Mr. Neil Druckmann, welcome. Good to lastly meet you.
MR. DRUCKMANN: Gene, trying good. We have been speaking about doing this dialog for some time. I am glad we lastly get to do it.
MR. PARK: Yeah, man. This was your thought. Remember that, so–
MR. PARK: How are you doing?
MR. DRUCKMANN: Properly, you referred to as me on an attention-grabbing day, at an attention-grabbing time, in that at the moment I’ve–after this interview, I’m driving throughout city to do a premiere with Naughty Canine. The entire Naughty Canine will get see the primary episode for the primary time, after which afterwards, I’ve the HBO premiere, type of like a Hollywood purple carpet occasion that I don’t know what to anticipate from that, so–and then at midnight, we now have opinions drop for the present. So sort of–you caught me at my most anxious, nervous, so we’ll see how this goes.
MR. PARK: Sounds good. Properly, we now have rather a lot to cowl. So let’s simply soar proper in and get you out of right here.
Let’s speak about “Final of Us” in a broader sense. For these unfamiliar, it’s a narrative a couple of man named Joel from Texas who suffers unimaginable deep loss initially of a worldwide pandemic, and we observe his story 20 years later. He’s grieving. He’s a shriveled-up man, and he’s a black market smuggler. And his newest task is smuggling a 14-year-old woman throughout america within the hopes of hopefully ending the pandemic.
Prior to now, you described the video games as being about unconditional love and about how it’s these feelings can drive folks to do wild issues, and lots of others take into account your final sport, “The Final of Us Half II,” as merely a sport about how revenge is dangerous and it does not do something. And to be truthful, you’ve additionally described “The Final of Us Half II” as a sport about being revenge.
You recognize, it has been two years since “The Final of Us Half II” got here out and 10 years since “The Final of Us Half I” got here out. In hindsight, how would you describe the themes of the story thus far?
MR. DRUCKMANN: Yeah. If you say it like that, I simply really feel outdated.
MR. DRUCKMANN: No, it’s simply been type of a wild journey, and, you already know, you say sure issues if you market a sport versus what it would truly be about. However from–I keep in mind the second we first began speaking about “The Final of Us” at Naughty Canine, my earliest dialog with Bruce Straley, my directing accomplice. We have been speaking about creating an expertise of the unconditional love that folks really feel for his or her youngster, and that love is so primal, organic, that it might make you do actually fantastic issues. It may make you are feeling probably the most intense happiness you’ve ever felt in your life. Like, typically folks ask me, “Oh, what’s it wish to have a child? Do you are feeling something new?” And I’m like, “No. It’s the identical emotions you already know, however it’s a way more intense model of these.” So it’s a type of pleasure you’ve by no means identified earlier than, however it’s a type of worry you’ve by no means identified earlier than both and a type of ache. And a mum or dad’s best worry is dropping their youngster.
After which, you already know, as I become older, as my household will get older and my dad and mom become older, there’s this different worry of dropping these those who have raised you, which have linked with you, and a lot of “The Final of Us Half II” was about that, type of the other aspect of that, that love connection. And, you already know, if you have a look at the world we stay in and among the best issues and among the most horrible issues have usually come from that feeling of affection, and to me, “The Final of Us” has at all times been an exploration of that.
And our strategy with the present was the identical factor. That’s on the core of it. All the pieces is rising out of that. All the pieces is a dialog about that. So I believe–I believe we’ve been fairly profitable. From my standpoint, I actually benefit from the type of back-and-forth conversations that occur round our video games. Even when typically they may get fairly poisonous, I nonetheless get rather a lot out of it, of simply seeing what folks take away from it, how they interpreted it, and I’m actually pleased with what we did at Naughty Canine and now what we’ve finished with HBO that’s just about been impressed by the work Naughty Canine has finished.
