2024-12-12 00:15:19
To shoot or not to shoot — that’s not a question you hear often in Night City, but don’t worry, we’re talking about photos this time. In the City of Dreams, there’s always a story waiting to be captured. Now, it’s your turn to uncover it. Step into the role of a street-savvy stringer for “Night City Today” and take on our Cyberpunk 2077 Photo Mode Challenge. Show us Night City through your lens.
Your editor-in-chief has two feature stories in mind, and it’s your call which one you wanna chase — or maybe you wanna try both? Hit the streets armed with nothing but your Kiroshis and an eye for the perfect shot. Here’s what’s on the table:
2024-12-11 01:01:18
With this patch you’ll be able to express yourself like never before — it includes over 100 new customization options for V, adds CrystalCoat™ compatibility for select vehicle brands, introduces a brand-new TWINTONE™ color scheme feature for CrystalCoat™-compatible vehicles, and more! Photo Mode also received a major overhaul with new camera options, aspect ratios, light sources and posable NPCs, just to name a few things!
Read about all changes in the patch notes below.
2024-12-10 01:14:47
📢 REDstreams alert 📢
Join us for a new episode of #REDstreams, where we'll dive deep into the new features Coming Soon TM for Cyberpunk 2077 in Update 2.2!
See you tomorrow at 5 PM CET on our Twitch and, for the first time ever, simultaneously on our YouTube channel.
https://www.twitch.tv/cdprojektred
https://www.youtube.com/@CyberpunkGame
Get ready, chooms! It's gonna be 🔥
2024-10-30 21:15:57
This month we’re participating in Blocktober, highlighting the work of our talented Level Designers. For our last post, Sebastian McBride and Mariusz Kubów share a behind-the-scenes look at the main quest “The Killing Moon”.
As with most of the Space Port, the Maglev station went through heavy iteration — I think I made about 5 radically different versions of it. Knowing that this would be one of the last locations in Phantom Liberty that the player would engage in heavy combat, I pushed for a more circular approach when considering movement.
The location had to have a very nice flow to it and interesting, yet simple traversal loops were top priority. All of that is focused around the control booth which I knew would be both a focal point in the space but also integral to the quest flow. — Sebastian McBride
The Viewing Gallery offers a unique gameplay experience of moving through a location while under suppressing fire from a helicopter flying nearby. It serves as an example of how sometimes we keep on iterating on the location's fundamental elements — like its layout — deep into the production cycle and way past the blockout stage. In this case, I wanted to have more player engagement during the beat and a bit of Kishōtenketsu-type structure (initially the chopper pinning us down with gunfire was the only obstacle there), so the level flow had to be adjusted to incorporate that.
There's also the Rule of Cool in play here, as the rocket hanging under the ceiling was added late during the development to add more dynamic elements to the environment, totally-not-just because I've prototyped a big, swinging object and I thought it would be cool for the turrets (or even V) to shoot it down accidentally. — Mariusz Kubów
Sebastian McBride: https://x.com/darthsebious
Mariusz Kubów: https://www.linkedin.com/in/mariusz-kubow/
2024-10-23 23:59:18
This month we’re participating in Blocktober, highlighting the work of our talented Level Designers. Now up: Sebastian McBride sharing a behind-the-scenes look at the “Dicky Twister Club” location.
This blockout was done relatively quickly around the middle of the project. I wanted a location where the player could lean into a non-hostile experience that they could walk around in before switching up to more traditional stealth gameplay. The goal was to embrace the tone and vibes of stealth game staples but done the Cyberpunk 2077 way.
The idea of the main office overlooking the whole club was something I leaned into early on. The moment you enter the club, the objective is right in front of you: you see your goal and now you have to figure out how to get there. The club owner overlooking the location with the stage “'extending” out in front of him was absolutely intentional innuendo. I guess he had a bit of a complex.
Sebastian McBride:
https://x.com/darthsebious
2024-10-16 23:33:29
This month we're participating in Blocktober, highlighting the work of our talented Level Designers. This time around, Andrzej Giełzak shares a behind-the-scenes look at the Minor Quest “No Easy Way Out”.
This location was initially planned out and drafted as a Main Quest location, but we ended up adapting to the smaller location scope of a Minor Quest. Working closely with Jakub Skoneczny, our quest designer, we attempted to get the most of existing layout, allowing the experience to play out in a single open space, without compromising footprint of existing location and it's role in the district.
The first image shows the Main Hall Entrance, which was designed to create the feeling of progression through the galleries. Establishing an open space in the middle with a landmark — a giant robot statue — was crucial to providing the player with a strong reference point, as the act of going in a spiral around the gallery could easily have led to spatial confusion. It was important to design the gallery with a layout that would be logical in the “original” state of the building, while its derelict state of the building as well as the damage and modifications done by Scavs allowed us to break the open plan and create obstacles and challenges for the player to overcome. Senior Environment Artist Albertus Januardy did a great job of extending the few accents from the blockout into a full-fledged, disgusting Scavenger Hideout.
The paths for different playstyles were designed to convey that same upwards progression. In combat, enemies retreat upwards as their numbers dwindle, pulling you upwards in pursuit. For those using the netrunner path, the cameras were sequentially arranged by floors and always included a glimpse of the landmark as you hopped between them. For players focused on agility, we designed the location to feature opportunities to continue upwards using double or charged jumps.
The second blockout features the ripperdoc’s office, which was blocked out in comparatively low detail as its layout was dictated later by the needs of the Cinematics team. From the perspective of tying the location together, the presence of the window to the main gallery was crucial, with the added bonus of seeing the key landmark from it. Lighting played a crucial role in tying both spaces together, which was deftly handled by Senior Lighting Artist Marcin Stępień.
Andrzej Giełzak:
https://www.artstation.com/andrzejgiezak