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Preview: Omikron Game

Omikron Game



Quantic Dream Fan-site. All about Omikron (Fahrenheit, Heavy Rain, Karma e.t.c.). Thanks in advance of additional info about Quantic Dream projects.



Updated: 2017-12-11T03:10:47.048+00:00

 



QD stories and projects not interesting anymore

2017-11-09T12:32:13.947+00:00

Heavy Rain,... Beyond: Two Souls, I'm experienced gamer, and fan of Omikron: The Nomad Soul waiting for years for something like that, but not anymore interested in collecting info about other projects. Next is why.QD calling genre "interactive story". It's marketing/lie BS. It is just another casual adventures with "press X to win". Even cannot be stand in pair comparing with L.A.Noire, Mass Effect, even Uncharted and many other games. If not all games with plot are interactive stories. So, interactive story genre is a fake."Press X to win". This is definitely not a way how I wish to interact with game. Is the same "genius" as to press "pause" in multimedia player and select another chapter of the film, you just making it more boring. Is like you get outdoors, walking in park and boom, pigeon poops on yours shirt. Not worth to remember and rather disturbing interruption.Let's talk dialogue system. That suffers like absolutely any other dialogue systems in world, from guessing what script will do next on scene depends on words you choose in dialogue, that usually very different on meaning from further voicing this choice. It maybe not clear for devs why it is so, as you know further plot, but for player, who have no idea it is way different. And hey, lets be honest, you not gives option to not let pigeon poop at all, difference only in consistence of shit, and maybe not pigeon but seagull. Not talking about selecting another root to avoid this accident at all. You receive no stars for failed absolutely standard dialogue system, and it even worse, cause it is a huge part of "interactive story" meaning in yours marketing. So, corridor interactivity.Plot? You says tons of script pages, works for marketing I guess, but after Omikron, only Fahrenheit have something to think and only once about at 5'o clock tea. All titles after, phew, clear as f.ck.Do you think I really interest if main actor or neighborhood stays alive or die? Absolutely wash-full color characters, stereotypes over stereotypes. Who is murderer? Seriously, thats a question that goes wide road through all game on surface! Yeah you claimed it is not about who, but why, but it fails here. You talking about deep psychotic thing. But from my point of view it's so far even from "Hannibal line" for example, so if it would be TV series I have doubts it came out from pilot at all (good you claimed it new genre "interactive story" and play in gaming area not TV). Let's be honest you doing some reverences to "explain" murderer actions, but so primitive. No moral choices, every f.king second, between very bad and awfull bad, is only one two moments between good and bad, and for some reason they failed to choose good, that is where it's become pathetic, theatrical, fake.Let's go to robotics theme, gee-sh, for anyone who even touch science-fiction of most rumored authors it is already cliché. Not talking about more deeper second line sci-fi. Yeap, waving to yours 2018 game title plot. Pathetic, cliché, stereotype. Other thing is... consoles only supports. Well. I understand of making exclusive titles under wing of Sony Entertainment, its good money, using own engine that linked to current console hardware. But well, do I care about it instead of having product on platform I use? Nope. Good example Apple making OS for very few own devices comparing to Android that works over thousand configurations and still bug result is the same if not worst for Apple.And it may thunder from clear skies, but absolutely ALL games made on PC's, so f.ck off with yours console shit that it not possible to move to PC. In addition to not wish wasting hundred bucks every time new console appears console do not get any better image then on PC that is years more old, that I already have and that works great with gaming pad, with VR that will work even if devs far ago forbidden game support, with big TVs. Yours console choice limited for absolutely discomforting 30 fps instead of 60 and 120 limited by computer display or progressive TV's, limited to use any third-party shaders, that helps greatly[...]



