Dave Morris Quotes

It is easy to force a reader or viewer to interact. The trick is in making them want to interact, and in letting the story unfold hand-in-hand with that.

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.

A game like 'Myst' may be a gorgeous slide show that preserves its beauty at the expense of speed. A game like 'Doom' sacrifices almost everything for action. But the eye soon adjusts: the degree of detail more than adequately conveys infinite claustrophobic labyrinths populated by howling monsters.

If I have my way, I want to go start making really interactive television. Stuff where you can sit and watch real actors do a real series and they can get into some kind of gun battle and all of a sudden your television prompts you to pick up your controller and all of a sudden, you're playing a first-person shooter.

Interactive storytelling emphasizes a personal connection with the characters. It is a powerful tool that can draw you so deeply into the world of a story that you lose sight of it as a story. You think you are there - at least, if it is done right.

I believe in anything that will engage the audience and make the story more effective.

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

You turn the computer into the storyteller and the player into the audience, like in the old days when the storyteller would actually respond to the audience, rather than just having the audience respond to the storyteller. I had an enormous amount of fun, actually, working on that.

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.

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.

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.

It would be easier to write a novel without reader input, but I feel the fiction is richer for it.

All the stuff I love most in game storytelling is never the big-picture stuff; it's the stuff that feels like curlicues, stuff that's just there because it's a game and because you can do it.

As a filmmaker, I believe in trying to make movies that invite the audience to be part of the film; in other words, there are some films where I'm just a spectator and am simply observing from the front seat. What I try to do is draw the audience into the film and have them participate in what's happening onscreen.

I like a movie that the audience actively has to participate in, and not just casually observe. Whatever my part in it, just as an audience member, I find that exciting.

Writing 'Book 1: The Maze of Bones' didn't feel much different than writing one of my other novels, but I thought it was very innovative to offer the website and trading card components as well for those readers who wanted to go more in depth with the Cahill experience.

I remember when we were doing the first Dragon's Lair, I got really involved with coming up with all the little rooms and what was the danger in the room and going into it with bats and spiders and snakes.

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 are shifting into an enjoyment-based economy. And who knows more about making enjoyment than game developers?

When people take off the headset, they immediately have a creative idea about what they can make in virtual reality, and a lot of them immediately want to get involved.

Foursquare's adoption of a game dynamic when it launched is a particularly clever implementation of a social hook.

In Endless Quest books, you start the plot, and the character has to make choices. Then you have to write one choice over here, one choice over there. The author might get one or two choices out.

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

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.

Duke Nukem' helped bridge the gap between games designed for adults and what they wanted in their entertainment as adults who also wanted to have fun. 'Duke Nukem' bridged that gap and helped bring those things together. It's one of the reasons it succeeded at the time.