In the summer of 1979, a sixteen-year-old Richard Allen Garriott sat hunched over a Teletype terminal in his bedroom in Nassau Bay, Texas, pecking out lines of BASIC code that would eventually revolutionize the role-playing game genre. The son of NASA astronaut Owen Garriott, Richard had grown up in the shadow of the space program, but his imagination was captured by something far more terrestrial: the possibility of creating entire worlds from nothing more than computer code and human creativity.
That summer project became "Akalabeth: World of Doom," a primitive dungeon-crawling game that Garriott initially created for his own amusement. Working on his Apple II Plus computer, he crafted a simple but revolutionary concept: a first-person perspective dungeon crawler where players could explore, fight monsters, and accumulate treasure. The game's wire-frame graphics were crude by today's standards, but they represented something unprecedented—a virtual world that responded to player choices.
The Birth of Lord British
Garriott's transformation from teenage programmer to industry pioneer began with an act of entrepreneurial audacity that would define his career. In 1980, he convinced his mother to drive him to a local computer store, where he hoped to sell copies of Akalabeth for $5 each. The store owner, impressed by the game's originality, ordered twenty copies on the spot. Word spread quickly through the nascent personal computer community, and soon California Pacific Computer Company contacted the teenager with an offer to publish the game nationally.
The deal was modest—California Pacific offered Garriott $5,000 upfront plus royalties—but it represented validation of his vision. More importantly, it introduced the world to "Lord British," the alter ego Garriott had created for himself within the game. The name originated from his high school Dungeons & Dragons campaigns, where British friends had dubbed him "Lord British" due to his fascination with medieval history and his tendency to affect a pseudo-English accent during gameplay.
By the Numbers
Akalabeth's Impact
$150,000Revenue generated from Akalabeth sales
30,000Copies sold in first year
$5Original retail price per copy
16Garriott's age when he created the game
The success of Akalabeth provided Garriott with both financial resources and industry credibility as he entered the University of Texas at Austin to study computer science. But rather than focusing solely on his studies, he was already conceptualizing something far more ambitious: a series of interconnected games that would explore themes of virtue, morality, and personal growth through interactive storytelling.
The Ultima Genesis
In 1981, while still a college sophomore, Garriott began work on what would become "Ultima I: The First Age of Darkness." Published by California Pacific in September 1981, the game expanded dramatically on Akalabeth's foundation, introducing an overworld map, multiple towns, and a more complex narrative structure. Players could explore both outdoor environments and underground dungeons, interact with non-player characters, and pursue a quest that spanned multiple worlds and time periods.
The game's commercial success was immediate and substantial. Ultima I sold over 50,000 copies at $60 each, generating more than $3 million in revenue and establishing Garriott as one of the computer gaming industry's most promising young talents. More significantly, it demonstrated that computer games could be more than simple diversions—they could be vehicles for sophisticated storytelling and moral exploration.
I wanted to create not just a game, but a world—a place where players could explore not only geography but philosophy, where every choice had meaning and consequence.
— Richard Garriott
The success of Ultima I allowed Garriott to negotiate increasingly favorable publishing deals. When California Pacific faced financial difficulties in 1982, he moved to Sierra On-Line for Ultima II, which was released in August 1982. The game's time-travel narrative, spanning from ancient times to the far future, showcased Garriott's growing ambition and technical sophistication. Sales exceeded 75,000 copies, generating over $4.5 million in revenue and cementing the Ultima brand as a major force in the industry.
Origin Systems and Creative Independence
By 1983, Garriott had grown frustrated with the constraints of working with external publishers who often prioritized quick profits over creative vision. Drawing on the financial success of his first two games, he made a decision that would define the next phase of his career: he would start his own company. In partnership with his brother Robert and friend Chuck Bueche, Garriott founded Origin Systems in September 1983, with initial capital of $58,000 and a mission statement that would become legendary in the industry: "We Create Worlds."
The company's first major release, "Ultima III: Exodus," launched in August 1983 and represented a quantum leap in both technical achievement and commercial success. The game introduced a party-based system where players controlled multiple characters, featured improved graphics and sound, and included a more sophisticated magic system. Most importantly, it began to explore the ethical themes that would become Garriott's signature: the nature of good and evil, the importance of virtue, and the consequences of moral choices.
