实际上这篇采访我之前也有看过，是Game Informer 2022年的采访，这里是原始链接
https://www.gameinformer.com/feature/forging-the-future-of-fantasy
原文是这样的，
MAKING MONSTERS OUT OF MEN
Speaking with game director Hidetaka Miyazaki, it’s clear that while George R.R. Martin laid out the initial worldbuilding and characters, From has taken it in new directions during this collaboration, including some directions Martin might not expect. “When Martin wrote these characters, and when he provided that origin story and that mythos for the world of Elden Ring, these demigods were much closer to their original form, and maybe closer to human form back then, before the Shattering,” says Miyazaki. “So it was more up to us to interpret this and say, ‘how did they become such inhuman monsters? And how did the mad taint of the shattered shards of the Elden Ring and its power affect them?’ So that was our job to take these grand heroes and sort of misshape them and distort them into something that they’re not. And I think if we get a chance to show Martin and if he gets a chance to see the game and see these characters, I think he might be a bit shocked. When he wrote them, he was really envisioning something a little bit more human, a little bit more traditional human drama and fantasy characters. I hope he gets a kick out of that.” The process of taking these human, heroic-but-flawed characters and breaking them into grotesque monsters was a lot of fun, Miyazaki said. Miyazaki’s favorite character that Martin created is known as Rykard – though we don’t have anything else about that one other than the name right now.
重点在这里，“these demigods were much closer to their original form, and maybe closer to human form back then, before the Shattering,”可以看出“在破碎战争之前”是修饰“原始形态”以及“人类形态”的，宫崎英高做的事情只是扭曲了他们的样子，跟破碎战争实际上发生的事情并没有关系，这也是基本的逻辑推断

然后是经典的2022年Stephen Colbert的采访，这里有视频，
https://www.bilibili.com/video/BV1gt4y1M7H4
马丁说的话全文如下：But they made it clear that Elden Ring was going to take place in let's say the present of their game universe. But what they wanted me to write was what happened, like, 5000 years before that, that totally screwed up the world, so that the present was really messed up.
So I went back and wrote a history of what happened 5000 years before the current game, and who all the characters were, and who was killing each other, and what powers they had. They had these runes that were the center of the game, and the rune got split into many, many pieces and runes, and that's what screwed up the world, so, I laid all that out.
重点在“5000年之前发生的历史”以及“谁杀了谁又有怎样的能力”，有些人非要说这些“历史”指的是破碎战争之前的历史，“谁杀了谁”指的是其他的事情，这就有些不符合常理了，我们就说马丁写的是5000年前的故事，那难道4900年前他就不写了交给宫崎英高写吗？难道写了之前的战争，之后的战争就不写了，他们讨论的时候没有讨论清楚？正常的合作流程显然不会出现这样的问题。
这个问题实际上就是“马丁到底写了老头环的什么部分”的问题的钻牛角尖版本，可以说又回到了原点

那马丁到底写了什么部分？各种各样的采访也有很多，首先是Edge杂志2021年的采访
https://drive.go谷ogle.co歌m/file/d/1i1mME9za3_eiR7T5fwt11q8UT8TKQCaf/view
Edge: What form did his Elden Ring mythos take when it arrived with you? Short stories? Character sketches?
HM: There was nothing visual — it was all text. Rather than being a short story, it was something that depicted the setting or set the scene for the game and for the world, detailing the flow of history and the figures who appeared throughout it. There was, of course, a story that came with this as a sort of backbone, but it played as more of an introduction to that world and a natural course of events for these characters to follow. And this is what was given to me and the team, and then we were able to interpret this in our own way and provide the visuals to go along with that, and to build that into an actual game. A lot of the motifs that came from this and drove my creative thinking behind these elements in the game were connections between people, including parent-and-child relationships. A lot of the issues that Mr Martin dealt with in his writing provided these motifs for the game itself, so that is something I am very grateful for.
这段采访透露了很多信息，首先马丁提供的文本不仅写了世界观设定，“ detailing the flow of history and the figures who appeared throughout it. ”也描述了“历史的流动”以及“登场的人物”。 “natural course of events for these characters to follow. ”这些故事作为游戏的骨干介绍了角色所遵循的自然过程。然后才是宫崎英高团队如何用自己的方式去阐释并作出游戏。显然这种故事和设定描绘的是非常全面的，虽然没有直接提到破碎战争。

然后是IGN 2021年的采访，
https://www.ign.com/articles/elden-ring-miyazaki-hidetaka-full-interview-summer-of-gaming
里面直接提到了“George R.R. Martin brought things to the table that we couldn't have done by ourselves, in terms of that rich storytelling and that sense of character and drama.”
马丁提供了“丰富的故事情节，对人物和剧情的理解”，是“fromsoft没办法自己做出来的”，显然马丁写的绝对不只是世界观设定

