Brenda Brathwaite Quotes

I try not so much to create new characters and worlds but to create new game-play experiences.

When I create a game, I try to focus more on the emotions that the player experiences during the game play.

When we approach games, we're always emotional-focused, so if a free-to-play business model works against the emotion, we won't use it. If it actually works well with the emotion, or if we can come up with a new way to do monetization that's different and that's unique for the game, I would go for that.

Games change by the different creatives that get involved and say, 'I have this crazy idea.'

I think you have to serve a lot of masters when you're doing a video game: you're not just telling a linear story or doing something that's all action.

I feel, as a game maker, we are responsible to make content that stretch the ruling structure and emotions so that everyone can enjoy.

Whenever I write the scenarios for my games, I don't necessarily envision them being liked or being wonderful for everyone.

What I'm doing is creating a game. I'm not making a movie. To make the game more enjoyable and captivating, and to make the player feel like he's present in that setting, we need the cinematic element.

A game's concept is one of its most important assets. I feel that we must aim to satisfy both beginners and experts, and that hasn't changed since I was making 'Kirby' games.

Sometimes, the supposedly weak groups turn out to be very difficult, and the supposedly strong ones are easier to take control of.

Don't define the game by the list of the features. Define it by the experience you want to have.

Everything does not happen according to a plan, and you learn your lessons the hard way.

Any major hair change comes with unpredictable and often unfiltered reactions.

You can't control how an audience responds to something. It's up to them.

For 'Nier: Automata', I wasn't told to target anyone. I just made what I wanted to, and I tried to stay hidden from Square Enix as much as possible.

I think to truly not know what to expect out of the story - to create a world where nothing is guaranteed - is sort of the backbone of 'Atlanta.'

You have to have this straddling balance of realizing that games are incredibly complex. You can have an idea of where you want to go with something, the structure of something, but the actual moment to moment figuring all this out-it unravels over the course of, in 'God of War''s case, about five years.

I try not to do traditional games.

Rock 'n' roll is a crazy world, and it's how things work out you can't predict.

I believe it's important for us to have a diverse and free approach to making games in the way that we like.

I broke pretty much every rule of classic game design and tried to invent new ones.

Perhaps 'Borderlands' can be a lesson for all of us - that when making a videogame, we should not be afraid to identify gamers as the audience.

If we're looking at the pure development of our game, the challenge is not to have a 200-cap player because that means there is something better that is coming along.

Like any other entertainment medium, we must create an emotional response in order to succeed. Laughter, fear, joy, affection, surprise, and - most of all - accomplishment. In the end, triggering these feelings from our players is the true judgment of our work. This is the bottom line measurement of success.

I'm always surprised when people respond positively to what I am saying, given its seriousnessness and strange nature.