Josh Trank Quotes

Adventure games are all about details - if you happen to take this one object and use it with this other object, in a really weird place, at a weird time. If you happen to write a really funny dialogue line for that, even if it didn't solve the puzzle, people will appreciate that.

There's no reason why the 'Lost' alternate reality game had to be officially made by the 'Lost' production crew.

I don't know how video game narrative works.

I think 'Overlord' has definitely benefited because I work with every single level designer, and working where we have space to tell the story. That's what it's all about - getting writers and storytellers involved in the team and being a back and forth process.

The video game market is huge, and the ability to tell stories, and tell different kinds of stories in the gaming space is quickly evolving and changing for the better.

Games have has as much an impact on Hollywood filmmaking as MTV music videos did.

There are interactions with characters within the game which I think are pretty neatly done considering the limitations that you have to work with. I mean, a computer can't really generate a character that talks back and forth with you successfully.

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.

One thing that's unique to 'Uncharted' is something called 'chasing picture,' where Naughty Dog run a section of gameplay and I'm allowed to ad-lib over it. We call it 'panning for gold.'

Personally I find there is just as much if not more creativity among game makers as there is among feature filmmakers.

I wonder if games are maybe a terminus for ideas. Things can be books or movies or operas or plays, but once they're a game, that's where they should end. Things shouldn't start as games and be taken to movies.

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.

There's a misunderstanding that I've always tried to address straight on when this question comes up, which is that a 'Half-Life' story can somehow exist outside of a game. It can't. The story is created through the process of trying to figure out how to best use the features of the engine within the interesting set of constraints it poses.

We need games like 'A Closed World' for many reasons. When you hear another developer talk about how games need to grow up, they need to tackle adult themes, and how they need to embrace that ability to transport the player into a different world, this is that game that they want other developers to make.

I like video games, but they are very violent. I want to create a video game in which you have to help all the characters who have died in the other games. 'Hey, man, what are you playing?' 'Super Busy Hospital. Could you leave me alone? I'm performing surgery! This guy got shot in the head, like, 27 times!'

The great games are the space sims and driving sims and these experiences where you're basically sitting at a table with nothing happening in front of you. A lot of interesting things are evolving there. There are great games that can be made.

It is true that the gameplay for 'Orcs&Elves' was designed around the limitations of mobile phones, and that if we were starting completely from scratch for the DS, we would probably do things a bit differently, but the bottom line is that when we sit a random DS player down with the game, they have a lot of fun.

As to the differences between game work and novel writing, well, obviously the former is a lot less lonely - you're in and out of meetings all the time, bouncing stuff back and forth with the level designers, the art department, the animation team, so forth.

The goal for us to do with Squanchtendo is to approach all of our projects with a goal of adding interesting characters, personality, and a story to interact with in-game. Every game we make will be built from the ground up for whatever hardware it will launch on.

If 'Heavy Rain' is a huge commercial success, it will show everybody in the industry that the world is sick of first-person shooters, that people are ready for an adult gaming experience. If we fail, it will say, 'Please keep making the same old stuff.'

We're not going to just duplicate 'Heavy Rain,' because we are passionate about innovation and discovery, so we're trying to discover new ground and see how we can move from 'Heavy Rain' and create something even more immersive.

Each game we make, we like to introduce an emotion that is rarely experienced by gamers in the console game industry.

My goal with 'Beyond' is really to create a strong sense of empathy between the player and Jodie Holmes.

Most games end up with quite caricature scripts because they are just here to serve the game-play mechanics but not to trigger any emotional response.

Quantic Dream is a very special company in the sense that we do a lot of things that wouldn't make any sense in any other company.