 Creating Detroit Become Humans has been quite an adventure, to be honest. It's been four years in development, two years in writing, 18 months in graphic design. It required about 360 days of motion capture shooting. So that's pretty large, as you can imagine. We had millions of lines of codes, thousands of story variables, and we'll talk about what it means to have a branching story, and what these variables relate to. For a team, as I said, of about 200 people, 4,000 pages of script, 30 hours of content for about 300 characters. So it's been quite an epic game to develop with a big scope and a high visual ambition. We love to challenge players about their moral values, about their choices, but the secret for good moral dilemmas is not so much to ask players, do you want to be good or evil? Do you want to be nice or mean? But it's more to have dilemmas that are not black or white, but that are in the shades of gray, which means that it's not, there's no obvious and clear answer about what you should do or what is right to do. Really questioning players' moral values is something that we try to do a lot. A good dilemmas is clear content for choice. You need really to set up the context. This is what happens, this is the situation. You clearly understand the choices that you have and the tradeoff that you will need to make. I can do this, but I will gain this, but lose this, or I can do that and same thing. So that's something very important. You need to understand the context for choice. There is no easy answer. As we said, no black and white, but only shades of gray. They are relatable. I mean, it's very important to have choices where players will clearly and I would say organically, viscerally understand the dilemma and the nature of the dilemma. If you ask me if I want to invade this country or this country, I'm not a king. I don't know so much about this world. It's maybe not your really relatable dilemma if you ask me this. But if you give me context, if you tell me about these kingdoms that I may invade, if you tell me who I am and what I may gain or lose, then it becomes something I can relate to. I understand the stakes and it becomes easier for me to make a choice that will be interesting. We also love dilemmas that are meaningful. Again, you can really have a meaning in games. You can really have games telling you something about yourself. We love games where they are like mirrors. They allow you to look at yourself and say, okay, this is who I am. This is what I think. And just asking you questions is not so much the role of a game to answer for you, but it's more asking the questions and allowing players to bring their own answers. The next point is something that is important for us at Quantic Dream is we try to find alternate solutions to things that became common grounds in the game industry for years. For example, the idea that a game should be based on pure mechanics that are repetitive and that are based on violence. This is something, it's a perception that we try to change. We try to find new answers to this. To say, look, a game is not necessarily about jumping and running and shooting hundreds of people, thousands of people for hours. Maybe there are other ways of interacting that can be just as interesting, as exciting, as spectacular. But not based on the same rules. So Detroit is one representation of this philosophy that we try to develop for years. It's not to say we don't want any violence in a game. We're just saying we are not comfortable when violence is gratuitous, when it's just about killing people for hours without any meaning, without any reason, without any common sense. We don't really like this. You can have violence. Shakespeare, in his plays, used violence a lot, but it was in a context. There was a story. It was about storytelling. It was about characterization. It had a meaning. It had a purpose. We try to use violence when there is a reason to do it, but not gratuitously. Making Detroit a meaningful experience has been one of the most fascinating challenges that we had. We wanted to talk about real world issues. For us, talking about real things was the next frontier. Can we just have games that are about fancy and imaginary worlds? Or can we have games that talk about ourselves, that talk about our world, about our societies? So in Detroit become human, you will find themes like segregation, racism, rights of minorities, what is right or wrong when you fight for your rights, but also about domestic violence, about quest for identity, and broad question, what does it mean to be human? We did a lot of research, basically for two years. We studied. We read history books. We talked about Spartacus. We talked about Gandhi, Martin Luther King, or Malcolm X, or Stonewall, and women's rights, and all the civil rights revolutions that happened in Mandela, in apartheid, and all this segregation in general. All these things were real important topics, and we tried to understand how these movements appeared, how they worked, and what was the role of the people leading this, because we wanted to get inspiration with our Android revolution based on real history facts. And of course, the game is not a documentary, and it's not real, it's not true, but we wanted to have some background and not write just a fantasy story. We wanted to write something that would be based on real events, and that would be at least believable in a way or another. So this is how we imagined the Android revolution, because what we wanted to do was really to put players in the shoes of the protagonist. We wanted to question their values and say, okay, if you were the leader of a revolution, how far would be too far? How far would you go in order to defend your cause? It's been a very complex, very complex question, especially if you're treated unfairly. Is it fair to do the same thing to your opponents? You know, we wrote this, I mean, some years ago, but in the world we live in, it feels very actual, and very, you know, it really resonates with the world we live in today. But one thing was important for us, it's what no matter what we say and what story we tell, we always want to promote positive and humanist values. Even in the darkest aspects of the story, we never wanted the game to promote violence, or to promote things that would be morally questionable. So even if our characters go a little bit on the dark side, we wanted to show clearly that this is not the right thing to do, and this is not the way violence is never the answer. So if there is one message that's the only message that we wanted really to defend, and for all of the rest of the experience, it was really a list of questions for players, and we let them bring their own answers.