At Gamescom LATAM, associate game director of the next Cyberpunk game Pawel Sasko took the stage to discuss how CD Projekt Red develops quests. This overview explained how CD Projekt Red's narrative pipeline works, how implementation works, and how the overarching team structure works. In its simplest terms, CD Projekt Red's pipeline begins with a story outline and, from there, the company begins developing quest design documents for everything players will encounter. From there, these drafts are implemented, iterated upon (and there is always iteration), and worked through the various stages of game development: pre-alpha, alpha, pre-beta, beta, polish, release, and post-release.
Sasko served as a quest designer on The Witcher 3, the lead quest designer on The Witcher 3's DLCs, a lead quest designer in Cyberpunk 2077, the quest director in Cyberpunk 2077: Phantom Liberty, and now serves as the associate game director of the next Cyberpunk game.
While it's impossible to capture everything the CD Projekt Red dev mentioned in his panel, he highlighted a few quest commandments of quest design that any Witcher 3 or Cyberpunk 2077 fan (or aspiring game dev) should be aware of. In no particular order, they were
- Play, Show, and Tell, Only in this Order
- Build Drama in Gameplay
- Design with Systems, not Custom Solutions (where possible)
- Engage with Choices, Pay Off with Consequences
- Telegraph Consequences and Contextualize Every Major Choice
- Design Asymmetrical Consequences
- Define the Genre and Theme Early: They Will Guide You
- Surpass Expectations Strategically
- Eradicate the Filler, Keep the Fluff
- Amuse and Thrill Your Players
At the end of his panel, Sasko also recommended viewers listen to his GDC 2023 talk: 10 Key Quest Design Lessons from The Witcher 3 and Cyberpunk 2077, available below and on YouTube. After his talk, The Best War Games had the chance to sit down with Sasko and delve a little deeper into a few of his key points. This includes, but is not limited to, insight into key development assets (like quest design documents), the importance of play, show, and tell's order, and how these elements manifested in The Witcher 3 and Cyberpunk 2077. The following transcript has been edited for clarity and brevity.
SPOILERS AHEAD FOR THE WITCHER 3 AND CYBERPUNK 2077: PHANTOM LIBERTY
The Basics of CDPR Quest Design
Q: On-stage, you discussed beginning with a quest design document. What are the key elements that need to go into those?
A: There are many things, and we've been working on a formula for many, many years, reinventing it for every game and trying to perfect it. When you look at those documents, T he Witcher 2 is slightly different from The Witcher 3, and those were from Cyberpunk, which was different from Phantom Liberty. That said, they're built on the same idea, and we've just kept making it better and better. Quest design documents are half a design and half a description of the story. You can have elements of dialog, but normally you wouldn't. There are different sequences marked in brackets saying here's a scene, here's the gameplay, here's the combat, and they all have different colors. That way, when you look at the document, you can quickly judge the pacing. Is there too much of the same next to each other? Is it as dynamic as possible? That's just one of the really basic things we do.
Outside that, you have the story of the quest from beginning to end, and when it comes to quest design, we do write them how things happen on the screen exactly. It's not like you're describing your intention as a designer; it's meant to be that you're describing exactly what happens because that forces you, as a designer, to see the perspective of the player. The player's perspective is the most important one, right? It's emotions, feelings, everything you build. You build it inside the player, and you can't really put your mind into someone else's mind. That's not how it works. You put your thoughts there, and you need to have them have the thoughts you want them to have, right?
That's the reason we write these documents. I always tell my designers to describe it exactly the way it happens. If you want Jackie to pretend to be confident but not actually be, don't just make him walk in. He walks in, he sits down, and he constantly shakes his leg while there.
It's a matter of describing what happens on a screen so that players will have emotions, feelings, and thoughts - not you as the designer. That's the main rule, and we include so many more things. Often I ask them to include references, things they feel are important context of the quest that they're building. For instance, when we were working on Sinnerman where Joshua Stephenson wants to get crucified and record that as a braindance, we needed to have all those core religious elements there. There is a Last Supper-like scene with a long table like the apostles and Jesus. What I reference there was Leonardo da Vinci's Last Supper from 1495, the original painting. When we talk about those things, we always try to grasp as many references as possible. If our players don't get it, it's fine, and it still works completely. But when they get it, they feel clever and feel like, "Wow this is so cool that they built it like this."
