LC: Of course; we already show
clear market segmentation on the issues of violence and I expect the
same to be true for drama, comedy and sexual content.  Our rating
system is set up to specifically address that issue and I’m hopeful we
will continue to see efforts in enforcing the ratings at retail.

SED: Having
adapted some top-tier properties from film and literature to games,
Dune, Blade Runner, The Lion King, The Lord of the Rings, to name a
few, how do you translate these ‘traditional’ stories into games?

LC:
The first step for me in adapting any existing IP into a game is to
become the biggest fan possible of that IP.  It is only through the
lens of a deeply devoted fan that I can hope to expand the IP into the
interactive world in a way that is respectful and complementary.  I try
not to focus on what types of games have been made but instead focus on
what type of interactive experience would be right for the IP.

SED: Is gameplay capable of creating the same kind of emotions experienced when consuming a well-crafted film or novel?

LC:
Yes, and even more so.  Since the choices of a player in interactive
entertainment drive the story there is a much closer emotional
connection.  The UI of games interferes with the basic concept of
engaging the player into the world.  As UI issues get resolved the
worlds become even more compelling.

SED: For your most recent collaboration with Steven Spielberg, BOOM BLOX, you are quoted in various articles talking about the use of “consistent themes”, can you elaborate on this concept?

LC: BOOM BLOX
had so many ideas built upon the core ability of manipulating the Wii
Remote that we had to collect them into play patterns that were similar
to give the player context.  With well over 300 levels in the game it
was critical that there be some underlying thematic tie to keep players
learning and growing toward mastery of a certain type of play.

SED: How do themes help you create a better game?

LC:
They offer context for the player, our designers and even our
engineers.  Having context helps direct and focus our efforts so we can
offer a more fully actualized version of a game idea.

SED:
I’ve heard you refer to yourself as a “kid in a candy store” when it
comes to games, are there any particular flavor fantasies you are
craving that games industry is not currently providing? What are they
and why?

LC: Tons!  Without giving dozens of specific
examples I would have to say it boils down to more effectively executed
genres of entertainment.  I wish I could “play” dramas, comedies, love
stories and other rich emotional experiences instead of FPS, RTS or RPG.

SED:  Without revealing any secrets, what is your vision for the next 20 years of interactive entertainment?

LC:
LOL I wish I knew!  I have a hard enough time articulating what I want
to see in the products we are releasing next year!  My vision has been,
and continues to be to have the best time with the greatest talent I
can find to make products I love to play and am proud to give to my
friends to play.  I’ll keep doing my best as long as people keep
enjoying the things my teams and me create.

SED: I know I sure have, and look forward to playing your future creations. Thanks for your time.

Louis
is a great man; he always seems to have a smile on his face despite the
heavy workload and responsibility he carries. It is refreshing to hear
someone of his stature truly believe in the future of dramatic games
and experiences that push the boundaries of the modern convention that
is video game types like FPS, RTS, MMO. I hope you found his words and
thoughts as inspirational as I do. For the NDE this is Stephen Erin
Dinehart.