Richard K. Morgan Quotes

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.

I'm not the expert on the great gameplay. I come in for the character design, monsters, atmosphere. I'm not the technician.

You can't just come up with an idea for a game and stick the drama on top. It all has to be one driving thrust.

I can move my characters through it easily, because I understand the background; I've really studied it.

Games are getting more interesting. I mean, when we talk about books, they can be anything from a summer blockbuster to 'War and Peace' - well, games are the same. I think the creative side is catching up with the technology.

You start as an audience member and create a world you're interested in, and then you move into the telling of those stories, bringing what has interested you as an audience member.

The opportunity to create a small world between two pieces of cardboard, where time exists yet stands still, where people talk and I tell them what to say, is exciting and rewarding.

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.

Creating the fictional background for a game world isn't significantly different from creating a background for fiction.

I don't even make multiplayer games much, so dealing with multiple characters is something new for me - or, rather, something I've had to recall from my days as a roleplaying adventure designer where the party was everything!

It's fun when you create a world to inhabit it and see the other characters from grounds eye view.

It's weird that, in a way, by writing about video games, I get to develop them, too.

We didn't start at 'Fallout 3' and think about how to add to that. We take a step back and think, 'Okay, if we look at all the 'Fallout' games, what would a new one feel like?' So the focus is not ''Fallout 3' plus this'. Then we start really digging into the world.

Who I love reading is Jordan Mechner, who wrote 'Prince of Persia.' He put all his journals while he was writing 'Prince of Persia' online.

I love building out the worlds of my fiction with fictional books.

I wanted to learn about the worlds I wanted to write about in fiction.

Fiction writing is just an excuse to go discover interesting things.

In my experience, a novel is the culmination of various thoughts and impressions collected over time, until something comes along to give them a shape, to turn them into a story.

To write a story is to create a world of your own.

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.

Storytelling is my true passion.

At the end of the day, I write characters that I want to play, because I just think, 'Hey, maybe one day it'll get made.'

I like writing about places, about people and environments. When I create a world, it lets me go in and define the details of that world.

In an early version of the story, I thought Aang could shepherd a herd of twenty bison.

With 'Journey,' we created an emotional arc for two different scenarios. So, if you play alone, it's a good game. You have what we think is a complete emotional arc. You will feel, I guess, a sense of transformation in the single-player. Because it's a hero's journey.