A Quote by Zoe Quinn
Game development combines all this disparate art stuff I'd been doing into one single thing that I could use to say very specific stuff.
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My father writings stuff was always his personal stuff, like about the day we had to put our dog down, or finding old photographs of his father, or passing a guy he went to boarding school with on a street in New York. Very specific, detailed, descriptive columns that he wrote. I think in a way, it could be argued that my best songs are that way too. They're almost journalistic in that they're very clear, and very specific, and they describe things.
It's not about the stuff. The issue is how we use that stuff and how do we train people to use that stuff. Do we use that stuff to confront people who are protesting in a community? Do we use a sniper rifle to see closer in a crowd? That's where it breaks down.
All the stuff I love most in game storytelling is never the big-picture stuff; it's the stuff that feels like curlicues, stuff that's just there because it's a game and because you can do it.
The movie that we could've finished in 2001 would've sucked. The movie that we could've finished in 2002 would've just been a disaster, even into 2003, it would've been very cobbled together, amateuristic stuff. But as we went along, we really did stumble upon some accidental themes, and with the things you could do with computers, and all that sort of stuff just sort of really accelerated into where the stuff that we could do right here at my house became - you could almost do anything.
The shots, all that stuff, kind of comes and goes. You're not going to be hitting every single game. You wish that you could. But there's a lot of other areas to impact the game where I focus more on.
I used to always read my stuff. And I could never understand why artists would say, 'Oh, I can't read my older stuff.' I'd go, 'Are you crazy? I could read my stuff forever!' Now it's a little harder.
The basketball stuff has been the easiest part. The stuff that comes out of it, you lose a game and everyone talks about it on TV the next day. They may say some things that you may not agree with.
I go back to the old school days of that Attitude Era stuff. Everybody knows when I speak of the Attitude Era, my favorite stuff is of the mid-'80s, all that NWA stuff, the World Class stuff, the stuff that Bill Watts was doing.
If, in each hour, a man could learn a single fragment of some branch of knowledge, a single rule of some mechanical art, a single pleasing story or proverb (the acquisition of which would require no effort), what a vast stock of learning he might lay by. Seneca is therefore right when he says: "Life is long, if we know how to use it." It is consequently of importance that we understand the art of making the very best use of our lives.
I go through periods where I feel very confident about stuff but other periods that are insecure... I find doing different stuff removes the responsibility of focussing on one thing.
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.
I like going to museums and stuff, but I also like going out and doing lots of physical activity like camping and hiking. I like doing stuff that I've never done before. Curiosity is a big thing. Usually it means that people are intelligent and that they want to learn stuff about the world.
A lot of my work has been about stuff I've been frightened of: cliffs, explosions, meteorites, that kind of stuff. I would have been this trembling blob of fear if I hadn't got into making art, which is a good way of deferring it.
One thing that will never change as a manager is that there is so much game stuff and management stuff to deal with that you want good information.
Creative work is more accurately a machine that digs down and finds stuff, emotional stuff that will someday be raw material that can be used to produce more stuff, stuff like itself - clay to be available for future use.
I don't want to speak for my movies; you could say my movies are just completely silly and dumb, but in the case of 'Idiocracy' and 'Borat,' without a doubt there is a really subversive and sophisticated assault on American culture. It's one thing to mess stuff up and break stuff, but [Borat] is really pointing out the ideology of America. It's one thing to break stuff and damage people's possessions, but when you start aiming at the ideology of America, that's dangerous comedy.
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