PlayFrance: interview David Cage

2009-09-23T20:16:13.597+00:00




Autor: staff
Source:
Language: French



[FJV 2009] Heavy Rain : Interview exclusive P3L de David Cage

2009-09-23T20:28:25.467+00:00

C'est grâce à la présence sur les lieux de notre éminent collègue et rédacteur Drummerbart (et bien évidemment de Grégory Delfosse, RP Sony France qu'on ne cessera de remercier pour l'attention qu'il porte à notre site), que la rencontre a pu être, après celle de l'E3, encore une fois possible entre la rédaction P3L et David Cage, le papa de Heavy Rain, et évidemment de Quantic Dream.Sans plus attendre, voici l'interview confectionnée par nos soins, et comme d'accoutumée de la part de David Cage, sans concession :P3L : Quand a débuté le processus de création de Heavy Rain ?David CAGE : C'est vraiment sur la fin de Fahrenheit, j'étais un peu déprimé et un peu partagé : on avait travaillé longtemps sur ce projet dans lequel on croyait beaucoup, ça a été un peu chaotique pour des raisons indépendantes de notre volonté, on a été pris dans la tourmente Vivendi et surtout, lors de l'E3, j'ai vu Fahrenheit présenté au milieu de jeux qui n'avaient rien à voir et je me suis senti complètement étranger à tout ce que tout le monde faisait à l'époque, du coup j'étais vraiment convaincu qu'on s'était trompé de voie et que ce n'est pas ça qu'il fallait faire. On commençait à parler d'autres projets à d'autres éditeurs et c'est à ce moment là que sont sortis les premiers tests, qui furent dithyrambiques et les premiers chiffres de vente furent également très bon, puisque le titre entrera en tête dans les charts Anglais et Allemand. Donc ça c'est finalement plutôt bien passé. On arrivait face à des éditeurs en leur proposant un Nomad Soul II et eux nous répondaient qu'ils avaient joué à Fahrenheit, qu'il l'avaient trouvé super et nous demandaient donc de poursuivre plutôt dans cette voie là. On s'est donc dit que finalement on n'avait peut-être trouvé quelque chose, qu'on ne s'était pas si trompé que ça et nous avons donc choisi la continuité.D'où te vient ton inspiration ? Quelles sont tes influences ?L'inspiration on ne sait jamais d'où elle vient vraiment, sans doute de films ou autre mais parfois c'est un truc que tu as vu il y a 20 ans qui te revient alors que tu es en pleine écriture. Donc c'est toujours difficile à expliquer d'où viennent les influences. Mais en tout cas, c'est le premier jeu que j'écris dans lequel il y a des choses personnelles et vraiment une envie de raconter des choses qui me rendent plus proche que ce qu'on fait traditionnellement.Tu as parlé, en cours de développement, d'un début et d'une fin immuables, seules nos actions entre les deux rendraient la progression différente, mais avec le même point final. En est-il toujours de même à l'heure actuelle, ou peut-on s'attendre à plusieurs « fins » possibles ?Il y a toujours une logique de fin différente mais de toute façon Heavy Rain c'est bien plus que ça. Ce n'est pas un ligne droite avec au bout 3 fins différentes, il y a vraiment différentes manières, différentes routes pour atteindre différentes fins. Mais cette fin est vraiment la conséquence logique de tous les actes du joueur, pas simplement d'une action, puisque certaines ne vont pas avoir de conséquence directe, ou alors limitée dans le temps ; alors que d'autres auront vraiment un impact fort sur le cheminement. Ce n'est pas un choix qui va donner un chemin, mais la narration que choisira de donner le joueur à l'histoire qui le conduira vers une de la quinzaine de fin possibles.Heavy Rain étant avant tout une histoire qui se prend dans sa globalité et une expérience personnelle, est-ce un jeu facile à présenter dans un salon ?Le problème c'est qu'Heavy Rain n'est justement pas un jeu de salon. Un jeu d'action c'est facile, tu prends le pad et en 5 minutes tu sais si tu aimes ou pas. Heavy Rain est un jeu qui repose sur la narration, sur l'émotion, on a besoin de temps pour apprendre à connaître les personnages. Qui sont-ils, d'où viennent-ils, où vont-ils, pourquoi sont-ils là, quels sont les enjeux ? Là on a rien de tout ça, ce sont vrai[...]



Podcast: Kombo Breaker - Episode 45: Heavy Rain Interview

2009-09-23T20:35:12.619+00:00

This week's show is all about Heavy Rain. Sony Producer Petro Piaseckyj joins us to talk about the project. We cover everything from gameplay, characters, script size (2000 flippin' pages) and all that's in between.

If you're a PS3 owner or you plan to pick up the Slim, this episode is for you. Heavy Rain will be hitting retail at the onset of next year, download this episode for a taste of what's to come.

As usual, once you've gotten your fill of Kombo Breaker goodness please head over to iTunes and write up a review of the show. Tell us we're awesome, tell us we suck, we just want to hear what you think. Also, if you're one of those tweeting types then please follow the show (@KomboBreaker). That's the place where we announce new guests, solicit questions from the fans and let you know when the show goes live. You can also shoot us an email at kombobreaker@kombo.com.

Download directly 30.9 MB

Autor: Joey Davidson
Source: Kombo.com
Language: English



CVG: Heavy Rain delayed because it "needs space"

2009-09-04T20:46:21.624+00:00

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Autor: CVG Stuff
Source: CVG
Language: English



IGN: new video and interview

2009-09-04T20:57:12.114+00:00

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Autor:
Source:
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EDGE Online: An Audience With: David Cage

