Game Production Quotes

I've always said - I've been making games for twenty years, and from the first day I got in this business, I've been saying, 'All I have to do is sell one more copy than I have to, to get somebody to fund my next one.'

Game creation keeps on expanding, just like the Universe. That is why I keep making games

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.

There was a time when all the actors were saying, 'We should get residuals on videogames.' I just kept going, 'You don't have any idea what goes into making a game, do you?'

God of War' was a 40-60 person team. It was a lot of very different, very passionate, very crazy people.

What I have appreciated about the 'Call of Duty' games is the scale of production. It's not an indie game. It's not trying to be an indie game. But I've genuinely been pretty consistently blown away by, wow, what an effort has gone into this.

Every week you go in and hope that you have production in the passing game and also in the running game.

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.

The guys from Atari that are making the next Alone in the Dark game came and we had a great meeting. I'd love to do that. I'm a fan of videogames. I like them. And to get to be part of one of them would be a fun and exciting thing.

It doesn't matter how many women we get into game production. If the only people evaluating the work we do continue to be men, women's voices will never be heard.

Making a game is a really complicated thing.

Usually, when you do video games, you don't interact with the other actors. You each record your audio on different days, and you never really meet the other characters.

What I like about Kickstarter is it helps games that people want to play still get made, even if you don't pump $20 million dollars into it to try and meet all the stupid bells and whistles that publishers feel must be in games nowadays.

It was, like, two mobile games I released. They did pretty well, and after I made those two games, I was like, 'Man, I want to make another game, but I want to make this game for PlayStation and Xbox and PC.' I was like, 'You know what? Forget making the video game for Xbox, PlayStation and PC. How about I make my own console?'

Each time you buy a used game, this is money that doesn't go into the pocket of the people that took the risk to create this, to finance it, to develop it.

We are fortunate that there is a lot of demand on us to deliver our brand of interactive entertainment within the powerful franchises we have at Gearbox Software and the challenge for us is growing to meet this demand.

I'm a big gamer. I know the lead time and how long it takes to develop a game and how hard it is to get it right.

I've also been busy doing stuff for Steve Jackson Games.

When we're doing an action game, we make the second level first. We begin making level 1 once everything else is completed.

You know a lot of what worked on this was taken from Harry Potter 2, the little Doby character, we had a lot of our skin stuff worked out and that helped a lot. We have a lot of exchange happening.

Our developers will make great games for whatever high-end platforms exist.

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

My name is Reggie. I'm about kicking ass, I'm about taking names, and we're about making games.

Taking 'Duke Nukem Forever' on was a very easy decision for me to make.

Gaming goes in trends, and for a bit of a too-long stretch, it focused on huge productions.