Castle Paradox

[Uncommon]

So, really, you'll get as much depth as you're looking for, then?

[MultiColoredWizard]

Most of the time, sadly, no. Some people ruin it by trying to make something complex. JSH usually does a good job at a 'deeper meaning'(See the Query 1 thread).

[Uncommon]

Well, what I mean is that you may find more depth than was originally intended, as long as you're looking for a meaning in everything.

[The Wobbler]

[JSH357]

Shigeru Miyamato also hasn't made an original game since the SNES came out. He's a great game designer, but his power is limited to about five different concepts, some of which are almost identical to concepts brewn by other game designers years before.

[The Wobbler]

[JSH357]

Hmm... I'll have to agree with you on that one.

[Rinku]

i'm going to have to say that phc is wrong about miyamoto, if only because jsh agreed to it without contest (i.e., my reply is for jsh, not for phc). miyamoto's design philosophy is totally not anti-conceptual nor 'fun at all costs'. see these quotes as an indication:

"What most players don't know is that everything in a video game happens for a reason."

"What if, on a crowded street, you look up and see something appear that should not, given what we know, be there. You either shake your head and dismiss it, or you accept that there is much more to the world than we think. Perhaps it really is a doorway to another place. If you choose to go inside you may find many unexpected things."

"Challenge for the player is the most important thing. And I think it [the secret to making a challenging game] has to do with balance."

"I don't think that a story alone can make a game exciting. I'm afraid that people think that I ignore story lines or that I don't feel that the story has any value. My first priority is whether the game play is interesting. What I mean by that is that a player is actively involved in the game. The story is just one of the ways to get players interested, like the enemies or puzzles. If you just want a good story, you should pick up a novel or see a movie. The difference is in the participation. In a game, you might meet a character, but you don't find out his story until later, after you do something that reveals the truth about him. It's all up to the player. You only get that sort of experience with the interactive entertainment. Of course, the scenario, characters and graphics are all important, but its this active attitude that is the most important element."

"I think Zelda is going to be the game where you can say, 'Doing something by yourself can be really fun.' "

"I think movies work when they are very well organized, like Raiders of the Lost Ark by Steven Spielberg. I like a lot of Alfred Hitchcock's work, because you can see the theme of the movie very clearly. I think for creating movies, novels, games and other works of entertainment, the theme has to be clearly understood by the audience."

"When I am working as a director on a game, while I always try to hit upon new plots, I place great importance on the tempo of the game and the sound effects. I feel that those directors who have been able to incorporate rhythm and emotional stimuli in their games have been successful. When I am holding the controller and setting the tempo, I feel that my own, personal game is in the midst of creation. I have never created a game that has been of a level that I could be satisfied with."

"People refer to that point as the time where I "knock over the table". I'm not a nice guy; if I was a nice guy I'd just sidle up to people and say "Why don't you do this?", but no, sometimes you have to bite down and show that, like, "I'm stroonng!" (laughs) When I flip out, it's because I'm being sincere in my desire to get something done with the project. "

"Movie cutscenes, for example, are passive. Passive things, where you don't have to do anything, are comfortable for the viewer; I understand that. That's becoming a big part of games lately. However, I think that unless you're actively doing something, it's not a game."

"First you have to decide what to complete the game around. "This is what the game's about!" ...You have to fish out the core, the fun part of the game."

"I don't mean things I'm confident will sell in the marketplace; I'm talking about things that succeed over what's already out there. "Maybe nobody's noticed this before now, but if we could go this way, then everyone will be all over it!" Games that tackle ideas never stimulated before, games that try to make people say "This is neat..."; those are the things I think have a chance of success. Those are what I give my okay to."

"When some popular game sells well, while I don't like admitting it, it's not because the director was good; it's the content of the game."

"When you're making a game, the first thing you have to do is make sure there's a goal you want to attain. Throw out everything else and concentrate on that goal."

see http://www.miyamotoshrine.com/ for more quotes and intereviews. most of the above are from that site.
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Tower Defense Game

[The Wobbler]

[MultiColoredWizard]

Actually PHC, they had a lot to do with the subject on hand.

[JSH357]

You misinterpreted, Rinku:
I was agreeing with Surlaw about MCW.

[The Wobbler]

[RedMaverickZero]

I have a weird feeling that this thread is just gonna become a bigger hate forum against other's beliefs. But I stand beside PHC on this one. Quoting usually helps support your statement/argument, not the other person.
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---------------Projects----
Mr.Triangle's Maze: 70%
Takoyaki Surprise: 70%

[T-Master]

I'm hopeful that Rinku doesn't respond to this post. Someone's who's best articulation of their argument is "oMGORD MAH INTARTPRETATION OF MAYAMOTO IZ DIFFARANT TEN URS DO NOT DEPEND OIN DEFENTITIONS. YOU WILL BE B& FRUM LIVEJOURNAL," doesn't deserve a response.

[The Wobbler]