2009-09-04T20:40:03.766+00:00

David Cage has a sombrely held desire to push the industry to new artistic heights – but are his methods those of a videogame visionary or a more Quixotic figure? Here, the windmills in question could be labelled ‘narrative’ and ‘maturity’, goals that some might argue are often overvalued by our nascent medium, imported from older art forms simply out of a sense of insecurity. With Heavy Rain, Cage hopes to prove detractors wrong, offering a rich, story-driven experience that sets the player in pursuit of a serial killer through control of multiple characters, any of whom may die and be written out of the ongoing tale.Like its predecessor, Fahrenheit, it describes the player’s interactions partly through QTEs – success or failure potentially leading the story in a dizzying number of directions, all of them significant. We spoke to Cage to discover how an adult, murky thriller will hook our emotions and haul us towards gaming’s future.What would be your response to the reaction to the game so far? Do you think everyone completely understands what you’re making?Describing the experience we’re creating with Heavy Rain is something challenging. It’s probably easier to talk about a firstperson shooter or a fighting game because we’ve all played one at least once. When talking about narrative and emotional involvement, there are less obvious common references, and it even seems that these words mean very different things depending on who you talk to.I remember having pitched Fahrenheit about a year before the game was released and I got a clear sense that no one had a clue of what I was talking about until the game could be played. The approach taken by Heavy Rain is quite unique: it is a narrative-driven and fully interactive experience, it features four playable characters, the interface is entirely contextual, the story itself is unusual for a game – and we don’t want to reveal too much about it.If you add the fact that the game has a very unusual approach to interactivity, not based on challenges but on the journey, not relying on traditional mechanics but on contextual actions, with no Game Over but a continuity in the story when characters die, you can understand the challenge of explaining this game before anyone can actually play it.Showing only select scenes is another difficulty: in Heavy Rain, each scene is different and unique, and features bespoke and contextual gameplay triggering different emotions. Also, like in a movie, emotional involvement emerges when you play the game in its entirety, something that is difficult to communicate just by showing pieces of the game in isolation.In spite of all this, I’m really happy with the feedback so far. It seems there is a high level of expectation. The game was heavily applauded during Sony’s E3 conference, which is always a good sign. I don’t think it is yet possible to understand the scope of what we work on and how different it is going to be, but I think there is a growing awareness that Heavy Rain is a truly ambitious and unique experience. The game received many awards at E3 and is now regularly listed amongst the five most anticipated upcoming titles. When I was working on Fahrenheit, no one paid attention to us until the game was released, so I think we are making some progress here.Do you think it’ll be difficult to sell Heavy Rain, because it’s so unlike other games being produced today?Being different has pros and cons. You obviously need to spend more time explaining what your game is and why gamers are going to like it. If you work on a shooter, you just need to show a screenshot and announce the number of levels, weapons, enemies, and everybody knows more or less what you are talking about. But at the same time, there are many shooters made every year by very talented teams, and there are only a limited amount of them that will be commercially successful. Whe[...]



PlayStation.Blog: Heavy Rain’s David Cage And I, Tellin’ Stories

2009-08-24T20:10:07.616+00:00

I’ve always wanted to write a videogame – it’s on my list of things to do before I lose interest in writing videogames. Therefore, I look forward to interviews with the Heavy Rain writer and director David Cage and I’m always keen to listen to his storytelling philosophies. I managed to catch up with him outside the showfloor at gamescom, away from the gunfire and heavy metal that is still ringing in my ears.

I didn’t get to play the new scene in the end, partly because I acted like a headless chicken and partly because I want to take in the whole game in one sitting when I get hold of a copy, but it looks stunning. If you want to check it out for yourselves, head on over to US PlayStation.Blog to see David Cage walk you through the new level.

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Autor: James Gallagher – Content Producer, SCEE
Source: PlayStation.Blog
Language: English



Gamescom: Heavy Rain developer walkthrough

2009-08-24T20:44:48.371+00:00

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Autor: Unknown
Source: Gamescom
Language: English



Gamescom Heavy Rain Live Demo

2009-08-24T20:30:36.559+00:00

Quantic Dream's Guillaume de Fondaumiere demos a brand new character and game sequence from Heavy Rain -- a convenience store holdup.

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Autor: Unknown
Source: 1UP
Language: English



Joistiq: Heavy Rain features 13 voiced languages, subtitles in 5 more

2009-08-20T21:13:47.952+00:00

Heavy Rain will be fully voice acted in 13 languages, with subtitles also available for all spoken languages, plus five more languages. These details were disclosed during a presentation at GamesCom this afternoon, when Quantic Dream founder David Cage introduced Pascal Langdale, the actor playing the English-speaking version of Heavy Rain's Ethan Mars (pictured right), and talked about the extensive voice work necessary for the game's many branching scenes.Knowing a single Blu-ray disc can store language data in bulk, we were curious about how many language options would be available in the game. As it turns out, if Cage had brought out all of Mars' voices the the room would have gotten pretty tight. Check out the confirmed list of languages after the break. (We're still waiting for official confirmation on a couple -- the Quantic Dream team couldn't name them all off the top of their heads.)Voice acted: * English * German * Italian * Spanish * Portuguese * Dutch * Japanese * Korean * Mandarin * Russian * FrenchNote: A Polish language option is unconfirmed. (We'll update the list as needed.)Autor: Alexander Sliwinski Source: JoistiqLanguage: EnglishOmikron Game Quantic Dream's projects fan-site.[...]



