Quotes About Progression

Prologue Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Chapter 17 Chapter 18 Chapter 19 Chapter 20 Chapter 21 Chapter 22 Chapter 23 Chapter 24 Chapter 25 Chapter 26 Chapter 27 Chapter 28 Chapter 29 Chapter 30 Chapter 31 Chapter 32 Chapter 33 Chapter 34 Chapter 35 Chapter 36 Chapter 37

The level designers have to know, for example, that by the time the player reaches the fourth level, he will have earned three major weapon upgrades and a faster vehicle, so they set the difficulty of the fourth level's challenges relative to that level of power provided.

Don't confuse the term games of progression with other ideas about progression in games, such as leveling up, difficulty curves, skill trees, and so on. We use Juul's definition of the term: A game of progression is one that offers predesigned challenges, each of which often has exactly one solution, in a fixed (or only slightly variable) sequence.

In contrast, games of progression offer many predesigned challenges that the designer has ordered sequentially, usually through sophisticated level design.

According to the concept of transformational evolution, first clearly articulated by Lamarck , evolution consists of the gradual transformation of organisms from one condition of existence to another.

A permanent state is reached, in which no observable events occur. The physicist calls this the state of thermodynamical equilibrium, or of 'maximum entropy'. Practically, a state of this kind is usually reached very rapidly. Theoretically, it is very often not yet an absolute equilibrium, not yet the true maximum of entropy. But then the final approach to equilibrium is very slow. It could take anything between hours, years, centuries,

If bringing up the next generation is important, why aren't they the best qualified, the best paid? Why aren't we as concerned about their career progression as we are about those who work in the education or health services?

In A-ball, you're either going to move up, or you're going to get released. That kind of paranoia played a lot into the players' mentality leading up to the events of 'Eight Men Out.'

The challenge - and much of the fun - of writing in an established future history lies in incorporating new knowledge while remaining true to what has gone before. Expanding and enriching, not contradicting.

You know, it's absolutely connected to The Mollusk in that, it's what we're writing after The Mollusk. A lot of this stuff reminds me of things on The Mollusk.

Lincoln's removal from New Salem to Springfield and his entrance into a law partnership with Major John T. Stuart begin a distinctively new period in his career.

I always make a point to make my records different. Let's say I have a record that's influenced by hip-hop in an abstract way; for the next record, I'd try not to do that. They are all connected in a personal way but it's important not to repeat myself, because then I can always learn something about myself through my work.

People are reasonably good at estimating how things add up, but for compounding, which involved repeated multiplication, we fail to appreciate how quickly things grow.

Form ossifies into genre through repetition.

A great leader should make it clear to her team members that as a matter of culture, her job is to replace herself. A new hire should know from the outset that she will ultimately have to bring in new talent to replace herself so that she can personally better herself and achieve loftier goals.

I replaced Jim Garner in 'Maverick.' I replaced George Sanders in 'The Saint.' I've replaced everybody.

Strapping Young Lad is a representation of me, just as much as 'Ki,' 'Ghost,' 'Ziltoid' or 'Infinity.' There's no difference; it was just a different period of time.

Idealist: a cynic in the making.

All ideas grow out of other ideas.

If you look at my filmography my second film 'Akash Vani' had nothing to do with the genre that I am identified with.

I started my career, actually, maybe the first 10, 11 years, playing the bad boyfriend with the gun. And I got ill with that and moved on, for some reason, to playing cops all the time.

One never wants to do anything that's going to break that 'sculpture of the character' that's been done so far, or make anything that's been done so far become illogical in any way, so you always want to try to connect when you're doing a series of films that has a continuous character.

Hitler was good in the beginning, but he went too far.

A lot of the films I've done have links to other movies that I've directed in the past.