MR. PARK: Yeah. We’ll positively speak about all that stuff later, however you speak in regards to the world we stay in. “The Final of Us” could be very clearly a couple of post-pandemic world, and this was again in 2013. And, you already know, some critics of this sport and the story say that it was unusually darkish and really cynical, is a really dim view of the human spirit and its capability to look after others.
However I do know for myself within the final two years within the now and nonetheless very actual pandemic world, I believe actuality has solely strengthened a few of these facets of the sport, the place there are such a lot of competing pursuits, and in a survival in setting, how would they conflict?
However I wish to hear from you. How has the final two years modified your perspective, if in any respect, of that unique imaginative and prescient? And the way did this, if any–did any of this inform the way you approached among the new adjustments within the present? As a result of there are a number of adjustments that you simply’ve talked about within the present, and, you already know, folks will see that. I wish to know if any of that, any of the previous two years, that have has type of knowledgeable, you know–kind of made you rethink the sport, and in addition, has any of that appeared within the present as nicely?
MR. DRUCKMANN: Yeah. I don’t know if it’s a rethink. Clearly, the pandemic has been a wild expertise. I’ve misplaced a relative to covid-19. So it’s been–
MR. PARK: I am sorry to listen to that.
MR. DRUCKMANN: –quite intense.
However I believe it’s extra simply reaffirmed what I’ve at all times felt, that we’re able to fantastic issues and actually horrible issues, and if you see folks preventing about masks or vaccines, it’s disheartening. After which if you see folks come collectively and actually assist each other, that’s the factor we’re all striving for—-or at the very least a few of us.
So, yeah, I do not know if it is actually modified a lot. Logistically for the present, we simply knew folks could be type of wiser to how this stuff function. So we needed to verify we have finished our analysis and we’re as scientifically grounded as potential, simply, once more, as a result of individuals are extra savvy to how pandemics work and the way the federal government and society can react at giant.
However, you already know, the sport and the present are actually not a couple of pandemic. Like, there’s one episode that is a couple of pandemic. All the pieces else is what occurs afterwards, and likewise, the primary quarter-hour of the sport are a couple of pandemic. All the pieces else about what occurs afterwards, it is about relationships and folks. That to me is the meat of what “The Final of Us” is. The opposite stuff is dressing to get to that meat, to get to these relationships. That’s the core of what we have been constructing.
MR. PARK: What’s your view on humanity? What’s your–do you’ve an optimistic view or a pessimistic view or someplace in between?
MR. DRUCKMANN: It’s someplace in between. You recognize, perhaps I’ve gone, one might say, extra cynical however perhaps a bit extra grounded through the years. After I was beginning out, I was, I believe, much more naive and suppose, oh, man, we’re going to make these video games that may change the world and have an effect on a bunch of individuals. And, lately, I’ve had some conversations and my–I don’t know if that is fairly your query, however I’ve been fascinated with artwork and, you already know, the stuff we’re making. And I’m extra now, I believe, in affecting a number of folks deeply and provoking folks, and it made me suppose again to rising up and what are the issues which have impressed me and needed to make me get into video video games.
It’s been actually cool lately, and it’s been occurring an increasing number of. We’re rising fairly a bit at Naughty Canine, and as a part of the interview course of, you already know, we simply speak to folks on the place they arrive from and why they needed to–why they wish to be part of our group, and so many individuals speak about whether or not it’s “Uncharted” or “Jak & Daxter” or “The Final of Us” has made them wish to get into video games. In order that’s the stuff I type of give attention to now. It’s like, okay, how can we mentor the following technology of creators? How can we create openings for them to essentially specific themselves?
And I get, I believe, extra so now a sense of pleasure of seeing different folks type of rise by way of the ranks and depart their mark on the business, and that is the type of cycle that I take into consideration rather a lot. I do not have a tendency to consider humanity as a complete that a lot. I attempt to not watch the information as a lot as I used to anymore. It simply type of can deliver you down. So I attempt to keep knowledgeable however then give attention to household, give attention to my work, and simply folks near me.
