At the DICE Summit in Las Vegas, Naughty Dog's Neil Druckmann and Sony Santa Monica's Cory Barlog discussed the pervasive theme of doubt in game development. Their hour-long conversation covered personal insecurities, creative processes, and the challenges of sequels.
A question about character development across multiple games prompted a surprising response from Druckmann: he doesn't plan sequels. He focuses intensely on the current project, approaching each game as if it were his last. Any sequel ideas are spontaneous, not pre-planned elements. For example, while making The Last of Us Part II, any sequel ideas were treated as possibilities, not concrete plans. He integrates compelling ideas immediately, rather than saving them for future installments. This approach extends to all his projects, except for the Last of Us TV show, which has a multi-season format. When working on sequels, he analyzes unresolved elements and character arcs from previous games, and if no compelling direction emerges, he considers ending a character's journey. He cited the Uncharted series as an example, where each sequel's direction was determined organically, not through prior planning.
Barlog, conversely, employs a highly structured, long-term planning approach, connecting current projects to ideas conceived years earlier. He acknowledges this method's inherent stress and the potential for conflict with evolving team perspectives and changing project needs.
Druckmann admitted he lacks Barlog's confidence to plan so far ahead, preferring to focus on immediate tasks. He emphasized the intense pressure and stress of game development, but highlighted his passion for game storytelling as the driving force behind his work, even amidst negativity and threats. He shared an anecdote where actor Pedro Pascal described his love for art as "the reason to wake up in the morning," a sentiment Druckmann strongly resonated with.
The conversation touched upon the question of when ambition is "enough." Barlog described the relentless nature of creative drive, likening it to an internal demon that pushes for constant achievement, even after reaching significant milestones. He painted a vivid picture of reaching a creative summit, only to find another, taller mountain beckoning. Druckmann echoed this sentiment but with a softer tone, emphasizing the opportunities created by his eventual departure, allowing others to rise and take on the challenges and creative risks he's faced. Barlog playfully responded with a declaration of retirement.
