Every novel is an equal collaboration between the writer and the reader and it is the only place in the world where two strangers can meet on terms of absolute intimacy.
I think every company is set by who founded it and who's in charge.
We want playing our games to entertain people on many different levels. Deeper down, I want to make a connection with the player, and it's the way, to me, of saying to the person playing the game that they're not alone in the world.
In the future, we will play games while floating naked in a tank of warm, sensory-depriving gelatin. Games will be distributed chemically, into the gelatin, and absorbed into the player's skin. The gelatin will be Lingonberry-flavored, and the games will encourage good citizenship.
I think I just have an idea in my head about how big an adventure game should be, so it's hard for me to design one that's much smaller than Grim Fandango or Full Throttle. There's just a certain amount of scope needed to create a complex puzzle space and to develop a real story. At least with my brain, there is.
Death makes sad stories of us all.
I love studying folklore and legends. The stories that people passed down for a thousand years without any sort of marketing support are obviously saying something appealing about the basic human condition.
[On the camel:] Its weak point is its morale, and it is here that so much depends on its human master. Discouragement is fatal. . . it loses heart, sinks by the wayside and dies.
That's the scary part about TV, how you'll feel about it in six years.
God created the world, but it is the devil who keeps it going.
Humanitarian appeals always help. They penetrate deeper than political tradeoffs.