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

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

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.

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

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.

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.

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

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

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

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.

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.

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.

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

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.

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.

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

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

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

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.

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.

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

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.

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.

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.