By the Numbers
Origin Systems Early Success
$58,000Initial startup capital for Origin Systems
120,000Copies of Ultima III sold in first year
$7.2MRevenue from Ultima III sales
12Employees at Origin Systems by 1984
The commercial performance of Ultima III exceeded all expectations, selling over 120,000 copies at $60 each and generating more than $7.2 million in revenue. This success provided Origin Systems with the financial foundation to pursue increasingly ambitious projects while maintaining creative independence. Garriott used the profits to invest in better development tools, hire additional programmers and artists, and begin work on what would become his masterpiece: Ultima IV.
The Virtue Revolution
Released in September 1985, "Ultima IV: Quest of the Avatar" represented a radical departure from conventional computer game design. Rather than tasking players with defeating a traditional villain, the game challenged them to become a moral exemplar—an Avatar—by mastering eight virtues: Honesty, Compassion, Valor, Justice, Honor,
Sacrifice, Spirituality, and Humility. Every interaction in the game world was designed to test the player's commitment to these principles.
The game's development process was as revolutionary as its content. Garriott spent months researching philosophy, ethics, and world religions, drawing inspiration from sources as diverse as Aristotelian virtue ethics and Buddhist concepts of enlightenment. He created detailed design documents that mapped out how each virtue would be represented mechanically in the game, ensuring that moral choices had tangible consequences for gameplay progression.
Most games ask you to kill the bad guy and save the world. I wanted to ask a different question: What if the bad guy was already dead, and the real challenge was becoming worthy of saving the world?
— Richard Garriott
The commercial and critical reception of Ultima IV was unprecedented. The game sold over 200,000 copies in its first year, generating more than $12 million in revenue and earning universal critical acclaim. Computer Gaming World called it "the most important computer game ever created," while other publications praised its sophisticated moral framework and innovative gameplay mechanics. More importantly, it demonstrated that computer games could address serious philosophical themes without sacrificing commercial appeal.
The success of Ultima IV established Origin Systems as one of the industry's premier development studios and provided Garriott with the resources to pursue even more ambitious projects. The company expanded rapidly, growing from 12 employees in 1984 to over 40 by 1986, and moved into larger facilities in Austin, Texas, to accommodate its growing staff and increasingly complex development processes.
Building an Empire
The late 1980s and early 1990s represented the peak of Garriott's creative and commercial success. Ultima V (1988) and Ultima VI (1990) continued to explore sophisticated themes while pushing the boundaries of technical achievement. Ultima V introduced a complex moral system where players faced genuine ethical dilemmas with no clear right answers, while Ultima VI featured unprecedented graphical detail and a more sophisticated conversation system.
Each release generated substantial revenue and critical acclaim. Ultima V sold over 150,000 copies at $70 each, while Ultima VI exceeded 200,000 copies at $80 each. By 1990, the Ultima series had generated over $50 million in cumulative revenue, making it one of the most successful computer game franchises in history.
By the Numbers
Ultima Series Commercial Peak
$50MCumulative Ultima series revenue by 1990
1.2MTotal Ultima copies sold across all titles
150Origin Systems employees by 1990
$15MAnnual revenue for Origin Systems in 1990
However, the increasing complexity and cost of game development began to strain Origin Systems' resources. Each new Ultima title required larger teams, longer development cycles, and more sophisticated technology. Ultima VI's development budget exceeded $1 million, a substantial sum for the era, and the company found itself needing additional capital to fund future projects.
The Electronic Arts Acquisition
In September 1992, facing mounting development costs and increased competition, Garriott made one of the most controversial decisions of his career: he sold Origin Systems to Electronic Arts for $35 million. The acquisition provided Origin with the financial resources to pursue more ambitious projects, including Garriott's long-held dream of creating a massively multiplayer online game.
The deal structure reflected both Garriott's pragmatism and his desire to maintain creative control. He retained his position as Origin's creative director and received guarantees that EA would fund development of both Ultima VII and his experimental online project, which would eventually become Ultima Online. The acquisition also provided him with substantial personal wealth—his share of the sale price exceeded $15 million—and the resources of a major publisher.
Ultima VII, released in April 1992 just months before the EA acquisition, represented the culmination of Garriott's single-player RPG vision. The game featured an unprecedented level of interactivity, allowing players to manipulate virtually every object in the game world, and included a sophisticated narrative that explored themes of religious fundamentalism and corporate corruption. Despite some technical issues related to memory management, the game sold over 300,000 copies and received universal critical acclaim.
