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If we look at 'Borderlands,' I can't honestly say that there is anything about how well the game sold that I'm disappointed about.

If I have something that I've finished with, and someone else might find value in it, the idea of passing along for a price is a rational transaction. It exists in many aspects of our lives. But I do have to say that media is a different beast.

As a creative, as an artist, I'm just excited when people want my stuff, and want to experience it.

You can polish and iterate and double down on what the magic was. You can make a much better thing. A much cleaner thing, a much more solid thing. And that's what 'Borderlands 2' is to 'Borderlands.'

Taking 'Duke Nukem Forever' on was a very easy decision for me to make.

I'm in the business to make games - I love entertaining people.

With 'Duke Nukem Forever' it was a different level of commitment for me with reference to helping the creators be true to their vision. I've been able to enjoy this game as much as a fan as I am a part of the creative process, and that's a very rare and unique for me.

I have immense respect for Christopher Nolan for taking a character called 'Batman' - taking a comic book - and making people believe in him in a real world context.

Each scenario in 'Battleborn' is kind of like a TV episode, you can play them in any order, and each one has a beginning, middle, and end. And they are super replayable.

Why is 'Borderlands' different from every other game with respect to DLC? It's because we haven't really worried about what the past models are. We just thought about what would be fun for us to make and what there would be demand for if it were to exist.

Things that are created with passion tend to work out better than things that are assignments that we don't really want to do.

Demand alone might let a business case be created, but things driven by that will have a risk of being soulless. You need it being driven from both directions. You need the nexus between demand and creative passion that wants to make something.

If you're making entertainment on a grand scale, if you're reaching millions, there will be tens of thousands of people who absolutely hate us, and some percentage of those will take it upon themselves to let us known how they feel.

There is always the person who's got to stand on the sandcastle, they must crush it.

A mission to entertain the world is a good one because it's impossible to achieve.

If you're going to take a risk, some people will like what you offer, and some definitely won't.

Sometimes you stumble when you push yourself harder and you're trying to run faster or whatever. We forgive ourselves, pick ourselves up, and keep running. We don't cry and stop running because we skinned our knee.

My dad used to build computers for the U.S. government, for military intelligence. So he always had computers around the house.

I think the first things I did, I used to try to create digital versions of Dungeons & Dragons that would help me generate a character, that would roll the dice for me.

I remember when I discovered The Beatles with music and The Beatles peaked before I was born and when I discovered them I felt really special.

No gamer, whether you've played 'Duke 3D' or you haven't, can play 'Duke Forever' without having experiences that surprise them.

When we shipped 'Borderlands 2,' we didn't ship it with a plan of how the level cap was going to increase. We didn't have any software built or strategy in place.

I've only experienced it a few times where you get to have a thing that simultaneously gets some critical respect, some critical success, while also having sales success. Sometimes you get one or the other if you're lucky.

Just as 'Half-Life' redefined the first person action game, 'Half-Life' for Dreamcast redefines what an extension of a great PC game to console should be.

The philosophy at Valve and Gearbox is that if things can't be done better, they shouldn't be done at all.

The Dreamcast version of 'Half-Life' is great - it looks better than the original PC version and it's the only way console owners can enjoy 'Half-Life: Blue Shift.'

I think it's safe to say that 'Half-Life' was influenced by every first person action game that preceded it.

Good games teach what works and bad games teach what doesn't.

A very important part of game development is testing - something that a lot of developers don't do.

Blue Shift' is a game that I'm very proud of.

The key is when we make mistakes, we want to be able to correct them and we also want to be able to learn from them so that we do not make the same mistake twice.

One of the neat things about Gearbox that I love is, we don't look at our designs as a totalitarian regime and we're all really happy to let designers and creators within the studio explore in our space.

There's no trend lines that work in entertainment. You can break any trend line by offering value that we as consumers of content want.

Do something good, and people want that! Do something less good, and people want it a little less!

There are several cool cross-overs between 'Blue Shift,' 'Opposing Force' and 'Half-Life.' The plots are all designed to work nicely with themselves and the observant player will catch many cross-references.

From a narrative perspective, 'Blue Shift' for the PC and 'Blue Shift' for the Dreamcast are very similar.

If you're successful, 'Blue Shift' has what many have called the most satisfying 'Half-Life' ending yet.

Up until 'Blue Shift,' 'Half-Life' characters were repeating, expendable entities. In 'Blue Shift,' important named partners will work with you over the course of several levels and objectives in order to overcome the hazards of the plot.

Usually when we finish a game and we're at the end, we're sick of it. We want to put it in the box and be done with it. But with 'Borderlands,' it's actually become a productivity sink at Gearbox, because we're just having fun.

There are times when you can take yourself seriously and there are times when you can cut loose. It really depends on your goals and it depends on what you're promising the customer.

Sometimes we do derive some entertainment when we 'appreciate' something, and sometime we feel something when we're moved. So a lot of game makers want challenge themselves with 'can I move someone?' or 'can I get them to respect me as an artist?'

I mean, of course there's art in video games - duh.

When I'm in line at the grocery store, I might pick up one of those tabloids. I might not even buy it. I'm just gonna sit there and read the headlines and chuckle at how stupid that stuff is, even though I'm reading it anyway.

I've decided, because we have a short time here, that those of us that create joy and happiness, that's a really noble thing.

I have a lot of respect for those in medicine that are trying to extend our lives or help us when we're sick.

But it's only through joy and happiness that life has any value or purpose.

Borderlands' is a horrific failure if our goal is to entertain the world.

Of course, the idea that a robot can have a sexual identity is kind of an absurd one.

Condition Zero' introduces quite a bit of content and gameplay to 'Counter-Strike' including new weapons, characters, mission types and even new technology to enhance to look and feel of the game.

Most single player games put a lone character against an army that is just standing around waiting for the player to show up and defeat them.

In 'Condition Zero,' failure has greater consequences and success offers greater rewards.

Teamwork is a significant part of 'Counter-Strike: Condition Zero' and many of the secondary objectives require you to effectively work with your squad.

I, personally, trust Valve. But I'm just saying, honestly, I think a lot of the industry doesn't.

I owe my career to 'Duke.'

We decided we were going to do more 'Brothers In Arms,' and we were also going to create something original that no one else was doing, and that's what led to 'Borderlands.'

I've been stealing from the Alien films throughout my entire career.

We're trending towards the holodeck. Eventually we'll have a system that's indistinguishable from reality.

We're convinced that Frisco Square is the perfect environment for Gearbox Software's new headquarters and we are eager to break ground, build out and move in so that we may join the community and bring everything we can to the city as a Frisco business and as Frisco citizens.

When you think of what 'Borderlands 3' should be, it should be massive. It should be bigger and better than 'Borderlands 2.' It should carry forward the story.

When people take risks and it's not rewarded, in the case of 'Mirror's Edge,' it's makes it harder for others to be comfortable taking risks.

Myself and the team at Gearbox have a very keen interest in cross-platform play.

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