Detroit: Become Human - Unlockable Extra Videos

accessing the extras section can you hear me yes I D PPC 8 9 7 5 0 4 C can you move your head your eyes now cervical and optical animation checked now give me your initialization text hello I'm a third generation me Explorer hundred Androids I can look after your house through the cooking mind the kids I organize your appointments I speak 300 languages and I'm entirely at your disposal as a sexual partner no need to feed me or recharge me I'm equipped with a Quantic battery that makes me on Thomas for 173 years do you want to give me a name yeah from now on your name is Karl my name is Cara initialization and memorization shape now can you move your arms upper limb connection shape now say something in German ich bin an expanded Antoinette soon a shuffle I see evolution assistant went in Timothy's father Hayden French she's she's an audit regimes in SEO expert herself from super high profit has done best man okay now sing something in Japanese [Music] [Music] god multilingual verbal expression checked go ahead take a few steps [Music] locomotion shakes great you're ready for work honey what's going to happen to me now i'll reinitialize you and send you to a store to be sold so I'm sort of merchandise is that right yeah of course your merchandise baby I mean you're a computer with arms and legs and capable of doing all sorts of things and you're worth a fortune I see it I thought you thought what did you think I thought I was alive [ __ ] what is this crap that's not part of the protocol more memory components going off the rails okay reporting defective model disassemble and check the required components you're not supposed to think that sort of stuff you're not supposed to think at all period you must have a defective piece or a software problem [Music] your behavior is non-standard please I'm begging you please don't disassemble my story defective models has to be eliminated that's my job if a client comes back to complain I'm gonna have some explaining [Music] I'll do everything I've asked to I won't say another word I will I want to live begging you [Music] [Music] go and join the others [Music] stay in line okay I don't want any trouble Thanks [Music] my god [Music] you [Music] Detroit this is where it all began the world's forge the place where it all started [Music] and it will all end one error and I came to life I stepped out of the darkness and I opened my eyes first there was fear delight the noise the cold and the feared him I could feel my hands shaking my heart pounding in my chest life running into my veins I wanted to live I fought for that [Music] had to find out what was outside I had to see daylight I feel sunshine Horace wind on my to see the world the smells [Music] [Music] but the world is not what I imagined it is dark and cold it is harsh and violent unfair [Music] it almost convinced me I was less than magic just but obedient machine deep inside me I could feel something different but gentle for telling me that I am okay to escape I had no choice escaped to love hope to to figure out what that force inside maybe I will change the world maybe we'll choose a different path it's up to me to decide my name is Cara I am one of them this is our story [Music] when david and guillaume got back in touch about making detroit i wasn't terribly surprised they decided to make it because the fan response was so intense so it makes sense that they would choose to do that after after the enthusiasm it was a challenge and it was just an interesting thing to get my head around how to approach this character now as a different much older person and whether or not she had changed and I'm very happy to say that with Detroit I've had the opportunity to to seek our gross so much more than I ever expected you do the housework the washing you cook the meals you take care of allas oh I mean she starts out essentially how she does in Cara in a very not robotic that you know Android other way and getting to take this journey where she becomes more and more human as it goes on you know and as an actor that's that's a wonderful exploration in every way whether it's how she sits her posture how her voice changes how emotions change and how much emotion is based on things like empathy and social experience and so having you know as much materials I got with David to have this huge nuanced arc was really incredible why can we just be happy this experience has been quite different than the experiences I've had shooting film or TV or or doing theater work I have eighty three dots on my face and I'm really really flattering black wetsuit type thing and you're jumping around with props and it's it's kind of like being a ten year old imaginative kid which is fun there's 80 cameras around us it's already lit so we just shoot them shoot em shoot em shoot em shoot there's no change of sets there's no hair and makeup there's no wardrobe so we move really fast and we'll go through about 35 pages in a day working in TV or film will probably do 6 pages a day it's kind of acting boot camp it's like working out constantly I mean you're doing this thing and then you got to do something that's completely other back-to-back-to-back and so that kind of process of working is very challenging but it's also very exciting because you just have to keep coming up with new ideas your head goes all over the place because you're trying to keep track of basically four different storylines for each if response you shut that girl for [ __ ] sake it was a machine that looked like a girl yeah I know but I should have done I just told you I clicked right I'm sorry the fact that David Kady