Play: Heavy Rain interview

2009-08-17T17:15:42.532+00:00

Quantic Dream’s PS3 exclusive Heavy Rain has slipped back until early next year. That makes us sad. Emoticon sad. Still, we can all be cheered up a bit by watching this interview with Guillaume de Fondaumiere, CEO at Quantic Dream where he tells you all about this extraordinary game. Film. Game. Filmgame.

Oh, just check it.

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Autor: Nick Jones
Source: Play
Language: English



Games Radar: Heavy Rain: the David Cage interview

2009-08-17T12:34:42.132+00:00

Auteur talks permanent death, emotional buildup and what went wrong with Indigo ProphecyOf all the games on display at E3 this year, few sparked as much curiosity as Heavy Rain: The Origami Killer. The PS3-exclusive story of four characters in search of a serial killer, Heavy Rain was dark, moody and prettier than most of the other games on the show floor. But the two things that drew the most attention were its apparent reliance on quicktime-style action sequences, and the news that its main characters can die permanently, thereby altering the flow of the story. The man who revealed it all was David Cage, writer and director of Heavy Rain and Chief Executive Officer of its developer, Quantic Dream.Cage is a proven auteur, having also helmed the critically acclaimed Indigo Prophecy (Fahrenheit in Europe) and Omikron: The Nomad Soul, and both he and Sony have been tight-lipped on a lot of the details surrounding Heavy Rain (which was recently confirmed for release early next year). In order to claw our way closer to the heart of the mystery, we caught up with Cage via email to glean a few new insights into the project.GamesRadar: Now that it’s been more than a month since Heavy Rain was shown at E3, what kind of feedback have you received on the game since then? Do people seem to understand and appreciate what you’re trying to create, or do you feel that there are still some misconceptions?David Cage: When you try to create something different, there is always a mix of enthusiasm and skepticism, and I think this is fair. Many designers claimed they have invented something revolutionary in the past, and if it was true for some of them, it was sometimes also a source of disappointment.With Heavy Rain, we’re creating something that changes many traditional game paradigms. We try to invent something that is almost not a video game in the traditional sense (adrenaline, obstacles, levels, die-and-retry), but something that is closer to an emotional journey. When you pretend this, people may think that it won’t be interactive or exciting, because no one has tried this direction before, so there is no point of reference.I spend a lot of time going against preconceived ideas, saying that a story could be told through gameplay and not through cut scenes, that more complex emotions can be triggered in an interactive experience, and that yes, video games can be more than just toys for teenagers. Believe me; it is not always easy, because preconceived ideas are difficult to change. Videogames are based on the same concepts for twenty years. I believe (and it seems I’m not the only one anymore) that time has come for a change.I don’t pretend that Heavy Rain will be a revolution and I don’t know if people will love it or hate it. All I can say is that it is definitely going to be different.GR: The news of the game’s delay until 2010 came as a shock to some, given that a lot of people seemed to be under the impression that Heavy Rain’s trailers had promised a 2009 release date. Can you talk a little about why the game was pushed back?DC: Heavy Rain was never announced for 2009, however, recently at E3 we did talk about the game becoming available in early 2010.GR: Part of the title’s meaning – The Origami Killer – has been made clear, but does Heavy Rain refer to anything specifically in the game? Is it foreshadowing something, like Fahrenheit and its ice-age doomsday scenario? DC: Rain plays a very important role in the story. It constitutes the background of most scenes, but it is also an important part of the drama. We used rain like a character, trying to characterize it and give it moods supporting the ambiance and the narrative.GR: Heavy Rain’s control scheme – in which you move you[...]



