Dan Houser

And then when I was 27, I still completely lost a child and I stopped some of my bad behavior.

And the next day,

pretty much the chance to work on open world games and all the skills I'd half learnt over the previous years and my way of thinking where I thought about space a lot because I was a geographer rather than a historian came together and I got the chance to work on open world games that felt like it was meant to be.

It was fun to explore, but really fun to explore with this team that was, you know, Alex Horton and Naveed and Leslie and the guys in Scotland and all the people in New York making these new games in this new way and going, oh, we need to find a hundred voices.

We've got no money.

How the hell are we going to do that?

We'll get everyone's friends in and just record four lines of dialogue each as we kind of would invent the way that pedestrians are speaking video games.

No one else was doing that kind of stuff.

It was insane.

So I think that period from kind of 2001, 2005, it was lots of early innovation and felt really exciting because we were doing new stuff.

It didn't feel, it felt creative, but it didn't feel like writing yet.

Just becoming that.

We felt lots of doing lots of creative things and learning how to assemble the stuff and learning what it could take.

And then I think we talked about it earlier, but the journey into doing GTA 4 when it began to feel more like a proper writing experience.

Yeah.

And I was kind of probably ready for that at that point.

And then I was like, well, this is better than films.

This is something that films can't do.

You know, this 360 degree experience of being this immigrant.

And it still felt that we were still only scratching the surface.