 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 who is architect, beautiful house, beautiful lawn, 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 tries 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 the whole story, we will alternate between a curious journalist, a private detective, a FBI agent. And what is interesting is that we will gradually build this investigation, we will co-build it because it is an interactive story in which we will be the co-creator of the events and we will be able to engender through these actions the consequences in short, medium and long term that will have an impact on the whole story. And this is the real exploration of Heavy Rain, it is its narrative exploration. Memories of Murder was also an interesting one 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, okay, it's possible to have a story that has no resolution. Heavy Rain comes to sign completely against the current. Until then, we were rather used to, especially through Lucas Hart, to very funny scenarios, and there we have an extremely hard work, a tragic work, an adult tragedy. And there is really a radical choice to say, we will transmit something like moral. So be careful, it's not a game that makes moral, it doesn't hit you, the intention is good, that's it, the evil is not nice at all. It's that your choices have a real moral implication. And you will maybe think about it, and maybe there is no good choice in life, maybe there are only bad choices. Crap, it's disinfectant, not terribly good for burns. I didn't know if this kind of games existed, but I knew what I wanted to do, and I felt if this is something that I can be interested in, if this is something that can move me, it's going to move other people around the world. What fascinated me when I started was this concept that I could tell a story with millions of people that I never met. And that's something incredible, it's absolutely unique. Because when you're a novel writer or when you're 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 story is 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's so unique and so fascinating, that's really something that 23 years later, I'm still fascinated by this.