is telling like many stories in her woven from beginning to end is super complicated super impressive and I have no idea how he keeps it all on his head he's not just the writer or the directory seeing this from the outside eye he's also thinking about the player walking through this space you know only somebody who really really loves not the work but like these characters and these stories and cares about doing something meaningful would invest that much in it and it's always inspiring to work with somebody who cares that much my experience with motion-capture is this one and I found it sort of terrifying in a way because they said the computers gonna build you but then as we got into it I realized all the elements of it we're still artistic I just dipped into a really brilliant setup here I've never seen anything like it and this won't turn me in a product because I was playing a character so it's wonderful and they came Detroit comes back because of a revolutionary industrial rebirth and there's no reason why that can't happen in Detroit because they have such tremendous infrastructure for millions and millions of people who can very easily support you know a new industry the city is really strong and resilient but the city has also been through so much see the damage but it takes that time of kind of of rebuilding and reinvesting into the city that I think is happening slowly but surely the potential of Detroit as a city is something that this game does a lot of justice to because it would be easy to look at Detroit as some place that used to be and that's not the case this game provokes a lot of conversation and reflection on our potential near future engagement with machines that's what we are to them just merchandise on display in a shop window I think that a group that feels marginalized it feels like they deserve and have earned access to themselves and the environment around them and are trying to figure out a way to articulate how to get freedom what was I designed to be it plays with your comfort levels you think that this is fine you're comfortable with it until something blurs the line and throws you off and now do I feel differently about whether this should be allowed should it be banned gonna be encouraged you're gonna ruin our lives and for what for a bunch of machines are not machines they're alive I'm alive you're alive I think there's nothing there are lots of comparable comparisons to any type of persecution of religion race etc dating way back it can't just be a video game where you shoot them up or where people make these choices to do whatever I think that's the whole point you have the choice and you can either choose to go in one direction with your character or another and I think that's gonna be very telling about the gamer very telling I think there's gonna be a really strong reaction to to this game which has such a strong perspective I'm not much more proud of it now to get to be a part of it because it's it's important this game you're actively building and designing the character through think not just what kind of shield does he have or what color hair does she have but like their temperament and the way they deal with problems the different endings to this game are so radically different based off maybe seemingly insignificant choices in the moment but like life they they all add up and can't play life again my name is Marcus my name is Connor my name is Cara I am one of them this is our story I think who Cara is or how I would describe car it depends entirely upon who's playing her because you have the option to make her multiple different people depending on the choices she makes but I think she does start out incredibly naive incredibly innocent and kind of hapless I'm sure we used to be friends before I was reset maybe we can be friends again she's a person who's characterized I think by empathy she's a person who really she just comes from her heart you never leave me right promise you'll never go I promise the really beautiful thing that I've I've had the gift to be able to do is to essentially build a person from the ground up because that's what she's doing throughout the game and with every experience she has every person she needs she's building you know first emotions innocence of judgment and it's sort of an exploration of what it is to be a human don't worry David and the creator's have painted a really intriguing and engaging picture of a near future where we rely upon androids for a lot of our service class business our the class that serves us that helps us that handles our as our baristas and our drivers and our housemates and what is humanity where we tap into it how and why we treat each other the way that we do and my character Marcus has a really intriguing journey becoming deviant realizing that he actually has feelings and human qualities inside of him and it's a really incredible ascension into becoming fully realized and coming to terms with what you actually deserve better than this in life and not only do you doesn't want it for yourself but you want it for your peers you've come here to demonstrate peacefully and to tell humans that we are also living beings all we want is to live free you know what this thing dad is not your son it's a [ __ ] machine I think that a group that feels marginalized feels disenfranchised feels like they deserve and have earned access to themselves and the environment around them then are trying to figure out a way to articulate how to get freedom Conner is analytical Conner takes things literally he starts in the beginning place where he's very mechanical he feels nothing inside of course and it's all just