The contract between the author and the reader is a game. And the game . . . is one of the greatest invetions of Western civilization: the game of telling stories, inventing characters, and creating the imaginary paradise of the individual, from whence no one can be expelled because, in a novel, no one owns the truth and everyone has the right to be heard and understood.
The novel is a game or joke shared between author and reader.
The game is No. 1. You are an adjunct to the game. In a studio, there is no game. You are the star. That's why you are there. For the game, you can't go away from the game and beat your chest. People are there to watch the game. You are there to supplement, not to override or overwhelm.
Instead of playing the game "Making Life Wonderful", we often play the game called "Who's Right". Do you know that game? It's a game where everybody loses.
Living in a small town you couldn't go anywhere on a Saturday where a store had the game on. If you were downtown you heard the game. If you were at the gas station you heard the game. I remember I would be mowing the lawn and I would stop for the Nebraska game. I would have it cranking outside.
Most train to be part of the game. The greatest train to be the game: I am the game. Third-and-9, two-minutes left, that's what I train for. I train for moments everyone runs from. I run for them.
We wanted to create an environment where if a game player enjoyed the 'writing style' of a particular game designer, he or she could look for the next game by that same author and not be disappointed.
Life to me is the greatest of all games. The danger lies in treating it as a trivial game, a game to be taken lightly, and a game in which the rules don't matter much. The rules matter a great deal. The game has to be played fairly or it is no game at all. And even to win the game is not the chief end. The chief end is to win it honorably and splendidly.
It's not really part of the game to say, 'Oh, it's a batter's game; it's a batter's game' - I don't know why it goes on. It's a beautiful game that's greatly competitive between bat and ball.
I think the idea of having a game based on reality is compelling right off the bat because everyone has some experience with the subject of the game.
I look at improvising as a prolonged game of chess. There's an opening gambit with your pawn in a complex game I have with one character, and lots of side games with other characters, and another game with myself - and in each game you make all these tiny, tiny moves that get you to the endgame.
I think that the game is the game. I think that expansion is good for the game because it gives more jobs to the people and more ballplayers can play, but I think the game is still the game. The ballplayers, they come into the game with one thing in mind - it's their job.
I had a toothache during the first game. In the second game I had a headache. In the third game it was an attack of rheumatism. In the fourth game, I wasn't feeling well. And in the fifth game? Well, must one have to win every game?
The Thursday night game is by far the most difficult game to prepare for. You can't get into as much depth as you normally would in your game plan because you just don't have the time. You've got to jump right into the next opponent.
In my 20s, I became obsessed with the role-playing game 'Romance of the Three Kingdoms,' named after a classical Chinese novel, and later 'The Sims,' a life-simulation game, and 'StarCraft,' a science-fiction game.
The way I play, it's very much more a mental game than a physical game. I'm looking for space and where are players leaving space. Defensively, where are we at numerical disadvantages? Do I shift more to the left because they have more players on their right side? It's about reading the game before the game happens.
Science is not a boy's game, it's not a girl's game. It's everyone's game. It's about where we are and where we're going. Space travel benefits us here on Earth. And we ain't stopped yet. There's more exploration to come.