Suits Around a Table


“This was just a bunch of businessmen, like suits around a table. It was very hard for me to listen to their opinions of what gamers might actually like. It’s a very weird thing, taking your ideas to a small group of businessmen and having them tell you whether they think it’s going to sell or not. I don’t think they always know best. That’s the cool thing about this idea. This idea is brand-new. We haven’t taken this idea to anyone. We developed it and took it straight to the backers.”

Double Fine’s Brad Muir on Massive Chalice and KickStarter. (GamesIndustry)

Naughty Dog’s Engine Decision


“We learned our lesson in saying, as we move into development into next-gen, we want to take our current engine, port it immediately over as is and say, ‘Okay, we have a great AI system, we have a good rendering system’. We have all these things that already work. Only when we hit a wall will we say, ‘When do we need to change something? When do we need to scale it?” 

Naughty Dog’s Bruce Straley on why the company is retaining is engine for this console transition. (Digital Spy)


Troubles After Journey


“The company was at the most dangerous time when we finished Journey…We didn’t know where the money was coming from, and we couldn’t afford everybody from that point on until we found the money – we basically went into hibernate mode. We had vacation for everybody for a couple of weeks and then we just let go of most of the people, because we couldn’t pay salary.”

Jenova Chen on the days following the completion of Journey. (Edge)

Downloadable Console Games = Small Sales


“During this console generation, there were only a handful of million-selling downloadable games, which is surprising to me as the console installed base for PlayStation Network and Xbox Live Arcade games is well over 150 million today. There are probably between 300 and 400 retail titles that sold over 1 million units, if not more.”

Housemarque CEO and Super Stardust developer Ilari Kuittinen, (GamesIndustry)

Curiosity’s Cut


“I’ve got the meeting with the financial guy and the legal guy tomorrow to settle on how we calculate the percentage and what the percentage will be. I think this is one of those areas where we have to get Bryan’s sign-off. He has to agree to share what that number would be. I don’t think it would be legally correct for me to say, “It’s going to be this much” without him. How much money he receives is kind of a private issue to him. The only thing I’d say is my ambition, absolutely, is for it to be percentage points, not fractions of a percentage. Definitely not.”

Peter Molyneux figures out the Curiosity winner’s prize in his own fashion. (RPS)

Sane Working Hours

“My goal was to build a company that could survive for many, many years. For 20 years, for longer. And the only way that any company’s going to be able to do that well is by retaining staff. And I looked at the waste of talents leaving other studios. And I was just like, that’s super expensive; you guys are so shortsighted. That’s how I felt, so shortsighted. It’s such a waste.”

Klei co-founder Jaime Cheng, on the studio’s normal working week policy. (Polygon)

Frustrations of a Games Writer



“The part that’s most frustrating for me as a creative is that the industry tends to attract people who are really interested in technology, because you need a ton of programmers to make a game. You don’t need a lot of writers to make a game, or animators, even. The percentage of the creative in the game versus the percentage of technologists you need is totally out of whack. A lot of times, what ends up happening when you have a room of primarily tech-oriented [staff], it becomes like a software development environment.?”

Games writer Susan O’Connor. (Gameological Society)

Australian Game Development


“I really do want to stay in Australia and try and overcome the drive which is leading everyone to Canada or the like. I want to stay here and make games and hopefully be able to sustain a small studio, provide employment and jobs here.”

Alex Carlyle, former design lead at Team Bondi, who has helped set up new Sydney studio  Intuitive Game Design. (MCV)

Xbox One and Indies


“XBLA was a trailblazer last generation, so it’s sad to see Microsoft not announcing dedicated support for independent developers on the Xbox One. Refusing to concentrate on easier submissions and discoverability leaves the way clear for Sony to capture the most innovative market in gaming right now.”

Curve MD Jason Perkins. (GamesIndustry)

Saving Fire Emblem


“Truth be told, sales are dropping. The sales manager of Nintendo, Mr. Hatano, told us that this could be the last Fire Emblem. Due to this progressive descent in sales, they told us that if the sales of this episode stayed below 250,000 copies, we’d stop working on the saga. I remember when I came back from the meeting and told the team, ‘My God, what are we gonna do?! The end has come!’ Our reaction was clear: If this was going to be the last Fire Emblem, we had to put everything we always wanted to include.”

Fire Emblem Awakening co-producer Hitoshi Yamagami. (Hobby Consola via Destructoid)

Batman: Arkham Origins is “Scarier”

“This is all about first encounters and formative experiences. This is a rawer, scarier Batman who’s more energetic, more athletic and more aggressive. We get to explore the pieces of the puzzle snapping together, rather than appearing complete and retaining that completeness.”

Batman: Arkham Origins creative director Eric Holmes. (Polygon)

Dyack Hits Back

“When I first saw this article I believed because there was not a single credible source, where nothing could be verified that anyone would actually believe. this. I knew what hey were saying, the accusations about me embezzling money from Activision and being terrible to people were not true but I never really thought that people would believe it.”

Denis Dyack respons to an article on Kotaku. (YouTube via Escapist)

Say Something About the World


“Games are fundamentally a series of mechanics, but those mechanics can say something about the real world. They can say something about the real world in a way that books and movies can’t. In a game, you’re putting yourself into it in a way you’re not putting yourself into movies and books.”

Colin Northway, co-developer of Incredipede. (Polygon)

The New Incredible Machine


“Our goal for that is to create an experience where you can sit down with some friends and build really creative and interesting contraptions together, that interconnect… We have even discussed some really ‘out there’ stuff such as possibly support for Arduino to control real life puzzle elements, but we’ll have to wait and see if we can get that far.”

Timothy Aste, developer of Contraption Maker, a successor to much-loved 90s puzzle construction set The Incredible Machine. IndieGames

Happy Mother’s Day


“I have no idea what you do but I know you love what you do. When you get into your office I know that I cannot call you, I know that you will not take my calls…if I call you at work twice it means somebody died!”

Joanne Davis, mother of Arkane Studios’ producer and game designer Seth Shain, in a cute Mother’s Day video from Bethesda.



Keiji Inafune on Emotions and Soul Sacrifice


“I’ve been in the game industry for a long time and gaming in general seems to be headed towards emotion. I think we’re in the era of incorporating feelings and emotions in video games and it’s about how to design these. Soul Sacrifice, for example, asks you who to sacrifice be it yourself or your friends. You could make a decision not to sacrifice anything and let it be, too. You can’t make these decisions without being emotionally involved. I think future games need to incorporate emotional elements.”

Keiji Inafune (PSBlog via VG247)