To elaborate, MI 1 and 2 can very much be seen as the glorified daydream of a child imagining himself to be a pirate. (There are certainly some books that play

To elaborate, MI 1 and 2 can very much be seen as the glorified daydream of a child imagining himself to be a pirate. (There are certainly some books that play with this sort of thing, but I'm not remembering them at the moment. Pan's Labyrinth and Sucker Punch are movies in this vein.) Hence the zaniness of the world, and Guybrush having little personality of his own beyond a naive aspiration and a certain wit--he's a sort of surrogate for the player. The ending of MI2 suggests this is very much the case, but leaves it ambiguous. An MI3 by Gilbert would undoubtedly have continued along these lines. CMI pretty much eschews the MI-as-daydream idea altogether in favor of MI as a sort of off-Disney world/production, meant to be taken at face value, with Guybrush becoming more of a character in his own right rather than a player surrogate.