Quotes of All Topics . Occasions . Authors
The 'DuckTales' ensemble is clearly critical. There's the core set of characters - Scrooge, Webby, Launchpad, Huey, Dewey and Louie... Plus there's Gyro and Duckworth and Mrs. Beakley and so on. The cast is huge.
The fact is most computer roleplaying games that offer a zillion highly specialized skills end up with nine-tenths of a zillion skills that every player quickly realizes aren't worth the experience points to buy.
Mass Effect 3 is all about answering all the biggest questions in the lore, learning about the mysteries and the Protheans and the Reapers, being able to decide for yourself how all of these things come to an end.
Gamers should be able to take the experience with them in their living rooms, on the go, when they travel - wherever they are and whenever they want to play. It should be the same software and the same experience.
Design a clear and simple interface. The primary task of the interface is to present the player with a choice of the available actions at each moment and to provide instant feedback when the player makes a choice.
The modern world is very wealthy, it's full of options. It's not like "This is the land I was born on and I have to make the most of it, and these are the people who are near me, and so they will become my family."
We try really hard to avoid those conventional experiences, these adrenaline rush, anger, competition, violence. We intentionally avoid that. We try to create a game that's serene and tranquil and filled with love.
I like Disney stuff. No-one looks at 'Toy Story' and says,' Oh, that's just for kids.' Why is it that games can only appeal to a certain audience, but movies and books - I mean, how many adults read 'Harry Potter?'
We've pitched and even begun development on a number of fantasy worlds that have never seen the light of day. All of those worlds... It's soul-crushing to see them sputter out, one by one. Lost. Like tears. In rain.
We have been trained to think we have enormous power over the world. Whatever you dream, you can do. Anything can be bent to your will. But actually isn't it much more interesting to imagine that you're quite small?
I just feel that in today's world, where you've got computer games of all types - through Facebook, Android and Apple, for example - you put them all together and it's an incredibly important force in all the world.
In Japan, there's a TV series called Jin. It deals with time travel. I like stories about time travel. It's a story about people living in modern day that travel back to the Edo era. Those things really interest me.
I often get painted as the guy who's trying to tell other people what to make and what to like, and that's really not my goal, but I believe so passionately that games can be more than a lot of people think they can.
That's what my objective was, to reinvent myself from a console designer to starting a new business and embracing multi-platform, relearning the skills necessary to make successful games. It's been an amazing journey.
Well, for over a year now at my desk, a prototype program of Luigi and Mario has been running on my monitor. We've been thinking about the game, and it may be something that could work on a completely new game system.
I was lucky enough to go to an all-boys prep school in upstate New York that had a film program, so we had access to 16mm Bolex cameras, Nagra sound recorders, Arriflex cameras. We even had an Oxberry animation stand!
If 'Castlevania' wasn't created next to me, and Capcom didn't release 'Ghouls n' Goblins,' then maybe there wouldn't be any 'Metal Gear,' and I would have created a horror action game, because I really like that genre.
Your children are your retirement plan. Because of that, all parents want their children, their only children, to do really well financially, so that they can essentially take care of their parents when they are older.
If we end up creating a gameplay structure where it makes sense for, whether it's a female to go rescue a male or a gay man to rescue a lesbian woman or a lesbian woman to rescue a gay man, we might take that approach.
The United States has been utilizing what may prove to be the most historically inept strategy in the entire history of warfare, in which the enemy nations are occupied while allowing its own territory to be colonized.
I've always said - I've been making games for twenty years, and from the first day I got in this business, I've been saying, 'All I have to do is sell one more copy than I have to, to get somebody to fund my next one.'
I remember on Deus Ex there was one programmer - Alex Durand, a guy who still works for us - he decided he was going to get through the game without ever using a weapon. I would never think to do that. And that's fine.
In the past, I worked for HAL, and when working there, I had limitations and had restrictions on what I could create. They wanted me to make the next 'Smash Bros.' and the next 'Kirby,' and that wasn't the place for me.
I still hope that more people can create art, even though artistic genres may never be the most popular or money-making genres. But the thing is, I think art is more long-lasting. It stays in people, and it changes them.
When you're a kid and get your first bike, you want to go somewhere you've never been before. That's like Pokémon. Everybody shares the same experience, but everybody wants to take it someplace else. And you can do that.
