Quotes of All Topics . Occasions . Authors
I think what's really the most ideal thing is for the player themselves, within their own imagination, to carve out what they view as being the essence of the character.
I feel like creating things without getting too hung up on little details, and paying more attention to the importance to the concept itself, is the way to move forward.
There are also many things my wife can't stand about me, and there are certain capacities that she has that are different than mine. The trick is to find compatibilities.
If 'Smash Bros.' were set up to appeal to experts too much and became something like a modern fighter, I think that would raise serious questions about the game's future.
I don't care much about hardware. Nintendo games are some of the best games in the world, and from a more graphical standpoint, the Wii can't do what a PS3 or 360 can do.
The second thing for me, probably a few clicks down, is the idea that The Sims smoothly age and have different concerns and motivations and needs at different age ranges.
We have a lot of great creators in Square Enix, but for larger-scale development we will be doing more distributed and outsourced development to reach our targets on time.
The moment you start dictating content/themes/story vs. allowing the player to be a participant in the story and carve their own path, you're doing the player a disservice.
When a man is hit by Friendly Fire, his blood pressure lowers and his morale sinks. I have been hit by Friendly Fire in my heart. Sighs spill from my body instead of blood.
A game's concept is one of its most important assets. I feel that we must aim to satisfy both beginners and experts, and that hasn't changed since I was making 'Kirby' games.
It's quite an unfair thought that Microsoft are trying to control our gaming, they're trying to force us to be online all the time. [People] didn't really think that through.
I would prefer to grow with the team inside Nintendo rather than taking anyone from outside. It would be a joy for me if someone who was working with me became a big success.
I don't think I've ever made something that I'm totally satisfied with. That feeling of doubt, or wanting to do more, is my engine to move forward and make the next iteration.
Consumers don't give a damn about what device they're playing on. They just want to play it everywhere. They want to be playing on the console and then take it off to the bus.
There are big lines between those who play video games and those who do not. For those who don't, video games are irrelevant. They think all video games must be too difficult.
I'm very impressed that there are so many fans - not just in Japan, but here in America - that are fond of the work that I've done. I'm actually kind of embarrassed by it all.
I think Zelda 64 is utilizing about 90 percent of the N64 potential, ... When we made Mario 64 we were simply utilizing 60 to 70 percent. So we have come a long way I believe.
I think this dichotomy or opposition between work and play, between leisure and serious stuff, is definitely a bad way of thinking about the useful insights that play provides.
I'm looking forward to 'LittleBigPlanet.' I think Media Molecule are doing fantastic work on giving people the tools to create some amazing stuff. I can hardly wait to play it.
The experience of creating my adventure games was, other than marrying my husband and bringing into the world my two sons, the most fulfilling, wonderful experience I ever had.
Computers have become more friendly, understandable, and lots of years and thought have been put into developing software to convince people that they want and need a computer.
In Japan, violence in games is pretty much self-regulated.There's more violence in games in the U.S., in things like Mortal Kombat, where they rip out hearts and cut off heads.
It's about players making choices as they play, and then dealing with the consequences of those choices. It's about you telling your story, not me telling mine. It's about you.
I believe that this cooperation between Nokia and Konami will form the perfect match to share the vast potential of mobile entertainment content with users all around the world.
Game mechanics are the core of what a game truly is. They are the interactions and relationships that remain when all of the aesthetics, technology, and story are stripped away.
You know, the health bar in 'Fable III' was destined to be this pixel-high line at the top left-hand side of the screen. No one was looking at it! No one even knew it was there!
My past identity separates from me and remains in the past; he becomes someone else. Is memory really as insubstantial as the fragments of information that we store in our heads?
I always have a problem playing text-heavy games. I'm a slow reader. I don't speak English well. As a kid in China, trying to play these games, I just wanted the text to go away.
In the original 'Fable,' Albion was kind of run by heroes and heroes were the thing, and there weren't any lords or kings, there were just heroes, and greater and greater heroes.
I always observe the people who pass by when I ride an escalator. I'll never see most of them again, so I imagine a lot of things about their lives... about the day ahead of them.
It's not even that finding laundry pleasurable or delightful should be our goal rather than finding television delightful. It's that both laundry and television can be delightful.
If you have a juggernaut, you can make change. I'm all for that. If we could force people to always be connected when you play the game, and then have that be acceptable, awesome.
Many people are taking 2D games and making them into 3D games by recreating the characters in polygons. But the gameplay's still the same, and that's not what they should be doing.
Unlike a lot of other game companies that, once they launch a game, downsize their teams radically, our plan is to keep the team together and continue to focus on building content.
I was very impressed with the scope and scale and impact that came from originally one person making 'Minecraft.' It's inspiring for me to think how our team can do more with less.
It is difficult to meet fan expectations, especially when people say, 'Oh, the last one was the best one.' It creates more pressure each time for the next game to top the last one.
I can see how everything relates to everything else when I think that nothing is merely coincidental. If everything that happens is inevitable, then the world is connected and whole.
There's a lot of pressure to release a game early. In Syndicate's case there was a lot of pressure from us on distributors Electronics Arts to release it in March '93, and I said no.
The great times are when you put a game on location and see others play it for the first time. After all, we are really kind of an entertainer. You perform for the joy of the audience.
In the arcades, when I was younger, there was a game called 'King of Fighters 95,' and I thought I was pretty good. I had a 50-strong win streak on 'Street Fighter 2' around that time.
The more I learned about games, the more frustrated I became because the games weren't very good. I could tell a good game from a bad game. My conclusion was: let's make our own games.
People perceive games as being for kids, and I think that perception is going to change. Time is going to take care of that. I mean, we've already won. Games have won; it's inevitable.
There are things about us that make us who we are, personality traits, or capacities that we have, or knowledge we possess or that we don't possess, habits we have that are good or bad.
'Cloud' and 'Flower' are very much egocentric about my own expression. 'Flow' is more utilitarian, and 'Journey' is more about collaboration between various creative voices in the team.
For most developers, that kind of situation - a player figuring out how to do something that the designer didn't intend - to most developers, that's a bug. For me, that's a celebration.
I said to myself as Junction Point embarked on the Epic Mickey journey that, worst case, we'd be 'a footnote in Disney history.' Looking back on it, I think we did far better than that.
Also, after people play these Sim games, it tends to change their perception of the world around them, so they see their city, house or family in a slightly different way after playing.
The dimensions of video game characters, even when they're scanned from real people, are beefed up with exaggerated proportions in games like Def Jam: Fight for NY to give them more pop.
My first concept was for a game in which you were a prisoner of war and simply had to escape. If you were caught, you'd be brought back to the prison. The idea was for a non-combat game.
If you start the day not really expecting substantial change, but anticipating some small new revelation or some small alteration, then over time you're able to find them in more places.