Satoru Iwata Quotes

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.

Virtual reality is a tough sell for a software developer. They have to convince investors that not only are they going to build a good game, which is what they normally have to do, they have to convince them that it's going to be a good game and that virtual reality will be successful.

Having built-in video recording capabilities for a game that focuses on user-generated content might be a very good thing.

Roblox is all about having great user-created content. It really ups the bar in the quality of the game.

We do think deeply about the sequencing of our games, but having said that, Nintendo is well-known that if a game isn't ready, we will push out the development in order to make sure that it is as strong as possible when the game launches.

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

Game development is very difficult. Nobody sets out to create a game that's not fun. It's all of the challenges and difficulties that happen throughout development that determine whether a game is a failure or a success. I think playing those thousands of games is the single best and easiest way to learn from my predecessors.

For us, it's about having the game react to the player as much as possible. There's ways you can do that with technology, graphics, AI - we're doing some VR stuff right now - and so it's what we think is great about not just our games, but what's great about video games - how are they better than any other form of entertainment?

On open platforms like PC, Mac, and Android, Epic's goal is to bring its games directly to customers.

Throughout the history of game development, the game control mechanism has become more and more sophisticated, ... Perhaps those who have quit gaming or who have never played games look at the game controller and think it's too difficult to play, even before they dare to touch it.

What I can say now about paid DLC is that we aren't working on anything at the moment. We've put all our efforts into making the actual game. Creating DLC would involve large additional costs and require the involvement of a lot of people.

If I don't win the match I at least want to improve my game.

When I use a direct manipulation system whether for text editing, drawing pictures, or creating and playing games I do think of myself not as using a computer but as doing the particular task. The computer is, in effect, invisible. The point cannot be overstressed: make the computer system invisible.

What writers of fantasy, science fiction, and much historical fiction do for a living is different from what writers of so-called literary or other kinds of fiction do. The name of the game in F/SF/HF is creating fictional worlds and then telling particular stories set in those worlds. If you're doing it right, then the reader, coming to the end of the story, will say, "Hey, wait a minute, there are so many other stories that could be told in this universe!" And that's how we get the sprawling, coherent fictional universes that fandom is all about.

That's the best part of the game, to see the smiles on their faces and the breakthroughs they have as individuals.

They are very good reasons why voice acting in games can be so terrible. Writers are in a great position to be able to bridge this gap.

The most beaten paths are certainly the surest, but do not hope to start much game on them.

I always say this will be my last Metal Gear, but the games in the series that I've personally designed and produced-Metal Gear on MSX, MG2, MGS1, 2, 3, 4, Peace Walker and now MGSV-are what constitute a single Metal Gear Saga. With MGSV, I'm finally closing the loop on that saga.

In terms of creating new music, I'm willing to even branch out and take a slight gamble, but I'm not going all the way far left. I'm not trying to reinvent the wheel.

The first professional game that I ever played remains, to me, the most exciting moment of my professional career.

It's taken years for people to figure out how to make good content with a gamepad, even though they've been using gamepads for decades to make traditional games.

The number one thing is creating this world ["Trolls" ] - what the world is going to look like, feel like and what technology will we need to use to get there.

In my opinion, no young player can develop his or her game to its highest potential if he or she rides around the course in a golf cart.

The books I write because I want to read them, the games because I want to play them, and stories I tell because I find them exciting personally.

Game design isn’t just a technological craft. It’s a twenty-first-century way of thinking and leading.