44 quotes
It's actually because we really care about players, and these are emotions that you need to feel to have a well-rounded human experience in a video game.
The Spelunky Showlike (2018)
The ideas with the most potential (to be finished, at least) fall into all three categories and also satisfy the requirement "I have the time and resources to actually make this".
Make Games (2010)
A lot of design decisions that end up having a big effect on the gameplay start as thematic decisions.
Noclip podcast (2020)
It all comes together to make each Mario level feel almost like a race where you can also explore.
Eggplant podcast (2020)
In this moment, it is a conversation, as well as being this long-running conversation throughout history.
Eggplant podcast (2020)
It matters what the game is about story-wise, character-wise, et cetera.
Noclip podcast (2020)
I think about making art, in general, as a dialogue.
Eggplant podcast (2020)
I think for this level, the message that I want to convey is "Find peace through hell". And that's kind of my design philosophy in general.
Devs Make Mario (2015)
I've started to think of myself, personally, as a "work in progress" that will never reach completion— but in order to keep progressing, I have to release games.
The Spelunky Showlike (2018)
The key to making a challenging game that's not frustrating is to give the player all of the tools that they need to overcome the challenge— and never make it the game's fault that they lost.
The Full Spelunky (2011)
Mario made more sense to me, thinking about it as an "athletic game".
Eggplant podcast (2020)
A degree is a piece of paper that says you can do something in theory— game developers want to know that you have enough passion to do real work, regardless of whether you're being graded on it.
Make Games (2010)
And when they all come together, you get this complexity that's very interesting, and that makes every time you play in this randomized environment fun— because you start to see — over time — all the different patterns that can arise.
Noclip documentaries (2017)
I feel like I learned a lot with Aquaria, and I'm super proud of that game, but Spelunky was where I feel like I hit my stride.
Noclip documentaries (2017)
And you have to try not to guide the player so much — and show them everything — because that is the fun part about games— discovering things on [your] own, making [your] own mistakes. That's what gives the games meaning.
Noclip documentaries (2017)
I don't just make a game because I want to make the game; I make it because it's also the right time to make it and the right people are around to help me make it. I never assume that a game is going to get made out of sheer will.
One More Run (2021)
If you're just starting out on your spicy-food journey, you can't taste the flavor— just the heat and the pain. Similarly, spiky games generate a lot of enthusiasm from their fans, but for people who aren't there yet, they can just seem hard.
One More Run (2021)
In the end, isn't that why we create things? Not just for the power of putting something into existence, but to connect with people and be part of the conversation that is human history. To have something that speaks for us when we're not speaking and even after we're gone.
Spelunky (2016)
When it comes down to it, I feel like art should never be compromised for any reason— especially not to satisfy a certain group of people. [...] There was no compromise for Spelunky.
Destructoid interview (2012)
I think it has to do with fundamental differences in the way different designers want their game to be experienced, and also fundamental differences between different players and how they want to treat that relationship between the player of the game world and the designer.
The Spelunky Showlike (2018)