That's why the whole structure of the quest is first you go meet the mother Zuleikha and the daughter of the person that Joshua killed. Afterward, you have the Last Supper moment and then you have the crucifixion. It's good to think about references with these. Sinnerman is an extremely specific example, but that ties in with other things too. When we're working on something about specific art, music, or something, we always add it to these documents so we know what references we're working with.
When it comes to the amount of content, large quests are like 20–30 pages in a design document. This is for the bigger main quest. For shorter quests, it's a couple of pages; for a really minor quest, it's one page. It really depends on what kind of story you're building. For instance, Bloody Baron was almost 60 pages long because that quest is massive as hell. On the other end, the Battle of Kaer Morhen was 14–15 pages from what I remember. It wasn't really that long even though you have so many permutations there, so it certainly depends. We try to do these in a way that is as effective as possible.
We don't normally include dialog in these documents, for example. Sometimes we do. Sometimes it's easier to write this piece of dialog and say that someone says it instead of describing what their intention is. But, in most cases, we just go with not having dialog because we have a separate writing team. Writers write the dialog in our pipeline. We draft the quest, draft the scenes, and figure out the dramaturgy of our scenes. That's it. From this point on, the writer comes in and writes that dialog. For me, it's really important. It's not like that in every game studio, but for us, what's important is that writing. Everyone believes they can write, but most of them can't. That's the reality. Most people can't, and most people believe they can do design.
Design is actually the hardest part of our job: not the technical part, not implementation, not figuring it out. Those can be complex, of course, but there's so much precedence there versus when you design something, you very often do something new and fresh. Design is much harder to learn, in my opinion.
Define the Genre and Theme Early: They Will Guide You
Q: Genre and theme need to be decided early. What happens if those elements are not decided early enough?
A: I've seen that happen in the projects I've been on and in other studios before. We mostly do it quite early, but also Witcher 2 and Witcher 3 didn't have those defined early. They didn't. Cyberpunk did kind of early, but too late for me. It should have been earlier, but Phantom Liberty was decided almost at the beginning and it was amazing. The problem is that, when you have a lot of creative people, the nature of a creative person is that they have a lot of ideas. In most cases, their ideas are very varied. When you have 400 of them, all of them are incredibly varied, and what happens is we are a ship that is sailing somewhere. We cannot change the direction of the ship because we'd end up going in circles rather than sailing anywhere.
Magellan would never have made it around the globe if they sailed the way a bunch of creative people would sail. That's not how it works. When we have a genre and theme, it serves as this frame. One of the best things you can actually do to a creative person is give them boundaries and say you need to create within these boundaries. This is one of the most motivating and inspiring things to do. When you have genuinely restrictive boundaries, it just inspires you so much because you learn the rules you can bend and you try to figure things out in new ways. A great example is Animal Well, right? The indie game. This game is 33 megabytes because it's just a very basic pixel game. This limitation and the fact that you have a single dev working in this incredible limitation leads to incredible creativity as well. That's really what it is, you know? When you have creative people, give them boundaries.
This is what genre and theme is. They are boundaries. You set the boundaries and the team knows, okay, if Phantom Liberty is about individuality versus authority, this idea is working. Then, how do we do it in various ways? Because if you show that theme in action in many different ways, you end up with a very consistent game. You have a very consistent product. We did some of that in The Witcher 3. For instance, when we worked on Skellige and No Man's Land, we had a file with all the themes and those sorts of topics outlined. You know these are the things that various designers working in that area will have to cover. That's why, even though you have content coming from so many different people, they seem to be talking about similar things.
