Cory Barlog Quotes

If I had done a sequel to 'Day of the Tentacle,' there probably wouldn't have been a 'Full Throttle.' If I did a 'Full Throttle' sequel, there wouldn't have been a 'Grim Fandango.' It's important to make new stuff up.

I think I can make an entirely new game experience, and if I can't do it, some other game designer will.

I want to see a game designer nominated for a Nobel Prize.

I didn't want to make a game unless I felt in the position to make something new and different.

I think you always win in storytelling when you let the best creative ideas guide you.

There is no science in creativity. If you don't give yourself room to fail, you won't innovate.

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.

Being the composer of 'Minecraft' is basically like imagining the distance between earth and moon.

I'm always thinking about whatever game I'm working on. My brain works subconsciously on design pretty much every hour I'm awake.

If you have the ideas, and you're a creative person, then you don't really differentiate in how your ideas manifest themselves.

The innovative process is a fragile one, dependent on a complex, often messy interplay of imagination, competition, and exchange. Curbing new ideas hurts not only individual creators but the audience for which they create and the posterity that inherits their legacy.

I think a craft becomes an art form when the space of possible solutions becomes so huge that engineering can't carry you through.

I think a game hits a high point when it provokes reactions the designer doesn't expect.

About half my designs are controlled fantasy, 15 percent are total madness and the rest are bread-and-butter designs.

Imagination has rules, but we can only guess what they are.

Understand 'Minecraft,' and you'll begin to understand the power of games. Like any good story, this one begins with a man and a dream. Markus 'Notch' Persson first started on the project to create a three-dimensional world vast in scope, with elements that allowed you to customize your character into the way you want them.

I've always said - I've been making games for twenty years, and from the first day I got in this business, I've been saying, 'All I have to do is sell one more copy than I have to, to get somebody to fund my next one.'

Being young is an advantage. You've grown up with games as the dominant entertainment. You have a lot of experience of video games. So what do you want to see that's not been done? Innovation is really low cost for you. You can afford to take risks and fail to execute new ideas.

You can be intuitive when you've got a more expansive role. You can get into the poetry of telling the story rather than just pushing buttons.

If you look at the requirements for just one piece, like art, from one generation of games to the next, it will change radically. You need people who are adaptable because the thing that makes you the best in the world in one generation of games is going to be totally useless in the next.

I love when people have their own creative vision, when a person stands out and tries different things.

Though I respect hugely the effort and the care and the beauty of games, I want to be working with people who want to create the 'War & Peace' of games, the 'Citizen Kane' of games, and not just be warming up George Romero.

We have spent quite a bit of time considering a good space game, and I can't really say anything at this point, but we are definitely still interested in that area.

The day before something is a breakthrough, it is a crazy idea.

It was, like, two mobile games I released. They did pretty well, and after I made those two games, I was like, 'Man, I want to make another game, but I want to make this game for PlayStation and Xbox and PC.' I was like, 'You know what? Forget making the video game for Xbox, PlayStation and PC. How about I make my own console?'