All models are wrong, but some are useful.

Once games are seen as a medium, we can start worrying about whether they are a medium that permits art. All other media do, after all.

A game designer is not an author. Like a prop master or a stage director, the game designer proposes and deploys an object into the world, letting it speak for itself and be spoken through.

Board games show us a path out of our addiction to the on-screen desert of gaming by making the real world a tactile oasis for entertainment. You’re playing against people, not code and you might even learn some history, biology, or economics while you're at it.

For me, this is what a game is—a space to return to again and again to test myself, to engage with others, to have opportunity to do things that daily life does not permit. The average serious game lacks this depth, in large part due to the emphasis on content, and the product-oriented conception of games as medium and not as practice.

While one could debate with some validity the impact of images appearing on the screen of a video game as opposed to the impact of printed game parts, the dice to me have a particular fascination as they do not have a direct equivalent in the video game world.

In life, as in chess, one’s own pawns block one’s way. A man’s very wealth, ease, leisure, children, books, which should help him to win, more often checkmate him.

A game’s identity is an amalgam of the people who breathe life into it.

Wargaming is not gonna die. It’s been around for 5,000 years; so why now and not before, right? […] It will be interesting to see how it evolves, what it turns into, but I have no concerns for the hobby.

Chess is a game by its form,an art by its content and a science by the difficult of gaining mastery in it.