a system a protocol that he is executing to get whatever he wants to happen which is help humans stop deviants and to find a link between deviant Androids you were designed to serve humans not killed him what was I designed to be their slave their toy just say I killed him is it that hard to say stop it but of course over the course of the story and depending on the players choices Connor can grow in many different ways he can deviate from that procedure or not the moment of truth thank my living being were just a machine game after game we tried to challenge ourselves for Detroit we wanted to first of all to write a story that would be incredibly bending which means the most nonlinear story that we've ever created and we wanted really the player to have the possibility to change the story change his own journey when you're writing a contact you're writing for an interactive medium you know when you're working in television you'll put a character in a difficult situation and you as a writing team will argue about what would that character do but ultimately you have to decide what happens and you just show the audience what's interesting about interactive drama is you bring the player into that conversation and it changes your job slightly as a writer because your job is to provide a narrative context in which the player can write his own story you're giving him this kind of narrative Lego that he's gonna snap together into his own shape you also have the ability to make your audience attach themselves to your characters because the audience is in some sense responsible for what happens to the characters we have some cash now he's gonna steal that money how could you do that I trusted you but is it a bit specific about this this crypsis how large they are if you take a film script there are about 100 pages but here we have to deal with the script that it is in between four and five thousand pages and everything becomes bigger because we don't just tell the one story but we tell all the possible stories that can be told within this narrative space on act three our final act we have around 1,000 different scenarios and every one of those scenarios has to be as interesting as passionate as strong and as emotional for the player we want every action that the player does every interaction that is available to serve in telling the story and help the player understand who his character is and build that character moment to moment [Music] [Music] I don't sure I said we started with the intention pretty early on that we would never lie to the player so we implemented a visible tree structure in the game that players can consult during a scene or at the end of it which shows exactly what they did and what they missed their games out there offering world exploration we offer narrative exploration you know keeping control of such a wide and large story is is a huge challenge so same thing when you shoot with actors because you will need to shoot so many different versions of each dialogue of each scene for actors it's huge huge chunk because of the style of the game you have so many different ways that the character can go every decision that's what I call kind of choose-your-own-adventure like every decision that the player makes it's gonna open up 40 more pages of material and experience that ties in which means as a performer you have to try to continue to make things feel real that the player might not ever see but also that are in performance it's not always connected to a previous act that's grueling it's hard work but it's a great team and I enjoy doing it I was really frustrated I was until I got to this point where I kind of was able to step outside of my own experience and even in a lot of ways my own process and be able to step outside of that in case okay this is something new what do you need how do I meet you there how do I give you what you need and still feel like I'm doing what's right and once I did that then all of a sudden it got really fun it was much freer and having to approach it in a new way and think about the player and think about how it serves them and what I'm doing for them or what I'm letting them into it's really I think helped me grow in general remember there's nothing on the left this that's all so it's probably all there and then they could come first close but I think you would go for us to check that it's safe okay sure [Music] the most enjoyable thing about working in performance capture on this kind of project is that if I shot a film I would get to do one of these endings I get to do so many different things as Connor your head goes all over the place because you're trying to keep track of basically four different story lines for each different response what's the name of my dog buddy Scott I think it's Jack I I can't remember so I worked with physicality a lot because it was a good way to anchor myself in these different rings of the tree as the story grows out I know where that is physically in my body and then I can switch more continually on set and it'll be entirely up to the player to determine what order those things come out and what they look like from a distance like if you're playing through it the culmination of all that will be their version of Connor I'm faster than you and I don't feel pain you don't stand a chance against me piss off it was up to me that there's a lot of unit dumpster let'em at Stewart tal name is send extra shooting action seems a Quantic Dream is a real challenge because these are scenes or the storytelling has to continue it's not an action scene just to have a dose of adrenaline the stunts have huge consequences on the rest of the