MR. DRUCKMANN: That was a weird–that was a bizarre rambling reply. I don’t know if I fairly answered your query there.
MR. PARK: That is okay. We’ve a query from the viewers. Thanks to Matt St. John from Louisiana who asks, “How has your time within the gaming business impacted the alternatives you make as a author with regards to huge concepts and tales? What do you select to give attention to first when making a story?”
MR. DRUCKMANN: It is humorous. I’ve these conversations rather a lot with Craig nowadays about our course of, which tends to be fairly comparable. I like some clear thematic concepts, some easy idea that the whole lot may very well be strung on, held on, no matter time period you wish to use. With out figuring out the place we’re heading, it is onerous to make inventive selections, particularly if you have a look at one thing that is a large collaboration like a online game or a TV present.
You recognize, I hear–there’s all these conversations about auteurs. I’m not an auteur. Let’s put that–I’ll make that very clear. That is–what we do is extraordinarily collaborative.
MR. DRUCKMANN: So I believe that’s why these easy type of ideas are helpful, as a result of usually if you work with so many individuals, they’ll come to you with pitches, and often–again, once they’re very proficient, all these pitches are extraordinarily good and very thrilling or thrilling. So, if you have a look at 5 issues and you may solely select one, how do you select? And, to me, the one manner to try this is to grasp what your factor is about, what it’s that you simply’re making, creating, after which to say not which considered one of these is the good, however which one will get me nearer to that concept? After which in having these conversations, that imaginative and prescient, it’s very sturdy, however it doesn’t come from a single individual.
Now if I’ve had a dialog with folks, like, I’ve to say perhaps 4 noes and one sure. Even these noes are necessary as a result of now it’s like these folks can stroll away and be like, “Oh, I’ve a greater understanding of the factor we’re constructing.” The subsequent pitch is extra prone to get in there. And I believe that’s a muscle that you simply simply get educated through the years of like developing with these ideas and actually empowering folks to faucet into that imaginative and prescient and specific themselves into it, and I believe that’s–these days, that’s a few of, like, the best joys I get is being shocked by the folks I work with and what they convey to the desk. And I believe it helps make one thing better than anyone–any considered one of us might have finished on our personal.
MR. PARK: Yeah. I am glad you stated that making video video games is a really collaborative effort. So many alternative concepts and story concepts come from totally different animators.
MR. DRUCKMANN: I’ll say unless–unless you’re Lucas Pope and also you do the whole lot, that’s the one auteur I do know.
MR. DRUCKMANN: However, in any other case, it is a collaboration, and all people’s contributing not directly.
MR. PARK: Yeah, yeah, yeah.
You positively can’t accuse your video games of not having a perspective. My subsequent query, you’re co-president of an organization, and your final sport, “The Final of Us Half II,” was created with the data that it will likely be fairly divisive, and it could anger a few of your viewers, which it did. As a studio government and creator, how do you steadiness managing and working a profit-driven media enterprise with what seems to be your personal very sturdy convictions to stay to inventive selections that problem folks’s perceptions? Was there a worry of that doing what you probably did would dilute your viewers, or was it clarifying?
MR. DRUCKMANN: Yeah. That is query, and it is one thing that I wrestle with very often.
I’ll say it’s, like, look, as–I overlook the precise quote from William Goldman, however it’s like the thought is like, you already know, nobody is aware of what’s going to achieve success or what’s going to promote or not promote or what critics will probably be drawn to or will it discover an viewers. You simply don’t know. If we knew, if there was a method to it, everybody could be doing that. Nothing would ever bomb or fail or any of that. So it’s like there’s no, like, a choice, you could possibly say, okay, that’s the most effective enterprise choice, and that is the–like–and you could possibly simply type of overlook the inventive integrity of all of it.