Kikizo: Heavy Rain: David Cage Interview

2009-08-17T13:03:36.138+00:00

Quantic Dream founder spills beans on QTEs, Project Natal versus PS3 motion control, "primitive" emotions in gaming and a private tête-a-tête with Hideo Kojima.Despite three years of steady press coverage, we know surprisingly little about Quantic Dream's PS3 exclusive Heavy Rain. We know that the game's multi-threaded plot purports to offer terrifying levels of player choice and consequence, even making space for the demise of central characters. We know that its gaunt, harrowed cast of serial killers, strippers and drug-addled detectives own penthouse apartments in the Uncanny Valley, thanks to some stunning proprietary tech.But as to how the thing will play, moment to moment, we're still largely at sea. Aspects of Heavy Rain incline towards the classic point and click adventures of LucasArts, while other elements owe something to Sega's sadly defunct Shenmue series, and still others recall games as thematically disparate as God of War, Resident Evil 4 and Mass Effect. This elusiveness has to do less with fickle publicity than Quantic Dream's desire to transcend calcified forms of play, founder David Cage told Kikizo when we stopped by for an interview. In a very tightly crammed nutshell, Cage wishes to make interaction much more relevant to its dramatic context, tailor-making gameplay concepts to each part of a game's story rather than relying, as most developers do, on certain default mechanics and an associated control scheme.It's a bold aim, and one that will probably play merry hell with Kikizo's category system when Heavy Rain hits PS3s next year. Elsewhere in our chat, Cage discussed QTEs, his scepticism for Project Natal, Quantic Dream's in-house tech-wizardry and "primitive" emotions in gaming. Tantalisingly enough, he also touched on a private tête-a-tête with Hideo Kojima.Kikizo: How would you sell your "branching storyline" approach to people brought up on more traditional game plotting? Cage: I don't think I want people to understand how it works, I just want them to play and enjoy it! That would be the best proof that it works, actually. You know about interactive storytelling, many people said that this is not possible, because narrative is linear, in essence, where interactivity is non-linear. Many people think it's not possible to combine both. Also there are some technical issues in the writing of interactive storytelling, because when you think up tree branches, you start to add branches to your tree, and branches lead to more branches that give you more branches, and you end up with a huge tree and no control over it.So I developed this technique I call "banding stories", that is about considering my story like a rubber band that the player can stretch and deform based on his actions. So the story's always there, the rubber band is still the same, but you can change its shape and length based on what you do. So this is my solution. I tried to experiment on Fahrenheit, and it worked in many aspects, and I think Heavy Rain will go much further in the same direction.Kikizo: What's changed between last year's E3/Leipzig presentation and what you showed at this year's E3? Cage: The difficulty with Heavy Rain is that everything is contextual and everything is different. So it's not like in a shooter game where you show one level and then you pretty much understand everything about the game. In Heavy Rain every scene is unique - there are many different characters, many different challenges, many different things to play. So we decided with Sony to start to unveil each character at each significant trade show through the year, and each time demonstrate a different aspect of the game. So the first scene we revealed was Norman Jayden, this guy from an FBI [...]



GamesIndustry.biz: Catching the Rain

2009-08-17T13:35:01.625+00:00

Following on from part one of this exclusive interview with Quantic Dream co-CEO Guillaume de Fondaumiere, in which he talks about his role with the EGDF and the importance of games as culture, here he talks more about the development of Heavy Rain. Specifically he updates us on where production is at, as well as the challenges of emotion and the maturing relationship between developers and publishers.Q: How is Heavy Rain coming along - the last few miles of the marathon? Guillaume de Fondaumiere: It feels very good, we're very happy. We delivered the alpha of the game on April 15 - on time, on budget - so we're pretty happy. It's a great moment, because we now have the whole game in our hands and we can play from beginning to end. So we're now entering the most interesting part of the development, I think, which is perfecting it - making sure that all the scenes are as we expect them to be, at the same level of quality. It's a great moment to be at.Q: "On time, on budget" - that's good, something that doesn't happen enough in the industry, one might argue. How have you managed the process to make sure that's happened? Is it as simple as just having the right management procedures in place? Guillaume de Fondaumiere: I think we prepared for a long time, before we started production of Heavy Rain, and I think that back in 2005 when we were finishing Fahrenheit and starting to look at next-gen consoles in particular, we understood we could no longer produce games the old way, like in the old days. We understood we'd have to double the structure in our studio, that we'd have to rely on external resources to produce our next game. And for almost a year and a half we not only worked on technology in setting certain standards, and the quality bar on the development, but also on the organisation. You don't work the same way when you outsource - especially when you outsource 500 man-months of production - than if you have everybody working in the same room on a project. So it took quite some time, but it's been quite successful, and we're very happy with how we organised internally to be able to work with faraway outsourcing companies, the way the outsourced work was delivered, and the way that the whole thing integrated into the final game. I don't know if we found a recipe, because I think each studio and each project is a bit exceptional in a way, but for us it turned out to be a very good experience. Of course, it's extremely difficult to plan a production on a new platform and to basically create two, three, four times the amount of data that you'd have had to for previous cycles on other consoles. But from what I can tell, looking especially at the games I've seen at E3, a number of developers are doing this successfully. I think we've reached another stage in the industry where developers can be much more mature. I think it also has a lot to do with the way that publishers interact with developers. I must say that we've enjoyed a great relationship with Sony. The Worldwide Studios group in Liverpool has been really dynamic, it's been a great working relationship. This is also very important - when you don't have to worry about whether the publisher is going to pay you, whether they're going to accept this and this, whether they're going to ask you to do the same thing two, three or four times, and so on. Unfortunately we've all experienced that in the past, and you're using up a lot of time and resources - but thankfully we've had a great relationship with SCE and I think, from what I hear from other developers, not only are developers becoming more mature, but also publishers.Q: There seem to be fewer horror stories around these days, that's true[...]



