American - Journalist | 1974 -
Games tell stories best when they're elliptical and ambiguous and there's a sense of roaming and freedom.
Tom Bissell
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The underwater businessman philosopher Andrew Ryan was BioShock's unforgettable villain.
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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.
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I'd been in Sacramento a day and already noticed the pervasiveness of its homeless problem. The city seemed like California without the masks or pretense: a place where dreams were occasionally made but mostly torn apart.
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My fiction-writing DNA shows in how I think about prose, how I think about the page, how I think nonfiction stories should work. And every piece of nonfiction I write, I want it to have fictional texture.
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I have an immensely understanding partner who does something creative herself, and we both need a lot of time alone. I structure my life around getting my work done, first and foremost. Everything else is secondary. That's the only way I've been able to do it.
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I like reading books with both hands, with my heart pumping, with blood on the page. So I'm interested in people who make stuff, and I'm interested in the lives that make the text. To read a book or watch a movie any other way, to me, personally, feels like a waste of time and misapplication of energy.
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I view myself as a fiction writer who just happens to write nonfiction. I think I look at the world through a fiction-writer's eyes.
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The average action game doesn't much traffic in thematic grandiosity, but the BioShock games are different.
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I guess I would say that most of what I've learned about storytelling derives from novels and short stories. I cannot think of a novel or story, or a novelist or story writer, who thinks in terms of three-act structure.
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Anyone who's taken a lot of creative-writing classes, or taught creative writing, has learned to dread a certain kind of manuscript. It's long, for one thing. It has irritatingly small type; it's grammatically meticulous when it comes to everything but punctuation, for which it has developed its own system of Tolkienic elaboration.
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Every book in the 'Dreams' cycle dramatizes a particular epoch in the ongoing cultural collision between North America's native peoples and its European colonizers.
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