There are a couple of main elements of theme in both Cyberpunk and Witcher that you can see because that's what we do. We define themes and the genre because, if that doesn't happen, you end up with a goulash. You end up with so many different ideas and everyone goes in a different direction. You suddenly start having a different atmosphere in your game. For games like Witcher and Cyberpunk, having a thing with a completely different atmosphere is a killer. It would just kill it because the atmosphere is so important there to get right.
You build through nuance in the atmosphere, right? Music, art, and subtlety, all of those are small choices on a small level, not like grand decisions, but small things and small decisions. All of those things really contribute to that. When I was talking about that Phantom Liberty quest in the Black Sapphire and you have this Bond-Like mission, that thing was composed out of hundreds of small decisions that designers made. Every decision that has this boundary there. There was this label where we agreed this section is going to be like a Bond-like mission. That's why you dive, you jump out, you remove the suit. You have a suit out there, you join the party and grab a drink, you walk around and talk to people. All of those elements just fit a typical Bond story. Even if you, as a player, have never watched a Bond movie in your life, it doesn't matter because you go in, it feels right, it fits together, and it all comes together well.
Even when you're not completely trained when it comes to the culture, construction, and understanding of how those things are built, you still feel it. That's what you want to achieve. In short, genre and theme mix to keep people on the same page and give them boundaries. They're becoming more creative and your game becomes more consistent. That's really the reason.
Play, Show, and Tell, Only in this Order
Q: One of your big points was "Play, Show, Tell, only in that order." Could you talk a little more specifically about what each of those elements entails and why that order is so important?
A: When it comes to play, it's our medium. It's an interactive one. I am not a fan of games that are like movies. If I wanted to watch a movie, I would go and watch a movie rather than play a game. I don't play a game to watch a movie. That's my philosophy. I play a game to interact with it, make my own choices, build my character, carve my path, and meet my characters. The interactiveness is just the core of the experience of what we are doing. I think this is the number one point and really the most important thing. Again, I get it. Some games are like movies, and 100%, you can play games like that. Those are just not the games we are doing. We are doing games that, at their core, should be replayable and very immersive.
In a game that is like a movie, you just keep playing the same game every single playthrough. Every single player has the exact same experience, and your experiences of Cyberpunk and Phantom Liberty are, for sure, different from someone else. The amount of time you put in, the choices you make, and the way you play are all important factors. Some people like to rush and go through things really fast, and some people take their time. Some people explore broadly, and some people change and check different gameplay elements and respec frequently. All of that is really the very core of the experience, and this is the most important element, right? You need to allow the player to play the story first, and it ties up with other points I was making: to build the drama through play, right?
You can have drama in a scene, absolutely, but you should try to have it in gameplay. When you have it in gameplay, it's so much more impactful. It's just the moments you have a fairly good scene versus the thrill when trying to f*cking get away from Cerberus in Somewhat Damaged, right? It's just on such a different level. Of course, you cannot overstimulate the player with all those things because Somewhat Damaged is very demanding. People are swearing and sh*tting their pants when playing this quest, and of course, that is the objective. Afterward, there has to be a slower moment.
Play just makes it more memorable, but also just much more fun. It's that simple: it's just much more fun to play. I would say that's the thing about play. It's just the very core of our medium. We are not making movies. We are making video games.
The second thing comes to show itself, right? That's something you see so much in movies and actually in games as well. You can bring up so many examples of "how to do this." The thing about show is that, when you see things rather than be told things, they become more real. They become more immersive as well, and for us, immersion in Cyberpunk is such a big factor. We have the solution that we call Briefing, right? When you're planning a mission to go somewhere, you have this moment where you put a Shard in and you suddenly see all of those plans - what happens, where to go, and so on. It's such a cool moment to have the plan shown like that because we could have an identical situation where someone just tells you what's going to happen and that's it. Turning that tell into show in such a simple way raises the quality immediately.
It feels like being inside Ocean's Eleven or planning something like Mission Impossible. I think that's the most important thing about show here. It also has an impact on your cognitive overload as a human being. I'm a psychologist by education, and what you can grasp and engage with, not just your hearing but also your eyes, you will memorize it better. You'll get it better and faster. Let alone the fact that some people will just be unable to grasp everything completely; if you just explain something complex to them, they won't get it completely. When they see it, it's just easier to get it.
