on APA ultimately affects neurobiology. Finally, an increased emphasis on exercise testing in non-human primates can generate a comparative dataset to help examine correlated changes in neurobiology and aerobic capacity in the appropriate phylogenetic context. An expanded comparative dataset is also necessary to quantify the contribution of physical activity to brain evolution, allowing researchers to effectively determine the relative weights of APA and cognitive selection pressures on the human brain. We hope that this review stimulates new areas of research that will also examine alternative hypotheses for evolutionary mechanisms that link the brain and body across a wide array of mammals, including humans.
One area we have not discussed is whether these links are adaptive (i.e. dashed arrow in figure 2). Our hypothesis does not require an adaptive explanation, but we see two possible reasons why neurobiology may be affected by selection for physical activity. In both cases, the true target of selection was likely to be improved foraging performance, which would lead to increased reproductive success through greater access to food energy. First, it is certainly possible that selection acted on these links to establish cognitive capacities capable of increased foraging demands during endurance travel [56]. For example, improved spatial relational memory and planning abilities could aid humans and other mammals during long-distance foraging. This possibility would be supported if more athletic taxa with higher baseline neurotrophin and growth factor levels have greater neurogenesis following a given amount of activity compared with non-athletic taxa. However, the selection experiments described above suggest that the evolution of aerobic activity can affect the brain without cognition being a target of selection. Additionally, an association between aerobic capacity and brain size is present among mammalian taxa that differ widely in their foraging patterns and home ranges, implying any adaptive link between APA and cognition must be general and not specific to a given foraging strategy. While future research may confirm this hypothesis, a more parsimonious explanation, and one best supported by current experimental and comparative data, is that selection improved aerobic capacity by altering the signalling systems responsible for metabolism and oxygen transport (i.e. VEGF, IGF-1 and BDNF). In the end, these altered neurotrophin and growth factor systems led to increased brain size during growth and development. This intriguing possibility implies that some portion of human neurobiology simply evolved as a by-product of the evolution of increased aerobic capacity. Such a suggestion certainly requires more careful testing; however, to our knowledge, this is the first time evidence suggests that a portion of human brain size may have evolved for reasons that have little to do with sensory or cognitive selection pressures.
Thus, this review suggests that humans' evolutionary story may ultimately be more complex than the traditional view of brains over brawn. If our hypothesis is supported by more extensive data, then the evolution of the human mind and cognitive capacity may be the result of multiple selection pressures, some of which act on cognition specifically (e.g. social systems, group size, language or technology), and some of which act on the body and generate cognitive changes as a by-product of improved athletic performance. A complete understanding of the evolution of the human brain in our distant past and in more recent times requires an acknowledgement of both selection and correlated responses, as well as research into each line of evolutionary change.
Thanks to Herman Pontzer, Daniel Lieberman, Rebecca Stumpf, Charles Roseman, Steve Leigh, Karl Rosengren, Mark Grabowski, Scott Williams, Petra Jelinek, and Peter Fernandez and four anonymous reviewers for helpful discussions of this project and comments on previous versions of this manuscript. This project was supported by a Wenner Gren Hunt Fellowship to D.A.R. and by the National Science Foundation (BCS 0820270 to D.A.R. and BCS 0962903 to J.D.P.).
- Received September 21, 2012.
- Accepted October 25, 2012.
- © 2012 The Author(s) Published by the Royal Society. All rights reserved


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First Photos of Andre 3000 as Jimi Hendrix Emerge
The first photos of rap star Andre 3000 in costume and (presumably) wig for his performance as Jimi Hendrix in the upcoming movie 'All is By My Side' have been revealed, and it looks like they found the right guy!
Entertainmentwise snapped several photos of the actor/rapper/facial grooming system salesman in character somewhere near the Dublin, Ireland set where the film is being shot. As you can see, 3000 gamely tries to hide his face from the cameras in order to preserve the surprise for movie-goers. But alas, in this age where everyone has a camera and an internet connection, the Christmas presents get opened early again.
As we recently reported, the guitar legend's family has refused to let Hendrix's original music appear in the film, declaring that for any such production to get their endorsement and co-operation, the filmmakers would have to work with them "from the inception" of said project.
It seems the filmmakers have worked up a pretty good plan to get around this roadblock, as Chickenfoot drummer Kenny Aronoff recently detailed his participation in an "intense" two day session of recording Hendrix and Cream songs for use in the movie's musical scenes.

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Course Details
PRL221 Legal Ethics in the Law Office
An introduction to basic ethical theories including readings from moral philosophers and the application of those philosophies to modern moral and legal issues including euthanasia, the death penalty, and abortion. An overview of Legal Ethics including the Canons of Ethics, the Code of Professional Responsibility and ethical guidelines for both lawyers and non-lawyers in the American legal system. Rules, statutes and case law governing Unauthorized Practice of Law will be covered. Students will analyze, evaluate, articulate and defend positions on ethical questions that have an impact in the legal field. 3 Credits


text: __ __| | ___| | _| | __ \ _ \ \___ \ _ \ __| __| _ \ __| _ \ | | | | | __/ | __/ ( | __/ | ( | __| _| _| |_|\___| _____/ \___|\___|_| \___|\__| \___/ _| \ | | _ _| | | |\/ | _ \ __ \ | / _ \ | | | __| | _` | __ \ _` | | | ( | | | { __/ | | | \__ \ | ( | | | ( | _| _|\___/ _| _|_|\_\\___|\__, | ___|____/_|\__,_|_| _|\__,_| ____/ ~ The Secret of Monkey Island ~ A Swashbuckling Caribbean Adventure for the Personal Computer FAQ/Walkthrough by bananagirl email@example.com Version 2.5 - 8/08/02 Disclaimer! ``````````` This document is (c)2001-2002 bananagirl. All information contained within is protected by international copyright law. =============================================================================== .:*~*:. { Table of Contents } .:*~*:. =============================================================================== 1. Introduction 2. Game Basics o Story o Characters } Guybrush Threepwood } Elaine Marley } Ghost Pirate LeChuck o Controls } Basic Commands } Other Commands o Saving and Loading 3. Walkthrough o Part I: The Three Trials } Getting Started } Mastering the Art of Thievery } Mastering the Sword } Mastering the Art of Treasure Huntery } Assembling a Crew o Part II: The Journey o Part III: Under Monkey Island o Last Part: Guybrush Kicks Butt 4. Sword Fighting Guide o Fighting o Insult List 5. FAQ 6. Secrets/Easter Eggs 7. Update History 8. Copyright/Contact Info 9. Credits/Thanks =============================================================================== .:*~*:. { 1. Introduction } .:*~*:. =============================================================================== Hiya. This is my third or so FAQ, the first one made for GameFAQs. The others weren't actually FAQs, so they don't matter. Anyway, that's done with. Now I'm trying my hand at something that might be useful, depending on who you ask. This is a pretty old game, so updates are few and far between. Yep. It's been almost a year since the last one. Sorry. Hopefully that