Spong: Interviews// Inside Heavy Rain

2009-08-17T13:23:08.436+00:00

Heavy Rain, the upcoming PS3-exclusive... we'll call it an 'interactive thriller', has a lot of people scratching their heads. On the one hand, footage makes it look moody, starkly beautiful and very intense.On the other hand, a lot of people are looking at it and asking, 'How much control will I actually have? Will it just be a series of quick time events?'...I sat down with Guillaume de Fondaumière, co-CEO of the game's developer, Quantic Dream, to discuss how deep the player's control of the game really goes, what his team has done to make sure you're not just passively watching a story unfold in front of you and why it made no sense for him to slap me.SPOnG: David Cage has talked about not giving Heavy Rain an open world because he said it would limit Quantic Dream’s ability to control the flow of the story. To what extent is a player able to create their own narrative and to what extent are you as developer controlling their progression through the game?Guillaume de Fondaumière: As I’ve said, Heavy Rain is a game in which story is core to the experience and we really want to give players the possibility to see the consequences of their actions and how it impacts the story. So, a number of actions will have consequences on a particular scene, some will have consequences in a few scenes ahead and some will have dramatic consequences on the story.I guess, from what we’ve shown so far, the most dramatic aspect being for instance losing one of the characters. So, it’s really a game about choices and consequences. There’s nothing right or wrong that you can do in the game, but there are choices – sometimes moral choices – that you will have to make, always contextual. You’ll always understand what the motivations of your character are, and by triggering certain actions or deciding to go into a direction or another, deciding to engage in a relationship or not, to say certain things at certain moments and not others, you’ll be able to shape your own story.But, of course, we are always in control of the story. As David said, it’s not an open world game, it’s story-driven and what’s very important for us is that the story is consistent and meaningful from the beginning to the end. This is something you (simply) can’t achieve today with an open world and a sandbox game.SPOnG: You mentioned moral choices – a phrase that makes a lot of people groan because it’s used so often. A lot of the time, however, the choices are fairly meaningless. Do you think anyone has successfully worked moral choices into a game so far?Guillaume de Fondaumière: Not really. I think Peter Molyneux’s attempts in Fable 2 are interesting, but we’re trying to do something rather different with Heavy Rain. We’re not interested in clearly presenting to the player ‘do you want to be a good guy or a bad guy and see how the story unfolds from beginning to end if you’re a good guy or a bad guy?’ What interests us is how players react to certain circumstances and how – it’s a bit like in real life – we’re faced with certain choices in our lives and we’re not necessarily all good or all bad. I think we’re all in shades of grey, to a certain degree, and this is far more interesting to us.I think to a certain degree this is far more interesting, because again, it’s far more realistic.SPOnG: We’ve all been playing infamous in the office and everyone has opted to play through on good in their first attempt, which is interesting. It’s pretty meaningless knocking down a virtual pedestrian in a game but still people will swing away from it. You’ve said that the decisions aren’t as straight forward as [...]



OverGame: Tribune David Cage : Une histoire d'émotions

2009-08-02T12:31:57.843+00:00

En réaction aux propos des responsables du studio Bioware qui voient bientôt l'avènement du jeu vidéo à histoires pour public adulte laissant tomber l'inutile violence, le créateur du prochain Heavy Rain confirme, à chaud, participer au même combat pacifique depuis des années.Prenant une petite pause sur le développement en cours de la béta de Heavy Rain, David Cage a bien voulu réagir à chaud aux propos des deux fondateurs du studio Bioware décortiqués ici. Le directeur créatif du studio français Quantic Dream à qui l'on doit les jeux d'aventure les plus singuliers et matures de ces dernières années avec Nomad Soul, Fahrenheit et Heavy Rain à découvrir avant la fin de l'année, confirme une convergence de vue avec Bioware dont il se réjouit après avoir mené depuis des années un combat pour expliquer, tout en la cherchant, sa vision de la maturité du jeu vidéo. Rappelons au moins 2 faits notables dans le travail de David Cage, associés à son premier jeu Nomad Soul sorti en 2000 : avoir réussi à faire participer David Bowie (musique et apparition modélisée dans le jeu) et avoir créé une scène de rapports amoureux, "de tendresse" dit-il pudiquement, entre 2 personnages… Deux exemples de maturité encore à suivre."Je suis évidemment totalement en phase avec les déclarations de Ray Muzyka et Greg Zeschuk. C'est une analyse que j'ai faite à la fin de Nomad Soul (en toute humilité…) en constatant que mes parents et beaucoup de gens autour de moi pouvaient apprécier les mêmes livres, les mêmes films, les mêmes émissions de télévision que moi, mais n'avaient strictement aucun intérêt pour les jeux vidéo en général. Les raisons invoquées par tous les adultes qui ne jouent pas étaient souvent les mêmes : « Je n'ai pas le temps, c'est trop compliqué, je n'y comprend rien, ça ne m'intéresse pas ». J'ai alors cherché à comprendre qu'est-ce qui faisait que les jeux n'intéressaient que les gens de ma génération (et encore pas tous), et qu'est-ce qu'il était possible de faire pour étendre notre public traditionnel. Je suis arrivé à la même conclusion que mes confrères de Bioware : la narration et l'émotion sont les seules réponses valables, tout simplement parce que quand on vieillit, on n'a plus envie de jouer aux mêmes jeux que quand on est adolescent. On n'aime plus les mêmes livres, les mêmes films, nos goûts changent et évoluent (enfin normalement…), mais les jeux vidéo eux ne changent pas, d'où la rupture. Passer des heures à bastonner des trolls avant de franchir le niveau suivant pour bastonner plus de trolls n'est pas une expérience satisfaisante pour un grand nombre d'adultes, qui sont le plus souvent en quête d'un peu plus de sens et d'émotion. Deux choses me surprennent particulièrement dans les déclarations de Bioware : la première est qu'ils semblent prêts à une rupture avec leur public traditionnel de hardcore gamers. C'est une décision qui est extrêmement difficile à prendre parce qu'en terme de marché, on sait ce qu'on perd (dans leur cas, un public très nombreux de gamers avides de leurs jeux)* mais on ne sait pas ce qu'on gagne (conquérir un nouveau public est toujours un immense challenge). La deuxième chose qui m'interpelle est le fait que la plupart des jeux reposent sur des mécaniques répétitives (tirer, sauter, courir, se cacher, etc.). C'est une structure particulièrement pratique en terme de design parce que c'est une typologie d'actions qui commence à être très bien connue (voilà vingt ans que l'industrie produit des jeux basés sur ces principes…). Si on souhaite aba[...]