The Online Revolution
Even as Ultima VII was achieving commercial success, Garriott was already focused on his next revolutionary concept: a persistent online world where thousands of players could interact simultaneously. The idea had been percolating in his mind since the early 1980s, when he had experimented with multi-user dungeons (MUDs) on university computer systems, but the technology had only recently advanced to the point where such a project was feasible.
Development of Ultima Online began in earnest in 1993, with Garriott assembling a team of programmers, designers, and artists to tackle the unprecedented technical and design challenges. The project required innovations in server architecture, network programming, and database management, as well as entirely new approaches to game design that could accommodate thousands of simultaneous players.
The development process was fraught with challenges. Early alpha tests revealed fundamental problems with player behavior—without the constraints of single-player narratives, players often engaged in antisocial behavior that disrupted the experience for others. Garriott and his team spent months developing systems to encourage cooperation and discourage griefing, including reputation systems, player justice mechanisms, and economic incentives for positive behavior.
Creating a virtual world is like founding a nation. You must establish not just the geography and the rules, but the culture and values that will guide how citizens interact with one another.
— Richard Garriott
Ultima Online Launch and Success
Ultima Online launched on September 24, 1997, after four years of development and a budget that exceeded $5 million. The game's initial release was plagued with technical problems—server crashes, connection issues, and database corruption—but the underlying concept proved immediately compelling. Within six months, the game had attracted over 100,000 subscribers paying $9.95 per month, generating annual revenue of nearly $12 million.
The game's success exceeded all expectations and established the template for the massively multiplayer online role-playing game (MMORPG) genre. By 1999, Ultima Online had over 250,000 active subscribers and was generating more than $30 million in annual revenue. The game's persistent world, player-driven economy, and social dynamics created an entirely new form of interactive entertainment that would influence game design for decades to come.
By the Numbers
Ultima Online Impact
250,000Peak subscriber count by 1999
$30MAnnual revenue at peak
$5MDevelopment budget
4Years of development time
However, the success of Ultima Online also marked the beginning of Garriott's growing frustration with Electronic Arts' corporate culture. As the game became increasingly profitable, EA executives began demanding changes that Garriott felt compromised his creative vision. Disputes over content, pricing, and development priorities became increasingly frequent, leading to tension between Garriott and EA management.
Departure and New Ventures
In 2000, after eight years under EA's ownership, Garriott made the difficult decision to leave Origin Systems and pursue new opportunities. His departure was precipitated by disagreements over the direction of Ultima Online and EA's decision to cancel several of his proposed projects, including a single-player Ultima sequel and an experimental online world based on his space travel experiences.
The separation was amicable but marked the end of an era. Garriott retained the rights to use the "Lord British" persona but relinquished control over the Ultima intellectual property, which remained with EA. His departure from Origin was widely covered in the gaming press and marked a symbolic end to the independent creative culture that had defined the company's early years.
Following his departure from EA, Garriott spent several years exploring new ventures and pursuing personal interests. He invested in several startup companies, including space tourism ventures and alternative energy projects, and began planning for his own journey to space—a childhood dream inspired by his father's NASA career.
The Space Tourist
On October 12, 2008, at the age of 47, Richard Garriott achieved a goal that had eluded him since childhood: he became the sixth private citizen to travel to space. Paying approximately $30 million for a seat aboard a Russian Soyuz spacecraft, Garriott spent twelve days aboard the International Space Station, conducting scientific experiments and documenting his experience for educational purposes.
The space journey was more than a personal achievement—it was a carefully planned media event designed to promote space tourism and scientific education. Garriott conducted live video conferences with students around the world, performed experiments designed by researchers at various universities, and documented the experience through extensive photography and video recording.
Going to space wasn't just about fulfilling a personal dream. It was about demonstrating that space is accessible to private citizens and inspiring others to pursue their own impossible dreams.
— Richard Garriott
The space flight also served as inspiration for Garriott's next major project. During his time aboard the ISS, he began conceptualizing a new type of online game that would combine his experience as a game designer with his passion for space exploration and scientific discovery.
Return to Game Development
In 2009, Garriott founded Portalarium, a new game development company focused on creating innovative online experiences. The company's first major project, announced in 2012, was "Shroud of the Avatar," described as a spiritual successor to the Ultima series that would combine single-player storytelling with online multiplayer elements.
