Quotes of All Topics . Occasions . Authors
'Smash Bros.' features a slew of modes as well, but we didn't create them all under the idea that we want gamers to try every single one of them. I think it's just fine if gamers enjoy the aspects of the game they like. It's kind of a buffet-style approach.
For people who are invested in these characters and the back-story of the universe and everything, all of these things come to a resolution in Mass Effect 3. And they are resolved in a way that's very different based on what you would do in those situations.
We want to build things that encourage creativity and exploration. We're working to build a company focused on sustainable, creative and fulfilling game development. It's aimed at making a positive difference in our lives, as well as the lives of our people.
People often say that videogames made by Western developers are somehow different in terms of taste for the players, in comparison with Japanese games. I think that means that the Western developers and Japanese developers, they are good at different fields.
This is the entertainment industry, so game designers have to have a creative mind and also have to be able to stand up against the marketing people at their company - otherwise they cannot be creative. There are not that many people who fit that description.
It's rewarding to be able to change people's perceptions of reality, ... They just see their environment in a different way. They have a kind of different-colored glasses that they can see their world in. To me, that's really cool - when games can change you.
Is it OK for Amazon to know every word of every book you've read? Are you comfortable with that? Maybe you are. Is it OK to let everybody know you eat Corn Flakes? OK, but then there are certain products you might not want people to know that you're using. ...
There are personality traits, or baggage from their backgrounds, goals that they have and the first thing I need to do is understand and then acknowledge and then accept those properties. That's kind of the baseline requirement to have a productive relationship.
So my resolution this year is: I'm not a money guy, but I want to make our next product a commercial success, so that people will say, 'Hey, there's a huge market out there. If you make a high-quality games that can touch people, it's going to do great business.
What's troubling is that because the camera is 3D, the northern part of the screen isn't necessarily north anymore. So the jungle transforms into the true meaning of a jungle. For someone with no sense of direction like myself, I get lost in the caves every time.
When you're external to a publisher, most independent developers live on paranoia. The mainstay of every day is paranoia - every indie company believes their publisher in some way has these Machiavellian plans that will cause disaster for the game and the studio.
Of course, I would like to know what [Sony and Microsoft] do with their machines, but there is no game that I feel the need to go see. So far, from what I’ve seen on the show this year, there does not seem to be any games that I would like to have created myself.
I had no special training at all; I am completely self-taught. I don’t fit the mold of a visual arts designer or a graphic designer. I just had a strong concept about what a game designer is – someone who designs projects to make people happy. That’s his purpose.
Whatever adults don't understand, because they didn't grow up with it, is the thing they're going to be afraid of and try to legislate out of existence. It happened with videogames, it happened with television, it happened with pinball parlours and rock and roll.
In 'Alpha Protocol,' right from the outset, the parameters of the game explain to you that the mission needs to get done. How you approach that is your decision. The rewards and penalties for either path, those are going to balance out into different consequences.
Japanese players do not like being thrown into an arena in which they are given very little instruction. You can head in any direction, 360 degrees. They say, 'What am I supposed to do? Give me hints. Provide me service instead of just throwing me into this arena.'
A good game gives us meaningful accomplishment - clear achievement that we don't necessarily get from real life. In a game, you've beaten level four, the boss monster is dead, you have a badge, and now you have a super laser sword. Real life isn't like that, right?
I think that games like 'Braid' show us that the 'new kids on the block' can do some really inventive, smart things with a genre like the side-scrolling platformer that has been around for 25 years. It's proof that people can 'come up' and surprise us all the time.
Originally, I wanted a machine that would cost $100. My idea was to spend nothing on the console technology so all the money could be spent on improving the interface and software. If we hadn't used NAND flash memory and other pricey parts, we might have succeeded.
When I read a good story, I often start thinking, 'Should I live my life according to what this character chooses and values?' It makes me think. I feel like I grew up to be a more mature person while thinking about character development in these fictional situations.
With 'Journey,' we created an emotional arc for two different scenarios. So, if you play alone, it's a good game. You have what we think is a complete emotional arc. You will feel, I guess, a sense of transformation in the single-player. Because it's a hero's journey.
Things like engine technology used to be hugely restrictive. You couldn't have more than one baddie on screen, you couldn't have more than three arrows firing at once. Now, you can say, 'I want 20 monsters, and 30 weapons,' and there isn't a technical string attached.
Unfortunately, it's not that it's not impossible for us to develop Final Fantasy 7 for mobile. It's that currently, space will be an issue. Phones won't be able to contain the space it takes. It's over a gigabyte. People are probably going to have to wait a few years.
When a society is really successful like America, throughout history there's been this trend for those societies to be obsessed about end of the world scenarios. You know, about meteorites and plagues and destroying things. And you can see that in the American fiction.
I love the mouse, I love designing games for a mouse-based system. I think it's still a way of playing games which, you know, everyone's really excited about the Wii and all that, but for me, the mouse is for the PC an awful lot what that pointing device did for the Wii.
I could make Halo. It’s not that I couldn’t design that game. It’s just that I choose not to. One thing about my game design is that I never try to look for what people want and then try to make that game design. I always try to create new experiences that are fun to play.
