Quotes from Warren Spector

The more people who game, the better for everyone.

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.

Kids, adults, men, women, everybody has a relationship with Mickey Mouse.

Unfortunately, the rights to 'System Shock' trademark and copyright are both up in the air.

I don't care much about hardware. Nintendo games are some of the best games in the world, and from a more graphical standpoint, the Wii can't do what a PS3 or 360 can do.

I think there's always room for more innovation and new things.

I'm a Nintendo geek, so I'm a pretty big Nintendo fan.

I don't want to make games for 12-year-olds. I have no interest in that. I haven't been 12 in a long time.

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.

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.

I would love to take 'Ultimata Underworld' and literally update the graphics.

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!

Here's the thing: I left Ion Storm and Eidos in the spring of 2004 frankly because I felt out of place at that company.

Let me tell you, writing comics is as hard as anything I've ever done - for me, at least. I'm now officially in awe of guys who can crank out multiple books a month and maintain a high level of quality. Comics are completely different than any other medium I've dabbled in.

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.

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.

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.

My first encounter with video games was pretty conventional. I was travelling with my parents - we used to take long cross country trips in the United States every summer - and we went into a restaurant where there happened to be a Pong machine, and I was... a lot of quarters went into that Pong machine, let's just say.

Whatever adults don't understand, because they didn't grow up with it, is the thing they're going to be afraid of and try to legislate out of existence. It happened with videogames, it happened with television, it happened with pinball parlours and rock and roll.

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.

I have never made a game that wasn't explicitly about empowering players to tell their own story.

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.

We live in a world of virtual goods where none of us own the 0s and 1s. What are you going to do?

The Junction Point journey is over. To all those who've asked, or want to ask, I'm sad but excited for the future.