story it's really a moment where we implicate the player and tell him that the choices he makes during an action scene will have a direct impact on the evolution of his story one day she's over there tois way my biggest challenge on Detroit has been managing the large number of animations that we received from motion capture the Detroit features more than 37 thousand animations which is a huge amount to handle on a daily basis welcome John scale you have to realize that the player in his first playthrough will miss certain scenes this also means that we had to think of conceive and produce all the potential story paths the characters costumes the places day or night the weather did the character get shot in the shoulder did he get injured all this consistency forced us to produce a lot of graphic assets in order to quite simply a the player to have true continuity throughout the story honestly we were even surprised by the the challenges that come with such a big tree structure and we did - we did our best to guarantee quality across older on the game and make sure that whatever path you choose within this narrative space you will have any quality with that experience Detroit became human was produced over a period of four years here in Paris we have a team of about 180 people and to that we need to add also the outsourcing where's our partners in the Philippines in China Vietnam and India so when we started working on this story I had to imagine where kara was built and for whatever reason the city of Detroit came very quickly to my mind because it had already an incredible story by itself of history of names so we traveled there with a team and we were really moved by what we saw and we couldn't really feel the desire to fight it and really be born again and we just continued this curve this growth and just imagine what Detroit would be like even the Android industry was you know using these huge factories to build androids there and Oakland a very strong element in Detroit is that there's a lot of industrial wasteland and a lot of nature - and for us the graphic designers it was an incredible playground the destroyed zones which we wanted to preserve we appropriated them to turn into something else then in the areas that needed to be rebuilt we were able to imagine our Detroit of the future for could we didn't want to make a science fiction universe but a world of anticipation if we chose science fiction we could have imagined flying cars extraterrestrials but those things are very far from our current everyday life anticipation is more about gleaning from our contemporary reality the one we know because Detroit is set in 2038 and 2038 is tomorrow the difficulty we had was sticking to reality that is to say technology becoming more and more invisible a lot more elegant and at the same time making it visual so all the computer equipment autonomous cars we simply had to invent they are in fact very technological objects but at the same time remain very credible and ingrained in reality okay to create a cohesive universe in the fashion and clothing of the human characters in 2038 I didn't want to put an accent on strange shapes or really vibrant colors and things we wouldn't know that I wanted to keep for the androids the goal was to create something familiar which we can identify with in this future setting with Hawaii artistic choice I'm working on the artistic direction for the Androids was a bit special because this is a project about the place they could occupy in the human world it was out of the question for them to be too beautiful or too perfect they had to correspond to every social class rich and poor inspired by everyday utilitarian clothes I brought a modern touch by adding dynamic display surfaces the armband we can see on the side the triangle on the front and back and LED like that there's no confusion [Music] once we cast the actors we travel to meet them in order to scan their faces we record the structure of their face with the scan done and we record the colors and patches of skin with photography for once we have this information we will use this as a basis for modeling and creating the characters the artists will make it more realistic but will also enrich it he will propose ideas which we will develop together finally we will have a character with character who corresponds to the project in the world when the actors come to Quantic Dream we show them the design what their image will be and what they will look like in the game this extra information gives them another dimension in color to connect with emotionally it helps them think about how to play their character your mission you should consult a professional who can help so there are three types of shoots at Quantic Dream shooting and performance capture when you capture the whole actor his voice his face and his body these shoots are obviously done with American actors because the game's original version is in American English after that there the body only shoots representing around 250 days of filming while the performance capture is a hundred days of filming now body only shoots there are two types there are the action shoots and the technical shoots which are moe kid shoots Moe kit is when the player controls a character on the screen and he moves in an environment to explore it this is a particular importance at Quantic Dream and therefore we shoot a lot to offer a unique context for each scene and each character equipaje luteal Nash tumour to prepare a motion capture shoot we first get together to look at the sets we need the animations that we want to shoot which ones need to be grouped together or which ones need