Let me tell you, writing comics is as hard as anything I've ever done - for me, at least. I'm now officially in awe of guys who can crank out multiple books a month and maintain a high level of quality. Comics are completely different than any other medium I've dabbled in.
Ideas are nothing. They're irrelevant. If you think your idea is so important, you're doomed. The reality is if you don't like one idea, I've got 299 more. If I tell you my idea, and you can execute better against that idea than I can - great; I get to play a terrific game.
I was not grown up in the U.S., nor in Japan. In order to create a video game that people around the globe can enjoy and relate to, I can't draw things deeply rooted in the local culture that I'm not familiar with. That's why we are not doing games about football or samurai.
I'm part of the first generation who grew up with manga [comics] and anime [animation], you know, after 'Godzilla.' I was absorbed with Ultraman on TV and in manga. The profession of game designer was created really recently. If it didn't exist, I'd probably be making anime.
In Japan, there are storm channels on either side of the main roads. There were so many times when I'd fall into these ditches because I was lost in stories as I was walking along. It's still dangerous for me to drive. I've driven into the gate outside my house numerous times.
I've done a pretty good job of hitting 18-34-year-old males, and not such a good job of reaching kids. Disney has done a great job of reaching kids, but maybe not the 18-34-year-olds. I figure I can learn a lot from Disney, and maybe, I don't know, they can learn a lot from me.
We might compare each day's decisions with the work of steering a boat. Our efforts will result in nebulous confusion if we make a wrong move at any point, even if it's only a small tack to the side. We absolutely cannot afford carelessness, lest we risk becoming lost ourselves.
I believe that even today we can only tell a simple story without really interfering with gameplay. But in the future, I think it will almost be a requirement of all storytellers when they create games, how they can tell a more complex story without conflicting with the gameplay.
You don't often talk about the cultural significance of video games in places like China and Korea, but it's a huge part of culture throughout the world, and very, very accessible too. Now that you don't have to be locked away in your bedroom to play them, it's gaming everywhere.
Somebody asked me what I thought next generation meant and what about the PlayStation 3 was next generation. The only next gen system I've seen is the Wii - the PS3 and the Xbox 360 feel like better versions of the last, but pretty much the same game with incremental improvement.
I always say this will be my last Metal Gear, but the games in the series that I've personally designed and produced-Metal Gear on MSX, MG2, MGS1, 2, 3, 4, Peace Walker and now MGSV-are what constitute a single Metal Gear Saga. With MGSV, I'm finally closing the loop on that saga.
Culture and technology exist in a dynamic reciprocal relationship. Culture comprehends technology through the means of narratives or myths, and those narratives influence the future shape and purposes of technology. The culture-technology circuit is at the heart of cultural evolution.
If you think about the contexts in which we talk about things being fun, often there's a certain kind of misery or effort that's involved with it. The difficulty of travel, getting all your bags packed and your work done and navigating the airports and all that. That sort of struggle.
The game business arose from computer programs that were written by and for young men in the late 1960s and early 1970s. They worked so well that they formed a very lucrative industry fairly quickly. But what worked for that demographic absolutely did not work for most girls and women.
When I was a teenager, I felt my life was constrained by rules, school, my parents. I wanted to feel like I was empowered and different; that's why superheroes, comics, manga, and video games filled my needs. When I got older, I realized power is not free; it comes with responsibility.
The temptation, when you go into Kickstarter, is that the first three days are wonderful, and you believe you're a god. You go in your spreadsheet and think, 'If every day's like day one, we're going to have suitcases of money arriving at the front door.' Then, it dips into this slump.
Here's the problem right now; the person who is savvy enough to want to have a good PC to upgrade their video card, is a person who is savvy enough to know bit torrent to know all the elements so they can pirate software. Therefore, high-end videogames are suffering very much on the PC.
Learn how to program and play lots of games. If you find yourself capable of writing a game, someday you'll be capable of writing a really good game. My dad's a writer, and when you ask him how to learn to write, he says, "write." So basically, do it and keep doing it until you get good.
Before there was even an official naming of the 3DS, or before it was even decided that there would be 3-D capabilities, Mr. Iwata had brought up the topic of a new portable gaming system, and with that, the request to create a new title for that system... The topic of Kid Icarus came up.
As far as how I create games, I'm just reflecting what I feel, the things I have in my mind. I put those out there. Some of the things that I'm going through, the things that surround me, might be reflected there. But for me, it's a natural process. I just reflect what I feel into the game.
In light of the strong correlation between female education and demographic decline, a purely empirical perspective on Malala Yousafzai, the poster girl for global female education, may indicate that the Taliban's attempt to silence her was perfectly rational and scientifically justifiable.
Their attitude is, 'okay, I am the customer. You are supposed to entertain me.' It's kind of a passive attitude they're taking, and to me it's kind of a pathetic thing. They do not know how interesting it is if you move one step further and try to challenge yourself with more advanced games.
There are many museums dedicated to technology, artistic endeavors, music, and that sort of thing. From that perspective, I think games really do have a place as a kind of collaborative art or a synthesis of all these various aspects into a whole, and that, in itself, can be perceived as art.
I was really careful in making monsters faint rather than die. I think that young people playing games have an abnormal concept about dying. They start to lose and say, ‘I’m dying.’ It’s not right for kids to think about a concept of death that way. They need to treat death with more respect.