Quotes of All Topics . Occasions . Authors
I'd been away for about 10 days, and literally the first thing I did, even though it sounds very... it just shows you what a boring person I actually am, because the first thing I did was kiss my wife and hug my kid, then I turned on 'Fable 2' just to see how much gold I'd accrued over 10 days.
I think "artistic" simply means there's more of the creator in the thing. Whether it's painting or song or movie or game, the creator puts more of themselves into the piece, so when the audience see it, they feel something real, they feel something human, they feel something that's like a person.
It's possible to do computing in the Cloud, PlayStation 4 can do computing in the Cloud. We do something today: Matchmaking is done in the Cloud and it works very well. If we think about things that don't work well... Trying to boost the quality of the graphics, that won't work well in the Cloud.
The whole idea of Mass Effect3 is resolving all of the biggest questions, about the Protheons and the Reapers, and being in the driver's seat to end the galaxy and all of these big plot lines, to decide what civilizations are going to live or die: All of these things are answered in Mass Effect 3.
We don't pay a whole lot of attention to the Internet until people have played the game - then we pay a lot of attention to whether people liked it. We read through it and see it, but we don't take it into consideration. ... [The Internet] is not going to dictate the direction of where the game goes.
For a long time at Nintendo we didn't focus as much on online play because for many years doing so would have limited the size of the audience that could enjoy those features. But certainly now we see that so many people are connected to the Internet. It opens up a tremendous amount of possibilities.
I'm sure a lot of the hardcore folks are going to be up in arms and I'm really looking forward to getting into that discussion with them. I don't believe I'm compromising on my gameplay ideals at all. [But] any artist who doesn't want his or her work in front of the largest audience possible is nuts.
If there's anything I can't stand, it's the cliche of the female handler who's always talking through the radio with your player, telling you where to go and what to do with a sexy voice. It's such a horrible, horrible cliche. You just get so tired of it. It's like, is this all she's ever going to be?
When you work with web design companies in San Francisco, you end up with a bunch of twenty-somethings who have their own cultural peculiarities, including obscurity for its own sake. You give those guys a website for a banking institution and they screw it up, because they are designing for themselves.
When we approach games, we're always emotional-focused, so if a free-to-play business model works against the emotion, we won't use it. If it actually works well with the emotion, or if we can come up with a new way to do monetization that's different and that's unique for the game, I would go for that.
I am not Link, but I do know him! Even after 18 years, the Legend of Zelda never stops changing and this game is no different. We are now taking you to a world where Link has grown up--a world where he will act different and look different. In order to grow, Link must not stand still and neither will I.
I was obsessed with the idea of sitting next to someone and playing a game that we were both competing in, and we were also competing with the computer. That was mind-blowing to me at that time. It was just so cool to think about the computer being able to play with us, and then also [for] us to compete.
The span of a man is three score and 10, or thereabouts. As most Americans are not especially keen on availing themselves of the lessons contained in 6,000 years of recorded history, we have a tendency to believe that the current status quo is pretty much how the world has been and how it will always be.
For 'Dragon Quest IX,' one of the biggest things was being able to create your own character and your party members, too. The importance of it is that you can customize the face, the name, or something like that, so the party members are really a reflection of you. It becomes more of your own experience.
We ought to remember the past, yes -- but we shouldn't allow it to consume us. We live in the present moment, and some people are too tied to the ideals of that period to fully move forward. We'll never work through the future unless we accept the present. We must fill the twenty-first century with dreams.
If tournament popularity was the most important consideration, then I think we would create a Smash Bros game that included a multitude of fast moves with complicated controls. However, I believe this is actually the greatest shortcoming of fighting games at present, and that is the reason why I don’t do it.
I think, actually, any morality system that rewards only the extremes is a flawed system. Players don't approach life that way, they don't approach games that way, and they shouldn't be trained to approach games that way. They shouldn't be in the 'Star Wars' mode where, 'I've got to choose every good option.'