Necessity is the mother of invention. I love solving things like that. Because there wasn't enough memory, thinking of an economical way to make the movements look right was like solving a puzzle, and I had a lot of fun.
When I'm working on games I don't think necessarily about what the end benefit of the game is going to be. Typically I'm trying to think of: "What can I do that is going to find new ways to entertain and surprise people."
It's nice to wear a suit once in a while. It can restrict some body movement, but it makes me feel as though I'm part of society. I feel a sense of security because I've conformed to the standards of the rest of the world.
E.T. certainly isn't the worst game or even the least polished, but I actually like having the distinction of it being the worst game. Between that and Yars Revenge, I have the greatest range of anyone ever on the machine.
You don't want to be told, "Hey, do whatever you want." That's what we think of when we think of play. It's the thing where you get to do whatever you come up with in your own mind, all bets are off, there's no boundaries.
You can only truly wow a player the first time he sees [a cutscene]. I felt if players saw the cutscenes outside of the game, they would no longer serve as rewards for playing the game, so I've decided against having them.
With 'Black and White' we laid down the canvas for what's possible in 'Black and White' 2 and 3. We gave you a creature that you could nurture and build up and we focused an awful lot on that creature with the add-on disc.
When people reach age 12-14, they become obsessed with evil. The percentage of people who are good versus evil becomes reversed. It's part of the way that teens' minds are being reordered - it's just a developmental stage.
I am so honoured to be a part of the games industry, but I understand that people are sick of hearing my voice and hearing my promises. So I'm going to stop doing press and I'm going to stop talking about games completely.
Games have grown and developed from this limited in-the-box experience to something that's everywhere now. Interactive content is all around us, networked, ready. This is something I've been hoping for throughout my career.
The console games, as they come out with this new generation, will have a temporary advantage in price performance, but there are still many things you can do on a PC, more conveniently than you can do on a console machine.
In 'Fable 1,' the number of features was more important to me than what the features did. And as a games designer I've come to realize that it's not the number of features you have, it's the way that those features interact.
Fortunately, because of the spread of smart devices, people take games for granted now. It's a good thing for us, because we do not have to worry about making games something that are relevant to general people's daily lives.
I don't even make multiplayer games much, so dealing with multiple characters is something new for me - or, rather, something I've had to recall from my days as a roleplaying adventure designer where the party was everything!
We know exactly where the path to despair and insanity lies. It's in that sense that life is meaningless, there's nothing about today that's worth doing because it's just like yesterday and it's going to be just like tomorrow.
I don't think as a creator that I could create an experience that truly feels interactive if you don't have something to hold in your hand, if you don't have something like force feedback that you can feel from the controller.
The concept of emergent gameplay is really exciting. That's when players are really crafting their own experience. So if you're clever and creative, you can do things that even developers of the game didn't know were possible.
In an online community, there's this kind of social economy between the community members. Some people have status because they make cool skins or that's a good website that's visited a lot, but there's no real gameplay there.
Sometimes I'm irritated because if you're running around in a game, and you're half-naked in a game, this is a choice that I may not have personally chosen to look like this to somebody I'm talking to in a game world, but I am.
The whole point here, and the seed that JJ Abrams laid in my mind is, is the power of curiosity enough? What happens next? That dramatic construct is what has driven soap operas and serialised novels over the course of history.
When I'm making video games today, I want people to be entertained. I am always thinking, How are people going to enjoy playing the games we are making today? And as long as I can enjoy something other people can enjoy it, too.
As far as the timing, well, I'd write that off to luck as much as anything - I happened to be out looking for a development deal, and Disney happened to think my team and I might be the right people to make a Mickey Mouse game.
I've got to be honest, I absolutely don't like designing romances. I think that you get a lot more drama and impact from failed romances, or unrequited relationships that occur in games. I think that creates more player tension.
I try to watch a movie a day, if not more, and through movies, I learned about so many different political themes I hadn't been interested in and cultural things I hadn't been aware of and economic factors I hadn't thought about.
I think the most important way to understand play is that it's this property that's in things. Like there's play in a mechanism. For example, there's some play in the steering column before it engages as you're turning the wheel.