GamesIndustry.biz: Guillaume de Fondaumiere - Part One

2009-08-17T14:00:08.034+00:00

The final session at this year's GameHorizon conference was an in-depth demonstration of Sony's forthcoming story-driven title Heavy Rain, by the co-CEO of the development studio Quantic Dream. But Guillaume de Fondaumiere hasn't been focusing all his time on the creation of games, having successfully lobbied the European Commission and the French government to allow tax breaks to be given to the games industry. That system, which began in 2008, was based on a cultural test - a phrase used in the UK's recent Digital Britain report. Here, the man himself talks about the problems with that test, why it's not fair, and what the next steps in the battle for media parity should be.Q: What brings you to GameHorizon? Guillaume de Fondaumiere: It's very interesting for us, as a French developer, to come to the UK - we know that the UK is the most vibrant place in Europe for game development, so it's interesting for us to showcase what we're doing on Heavy Rain, and present this project that's very different from anything that's out there. We're working with Sony Computer Entertainment, based in Liverpool, so we have many friends here - it's interesting to understand what others are doing here in the UK.Q: We spoke briefly at the Nordic Game conference about your instalment as chairman of the EGDF - one month on, with some time to reflect, what are your thoughts on the challenges now? Guillaume de Fondaumiere: Well, I've been following the work of the EGDF since it was founded in Paris back in 2006, so I'm very much aware of the issues. As I said before, when the national trade bodies started to work together, we didn't know exactly what we were doing. I think it was more a way to share best practices. But the more we started to work together, the more we started to realise that we have a common destiny, that each country can't do it on its own - except maybe the UK, which is certainly leading the way in Europe - but the more we were discussing topics such as tax credits and education, the cultural recognition of games and the debate on violence or addiction, we found that we had the same issues to tackle. So I think in the past three years the awareness of EGDF members has grown towards crafting this common destiny - making sure everyone works better together to not only share best practices but also solve some of the issues that we face. Today I think we're still confronted with the same critical points, the same issues. I guess the most important one at the moment is tax credits and cultural recognition, because the two come together. I think today we're in a time of economic crisis, the games industry seems be doing okay, but we all know that times are getting more difficult - and that if some are very successful still, others are struggling. I think it's high time now for governments to not only help the banks and the motor industry, but also an industry of the future - the videogame industry. We're still pretty fragile as an industry, especially in Europe on the development side, and it's not because we have a few studios that are very successful that we shouldn't consolidate on those successes and try to improve the framework and ecosystem that enables all of us to flourish in the next decade. We know that tax breaks are extremely effective in stimulating an industry, and I think again that Montreal and Quebec have shown us the way. If you listen to representatives of Invest in Quebec, they'll tell you that they've invested hundreds of million of dollars in the industry - but look at how it benefited our country, our region. I think the last time I was presented the [...]



ButtonMasher: Heavy Rain Interview with David Cage

2009-08-17T16:42:23.708+00:00

Wugga and Jason had a talk with the writer and director of Heavy Rain while at E3, he also happens to be the CEO of Quantic Dream. They talk about what he learnt from their last game Indigo Prophecy (or Farenheit in PAL areas) and where he invisions the game to be pushing the boundries of story telling.

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Autor:
Source: ButtonMasher
Language: English



Joistiq: Heavy Rain dev to sell ‘mo-cap packages’

2009-08-17T16:48:33.111+00:00

Quantic Dream offering a high-end collection of animations to other studios

Quantic Dream’s famed mo-cap studio is launched the Motion Kit Collection, an “evolving library” of animations and captured motions.

Motion Kit Collection Vol 1 will feature 2 motion kit libraries (one for both sexes), each comprising 84 generic motion animations, which totals 2 X 7 linear minutes of animation data.

Quantic Dream – the French studio behind Fahrenheit (Indigo Prophesy) and the upcoming Heavy Rain – say that the new Motion Kit Collection is “the industry’s first high-end, off-the-shelf solution for real-time 3D character animation”.

