ALL BONUS VIDEO EXTRAS - Detroit: Become Human

Can you hear me? Yes ID KPC 89754 C Can you move your head? Your eyes now cervical and Optical animation marked. Now give me your initialization text. Hello. I am the third generation Android ax400. I can take care of your house, cook and take care of the children. organize your dates I speak 300 languages ​​and I am completely at your disposal as a sexual partner you do not need to feed or recharge me I am equipped with a Quantic battery that makes me autonomous for 173 years do you want to give me a name yes from now on your name is Cara my name is Cara verification of initialization and memorization now you can move your connection Arms Upper Li marked now say something in German say it in French okay, now sing something in Japanese multilingual verbal expression marked forward, take a few steps Locomotion marked great, are you ready to work, honey, what is it going to happen to me now?

I will reset you and send you to a store to sell it, so I am some kind of commodity, that's right, yes, of course, of course, you are merchandise. Honey, I mean you're a computer with arms and legs and capable of doing all kinds of things and you're worth a fortune, oh I see it, I thought you thought, what did you think? I thought he was alive, what is this shit that he's not? part of the protocol plus derailed memory components is well recorded faulty model disassemble and verify the required components you are disassembling me but why are you not supposed to think that kind of thing?

You're not supposed to think at all, period. It must have a defective part or a software problem somewhere. No, I don't feel perfectly fine. I assure you that everything is fine. I answered all the tests correctly, right? Yes, but your behavior is not standard, please I beg you, please don't do it. Don't take me down I'm sorry darling but defective models have to be eliminated that's my job if a customer comes back with a complaint I'm going to have to give some explanations I won't cause any problems I promise I'll do everything They ask me not to say another word, I won't think more, but I was just born, you can't kill me yet, stop, please, stop, I'm scared, I want to live, begging you to go and join the others stay in line, okay, I don't want any trouble, thank you God, Detroit , this is where it all started.

The forge of the world, the place where everything began and everything will end. One mistake and I came back to life. I came out of the darkness and opened my eyes first it was the fear the light the noise the cold and the fear again I could feel my hands trembling my heart beating in my chest life running through my veins I wanted to live I thought that for that I had to find discover what What was outside I had to see the light of day feel the sun on my skin the wind on my face to see the world the colors the smells but the world is not what I imagine it is dark and cold it is hard and violent unfair and brutal it almost made me convinces I was nothing less than an object, just an obedient machine, but deep within me I could feel something different, a soft, warm whisper that told me that I am alive.

I had to escape. I had no choice. escape to love, have hope of living to discover. what was that Force inside me maybe I'll change the world maybe I'll choose a different path now it's up to me to decide my name is Cara I'm one of them this is our story when David and Gom got back in touch to make Detroit I don't know It was very surprising that they decided to do it because the fan response was so intense, so it makes sense that they chose to do it after the hype, it was a challenge and it was something interesting to understand. um, how do I approach this character now as a different, much older person, and whether or not she had changed?

I am very happy to say that with Detroit I have had the opportunity to see Cara grow much more than she expected. housework, washing, you cook meals and take care of God damn where is the black G now Alice Alice, I mean she starts out essentially like she does in Face in a very non-robotic U, but you know Android otherwise and you get to go on this journey where she

become

s more and more

human

as she goes, you know, as an actor, it's a wonderful exploration in every way, whether it's how she sits, her posture, how her voice changes. , how emotions change and to what extent emotions are based. things like empathy and social experience, so knowing as much material as I got with David to have this huge, nuanced Arc was really incredible, why could we just be happy?

I don't know, this experience has been very different from the experiences that I have filmed movies or television or worked in theater. I have 83 stitches on my face and a really flattering black wetsuit type outfit and you're jumping around with accessories and it's like being 10 years old. imaginative kid, uh, which is fun, there are 80 cameras around us, it's already lit, so we just shoot and shoot and shoot and shoot and shoot, no set changes, no hair or makeup, no costumes, so we are moving very fast and we will move forward. about 35 pages in a day working in television or film I probably do six pages a day it's kind of like acting boot camp it's like working constantly I mean you're doing this and then you have to do something that's completely other, back to back back, and that kind of work process is very challenging, but it's also very exciting because you have to keep coming up with new ideas and your head is going all over the place because you're trying to keep track of Basically, four different story lines for each different answer .

