![]() Villain stories are great because the goal is simple (“kill this bad dude,”), intrinsically has personality, and gives us a really simple vehicle by which to remind the player of their ultimate goal.įor example, in Borderlands 1 – and I didn’t work on Borderlands 1, so this is just my perspective as a fan of the game – NPCs occasionally messaged you over radio to remind you that the Vault exists, and it’s important, and you’re supposed to find it. Paul and I are huge fans of villain-centric game stories like Portal, System Shock, and BioShock (which Paul was lead designer of). It is, of course, always difficult to talk about your own work without coming off as a self-congratulatory douche (for me, anyway), so apologies in advance.įrom the getgo, creative director Paul Hellquist and I knew that Borderlands 2 needed to be a “villain story.” The first game’s story had a strong and clear goal (“Find the Vault,”) but no central, driving force to lead you to that goal beyond your own curiosity and greed. I will also use all my self-restraint to not call this article Handsome Jack In The Box, as twitterfriends Eric and Jim “Dungeonmans” Shepard suggested. The views and opinions expressed in this article are those of the author and do not necessarily reflect the official policy or position of Gearbox Software or any of its individual members outside of the author.Ī couple of people have asked about Handsome Jack – how we came up with him, why he is the way he is, and other stuff like that – so for this week’s Inside the Box, I’m going to talk about Handsome Jack. ![]() Gearbox Software projects are created by a diverse range of individuals spanning a spectrum of different backgrounds, interests, objectives and world views. ![]() Inside the Box serves as a forum for individuals involved in the production of Gearbox Software content to share personal motives, methods, process and results.
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