With each humanoid animation captured using Quantic’s 28-camera Vicon MX-F40 system, the motions can be used for building motion kits for both playable real-time characters and NPCs. Quantic has said this process will “reduce time and budget outlays for prototyping, pre and full productions.”

The animation package is available in .fbx format, which are linkable with 3D software pipelines such as MotionBuilder, Maya, 3DS Max or XSI.

The animations were recorded at Quantic’s Virtual Actor Studio in France.

Autor: Rob Crossley
Source: Joistiq
Language: English



PlayStationLifeStyle: Quantic Dream Gives PSLS a Detailed Walkthrough of Heavy Rain

2009-08-17T16:59:09.015+00:00

During the E3 convention on the show floor, the PlayStation Lifestyle staff sat down with Quantic Dream, developer of Heavy Rain for an interview and a short playthrough of the E3 2009 demo.

The developer reiterates that Heavy Rain is a mature game and deals with extremely mature elements. An interesting piece of information discussed in the interview was the fact that every character in the game, and all their choresponding movements, were motion captured by actual actors. Even the crowd characters were given just as much dedication to detail as the main characters. In other words, no two characters will be alike, regardless of their importance in the game.

Even though a checkpoint system is in place, Quantic Dream urges players to continue through the game to understand the consequences of their actions. Heavy Rain is expected to hit store shelves Q1 2010. Check out the video below, and make sure to enjoy it in HD!

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Autor: Kishen Patel
Source: playstationlifestyle.net
Language: English



NOW Gamer: David Cage Interview

2009-08-17T17:18:30.642+00:00

We talk to David Cage, writer and director of the upcoming PS3-exclusive Heavy RainSo, where did the original seed of the inspiration of Heavy Rain come from?David Cage: In my personal life, actually. You must have had a pretty strange life then. Well, yeah. The first thing we wanted to show, we wanted to be easy to understand. Easy to grasp. For example, you get a lot of combat, and a lot of action, but this is not what the game is all about. The way we’re promoting [Heavy Rain] is a little bit weird, actually. We’re showing you stuff that is individual to each scene.How do you feel the three things you’ve shown so far? The Casting, The Taxidermist and this level are related then?I felt that Fahrenheit really was the basis of our work on virtual actors, The Casting really showed what we wanted to do with them. The Taxidermist was more about how we could play with expanding stories. Mixing action and exploration. This is about the interactions in general: the result of three or four years of technical stuff.You mentioned Fahrenheit as being a part of Heavy Rain’s process. Was that a kind of tech demo for Heavy Rain?Oh, not really. We had no plan for Heavy Rain at the time. I actually thought Fahrenheit would be a disaster. It was so weird. We’re going back five years here, and at the time I was talking about emotions, interactive storylines, no guns and no cars. As I was pitching the game to journalists they were saying, “There’s no gun, no puzzles, no enemies? That’s not a game.” I tried to explain again and again, but no one could get it. I mean try to explain the concept to someone who hasn’t played the game. It’s hard. It sold really well, and got scores of around 85 per cent, it was at the top of the UK charts for a couple of weeks. We made money from it, for sure.What games influenced you?Honestly, only Fahrenheit. I don’t take my inspirations from watching games, because I try to think of a different way of interacting. I think people have used the traditional game conventions as much as they can and there has to come a point where there’s not much more you can do with it. When each button has a specific action and animation and depending on where you are, something happens – what kind of story can you tell with that? What kind of game can you produce apart from shooter games? You can play around and try to produce some nice cut-scenes, but can you really rethink entirely what games are about? No! I thought I had to go away and rethink the interface into something entirely contextual. I wanted an infinite amount of options, and I wanted to tell a story through gameplay, not cut-scenes.How close is Heavy Rain to the original concept?I think it’s quite close. In fact, it’s probably a little early to tell. We’re still at the alpha stage and there’s a whole lot of work to be done. There’s so much fine-tuning in the game left to do. Everything has to be perfect. If there’s one thing wrong in a scene, it’s the only thing you’ll see. There are many things that don’t work right now. We need to have everything in place, from facial animations, to score to work out the final result.What do you think the response to Heavy Rain will be? What are your greatest fears and hopes for it?My greatest hope is that it will be copied. I know why Fahrenheit wasn’t copied: it was so difficult to write and produce. Just in terms of the amount of data is insane. Everything you do has a success and a failure and a result on the re[...]



Gamingring: E3 2009 Heavy Rain Interview

2009-08-17T17:50:15.090+00:00

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Autor: mike regan
Source: Gamingring
Language: English



1UP @ E3 'Heavy Rain' interview

2009-08-17T18:03:24.553+00:00

Executive Producer Guillaume de Fondaumiere sits down and demos the PS3 action game Heavy Rain.

Use this link to watch/download or just click a source link.


Autor: 1UP staff
Source: 1UP
Language: English



E3: Heavy Rain goes bare

2009-08-17T18:11:47.130+00:00

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(Use a source link if this one not works - UL)

Autor: Quantic Dream
Source: Gamersyde
Language: English