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The 'Ms. Marvel' mantle has passed to 'Kamala Khan,' a high school student from Jersey City who struggles to reconcile being an American teenager with the conservative customs of her Pakistani Muslim family.
G. Willow Wilson
In 2003, as a 21-year-old convert to Islam, I moved from Colorado to Cairo to see what life was like in a Muslim country.
I don't want to compare myself to somebody like Fitzgerald or Hemingway, but I feel like, for some writers, going to a certain city, a certain place, is what kickstarts your imaginative process.
Ninety percent of the comic books I've written in the past had little or nothing to do with Islam.
I keep setting the bar higher for myself in terms of what I'm trying to accomplish.
It seems like whenever you write about Muslims, people assume that you're writing about the Quran, you are writing about the Prophet Muhammad. There's no sense that Muslims are capable of individualism, that they're capable of making mistakes that are somehow not connected to Islam.
In prose, you have a lot more room for digression, for very meaty kinds of dialogues. In graphic novels, you're writing haiku-length dialogue. Your job is to be efficient, to get out of the way of the art.
The 'Islam vs. the West' dialogue ceased to be about real people a long time ago.
It's very difficult to balance different audiences and talk to each one without selling the others short. There is no universal literature - or, if there is, I don't know how to write it.
To me, a staircase looks like a series of dark and light horizontal stripes, which is exactly how you'd draw a staircase. So I know how the image is going to look on the page.
I've been playing video games since I was 10 years old, and I think it's important to play games if you want to design them yourself.
David Cage
Game Over is a very frustrating game convention. In short, it means, 'If you were not good enough or did not play the game the way the designer intended you to play, you should play again until you do it right.' What kind of story could a writer tell where the characters could play the same scene ten times until the outcome is right?
I don't pretend that 'Heavy Rain' will be a revolution, and I don't know if people will love it or hate it. All I can say is that it is definitely going to be different.
When you try to create something different, there is always a mix of enthusiasm and skepticism, and I think this is fair.
When we talk about technology, often, we talk about the fact that it's going to be cool; it's going to do all these things for us. But at the same time, technology will deeply change our societies.
When you really love someone, you try to tell the truth.
I've always felt that 'game over' is a state of failure more for the game designer than from the player.
Cinema became what it is today when technology allowed movie directors and actors to develop emotion. You can see into the eyes of the actors and know when they are going to cry.
Getting the player emotionally involved is the holy grail. We try to make players forget they're playing a game. We want them to live the experience and suspend disbelief.
When you want some subtle emotions, you need some subtle vehicles for emotion.
I love games like 'Flower,' for example - I thought this was amazing. It's great, it's new, it's different, and it's invented something that didn't exist before.
'Fahrenheit' was a very difficult product to sell to publishers initially because no-one believed in storytelling or emotion.
'Heavy Rain' is really 'Fahrenheit' with more experience, more maturity, and probably a better vision and understanding of how this type of experience can be created.
There are different games for different people and different expectations. Sometimes you want a great story, and sometimes you don't. I don't believe we should have stories in every single game. Sometimes it doesn't matter.