The game's development was funded through one of the most successful crowdfunding campaigns in gaming history. Launched on Kickstarter in March 2013, the campaign raised over $1.9 million from more than 22,000 backers, demonstrating continued enthusiasm for Garriott's creative vision. Additional funding rounds brought the total development budget to over $12 million.
By the Numbers
Shroud of the Avatar Crowdfunding
$1.9MKickstarter funding raised
22,000Individual backers
$12MTotal development budget
5Years of development time
Shroud of the Avatar launched in early access in 2014 and reached full release in March 2018. While the game received praise for its ambitious design and nostalgic appeal, it struggled to achieve the commercial success of Garriott's earlier projects. The game's complex mechanics and old-school design philosophy appealed to longtime Ultima fans but failed to attract a broader audience in an increasingly competitive market.
Legacy and Continuing Influence
Despite the mixed reception of his recent projects, Garriott's influence on the gaming industry remains profound and enduring. The Ultima series established many of the conventions that define modern role-playing games, from moral choice systems to persistent character progression. Ultima Online pioneered the MMORPG genre and demonstrated the commercial viability of subscription-based online gaming.
More broadly, Garriott's career represents a unique synthesis of technical innovation, creative vision, and entrepreneurial ambition. His willingness to tackle complex philosophical themes through interactive media helped establish video games as a legitimate form of artistic expression, while his business acumen demonstrated that creative independence and commercial success could coexist.
Today, at age 62, Garriott continues to work on new projects through Portalarium while also pursuing interests in space exploration, education, and philanthropy. His Austin-based home, known as "Britannia Manor," serves as both a private residence and a museum of gaming history, featuring artifacts from throughout his career and elaborate themed rooms that reflect his passion for medieval history and fantasy.
The trajectory of Garriott's career—from teenage programmer to industry pioneer to space tourist—embodies the transformative potential of the digital age. His story demonstrates how individual creativity, combined with technological innovation and entrepreneurial vision, can create entirely new forms of human experience and expression.
The World-Builder's Philosophy
Richard Garriott's approach to game design was fundamentally different from his contemporaries, rooted in a philosophy that viewed games not as mere entertainment but as complete virtual worlds with their own internal logic, moral frameworks, and social dynamics. This worldview shaped every aspect of his creative process, from initial concept development to final implementation.
At the core of Garriott's design philosophy was the principle of meaningful choice. Unlike many games that offered players the illusion of choice while funneling them toward predetermined outcomes, Garriott insisted that every decision in his games should have genuine consequences that rippled throughout the player's experience. This principle was most fully realized in Ultima IV, where moral choices directly affected character progression and story outcomes.
Garriott's commitment to meaningful choice extended beyond individual gameplay moments to encompass entire game systems. He believed that players should be able to approach challenges through multiple viable paths—combat, diplomacy, stealth, or creative problem-solving—with each approach offering distinct advantages and drawbacks. This design philosophy required extensive playtesting and iteration to ensure that no single strategy dominated all others.
The Virtue System Framework
Perhaps Garriott's most innovative contribution to game design was the virtue system introduced in Ultima IV and refined throughout the series. This framework represented a radical departure from traditional RPG mechanics, which typically focused on character statistics and equipment upgrades. Instead, Garriott created a system where moral development was the primary driver of character progression.
The eight virtues—Honesty, Compassion, Valor, Justice, Honor, Sacrifice, Spirituality, and Humility—were not arbitrary moral concepts but carefully balanced philosophical principles that created genuine ethical dilemmas. Garriott spent months researching classical and contemporary ethical frameworks to ensure that the virtues were both philosophically sound and mechanically interesting.
Each virtue was implemented through specific gameplay mechanics that tested the player's commitment to that principle. For example, Honesty was tested through merchant interactions where players could choose to pay fair prices or attempt to cheat shopkeepers. Compassion was evaluated through the player's treatment of beggars and wounded enemies. These mechanics ensured that virtue was not merely a cosmetic element but an integral part of the gameplay experience.
The virtue system wasn't about preaching morality to players. It was about creating a framework where ethical choices had mechanical weight, where being good was both challenging and rewarding.
— Richard Garriott
Iterative Design and Player Feedback
Garriott was an early pioneer of iterative design methodologies that would later become standard practice in the software industry. Rather than attempting to perfect games in isolation, he established extensive playtesting programs that gathered feedback from hundreds of players throughout the development process.
