"Story in a game is like a story in a porn movie. It's expected to be there, but it's not that important"
About this Quote
Carmack’s line lands because it’s blunt in the way engineers are blunt: it swaps polite debate about “games as art” for a crude comparison that instantly communicates priorities. The joke is doing real rhetorical work. Porn, in the analogy, is a medium where the audience arrives for a specific kind of engagement; plot exists mostly as an entry ramp. By yoking games to that expectation, Carmack is defending a vision of the medium where mechanics, responsiveness, and technical performance are the main event, and narrative is optional scaffolding.
The context matters. Carmack came up building foundational first-person shooters in the 1990s, when storage limits, production pipelines, and the novelty of 3D made “feel” and speed the frontier. His work helped define a design culture where story was often delivered as minimal framing, because the cutting edge was the engine, not the screenplay. The quote also functions as a preemptive strike against a certain kind of prestige anxiety: the idea that games need literary narrative to be legitimate. Carmack is saying legitimacy can come from systems.
The subtext is both pragmatic and a little polemical: players don’t primarily want to be told; they want to do. It’s a provocation aimed at creators and critics who treat narrative as the crown jewel. Of course, the barb also exposes what it risks missing: plenty of games derive their power from story precisely because interactivity can make narrative consequence felt, not merely observed. The line is less a universal truth than a declaration of allegiance.
The context matters. Carmack came up building foundational first-person shooters in the 1990s, when storage limits, production pipelines, and the novelty of 3D made “feel” and speed the frontier. His work helped define a design culture where story was often delivered as minimal framing, because the cutting edge was the engine, not the screenplay. The quote also functions as a preemptive strike against a certain kind of prestige anxiety: the idea that games need literary narrative to be legitimate. Carmack is saying legitimacy can come from systems.
The subtext is both pragmatic and a little polemical: players don’t primarily want to be told; they want to do. It’s a provocation aimed at creators and critics who treat narrative as the crown jewel. Of course, the barb also exposes what it risks missing: plenty of games derive their power from story precisely because interactivity can make narrative consequence felt, not merely observed. The line is less a universal truth than a declaration of allegiance.
Quote Details
| Topic | Witty One-Liners |
|---|---|
| Source | Evidence: Chapter 8 (page varies by edition; commonly cited as p. 120 in hardcover; reported as p. 128 in the 2004 trade paperback). The earliest primary-source appearance I can verify is David Kushner’s book *Masters of Doom: How Two Guys Created an Empire and Transformed Pop Culture*, where Kushner quote... Other candidates (2) Suddenly I was a Shark! My Time with What Remains of Edit... (Caleb J. Ross, 2023) compilation95.5% ... John Carmack , co - founder of id Software and lead programmer of the early Doom games , famously said , " story ... Alpha and Omega (John Carmack) compilation33.6% winston its a miracle happily begins to celebrate only for tony to almost hit him in the head but he stops and the tw... |
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