Quotes of All Topics . Occasions . Authors
When I started, people would come to interview me, and just knowing that I worked in videogames - it was like people wanted to stone me, it was that bad. People thought of video games as kind of a bad thing in society. Now, people that come to interview me, they have grown up with video games, and they know what they are; they've experienced it.
What I want to try to prove is that artistic games, when done properly, can still be a commercial success. By doing that, I will be able to essentially shift the industry and create more opportunity for people to create artistic games. In a way, making money is important for us right now. Not because we need it, but because the industry needs it.
It's more like there are some really obvious things that are different and then lots and lots of smaller things, lots of things about who lives and who dies, civilizations that rose and fell, all the way down to individual characters. That becomes the state of where you left your galaxy. The endings have a lot more sophistication and variety in them.
Recently I have been spending my lunch with other game directors playing over local connection battle in Spirit Tracks. It is very good to do that in order to facilitate better communications between us. I have been partnering with the director of the Spirit Tracks to fight against the director of the new Wii game and yes, recently we have been winning!
Actually a lot of the supposedly serious and meaningful and worthwhile content on the podcast or on the television is no more or less meaningful than the clothes in the laundry basket or the dishes in the sink. It's more a matter of the attention you're willing to bring to them, where you're willing to allow meaning and pleasure and the light to escape.
When I look around and see how aged cartoonists continue to work on their manga and how movie directors create new movies all the time, I understand that they would never retire. And by the same token, I guess I will still be making games somehow. The only question is whether the younger people will be willing to work with me at that far point in the future.
We really can't boil a man's life down to seasonal divisions of spring, summer, autumn, and winter. Seasons cycle perennially, and we enjoy them because they recur. We should understand a man's life this way too. An elderly person may yet see new springs and summers. On the other hand, some young people never escape winter. Others become ensnared by their own private autumns.
I've chosen a life that's so different from everybody else's that it cuts me off from them. Practically everybody I know treats me like a guest celebrity. Of course it's my own fault. I feel so damn alone sometimes, I feel like I could just float away into the stratosphere and everybody would stand there looking up at me and not one would haul me back down to earth. No ropes.
I did the original Robotron game back in 1982. To me it's still one of the classic 2D games as far as action and decisions per second, and kills per second, and explosions per second. It's super-frenetic and totally involving. There's been a lot of games since, a lot of Robotron sequels. A lot of them haven't even captured the magic of Robotron, much less moving things forward.
What if everything you see is more than what you see--the person next to you is a warrior and the space that appears empty is a secret door to another world? What if something appears that shouldn't? You either dismiss it, or you accept that there is much more to the world than you think. Perhaps it is really a doorway, and if you choose to go inside, you'll find many unexpected things.
Wouldn't we all rather have the possibility of finding pleasure and delight in literally anything we might encounter? Instead of assuming that actually there are only these three things where pleasure and delight are possible. Like oh, it's television and socialization and work, and then everything else is the smoke I have to somehow choke my way through in order to get to the good parts.
Normally if you're dating, you're looking for compatibility, and then the moment that there's incompatibility, you're like, "Well, swipe left on that, let's just keep looking." In some ways I think the same lessons apply to people that apply to objects. It's just much easier to see that lesson in things because they're these fixed intangible lumps of stuff. People are not. They can change.
Still, even the most admirable of atheists is nothing more than a moral parasite, living his life based on borrowed ethics. This is why, when pressed, the atheist will often attempt to hide his lack of conviction in his own beliefs behind some poorly formulated utilitarianism, or argue that he acts out of altruistic self-interest. But this is only post-facto rationalization, not reason or rational behavior.
We do have to learn poetry at school. Poetry is interesting to me, particularly Chinese poetry. It's like an ancient form of song. There's five sentences, seven sentences - they're very different from English poetry. Chinese poetry is much more rigorous. You can only use this many words, and they will form some kind of rhythm so people can actually sing it. To me, poetry is quite abstract but also quite beautiful.
So, what we do as the game accesses the Blu-ray disc, is we take any data that was accessed and we put it on the hard drive. And if then if there is idle time, we go ahead and copy the remaining data to the hard drive. And what that means is after an hour or two, the game is on the hard drive, and you have access, you have dramatically quicker loading And you have the ability to do some truly high-speed streaming.
Entertainment companies always have to stay on the edge of trying to catch that certain thing that will grab people's attention. And that thing is always changing. Nintendo has been doing this for a long, long time. Originally, we weren't even a video game company, but we were still an entertainment company. So I can't say what that next thing is, but I can say, at Nintendo we're trying to create new ways to play.
So there I was, wondering what sort of things women would look for in a video game. I sat in cafés and listened to what they were talking about: mostly it was fashion and boyfriends. Neither of those was really the stuff of a good video game. Then they started talking about food - about cakes and sweets and fruit - and it hit me: that food and eating would be the thing to concentrate on to get the girls interested.
I would like to take the opportunity today to thank you for your assistance in helping us to reshape the future of Xbox One. You told us how much you loved the flexibility you have today with games delivered on disc. The ability to lend, share, and resell these games at your discretion is of incredible importance to you. Also important to you is the freedom to play offline, for any length of time, anywhere in the world.
