Player Immersion Quotes

I have never made a game that wasn't explicitly about empowering players to tell their own story.

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.

Whenever I write the scenarios for my games, I don't necessarily envision them being liked or being wonderful for everyone.

If you look at a multi-player game, it's the people who are playing the game who are often more valuable than all of the animations and models and game logic that's associated with it.

'Guild Wars 2' is a wider world in that we have a lot of different mechanics available for storytelling. We have our personal story, the story of you, which is tailored for your character. You answer some basic questions; you make some decisions early on, and that follows through.

It's about players making choices as they play, and then dealing with the consequences of those choices. It's about you telling your story, not me telling mine. It's about you.

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.

I disagree that injecting emotion into a game comes at the expense of the playing experience.

A good game impresses you with what you're doing. I think that's a fundamental difference that I as a game designer need to recede in the background.

The most important thing in games isn't the designer's narrative, but the story the player creates through his experiences.

Game designers are obsessed with emotion. How do we create the emotions that we want gamers to feel, and how can we really make it this intense, emotional experience?

For me, personally, I'm more comfortable with what I would call third-person entertainment, meaning watching a character that's explicitly not me and experiencing something through a character's eyes, than what I would call first-person entertainment, which is a video game in which I am the character.

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.

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.

The letters were universally complimentary, and we designers loved hearing that our games were being enjoyed, but if they weren't sending us a picture of their screens most of those writers would have spent their time playing the game rather than writing letters.

Sometimes, when you watch people play a video game, they seem lost in this wormhole, or in a trance.

The intention behind the high difficulty of the games I direct is to evoke a feeling of joy and accomplishment in the player when they overcome these challenges.

There's a theory in gameplay, particularly in first person shooters, that sometimes you don't want to have that much of a character because then it destroys the experience of the player being that character.

I want games to have their own identity.

The way games are designed is you create a story, and then you create an obstacle course inside that story, and the player has to endure it to see more. So it's artificial. Game designers are so intensely worried about people getting bored that they pile on busy work for players to do.

Perhaps 'Borderlands' can be a lesson for all of us - that when making a videogame, we should not be afraid to identify gamers as the audience.

As a matter of a fact, though, I've never actually played a video game where I've played as myself.

I think what's really the most ideal thing is for the player themselves, within their own imagination, to carve out what they view as being the essence of the character.

A deliberate choice on my part was for the player to continue to find new possibilities in the early Attic rooms far into the game. I think this builds atmosphere, though it means there's no neat division of the prologue from the middle game.

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.