What I’ve discovered over the years–and that is the place I’ve to offer credit score not solely to the management at Naughty Canine that got here earlier than me however even PlayStation–is that folks do their greatest work once they’re enthusiastic about what it’s that they’re making. If that wasn’t the case, I’d be engaged on “Crash Bandicoot 17” proper now, however as an alternative, Naughty Canine–and this was when it was run by Jason Rubin and Andy Gavin–very neatly understood that they have been getting uninterested in engaged on “Crash.” And despite the fact that “Crash” was extraordinarily profitable for them, they moved on and did “Jak & Daxter,” after which “Jak & Daxter” grew to become a hit. And despite the fact that it was extraordinarily profitable for Naughty Canine, we moved on and did “Uncharted,” which was an enormous danger for us. We have been identified for like a–more type of like childlike, whimsical type of storytelling and sport play, and we went to this type of cinematic, narrative-driven, you already know, “Pulp Motion” journey romp. We moved away from hand-keyed animation to movement seize, and there have been some animators that give up over that. However the studio simply felt like that was the course we wanted to take. That’s how we wanted to evolve, and we did work we have been extraordinarily enthusiastic about. After which, you already know, I believe that imaginative and prescient was realized not a lot with the primary sport, which when it got here out didn’t set the world on fireplace however with “Uncharted 2.”
After which that was extraordinarily profitable for us, and we determined to take a danger, like let’s do our first M-rated sport. And that danger led to “The Final of Us,” that after I was engaged on that sport and I’ve–you know, I’ve talked about this in interviews before–I didn’t suppose it was going to be that profitable. I believed a few of it was too refined and nuanced, and it’s just–I simply didn’t suppose it will work as nicely. However it did. Once more, I believe an enormous a part of it’s as a result of we have been engaged on one thing that your entire studio was actually enthusiastic about.
So then when you consider, okay, the sequel for “The Final of Us,” you already know, I believe the secure factor to do would have been to do one other Joel and Ellie Journey, one thing that becomes–like, you attempt to flip the primary sport right into a method and attempt to recapture that feeling once more. However I believe that might have failed our course of.
What I attempted to copy with the sequel was like the–what’s the method that made it profitable? It’s like, you already know, that’s taking sure dangers. That’s placing issues on the market that’s not going to resonate with everybody however would possibly result in attention-grabbing conversations, and, you already know, we made one thing that the group actually believed in and I’m extraordinarily pleased with. And it was extraordinarily profitable, you already know. Regardless of what different those who didn’t like it will need it to be, it was profitable. And to me, it reached a degree of success that what I at all times attempt for which isn’t most earnings. It’s sufficient to have the ability to do it once more.
As an artist, you already know, you just–you wish to attain a specific amount of viewers. You need it to stay with them so that they’re fascinated with it previous the purpose of ending it–it’s not only a frivolous thing–and then you definitely’re profitable sufficient as a enterprise to have the ability to develop, rent extra folks, and do it once more. And that’s the place we’re in proper now.
MR. PARK: Yeah. Dialog we’re having proper now began since you needed to talk with me about narrative storytelling and video video games. So let’s speak about that. The critic Tim Rogers has likened “The Final of Us” as type of like the newest and supreme evolution of the groundbreaking 1991 sport by Éric Chahi, “One other World.” I’d even take it again additional, and the evolution begins again to Jordan Mechner’s “Prince of Persia” and the “Karateka” video games.
And it is well-known that “The Final of Us” was initially pitched as a extra grounded, reasonable model of 2001’s Fumito Ueda’s groundbreaking sport, “Eco,” for PlayStation II.
So, you already know, up to now a number of years since your internship at Naughty Canine by way of now directing “The Final of Us II”–and now you’ve dabbled in so many different mediums. You’ve made comedian books, and now you’ve co-directed and co-run an HBO television sequence. How has your video–how has your view of efficient online game storytelling developed through the years? I imply, how would you outline it now?
MR. DRUCKMANN: It is humorous. My thoughts goes even additional again than “Prince of Persia.” Like, I believe Atari “Journey,” you already know, identical to a sq. transferring round and also you’re making an attempt to mission narrative onto it.
