Jane McGonigal Quotes

We like movies and books that give us this emotionally moving experience, where you feel like a slightly different person, and you see the world a little different after you finish. It lets you see your own life in a different way, and it actually makes you feel really good.

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 disagree that injecting emotion into a game comes at the expense of the playing experience.

We believe that we can use interactivity to create meaningful games. Games with emotions and virtual actors telling you something. Resonating with you as a human being, giving you food for thought. We don't need to deliver messages or whatever, just need to create a moment in time that will leave an imprint in your mind.

We wanted to create an environment where if a game player enjoyed the 'writing style' of a particular game designer, he or she could look for the next game by that same author and not be disappointed.

The way games are designed is you create a story, and then you create an obstacle course inside that story, and the player has to endure it to see more. So it's artificial. Game designers are so intensely worried about people getting bored that they pile on busy work for players to do.

With a movie, it's probably easier to sustain intensity and seriousness over the 90-minute duration. But in an open-world game it becomes exhausting, demotivating and even uninteresting for the player.

My goal is to make a player think, 'I want to reenter this world of lies tomorrow.'

Stories have always been the things that entertain me and make me feel happy and sad and move me and give me the experience of being able to live many lives in one lifetime. It's the best thing about being alive.

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.

You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.

The audience likes their emotions to be touched. They want to laugh and cry and feel good.

A film should be an experience. You should feel something. It should motivate you to feel something.

Music is an emotional experience, and that is what imprints itself on the soul. And I think for me, any great art is art which communicates human emotion.

Ultimately, Lloyd Alexander's tales of Prydain were enough to make me come back and visit again and again, and each time, I laughed and I wept. Each time. No exceptions.

The goal, I suppose, any fiction writer has, no matter what your subject, is to hit the human heart and the tear ducts and the nape of the neck and to make a person feel something about the characters are going through and to experience the moral paradoxes and struggles of being human.

With a lot of films, people are sitting on the outside looking in, but I want the audience to get a bit more intimately involved with what's going on, so that they maybe can experience it a little bit more intensely.

Music has its own emotional embodiment. It carries an emotion with it. When you associate a lyric with the music, it's much easier; but when you're standing there completely dry in front of the camera with no musical background, just a fine-tuned, get-this-emotional-story across, it's a very, very intense kind of focus.

At least I want to be making films that are somehow born out of me that are stories I want to tell. The challenge is figuring out how to do it where you can make them personal, yet still deliver to an audience a film experience that is satisfying and emotional, and that's what I'm trying to do.

I think what makes compelling fiction or cinema is when you're basically taking the most intense moments of experience and you're creating a song or a narrative out of it.

For a child, reading a book can be such an intense experience.

It's like fiction - the fact that somebody's telling you a story about people who didn't exist doesn't make the experience of the story any less real in your heart and mind. You go through heavy emotional responses to these stories, and wrestling is a similar thing - but it's happening in real space.

Why movies are so powerful is because you are right in there and you stay in there until they want you to come out, and then you've really gone somewhere.

When I worked on 2001 - which was my first feature film - I was deeply and permanently affected by the notion that a movie could be like a first-person experience.

When I saw 'Talk to Her' for the first time, I was crying out loud because I couldn't imagine that I was doing that film.