It's also about being more effective with storytelling, just reaching the player more, and a big part of show is emotions, right? If you tell someone that something's sad, it's one thing, but when you see them sad, show someone crying, or that moment like when So Mi's dying and trapped in that train, it's another thing. When you see her in that state, it just reaches into you and gets you so much more, right?
Her reaction, all of those elements, reaches into your emotions so much deeper. I didn't spend much time lecturing about it, so I can touch on it a bit here, but I always try to teach my designers to use empathy to get to the player. Sure, if you have very low empathy or no empathy and you're a psycho as a human being, okay, it's kind of hard. Most of us, however, have some empathy. Some people have a lot of empathy, and your empathy can be trained as well. You can develop it. I always tell my designers to try to get that player to be empathic because there are so many different things that can touch players. I remember when I was working on the Bloody Baron storyline, and there's this moment when the Baron carries the Botchling in his hands. In the game files, I called it peregrination because, for me, it was really him going through that path to remove his sin. What was interesting there is the fact that, after we shipped Witcher 3, we got so many letters from so many players that the game touched them in such unexpected ways.
I remember a letter that I got from a father. It really made me emotional to read that letter. He had a wife, she was pregnant, and the child died when she was giving birth. She died too. He went from having a family to losing everyone in that moment. He was writing this letter about how difficult that moment was for him, and he felt like he was the Bloody Baron, carrying that child. He really wanted it to work. That's what I mean about touching people on an empathic level because you can do so in a way that's so authentic. Even though it's fantasy, it's some Botchling thing, there's a component of authenticity and realism that will touch people because you don't know what they went through. You have to approach quests with deep care and consideration. If you are building a crucifixion story, you have to know how people are going to perceive this or like this with the Bloody Barron. It's so important when building stories like this, and again, Cyberpunk is full of that stuff.
When you build this, you need to have this thinking that there may be a person in the world who had a similar situation, and you want to touch them on an emotional level and reach their empathy. Of course, we are varied as human beings. I don't know what it's like to be a father, I'm not a father, right? But I can imagine how it is to be a father, and I can build a game about this, about fatherhood. That's what The Witcher 3 is about. Even though most of us are not fathers, we were able to tell a story about fatherhood because we can employ and use our empathy, talk to other fathers, and give them an experience that feels authentic, even though maybe this is not something we've experienced.
Summing up this point, show is about trying to talk to your empathy and trying to show things that can move you. For me, it's almost like a secret sauce for making really good quests. What I try to do is I try to make you stop thinking about the logic of events and start feeling. The moment you start feeling, you will immediately forget about the logic of what happened and why it happened. When you have that connection, you will stop questioning everything and be so invested that the story will just follow you. You want to be taken in by that designer's vision and you want to cooperate to be part of it. We just need to do a good enough job to make it natural for you and ensure you stay immersed.
The last form is tell, which is the simplest one. For me, it's always a fallback. Maybe it's a situation where there's no budget, so maybe we can tell you things rather than play them or see them. That's a solution. Sometimes it might be something that would be tedious to play or show, so sometimes it's easier to tell you. There are numerous shortcuts and tricks we actually use with tell to make it more snappy and make the pacing better too, and we did a lot of that in Phantom Liberty and Cyberpunk as well.
There are situations, for instance, where you go somewhere, figure something out, and then you're supposed to inform other people about this, but there's another character you've already told. Before you get there, they already talked to the other character and they already know, so there's no moment where you repeat what you played, what you saw. There's no moment where you just have that talk again because you'd be like "Oh my god, I just went over this. Why am I repeating it? It's so boring!" Unless you have some purpose in that, an emotional reaction or something, there might be times when you want to do that as a designer. Often, though, you don't have that objective and it's just for the logic of the story. So, in Cyberpunk and Phantom Liberty, we often did this trick of "Oh yeah, I know. I already talked to them."