We're making efforts regarding the total flow of the Zelda game. So far, the basic flow of the Zelda games is you're exploring a field, you go to a dungeon, you conquer it and return to the field. We're looking at altering that traditional flow. That's all I can share, and I can't say more until E3 next year.
Any phrase that suggests play is this domain that's the opposite of work, or the thing that you do when you're done working, should trouble us. Because it means that play is always relegated to the exhaust of life. It's the thing that you do after you do the important stuff, it's what you do on your own time.
A lot of the strength of an RPG world lies in its foundation: its systems, lore, and when appropriate, its magic systems. While there are elements tied to 'Project: Eternity' that at first glance seem to be classic fantasy, that's intentional - we do want to recreate some elements of a High Fantasy experience.
A teenager can find lots of games, but that's not necessarily true for adults over 30. As you get older, you desire more intellectual, emotional experiences. If you look at film, there's many different genres. No matter how old you are, you can find the type of movie you like. That's a sign of a mature medium.
That's what 'The Trail' ended up being, this delightful way of exploring and managing your backpack and crafting and collecting and trading with other players, doing all that in this really delicious way. When we finished that and released it on iOS and Android, tens of millions of people loved and enjoyed it.
I remembered a long time ago, Kit Williams hid a golden hare somewhere in Britain and wrote a book which was layered with clues about where the it was. This really fired my imagination, I read the book and it was way too cryptic for me to understand, but it seemed to fascinated people - it even got on the news.
Games are a trigger for adults to again become primitive, primal, as a way of thinking and remembering. An adult is a child who has more ethics and morals, that's all. I am not creating a game. I am in the game. The game is not for children, it is for me. It is for an adult who still has a character of a child.
We do various kinds of research during the planning stage. We consider the inclusion of characters that feature in games being developed at the same time, are highly requested by users, and are popular within their series. We then think about how they could be unique if they were to appear in 'Super Smash Bros.'
I was amazed at how the life of a freelancer differed from running a remote studio for another company. I thought I knew what I was doing in 2004 when I left Eidos because I had run Ion Storm Austin, which was my own independent studio. I had run a business unit inside Origin, but being part of a startup is crazy.
I learned in the computer game business early on that all senses are not equal. The best example is, you're listening to a radio play and you're driving down the road, and suddenly you realize you haven't seen the road in five minutes. It's because your visual cortex has been partying with your imagination, basically.
I know Microsoft, I know they were only doing things because they thought they were long-reaching and long-thinking. But the world we live in now is that we have to realise, especially if you're a big corporation, if you make one step wrong, the world will leap on you, and unfairly, very unfairly, they will judge you.
A lot of people asked us why 'Journey' didn't let them play with friends or family, and obviously we had a reason - because that would have defeated the purpose of the game. But for a game to be truly be accessible to both children and adults and to men and women, it has to allow people to play with the ones they love.
Seeing games become more of a young person thing, I feel like a toy I grew up with has been left behind. I don't want to. I want this thing to be respected by adults. I want this thing to be growing with me. It's important to have games that could be more nuanced and reflective of the real world and relevant to adults.
Our ideas of happiness, gratification, contentment, satisfaction, all demand that those feelings come from within us. If you flip that on its head and say "What if I took the world at face value?" and then ask "What can I do with what is given?" it's an interesting trick to turn around the whole problem of how you feel.
My first encounter with video games was pretty conventional. I was travelling with my parents - we used to take long cross country trips in the United States every summer - and we went into a restaurant where there happened to be a Pong machine, and I was... a lot of quarters went into that Pong machine, let's just say.
We absolutely need diversity [in game designers]. And not just diversity of gender, but diversity of cultures, of ethnicity, of sexuality. If we want to reach beyond the audience we have we've got to bring in more players, and to bring in more players we've got to bring in people who might be able to reach those players.
In cinema we have all kinds of ways of communicating: cinematography, lighting, character performance. If you pay attention to silent era movie actors, they are big about postures and really exaggerated expressions so you can understand how they feel. We use all kinds of techniques from cinema to help communicate emotion.
