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.
Oswald is an interesting character. Disney lost the rights to him in 1928 to Universal, who was distributing the cartoons and basically handed him over to Walter Lantz.
Hey, if we didn't overcharge for our product - guess what - people wouldn't have to buy used games.
I'm a huge fan of e-books, but the more I buy and download, the more I worry that someone could just take them all away from me.
The Junction Point journey is over. To all those who've asked, or want to ask, I'm sad but excited for the future.
I conceived the original 'Deus Ex' and was the project director on the game.
When you're dealing with a new platform, the real trick is just getting the game running.
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.
Kids, adults, men, women, everybody has a relationship with Mickey Mouse.
The transition from the original Xbox to the Wii wasn't a big deal for my team. The business hadn't changed fundamentally.
The basic idea for what became 'Epic Mickey' began at the Disney Think Tank.
Finney is about the best writer of time travel stories ever, and I adore time travel stories - have to make a time travel game someday!
In papergaming, players can look at a character sheet of their own creation and see all of their skills, right there, in black and white.
Dude, I turn into a six-year-old when I come to Disneyland. It's amazing. My eyes glass over and my blood pressure goes down. I'm just like everybody else. I turn into a big kid when I come here. It's the happiest place on earth, right?
I've got friends who are literally working alone on indie games that have no prospect of profit or commercial success. I've got guys working on iPhone games.
My wife, Caroline Spector, and I pitched some comic ideas to various publishers back in the '80s, but nothing ever came of it.
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!
I've loved cartoons all along. Most people outgrow that when they hit 10 or 12, I guess, but I never did. I'm not sure why.
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.
I've got a PowerPoint deck that I use for internal presentations, and there's a slide on it that asks, 'What percentage of your game is combat versus exploration versus puzzle solving versus platforming,' and I refuse to answer that question.
Whether it's as the hero of an adventure story, as teacher and friend, as icon on watch, shirt or hat - everyone knows Mickey Mouse.
I've always said - I've been making games for twenty years, and from the first day I got in this business, I've been saying, 'All I have to do is sell one more copy than I have to, to get somebody to fund my next one.'
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.
I'm a big believer in pushing things too far and forcing people to pull you back.
I often get painted as the guy who's trying to tell other people what to make and what to like, and that's really not my goal, but I believe so passionately that games can be more than a lot of people think they can.
Ray Harryhausen's 'Sinbad' picture was the first film I remember seeing. I was two years old when it came out, and it changed my life forever. I had nightmares about dragons and stuff for years - and loved it!
Unfortunately, the rights to 'System Shock' trademark and copyright are both up in the air.
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.
Third-person camera is way harder than I even imagined it could be. It is the hardest problem in video game development. Everybody gets it wrong. It's just a question of how close to right do you get it.
Before I got into electronic games, I was making table-top games.
I've made plenty of violent games in my life. I play violent games. They don't affect people in the way that a lot of people think they do. They just don't. It's demonstrably true that they don't, and anybody who thinks they do is just not thinking.
I said to myself as Junction Point embarked on the Epic Mickey journey that, worst case, we'd be 'a footnote in Disney history.' Looking back on it, I think we did far better than that.
We set up a situation and let you interact with it and see the consequences of your choice. That's what gaming does.
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.
I've done a pretty good job of hitting 18-34-year-old males, and not such a good job of reaching kids. Disney has done a great job of reaching kids, but maybe not the 18-34-year-olds. I figure I can learn a lot from Disney, and maybe, I don't know, they can learn a lot from me.
I would love to take 'Ultimata Underworld' and literally update the graphics.
I think the power of the platforms is outstripping the size of the audience. We can't charge $150 for a game. And when the best-selling game of all time has sold only 20 million copies at $60, do the math!
From a gameplay standpoint, I've said for years that hero, fiction, and tone have nothing to do with the idea that choices have consequences. And that's really what I'm interested in. I care about you showing how clever and creative you are.
Used games allow more people, specifically younger people, to become game fans because of the lower price point.
I kind of get a next-gen game machine, but competing for the home entertainment business? We'll see how that goes.
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.
People perceive games as being for kids, and I think that perception is going to change. Time is going to take care of that. I mean, we've already won. Games have won; it's inevitable.
Gamers are everywhere, coming in all ages and genders, and developers have grown up, too.
I was amazed at how the life of a freelancer differed from running a remote studio for another company. I thought I knew what I was doing in 2004 when I left Eidos because I had run Ion Storm Austin, which was my own independent studio. I had run a business unit inside Origin, but being part of a startup is crazy.
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.
I like Disney stuff. No-one looks at 'Toy Story' and says,' Oh, that's just for kids.' Why is it that games can only appeal to a certain audience, but movies and books - I mean, how many adults read 'Harry Potter?'