A Quote by Ken Rolston
I think of game development as a clown car moving through tall grass.
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Wind moving through grass so that the grass quivers. This moves me with an emotion I don't even understand.
Whenever the circus would come to town, I would tell Ethan all kinds of kinky clown domination stories involving the leather clown, like the time she forced me to have sex with her in the little car, or the time she kept spraying me with the seltzer bottle until I obeyed her every command. Ethan and I would laugh and laugh at these tall tales, but I could tell deep down, he was wondering whether the leather clown was really real or not. And I would let him wonder.
It was an overcast late November morning, the grass splintered by hoarfrost, and winter grinning through the gaps in the clouds like a bad clown peering through the curtains before the show begins.
Game development is very difficult. Nobody sets out to create a game that's not fun. It's all of the challenges and difficulties that happen throughout development that determine whether a game is a failure or a success. I think playing those thousands of games is the single best and easiest way to learn from my predecessors.
The miracle of light pours over the green and brown expanse of saw grass and of water, shining and slowly moving, the grass and water that is the meaning and the central fact of the Everglades. It is a river of grass.
The miracle of light pours over the green and brown expanse of saw grass and of water, shining and slowly moving, the grass and water that is the meaning and the central fact of the Everglades. It is a river of grass.
The war tried to kill us in the spring. As grass greened the plains of Nineveh and the weather warmed, we patrolled the low-slung hills beyond the cities and towns. We moved over them and through the tall grass on faith, kneading paths into the windswept growth like pioneers. While we slept, the war rubbed its thousand ribs against the ground in prayer.
John Fiedler's voice was kind of like the wind blowing through tall grass. It sounded homey and it sounded comforting.
The sun had gone down behind the tall apartments of the movie stars in the West Fifties, and the unclear voices of children, already gathered like crikets on the grass, rose through the hot twilight.
What I loved about wrestling was just being foolish, so I studied clown. I studied clown. I studied the art of clown. I actually did my thesis on clown.
My game takes time to adapt to grass; grass is a little bit different.
I understood my path and what I meant to the game and what I mean to kids. Not only kids, but individuals around the world. Folks that didn't think that the game was meant for smaller people. For me, I always felt that, tall or small, the game was for all.
All media is moving, at light speed, toward development through viral channels.
I think that my emergence as a leader is closely related to the development of Taiwan's democracy. Taiwan's democracy was a gradual development. It was done from the bottom up. Therefore a lot of the more successful political leaders come from civil society, those that are closer to the grass-roots level of the public.
God Bless the grass That grows through the crack They roll the concrete over it To try and keep it back The concrete gets tired Of what it has to do It breaks and it buckles And the grass grows through. God bless the grass
All my early memories are of forms and shapes and textures. Moving through and over the West Riding landscape with my father in his car, the hills were sculptures; the roads defined the form. Above all, there was the sensation of moving physically over the contours of fullnessess and concavities, through hollows and over peaks - feeling, touching, seeing, through mind and hand and eye. This sensation has never left me. I, the sculptor, am the landscape. I am the form and the hollow, the thrust and the contour.
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