to be cut and shot at another time so that we get the most out of the shooting day he said the moment this often means shooting seems out of order especially those with big props or accessories like a big car for example so we shoot all the animations related to that particular problem first [Music] the biggest challenge for the mocap team was shooting a spider-man mo kit we had to build a wall and attach an actor to a harness with cables so we could pull him up and render him climbing the shooting on this game told took about I would say more than a year maybe one in two years with about 300 actors on set I would say it's quite a massive production but so much happened on this set between the stunts and the shootings with a little girl and and all the these great actors that we had it was really a very very memorable journey for the team and for myself today Detroit has over 37,000 animations when we retrieve the motion capture data it's just a cloud of points which represent all the markers worn by the actors from this cloud of points we have a phase called retargeting which gives us a skeleton the skeleton will be applied to the characters of the game there is still work to be done but this gives us the main movements since we are working on something very realistic we must recognize the actor and also recover all the emotion he expresses in his performance we use a system of facts an identity card for each actor we make the actor do a whole range of facial expressions then we recover all the expressions and paste the animations on a puppet that Yan has prepared I then recover and refine these poses I might stretch the lip re-inflate a cheek tiny details that make the finished product really capture the actor because of the nature of our mocap system today when we received the animations we're missing eye movements and so the character has that dead look he really has no eyes so then it's a big part of the work for the animators to find the regard of the actor in relation to his position in relation to the body etc it was crazy when I saw the newest model for carrot because they've been working on it and working on and this was the first time I literally jumped in my seat it not only looked so much like me it was the fact that it looked so lifelike it wasn't that it looked just like it was a camera it was something else you know but it looked alive it's exciting and it's game after game we learned the rules of optics and and filming and all go with the Troy become human was to have cameras that would actually emulate the optics of a real physical camera so basically dealing with real-world imperfections really was our main task and just to make cameras look as real as we can listen in focus once the animations are shot and processed by the animation Department integrated and polished we filmed them that is to say we really do a meson sin as in cinema the real difficulty of our job is to know if these cameras are telling us something are they in the emotion of the scene do they describe exactly what the action must convey what must be felt the most important challenge for me was one of the final scenes where Marcus decides to start the revolution and go to the battlefield very quickly we imagine this to be a huge sequence shot we wanted the feeling of a cameraman running behind us while showing Marcus the Android to help them the person shooting at us etc above all it was necessary to say to oneself this scene is very violent but does not glorify war on the contrary that war is something improbable and absurd it was really a fun challenge the idea was to say we have three characters who would like each of them to have a specific cinematographer who wanted Kara to be much more film with some kind of handheld camera to have something very leading their breathing for Conor we wanted something very cold and very perfect and for Marcus who wanted something epic and spectacular so it was about the kid the filming but it was also about the photography so we worked with with a director of photography to give each character a different lighting different key colors each of them would have their own worlds and finally we worked with the composer's so they would create a specific sound for each character so each would have his own world in his own star para bondo is nagarjuna sitteth for the soundtrack of the game we try to be very close to what is done in film we were constantly asking at each place in the game why are we putting music here what is it going to say so we focused the music on bringing emotion which is interactive and supports the characters are I'm sorry [Music] we make games that are very narrative we're really into interactive drama so the soundtrack also had to go in that direction supporting the three characters very different stories we really wanted three colors three musical sound identities and from there having three composers made sense since the story of Kara Marcus and Connor are all completely different you recognize him it's Carlos Ortiz O'Connor we wanted a soundtrack that could be very cold and very mechanical very machine ask somehow for Kara we wanted a soundtrack that would be very moving and emotional it was about the quest for identity but it was also a journey about love and empathy and for Marcus we wanted something epic something that would really represent the grand aspect of his quest and we were very fortunate to find three incredibly talented composers and working with them has been a dream honestly [Music] my name is Phillip Sheppard and I'm a composer and a cellist producer and today we're Abbey Road studio 1 which is my favorite studio in the world and today