“As a designer, you have to think in time and see things in sequence. You have to see information as a narrative form - Paul Mijksenaar quoted by Kim Baer”

“Designers can learn from library science. In trying to deliver information, what are the cognitive frameworks or resistances to absorbing information? We're always trying to make information delivery as painless and seamless as possible. Even to the point that the person has no conscious perception of how the information is delivered. - Micki Breitenstein via way of Kim Baer's book, Information Design Workbook”

“You have to see fate as a design, a pattern, and the will as the knife, the blade, the thing slicing through the fabric...”

“You mean I'm going to have to do a spell in front of a bunch of toffs?" Kim said, outraged that no one had mentioned this before she had agreed to this come-out."Yes, exactly", Lady Wendall said serenely. "You and Richard have plenty of time to design something that will reflect your unique background, as well as demonstrating your abilities as a wizard. I am looking forward to seeing what you decide upon.""I could pick everyone's pockets at once with magic, "Kim said, still disgruntled. "That'd 'reflect my unique background', all right".”

“Learning to design is, first of all, learning to see. Designers see more, and more precisely. This is a blessing and a curse — once we have learned to see design, both good and bad, we cannot un-see. The downside is that the more you learn to see, the more you lose your ‘common’ eye, the eye you design for. This can be frustrating for us designers when we work for a customer with a bad eye and strong opinions. But this is no justification for designer arrogance or eye-rolling. Part of our job is to make the invisible visible, to clearly express what we see, feel and do. You can‘t expect to sell what you can’t explain.”

“...the video-game form is incompatible with traditional concepts of narrative progression. Stories are about time passing and narrative progression. Games are about challenge, which frustrates the passing of time and impedes narrative progression. The story force wants to go forward and the "friction force" of challenge tries to hold story back. This is the conflict at the heart of the narrative game, one that game designers have thus far imperfectly addressed by making story the reward of a successfully met challenge.”