Zitat des Tages von Warren Spector:
Honestly, there have been some pretty good Marvel games, but I don't think there's ever been a great one.
Gamers both demand and deserve novelty. They need something new. As a game developer, one of my rules is there will be at least one thing in every game that I worked on that no one on the planet has seen before.
I have never been assigned a game, I have never made a game I didn't want to make. I've never done anything just to make somebody some money.
I do not believe in the concept of good and evil in my personal life, in the real world. I just don't believe it. I never try to judge.
When you're dealing with a new platform, the real trick is just getting the game running.
In the electronic game world, I know I have a reputation for doing the cyberpunk thing, and for doing the serious epic fantasy thing, but if you go back to when I was a kid, I've been a Disney fan all my life.
For most developers, that kind of situation - a player figuring out how to do something that the designer didn't intend - to most developers, that's a bug. For me, that's a celebration.
The Wii U is pretty cool, and the thing that I'm most intrigued about it is it's the first gaming platform that actually is exploiting the second screen.
Unfortunately, the rights to 'System Shock' trademark and copyright are both up in the air.
If anything, game development is even more of a team effort than making a movie, so for individuals to get credit for making a game is absolutely insane.
The fact is most computer roleplaying games that offer a zillion highly specialized skills end up with nine-tenths of a zillion skills that every player quickly realizes aren't worth the experience points to buy.
Let me tell you, writing comics is as hard as anything I've ever done - for me, at least. I'm now officially in awe of guys who can crank out multiple books a month and maintain a high level of quality. Comics are completely different than any other medium I've dabbled in.
I kind of get a next-gen game machine, but competing for the home entertainment business? We'll see how that goes.
We set up a situation and let you interact with it and see the consequences of your choice. That's what gaming does.
The only thing I insist that everybody do is there has to be a basketball court in every game I do, and - with one exception, I let them get away with it once - you can actually shoot a ball through the basket in every game I've made.
On the small scale, 'Ico,' I think, actually delivered a small new thing: holding a character's hand and really feeling like your job is to rescue this person, and establishing a personal connection.
In cartoons, in movies, time passes differently. There are flashbacks and flashfowards.
I want content that is relevant to my life, that is relevant to me, that is set in the real world.
I started playing video games, and in 1978 I discovered Dungeons & Dragons and started game-mastering and writing my own adventures and creating my own worlds.
For me, the cool thing is doing things that could only be done in gaming.
As far as the timing, well, I'd write that off to luck as much as anything - I happened to be out looking for a development deal, and Disney happened to think my team and I might be the right people to make a Mickey Mouse game.
I would love to take 'Ultimata Underworld' and literally update the graphics.
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.
If we're going to reach a broader audience, we have to stop thinking about that audience strictly in terms of teenage boys or even teenage girls. We need to think about things that are relevant to normal humans and not just the geeks we used to be.
The reality, for me at least, is that the finest recreation of a paper game, played on computer, pales in comparison with the actual, face-to-face experience.
It's about players making choices as they play, and then dealing with the consequences of those choices. It's about you telling your story, not me telling mine. It's about you.
Whatever adults don't understand, because they didn't grow up with it, is the thing they're going to be afraid of and try to legislate out of existence. It happened with videogames, it happened with television, it happened with pinball parlours and rock and roll.
Once we can do Pixar-quality graphics rendered in real time with interactivity, I could see games costing $200 million to make, and all of a sudden you have to sell a lot of games just to break even, so I'm a little worried someone's going to do that.
The only morality I'm interested in is the morality between your ears, between each player's ears, because that's the interesting thing to me.
I was lucky enough to go to an all-boys prep school in upstate New York that had a film program, so we had access to 16mm Bolex cameras, Nagra sound recorders, Arriflex cameras. We even had an Oxberry animation stand!
The 'DuckTales' ensemble is clearly critical. There's the core set of characters - Scrooge, Webby, Launchpad, Huey, Dewey and Louie... Plus there's Gyro and Duckworth and Mrs. Beakley and so on. The cast is huge.
Anyone who says they want to make a game that becomes a cult classic is kinda screwy, right? I mean, you want to reach the largest audience you can.
We live in a world of virtual goods where none of us own the 0s and 1s. What are you going to do?
The basic idea for what became 'Epic Mickey' began at the Disney Think Tank.
My first encounter with video games was pretty conventional. I was travelling with my parents - we used to take long cross country trips in the United States every summer - and we went into a restaurant where there happened to be a Pong machine, and I was... a lot of quarters went into that Pong machine, let's just say.
I have no interest in guys who wear armor and swing big swords.
