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It's easy to think of a role-playing game as an amalgamation of two main components, narrative and gameplay, jammed together like pieces of a jigsaw puzzle. Sometimes, they fit together nicely; other times, they're as awkward and frustrating as that one weirdly-shaped 'Tetris' block that always falls into the gap where you need an L.
Jason Schreier
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Gamers have this tendency to turn games into mathematical equations, breaking them into lists of components like 'presentation' and 'mechanics' and judging each one on its own merits.
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Unraveling the threads of a good game story is like solving a well-crafted puzzle. After a lengthy, sometimes difficult journey, the pieces click into place, and you're rewarded with the satisfying payoff of a job well done.
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Between 'The Godfather,' 'The Sopranos,' 'Goodfellas,' and the countless other mob stories that have been both critically and commercially acclaimed over the years, it's not hard to see why a game like 'Mafia Wars' works.
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I think there's this tradition of a culture of NDAs that has spanned all the way back to the '70s and '80s when game developers where very paranoid about cloning and people copying one another's ideas and business sabotage.
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To avoid long-term deleterious effects, game developers must commit to stop facilitating a culture in which crunch is the norm. The occasional long night or weekend at the office can be useful and even exhilarating, but as a constant, it is damaging.
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A great JRPG captures that feeling of going on an unusual adventure, of bringing a ragtag group of heroes from famine to fortune or steering cold-hearted villagers away from indifference.
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What Brad Bushman did is in 2010 he ran what's called a meta-analysis, which is an analysis that looks at a whole bunch of different studies. They concluded that, yes, there is a link between violent video games and aggression.
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Like any good RPG, 'Kingdoms of Amalur: Reckoning' is adept at digging its claws into that part of your brain that just loves accomplishing things.
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Kickstarter can get customers invested, both literally and figuratively, in a game before it is released. With nothing but an idea, a bit of video and a few screenshots, a developer can start building a loyal fan base.
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One of the interesting things I've found is that crunch is the result of crunch culture rather than the result of managers coming and saying, 'Okay, we've gotta work overtime.'
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When gamers look at games not as overall experiences but as chimeric potpourris of sight and sound, we take too mechanical a perspective and ignore what really makes them special.
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