Level Design Quotes

I remember when we were doing the first Dragon's Lair, I got really involved with coming up with all the little rooms and what was the danger in the room and going into it with bats and spiders and snakes.

I don't know how video game narrative works.

I have been wildly enthused about gaming since I was younger, and a career path I chose not to go down but did really consider was getting into programming and game design.

God of War 2,' for me, was great because we were experts at the platform. You know, it was at the end of the PS2's lifecycle and we knew everything about it.

Game development combines all this disparate art stuff I'd been doing into one single thing that I could use to say very specific stuff.

I've never made a game for a high-definition platform. That's definitely something I'm interested in.

Making games look more photorealistic is not the only means of improving the game experience. I know, on this point, I risk being misunderstood, so remember, I am a man who once programmed a baseball game with no baseball players. If anyone appreciates graphics, it's me!

You can even express movies and poetry using video games. For those reasons, I've decided to create stories through video games.

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.

I've got a PowerPoint deck that I use for internal presentations, and there's a slide on it that asks, 'What percentage of your game is combat versus exploration versus puzzle solving versus platforming,' and I refuse to answer that question.

To the game code, the world is still just a tile map, but for rendering, each map was exported as a general-purpose 3D model, and the artists could then go through it and spend the polygons any way they liked, without the limits of line-of-constant-z software rasterization that we lived with on the mobile phones.

I've always wanted to get involved with designing a video game.

You have to design and program differently. Combat action in an MMO is so different to combat in a first-person shooter.

You don't really want to talk about 'Duke' in terms of, how many levels are there, how many guns does it have, how many monsters… It's got everything it needs in terms of that, but it's always been about the experience.

The main plot line is simple: Getting your character to the foot of the tree, getting him up the tree, and then figuring out how to get him down again.

One of the things we joke about in the FPS development is it's so hard to get the player to actually bother to look at all the cool stuff you've been doing. You spend a lot of time making really cool things, and usually the player isn't looking where you want them to.

I think you have to serve a lot of masters when you're doing a video game: you're not just telling a linear story or doing something that's all action.

I enjoy the process of adding elaboration into games and like to communicate with users through the details I create.

It is true that the gameplay for 'Orcs&Elves' was designed around the limitations of mobile phones, and that if we were starting completely from scratch for the DS, we would probably do things a bit differently, but the bottom line is that when we sit a random DS player down with the game, they have a lot of fun.

I'm a video game fan, and I always thought it would be cool to be able to control a character.

'Dark Souls' is my life's work; everything I came up with for 'Dark Souls III' is based on my personal preferences.

I've had the tremendous fortune to work on games like 'Life is Strange' and 'Horizon Zero Dawn', where there was a lot of collaboration between me and the developers.

I worked as a writer, lead designer, and creative director in the game industry.

I think DOOM had just the right mix of elements that keep people coming back to it: great monsters, excellent weapons with great balance, a spooky environment and extreme speed.

Games get a bad press compared with, say, opera - even though they're obviously better, because no opera has ever compelled an audience member to collect a giant mushroom and jump across some clouds.