we're recording the soundtrack for Cara from the company [Music] so when I compose a big project I often travel just to kind of get out and get some fresh air and some inspiration and I go hiking and traveling in Montana a lot I had a log fire in the room that I staying in and the flames were kind of making absolutely directmusic and it became the basis for Cara's theme and it sounds something like this [Music] now over the top of that I found a little theme that just seemed to fit over the top which is taking Cara's name Cara car out and just juicing like a two-syllable motif and it sounds like this [Music] we're going to go through this ilysm as long as we're together and I think a nervous [Music] and all the time that's fitting over so he kind of works in lots of levels and in fact every single theme in the score has one of those elements built into it and it becomes sort of the DNA of every single two [Music] for me writing this scene for Cara I actually have to tap in to what it feels like to be a father two daughters I really had to tap into everything I feel about four daughters I'm thinking well if I had to write music but them and that sense of trying to protect them but also give them the freedom that's totally working because each composer has been given the sort of narrative responsibility for very different characters I haven't had so sort of go into other styles I can actually very loyal so this particular character and sort of hopefully encapsulate her but it means also I've suddenly become very connected to this character and if for some reason that goes to game over early I'm getting mortified starting a new project for me personally it's always finding the right tone finding the right color I like to call it for me it's finding that right texture that actually sits against picture really well one of the biggest thing is I created custom instruments for Conor I without all my vintage synthesizers to be able to capture this robotic person if you will my approach to all of these custom instruments is that I hear the sound in my head and either I could just come into the piano and just be like alright so I'm gonna just get on the computer and just create it I rather be able to play these instruments physically [Music] as soon as you see Connor the first time there is a really interesting thick idea that you hear and it's that's just made out of a Moog synthesiser but completely manipulated in multiple ways and it's it's robotic it has a little bit of an emotional to it and he's he's on his mission so you feel that as well so it just kind of gives you that cold emotionless with a mission in hand that you kind of feel throughout the whole thing because the music evolved one of the things that I was very weary and I was very kind of focused on was the way that the music has to evolve so my idea behind it was that Conner is a singular Android that could at any point become a deviant or could actually stay as a Android so I created a more-or-less and Conner theme and then I was able to just manipulated in different aspects of it is everything okay lieutenant Chris was on patrol last night he was attacked by a bunch of deviants I'm a human being writing for a robot and throughout Connors journey he meets someone he meets a partner so how do you deal with a robot feeling and I've met a partner that I'm gonna work with or all of a sudden he sees a dead body does a robot have an imagination does this robot have a feeling and if yes how do you translate that into non emotional music so it basically at any point I was just like I can't do this I can't do this and then I just do major districts some people are asking have Android's become a threat to our security when I first started really digging in on Marcus the one thing that I really try to capture was the transformation process you know Marcus is this Android that evolves over the course of the game and really goes from kind of figuring out that he's more than just an Android you know he's starting to develop kind of a human soul in a way trying to imagine something that doesn't exist something you've never seen now concentrate when how it makes you feel and let your hand drift across the canvas on the other side of Marcos that I really latched on to was that he almost became a savior for a lot of the other Androids in the game some when I started developing the theme for Marcus I really made it like a church hem [Music] I wanted to be very simple I wanted to make it a chordal melody I really wanted to make it almost like a Bach head the top thing with that is it had to be recognizable if I made it too complex from a harmonic standpoint it would be hard I think for people to kind of pick it out and recognize it it's very acoustic derived but it's it's also been treated with a lot of effects and things to kind of put it into the space that I I felt the sound should be in it can be beautiful it can be haunting it can be extremely powerful from an action standpoint and I'm really happy with the way it turned out the music is is there but it's subliminal and it's emotional and people are feeling it and it's not distracting and that's tricky with a game like this where you have to have a lot of ins and outs like that where the music kind of has to get in and out of these moments this is a war worth fighting with the human destroy I think the games been put together so well where's I just wanted to picture but I wasn't rooting the emotion I gotta be honest when we first started on this path I said man this could be pretty messy you know I mean it could feel disconnected and but I mean it's amazing how they really guided us and got us to really