MR. DRUCKMANN: It is humorous. Properly, the explanation we began to have this dialog is, you already know, you set some statements on the market about “Elden Ring” that identical to Twitter does, you already know, you have gone into some heated conversations about it.
MR. DRUCKMANN: I do suppose stuff–I’m extra lately intrigued by stuff like “Elden Ring” and “Inside” that doesn’t rely as a lot on conventional narrative to inform its story and is–I believe there’s some–some of the most effective storytelling in “The Final of Us,” loads of it’s within the cinematics. However loads of it’s in sport play and transferring round an area and understanding a historical past of an area by simply taking a look at it and inspecting it. And, to me, that’s some–that’s–right now’s among the greatest pleasure I get out of video games that belief their viewers to determine issues out, that don’t maintain their hand. That’s the stuff I’m actually intrigued by going ahead.
And, once more, it doesn’t imply we’ll by no means have dialogue or minimize scenes. I believe these are like–those are instruments in your toolbox.
MR. DRUCKMANN: And it is about how do you employ all these totally different facets, a few of it from different medium, you already know, a few of it discovered notes and environmental storytelling. And I believe there is a approach to push that stuff ahead at the very least for the type of video games that we make at Naughty Canine. I am actually intrigued, once more, by no means resting on our laurels and making an attempt one thing a little bit bit new, a little bit bit totally different that not everybody goes to love, however that is okay. And, once more, the stuff that we’re engaged on now, I might inform you that the groups are very excited by the totally different tasks we now have at Naughty Canine.
MR. PARK: Yeah. One of many extra attention-grabbing things–and I believe the underrated issues about “The Final of Us” sequence and “Uncharted” as nicely and what Naughty Canine has delivered to the table–is all this unstated storytelling you do with folks’s faces and the type of expressions that they provide. You recognize, even within the remake for “The Final of Us Half I,” I seen that Joel was smiling greater than he did within the 2013 sport. And it’s like that–for me, that tells like a fair deeper story than–and a special characterization of him than the unique 2013 sport did. So, yeah, it’s simply been fascinating to see it occur.
MR. DRUCKMANN: Yeah. I believe that’s some–that’s among the greatest storytelling. Typically in passive media in TV and movie is scenes that don’t have any dialogue, and it’s nearly studying an individual’s expression.
You recognize, one of many adjustments that we made for the TV present is we made Sam deaf.
MR. DRUCKMANN: And it began from a spot of identical to, you already know, a dialog I had with Craig. We’re like what if we might use much less dialogue, however then it led to–that type of constraint led to essentially attention-grabbing storytelling choices that I’d say in some methods make that sequence extra impactful than it’s within the sport, at the very least for me. And I’m very curious to see how different folks react to it.
After which, likewise, I believe with video games, our philosophy at Naughty Canine often is like if it’s an motion sequence, it shouldn’t be a minimize scene. It must be on the stick. If it’s one thing that, once more, you wish to give attention to somebody’s face, nicely, that’s actually onerous to do in sport play, not not possible, however usually it’s a must to take away their type of game-play loops and mechanics which are connecting them to the character. And that’s once we ought to go to a minimize scene.
However an increasing number of, as we speak about it, it’s like that’s the final resort of eradicating interactivity and, like, okay, how can we keep on the stick extra and nonetheless inform these actually compelling character-driven tales.
MR. PARK: Was it liberating so that you can work on these identical characters however like having the ability to like work on them on the present? As a result of within the sport, it’s a must to actually follow Joel in at the very least each perspective. They’re the participant, proper? However now with the present, you’ll be able to truly transfer the digicam round and transfer the plot round to give attention to different characters. How is that course of for you?
