Marc Laidlaw penned *400 Boys* in 1981 at the age of 21, long before he became Valve’s lead writer and a key architect behind the iconic *Half-Life* series. Originally published in *Omni* magazine in 1983, the short story later gained broader recognition when it was included in Bruce Bethke’s influential *Mirrorshades: The Cyberpunk Anthology*. Today, it remains one of Marc’s most widely read works—perhaps even more than his contributions to *Dota 2* promotional copy.
In a post-apocalyptic city ruled by warring gangs bound by a bushido-like code of honor, the sudden rise of the 400 Boys forces an uneasy alliance among the factions. This visually striking tale blends raw intensity with poetic beauty under the direction of Canadian animator Robert Valley, whose previous work on the Emmy-winning *Love, Death + Robots* episode “Ice” showcases his unique artistic vision.
Laidlaw recalls the origins of *400 Boys*: “It came from walking around Eugene, Oregon, where I saw all these band names posted on telephone poles. I wanted to capture that same kind of energy—just making up cool gang names for fun. It ended up being one of the driving creative forces behind the story.”
More than four decades after its initial publication, *400 Boys* has found new life as an episode of Netflix’s acclaimed animated anthology *Love, Death & Robots*, premiering in Season 4. Directed by Robert Valley (*Zima Blue*, *Ice*) and adapted by Tim Miller, the episode features voice work from John Boyega, best known for his role as Finn in *Star Wars*. It’s a surprising yet fitting revival for a story that once seemed destined to fade into obscurity.
“The story kind of faded out, but cyberpunk kept going,” Laidlaw explains during a recent video call. “I didn’t really think about it much until recently.” In fact, there was almost a prior attempt to adapt *400 Boys* fifteen years ago, led by Tim Miller of Blur Studio. However, shifting studio priorities caused the project to collapse like so many others before it.
Then came the explosion of *Love, Death & Robots* in March 2019. With its edgy, adult-oriented storytelling and experimental animation, the series offered a perfect home for unconventional narratives. Laidlaw was especially impressed by how Tim Miller handled J.G. Ballard’s *The Drowned Giant*, which only deepened his admiration for the director’s creative instincts.
After relocating to Los Angeles in 2020 and reconnecting with Tim at industry events, Laidlaw cautiously hoped that *400 Boys* might find a second wind. A year ago, that hope turned into reality with a simple email asking if he’d be interested in having the story optioned for the show. It was finally happening.
Laidlaw collaborated briefly with Tim and Robert Valley, offering insights and pointing them to his audiobook narration of the story. But beyond that, he stepped back and let the creative team take the reins. “It was fun to sit back and not have to be involved in the trenches for once,” he says. “I just wanted to enjoy what they made of it.”
The result is a faithful adaptation that adds visual flair and depth to the original concept. Laidlaw praises the casting choices, particularly John Boyega’s performance, and the way the setting and accents bring the world to life. “They made the story just so much more fun visually,” he says.
Reflecting on the story’s origins, Laidlaw describes *400 Boys* as a product of a different version of himself—one shaped by youth and early literary experimentation. “I’m still pretty happy with it considering how young I was when I wrote it,” he admits.
Following a quiet period after the story’s release, Laidlaw entered the games industry in 1997, eventually becoming a central figure at Valve during the development of *Half-Life*. After leaving Valve in 2016, he took a step back from game development, focusing instead on personal creative projects—including music and archival content shared via YouTube.
Looking back at *Half-Life* through the lens of recent anniversary documentaries, Laidlaw found the experience both nostalgic and therapeutic. “It was good to process and put a bow on that stuff,” he says. “It had been a long time since I’d seen or spoken to many of those people.”
Though *Half-Life 3* remains a mystery, Laidlaw is open to future collaborations—but not necessarily with Valve. He jokes about Hideo Kojima missing an opportunity to collaborate on *Death Stranding*, and expresses admiration for narrative-driven studios like FromSoftware. Still, he admits that post-Valve opportunities haven’t always matched his expectations.
“I got asked to write a synopsis for a mobile laser tag game,” he laughs. “It was clear they didn’t quite understand what I do.” Despite this, Laidlaw remains open-minded, though he’s realistic about his current place in the industry.
When asked whether he would return to help shape a new *Half-Life* title, Laidlaw answers with finality: “I would not do that. At some point, you need to let new creators step in and build something fresh. I don’t want to be the old guy shooting ideas down because ‘the G-Man wouldn’t do that.’ That’s not helpful anymore.”
While Laidlaw may be done with *Half-Life*, his creative legacy continues to evolve. With *400 Boys* now reaching a new generation through Netflix, it’s a reminder that great stories can find their moment—even decades after they were first imagined.