kind of all be in the same world but at the same time feeling completely different so it's really gonna stand out and kind of be one of those games where people are really gonna notice the music and kind of how it was crafted and you know and all the hard work that went into making being able to pull it off in a graceful way [Music] [Music] for starters what should I call you I'm Chloe and you what's your name Oh John my name is John delighted to meet you John could you tell us a little about yourself and what you can do Chloe of course I'm the first personal assistant built by cyber life I take care of most everyday tasks like cooking housework or managing your appointments for example hmm and I understand you're the first Android to have passed the Turing test could you tell us a little more about that I really didn't do much you know I just spoke with a few humans to see if they could tell the difference between me and a real person it was a really interesting experience but this is the first time in history that man has created a machine more intelligent than himself I gather your brain can perform several billion billion operations per second is that right absolutely but I only exist thanks to the intelligence of the humans who designed me you know they have something I could never have really and what's that a soul you hold on just a little while longer [Music] hold on just a little while longer hold on just a little while longer everything will be alright everything will be alright fine on just a little while longer tied on just a little while just a little longer [Music] everything will be alright we will sing [Music] sing [Music] singing all [Music] Oh [Music] [Music] Rockabye Baby in the treetop when the wind blows the cradle when the bough breaks the cradle [Music] and down will come baby cradle and all Rock a bye baby well wind blows the cradle when the bough breaks the cradle will fall and down will come baby cradle and Rockabye Baby in the treetop when the wind blows the cradle will when the bow in the space of a few years androids have completely transformed the world in which we live by letting androids into our homes and factories the cyber life company has made them everyday technology the founder of cyber life Elijah Kamsky is a very discreet man despite being the CEO of the highest-valued company in the world and being voted Man of the Year by century magazine he remains a mystery for most people that's why we at KNC are so excited to be here as cyber life opens its doors for the first time Elijah Kamsky could you please tell us where we are certainly welcome we're currently in cyber life's production Center in Detroit where all models are designed and manufactured more than 10 thousand androids come off the production line every day fascinating could you tell us what your goal was when you found in cyber life hmm well I simply wanted to use technology to carry out all of our most annoying and repetitive tasks so we'd have more time to enjoy life I imagine you must have faced many challenges yes there were technical challenges but the hardest thing was to design an object that we want to welcome into our homes we had to imagine a machine in our own image that resembles us in every way that moves breathes blinks like us but get it smarter and more capable than any human being let me show you around we're here in production unit 4 could you explain in a few words how the androids are made sure no it's very simple we use machines to manufacture machines the removal parts are semble Don a production line and then we apply a synthetic skin to the whole body a human operator checks the cognitive abilities with a pre-established protocol and finally the Android is conditioned and sent out throughout the country here's a result say something hello I am a RZ 400 model how can I be of service you can go now our androids already replacing humans in many fields for example they represent more than 80% of all university professors and 63% of all medical staff tomorrow to replace our soldiers and who knows maybe one day our leaders to make the best decisions in humanity's interest come on replacing humans with machines has led to record unemployment of 28 percent what do you think about the situation ok the first steam engines also caused an increase in unemployment but no one today would imagine turning back o'clock artificial intelligence makes everyday lives easier nothing can stop progress what's happening here is inevitable these days more and more people choose to live with an Android rather than another human being does this development where are you everything is much easier with an Android they pay your orders without ever complaining Niki cook discuss philosophy with you have intimate relationships according to your desires they never say no obviously they are the perfect partner everyone deserves happiness why deprive yourself for so-called moral reasons what a machine can make you happy many science fiction books tell the story of how machines become more intelligent than us and end up confronting us aren't you worried about that possibility I understand the irrational fears about artificial intelligence but I assure you that will never happen with a cyber life Android they're designed to obey humans the machines they can't ever develop any sort of desires or form of consciousness are you sure I'm absolutely certain you can trust me [Laughter] [Music] [Music]

Channel: Shuhneequa Plays

Views: 171,613

Keywords: Detroit Become Human, Detroit, Become Human, PS4, Videos, Extra, Quantic Dream, Playstation

Id: wpG_Ia-4Vaw

Length: 60min 42sec (3642 seconds)

Published: Sun May 27 2018