That way, you are already going into the next step rather than just making it boring and repeating it. That's why it's important for us to just always think about all of those tricks.
The Challenges of Witcher 3 and Cyberpunk 2077 Quest Design
Q: You described the Battle of Kaer Morhen quest as one of the hardest you've ever done. Could talk a little bit about that?
A: Oh man, that sh*t kicked my ass. There are so many reasons. The first is that there are nine characters at the core of it and seven other characters who are optional in any configuration. That's the reality, right? So that was the first thing: just the number of variables was super complicated. What I figured out was "This will be the spine of this quest, this structure of characters who are always present, and then I will add meaningful things for the optional characters." If they weren't meaningful, then you would feel like your quest is the same as everyone else, there are no branches, and your choices did not matter. I had to do that.
What was really difficult is that, when I was working on that quest which happens about 70% through the main story, it's not like I was doing it when all of that was done. It's not that 70% of the game was done, and I was working on that quest. No, we do it at the same time, so sadly, I have 16 very important primary and secondary characters who are involved in all of those quests, including some of mine and other designers and other writers. Everyone keeps changing things, redesigning things, and doing their stuff while I'm trying to control this chaos. That's basically what was happening, and I was like "Okay, how am I supposed to do this?" Because they kept changing and moving things around. I had to anchor it to a few core things that won't change what I'm building them in. Of course, other things changed during production, and it was like I could have this character but not that character. This had to be moved, and this had to be added, all happening at the same time I was working on the Battle of Kaer Morhen.
Another thing was this quest had an incredibly difficult structure because the whole premise was that you were supposed to defend yourself, your friends, and Ciri in Kaer Morhen against the Wild Hunt. You want them to come so you can take care of them, but the problem was that, as the player playing a video game, it'll feel like you're winning, but I had to make it feel like you were losing. So, you were supposed to be winning, but you were losing. Do you see the issue? That's why, at the very beginning, you have Yennefer who comes in and casts this spell. Throughout the quest, the spell is shrinking because I had to give you the feeling that the White Frost is pressing in and The Wild Hunt is coming. Even though you're winning and killing them, you have to run away, and your main defense is shrinking. That was the solution, to make it feel like it's hard, you're winning, but they keep pressing you. That was a really difficult design challenge for me.
Another design challenge was if you had nine, ten, eleven, twelve, or sixteen characters. As a player, you want to feel that they matter right? You want to have a moment where they do something interesting, despite being an optional character. You want all the characters to be very unique and have these moments, right? Having all those cool elements means having all those branches. Each of them needs their special moments, but they may or may not be there. I had to design it in a way, depending on the selection you had, that accounted for every possible variant, so I had to divide it into smaller sections. Inside all of those sections are all the variants and I had to figure out what happens if you have or don't have someone.
That's why they are all along the way when you arrive in Kaer Morhen, and you're going through that path. That lets you meet all of them and gives them each a spotlight and a moment where you can talk and introduce them. There are so many constraints as you can see, but then there's the technical elements of the quest with the effects, so many characters, The Wild Hunt coming in, and the scripting of the gameplay itself. I had so many custom things in there like meteors falling and making craters. I made a custom script for that, and I had to figure out how to within the landscape of our technology because it didn't support making craters. I had to figure out how to do that. There were just so many major technical challenges at the same time as the complexity, the branching, and all of that. I thought I would go mental on that quest.
Q: What about Cyberpunk 2077 or Phantom Liberty? What was the hardest quest to design?
A: In Cyberpunk 2077, I was already a quest lead, and I was a quest director in Phantom Liberty. I naturally did fewer quests by myself. I did The Pickup quest, the one where you go with Jackie to get a Flathead. I did the Johnny Silverhand storyline. I did Kerry Eurodyne.
I will answer that for me, and the hardest was the one with Kerry Eurodyne. You are playing a concert of Samurai, A Like Supreme . That whole quest wasn't that complex, but that whole scene was so insane because we had to make all those components work, all of those people in the band who were playing instruments. We had to mock them up playing the instruments, and this is actually P.T. Adamczyk, our composer. All of those people are him. He basically mocapped every person separately, and we had a passionate cinematic designer and cinematic animator put that scene together.
