God of War' is traditionally known for these cinematic, pull back cameras, which I think are fantastic.
I enjoy flawed heroes that actually struggle, you know, with their own sort of path and are not really aware that they reach that level of being a hero.
It is the adage of any creative thing; it looks terrible, it is an ugly baby, until the very last second.
Certain games, I think it's great that they give you a continuing experience.
Whether you have a small team or a large team, you'll always have a percentage of people telling you to do the opposite of what you think you should be doing. Then you'll have a percentage of people telling you to do the opposite of what they're saying. It's a constant sea of doubtful voices. You have to navigate through that.
There are some who expect every game to make a dramatic change the way that 'Resident Evil 4' did over its predecessors. And for that series I think the change was fantastic and completely necessary. I honestly think it should have happened much sooner than it did. But that kind of change is not necessary for every game.
As a writer, you understand how hard it is to build up backstory for characters, so you can have impactful moments. You have to build toward something and then pay it off.
When you pitch a half-baked idea it's so easy for someone to pick it apart and hate on it.
Do not make decisions for your kid. It's not going to turn out well.
I wanted to experiment with more deliberate combat but I never wanted to lose that DNA of what 'God of War' is.
A game director, in my mind, is somebody who makes everybody on the team miserable for the duration of the project.
You have to have this straddling balance of realizing that games are incredibly complex. You can have an idea of where you want to go with something, the structure of something, but the actual moment to moment figuring all this out-it unravels over the course of, in 'God of War''s case, about five years.
I don't think I've ever worked on anything that wasn't way bigger than we expected. That's all the way back to working on fighting games at Paradox. Everything seems to balloon when more and more people get involved.
I used to animate. I started in animation, and you'd end every day with at least one substantive contribution.
Every creator has to follow what they believe. That's the message I would love for every single executive to get, to clearly understand, and every single producer out there.
I'm not a competitive player at all, but I don't want competitive games to go away, because for some people that's why they play games, to compete.
God of War' was a 40-60 person team. It was a lot of very different, very passionate, very crazy people.
I'm very - I love talking about games, I love talking about movies and TV shows and love what I do at work. But after work, I don't want to talk to anybody. I'm super private. I stay home.
At its root, 'God of War' was always the promise of adventure.
For me, human beings have a very difficult time changing. It's one of the hardest things to do.
