Tomorrow, and Tomorrow, and Tomorrow: A novel

the documentaries Indie Game: The Movie, directed by James Swirsky and Lisanne Pajot, and GTFO, directed by Shannon Sun-Higginson. I

“That’s a game character’s life, too,” Sam said. “The world of infinite restarts. Start again at the beginning, this time you might win. And it’s not as if all our results were bad. I love the things we made. We were a great team.”

Since she’d started teaching and become a mother, she’d felt old, but that night, she realized she wasn’t old at all. You couldn’t be old and still be wrong about as many things as she’d been wrong about, and it was a kind of immaturity to call yourself old before you were. She looked past the building to the sky. It was a deep, blue velvet night,

We had so much freedom—creatively, technically. No one was watching us, and we weren’t even watching ourselves. What we had was our impossibly high standards, and your completely theoretical conviction that we could make a great game.”

This generation doesn’t hide anything from anyone. My class talks a lot about their traumas. And how their traumas inform their games. They, honest to God, think their traumas are the most interesting thing about them.

“I think that, too,” Sadie said. “The knowledge and experience we have—it isn’t necessarily that helpful, in a way.” “So depressing,” Sam said, laughing. “What’s all of this struggle been for?”

imagine people playing. Sometimes, it’s one of our games, but sometimes, it’s any game. The thing I find profoundly hopeful when I’m feeling despair is to imagine people playing, to believe that no matter how bad the world gets, there will always be players.”

But how to explain this to Destiny? How to explain to Destiny that the thing that made her work leap forward in 1996 was that she had been a dervish of selfishness, resentment, and insecurity? Sadie had willed herself to be great: art doesn’t typically get made by happy people.

Limitations are style if you make them so.”