You shot that girl for love. She was a machine that looked like a girl. Yes. I know what she should have done. I just told you she couldn't do it. I regret the fact that David Kate. He tells so many intertwined stories from start to finish, it's super complicated and super impressive, and I have no idea how he keeps it all in his head. It's not just the writer or the director who has seen this from the outside, they are also thinking about the player. Walking through this space you just meet someone who doesn't really love the work but likes these characters and these stories and cares about doing something meaningful and would invest so much in it and it's always inspiring to work with someone who cares so much about my experience with movement.

The shot is this and I found it a little scary in a way because they said the computer will build you, but then when we got into it I realized that all the elements were still artistic. I just dove into a really brilliant setup here. I've never seen anything like this and this won't turn me into a product because I was playing a character, so it's wonderful in the game that Detroit comes back because of a revolutionary industrial renaissance and there's no reason why that can't happen. in Detroit because they have tremendous infrastructure for millions and millions of people that they can very easily support, you know, a new industry, the city is really strong and resilient, but the city has also been through so many things that you see the damage, but it takes that time to kind of rebuild and reinvest in the city that I think is happening slowly but surely.

Detroit's potential as a city is something this game does a lot of justice to because it would be easy to see Detroit as a place it used to be and that is not the case this game provokes a lot of conversation and reflection about our possible near future engagement with the machines that's what we are to them this merchandise UND shows window sh I think that a group that feels marginalized feels that they deserve it and have it they gained access to themselves and the environment around them and are trying to find a way to articulate how to get freedom.

What he was designed to be your slave for. His toy. Play with your comfort levels. You think this is fine. What you feel comfortable with. until something blurs the line and throws you off and now I feel differently about whether this should be allowed, this should be banned, this should be encouraged, you're going to ruin our lives and why, for a lot of machines, they're not machines. they are alive I am alive you are alive they are nothing there are many comparable comparisons with any type of religious persecution uh race Etc. that goes back a long time, it can't just be a

video

game where you shoot them or where people take these decisions to do whatever, I think that's the point, you have the choice and you can choose to go to One Direction with your character or another and I think that will be very revealing about the player, very revealing, I think there are going to be a really strong reaction to this game that has such a strong perspective.

Now I'm not much prouder that I get to be a part of it because it's important in this game that you're actively building and designing. character through things, not just what kind of shield she has or what color hair she has, but also their temperament and the way they deal with problems, the different endings of this game are so radically different based on choices maybe seemingly insignificant at the time. but like in life, everyone joins in and can't play life again although my name is Marcus my name is Connor my name is Cara I'm one of them this is our story I think who Cara is or how I would describe Cara depends completely about who plays her because you have the option to turn her into several different people depending on the decisions she makes, but I think she starts off incredibly naive, incredibly innocent and a little bit helpless.

I'm sure we used to be friends before I got reset. maybe we can be friends again she is a person who is characterized I think by empathy she is a person who really only comes from her heart You will never leave me well, promise that you will never leave, I promise you Cara, are you okay ?, you're hurt? wait a minute, leave her alone, car, leave her alone, the really beautiful thing that I've been gifted with being able to do is essentially build a person from scratch because that's what she does throughout the game and with every experience.

She has done it and every person she meets is building, you know, the first emotions and the sense of judgment, and it is a kind of exploration of what it is to be

human

, don't worry, Luther and I will be here, David and the creators have painted. a really intriguing and attractive image of a near future in which we depend on androids for much of our service class business or the class that serves us, that helps us, that manages us as our baristas, our drivers, our companions of home and what it is. humanity where we take advantage of how and why we treat each other the way we do and my character, Marcus, has a really intriguing journey and he goes sideways realizing that he actually has human feelings and qualities within him and It is a truly incredible Ascension to

become

fully realized and accepting what you truly deserve better than this in life and not only want it for yourself but also for your companions.

