Interactive Elements Quotes

We want the reading experience of digital comics to be as simple as tapping a tablet or an arrow key or mouse button to move forward or back.

We made the buttons on the screen look so good you'll want to lick them.

I'd love to do a book with scratch n' sniff pages and pieces of string and plastic attached to the pages, you know?

What should a good children’s book be like? If you ask me, I can tell you after thinking long and hard: It must be good.

Writing 'Book 1: The Maze of Bones' didn't feel much different than writing one of my other novels, but I thought it was very innovative to offer the website and trading card components as well for those readers who wanted to go more in depth with the Cahill experience.

For 'Inhuman,' it's a 'chess game' series. You have a lot of pieces moving different ways at once, and it's about what they do on their own and what happens when they collide into one another. It's about long-range planning, new character creation, and trying to really build things.

What I'm hoping to do and what I think I will do is make an entertaining enjoyable show where the whole family can sit down and watch.

Having made a real 3D movie, you realize that, right from the production design, you're designing sets that complement the 3D. You're designing interactive elements, like rain or smoke - all this particulate matter in the air enhances the 3D. But if you're shooting in 2D, you don't know about that.

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.

It is easy to force a reader or viewer to interact. The trick is in making them want to interact, and in letting the story unfold hand-in-hand with that.

All the stuff I love most in game storytelling is never the big-picture stuff; it's the stuff that feels like curlicues, stuff that's just there because it's a game and because you can do it.

What makes a mockery of a lot of these 3D conversions, where they're shot in 2D and converted to 3D. Having laid a real 3D movie, you realize that it's right in the production design. You design sets that enhance the 3D and you design interactive elements, like the rain or smoke. If you're shooting 2D, you don't know about that.

Structure your presentation so that you appeal to the different interests of the different decision-makers involved.

I believe the game should really feel what the players are feeling and change according to that.

I like making movies that have some of the qualities of first-person shooter games. That was very important to me for the 'Bourne' franchise.