MR. DRUCKMANN: It’s not liberating, however it was–it was type of thrilling from two views. One is that, you already know, I had a extremely sturdy co-writer with Craig Mazin, who’s been pondering rather a lot about this sport and what we might present in it and the way we can–again, depart Joel and Ellie’s perspective, and people are ideas I’ve had. You recognize, in making an attempt to construct the world, you usually write and outline greater than what the participant goes to expertise. In order that they don’t see the sides. Once more, you wish to outline as a lot as–further than what the participant sees. So, once more, they don’t really feel just like the world ends the place their expertise ends.
With the show–and, you already know, we now have to be very considerate about this. We could–because you’re not–you usually are not Joel. You aren’t Ellie. You’re watching their journey, however you get to depart their perspective.
By the way in which, I do know you’ve seen your entire present, so I don’t know how–I assume we’re proper earlier than the embargo. So I don’t know the way a lot you could possibly speak about it.
MR. DRUCKMANN: However we get to see these actually type of attention-grabbing views that talk to that theme of affection and the fantastic issues that may come of it and the horrible issues that may come of it. Once more, that’s our objective with this story, and in a manner, it might strengthen the journey that Joel and Ellie go to.
So, for instance, once they crash their truck and so they go towards, quote/unquote, “hunters,” we get to humanize that obs–what is an impediment for them. However, subsequently, I believe their battle turns into that a lot better since you notice they’re preventing towards folks which are additionally making an attempt to outlive. They’re additionally looking for their manner on this world. They are not simply henchman, you already know, and that is an idea we attempt to discover far more within the second sport than we did within the first. However I believe that is been actually enjoyable is to attempt to humanize all people as a lot as potential, as a result of once more, in the end, we’re all folks. It is simply one thing. There’s some motivation. One thing is placing us at odds, after which that exploration of like, okay, how can we resolve this battle? To me, usually that is the juiciest a part of the story.
MR. PARK: Taking part in by way of video games, there’s so many multimedia interwoven all through the story. A Pearl Jam tune is central to the themes of “The Final of Us Half II,” and naturally, there’s the Hank Williams Sr. tune, talking of the crashing into the truck, you already know, “Alone and Forsaken.” And it was featured in trailer.
For me, I’m fascinated with people who find themselves capable of do type of cross-media inspiration. Like, for instance, Steve Jobs was closely impressed by Bob Dylan and the Bob Dylan pathos and the way it impressed him to create the corporate Apple. So how–who are among the artists that encourage you, if in any respect, and do they in any respect translate into what you do as a online game creator?
MR. DRUCKMANN: Oh, man. There’s so many. I don’t–like, let me take into consideration the place to begin. It’s attention-grabbing you talked about music, as a result of I believe music has at all times been a big a part of my life. I usually take heed to music after I’m writing or fascinated with ideas.
MR. DRUCKMANN: Anyone that follows me on social media is aware of I’m an enormous Pearl Jam fan, and it’s a band that, you already know, I’ve admired since I used to be an adolescent. And I’ve–I like artists which are, in some methods, uncompromising, that they–and they evolve. They don’t simply persist with the same–again, they’re not simply chasing success by making an attempt to duplicate earlier success. They’re evolving and altering through the years. Should you take heed to Pearl Jam music now, it’s very, very totally different than the early ’90s once they got here out. However I discover it equally compelling.
One other person who involves thoughts is Trent Reznor from 9 Inch Nails of–another that has developed his music through the years and has ventured into different media, has now–composes music for–well, has finished video games however now does movie and TV in addition to doing–and then there’s–I believe the type of apparent ones from gaming with Fumito Ueda, one other artist that to me feels uncompromising in his imaginative and prescient and has a by way of line for all of the stuff that he’s labored on that’s one thing I take into consideration rather a lot.
Just lately, Ron Gilbert is one other one who launched a brand new “Monkey Island,” and it felt that it actually was a continuation of this–a sure style that he brough to that sequence. I used to be really–I might really feel it enjoying it. You could possibly really feel like type of like that artist hand in that sport. Once more, it’s a collaboration, however there’s a sure imaginative and prescient there, sure, like, high quality to it that felt very a lot of his style.
