"If it turns out that Mario doesn't really fit into the type of game I want, I wouldn't mind using Zelda as the basis of the new game."
"A delayed game is eventually good, a bad game is bad forever."
"My biggest influence would be Mr. Miyamoto."
"I’d like to run away from MGS 4 creation and create something for the Wii but unfortunately, I don’t have anything that I can announce at the moment."
"Well, I say this every time but this is going to be my last Metal Gear... so you could say that the hidden theme here is that I want Snake to die so that I can move on"
"I honestly don't see the point in making a game that you don't honestly believe has a chance of being the greatest game of all time."
"I always think misquotes are partly my fault as well for not being clear about things."
"I’ll be absolutely honest with you, sometimes in the past I’ve actually changed little bits of the game to match the misquote, however insane that sounds."
"If you walk into CompUSA or Babbage's and see the vast array of game titles on the shelf, chances are that 95% of those titles are not worth playing."
“Note to self: Pasty-skinned programmers ought not stand in the Mojave desert for multiple hours.”
“Rocket science has been mythologized all out of proportion to its true difficulty.”
“Story in a game is like a story in a porn movie. It's expected to be there, but it's not that important.”
"The speed of light sucks. "
“I recognize that I possess a very special intellect, but at the same time, I recognize that I'm lacking in a lot of areas. But being well-rounded is greatly overrated. ”
"Players like to know that they've discovered things that even the designers didn't know were in the game."
"His name is Moe, he doesn't want to do the missions, he's kind of a slacker, alright. His rides his bike all day, and learns new little bike tricks on his little bike."
"I never go and tell somebody about the story in a cutscene I saw in the game. But I always tell people about the weird crazy thing I did that was really unique to me."
"The player stories will always be more powerful than scripted stories we try to tell the players."
"Yes... well, I used to have a pilot's license."
"The key for me is not to preplan every step of the player's experience. Putting players on rails, even if it does result in an emotionally compelling experience, seems like kind of a waste of time. To my mind, if we CAN offer players a choice, if we can let players make a decision, we should always do so. And then we have an obligation to show players the consequences of their choices and decisions. The game should unfold differently depending on how you play, how you solve problems."
"If you hear one kid say, "I wish I had more guns," then all of a sudden all kids want to use guns. These kids aren't game designers. I'm not saying their opinions don't matter. I'm saying the obligation of game designers is to come up with something that's challenging and entertaining. They shouldn't just get a list of impressions from a focus group and go with that."
Knights of the Old Republic, Mass Effect
“Great video games don't roll off the assembly line—they are an art form, as lovingly crafted as a film, musical score, or novel. That means taking the time to nurture top talent, then letting that talent work its magic. Fans are the real winners in this deal, because we will now have the resources and creative discretion to make the right decisions for our products. This is truly a new way of doing business.”
"I can promise you the next game I make will be completely different again, and I'll be challenged all over again. That's what keeps me enjoying this industry so much, even 20+ years later."
"Some of the hardcore Gamers often believe that in game advertising is evil, that's because we mention the "advertising" word, we must suck. Maybe we do suck, but the funny thing is that I agree, advertising (in general) does suck today!"
"I think video games are in a trap of ever increasing graphic "quality" driven by marketing departments and hardware manufacturers. But graphic quality does nothing for game play, story, or for immersion for that matter."
"There still has to be a mechanism in place to drive you through hundreds of hours of gameplay. If you end up finishing that at some point, and you're not leveling any more, something has to take the place of that, that is as interesting and compelling, or at the very least, time consuming, as sitting there and leveling up. "
"Creating an original IP is the dream of every developer, and is something that publishers look for with a team whom they can feel secure."
Michel Ancel - Rayman, Beyond Good & Evil,
Peter Jackson's King Kong
"I don't understand how it's possible to use the same old character for 20 years. I think that people are always changing, and I was not comfortable in doing another Rayman. I had so many ideas for another world, and other types of stories, so..."
"I like to leave that to the player's imagination! For us, it's much more fun to listen to what the players have to say, telling us what it meant to them..."
Kenji Kaido - Ico, Shadow of the Colossus
"I want to create a game that takes full advantage of the format it's on. If we made a PS3 or PSP game, we want it to take special advantage of the abilities of that format."
"Maybe it was something I saw before, in a film, in a cartoon. Maybe it was something I read in a book or something I played when I was little - that sort of mixture might be the inspiration."
"The game market is a tricky business, that's for sure."
"Lost Planet uses a famous Korean actor. That is the latest trend in Japan, so hopefully that will give it some appeal in the Japanese territory. Japanese people like gigantic robot mechs, so it's got that in it as well."
Chrono Trigger, Kingdom Hearts II
"So, Kiyoshi Shigematsu is a very famous writer in Japan, and writes short stories that have special human touch elements in them. And those are the things we haven't seen in games, and those elements haven't really fit into games, but I wanted to put that kind of element into the storyline."
"The reason I've used Kiyoshi Shigematsu as part of this project because we don't see enough emotion in videogames yet. Whether to do with family, or some other emotional elements - something that bring tears to your eyes. The main element in these games is often fighting or whatever, but I want these emotional elements. I think the main character, who has been living for a thousand years and can't die - he has a thousand years of memories, and that creates a lot of emotional moments."
"Competition is better for the consumer, and, ironically, it’s better for all of us in the computer industry as it challenges us to be better and do better work. Those of us who are up to the challenge will yet remain, and those who are not will find themselves doing something else...and that is how it should be."
"I have decided at this point in my career to take some time off and think about the future and to take a 'breather' after having worked very hard in the computer game industry for almost 20 years. Next year, I may 'come back' - although, I need to think of something cool to do!"
"I do all this writing to clarify things for myself, I put it out there afterwards, figuring maybe it'll help other folks, but the initial drive comes ... because I am banging my head against a design problem. So, the theory is a tool. You write it down so you don't forget it - it's like having a toolbox full of screwdrivers, wrenches and whatever."
"I think the biggest lesson I learned, and I’ve said this before, was about listening to the players, and about how much they know about the game that you don’t, and about how easy it is for you to get caught in an Ivory Tower and not understand the player experience."
"But most video game developers take a (usually mediocre) story and put little game obstacles all through it. It's as if we are requiring the player to solve a crossword puzzle in order to turn the page to get more of the novel."
"Ubisoft asked us to redefine the action genre for the next-generation of consoles and the only way to achieve such an ambitious goal is to put together the right team: People who have proven that they can work together to deliver a hit as well as experts with diverse backgrounds."
"We're aiming to create a world in which the player can interact with everything and where there is no suspension of disbelief because for example some doors can be opened but other can not."