won't happen again. But eh. I'm probably gonna be done after this one, save a few more updates to correct typos and such. Yay for older games. The Secret of Monkey Island was released way back in the days of old (a.k.a. 1990) by LucasArts Entertainment Company. It's the beginning of a series of humorous adventure games that has spawned numerous fan sites, hopes for a movie, and one of the strangest newsgroups that I've stumbled across: alt.games.lucas-arts.monkey-island (AGLAMI). Stop on by if you some free time. You probably won't find me there, though. I don't have time to sit around and wait for 15,000 new topics to load. - Bananagirl =============================================================================== .:*~*:. { 2. Game Basics } .:*~*:. =============================================================================== Story ------------------------------------------------------------------------------- Somewhere in the Caribbean... A not-exactly-strapping young man arrived on Melee Island, determined to be a mighty pirate. The lookout was useless, but the not-exactly-strapping young man, Guybrush Threepwood, found three rowdy pirate leaders, who assigned three tasks to the wannabe swashbuckler. Here, our story begins. Actually, it began right after "Somewhere in the Caribbean..." ------------------------------------------------------------------------------- Characters ------------------------------------------------------------------------------- Guybrush Threepwood ``````````````````` Guybrush is the hero of the Monkey Island series. His main goal in life is to be a mighty pirate, but of course he also wants to get rich, marry Elaine Marley (the governor of Mêlée Island), and be captain of his own ship. Should be easy, right? I always find it so. But Guybrush is kinda wimpy, and he gets nervous around the ladies. Mrrfl. Elaine Marley ````````````` Governor of Melee Island, owner of some rather violent poodles, and Guybrush Threepwood's one true love, Elaine is the 'damsel in distress', or would be were she not perfectly capable of taking care of herself. Her plans are usually ruined by Guybrush, but she loves him nonetheless. I can't see why... He's not a big talker, he's lacking in looks, and he's a pansy. His personality isn't great, and he probably can't even make a decent omelet. And I'm betting he's bad with children. But hey, we can't all have great taste in men... Ghost Pirate LeChuck ```````````````````` He's dead, he's into voodoo, and he's allergic to root beer. He also happens to be Guybrush's archnemesis. He really digs Elaine, but rather than trying to make her fall for him, he takes the classic villain approach and just kidnaps her. ------------------------------------------------------------------------------- Controls ------------------------------------------------------------------------------- +-----------------------------------------------------------------+ | [commands and items in use] | +--------------------------+---+----------------------------------+ | Give Pick up Use | ^ | [item] [item] [item] [item] | | Open Look at Push |---| | | Close Talk to Pull | v | [item] [item] [item] [item] | +--------------------------+---+----------------------------------+ As in most of the LucasArts adventure games of the early '90s, the controls in this game are fairly simple. On the bottom of your screen, there's a large black area. On the left side, you can see the actions you can use. A diagram of this is shown above. You use these commands by moving the cursor over the command you want to use and clicking it, then moving the cursor over the object, person, or thing you want to use the command on and clicking on it. You can see what command or item is in use, and what your cursor is over, by checking the command line above the items and commands. Of course, those aren't the only commands. They're just the basics. There are others. These are used just by pressing the key or button necessary to use them. Quite simple. They are as follows: Right-Click ``````````` On items or people, this will cause Guybrush to use the 'Look at' command. On doors, it will be 'Open' or 'Close,' depending on the current state of the door. On handles, it will be 'Push' or 'Pull.' F1 `` Hitting F1 on your keyboard will bring up the menu. From here, you can save or load your game or quit. To get out of here, just press the 'Play' button. Spacebar ```````` Hitting the spacebar while playing will pause your game. Hit it again to unpause it. Escape `````` The escape key will skip over cutscenes and credits so you don't have to watch them every time you want to play the game. ------------------------------------------------------------------------------- Saving and Loading ------------------------------------------------------------------------------- To save your game, go into the menu (press F1) and select Save. Choose which drive you want to save your game on by clicking on the button on the top right, then click on any of the empty slots on the left side and type in a file name. Press the OK button to save the game, or the Cancel to go back to the menu without saving. If you click on a file that you have already used to save a game, the file will be replaced. After pressing OK, the menu will close. To load a game, open the menu and choose the load option by pressing the button labelled Load. Click on whichever file you want to load by clicking on it or pressing enter when the cursor is over it. The game will be loaded and the menu closed. Again, you can select which drive you want to load from, or go back to the menu by pressing cancel. =============================================================================== .:*~*:. { 3. Walkthrough } .:*~*:. =============================================================================== Part 1: The Three Trials ------------------------------------------------------------------------------- Getting Started ``````````````` Hello. Meet Guybrush. He introduces himself to the blind lookout atop the mountain. They'll talk for a bit. The lookout tells Guybrush to go talk to the pirate leaders in the Scumm Bar. When they finish, you can go two different ways. If you want to explore a little bit, head off to the right side of the screen to the island overview. Most of the locations are shown here in colored spots, and those that aren't you'll either run into later or you can just move your mouse around until you see something. There's nothing you can do here now, so you might as well head back to the village or the lookout point, which are in the lower left corner of the map. Either one will take you to the lookout point, so it doesn't matter which one you go to. After exploring, or if you choose not to explore at all, walk to the stairs on the lookout screen. Guybrush will go down the stairs and down the mountain path and onto the dock. On the first building you encounter, you can see a poster. You can look at it if you want to, or just walk away. You can't pick it up. When you're finished, walk to the right side of the screen. Doing this twice will get you to the Scumm Bar, which is where the lookout advised you to go. Open and walk to the door. You will be faced with a room full of drunken pirates in blue suits. You can also see a dog, and occasionally, the cook. Talk to these pirates if you wish; some of them have interesting things to say. Well, not really. But talk to them if you're bored. When you're done, head over to the curtains on the right side of the room. Seated at a table here are the important-looking pirates. Talk to them, or wait for the cook to leave the kitchen and go in there. When you talk to them, they'll tell you how to become a pirate. For more details, ask them what you need to do to become a pirate. Or just look here. The three tasks are as follows: - Mastering the sword: Track down and defeat the Sword Master. - Mastering the art of thievery: Steal an idol from the governor's mansion. - Mastering the art of treasure huntery: Find the Lost Treasure of Melee Island. When you finish talking to the important looking pirates, or if you choose to do this before talking to them, wait for the chef to come out of the kitchen. When he passes the curtains, walk to the kitchen door. If you open it while he's in there, he'll