...The lesson [comic books] taught children- or this child, at any rate- was perhaps the unintentionally radical truth that exceptionality was the greatest and most heroic of values; that those who were unlike the crowd were to be treasured the most lovingly; and that this exceptionality was a treasure so great that it had to be concealed, in ordinary life, beneath what the comic books called a 'secret identity'.

I'm a big-city boy. What I like is big cities. It's not just what I like. It's what I write about.

Free-form games in which the player can make choices about what the game is going to be, become a kind of gaming equivalent of the narrative possibility.

Well, we're still in the middle of it. And it doesn't show any sign of going away. And these attacks that were - that seemed so odd at the time, with "Satanic Verses," because we didn't have any context for this. You know, where did that come from? It seemed to come out of nowhere.

People don't like being around despair. Our tolerance for the truly hopeless, for those who are irredeemably broken by life is strictly limited. The sob stories we like are the ones that end before we're bored.

I've always thought that one of the things that the Internet and the gaming world permits as a narrative technique is to not tell the story from beginning to end - to tell stories sideways, to give alternative possibilities that the reader can, in a way, choose between.

Travel was pointless. It removed you from the place in which you had a meaning, and to which you gave meaning in return by dedicating your life to it, and it spirited you away into fairylands where you were, and looked, frankly absurd.