Inside the Chauvet Cave: “…the chasm between an intellectual appreciation and an emotional experience is very deep. On entering the cave, the images were immediately and effortlessly more sophisticated and poignant than imaginable.” —Peter Robinson in a rare 2005 visit to La grotte Chauvet-Pont-d’arc.
“I had always been intrigued by the emotional aspect of adventure gaming—the fact that people get so personally involved.” —Roberta Williams. Says Williams of her game development experience, “I do feel that King’s Quest IV was a pivotal game in bringing in more female players.”
“Depersonalized animators become the mechanisms that breathe a simulated and disincarnated life into these perfect reproductions of human beings. It is a strange sorcery, a super-Brechtian dream of distance and dissociation.” —Colette Godard on Bunraku, in Le Monde, 1974. Translated by Alexander Alland, Jr.
“The Bunraku is built out of major contrasts between immediacy and distancing; between artificial reality and composed artificiality. In fact Bunraku can profitably be seen as a game that emphasizes these contrasts. … This is the same overall mechanism that drives the Noh theatre, but in Bunraku, a different set of techniques is employed.” —Alexander Alland, Jr, The Drama Review, 1979.