kick you out, and if you try to go in while he's still on the screen, he'll tell you not to go in there. Anyway, just wait for him to leave and then you can go in. Once in there, the first thing you'll want to do is grab the pot under the counter. Well, maybe not want. But it's the first thing you _should_ do. Then you can pick up the hunk o' meat on the counter. Toss it into the soup if you want. Then pick it up again and you'll have stewed meat. Actually, it doesn't really matter if you do that now or later, but you should probably get it done now to save any extra trips to the kitchen. That done, open the door on the right side of the kitchen and head out to the dock. Back outside, walk to the end of the dock and move around until you hit the loose board. Walk on the board until the bird flies away, then run in and pick up the herring. Walk back into the kitchen, then back into the bar. Leave the building. You'll see a little cutscene at this point. Watch it. Or press the escape key to skip it. Either way. Your call. Walk to the left and back up the mountain to the lookout point. Walk to the right and go to the overview. Go to the clearing (the colored dot in the approximate center of the island). Walk to the left then head on over to the circus tent. When you enter, you'll see two guys in ridiculous outfits arguing about cannon testing. These are the Fettucini brothers. When you get a chance, say something. Any of the options you're given will work. They'll dash over to Guybrush and offer him a job. Ask how much they'll pay you (the answer is 478 pieces o' eight), then take the offer. Tell them you have a helmet. When they ask for it, give them your pot. Watch Guybrush get launched into the pole. Fun! It doesn't matter what you say here. They'll go back to their bickering. For those of you not in the know, the line about Bobbin is a reference to the old LucasArts game Loom. Look it up if you care to know more. Now, move your cursor around until you find the fork. Click on it. Take the upper left path. Pick up the yellow flowers on the right side of the screen, then go back out. Go back to the overview, then back to the lookout point, down the stairs, and back into town. Or just click on the village and you'll automatically end up going down the cliff. Walk to the right until you reach an archway, then head through it. Guybrush will find himself in the main part of town. You can talk to the citizen of Melee, but you'll only get something out of him if you tell him that you once had a barber named Dominique (this will be back later in the MI series). Then he'll offer to sell you a map, which you should buy. Across the street, you can see three men and a rat. Talk to the men. If you insult the rat then move the cursor over it, they'll tell you not to touch it. If you do this enough, the rat will run away. If you talk to them about the guy across the street, they'll call his maps cheap and try to sell you a real map. Then they'll confess that they're selling the minutes to the last Melee Island PTA meeting and ask if you still want them. Say you'll take one if they give you 2 pieces o' eight. Easiest money you'll ever earn. In this game, anyway. Except maybe the cash you earned letting two guys launch you from a cannon into a big pole. Now, head up the street and open the first door on the right. Walk in. You'll find yourself in a shop full of chickens. The only thing you can pick up in here is the rubber chicken sitting on the trunk in the lower-right corner of the room. Grab that, then walk over to the right side of the room to meet the voodoo lady. She knows everything you're going to say before you actually say it. Ask about everything you can, and when she asks if you're sure you want to know the future, say yes. She'll tell you a bit, then disappear in a puff of smoke. Leave the shop. Walk through the archway under the clock to get to the back part of town. Head into the first building. Once inside, pick up the sword (it's on the red and blue boxes behind the counter) and the shovel, which is in the top left corner upstairs. You can try to leave, but the shopkeeper will yell at you and you'll have to go back and pay. So just talk to him. Ask him about the sword and shovel and buy both of them. Then leave. Ignore the sounds coming from the alley (or go investigate... nothing really changes). Walk past the church and the jail and through the the other archway. Then walk to Governor's mansion. Mastering the Art of Thievery ````````````````````````````` If you want to get into the Governor's mansion, you'll have to get past those deadly piranha poodles firt. Use the yellow petals you picked up in the forest on the stewed meat. Give the meat with condiment to the deadly piranha poodles. Open the door to the mansion and walk in. Open the door at the top of the screen and walk in. Enjoy the next scene. And pay close attention to the actions Guybrush is using. Quite amusing. When that's over, walk out of the mansion and back down to town. Walk into the jail (that's the building on the left) and talk to the prisoner. Guybrush will make a comment or two about poor dental hygiene, then refuse to talk to the prisoner until his breath improves. Walk out of the jail and over to the store. Talk to the storekeeper and tell him that you could really use a breath mint. He'll give you an entire package of Grog-O-Mints for only one piece o' eight. Go back to the jail. Give the breath mints you just bought at the store to the prisoner. Ask him if he's got a file. He'll offer to give you his only possession, the carrot cake his Aunt Tillie made him, if you give him something to get rid of the rats. Give him the gopher repellent you picked up in the mansion. Use the cake. Walk back to the mansion. Walk over to the gaping hole in the wall where the painting used to be. Watch some more as Guybrush gets the idol. It doesn't matter what you mumble here. The sheriff will go away, leaving Guybrush alone with Elaine. Again, whichever option you choose, there will be no changes whatsoever in the storyline. Open the door so you can leave. Your escape will be cut off by Fester Shinetop, who will tie Guybrush to the idol and huck him into the ocean. Remember when Guybrush was talking to the pirate leaders and they asked if he had any special skills? Guybrush said he could hold his breath for 10 minutes. And it's true. You've got 10 minutes to get out of the water. Ignore the sharp objects lying everywhere that you could use to cut the rope if they were close to you. All you have to do is pick up the idol. Guybrush will grab the sword and climb out. Or you could stay for 10 minutes, let Guybrush suffocate, and read all the conversations going on overhead and admire the nice colors Guybrush will turn. This is the only way to die in Monkey Island. Savor it. When Guybrush reaches the dock, Elaine Marley will show up. They'll talk for a minute, call each other a few names (Plunder Bunny?), then make plans to go back to the mansion for some... happy time. But first, Guybrush has to finish the trials. Mastering the Sword ``````````````````` Walk to the right, then head up the mountain and over to the path. Go to the house on the right side of the island. Halfway there, Guybrush will be stopped by a troll on a bridge. Just give him the fish you picked up in the kitchen, and walk past. The troll will make sure nobody is looking, then whip off his mask, revealing a guy looks strangly like George Lucas. The guy eats the fish, then puts the mask back on. Go to the house. Open the door to the house. Guybrush will knock, and a big guy with a smoking problem will answer, insult you a bit, and ask what you want. Ask him to train you. He'll laugh at you some more, but insist that you do have what it takes until he tells you that he likes your spirit and say he'll train you if you give him 30 pieces o' eight. Tell him you've got 30 pieces o' eight, show him you sword, and he'll let you in. Guybrush will wave his sword around a bit, then the trainer will bring out... THE MACHINE! After a few hours of this, you'll learn the true secret of sword fighting. He'll teach you a few insults, then send you out to learn some more at the hands of the pirates that are wandering around the island. Head out to the path, stop