A God and A Man: A look at Hideo Kojima and Neil Druckmann

When we utter the word ‘auteur’ in the cinema space, a whole series of complications and criticisms follow its very definition and this is only magnified when it is mentioned in the world of gaming. In recent times, two leading creators in this industry Hideo Kojima and Neil Druckmann have been connotated with this term and the shitstorm that supersedes it. This pair re-invigorate the discussion of what characteristics, skill-sets and mentality define one as an auteur and a creative leader in their craft. Druckmann is most well known for his work as a writer/ creative director for ‘The Last of Us’, and Kojima is most recently known for his work for the same role for ‘Death Stranding’. The process of production recorded by ‘Grounded: The Making of The Last of Us’ and ‘Hideo Kojima’s Strange, Unforgettable Video-Game Worlds’ for these two behemoth titles will be the focus material for this essay.  

When ‘The Last of Us’ was released at the end of 2013 it received resounding success both commercially and critically and is heralded as one of the greatest video games of all time. “The Last of Us is a masterpiece. 10/10” (IGN). Whereas “Death Stranding'' released just last year in 2019, while commercially successful received overwhelmingly mixed and disappointed reviews from critics and audiences alike “a frosted piece of glass; no matter how polished it may be, it’s still pretty dull. 6.8/10” (IGN). What happened along the course of production that went so right for Druckmann and ‘The Last of Us’ and so wrong for Kojima and ‘Death Stranding’?

This pair of creatives, while worlds apart, seem to share a similar desire to tell strong stories in their games. “In entering the industry, that was always in the back of my mind -- I want to push narrative.” (Neil Druckmann).  “One of the defining characteristics of all of Kojima’s games is their narrative ambition.” (Adrian-Chen n.p). Kojima has in-fact earned the reputation as a pioneer in the industry for introducing complex and engaging narratives to the medium with the ‘Metal Gear Solid’ franchise. And although Druckmann is in earlier stages of his career comparative to Kojima, he too has significantly upped the quality and calibre of storytelling of games with ‘The Last of Us’. These are achievements that  help to define why both of them are considered auteurs amongst their contemporaries. However, while connected in this respect the two couldn’t be further apart in their work methodologies and practices.  

Delving into ‘Grounded: The Making of The Last of Us’ it becomes very clear that Druckmann encourages a very spatial and collaborative work environment at the Naughty Dog Studios. A place that avoids bureaucracy because it has a flat structure, everybody reports to the game directors like Druckmann himself. “We don’t have a lot of meetings because if you have something you need to get done you just walk over and you talk, and you go back to your desk and finish it up” (Mark Botta, Programmer).  It’s easy to see that this set up bodes well for firstly the efficiency of production as well as creating a positive workplace for the employees to thrive. Now comparing Kojima and Kojima Productions to this is when we first start to see a strong diversion between the two auteurs. “Designers had to funnel requests through the programming team rather than putting them directly into the game itself, which caused large amounts of frustration.” (Rachel, Programmer). This anecdote proves that during the production of ‘Death Stranding’ at Kojima Productions there was a disconnect between the teams, an effect of which slowed production and would create complications. 

So when faced with such complications in production how do Druckmann and Kojima differ? Well one example is that during pre-production Druckmann took acting classes so he could employ skills to better communicate with his cast of actors to achieve the vision he wanted. After struggling with getting a scene to work for weeks he got through to one actor by breaking down each element of the performance. A trick he would have learned from those acting courses; the actor had this to say about that moment. “That scene actually works not because of me, but in spite of me. And that really is the marker and the definition of working with a truly good director.” (Troy Baker, Actor).  With the amount of emotional, nuanced and  powerful performances found in the game it shows that this somewhat unorthodox technique paid off in a big way. Comparatively, it's difficult to find such an example of Kojima learning new skills to adapt to a similar situation. However, What can be found is criticisms of directorial style during production. “His admirers have often compared him to filmmakers: Quentin Tarantino, David Lynch, George Lucas, James Cameron.” (Adrian-Chen n.p). It seems the comparison to Lucas is the most fitting, because similarly to Lucas and Star Wars, Kojima crafts a captivating and breathtaking world in ‘Death Stranding’ that is ultimately undermined by a serious lack of quality writing and second opinion. “You get a sense, for good or ill, that nobody ever told Kojima ‘no.’ That any idea, no matter how seemingly dissonant or irrelevant, was ever shot down.” (Adrian-Chen n.p). This attitude spearheaded by Kojima and his mismanaged creative ambition is perhaps the leading reason as to why his game lacked a coherent vision, which the IGN reviews reflect. 