Yeah, these are among the ones that come to thoughts.
MR. PARK: Yeah. Final query. What’s the most–what’s thrilling factor about video video games at the moment and video game–creating a online game, online game storytelling? Like, what excites you in regards to the future, not simply 2023 however past?
MR. DRUCKMANN: It is humorous. I get this query typically like, “Oh, nicely, the place do you suppose video games are going to be in 5 years?” I believe what’s thrilling about video games is that nobody can reply that query.
MR. DRUCKMANN: Should you have been to go like after I was beginning out and attempt to guess the place VR could be or the place cell video games could be or free-to-play, I don’t suppose anybody might have predicted these issues.
So the factor I like about video games is how broad it may very well be, that there may very well be cinematic video games subsequent to essentially intense–like considered one of my sport of the years this 12 months is “Vampire Survivors.” I’ve performed simply 100 hours in that sport.
MR. DRUCKMANN: I’m afraid of flying, however I discovered like they’re–like, if I’m enjoying “Vampire Survivors,” I don’t even take into consideration the airplane anymore, and I’m just–I’m simply within the zone. I’m on this circulation.
MR. PARK: Dude, I’m afraid of flying too, and I truly performed a ton of “Vampire Survivors” whereas I used to be within the hospital lately too, and it was–it was like probably the most engrossing factor, you already know.
MR. DRUCKMANN: Yeah. It’s just–I don’t know what it’s, however it occupies like virtually my whole mind and I’m simply there.
One other sport, additionally considered one of my high video games this 12 months, clearly “Elden Ring,” huge fan of that.
“The Case of the Golden Idol,” I don’t know in the event you’ve performed that, however it’s a homicide thriller, puzzle sport is the easiest way I can describe it. It’s type of like “Obra Dinn” by Lucas Pope. Possibly, perhaps a–sorry, Lucas–maybe a bit extra approachable.
MR. DRUCKMANN: However the way in which it makes use of puzzle mechanics to inform you the story and to get to put money into these characters after which every degree grows in complexity and–complexity of puzzles but additionally complexity of narrative and the narrative turns into type of bigger, and there’s a bigger forged of characters, that by the point I bought to the later ranges, I used to be so invested in characters, that on paper, I shouldn’t be invested in any of this. And it simply did it so brilliantly. It’s onerous to not get impressed by that. And, once more, I couldn’t have predicted that that’s the type of sport that might have grabbed me to such a level and moved me emotionally to such a level, and that’s the factor that I like about video games is that they’re continually shocking in the place they’re going and what they’re doing. And I discover that for me at the very least, there’s no approach to predict the place it’s going or what it’s going to be, however I’m intrigued by loads of it and what’s coming subsequent.
MR. PARK: That’s true. You recognize, like for me, I used to be pondering like I actually wanted a deep, wealthy, like, story, narrative sport. After which “Vampire Survivors” got here alongside, and I used to be like, oh, this is–it seems that is precisely what I wanted.
However I’m very excited for what Naughty Canine has deliberate for this 12 months. Once more, 2023 is the tenth anniversary of “The Final of Us,” and I’m–like you, I’m very excited and anxious to see how folks will react to the present.
However we’re nearly out of time. We’re about at time proper now, however, Mr. Neil Druckmann, thanks a lot for becoming a member of us right here at The Washington Put up. Congratulations on the whole lot, and better of luck to you.
MR. DRUCKMANN: Gene, it has been a pleasure. Let’s do it once more quickly. Trying ahead to it.
MR. PARK: Completely, completely. Take care, Neil.
MR. PARK: Oh, sorry. And because of–sorry. And thanks all for becoming a member of us at the moment. To take a look at what interviews we now have developing, please go to WashingtonPostLive.com and discover out extra about all of the totally different talks that we now have developing on The Washington Put up.
Once more, my identify is Gene Park for The Washington Put up. Thanks a lot for becoming a member of us, and have an ideal day.