I'm not the expert on the great gameplay. I come in for the character design, monsters, atmosphere. I'm not the technician.
Interpretation
The quote highlights the distinction between artistic vision and technical expertise in game design.
Clive Barker expresses that his contributions to game design focus on the artistic aspects such as character design, monsters, and atmosphere rather than the technical details of gameplay mechanics. This statement reflects the idea that creativity and artistic sensibility play a crucial role in the development of games, even if one may not excel in the technical elements.
In practice
In a panel discussion about video game development, this quote could highlight the importance of artistic vision.
Of course it’s the apparently tranquil periods that deceive us. Though our instruments or our senses or our wits may not be able to see the processes that are leading toward these clusters of events, they’re happening. The star, the wheel, the butterfly—all are in a subtle state of unrest, waiting for the moment when some invisible mechanism signals that the time has come. Then the star explodes; the wheel makes poor men rich; the butterfly mates and dies.
We’re too much ourselves. Afraid of letting go of what we are, in case we are nothing, and holding on so tight, we lose everything else.
In this sense love is of a different order to any other phenomenon, for it may be both an event and a sign of that invisible mechanism I spoke of before; perhaps the finest sign, the most certain. In it’s throes we need neither luck nor science. We are the wheel, and the man who profits by it. We are the star, and the darkness it pierces. We are the butterfly, brief and beautiful.
Perhaps a wiser eye than hers would be able to read tomorrow in tonight's stars, but where was the fun in that? It was better not to know. Better to be alive in the Here and the Now--in this bright, laughing moment--and let the Hours to come take care of themselves.
With the inevitability of a tongue returning to probe a painful tooth, we come back and back and back again to our fears, sitting to talk them over with the eagerness of a hungry man before a full and steaming plate.
You cut up a thing that's alive and beautiful to find out how it's alive and why it's beautiful, and before you know it, it's neither of those things, and you're standing there with blood on your face and tears in your sight and only the terrible ache of guilt to show for it.
Writing for me is cutting out the fat and getting to the meaning.
I make pictures and someone comes in and calls it art.
You have a lifetime to learn technique. But I can teach you what is more important than technique, how to see; learn that and all you have to do afterwards is press the shutter.
Don't forget - no one else sees the world the way you do, so no one else can tell the stories that you have to tell.
A museum should not just be a place for fancy paintings but should be a place where we can communicate our lives through our everyday objects.
I'm leaving the screen because I don't think I am very good in the pictures and I have this beautiful dream that I'm elegant on the stage.
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