somewhere on the island (anywhere that isn't an actual location will do), and wait for an opponent to show up. Check the sword fighting guide for more information. Run around fighting until you have all of the insults and their responses (there are 16 of them), then you're ready to fight the Sword Master. Or you could just wait until the pirates say, "Wow! You're good enough to fight the Sword Master!" when you defeat them. You'll still be missing a few responses when they first start to say that, so you might want to hold out for a bit and get the others. When you're ready to fight the Sword Master, head back to the village and go to the store. Talk to the storekeeper and tell him that you're looking for the Sword Master, then follow him. Go to the island overview. Try to keep up with the storekeeper. If you can't, the correct way to go is to take the following paths: - Top-Left - Top - Right - Right - Left - Top - (Push Sign) - Right Guybrush will evesdrop on the conversation between the Sword Master and the storekeeper. When the storekeeper leaves, walk to the Sword Master and talk to her. Challenge her to a fight. See the sword fighting section for more information concerning her insults. If you defeat her, you'll get a 100% Cotton T-shirt. Otherwise, she'll go into her house and you'll have to walk away then come back before you can challenge her again. Once you've defeated her, head back out of the forest, then click on the fork. Mastering the Art of Treasure Huntery ````````````````````````````````````` Look at the map you bought from the citizen of Melee and follow the directions found within. If you can't do that, take the following paths: - Top-Left - Left - Right - Left - Right - Top - Right - Left - Top Go right and use the shovel on the X. Guybrush will dig up a T-shirt. Head back to the village. Assembling a Crew ````````````````` When you reach civilization, Guybrush will see a ghostly ship sail off into the distance. The lookout will come up behind him and tell him that the Governor has been kidnapped by LeChuck. Tell him that you'll get a ship and a crew together, and he'll tell you where they went and give you a note. Walk to the left or to the right and head into the Scumm Bar. Pick up the 3 mugs in the first half of the tavern, then grab the 2 beyond the curtain. You can talk to the cook, or you can ignore him and go into the kitchen. He's too busy mourning the loss of the Governor to stop you. Fill one of your mugs with grog with the barrel and head out (go ahead and grab the meat). Head back to the prison. As you walk, the grog you got from the barrel will eat it's way through your mug. After your mug has reached 'near death' stage (move your mouse over it every time its condition changes), use it on another mug. Do this until you reach the prison, then use your grog on the lock. It will melt, and you'll free the prisoner, who will tell you his name is Otis, offer to do anything for you, refuse to save the Governor, then walk off. Watch the cutscene, find out Fester's true identity, then head out of town. Go visit the Sword Master again, and tell her the governor's been kidnapped. Two crew members down, one to go. Visit the island in the upper-right corner of the map, and use your rubber chicken on the cable. Walk to the house, open the door, and go on in. Tell Chrome Dome that the Governor's been kidnapped, and run the idea of getting a ship and crew together by him. He'll make you touch the monstrosity that bit off his hands. Open the door, and do something to it. Anything. Frightening, isn't it? Meathook will then join your crew. Go back to the island map thingy, and from there to the lights. As soon as you enter the shipyard, you'll be bombarded by Stan's sale offers. When he's done, tell him you don't have much to spend, and he'll show you the ship of your dreams: The Sea Monkey! Well, you've just gotta have the ship, right? But you still don't have that much to spend. So tell him you want it on credit, and he'll send you scurrying to your old buddy, and the neighborhood credit supplier, the shopkeeper. So tell Stan you'd rather go think about it some more, and go see the shopkeeper. The sign says "Ring bell for service." Ring the bell for service. The storekeeper will show up, moan about idiots and the stupid bell, and get his bum behind the counter. Tell him you're after a credit slip (claim to be employed), and he'll go up to his safe to get one. Watch him, and write down the combination. After he opens it and gets out the slip, pick any answer choice, and he'll put it back. Worry not--we'll get that slip another way. Ask him to go see the Sword Master, and open the safe. Guybrush will take the credit note. That was easy, wasn't it? Thought so. Go back outside, and hike on over Stan's. As soon as Stan jumps on you to sell you something, ask to see the cheap ship again, and offer him your credit slip. Ask to see the extras, but each time he offers something, tell him you don't want it. When that's done, say you don't want it after all, and as you're walking away, Stan will call you back. Go back. Make an offer of 5000 pieces o' eight. He'll take it. Congratulations. You gots yerself a ship. Go back to town. When you get there, Stan will be waiting with the Sea Monkey. Short after, you'll be joined by Otis. Tell him you thought you'd never see him again, and say anything you want to Carla. After a bit of chatting... ------------------------------------------------------------------------------- Part 2: The Journey ------------------------------------------------------------------------------- Well, you've got a relatively useless crew on your hands now. But at least we're on our way. Sort of. In the cabin, open the desk drawer to find the Captain's log. Snag the feather pen and the ink it's sitting in, then leave the cabin and climb up the rope ladder. Take the Jolly Roger and climb back down. On the deck, head for the hatch beside the mast. It's a bit hard to see at first, but it's there. Downstairs, go through the door (rather than the second hatch) and open the cupboard in the kitchen to find an impressive cereal stash. Take a box and open it to find a prize. Open this as well to find a key. Go back to the previous room and go down through the hatch. Open the chest in the lower right corner and look inside to get some wine. Pick up the rope draped over a barrel to the left of this chest, then open one of the kegs on the left side of the hold to find some gunpowder. Go back to the captain's cabin. Use the small key you found in the cereal on the cupboard on the right side of the screen to unlock it. Pick up the chest inside. Guybrush will take it out. Open it to find a piece of paper and some cinnamon sticks, then read the paper. Let's have a look at the ingredients. 1 Cinnamon stick... Check. We found cinnamon sticks with the recipe. 4 Leaves of Mint. A package of Grog-O-Mints should do it. 1 Human Skull (pressed). That would be the Jolly Roger. 1 squirt Squid Ink. Yep. We've got the ink from the cabin. 2 pts Monkey Blood? That wine is a pretty deep shade of red... We've been carring around 1 Live Chicken since we took it from the Voodoo Lady during the Trials. 