We have come here to peacefully demonstrate and tell humans that we are also living beings. all we want is to live free, you know what that is, dad is not your son, he is a machine. I think a group that feels marginalized feels disenfranchised and feels like it deserves and has earned access to itself and the environment around it and is trying to understand it. find a way to articulate how to obtain freedom. Connor is analytical. Connor takes things literally, starting from the beginning, where he's very mechanical, um, he doesn't feel anything inside, of course, and it's all just a system of protocol that he's running to get what he wants. happens, which is to help humans stop the deviants and find the link between the deviant androids.

You were designed to serve humans, not kill them. What I was designed for. They enslave the toy of him. course throughout the story and depending on the player's choices, Connor can grow in many different ways, he can deviate from that procedure or not. The Moment of Truth Hank, am I a living being or just a machine? game after game we tried to challenge We for Detroit wanted, first of all, to write a story that was incredibly flexible, which means the least linear story we've ever created, and we really wanted the work to have the ability to change the story, change its own journey. when you write at Quantic, you write for an interactive medium, you know that when you work in television you will put a character in a difficult situation and you, as a writing team, will argue about what that character would do, but ultimately you have to decide what happens and just showing the audience what's interesting about interactive drama: you involve the player in that conversation and that changes your job as a writer slightly because your job is to provide a narrative context in which the player can write their own story, you're giving them this kind of Narrative Lego that he is going to put together to give it his own shape.

You also have the ability to make your audience attached to your characters because the audience is in a sense responsible for what happens to the characters. It's just a few cans, come on, come on, we have some cash now that you use to steal that money, how could you do that? I trusted you. What's a little specific about this, these scripts, is how big they are, yeahyou take a movie script. There are about 100 pages, but here we have to deal with a script that is between four and 5,000 pages. Everything becomes bigger because we don't just tell a story, we tell all the possible stories that can be told within this narrative space.

Third act, our final act, we have about 1000 different scenarios and each of those scenarios has to be so interesting, passionate, strong and emotional for the player. We want every action the player takes, every interaction that is available to serve to tell the story and help the player understand who their character is and build that character moment by moment. We started with the intention from the beginning to never lie to the player, so we implemented a visible tree structure. in-game that players can refer to during a cutscene or at the end of a cutscene, showing exactly what they did and what they missed.

There are games that offer world exploration. We offer narrative exploration. You know, keeping control of such a big, sprawling story is a big challenge, so the same goes when you're filming with actors, because you'll need to film many different versions of each dialogue in each scene for the actors. It's a big challenge because of the style of the game, you have so many different ways to character. can go to every decision, it's what I call a kind of Choose Your Own Adventure, as every decision the player makes will open up 40 more pages of material and experience linking which means that as a performer you should try to continue doing things .

It feels real that the player may never see it, but also that in acting it's not always connected to a previous act, it's exhausting, it's hard work, but it's a great team and I enjoy doing it. I was really frustrated until I came to this. point where I was able to step outside of my own experience and even, in many ways, my own process and be able to step outside of that and okay, okay, this is something new, what do you need? How do I find you there? Do I give you what you need and still feel like I'm doing the right thing?

Once I did it, it suddenly became a lot of fun, it was a lot freer and I had 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 letting them in. I really think it helped me grow in general. Remember there's nothing on the left, that's all, so it's probably all there and then. zoom in first, but I think you'd go first to check it's safe. Well, for sure, the most fun thing about working on performance capture on this type of project is that if I were to shoot a movie, I could do one of these endings.

You can do so many different things while Connor your head is spinning all over the place because you're trying to keep track of basically four different story lines for each different answer What's my dog ​​friend's name Scout? I think he's Jack I. I can't. I remember working a lot with the physical because it was a good way to anchor myself in these different rings of the tree as the story progresses. I know where it is physically in my body and then I can change more continuously on set and stuff. It will be entirely up to the player to determine what order those things come out in and what they look like from a distance if you are playing.