The more you're drowning in familiarity, the better the fun is. It requires less novelty to produce even more gratification. And it's something that didn't come from you. It was about the other thing - the thing you were experiencing, or the people you were with, or the mechanism you were operating, or whatever it might be.
At the current time we have no plans. I consider my job at this point, and my main responsibility, to make the Wii U and 3DS versions the best and the fullest experience possible. That said, once finished, it's the type of thing we could take into consideration, but for now, you could consider DLC as not being in the cards.
We encountered an awful lot of problems from the drastic leap we took with Wind Waker. I think we will be a bit more careful in the future, but if we find a new approach that not just the developers, but also the users would enjoy then I think we will want to break new ground again. But we haven’t found such an approach yet.
Game development is very difficult. Nobody sets out to create a game that's not fun. It's all of the challenges and difficulties that happen throughout development that determine whether a game is a failure or a success. I think playing those thousands of games is the single best and easiest way to learn from my predecessors.
LinkedIn's got a little progress bar. It wants you to do things like sign up 10 of your friends. It does that near the end. At the beginning it's like, 'You put in your name. 20 percent progress! How about some other information?' People want to fill in that progress bar. They like to complete a task. They like to check a box.
When artists and philosophers talk only amongst themselves, they ignore the potential of popular culture to become a variety of dialogues with and between everyday people. Its discourse may be productive of desire and pleasure, but popular culture is also a language in which people discuss politics, religion, ethics, and action.
In video you are starting with nothing but a black screen. There's no game there. With pinball you at least start with that basic concept, but not with video. The challenge of going from no game to something today is only different because you have to create something so damn fun people will pay $1.00 every two minutes to play it.
New video gaming systems are coming out that track every joint of your body. It's basically going to become a normal thing for us to allow Microsoft to put a three-dimensional camera on top of your television set looking at you, which sounds like a Big Brother scenario if ever I heard one, but, still, it's what we're going to allow.
We had this terrible thing, this awful thing with 'Black and White' happened, where the design of 'Black and White' was actually... was hijacked by the fan sites. Because what happened is, there were so many fan sites on 'Black and White,' the hype on 'Black and White' was just ridiculously huge. It was completely out of our control.
Every time I make a new game, I put all of my effort completely into that game. It's like putting all your effort into a new child that's being born. Once the project is done, I can step back and look at it objectively, which is when I can see a lot of flaws. That's when I start to make a new game that tries to fix some of those flaws.
I don't understand computers. I've been unable to construct a working mental model of how they do what they do. I can break software by looking at it. I can blow anything up. Without trying. It's sort of like being a dowser. And this extreme elaborate clumsiness on my part is actually something people will pay me for. It's quite wonderful.
Any established media, such as literature, music, or film, offers a wide variety of experiences touching emotions from the very primal to the deeply complex. No matter who the audience are or what kind of mood they are in, there will always be something right for them. Video games, as a fast-growing new medium, is on its way to catching up.
My wife, there's certain kinds of housework that she just doesn't see as necessary to do in the way that I do. Things like the state of our closet or where things are in the kitchen. I have this almost unhealthily obsessive desire to have things in their place and she just totally doesn't. And this is a potential point of conflict, of course.
Look at the genres women like: a romantic comedy game doesn't exist. Few examples of a documentary game exist. What is the equivalent of a real drama game? They don't exist. Emotion with that complexity for a more mature, older audience are necessary to make medium-like video games healthy so it can be highly respected like the film industry.
When Mr. Miyamoto says easy, he doesnt mean simple. He means easily -- this is the difficulty of the language here. Its accessible, and you know how to do things, if not necessarily what to do. You may have a series of puzzles to figure out, and it may be difficult to decipher the meaning, but its not difficult to accomplish what you need to do.
I remember having some problems with [the Deus Ex theme] when I first heard it and I was trying to figure out how to tell [Alex Brandon] I wanted changes. But then I noticed that I couldn't get it out of my mind. I was whistling or humming it to myself all the time. So I just kept my mouth shut and let it be. I think it's a highly addictive tune