I think a game hits a high point when it provokes reactions the designer doesn't expect.
Game developers know that people have more fun when they're in large groups. They feel more fired up when the challenges are more epic.
My goal as a puzzle designer is to create a meaningful experience for the player, not just 'I solved it.'
With 'World of Warcraft,' I like the potential for wasting time.
The only difference between me and the fans is I can't eat or drink during the game and you guys can't make moves. Besides that, we are pretty much the same people.
The art of it is, the more we can bring complex game mechanics to a mass market, the more engaging the games will be. But at the same time, we have to simplify everything: the mass market has a lower attention span; they're not seeking that experience from the outset.
If you play the video game, you become more interested and you want to know more about it. You want to read as much about it as you can, see it live and watch as many games as you can. If you're the type who wants to be as involved as you can in the sport, you're probably going to want to play 'Madden NFL.'
I love catching, being involved in every pitch of the game; obviously, it beats you up both mentally and physically.
I think the thing I took most from game playing was just getting in the characters head. I took it really seriously. There's something about creating your character.
I enjoy playing the game. It's hard for me to just watch it, even while broadcasting.
On my long list of hates about RPGs, one of them was, I always felt it was an unnecessary chore to make you care about a world when, in fact, what most players care about is their own personal experience.
Players' attention spans get less and less as they progress.
Any kind of horror video game where I'm the first-person player and I'm... I suddenly stop caring about the video game dude, and I'm like, I really don't want him to die,' and then the minute he dies, it upsets me. I can't play those games.
I want to play every game, obviously.
There's no doubt that 'Breath of the Wild' is the Switch game I've put the most time into.
I don't want to work on any games that don't have some kind of story component because that is the draw for me.
When we play games, our brains respond differently to stress and obstacles. We're better able to control our attention and ignore distractions.
I think it's definitely beneficial for these characters to have good acting voices behind them and it affects the characters in a way that people can feel like they're part of the game and that they know these characters.
The best games came from great characters.
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.
Video games are a special kind of play, but at root, they're about the same things as other games: embracing particular rules and restrictions in order to develop skills and experience rewards. When a game is well-designed, it's the balance between these factors that engages people on a fundamental level.
People already love to play casual games. But when you take a casual game and stick it inside a social network, it becomes way more exciting.
It's tough at slip. The ball doesn't come to you very often. So from that perspective, I enjoy keeping more - you're in the game the whole time.
A little light on the RPG elements but heavy on action, 'Mass Effect 2' was the game that created a world of characters that I actually cared about. When it came down to making those tough decisions during the final mission, I actually had to put the controller down and think about my choices.
But what's wrong with asking players to use their imagination, their game intelligence, as well as oomph and spirit? I don't just want them to do basic things. I'm asking them to do complicated things.
