Marc Laidlaw, best known for his pivotal role as lead writer for Valve's iconic Half-Life series, penned his short story "400 Boys" at the tender age of 21 in 1981. Initially published in Omni magazine in 1983, the story gained broader recognition when it was included in the seminal anthology "Mirrorshades: The Cyberpunk Anthology." On his website, Laidlaw humorously notes that "400 Boys" might have been read by more people than anything else he's written, aside from perhaps the seasonal ad copy for Dota 2. Despite his fame in the video game industry, Laidlaw's creative endeavors extend far beyond gaming, illustrating the unpredictable paths of a creative career.
In a post-apocalyptic city where warring gangs adhere to a bushido-like code of honor, the emergence of the 400 Boys gang forces a reluctant alliance among them. This narrative, blending beauty with brutality, was brought to life by Canadian director Robert Valley, whose episode "Ice" from Love, Death and Robots won an Emmy for Outstanding Short Form Animation.
Laidlaw recalls the inspiration behind "400 Boys" stemmed from the vibrant music scene in Eugene, Oregon. "I lived in Eugene, Oregon, and there were always phone poles plastered with names of bands playing in town," he shares. "It was just name after name of super cool bands, and I wanted to capture that energy. I thought, if I have all these gangs in the story, I can come up with names for them, just like band names. That was a big part of the fun in writing it."
Marc Laidlaw has moved on from Half-Life but remains engaged with the internet. Photo credit: Mimi Raver.
Over four decades later, "400 Boys" has been adapted into an episode for the fourth season of Netflix's acclaimed animated anthology series, Love, Death and Robots. Directed by Robert Valley, who also directed "Zima Blue" and "Ice" in previous seasons, and written by Tim Miller, the episode features voice talent from John Boyega, known for his role as Finn in Star Wars. This adaptation marks a significant resurgence for Laidlaw's early work, which he never anticipated would see such a revival.
"The story kind of faded out, but cyberpunk kept going, and I didn't think about it much," Laidlaw reflects during a recent video call, just before the premiere of Season 4. The journey to the screen was long; around 15 years ago, Tim Miller from Blur Studio, known for their work on video game cutscenes, had approached Laidlaw about adapting "400 Boys," but the project fell through due to studio changes.
400 Boys now shines as an episode on Netflix's Love, Death and Robots. Image credit: Netflix.
After moving to Los Angeles in 2020, Laidlaw met with Miller a few times as the pandemic subsided. Though he didn't push for the adaptation, he hoped that the success of Love, Death and Robots might bring "400 Boys" back into consideration. A year ago, that hope became reality when he received an email asking if they could option "400 Boys." Laidlaw was minimally involved in the adaptation process, preferring to enjoy the final product as an observer. "It was fun to sit back and not be involved in the trenches for once," he says, appreciating the visual flair added to his story by the team, especially the contributions of John Boyega and the atmospheric setting.
Reflecting on "400 Boys," Laidlaw acknowledges it as a product of a much younger self. "It's from a different me from lifetimes ago," he muses, yet he remains proud of the work he did at such a young age. His career took a significant turn in 1997 when he joined Valve during the development of Half-Life, leading to a storied tenure in the gaming industry until his "retirement" in 2016.
Since leaving Valve, Laidlaw has explored other creative avenues, including music. The release of Valve's Half-Life 2 anniversary documentary last year, coupled with Laidlaw's sharing of early development footage on his YouTube channel, sparked renewed interest in his work. "I'm like, I'm in the wrong business!" he jokes, considering the attention garnered from his Valve days.
Reflecting on his time with Half-Life, Laidlaw found the documentary process therapeutic, allowing him to reconnect with old colleagues and put a bow on that chapter of his life. With the Half-Life and Half-Life 2 anniversaries behind him, the only Valve project left for potential reminiscing is Dota 2, now 12 years old. "I could speak to Dota. That's the only thing left," he says, also mentioning his minor contributions to Alien Swarm.
Despite the inevitable questions about Half-Life 3, Laidlaw is firm about not returning to Valve for such a project. "I would not do that," he asserts, recognizing the need for new voices and ideas to drive the franchise forward. He has not played Half-Life: Alyx and feels disconnected from the current creative process at Valve. "I'm not on that edge anymore," he admits, acknowledging the intense work required and his preference for working on his own schedule.
While Laidlaw is done with Half-Life, his past work continues to resonate. The adaptation of "400 Boys" into a Love, Death and Robots episode is a testament to the enduring impact of his early stories. As he reflects on his career, Laidlaw appreciates the serendipity of being involved in phenomena like cyberpunk and the rise of Valve. "I've been lucky to be a part of these things that just kind of become phenomena," he concludes, leaving open the possibility of future surprises from his rich catalog of work.
