A Quote by Will Wright
Players like to know that they've discovered things that even the designers didn't know were in the game.
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After the NFLPA game, coaches were coming up to me and saying, 'We didn't even know who you were, we didn't even know your name; we weren't supposed to be even looking at you, but man, we have no choice.' And, like, the NFLPA game, I wasn't even invited until the last minute.
A lot of players know how to play the game, but they really don't know how to play the game, if you know what I mean. They can put the ball in the hoop, but I see things before they even happen. You know how a guy can make his team so much better? That's one thing I learned from watching Jordan.
The concept of emergent gameplay is really exciting. That's when players are really crafting their own experience. So if you're clever and creative, you can do things that even developers of the game didn't know were possible.
But people don't know if I can teach the game. I know I can. My experience in Oklahoma was positive. It opened my eyes to how the game is played - the interaction among players, fans and media, how all that works. You have to know about the business of the game and how the actions of players and coaches affect the business. I think I have it down now.
It's the fault of the chess players themselves. I don't know what they used to be, but now they're not the most gentlemanly group. When it was a game played by the aristocrats it had more like you know dignity to it. When they used to have the clubs, like no women were allowed and everybody went in dressed in a suit, a tie, like gentlemen, you know. Now, kids come running in their sneakers. Even in the best chess club-and they got women in there. It's a social place and people are making noise, it's a madhouse.
Even if soccer is not number one in the United States, they do things very well here. There's much our country can learn from the U.S.A., because we all know that soccer is not the main game in India. We can still do more things, like provide better facilities for the players so they can perform well.
Until 1986, developing games was a mere hobby for me. Back then, I didn't know that game designers existed, because the designers' names didn't appear on the boxes.
I am conscious of that when I make these games: I try to make a game that has beautiful open spaces, gaps, room for players to enjoy it in ways that were not authored. I never want it to be where you have to follow the rules completely, where you have to do things exactly as the designers intended.
Someone like Shane Warne played the game on and off the field really well and got into guys' heads. Even though he couldn't bounce you and hurt you physically, he was verbally aggressive and would let you know he'd get you out. He made batsmen doubt themselves. I learned from players like him and made a point of incorporating it into my own game.
I know I felt like I was ready to be an adult long before the rest of the world agreed. I'd already realized that a lot of grown-ups didn't know any more than I did, and some of them were even dumber than I was, and even the ones who were smarter weren't using their smarts for things I necessarily considered worthwhile.
I know I mispronounce things constantly, because maybe I read more than I talk, but I don't know the proper way to say a lot of things, even though I know what they are. But then I know I look like a moron.
I earned my Ph.D. in philosophy, and one of my specializations was the logic and mathematics of game theory. I've also got a degree in drama, so I know about stories, characterizations, plot arcs, and the like. Lots of game designers can do one or the other: I've got the skills for both.
I was also very lucky to be a teammate of two of the greatest players to have ever played the game. I learned very early on by playing for Frank Robinson and with Henry Aaron that even the greatest players in the game were just one of the guys.
We played in a number of these neutral site games, I would call them, whether it's a playoff game, a bowl game, or one of these kickoff classic type things, which I think is helpful to, you know, our players in terms of playing some place that's not really a home game for them.
Titled players appeared to be trotting out game after game in which the same old hoary opening sequences, memorized out to fifteen, twenty, or even more moves, were repeated endlessly. True novelties were becoming scarcer, and sometimes these 'opening' novelties didn't appear until well into the middlegame. (A master-level friend once proudly showed me a novelty he'd discovered at move twenty-seven of a very well-trodden chess opening, and it's said that even as far back as the 1950's Mikhail Botvinnik had some openings memorised past the thirtieth move).
I'd advise all aspiring game designers not to aim for money when developing a game, because unfortunately it is very rare for game designers to be able to earn a living by developing analog games.
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