Quotes from Cory Barlog

I had this idea that I didn't want to have kids until my career was at the right point, until we have a house, until we have savings of at least this much ... None of that came true. It just happened.

Kratos began life as an anti-hero at a time when anti-heroes in games were scarce.

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.

The vocabulary of film is camera cuts, it's how they communicate. But games are different. We don't really need to do that. We do it because it's a language that we're familiar with.

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.

I had a very specific idea of the personal nature of the story I wanted to tell, really changing the image and the perception of Kratos.

I think that's the beauty of the collaboration with a team. In the end, it never turns out how you imagine, it always is this amalgam of bringing in different perspectives.

I don't really want to make casual games or games with no sort of story backbone or character backbone.

God of War' is traditionally known for these cinematic, pull back cameras, which I think are fantastic.

But I think it shortsells any idea when you say there's a similar part to something else, like 'aw man, 'The Avengers' is ripping off 'Batman.' You've got people running around in outfits.' Of course, there are outfitted people and there's superhero stuff, but it's not just ripping off 'Batman.'

I think the best thing you can do with a 'Superman' game is to kind of explore the psychology of what it would be like to be a person who slowly begins to realize that he can't save everybody.

Superman' was created at a time when we needed some idealistic, perfect person to aspire to, which is why he is so flawless.

At the end of 'God of War III,' after laying waste to Olympus, Kratos leaves and, for me, goes on this really long wandering pilgrimage.

When you pitch a half-baked idea it's so easy for someone to pick it apart and hate on it.

God of War 2,' for me, was great because we were experts at the platform. You know, it was at the end of the PS2's lifecycle and we knew everything about it.

I would love for 'God of War II' to be considered the swan song of the PS2 but I really don't think this will be the last great game on the system.

I can't learn Swedish to save my life. I tried, but I'm not very good at it.

My thing I always go back to is that sense of finishing 'Castlevania: Symphony of the Night,' and that castle flipping over, and just going, 'Oh my God, that was amazing! I have so much more to play!' It was astounding. I think I've always been chasing that. I think my entire career, I have been like, 'I want that kind of epiphany.'

Strength comes in so many forms. Not just the physical strength, but to understand the emotional strength. To have emotional vulnerability, to show that's not a weakness.

Certain games, I think it's great that they give you a continuing experience.

God of War' was a 40-60 person team. It was a lot of very different, very passionate, very crazy people.

That feeling of being rewarded for your curiosity is huge. It's why I play games, this idea of truly existing in a world.

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.

For me, human beings have a very difficult time changing. It's one of the hardest things to do.