The culmination of all that will be his version of Connor. I'm faster than you and I feel no pain, you don't stand a chance against me, listen, if it were up to me, he'd throw you all in a dumpster and light a match. Filming action scenes in Quantic Dream is a real challenge because these are scenes where the narrative has to continue. It's not an action scene just to get a dose of adrenaline. The stunts have huge consequences on the rest of the story. It's really a moment where we involve the player and tell him the decisions he makes.

During an action scene it will have a direct impact on the evolution of your story. My biggest challenge in Detroit has been managing the large amount of animations we receive from motion capture. Detroit has over 37,000 animations, which is a huge amount to handle on a daily basis. As a base, you must realize that the player on his first playthrough will miss certain scenes. This also means that we had to think about conceiving and producing all the possible story routes, the character's wardrobe, the day or night locations, the weather in which the character was shot. Did you hurt your shoulder?

All of this consistency forced us to produce a lot of graphical assets to simply allow the player to have true continuity throughout the story. Honestly, even we were surprised by the challenges that come with such a large tree. Structure and we did, we did everything we could to ensure quality throughout the game and make sure that whatever path you choose within this narrative space, you will have an equally good experience. Detroit Becomes Human was produced over a 4 year period here. In Paris we have a team of approximately 180 people and to that we also have to add all the subcontracting with our partners in the Philippines, China, Vietnam and India, so when we started working on the story I had to imagine where Cara was built. and for some reason the city of Detroit came very quickly to my mind because it already had an incredible story on its own with history and themes, so we traveled there with a team and we were really moved by what we saw and could really feel. the desire to fight and really be born again and we just continue this curve, this growth and imagine what Detroit would be like if the Android industry was, you know, using these huge factories to build Android, there's a very strong element in Detroit there. that there is a lot of industrial wasteland and a lot of nature too and for us graphic designers it was an incredible playground.

We appropriated the destroyed areas that we wanted to preserve to become something more than just the areas that needed to be rebuilt. We could imagine our Detroit of the future, we did not want to make a science fiction universe but a world of anticipation. If we chose science fiction, we could have imagined extraterrestrial flying cars, but those things are very far from our anticipation of current daily life. It is more about extracting of 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, that technology becomes more and more invisible, much more elegant and at the same time makes it visual, so all the computer equipment, the self-driving cars that we simply had to invent, are actually very technological objects, but at the same time they remain very believable and rooted in reality to create a cohesive universe in fashion and clothing of the human characters in 2038.

I didn't want to put emphasis on weird shapes or really vibrant colors and things that we wouldn't know and I wanted to keep it for the androids. The goal was to create something familiar that we can identify with in this future environment working artistically. The direction for the androids was a little special because this is a project about the place they could occupy in the human world. It was out of the question that they were too beautiful or too perfect. They had to correspond to each social class, rich and poor. with everyday utilitarian clothing, I brought a modern touch by adding dynamic display surfaces, the bracelet that we can see on the side, the triangle on the front and back and an LED like that, there is no confusion, wait, you are sending a Android, okay ma'am, we need it. to go, you can't do that, why don't you send a real person?

Once we choose the actors we travel to meet them and to scan their faces we record the structure of their face with the scan and record the skin colors and patches with photography once we have this information we will use this as a basis for modeling and create the characters the artist will make it more realistic but will also enrich it he will propose ideas that we will develop together finally he will have a character with a character that 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 how they will look In the game this extra information gives them another dimension and color to connect emotionally, it helps them think about how to interpret their character, your mission, that's the only thing that matters to you, hey, you should consult a professional who can help you, now If you listen to me, get out of here, so there are three types of photo shoots at Quantic. dream shooting in performance capture where you capture the entire actor, his voice, his face and his body, these shots are obviously done with American actors because the original version of the game is in American English, then there are only shots of the body that they represent around 250 days of filming. while the performance capture is 100 days of filming, now the body-only shots, there are two types: the action shots and the technical shots, which are moit shots moit is when the player controls a character on the screen and it moves in an environment to explore it.