3 oz. Brimstone? Gunpowder has brimstone in it. And we've probably got most, if not all, of the other stuff listed at the bottom. Head for the kitchen. Put everything listed into the pot, then add whatever else you're toting around that the game will let you part with. When you're done, the pot will start emitting funny green smoke. When Guybrush wakes up, walk somewhere to make him stand. Pick up the pot near the cupboard, then go to the hold and open the kegs to get more gunpowder. When you're done, go back to the kitchen. Use the map you brought from the Citizen of Melee with the red-hot fire to make it burn, then return to the deck. Use the gunpowder in the nozzle of the cannon and the rope on the cannon itself, then use the pot. Guybrush will light the fuse, wear the pot like a helmet (just like earlier), and launch himself to Monkey Island. ------------------------------------------------------------------------------- Part 3: Under Monkey Island ------------------------------------------------------------------------------- After Herman Toothrot goes away, walk somewhere to pull your head out of the sand. Pick up the banana lying on the ground and walk to the jungle. Head north and west, then look for the fort near the top of the moutain thing. Go there. Pick up the spyglass and the rope lying on the ground, then push the cannon and tell Herman to leave you alone. Take the gunpowder and cannonball that fell out of the cannon and go back to the jungle. This time, head for the fork where the dry river bed meets the running water. Take both the note and the rock weighing it down from the boulder. When that's done, put your gunpowder on the dam and light it using one of the following methods: You could open the spyglass and use the lens with the sun, or you could use the noteworthy rock (which is actually flint) with your cannonball (which is made of steel). Either way, a rock will fly off, starting a cascade of water. Head for the pond at the end of the new branch of the river. Pick up the note, ignore Herman, and grab the rope near the unhealthy-looking guy. Return to the jungle and go back to the river fork. Cross the bridge here and use the footholds to reach the next level. Pick up the note and take a look at the sculpture there. Push it around a bit, then climb up the next set of footholds. At the top, push the rock on the edge of the cliff. It will fall down, hit the sculpture, and end up being catapulted over the jungle. Go back down and adjust your aim so it hits the banana tree on the beach. You can also use it to hit your ship if you want to. There is a different note next time you go near the sculpture. Every time you need to launch a rock, you'll have to pick up a new one from the heap. When you hit the tree, go back to the beach and pick up the bananas on the ground, then head for the jungle and go to the crack. Tie one of your ropes to the strong branch at the top and climb down, then tie the other one to the sturdy stump to get to the bottom. Pick up the oars and climb back up. Go to the beach and use the oars with the rowboat there. Ride your boat around the island to the part past the mountains that you couldn't reach before. Land on the only beach on this part of the island and go to the village. The village looks deserted, so head to the west and steal the bananas from the bowl of fruit. As you try to leave, you'll be confronted by the cannibals. They have a fruit fetish of sorts. Watch for three-headed monkeys and try to talk your way out of this one... When you're given the chance to offer something, wait it out. They'll toss you in jail. Grab the note and the skull on the floor, then pull up the loose floor board and leave. Get back into your boat and return to the beach with the banana tree. Go into the jungle and look for the monkey. When you find it, give it your bananas. All of them. When you leave the screen, the monkey will be trailing you. Take it to the northeast side of the island and visit the clearing. Walk to the right until you reach the totem poles, then pull the middle nose on the one in the back. The monkey will latch on, and you'll be able to enter the gate. Go on in. Look around on the ground and pick up the wimpy little idol, then go back to the jungle. Head back to your boat and row to the other side of the island, then go visit the cannibal village again. Walk all the way to the left, then turn around again. The cannibals will try to keep you from leaving. Give them the wimpy little idol. Now that you're free to roam around the village, go back to the prison hut and take the banana picker, then leave again. Herman Toothrot will be standing around muttering to himself. Give him the banana picker to get the key to the gigantic monkey head. Looks like a Q-tip to me. Leave the village, then return. Talk to the cannibals to learn about the root and the Head of the Navigator, then offer them your leaflet. They'll give you the Head. Leave the village. Get into your boat and go to the beach near the clearing. Grab the bottle lying on the ground and go to the gigantic monkey head. Once there, use your key to clean out its ears, which will open up the head. Go in. Use the head and follow the way it points. When you reach the Ghost Ship, talk to the head. Ask for the necklace, then threaten him until he gives it up. Then climb aboard. Go to the left and open the door. Walk in to find yourself in LeChuck's cabin. Use the magnet from Stan on the key on the wall to get it, then leave the cabin and go back to the right side of the deck. Go down the hatch and walk past the sleeping guy to the hold. Pick up the ghost feather lying on the floor, then go back to the previous room and use the feather to tickle the sleeping ghost's feet. Do it again, then grab the jug o'grog and return to the hold. Use the key from LeChuck's room on the hatch, then go down. Use the jug o'grog with the dish to distract the rats and walk past them. Pick up some cooking grease and go back up to the deck. Try to open the door near the hatch. It will squeak. Add some grease and try again. Open the door and go in, then pick up the ghost tools hanging on the wall. Go back down to the hold. Use the ghost tools on the crate and look inside to get the voodoo root, then leave the ship and walk back into the cave. Guybrush will take care of the rest, and you'll end up back at the cannibal village. The cannibals will run off to make the potion, and you'll be left alone with a three-headed monkey. Say whatever you want, then the cannibals will come back with the root. Go back to the jungle... Threaten the first mate with your root beer, ask him where the ghosts are, and promise not to hurt him. He'll tell you about the wedding, so go to stop it. If you sunk your ship, Herman will show up at this point to offer Bob a ride. He's nice enough to lend it to you, too. ------------------------------------------------------------------------------- Last Part: Guybrush Kicks Butt ------------------------------------------------------------------------------- Head right and walk into town. Spritz every ghost you see on the way. The church we're headed for is between the general store and the prison. Go, stop the wedding, and try to zap LeChuck. He'll knock Guybrush all over the island. You'll end up at Stan's. When you get out of the machine, pick up the root beer lying on the ground and use it on LeChuck. Finish off the game with whatever makes you happy. Note that the credits include Chocolate Supply Supervision. =============================================================================== .:*~*:. { 4. Sword Fighting Guide } .:*~*:. =============================================================================== Fighting ------------------------------------------------------------------------------- When someone's path is blocked, you'll be taken to the fight screen. The pirate you stopped will say something, then Guybrush will be given a chance to speak. Choose the challenging option ("My name is Guybrush Threepwood. Prepare to die!") to initiate a fight. The basic chart of a fight: 1. Guybrush throws an insult a. The pirate gives the correct response b. The pirate gives the wrong response If a, d, e... 2. The pirate throws an insult c. Guybrush gives the correct response d. Guybrush gives the wrong response If b, c, f... 3. Guybrush throws another insult e. The pirate gives the correct response f. The pirate gives the wrong response You lose if... - You've been insulted 3 times and you gave the wrong response each time. - You've been insulted 2 times and the pirate gave the correct response to your insult 1 time. - You've been insulted 1 time and the pirate have the correct response to your insult 2 times. The pirate loses if... - You insulted him 3 times and he gave no response. - You insulted him 2 times and he gave the wrong response and you responded correctly to 1 insult. - You insulted him 1 time and he gave the wrong response and you responded correctly to 2 insults. ------------------------------------------------------------------------------- Insult List ------------------------------------------------------------------------------- I = Insult S = Sword Master's Insult R = Response I. This is the END for you, you gutter-crawling cur! S. I've got a long, sharp lesson for you to learn today. R. And I've got a little TIP for you. Get the POINT? I. Soon