 PEGI 18 So our first game was called Nomadsoul in Europe and Omicron in the US because we love to have different titles in different countries. It was a sci-fi open world and of course the soundtrack was by David Bowie himself. Thank you for all you have done for us Nomadsoul. Fahrenheit was a big shift in my vision of game design. I really wanted to find out if we could tell a story through gameplay and not through cutscenes. We were right to have chosen you. We really didn't have a clue what the reception would be because we thought this game is so bizarre. It's not really an adventure game but it's definitely story driven but it's not an RPG. We didn't know how to call it so we invented this word called interactive drama, this genre. I wanted to see how I could take this genre to the next stage. How I could tell a better story that would be more interactive, more emotional with more consequences to your actions and that was the beginning of Heavy Rain. Heavy Rain is the fate of a pair of two children who will disappear in a tragic accident. We are in the first minutes of the game. The first minute where everything is going well. We are in the footsteps of a man. Everything is fine, he is an architect, a beautiful house, a magnificent house. In short, an idyllic square and his own life will be dark. That is to say that we will find him in a city, on the American side, where the rain is permanent, where he will try to renew with this son who remains and unfortunately this son will also disappear. So, do you want to talk a little? Talk about what? Then, during all the duration of the story, we will alternate between a curious journalist, a private detective, an FBI agent. And what is interesting is that we will gradually build this investigation, the co-building, since it is an interactive story in which we will be the co-creator of the events and we will be able to engender by these actions consequences in short, medium and long term that will have an impact on the whole roof of the story. And that is the real exploration of Heavy Rain, it is its narrative exploration. Because it was a version of Seven where there was no resolution in the end, they would never find we did it. And that was incredibly inspiring to me because it showed me, ok, it's possible to have a story that has no resolution. It is radical to say that we are going to transmit something like moral. So, be careful, it's not a game that makes you moral, it doesn't hit you, be careful, the good is that, the bad is that, not at all. It is that your choices have a real moral implication. And you will maybe think that maybe there is no good choice in life, maybe there is only bad choices. It is a radicality, we tried to caricature the game by saying that it was interactive cinema to say that it is not a real video game. Ah yes, it is a real video game, radical. And I think it is still radical today. It is incredible, it is absolutely unique. Because when you are a novel writer or when you are a film writer, you write your story on your own and then people can watch it or read it. But in this case, I write the potential for stories. But the final stories really told with the player is the result of narrative space that I created, but their choices and their path within this narrative space. And that is so unique and so fascinating. That is really something that 23 years later I am still fascinated by this.