Neil Druckmann on "The Last of Us" Sequels: Never Planned

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 self-doubt, identifying successful ideas, and approaching character development across multiple games.

Druckmann's approach to sequels surprised the audience. He revealed he doesn't plan sequels while working on the initial game, stating that doing so is self-sabotaging. He focuses solely on the current project, viewing each game as potentially his last. Any sequel ideas are organically incorporated, rather than being pre-planned. He uses past work as a springboard, identifying unresolved elements and potential character arcs. If no compelling direction exists, he suggests the character's narrative might conclude. He cited the Uncharted series as an example, emphasizing the iterative nature of character development and story progression across each installment.

Barlog, in contrast, described a meticulously planned, interconnected approach, comparing his process to a complex conspiracy board. He enjoys connecting current projects with ideas conceived years prior, even decades earlier. However, he acknowledged the inherent stress and potential for conflict this method presents, given the shifting teams and evolving perspectives across multiple projects. He highlighted the challenges of maintaining a long-term vision across numerous personnel changes and potential creative disagreements.

Druckmann expressed a lack of the confidence needed for Barlog's long-term planning style, preferring to focus on immediate tasks rather than distant goals.

The conversation shifted to the emotional toll of game development. Druckmann shared a poignant anecdote about Pedro Pascal's perspective on art as "the reason to wake up in the morning," emphasizing the passion that fuels the creative process despite the inherent stress, negativity, and even threats. He acknowledged the immense pressure but highlighted the privilege of collaborating with talented individuals.

Druckmann then posed a question to Barlog about the point at which the creative drive becomes "enough," particularly in light of a colleague's recent retirement.

Barlog's response was candid and introspective. He admitted that the drive is insatiable, a relentless internal pressure that continues even after achieving significant success. Reaching a milestone doesn't bring satisfaction; instead, it reveals new, even more challenging goals. He described this as a "demon of obsession" that prevents appreciation of accomplishments.

Druckmann echoed this sentiment but with a more measured tone. He discussed his gradual disengagement from day-to-day tasks to create opportunities for others, eventually aiming for complete removal from the intense demands of the industry.

Barlog, in a humorous counterpoint, declared his intention to retire.