Top 50 David Cage Quotes

Anybody working on storytelling has my respect.

Photography was inspired by painting, cinema by theatre and photography, I don’t believe that any new art form was ever created from scratch.

I think the difference between ‘Heavy Rain’ and ‘Beyond’ is that ‘Heavy Rain’ still had a lot of references to films. Especially in the mood, and it was a dark thriller… where, in ‘Beyond,’ we tried to create something truly original and doesn’t refer to anything.

Quantic Dream is a very special company in the sense that we do a lot of things that wouldn’t make any sense in any other company.

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.

Technology must remain a tool. It’s a great tool, but technology is the pen to write the book. It’s not the book. If you have a great pen, maybe you’ll write faster or it will look better, but at the end, you have something to say, or you don’t.

We want to continue to explore new possibilities regarding interface and interaction. We experiment different solutions to make interface an important component for immersion rather than just a remote control.

I approach video games the same way I approach theatre, filmmaking, poetry, or painting. I wish more people would take that point of view. It would help the industry to move on.

People trying new ideas are a blessing for gamers and in the industry in general.

I don’t differentiate game design and script; it is one and only document. I think that one of the biggest problem with storytelling in games is that people tend to separate story and interactivity. Both should be conceived as one entity, each using the other.

When you really love someone, you try to tell the truth.

We’re not going to just duplicate ‘Heavy Rain,’ because we are passionate about innovation and discovery, so we’re trying to discover new ground and see how we can move from ‘Heavy Rain’ and create something even more immersive.

I hope that there will be more and more games that will have something to say and become a little bit more meaningful.

We believe that we can use interactivity to create meaningful games. Games with emotions and virtual actors telling you something. Resonating with you as a human being, giving you food for thought. We don’t need to deliver messages or whatever, just need to create a moment in time that will leave an imprint in your mind.

With ‘Heavy Rain,’ we’re creating something that changes many traditional game paradigms.

As a storyteller, I’ve always been fascinated with the idea of recreating this notion of choices in fiction. My dream was to put the audience in the shoes of the main protagonists, let them make their own decisions, and by doing so, let them tell their own stories.

The videogame industry is really weird because it’s an industry that’s highly conservative. People see the technology evolving every month, but when we talk about concepts, what people really want is for things to remain the same.

I believe that interactive storytelling can be what cinema was in the 20th century: an art that deeply changes its time.

With ‘Detroit,’ we realized that we wanted to create an experience that could be meaningful.

‘Heavy Rain’ responded to a period of my life, things I strongly believed in, things I wanted to suggest or experiment with. I’m really happy with the overall feedback; the reception was a success.

When you want some subtle emotions, you need some subtle vehicles for emotion.

I’ve always felt that ‘game over’ is a state of failure more for the game designer than from the player.

‘Heavy Rain’ is really ‘Fahrenheit’ with more experience, more maturity, and probably a better vision and understanding of how this type of experience can be created.

Some media used to talk about video games only to say how violent or addictive they could be. With ‘Heavy Rain,’ they talked about the story of the game and the emotions they felt while playing.

If you played ‘Heavy Rain,’ there are very few cutscenes and very few moments where you don’t have control.

Every time you try to create an experience with a character who doesn’t use a gun, doesn’t drive a car, doesn’t jump off platforms, doesn’t solve puzzles, you are taking a risk.

Getting the player emotionally involved is the holy grail. We try to make players forget they’re playing a game. We want them to live the experience and suspend disbelief.

The right way to enjoy ‘Heavy Rain’ is really to make one thing because it’s going to be your story. It’s going to be unique to you. It’s really the story you decided to write.

The concept of ‘Heavy Rain’ is to offer real-life situations with real characters. There are no supernatural elements in the story.

My goal with ‘Beyond’ is really to create a strong sense of empathy between the player and Jodie Holmes.

Not everybody’s interested in shooting.

QTE is a very strange thing… it really depends on what you expect from your game experience.

Most games end up with quite caricature scripts because they are just here to serve the game-play mechanics but not to trigger any emotional response.

Each time you buy a used game, this is money that doesn’t go into the pocket of the people that took the risk to create this, to finance it, to develop it.

‘Detroit’ started based on a book called ‘The Singularity is Near’ by Ray Kurzweil, which is about this idea that one day there could be machines that are more intelligent than we are.

Life is sometimes you’re happy, sometimes you’re sad, sometimes you’re in love, sometimes you fight, and that’s a life.

Stories are emotional journey where we can project ourselves emotionally in another space.

I broke pretty much every rule of classic game design and tried to invent new ones.

I’m not a big fan of free to play. And this is just me, but when I buy something, I don’t like the idea that I start playing for free, but each time I want to do something a little more interesting or progress, I have to pay. I’d rather pay up front.

I try to get better at what I’m doing, game after game.

There are different games for different people and different expectations. Sometimes you want a great story, and sometimes you don’t. I don’t believe we should have stories in every single game. Sometimes it doesn’t matter.

Some people are shocked when a game evokes real-world issues. But this platform is about becoming the characters, not just seeing them from the outside, like in a film.

If we keep making things based on violence and platform jumping, you don’t need Ellen Page to do this, to be honest. It would be a waste of time and a waste of money.

I am afraid I am totally hermetic to social games in general.

I personally believe that more and more players think that 10 hours is the right kind of play time for a game.

Our goal is to develop our studio as a global, multifranchise company while remaining an independent studio.

I love unusual games, games that dare to be different and that are not based on violent actions.

I’m not a frustrated movie director: I’m not making games because I can’t make movies.

When I started crediting myself as writer and director, I saw that as a political act.

I disagree that injecting emotion into a game comes at the expense of the playing experience.