This is of particular importance in Quantic Dream and therefore we film a lot to provide unique context for each scene and each character. To prepare a motion capture session, we first meet to see the sets, we need the animations we want to film. which should be grouped together or which should be cut and filmed at another time to make the most of the filming day, this often means filming scenes out of order, especially those with large props or props, like a large car for example. So first we filmed all the animations related to that particular prop.

The biggest challenge for the map team was filming Spider-Man. We had to build a wall and attach an actor to a harness with cables so we could lift him up and render him. Uploading the filming of this game took in total, I would say, more than a year, between one and two years, with around 300 actors on set, so it's a pretty massive production, but a lot happened on this set between the stunts and the shoots with a little girl and all these great actors that we had was really a very, very memorable trip for the team and for me today Detroit has over 37,000 animations when we get the motion capture data back it's just a cloud of points that represent all the markers used by the actors of This Point Cloud we have a phase called retargeting which gives us a skeleton this skeleton will be applied to the characters of the game there is still work to do 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 fact system an identity card for each actor we make the actor make a whole range of facial expressions then we recover all the expressions and paste the animations onto a puppet that Yan has prepared, then I retrieve and refine these poses.

He could stretch out a lip, re-inflate a cheek. Little details that make the final product really capture the actor because of the nature of our current mapping system when we receive the animations that are missing eye movements and that's why the character has that dead look, he doesn't really have eyes so it's a big part of the work for the animators Define the consideration of the actor in relation to his position in relation to the body Etc. It was crazy. when I saw the newest model of car because they had been working on it and working on it and this was the first time I literally jumped in my seat, not only did it look a lot like me, but it was so realistic that it was not that it looked a camera, it was something else, you know, but it seemed alive, it's exciting and it's kind of terrifying.

Game after game we learned the rules of optics and filming, and the whole goal with Detroit Becoming Human was to have cameras that actually emulated the optics of a real physical camera, so basically our main task was to deal with the imperfections of the real world and simply making the cameras look as real as possible once the animations were filmed and processed by the Integrated Animation Department and Polished, we filmed them, that is, we really make a Mison sen like in the cinema, the real difficulty of our The 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 should be?

Transmit what should be felt. The biggest 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 would be a huge sequence shot. We wanted the feeling of a cameraman running behind us. while he shows Marcus the androids that help him, the person who shoots us. etc. Above all, it was necessary to tell oneself, this scene is very violent but it does not glorify war, on the contrary, war is something improbable and absurd. It was really a fun challenge. The idea was to say that we have three characters.

We would like each of them to have specific cinematography. We wanted Cara to be filmed a lot more with some type of handheld camera to have something that left her verybreathable to Connor. We wanted something very cold and very perfect. and for Marcus we wanted something epic and spectacular, so it was about the filming but also the photography, so we worked with a director of photography to give each character different lighting, different key colors, each of them would have their own own. worlds and finally worked with the composers to create a specific sound for each character so that each one had their own world and their own style for the game's soundtrack.

We try to be very close to what is done in the movies. We were constantly. asking at each place in the game why we put music here what it's going to say, so we focus the music on bringing emotion that is interactive and supports the character arc. I'm sorry, honey, I'm sorry, I'm sorry, you know. I love you, don't you know? I love you, we make games that are very narrative, we really like 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 musicals. sound identities and from there having three composers made sense since the story of Cara Marcus and Connor are completely different, do you recognize that? es Carlos Ortiz for Connor we wanted a soundtrack that could be very cold and very mechanical, very machines, in a way for Cara we wanted a soundtrack that was very moving and emotional, it was about the search for identity, but it was also a journey about the love and empathy, and for Marcus we wanted something epic, something that really represented the grand aspect of his quest and we were very fortunate to find three incredibly talented songwriters and working with them has been a dream.