“It is not easy to sum up Kojima’s oeuvre. There are really two ways of looking at him, and they don’t totally fit together. The first is that Kojima is a brilliant innovator who has managed to consistently expand the notion of what video games can be for more than three decades. But then there’s that second, trickier story: about Kojima the egotist, a man grown too infatuated with his own ideas.” (Adrian-Chen n.p).

While both of these creators had complete creative control over their games, Druckmann exercised his with discretion and guidance from the team at Naughty Dog. In ‘Grounded: The Making of The Last of Us’ there is a consistent motif amongst the interviews of people commenting on their respect for Druckmann, as one interviewee said: “The entire process is collaborative, but really it is led by Neil’s willingness to change and flow and decide if something doesn’t work and he’ll fix it right there in the moment.” (Mark Botta, Programmer). These personal qualities of being able to see beyond one's ego and as the saying goes “kill your babies”, seem paramount when you are in the position of leadership over a creative project. Kojima’s core failing seems to be that he cannot do just that, therefore crippling the progress of good and valuable ideas because nothing he envisions is ever properly critiqued by those around him. A result which largely forms itself because he and his team place him upon an idealistic pedestal. Druckmann is seemingly devoid of ego and Kojima is consumed by it. This notion may be considered harsh, but a look at their differing responses to the criticisms levied during and after the release of their games says it all. 

Druckmann

“At Naughty Dog we really try to cultivate a culture where anybody can criticise anybody's work, everybody has a voice. Making decisions not based on ego but what will help better the game.”

Kojima

“In three to five years, we will see what people will say.”

The story of Druckmann the everyman and Kojima the egotist looks to construct itself when comparing these two game’s production cycles. What we can learn from stories like these is that, like any production, one person does not make a game. As much as they may like to think they can, a game is made by a hardworking team of fellow creatives all united in achieving the same vision, making a great game. Druckmann understood this well and sadly Kojima, after years of triumph, has seemingly forgotten it. An auteur is an artist who applies their own unique stylistic control over their craft, but the greatest auteur’s are those who recognise that the self is inherently limited.   

Bibliography:

Works Cited

Chen, Adrian. “Hideo Kojima's Strange, Unforgettable Video-Game Worlds.” www.nytimes.com, The New York Times, 3 Mar. 2020, www.nytimes.com/2020/03/03/magazine/hideo-kojima-death-stranding-video-game.html?action=click&module=TopStories&pgtype=Homepage&te=1&nl=morning-briefing&emc=edit_MBAU_p_20200303&section=whatElse&campaign_id=3&instance_id=16457&segment_id=21831&user_id=64c5f35f9d35286ca6d43f0be90cbac8&regi_id=95808583303. 

Accessed 16th March, 2020.  

Grounded: The Making of ‘The Last of Us’. Directed by Jeffery Keith Negus, Sony Playstation and Area 5, 2014. 

Michelle, Lanz. “A Peek into Naughty Dog Game Creator Neil Druckmann's Creative Process.” www.scpr.org, Southern California Public Radio, 17 May 2017, www.scpr.org/programs/the-frame/2016/07/13/50456/a-peek-into-naughty-dog-game-creator-neil-druckman/.  

Accessed 16th March, 2020. 

Moriarty, Colin. “The Last of Us Review.” www.ign.com, IGN, 4 June 2013, www.ign.com/articles/2013/06/05/the-last-of-us-review. 

Accessed 18th March, 2020. 

Ogilvie, Tristan. “Death Stranding Review.” www.ign.com, IGN, 20 Nov. 2019, www.ign.com/articles/death-stranding-review. 

Accessed 18th March, 2020.

Leone, Matt. “What It Was like Working at Kojima Productions Los Angeles.” www/polygon.com, Polygon, 30 Oct. 2019, www.polygon.com/2019/10/30/20939334/what-it-was-like-working-at-kojima-productions-los-angeles. 

Accessed 19th March, 2020.