sanzo tech u manjoj mjeri kod njih zbog ocitih razloga, ali gameplay svakako, barem sto se tice storytellinga. Storytelling je kod njih world building, a on je zapravo podreden specificnom gameplayu i sve se vrti oko njega.
EDIT: evo i citata sa tog intervjua, gdje zapravo objasnjava "novi" pristup NDa u boljem storytellingu i potvrduje moje razmisljanje koliko je tech i gameplay bitan za storytelling i likove u igrama:
MR. DRUCKMANN: I do think stuff--I’m more recently intrigued by stuff like “Elden Ring” and “Inside” that doesn’t rely as much on traditional narrative to tell its story and is--I think there’s some--some of the best storytelling in “The Last of Us,” a lot of it is in the cinematics. But a lot of it is in game play and moving around a space and understanding a history of a space by just looking at it and examining it. And, to me, that’s some--that’s--right now is some of the best joy I get out of games that trust their audience to figure things out, that don’t hold their hand. That’s the stuff I’m really intrigued by going forward.
And, again, it doesn’t mean we will never have dialogue or cut scenes. I think those are like--those are tools in your toolbox.
MR. PARK: Okay.
MR. DRUCKMANN: And it's about how do you use all these different aspects, some of it from other medium, you know, some of it found notes and environmental storytelling. And I think there's a way to push that stuff forward at least for the kind of games that we make at Naughty Dog. I'm really intrigued, again, never resting on our laurels and trying something a little bit new, a little bit different that not everyone is going to like, but that's okay. And, again, the stuff that we're working on now, I could tell you that the teams are very excited by the different projects we have at Naughty Dog.
MR. PARK: Yeah. One of the more interesting things--and I think the underrated things about “The Last of Us” series and “Uncharted” as well and what Naughty Dog has brought to the table--is all this unspoken storytelling you do with people’s faces and the kind of expressions that they give. You know, even in the remake for “The Last of Us Part I,” I noticed that Joel was smiling more than he did in the 2013 game. And it’s like that--for me, that tells like an even deeper story than--and a different characterization of him than the original 2013 game did. So, yeah, it’s just been fascinating to see it happen.
MR. DRUCKMANN: Yeah. I think that’s some--that’s some of the best storytelling. Sometimes in passive media in TV and film is scenes that don’t have any dialogue, and it is just about reading a person’s expression.
You know, one of the changes that we made for the TV show is we made Sam deaf.
MR. PARK: Yeah.
MR. DRUCKMANN: And it started from a place of just like, you know, a conversation I had with Craig. We’re like what if we could use less dialogue, but then it led to--that kind of constraint led to really interesting storytelling decisions that I would say in some ways make that sequence more impactful than it is in the game, at least for me. And I’m very curious to see how other people react to it.
And then, likewise, I think with games, our philosophy at Naughty Dog usually is like if it’s an action sequence, it should not be a cut scene. It should be on the stick. If it’s something that, again, you want to focus on someone’s face, well, that’s really hard to do in game play, not impossible, but often you have to remove their kind of game-play loops and mechanics that are connecting them to the character. And that’s when we should go to a cut scene.
But more and more, as we talk about it, it’s like that’s the last resort of removing interactivity and, like, okay, how can we stay on the stick more and still tell these really compelling character-driven stories.