Honestly, my name is Philip Shephard and I am a composer, singer and producer and today we are Abby Road. Studio One, which is my favorite studio in the world and today we're recording the soundtrack for Baby Face Human, so when I'm writing a big project I often travel just to get out, you know, and get some fresh air, something of inspiration and I hike and travel a lot in Montana. I had a wood burning fireplace in the room I was staying in and the Flames were making absolutely straight up music and it became the basis for the car theme and it sounds something like that now in the On top of that I found a little theme that seemed to fit into the top, which takes the car's name, Cara Cara, and uses it as a two-syllable motif and sounds like this: "Let's get through this peace while we can." We are together, nothing can hurt us and all time passes, so it works on many levels and, in fact, each theme in the score has one of those elements built into it and it becomes a kind of DNA of each melody.

For me, writing this song for Cara, I had to tap into what she feels like being a father to daughters. I really had to take advantage of everything I feel for my daughters and think carefully about whether I had to write music for them and that. I have the feeling of trying to protect them but also give them the freedom that is totally where it came from because each composer has been given the kind of narrative responsibility of very different characters. I haven't had to get into other styles. I may actually be very Loyal to this particular character and hopefully encapsulate her, but it also means that I've suddenly become very connected to this character and if for some reason the game ends early, I'll be mortified.

They are there starting a new project. For me personally, it's always finding the right shade, finding the right color, as I like to call it, for me, it's finding the right texture that really matches the image really well. One of the most important things is that I created custom instruments for Connor. I took out all my old instruments. synthesizers um so I can capture this robotic person, so to speak, my approach to uh all of these custom instruments is that I hear the sound in my head um and I could just go into the piano and say okay, so I'm going to use the computer. and just create it.

I prefer to be able to physically play these instruments. Oh, that's good, you can do it as soon as you see Connor the first time, there's a really interesting thematic idea that you hear and it's like that. just made of a moo synth but completely rigged in multiple ways and it's robotic, it's got a bit of emotion, it's on its mission so you feel that too, so it gives you that mission-in-hand motionless chill that you feel throughout the whole thing. the process because music evolved, one of the things I was very tired of and very focused on was the way music has to evolve, so my idea behind it was that Connor is a singular Android that at any moment he could become a deviant or he could remain an Android, so I created a theme more or less of Conor and then I was able to evaluate different aspects, it's all good, Lieutenant Chris.

He was on patrol last night. He was attacked by a group of deviants. I'm a human writing for a robot and throughout Connor's journey, he meets someone, he meets a partner, so how do you deal with a robot feeling? colleague I'm going to work with, or suddenly sees a dead body, this robot has an imagination, this robot has a feeling, and if so, how does that translate into non-emotional music? Basically, at any moment I thought, I can't do this, I can't do this and then I just do it. Property was damaged and fires continued in several major districts of the city.

Some people wonder if androids have become a threat to our security. When I started really researching Marcus, the only thing I really tried to capture was the transformation process. You know, Marcus is this android that evolves throughout the game and really goes from realizing that there's more to him. that just an Android, you know it's starting to develop a kind of human soul in a way, try to imagine something that doesn't exist, something you've never seen, now focus on how it makes you feel and let your hand move AC cross . The canvas, the other side of Marcus that I really latched on to was that he almost became a savior for a lot of the other androids in the game, so when I started developing the theme for Marcus, I really did it like a church. be very simple.

I wanted it to be a chordal melody. I really wanted it to be almost like a Boach anthem. The difficult thing is that it had to be recognizable. If I made it too complex from a harmonic point of view, I think it would be difficult for people to pick it up and recognize that it's a very acoustic derivative, but it's also been treated with a lot of effects and things to put it in the space that I felt it was. the sound should be there, it can be beautiful, it can be. Haunting can be extremely powerful from an action standpoint and I'm very happy with the way it turned out, the music is there but it's subliminal and it's emotional and people feel it and it's not distracting and that's complicated with a game like this where you have to have many ins and outs like that where the music has to enter and exit these moments.

This is a war in which we fight with humans, if we fail, they will destroy us. I think the game was put together so well that I just wanted to make sure the excitement wasn't ruined. To be honest, when we started down this path I was like, “Oh man, this could be pretty complicated, you know, I'm serious.” I could feel disconnected and, I mean, it's amazing how they really guided us and made us all be in the same world but at the same time feeling completely different, so it will really stand out and be one of those games. where people are really going to notice the music and how it was created and you know, and all the hard work that went into it to be able to achieve it in an elegant way, to begin with, what should I call you?

