Douglas Adams Quotes

I'm fascinated with video games, though I can't really play them. It's definitely an art form that intrigues me to no end, though.

We want playing our games to entertain people on many different levels. Deeper down, I want to make a connection with the player, and it's the way, to me, of saying to the person playing the game that they're not alone in the world.

With a movie, it's probably easier to sustain intensity and seriousness over the 90-minute duration. But in an open-world game it becomes exhausting, demotivating and even uninteresting for the player.

My goal is to make a player think, 'I want to reenter this world of lies tomorrow.'

While films are a very visual and emotional artistic medium, video games take it one step further into the realm of a unique personal experience.

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.

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.

I could put a sudoku at the end of every chapter and you'd have to solve it to progress through the story, but that doesn't address what would make people want to interact.

The video game market is huge, and the ability to tell stories, and tell different kinds of stories in the gaming space is quickly evolving and changing for the better.

I like a movie that the audience actively has to participate in and not just casually observe.

I love television because it's the most alive, because you don't know how it's going to end. It's a living thing. Sometimes the writers are watching you to see how things will unfold. Sometimes the writers have written it, and you come to it, and they have to change their way of going because of what you've done.

Each game we make, we like to introduce an emotion that is rarely experienced by gamers in the console game industry.

I love games like 'Flower,' for example - I thought this was amazing. It's great, it's new, it's different, and it's invented something that didn't exist before.

We believe that we can use interactivity to create meaningful games. Games with emotions and virtual actors telling you something. Resonating with you as a human being, giving you food for thought. We don't need to deliver messages or whatever, just need to create a moment in time that will leave an imprint in your mind.

You can only truly wow a player the first time he sees [a cutscene]. I felt if players saw the cutscenes outside of the game, they would no longer serve as rewards for playing the game, so I've decided against having them.

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.

Games are not about being told things. If you want to tell people things, write a book or make a movie. Games are dialogues - and dialogue requires both parties to take the floor once in a while

The moment you start dictating content/themes/story vs. allowing the player to be a participant in the story and carve their own path, you're doing the player a disservice.

Players' attention spans get less and less as they progress.

The nice thing about a video game is that you can explore the dimensions of a character so much more deeply than you can in a television show or even in a movie.

Throughout the Zelda series I've always tried to make players feel like they are in a kind of miniature garden. So, this time also, my challenge was how to make people feel comfortable and sometimes very scared at the same time. That is the big challenge.

My reaction to 3D is subtly. Things don't come out at you, but rather you - The audience come into the film.

We're growing into an entertainment medium as opposed to 'We make games. We make Mario jump.' We no longer have to focus so hard on the technical hurdles and can ask, as a player, why am I doing this? Why am I making these choices? Games that don't have that strong foundation stumble.

'Heavy Rain' is a cousin of the 'Choose Your Own Adventure' books.

Getting the player emotionally involved is the holy grail. We try to make players forget they're playing a game. We want them to live the experience and suspend disbelief.