This approach was particularly crucial for Ultima Online, where the complexity of player interactions made traditional design methods inadequate. Garriott and his team conducted multiple alpha and beta tests, each involving thousands of players, to identify and address problems with game balance, player behavior, and technical performance.
The iterative design process extended beyond formal testing to include ongoing post-launch support and content updates. Garriott viewed game release not as a final product delivery but as the beginning of an ongoing relationship with the player community. This philosophy led to regular content updates, balance adjustments, and feature additions based on player feedback and usage data.
Technical Innovation as Creative Enabler
Throughout his career, Garriott demonstrated a sophisticated understanding of how technical limitations and capabilities shaped creative possibilities. Rather than viewing technology as a constraint, he approached it as a creative medium with its own aesthetic and expressive potential.
This perspective was evident in his early games, where memory and processing limitations forced innovative design solutions. The wire-frame graphics of Akalabeth, for example, were not simply a technical compromise but a deliberate aesthetic choice that created a distinctive visual style. Similarly, the text-based conversations in early Ultima games allowed for more sophisticated dialogue and character development than would have been possible with voice acting given the storage limitations of the era.
As technology advanced, Garriott consistently pushed the boundaries of what was technically feasible while maintaining focus on core gameplay and narrative elements. Ultima VII's unprecedented level of object interactivity, for example, required innovative memory management techniques and custom programming tools, but these technical achievements served the larger goal of creating a more immersive and believable world.
Community Building and Social Dynamics
Garriott's work on Ultima Online revealed his deep understanding of social dynamics and community building in virtual environments. He recognized that creating a successful online world required more than just technical infrastructure—it demanded careful attention to the social and economic systems that would govern player interactions.
The design of Ultima Online incorporated multiple mechanisms for encouraging positive social behavior and discouraging antisocial conduct. The reputation system tracked player actions and created consequences for negative behavior, while the guild system provided frameworks for cooperation and mutual support. The player-driven economy created interdependencies that encouraged trade and collaboration.
Perhaps most importantly, Garriott understood that online communities required active management and ongoing cultivation. He and his team served not just as game developers but as community leaders, establishing cultural norms, mediating disputes, and organizing events that brought players together around shared goals and experiences.
Narrative Integration and Environmental Storytelling
Garriott pioneered techniques for integrating narrative elements into interactive environments in ways that enhanced rather than interrupted gameplay. Rather than relying primarily on cutscenes or exposition dumps, he developed methods for telling stories through environmental details, character interactions, and emergent gameplay situations.
This approach was particularly evident in the later Ultima games, where players could piece together complex narratives by exploring the game world, reading books and documents, and talking with non-player characters. The stories were not simply delivered to players but discovered through active exploration and investigation.
The environmental storytelling techniques Garriott developed influenced an entire generation of game designers and remain relevant in contemporary game development. His understanding that players are more engaged by stories they discover themselves rather than stories told to them has become a fundamental principle of modern interactive narrative design.
Business Model Innovation
Beyond his creative contributions, Garriott was also an innovator in game business models and industry practices. His decision to found Origin Systems represented an early example of developer-driven game publishing, while his approach to Ultima Online established the subscription-based MMORPG model that would dominate online gaming for decades.
Garriott's business philosophy emphasized long-term relationship building over short-term profit maximization. He understood that sustainable success in the gaming industry required building trust and loyalty with both players and business partners. This approach led to higher customer lifetime values and more stable revenue streams compared to competitors who focused primarily on individual product sales.
The crowdfunding campaign for Shroud of the Avatar demonstrated Garriott's continued willingness to experiment with new business models and distribution methods. While the game itself had mixed commercial success, the campaign showed how established creators could leverage their reputation and fan base to fund ambitious projects outside traditional publishing structures.
Cross-Disciplinary Learning and Application
Throughout his career, Garriott demonstrated an exceptional ability to draw insights from diverse fields and apply them to game design challenges. His study of philosophy, history, and anthropology informed the cultural and ethical frameworks of his games, while his interest in space exploration and scientific research influenced his approach to world-building and system design.
This cross-disciplinary approach extended to his business practices as well. Garriott studied successful companies in other industries to understand principles of organization, management, and customer service that could be applied to game development. His space tourism experience, for example, provided insights into high-stakes project management and risk assessment that informed his later game development projects.
The breadth of Garriott's interests and knowledge base allowed him to approach game design problems from unique angles and develop solutions that his more narrowly focused competitors might not have considered. This intellectual curiosity and willingness to learn from other domains became a key competitive advantage throughout his career.