I think actually any morality system that rewards only the extremes is a flawed system. Players don't approach life that way, they don't approach games that way, and they shouldn't be trained to approach games that way. They shouldn't be in the mode where, "I've got to choose every good option." They should just play the game. And they should get equal consequences or rewards for that, that are different from the extremes.
With sports and games, you have fun despite working very hard, even despite failing repeatedly. Even the fun of a night out, you have to get somewhere and do all the conversational, social work of being out. There's effort involved. But then when you're finished, you can conclude, "Actually there was something gratifying about the hardship that I just encountered." That discovery of novelty is where the molten core of fun is.
The most important part of a RPG is the player feeling like they are taking the role of a character in a fully realised fantasy world. They can explore, visit various towns and places, talk to people, customise their character, collect various items, and defeat monsters. The story is not the focus of the experience and is only there to make the atmosphere of the fantasy world more interesting and engaging during the course of the game.
We're stuck in these situations with other people and our stuff and our jobs, and thinking that we can extract ourselves from those seems doomed to me. Instead, how can we live within those systems of constraints? We don't have to enjoy them, exactly, but at least acknowledge that those boundaries are real and that they structure our response to the world. And then once you do that, you allow yourself to say "I did my best given the circumstances."
We have to always spread sugar on top of it in order that we can tolerate swallowing the things we're supposed to do, which is an incredibly depressing way of thinking about living your life. Not just that your work or your home life would be so miserable that you have to slather sugar on it, but then the sugar is all you're tasting. If that's the only way that I'm finding meaning, then we have this sort of mental diabetes that we're descending into.
I wanted to see if I could create something that is emotional between people. Existing games are about killing each other or killing something together. The idea of social emotion means people need to share feelings. At that moment, the players are in sync. The problem [with many games] is there's no chance to share emotion. Most of them are busy, [there are] explosions everywhere. So we got rid of all the background noise and we had to get rid of the guns.
Be contemporary. Have impact. Strive for it. Be of the world. Move it. Be bold, don’t hold back. Then the moment you think you’ve been bold, be bolder. We are all alive today, ever so briefly here now, not then, not ago, not in some dreamworld of a hypothetical future. Whatever you do, you must make it contemporary. Make it matter now. You must give us a new path to tread, even if it carries the footfalls of old soles. You must not be immune to the weird urgency of today.
The original AMD GCN architecture allowed for one source of graphics commands, and two sources of compute commands. For PS4, we've worked with AMD to increase the limit to 64 sources of compute commands - the idea is if you have some asynchronous compute you want to perform, you put commands in one of these 64 queues, and then there are multiple levels of arbitration in the hardware to determine what runs, how it runs, and when it runs, alongside the graphics that's in the system.
If you look at the portion of the GPU available to compute throughout the frame, it varies dramatically from instant to instant. For example, something like opaque shadow map rendering doesn't even use a pixel shader, it's entirely done by vertex shaders and the rasterization hardware - so graphics aren't using most of the 1.8 teraflops of ALU available in the CUs. Times like that during the game frame are an opportunity to say, 'Okay, all that compute you wanted to do, turn it up to 11 now.'
John Carmack, who has become interested in focusing on things other than game development at id, has resigned from the studio. John’s work on id Tech 5 and the technology for the current development work at id is complete, and his departure will not affect any current projects. We are fortunate to have a brilliant group of programmers at id who worked with John and will carry on id’s tradition of making great games with cutting-edge technology. As colleagues of John for many years, we wish him well.
When the injustice is great enough, justice will lend me the strength needed to correct it. None may stand against it. It will shatter every barrier, sunder any shield, tear through any enchantment, and lend its servant the power to pass sentence. Know this: There is nothing on all the Planes that can stay the hand of justice when it is brought against them. It may unmake armies. It may sunder the thrones of gods. Know that for all who betray justice, I am their fate. And fate carries an executioner's axe.
Today, all our wives and husbands have Blackberries or iPhones or Android devices or whatever-the progeny of those original 950 and 957 models that put data in our pockets. Now we all check their email (or Twitter, or Facebook, or Instagram, or) compulsively at the dinner table, or the traffic light. Now we all stow our devices on the nightstand before bed, and check them first thing in the morning. We all do. It's not abnormal, and it's not just for business. It's just what people do. Like smoking in 1965, it's just life.
Computer and video games represent one of the most important new media developments of this generation. Unlike many other forms of entertainment they offer players the opportunity to explore, be creative, learn through interaction and express themselves to others. It is vitally important that we protect and nurture this new art form so that it can reach its full potential. Like most new forms of artistic expression that have come before (music, novels, movies), the primary critics of video games are the people that do not play them.
Ultimately, all I wanted was for players to feel like they were in the real world. I wanted them to be able to apply real world common sense to the problems confronting them, and I thought recreating real world locations would encourage that kind of thinking. There's also just a real power, a real thrill, when you fire up a game and see a place you've been or want to go, and then get to do all the stuff you WANT to do there but know you'll get arrested if you try! If that isn't the stuff of fantasy - far more than exploring some goofy dwarven mine or alien spaceship - I don't know what is!