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The instant death— it's like a punchline to this joke, where the joke is really just the tension of being in this dangerous situation. [...] The fact… - Derek Yu
" "The instant death— it's like a punchline to this joke, where the joke is really just the tension of being in this dangerous situation. [...] The fact that when [a run] ends, it's instantaneous, I think is very humorous. And it's this nice release, in some sense. It's frustrating, but it's also a release— and it creates this pregnant pause afterwards, where you can really think about what happened.
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About Derek Yu
Derek Yu (born July 2, 1982) is an American independent game designer, game artist, and blogger.
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Additional quotes by Derek Yu
I often compare the process of finding and working with teammates to dating. In any big project, you're not just looking for a set of artistic and technical skills to fit your own, you're also looking for someone who shares your creative vision, who communicates well, and who will be as passionate and dedicated about the project as you are in the long run. [...] Ultimately, if you're planning on releasing a commercial video game, you are looking for "marriage material"— a committed, stable partner you can get along with for a long time.
The business model of arcades— I don't know how it will be replicated ever again, but it created such an interesting category of games, just based on the unique features of it. And I think it's one of the few places where the business model of the arcades really forced this type of design that was— I call it "lean and explosive". [I say] "lean" because you have to push players along to the interesting parts of the game as quickly as possible. And you just don't see that in modern gaming and modern game development. [...] And I say "explosive" because they don't save anything for the end. The experiences are quite short: to play through an arcade game, it's 30 minutes to an hour, tops, for the longer arcade games. And you don't want to save anything for the end because players are renting the game a quarter at a time. And so, starting with Stage 1, you've got to put it all out on the table, while still — in the later parts of the game — giving people something to look forward to. And I think that has been very influential on Spelunky 1 and 2, and it's just a type of design I really enjoy.
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I focus as much on the process of making games as the games themselves, because I have the experience now to know how hard game-making is at any level. I don't just make a game because I want to make the game; I make it because it's also the right time to make it and the right people are around to help me make it. I never assume that a game is going to get made out of sheer will. A lot of the decisions that you make in the conceptual phase will either help you or haunt you, once the development starts.
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