Gizmo_Duck
blathering blatherskite!
They’ve mostly been silent since releasing TLOU2 so this was somewhat cool to hear.
Speaking about that legacy, Naughty Dog has had such an interesting history. It started making kid-friendly platformers and almost every project has gotten more mature. Can you talk about that progression?
Evan Wells: A lot of it comes through our staff maturing but also the industry and the medium maturing. Back when we were making Crash Bandicoot, we couldn't conceive of making a game like the The Last of Us, it just wasn't technically achievable. As creators we've grown through the years and we've progressed with the hardware and actually tried to stay ahead of that curve. With Crash Bandicoot, we had to have a big head with big features just so you could read the character expressions. Then when we move to PS2, we could get more detail we could go more humanoid. With the PS3, we could finally get that subtlety where you have emotion between the lines and really get the subtle facial features. Each hardware production has allowed us to delve into more interesting content.
Neil Druckmann: We have more flexibility now. Now we have the luxury of picking and choosing what style, and what kind of story, and what kind of game we want to create.
Do you have any desire to go towards lighter fare or return to your roots, to those kid-friendly games?
Evan Wells: If we had endless resources and time it would be super fun to do that. You look at what Insomniac is doing with Ratchet and Clank and it's exciting. It's great to see that stuff. We're just limited with time, you know, I'm 48 years-old and how many more games do you get to make, so you got to pick and choose.
Neil Druckmann: Once we finish a project, we spend quite a bit of time entertaining all sorts of different directions, whether it's going to be something new or if we're going back to some old franchise. We really take our time with it, and if you were to see our folders of concept art you'd see unused concepts that are all over the gamut. Then we look at everything and we ask ourselves what are we excited by? What's something that's going to challenge us and push us, and push the medium as far as games that can be? Because that inspiration is so important to carry through years of production.
Some companies seem to be moving away from the big, story-driven single-player games. For example, Ubisoft recently announced that it would be developing more long-tail, free-to-play games. Do you feel that story-driven, single-player games are still Naughty Dog's future?
Evan Wells: Absolutely. Yeah, and it's sort of in our DNA to tell these stories. I think that's going to continue. Single-player experiences are near and dear to us. It's what has attracted a lot of people to Naughty Dog, and that's what inspires them, so I think we're going to keep at it as long as we can.
Neil Druckmann: And again, going back to who Sony is, there has never been a mandate like, "Oh, this is where we see the winds shifting. Can you start making these kind of games instead?" We know just as they know that when you work on something you're excited by, something you're passionate by, you're going to do great work.
You basically put a bow on the Uncharted series, but you still have that The Last of Us multiplayer project in the works. Do you want to continue to work on the IP you've established or do you have a desire to create new properties at this point?
Evan Wells: I think the easy answer is: both. I think there's excitement to develop new IP, but there is still a ton of love for Uncharted and The Last of Us, and I think you'll see both kinds of projects from us in the future.
Naughty Dog has such a proven track record, but that hasn't come without cost. Over the years, you've come under fire for studio crunch. Could you speak to your personal experience with crunch and how that's affected the studio?
Evan Wells: I have definitely personally worked very hard over the years. I think some of that has helped me get to where I am in my career. As a studio, we've all worked hard together, and we are working very hard on every project to find the right balance, just like we do in all of our technical aspects of creating a game. We have post mortems and we look at how the animation went and we look at how the design went and we dig really deep into all the things that could have been better and the things we got right. We do the same thing with production. We look at how the whole game was created, and where we can make improvements and how we can strike the right balance between giving people the opportunity to – as I mentioned earlier – leave their mark on the industry and advance their craft in ways that have never been achieved, but also find space along that spectrum.
Neil Druckmann: We have so many talented people that are good at solving problems, whether they're creative or technical. Let me go back to The Last of Us Part II; some pillars that were important to us were diversity, diversity in the people we hire and the characters that we have in our game as well as accessibility and how do we make our games more accessible. Likewise, we're looking at quality of life for preventing burnout, to employ the brain power we have in our studio, and we started coming up with working groups to talk about the areas in the studio where we can improve. We worked a particular way when we're 40 people, now we have to evolve as we keep growing.
Evan Wells: Something else that we're really focused on is increasing the level of management at the studio. We have more directors and more leads, all with the end goal of giving the entire team more opportunities to provide feedback and check in on their well-being.
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