Top 66 David Cage Quotes

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.

‘Indigo Prophecy’ already brought a lot of new features to the traditional adventure genre, including the Action system, MultiView, Bending Stories, etc. ‘Heavy Rain’ will include features like advanced physics and AI, realistic characters and living environments.

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.

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.

Working on ‘Beyond,’ I try to give an explanation to death that’s different from the explanation religions have to give. So I made up my own story around all this and how life and death and souls work.

I try not to do traditional games.

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.

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

Not everybody’s interested in shooting.

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

‘Papo & Yo’ is an incredibly emotional experience. It shows that video games can talk about anything, even the most personal and sensitive matters.

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

Choices are a very important part of our lives.

I’m inspired by film-makers such as Ridley Scott, David Fincher, Orson Welles.

For me, influences really come from everywhere: literature, comics, movies, anime, Internet, science, real-life situations. In fact, I think that writing is just about living.

When I started, I wanted probably to make games that were inspired by films that I liked.

We believe that games are a legitimate medium, as legitimate as literature, to talk about very dark and serious things.

The thing is, the better the hardware, the more time we spend to improve the visuals to take advantage of the hardware.

When you try to create something different, there is always a mix of enthusiasm and skepticism, and I think this is fair.

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.

When you’re a writer, you talk about things that move you, that you feel really deep inside you that’s something that moves you, and you hope it’ll move people, too.

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

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.

I wish more people would be allowed to take risks and try new things and new ideas because new ideas are what this industry desperately needs. I mean, how many shooters can you make?

‘Fahrenheit’ was a very difficult product to sell to publishers initially because no-one believed in storytelling or emotion.

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.

What we believe at Quantic Dream is that there is a space for adult games: meaningful experiences for a mature audience.

Technology remains a tool: you can have the best tool in the world, but if you have nothing to say, it will remain an empty experience.

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

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

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

I play a lot of games. I love indie games.

We want to keep developing original games in the genre we pioneered but also expand our audience by being present on all platforms.

‘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 we talk about technology, often, we talk about the fact that it’s going to be cool; it’s going to do all these things for us. But at the same time, technology will deeply change our societies.

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 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.

If ‘Heavy Rain’ is a huge commercial success, it will show everybody in the industry that the world is sick of first-person shooters, that people are ready for an adult gaming experience. If we fail, it will say, ‘Please keep making the same old stuff.’

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

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.

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

‘Heavy Rain’ is a cousin of the ‘Choose Your Own Adventure’ books.

We called ‘Heavy Rain’ an interactive drama, for whatever that’s worth.

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.

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

When you believe games can only be toys for kids and that you are successful at doing this, why would you look further and take risks exploring new directions?

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

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.

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.

‘Heavy Rain’ was really close to a dark thriller, like ‘Se7en.’ ‘Beyond’ is different in terms of tone.

In a movie, you’re just passive; you’re just watching a story that is told to you. But in games, I saw that you could be the main protagonist: you could be in the shoes of the hero and make the decisions.

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

Stop making the same games about shooting something and driving; try something else. There is a market for that.

‘Heavy Rain’ was my baby, my reason to live, and my oxygen for four years. And seeing the successful release of the game has been the most extraordinary reward I could have dreamt of, after years of working in the dark.

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.

Cinema became what it is today when technology allowed movie directors and actors to develop emotion. You can see into the eyes of the actors and know when they are going to cry.

‘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.

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.

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

The first movies were made by technicians building their own cameras. Movies became an art when technicians worked on the technique and artists took care of the content.

I think it’s a mistake to limit ourselves to a certain audience when we could reach everybody.

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

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

I am afraid I am totally hermetic to social games 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.