you'll be wearing my sword like a shish kebab! S. My tongue is sharper than any sword. R. First you'd better stop waving it like a feather-duster. I. My handkerchief will wipe up your blood! S. My name is feared in every dirty corner of this island! R. So you got that job as a janitor, after all. I. People fall at my feet when they see me coming. S. My wisest enemies run away at the first sight of me! S. I usually see people like you passed out on tavern floors. R. Even BEFORE they smell your breath? I. I once owned a dog that was smarter than you. S. Only once have I met such a coward! R. He must have taught you everything you know. I. You make me want to puke. S. If your brother's like you, better to marry a pig. R. You make me think somebody already has. I. Nobody's ever drawn blood from me and nobody ever will. S. No one will ever catch ME fighting as badly as you do. R. You run THAT fast? I. You fight like a dairy farmer. S. I will milk every drop of blood from your body! R. How appropriate. You fight like a cow. I. I got this scar on my face during a mighty struggle! S. My last fight ended with my hands covered with blood. R. I hope now you've learned to stop picking your nose. I. Have you stopped wearing diapers yet? S. I hope you have a boat ready for a quick escape. R. Why, did you want to borrow one? I. I've heard you were a contemptible sneak. S. My sword is famous all over the Caribbean! R. Too bad no one's ever heard of YOU at all. I. You're no match for my brains, you poor fool. S. I've got the courage and skill of a master swordsman! R. I'd be in real trouble if you ever used them. I. You have the manners of a beggar. S. Every word you say to me is stupid. R. I wanted to make sure you'd feel comfortable with me. I. I'm not going to take your insolence sitting down! S. You are a pain in the backside, sir! R. Your hemorrhoids are flaring up again, eh? I. There are no words for how disgusting you are. S. There are no clever moves that can help you now. R. Yes there are. You just never learned them. I. I've spoken with apes more polite than you. S. Now I know what filth and stupidity really are. R. I'm glad to hear you attended your family reunion. =============================================================================== .:*~*:. { 5. FAQ } .:*~*:. =============================================================================== Q. What to these Minutes do? ```````````````````````````` They serve as a nice ingredient for the secret recipe. Other than that, they're completely and utterly useless. Kind of like underpants. Q. What's with the guy with the LOOM badge? ``````````````````````````````````````````` Loom is another LucasArts adventure game. It's cheap advertising. Why shouldn't they take advantage of it, eh? Q. I died! Now what? ```````````````````` Liar. You're given the option to retry in the only situation that can kill you. =============================================================================== .:*~*:. { 6. Secrets/Easter Eggs } .:*~*:. =============================================================================== Loom References ``````````````` In the beginning of the game, before all the pirates flee from the Scumm Bar, one of them is wearing a pin advertising Loom, another LucasArts game. Also, after being launched out of the cannon, Guybrush can say something about being Bobbin and looking for his mother. Another Loom reference. Kill Guybrush ````````````` In order to kill our valiant hero, you'll have to leave him underwater after the Sheriff chucks him in. In 10 minutes, Guybrush will run out of air (turning pretty colors before doing so), and bye bye Guybrush. Worry not. You can retry. Sink your Ship `````````````` If you shoot your ship while aiming for the banana tree, Herman will give you his boat to get back to Melee Island near the end of the game. Sam and Max ``````````` There's an idol in the shape of Sam and Max near the Monkey Head. =============================================================================== .:*~*:. { 7. Revision History } .:*~*:. =============================================================================== Version 1.0 (February 11, 2001) - Most of Part I walkthrough - Beginning sections and preamble - More stuff like that Version 2.0 (June 25, 2001) - Rest of Part I walkthrough - New format - Sword Fighting guide - Secrets Version 2.5 (August 8, 2002) - Another new format - Finished Walkthrough - More Secrets =============================================================================== .:*~*:. { 8. Copyright/Contact Info } .:*~*:. =============================================================================== This document is copyright ©2001-2002 Bananagirl. This document was written exclusively for use on the internet. It is not intended to be used in any way that is profitable for anyone other than the author. It is not to be reproduced in any way without express written permission from the author. The information found within the document is, to the best of the abilities and knowledge of the author, 100% accurate. However, the possibility exists that inaccurate information may be found within. Any errors (human, computer, or otherwise) should be reported to the author. If you would like to use this document on/in your web site, magazine, or other published work, please contact the author and obtain permission before doing so. Guybrush Threepwood, Monkey Island, and all other character names, locations, and other things are registered trademarks of LucasArts. The author makes no claim to the creation of these. More information on copyright laws can be found at the copyright section of the official Library of Congress web site. (http://www.loc.gov/copyright). This document can currently only be legally found at http://www.gamefaqs.com. If you have found this document anywhere else or are at some other site that foolishly forgot to remove the copyright information, contact the author. =============================================================================== .:*~*:. { 9. Credits/Thanks } .:*~*:. =============================================================================== Author: Bananagirl (email@example.com) Thanks to: A few people. You know who you are. I don't. Sorry. ------------------------------------------------------------------------------- iLfj: K jf ;LLfjjW LLGLLf: GDi;;;t# W;;;;E; .ELLLL;tK KLDfjLt tGEi f#t D#f E, jWK jLfLEf; tWiWEKGj;;;;jD: .GD;,,,,,;DEt;;iK .fKi,,,,tKttE.Dt;;Dt .fEt,,,,tDL,fG. .W;;Ki :tGGi,,,;LDf,iEt K;tK tDLi,,;tLDGi,;DL. jLE: iDfjfLft;,;fLj. #:,,,:## ------------------------------------------------------------------------------- Copyright 2001-2002 Bananagirl


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text: What seems like many moons ago, after Coco Crisp squeezed the 27th out of Game 7 in the ALCS, I made a vow to myself (after some notable brooding and catharsis) that I would make an effort to take advantage of the time that presented itself to me in lieu of spending night after night engrossed in the Tribe. Excited by the prospect of having time on my hands, it was time to enrich myself in things not related to the Indians. Obviously, if you've checked this site at all in the past three months, you are acutely aware that the Indians never stay far from my thought processes as I've attempted multiple times to wrap my head around c.c.ontract negotiations and what 2008 holds for our beloved Erie Warriors. But, for now, it's time for a bit of a digression from the things that are normally discussed in this space to fire up the synapses in ways that don't involve OPS, Andy Marte's batting average in the Winter Leagues, or what Jake Peavy's contract extension means to the Indians. As another winter settled on the North Coast, delusions of grandeur set in as I compiled a list of things to do in the time that had previously been devoted to the Indians - read a few books on my list of "Great American Novels", fire through my Netflix queue with movies I've always wanted to see, and (most importantly) immerse myself in the development of my infant son as he navigated his way through the pitfalls of walking, new teeth, and solid foods. The last thing on the list was obviously the easiest thing to accomplish (and I won't bore you with any "you gotta