然后是Game Informer采访提到的人物设计的理念，
IGN: One of the things that really struck me in the trailer was the enemy designs – some of the wildest designs I've ever seen, really. I wonder if there's any sort of unifying theme or inspiration that you use when coming up with the enemies and the bosses for this game, and if you can elaborate a little bit about them?
HM: I'm glad you picked up on that. There are several themes to the enemy designs. One main theme of the main bosses of the game, in particular, are that they are essentially demigods – and characters who are written, again, by George R.R. Martin – and they inherited the mad tainted power of the Elden Ring shards once it was shattered. We wanted to depict these beings as not just creatures and horrible monsters, but have an element of heroism and an element of mythology to them. Essentially, they are the old gods of this world.
And part of the design of these major characters is that in inheriting the shards of the Elden Ring, they each inherited a different power or element, so to speak, and each was twisted and warped in its own way, and it brought a tainted strength to each of them. They each fell to madness and fell to ruin in their own individual ways. So while there is heroic and mythological elements to them, they are also going to have this very mad taint and this deep-seated ruin to them. We hope players enjoy discovering each of them for themselves.
“again, by George R.R. Martin – and they inherited the mad tainted power of the Elden Ring shards once it was shattered.”注意，宫崎英高在提到这些马丁写的半神的时候紧跟着说了他们收到了老头环破碎的影响，接受了老头环碎片失控的，受污染的力量，（也就是宫崎英高设计这些半神非人形态的出发点），也就是开场CG里那句“The mad taint of their newfound strength triggered the shattering”，也就是说，从这里至少可以模糊的得出，从老头环破碎，到半神继承碎片，接受被污染的力量这些部分为止是马丁写的，而这个“受到被污染的力量”的事实，正是直接推动破碎战争产生的原因，作家写了故事的起因，却不写故事的过程，这不符合逻辑吧？

然后是比较直接的证据，官方攻略书出版方future press在 Elden Ring Book of Knowledge Volume II: Shards of the Shattering里面对宫崎英高的采访，这里有原文：https://docs.go谷ogle.com/docum歌ent/d/14XDfHej5T7JNkodLgl_BfhMQomYDC6pRf8Ag2FqlWGE/edit
bilibili上也有翻译：https://www.bilibili.com/read/cv25995628/
重点在这里：
Can you tell us about the process you go through when you design an area in Elden Ring? How does designing an open world area like Limgrave differ from creating a level in one of your previous games? Does lore come first, then geography, then enemies and bosses, or does it vary?
For Elden Ring, area design tended to begin with the lore. This was due to the fascinating mythos penned for us by Mr. Martin. Caelid, for example, is known for being the land where Radahn and Malenia fought at the end of the Shattering, so this was a starting point for the level design and visual design as well.
This method for designing the world and its parts is unique to Elden Ring and a major departure from our previous titles.
对于如何设计老头环中的区域的问题，宫崎英高直接说明了地图设计倾向于根据“剧情设定”来做，而根据的这些神话都是马丁写的，然后他直接用“破碎战争末尾”在凯利德区域中拉丹和玛莲尼亚德大战来举例，这场战争是区域地图的关卡设计和视觉设计的出发点。并且这些老头环中独特的设计方法和fromsoft前作游戏比起来是重大的不同。
这里毫无疑问直接提到了破碎战争末尾的凯利德大战是马丁写的，宫崎英高在拿凯利德举例的时候紧跟在关卡设计根据马丁写的神话而定这句话的后面，按照一般逻辑那肯定举这个例子是用来解释前面那句话的，而不是说“马丁这些故事写到前面为止，我举的这个例子的故事是我自己写的”这么神奇的结论。如果你非要抬杠，bilibili的中文翻译可能产生了歧义。

Verge对北尾泰大的采访，
https://www.theverge.com/22643950/elden-ring-preview-fromsoftware-george-rr-martin
George R.R. Martin provided us the mythos for the world, which takes place many, many years before the events of the game, and really shapes a lot of the current state of the world and its characters. We think this original mythos that he created really had a lot of influence on our approach to the narrative this time. George R.R. Martin was kind enough to hand that over for us to do what we want with it, and Miyazaki has had a lot of fun playing around with that mythos.
We felt it was a really inspiring collaboration. When George R.R. Martin says “Okay, here’s the mythos, do what you will with it,” Miyazaki is just going to run with it. So he’s really taken a lot of inspiration. Miyazaki has really been free to take his own interpretations and create his own characters based off of that. He’s really enjoyed having this script as a backbone.
这里北尾没有直接提到马丁写的故事是哪一部分，但说明了马丁写的神话对游戏的叙事方式有很大影响，并且“宫崎英高很享受*摆弄*这些神话故事。但是言外之意可以说宫崎英高并不是直接去*续写*神话故事，而只是用自己的方式去阐释并改造这些人物角色

永远不要试图用逻辑与道理说服一个准备在互联网上发泄情绪的人，你能做的只有和他情绪对冲，用你的情绪压过他，他才可能会试图和你讲道理（或者拉黑跑路）

你跟那人讲没用，我把马丁参加真人秀说的话甩他脸上了，然后他把我回复删了，气的我单开帖子

所以剧情锅是怎么个比例分法？

她自己觉得破碎战争写的烂，又不想承认是她马叠写的，硬往小高身上扣，小高全责，他马叠不粘锅

马丁写的，宫崎英高又不是不能改，到底谁是总监？剧情有点太狮子混种了

就算你觉得马丁写的是一坨屎，那决定要不要把这坨屎端上桌的不也是宫崎英高吗？

宫崎英高显然是有权利也确实改过马丁写的那部分的，