戴维·凯奇 游戏总监:我们想要创作最为曲折的故事,玩家的选择将会完全改变剧情。

Simon Wasselin首席游戏设计师:最大的优势在于我们可以在整个游戏中扩展剧情。这不是一个线性故事,我们给玩家提供了一个沙盒世界,玩家可以在其中探索一切的可能性。

索菲 研发总监:玩家的每一个选择都有真正的意义,故事有非常多的分支,选择意味着创造。实际内容远远比玩家在游戏中看见的多得多。

David Cage 游戏总监:我们不想使用“烟雾和镜子”保护,因为如果不是这样的话,选择会带来后果。所以,我开始写不同的支线,有可以看到或看不到的场景,有可能出现的人物,失踪或死亡。

Lauren Qhinou 质量保证测试员:在Quantic Dream Games,一个角色可能会死。这有什么后果?我们有具体的对话吗?我们有可以或不能播放的场景吗?某些场景是否因为角色死亡而被修改?

Anthony Marmeth 质量测试负责人:游戏一开始,就有可能影响游戏的结局。你真的可以知道,特别是在游戏结束的时候,所有的事情都会在这里交叉,我们的选择会对这产生影响,所有的事情都会朝不同的方向推进,我们需要尝试把所有的事情都整合起来。我觉得这是最为棘手的地方。

Simon Wasselin 首席游戏设计师:我们想展示这种曲折性。我们希望玩家意识到他们的故事是独特的,通过不同的系统,表现,我们称之为场景结束流程图。一旦玩家完成了一个给定的场景,他将能够看到一个图表,显示他的路径尽可能简单。玩家可以看到他做了什么选择,但更重要的是他没有做的选择。

Axel Riviere Technical coordinator scritping :我们想向玩家们展示,我们在之前游戏中没有做过的曲折程度。为了向玩家展示这一点,我们需要跟踪他们在整个游戏中的选择和路径。这意味着要创造成千上万的变量。我想我们至少有2500个变量。

Julien colas 首席游戏构架师:一开始编写这种规模的互动剧情游戏绝不是直截了当的,不可避免的是,总有一个分支故事不连贯,或者我们意识到有一个分支,没人会看到,因为它太复杂了,而且需要按脚本进行更改:我们是否在orser中使该分支更容易使其平衡?然后,将是遗忘或不连贯的,或者进行细微的调整,或者查看场景脚本的完整性,或者将场景全部剪切,如果不起作用,我们将其删除。但是它仍然需要与故事的其余部分保持一致。但它仍然需要与故事的其他部分保持一致。

Jean-charles Perrier 技术总监:我们的场景彼此之间非常不同,具体需求因场景而异。我们必须突破以往的界限,因此有必要突破很多界限以做更多的事情,以管理更大的数据量。就数据或动画的数量而言,我们必须超越以往的工作。

Simon: 不是在整个游戏过程中我们拥有相同的动作设置,例如跳跃射击等。我们倾向于选择各种情况:调查犯罪现场,做家务,抗议……我们需要建立规则,从头到尾保持连贯的语法,以便玩家使用同一控制器(手柄)执行所有这些情况。

Ingrid sanassee 运动套件主管:我们真正想在运动套件中展示的是我们可以创造游戏玩法。与其他工作室相比,在Quantic,我们使用定制的,语境化的运动套件。上下文是:我累了,我很快,我很烦,我很紧张……

Simon:处理这样一个复杂的项目是一项艰巨的工作,我们必须确保每个变量,每个分支,每个时刻的设计都与其相邻的,前后的一样好。管理所有这些庞大的分支机构已经使我们头痛不已,但最终,最终的经验意味着每个玩家都有自己的故事,并且像在写底特律一样生活在底特律。

David Cage Game Director

We wanted to creat the most bending story ever

A game where player’s choices would completely reshap the story

Simon Wasselin Lead Game Design

The biggest advantage we have with working on a bending story is that we can stretch the choices through out the entire game

Rather than telling a linear story,we are giving the players a sandbox,a spectrum of all the possibilities the player can explore.

Sophie Prouduction Director

Every choice that the palyer makes has real consequnences, there are so many possible branches in the story,wihch meant producing

More content than what the player is actually going to see in the game.

David Cage Game Director

We didn’t want to use“smoke and mirrors” protending there is a choice with consequences when this isn’t the case.

So,i began writing distinct paths, with scenes that could or couldn’t be seen,characters that could be present,missing or dead.

Lauren Qhinou Quality Assurance Tester

In Quantic Dream Games,a character can die. What consequences does this hace? Do we have specific dialogues?

Do we have scenes that can or cannot be played ? Are certain scenes modified because a character is dead ?

Anthony Marmeth Lead Quality Assurance

There is bending from the start of the game that can influence the end etc.

You can really tell,especially at the end of the game,that's where everything crosses over and where our choices have an influence This is where everything darts off in different directions and where we need to try encasing all that。

it's the trickiest part,i think。

Simon Wasselin Lead Game Design

We wanted to show this bending。

We wanted the player to realize that his story was unique through different systems,representations,what we called the end of scene flowcharts.

Once the player has finished a given scene,he will be able to see his path in a chart that displays his as simply as possible.

The player can see what choices he did,but more importantly the ones he didn’t do.

Axel Riviere Technical coordinator scritping

We wanted to show the players the extent of bending,something we didn’t do in our previous games.

In order to show this to players,we needed to track their choices and paths the player can take throughout the entire game. That means creating thousands of variables.

I think we reaches 2500 variables at least.

Julien colas Lead Game Building

Making a bending game of this scale is never straightfoward to write in the first instance,there is inevtably a momment where there is a bend that wasn’t thoughut about,that isn’t coherent with the story,or we realize that there is a branch that nobody is ever going to see because it's too complicated to get there,and that requires changes script-wise:do we make this branch easier in orser to make it more balanced?

Afterwards,it'll be on the bending that has been forgottenor not coherent,either small tweaks,or review the integrality of the scene’s script,or cutting a scene all together,if it dosen’t work we just remove it .

But it still needs to be coherent with the rest of the story。

Jean-charles Perrier Thecnical Direcetor

We have scenes that are very different from one another,with specific needs that vary tremendously from scene to scene。

We had to push the boundaries like never before,so it was necessary to push a great deal of boundaries in order to do more, to manage a higher volume of data.

We had to exceed what we’d ever done before, in terms of numuber of data or animations for example.

Simon Wasselin

Rather than having gameplay in which we have the same set of movements throughtout the game,like jumping shooting,ect.

We preferred to opt for diverse situations: investigating a crime scene,doing the housework,prtesting……

We needed to establish rules, a coherent grammar from start to finish, in order for the player to excute all these situations with the same controller .

Ingrid sanassee

What we really wanted to show in motion-kit,is that we could create gameplay.

Here at Quantic,in comparison to other studios,we use bespoke,contextualized motion-kits.

The context being: i’m tired , i’m quick ,i’m annoyed,i’mstressed……

Simon Wasselin

Handling the complexity of such a project was titannic work,we had to make sure that every variation,every branch,every moment was just as well designed as the one next to it,the one beforre or after it.

Managing all these massive branches has caused us quite a few headaches,but in the end,the final experience means that every player has his own story and lives Detroit as if he were writing it.