Marc Laidlaw Quotes

There have been a lot of amazing action games that, perhaps, the focus is on cinematics or story or even how the camera works so that they've created this amazing immersive experience.

Sometimes we need to step back and understand the power of video games. 'Dear Esther' does just that. Through visuals, audio, and narration, this title weaves a story around the player as they explore different areas in the game.

I could put a sudoku at the end of every chapter and you'd have to solve it to progress through the story, but that doesn't address what would make people want to interact.

I like to play video games and read.

My definition of an adventure game is an interactive story set with puzzles and obstacles to solve and worlds to explore.

An adventure game is nothing more than a good story set with engaging puzzles that fit seamlessly in with the story and the characters, and looks and sounds beautiful.

The thing I really liked about the early 'God Of War' games was the idea that from the menu screen it felt like you went right into the game.

If you played 'Heavy Rain,' there are very few cutscenes and very few moments where you don't have control.

The approach to make more gorgeous-looking graphics... to have the horsepower, to have much faster processing - they don't do anything to ask nongamers to play with a video game.

Zombies are always moving fast in video games. It makes sense if you think about it. Those games are all about hand-eye coordination and how quickly can you get them before they get you.

I think different games have a different chemical release in your brain as far as reward goes. I like making puzzle games, just because I know I'm kinda good at it, and they really are superfun to work on.

There are plans for a Wii port of 'Gray Matter,' and I hope it happens.

While films are a very visual and emotional artistic medium, video games take it one step further into the realm of a unique personal experience.

Not only a great game, 'Uncharted 2' raised the bar for storytelling for the medium. The game treated action as a part of the overall story rather than a way to move from plot point to plot point.

'Monkey Island 2' was a huge game for me. It kind of taught me all about comedy.

There's a lot of art and comics and movies being paid homage to by game designers.

Videogames are indeed design: They're sophisticated virtual machines that echo the mechanical systems inside cars.

There is a definite argument to be made that videogames are becoming an art form put together by artists of different types.

If you are willing to take the trip through 'Analogue,' you'll be rewarded with some of the best writing in gaming today and a look into the future of what kind of meaningful stories video games are capable of telling.

'Modern Warfare,' 'Black Ops,' these are all the next level of video games. The people are more detailed, the fighting is more exact, and I can't speak for every gamer out there, but I know when I play, I feel like I'm actually in the game. It's that intense.

It's funny, people don't think of 'Cloverfield' as being restrained because it's a handycam movie, but the only reason it's a handycam movie is because that was supposed to be the reality of the situation.

If there's 'game' in the title, I'm there! Ready to play!

The audience is the camera. I don't want the audience to sit and watch, I want it to move.

I was the lead designer on 'Portal,' and I really enjoyed making that type of game.

When we started EA in 1982, our goal was to make games as big a media as visual entertainment or movies. That was how big we dreamed at the time.