A Quote by Peter Molyneux

There was a whole sequence of concept art about a 'Fable' set in a kind of steampunk Victoriana age. — © Peter Molyneux
There was a whole sequence of concept art about a 'Fable' set in a kind of steampunk Victoriana age.
I am obsessed with the whole Victoriana thing, the whole Jack the Ripper London era, the grayness of it, the haunted feeling of it, all ancient and bloody.
For me, "Zoo" has always been a fable. It has nothing to do with realism. It's a fable about what man is doing to the world, and the animals have retribution. But in the real world, this would not happen. But in the world of 1984, this kind of thing can happen in a story.
The Fable story hinted at a dramatic time before 'Fable 1' when the Guild was founded, this would be a perfect setting for 'Fable 4.'
We've got plans for 'Fable' III, IV, and V. It's a big story arc, and if you play Fable II, you'll recognize things from 'Fable I.'
For kind of sophisticated art I'm interested in, the larger structural rebuke has to be so subtle that it has to be distributed at an almost sub-atomic level. Otherwise, you fall into the kind of preachy, moralistic fable that I don't think makes for good literature.
The thing about 'Fable' is that it was such a rich world. It was, well, what the name says it is. It's all about Fable and Albion and this idea of legends and humor.
The whole concept of treating people with dignity and respect is a concept that isn't a business concept, it's a life concept. It's who you are at the end of the day.
It's the kind of clothes that mothers and daughters can wear, in terms of concept... It's not about age. It's about taste, and it's about lifestyle. I believe women of all ages can wear anything.
What art is not processed? "Conceptual art." Somebody making a painting has to conceive of the size. I don't understand where these words came from. I can't accept the fact that the concept of art as our concept of humanity is expanding.
For every reader and writer of steampunk fiction, there are probably hundreds or thousands of other activists who gleefully embrace some non-written manifestation of the steampunk ethos.
(...) contemporary art has become a kind of alternative religion for atheists. (...) For many art world insiders and art aficionados of other kinds, concept-driven art is a kind of existencial channel through which they bring meaning to their lives. It demands leaps of faith, but it rewards the believer with a sense of consequence. Moreover, just as churches and other ritualistic meeting places serve a social function, so art events generate a sense of community around shared interests
In a way, the whole notion of a blueprint of a building is not that different from a script for a movie. A sequence of spaces, which is what you do as an architect, is really the same as a sequence of scenes.
It was an amazing thing to see how Bowerstone, the capital of 'Fable,' progressed. It went from, in 'Fable 1,' to just 20 houses and then in 'Fable 3' it felt like a city that had districts. You could see that sense of progression in it.
When I look at my childhood art, it's the same. It's animals dressed up as people in patterned clothing. It basically looked like concept art for 'BoJack.' It's kind of uncanny.
In general, we mean by any concept nothing more than a set of operations; the concept is synonymous with the corresponding set of operations.
You know, there's chronological age, there's biological age, and there's psychological age. Chronological age, there's nothing you can do about, which is I'm 52. You set that number aside.
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