see the baaaabeee" moments), so with Spring Training inching closer and the sports world in a deep hibernation for a while, I'll rehash that old favorite essay of mine assigned to me by the nuns of St. Margaret Mary ever September with a bit of a twist, regarding the desire to form myself into some sort of better, more well-rounded person - a Renaissance man...in three short months. Of course, as the temperature dropped and sleep became less of a known commodity around the house, I started my "Winter Vacation" the way that so many people end up settling into...I watched TV. Sure, I dabbled in my weekly fix of SI (the final bastion of worthwhile sports coverage in the print media) but while being enthralled by the brilliance of the exploits of Michael Scott and Jack Donaghy and modestly amused by the "How I Met Your Mother" episodes, I fell into the familiar trap of watching essentially whatever was on. Regardless of how ridiculously bad network (and now cable) TV has become, I would sit and watch what Giada De Laurentiis was up to, try to decide who the hottest girl on TV is (by the way, it's Blake Lively of "Gossip Girl"...don't ask) or try to get into shows that I thought would amuse (or, at the very least, entertain me) like "Chuck" or "Life". As I was settling back into that mindless routine that traps the best of us, watching an inordinate amount of TV in my free time...something happened. The writers guild started talking about striking and, suddenly, the talking heads in my TV were discussing what the networks would do when the TV shows that they had in the can had all been broadcast. Actual conversations about what people would watch with nothing new on TV (oh, the humanity) jarred me from my intellectual slumber. What had happened to the Renaissance man I was striving to be? Why had the books that had been given as Christmas gifts as my family embraced my "Great American Novels" list remained on the dining room table? Why was I setting up my Netflix queue to send me "Talladega Nights" and the like? It was time to get back on track and enrich myself before they started packing the trucks for Winter Haven (which they have) and my free time would be spoken for. I started the odyssey with "Catcher in the Rye", immediately remembering how much I enjoyed reading excellent prose and how revolutionary the content of this book was at the time that it was published (though it would barely so much as raise an eyebrow if it came out tomorrow). As the pages turned, the juices started flowing again - I was watching PBS documentaries on Andrew Jackson and eschewing the offerings of "normal" TV to enjoy shows (when the TV was even on) that didn't just allow me to sit there and zone out for 30 to 60 minutes. I was rolling through the offerings of the Coen brothers, some for the first time ("Miller's Crossing"), some seemingly for the 500th time ("The Big Lebowski") while busting myths on the Discovery Channel and learning about "Lost Worlds" on the History Channel - all while sipping my gin drinks. Quickly, "Catcher in the Rye" was done and the next book was waiting...I was on my way. Ah, the next book. On my dresser sat the next hurdle to clear on the way to keeping my mind sharp in the off-season - the great White Whale..."Moby Dick". Forcing myself, day after day, to read pages upon pages about what a quilt looked like or what the air smelled like, describing the minutia of every little detail started to wear me down. While the descriptions were superb and the writing was perfectly crafted as it painted a picture, I felt like the picture was being created by Monet - one, slow, meticulous, painstakingly long page at a time. Sure, the dots would all add up to a beautiful picture; but my patience and interest were waning quickly. About a 1/3 of the way into the book (which means about 200 pages), I decided that I needed some fresh blood. Scared that if I started the "Grapes of Wrath" only to get bogged down again (essentially sabotaging the plan to finish these books), I thought that some lighter fare might whet my appetite a little more. And by "lighter fare", let me clarify that I had no intention of immersing myself in the popcorn novels of John Grisham or Clive Cussler that entertained me in younger days. I needed something that was well-written, but relevant...not just escapist writing to keep me interested and entertained.Remembering how much I enjoyed "A Heartbreaking Work of Staggering Genius" prior to my son's birth, I had a discussion with my friend Sara (who often travels for work and is always up on good books) because we essentially share the same taste in books. Understanding my dilemma, she asked me if I had ever read pop culture critic (if that "label" even works) Chuck Klosterman, whom I mainly had read through his association with ESPN and, more notably, his give-and-take with Bill Simmons from a few years ago. Armed with a new purpose, my wife and I headed to the East Side to Joseph-Beth Booksellers (because...well, honestly because Crate & Barrel is next door and my baby loves her some C&B), debunking the myth that it is impossible to cross the Cuyahoga without a passport and proper documentation. We arrived at JB and set off to find new and exciting literary adventures...OK, that's a bit of a hard sell - we were trying to find the section that would contain books by the aforementioned Klosterman. After a bit of a search, we found his works in the "Sociology" section because...what category does his writing really fall under? After perusing the titles, I settled on "Sex, Drugs, and Cocoa Puffs" and headed back to the West Side, ready to snuggle in for a long winter's nap full of witticisms. Reading Klosterman, it immediately became apparent that these essays I was reading about...whose topic was really nothing at all...echoed my feeling and thoughts on everything addressed. I found myself so in tune and in agreement with nearly all of his observational writings and conclusions that I realized that this book represented more than just witty observations on life and commentary on popular culture, as inane as the subjects (like an exhaustive breakdown of the cultural significance of "The Real World") seemed to be. Devouring the book, I realized that I would recommend this book to nearly ALL of my friends, as they would find humor and truth in the book as much as I did. How could a book, with no real plot or trajectory as the book evolves, be so universally true to me and (I assumed) people like me? How did it so eloquently define what I deem to be a generation of guys - my friends and otherwise, in my age bracket - where wit and sarcasm are valued commodities as is the ability to put into prose (or scene) the feelings that we all have and the situations that we all live through define what (and who) we read, what we watch, and how we live? This culture of sarcasm, self-examination, and intelligently dark humor based on the dissection of life events and the people that experience them that Klosterman was capturing was (for most) created to perfection by the genius of Jerry Seinfeld and Larry David with the comedic stylings of Dennis Miller (to keep our brains tuned in to what we all learned in all of those AP English classes in High School) continued in the brilliant, sprawling works of Dave Eggers and J.R. Moehringer, leading us to the utter bliss that is "Arrested Development", "The Office" and "Extras", combined with the occasional guilty pleasures contained in "The Soup". Chapter after chapter, I felt that the voice of the male, aged 25 to 50-something was finally defined. Suddenly, we had no need for the vapid comedies that we were told that we should like or were we forced to endure the monstrosity of a culture gone wild with no discernible outlet or social commentator. It was starting to be broken down, intelligently, openly, and (most importantly) hilariously. For those of us somewhat obsessed by sports, the good news continues that this current of social commentary extended into a sports world that had become tired, antiquated, and essentially a contest to see who could yell the loudest. For years, the "traditional" media, like the sports department at the Plain Dealer or the likes of Chris Berman and Mike Lupica were our filter for how we should think