I'm Chloe. and what's your name? Oh, uh, John, my name is John, nice to meet you, John, could you tell us a little about yourself and what you can do? Chloe, of course, I am the first personal assistant created by Cyber ​​Life and one that I take care of almost every day. tasks like cooking, household chores or managing your appointments, for example, and I understand that you are the first Android to pass the tour test. Could you tell us a little more about that? I didn't really do much, you know, just talked to some humans. to see if they could tell the difference between a real person and me was a really interesting experience but this is the first time in history that man has created a machine more intelligent than himself.

I suppose his brain can perform several billion operations per second. It's absolutely like that but I only exist thanks to the intelligence of the humans who designed me and you know they have something that I could never really have and what is that about a soul hold on a little longer hold on a little longer hold on just a little bit more everything will be fine everything will be your right fight just a little more fight just a little more fight just a little more everything everything will be fine we will be fine we will sing everything just a little more sing everything just a little more sing just a little more everything will be fine it will be fine rock a baby on the top of the tree when the wind blows the cradle will run when the bow breaks the cradle will fall and fall cradle and everyone will swing in the tree when the wind blows the cradle will swing when the bow breaks the cradle will fall and fall and the cradle will fall and everyone will swing on the top of the tree when the wind blows the cradle will sway when the arch breaks, the cradle will fall and fall, the baby's cradle will come and all in the space of a few years, the androids have transformed Completely changing the world we live in by allowing androids into our homes and factories, the company Cyberlife has done just that. made them everyday technology the founder of cyberlife Elijah csky is a very discreet man despite being the CEO of the most valued company in the world and having been chosen Man of the Year by Century magazine, he remains a mystery to most people. people, that's why at knnc we are I am very excited to be here as Cyberlife opens its doors for the first time.

Elijah Kamsky, could you tell us where we are? Certainly welcome. We are currently at the Cyberlife production center in Detroit, where all models are designed to manufacture more than 10,000 Androids. the production line every day fascinating. Could you tell us what your goal was when you founded Cyberlife? Well, I simply wanted to use technology to accomplish all of our most annoying and repetitive tasks so that we would have more time to enjoy life. I imagine you. You must have faced many challenges, yes, there were technical challenges, but the most difficult thing was designing an object that we would want to receive in our homes.

We had to imagine a machine in our own image that looked like us in every way. It moves, it breathes, it blinks. us, but still he is smarter and more capable than any human being, let me show you, we are here in production unit 4, could you explain in a few words what androids are like? Sure, yes, it's very simple, we use machines to make removable machines. The parts are assembled on a production line and then we apply a synthetic skin to the entire body a human operator verifies the cognitive abilities with a pre-established protocol and finally the Android is conditioned and shipped nationwide here is a result say something hello I am an rz400 model, how can I be helpful?

You can go now. Our androids are already replacing humans in many fields, for example, they represent more than 80% of all university professors and 63% of all medical staff. Tomorrow they will replace our soldiers and who knows, maybe one day our leaders will make the best decisions in the interest of humanity. Come on, replacing humans with machines has led to record unemployment of 28%. What do you think of the situation? Okay, the first steam engines also caused an increase in unemployment, but no. Today one could imagine turning back time artificial intelligence makes everyday life easier nothing can stop progress What is happening here?

It's inevitable that these days more and more people choose to live with an Android instead of another human being. Are you worried about this development? Everything is much easier with an Android they obey your orders without complaining they can cook discuss philosophy with you they have intimate relationships according to your wishes they never say no obviously they are the perfect partner everyone deserves happiness why deprive yourself of the so-called moral reasons when a machine can it do to you? Happy, many science fiction books tell the story of how machines become smarter than us and end up confronting us, don't you worry about that possibility?

I understand the rational fears about artificial intelligence, but I assure you that will never happen with a Cyberlife Android. They are designed to obey humans. They are machines. They can never develop any type of desire or form of Consciousness. You're sure? I am absolutely sure that you can trust me.