On Game Design and World Building
"We don't just make games—we create worlds. And every world needs its own geography, history, culture, and moral framework to feel truly alive."
— Richard Garriott
"The best games don't tell you what to think—they give you the tools to explore your own beliefs and values through meaningful choices."
— Richard Garriott
"A virtual world should be more than the sum of its code. It should have emergent properties that surprise even its creators."
— Richard Garriott
"Players don't want to be passengers in someone else's story. They want to be the authors of their own adventures."
— Richard Garriott
"The most important question in game design isn't 'Is this fun?' but 'Is this meaningful?'"
— Richard Garriott
On Innovation and Technology
"Technology should serve creativity, not constrain it. The best innovations come from pushing against limitations until they become possibilities."
— Richard Garriott
"Every technical constraint is a creative opportunity in disguise. The key is learning to see limitations as design challenges rather than obstacles."
— Richard Garriott
"The future belongs to those who can imagine what doesn't exist yet and then figure out how to build it."
— Richard Garriott
"Innovation isn't about having the latest technology—it's about using whatever tools you have in ways no one has thought of before."
— Richard Garriott
On Business and Entrepreneurship
"Creative independence is worth more than any amount of money. Once you lose control of your vision, you lose the thing that made you successful in the first place."
— Richard Garriott
"The best business strategy is to create something so unique and valuable that customers can't imagine living without it."
— Richard Garriott
"Success in the creative industries requires balancing artistic vision with commercial reality. Neither can succeed without the other."
— Richard Garriott
"Building a company is like designing a game—you need clear rules, meaningful rewards, and a compelling reason for people to keep playing."
— Richard Garriott
"The most dangerous moment for any creative business is when you start believing your own success was inevitable."
— Richard Garriott
On Community and Online Worlds
"Creating an online community is like founding a nation. You must establish not just the rules but the culture that will guide how citizens interact."
— Richard Garriott
"The magic of online worlds isn't in the technology—it's in the human connections they enable and the stories that emerge from those connections."
— Richard Garriott
"In a virtual world, reputation is the only currency that truly matters. Everything else can be programmed, but trust must be earned."
— Richard Garriott
"The best online experiences happen when players forget they're playing a game and start living in a world."
— Richard Garriott
On Ethics and Virtue
"Games have the unique power to let people explore moral choices without real-world consequences. That's both a tremendous opportunity and a serious responsibility."
— Richard Garriott
"True virtue isn't about following rules—it's about making the right choice when no one is watching and nothing is forcing you to do so."
— Richard Garriott
"The eight virtues aren't just game mechanics—they're a framework for thinking about how we want to live our lives."
— Richard Garriott
"The most powerful stories are the ones where the hero's greatest enemy is their own moral weakness, not some external villain."
— Richard Garriott
On Creativity and Inspiration
"Creativity isn't about having perfect conditions—it's about finding ways to express your vision regardless of the obstacles in your path."
— Richard Garriott
"The best ideas come from combining things that have never been combined before. Innovation happens at the intersection of different disciplines."
— Richard Garriott
"Don't just study your own industry. The most valuable insights often come from completely unrelated fields."
— Richard Garriott
"Every great creative work starts with someone asking 'What if?' and then having the courage to find out."
— Richard Garriott
On Space and Exploration
"Going to space taught me that the impossible is just the untried. The only real limitations are the ones we accept in our minds."
— Richard Garriott
"Space travel isn't about escaping Earth—it's about gaining the perspective to appreciate how precious and unique our planet really is."
— Richard Garriott
"The same curiosity that drives us to explore virtual worlds should drive us to explore the real universe around us."
— Richard Garriott
"Whether you're creating a game world or planning a space mission, the principle is the same: dream big, plan carefully, and never let anyone tell you it can't be done."
— Richard Garriott
On Legacy and the Future
"Success isn't measured by how much money you make—it's measured by how many people's lives you touch and improve through your work."
— Richard Garriott
"The games industry has grown beyond my wildest childhood dreams, but we're still just at the beginning of understanding what interactive media can achieve."
— Richard Garriott
"Every generation of creators stands on the shoulders of those who came before. Our job is to build something worthy for the next generation to build upon."
— Richard Garriott
"The future belongs to those who can imagine worlds that don't exist yet and then make them real for others to explore."
— Richard Garriott