about sports and what opinions prevailed. And these weren't even the lowest form of the "traditional" sports media, an honor tightly held by the insanity of sports talk radio. The ill-informed reactionaries that littered the airwaves spouted poorly-formed arguments and generally held their finger over the volume to drown out any logical thought. In all of the years of following sports, I have never called (or even wanted to call) any sports talk show. Really, why would anyone? The only person that I ever knew who called one of these shows was my buddy C-Badd, who once called Kenny Roda completely fed up with the mindless assertions and unoriginal thoughts that the host was piling onto the listeners. In a 15-second rant, C-Badd completely destroyed and humiliated Roda by lobbing incendiary truths on the bewildered target. How perfect was the rant? A day later, WKNR was actually airing C-Badd's 15 seconds of inflammatory remarks as an ADVERTISEMENT, followed by the WKNR voice over saying something like, "Wanna tell Kenny what you really think of him?" The episode encapsulated everything that had become wrong with the way that sports forums were presented to their fans, talked down to and summarily dismissed by these "all-knowing" members of the media...and how the fans could truly find their voice above the din of mediocrity. Of course as we all know, in the past few years, a funny thing has happened in the realm of sports media. A forum had been created on the Internet to become a place for people to share ideas, independent of what they were told to think or instructed what was right or wrong. Columnists like Bill Simmons emerged with his hilariously pointed (though increasingly repetitive) thoughts on the sports world and how out-of-whack it had become. Simmons cut through the white noise of sugarcoating events or creating a story where none existed as he simply wrote as a fan, with little to no access to the teams or the players that he followed. He adroitly pointed out the things that nobody, to that point, would say or write without fear of repercussion from the organization or from an individual. He called it like he saw it, in language that everybody that I knew understood and could easily relate to. Seamlessly bobbing and weaving through "The Karate Kid" or "Teen Wolf" and how it somehow related to the things that were relevant in the sports world. While Simmons paychecks still come from ESPN, it seems to remain something that he is constantly battling...that is, how to be an outsider at the center of the insider's universe in Bristol. With Simmons, a new voice in the sports world had been created, that of the fan espousing his intelligent thoughts and opinions outside of the establishment. That movement, then, was furthered by Will Leitch, the editor of Deadspin who, despite what your overall feelings are on Deadspin, has revolutionized this new media in a way that even Simmons could never have dreamed. Leitch was the true outsider, a talented essayist (for anyone who has not yet picked up his new book "God Save the Fan", go get it now...no, seriously...now) that was played the role of sports sniper, sitting on his computer picking off the absurdity of sports and sports figures. He recognized that sports had been taken away from the fans, that it had been assumed by these giant corporations, who told us (through their substandard mouthpieces like Shannon Sharpe and John Kruk) what we were supposed to think. He pointed out that the disconnect between fans and the players that they rooted for had changed intrinsically to the point that it is unlikely that any average fan will ever be able to fully relate to the modern athlete again as the players that we root for live on a completely different plane, with a completely different set of rules than we could ever comprehend. Conversely, he pointed out that few athletes truly care or care to relate to the fans that, ultimately, afford them their luxurious lifestyles. Sports had reached a crossroads and Leitch was ready to explain it and ultimately mock how this crossroads had emerged, one smart comment at a time. Where is this all going? I have no idea. Most people my age (I'm 30, by the by) don't read (much less even subscribe to) the newspaper, except for out of some perceived civic duty that we should read what's happening in our region, regardless of how slanted, underwhelming, or heavy-handed the coverage seems to be. Outside of that absurd gnawing that the local paper (or some paper) should be part of our daily routine, we seek out information sources that speak to us or stimulate our minds. Those resources are certainly not being found in what many would describe as the "traditional" media. Has the first volley been fired in this convoluted revolution? Is the establishment of everything that we have ever assumed to be the best way of obtaining information under attack in some of sort of offensive reminiscent of Fort Sumter? I happen to think so, though perhaps I'm examining this far too closely or giving too much thought and weight to an unrelated group of isolated writers, TV shows, movies, and insights - but it seems to me that the mindset of my generation of guys is finally developing an identity and a voice. "The Greatest Generation", we are not - but, finally, we are not being asked to absorb the shallowness that we are told that we SHOULD like or being force-fed our opinions or sports by the likes of ESPN and major motion picture studios. Those corporations can't define what we think and who we are, and finally we are beginning to revolt against it, through the "new" media of the Internet and otherwise. We are independent thinkers, quick to call out what we feel is an inaccuracy or an injustice...of course, generally relying on lobbing sarcastic insults from afar and forming our witty comebacks based on observations based in reality. While it doesn't exactly evoke memories of the "Chicago Seven" or civil disobedience, at least it's a start. Maybe we're not the idiotic slackers that we are portrayed to be, happy to plunk $10 bucks for a Michael Bay film or just thumb through "Maxim" and play video games with our free time. Perhaps, behind all of those walls of sarcasm and feigned indifference, there is something to us...it may not be deep or earth-shattering, but I suppose it's still something. What the hell do I know, though, I'm just a sleep-deprived first time father that's been living in what seems like the inside of a dirty milk carton for the last few months. I'm just trying to use my "winter vacation", in the time that I don't get to see baseball on a regular basis to sort out some thoughts and didn't mean to devolve into some sociological essay. If this meandering stream of consciousness babbled a few too many times, let me be the first to ask a very important question: How long, exactly, does it take the trucks to get to Winter Haven?


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Sr. Mary Finn, HVM
Director of Supervised Ministry/Integrating Studies, Assistant Professor of Theology. Permanent religious profession, 1954. At SHMS 1969- Born in 1934 in Detroit she joined the sisterhood of the Home Visitors of Mary in City Parishes of Detroit since 1952. She received a B.A. in Sociology from Marygrove College in 1959, an M.A. in theology from Marquette University in 1962, and an M.A. in Religion and Personality from Duquesne University in 1969. She has given numerous retreats, seminars, talks for campuses, parishes, seminarians, priests, religious women, deacons, and laity since 1967. She has served on the formation programs for several Christian Brothers and religious women. Her memberships have included: National Federation of Spiritual Directors of Seminaries; Association of Directors of College Seminary Apostolic Experience Program; and Archdiocesan Catholic Campus Ministry Association. In addition to her position as Director of the Apostolic Experience in the College of Liberal Arts, she teaches as Assistant Professor of Theology in both the College of Liberal Arts and the School of Theology and serves the institution on the Social Concerns, AAM/Diploma Degree Committees and the Priestly Formation Team in the College of Liberal Arts. She has been at Sacred Heart Major Seminary since 1969.