It was a major technical challenge because, when you were in that bar, I had to make sure that the bar felt full of people. It was a technical challenge of simply having enough memory to put all those NPCs in there, at the same time, having fun at that concert. Another thing is that their animations are perfectly synced to the music, right? Normally, you don't have to care that much about being in line with the beat, but when you're suddenly making this quest about music and you have this concert, they cannot be offbeat. When they hit the drums, they had to hit their drums. The sound cannot be disconnected from that.
We had to work with, in this case, our audio programmers to actually figure out a new technology to sync up animations to the music in that way. Plus, you were playing Johnny Silverhand there in the center, and you were roleplaying in that concert. You could do so many things, right? There were interactive things during the concert, so that was a major challenge structuring it, but I would say producing it was the major difficulty.
When it comes to the hardest quest in general for Cyberpunk, I would probably say the ones connected to the Panzer. The Nomads, you know, suddenly had this tank that's a completely new vehicle with new gameplay. There are so many elements to control. It was technically difficult, and it was really complex to put together because of how custom that whole section was.
For Phantom Liberty, it's the Somewhat Damaged quest with Cerberus. Oh my god, this just kicked my ass. There were two difficulties there, I would say. One was the design of it and making sure my team understood what they were doing, that they were building a horror sequence.
I was always telling them to imagine that you are in a labyrinth, there's a minotaur, and you have to get away from the minotaur. That's it. That is basically the myth I was using to explain the quest to them and the story we're telling there. All the elements you introduce have to tie up with that, the fact that you're in this labyrinth and running away from this minotaur. The thing is, when you have quest designers, cinematic designers, level designers, and all these creative people, they keep coming up with ideas and some won't fit. That's why you have genre, horror in this case, and you have a theme, which is a loss for So Mi. You have these boundaries and you need to keep repeating them and reminding them what they're building.
On the design level, I had to be like "Guys, I know that you have to add a puzzle here, but let's make that puzzle really work." For instance, the moment you destroy the servers, that basically triggers Cerberus. That was different in the past because I told them we had to tie it into the main loop and to go back to the fact that they're in a labyrinth with a minotaur. We have to structure every challenge the way it would strike fear in you as a player because this thing can come in and kill you on the spot, right? That was probably the hardest one, and that was on the design side. On the technical side, Cerberus is mostly driven by AI. There are some scripted single moments, but everything else is AI.
It was such a complex challenge for us to make that completely custom enemy, moving completely based on AI, in that really complex location. It needed to climb through vents, react to sounds, and act in a reasonably, predictable way so that you can feel like you're trying to avoid it. I would say it was a major technical challenge on this front. Those two things, the design and the technical, were probably the reason Somewhat Damaged was the hardest.
Q: You've said that consequences should be asymmetrical and not the same because otherwise it kind of feels like the same game. How do you decide and develop those branches to feel right, to be asymmetrical, and avoid that sames-y feeling?
A: Great question. We always look first to the logic of the story, the logic of the characters, and look for what is authentic, what is natural, and what would feel good to your empathy. In Phantom Liberty, there are so many examples of that exactly, where you go in on one branch, you call a character, and that's wrapped up. But in another branch, it turns out differently. For instance, Balls to the Walls is a quest I did for Phantom Liberty. It's about Paco and Babs. It was a bit of the past of Kurt Hansen, and you can play as Kurt Hansen there. When I was building this, I intended to show their perspective as members of BARGHEST and show you a different perspective of Kurt himself It was a powerful way because we put you, as a player, in the shoes of another character.
There's one scenario where Paco and Babs die. There's not much to follow up on when you have a body and so on, but there's another scenario where they survive. They message you later and you find out they went to Nairobi in Kenya. Nairobi has a very characteristic building that looks like a screw, and they send you a picture with a Cyberpunk version of the building. They're there and you see that building in the back.
What I'm trying to say is we focus on what feels authentic in a given moment. If they escaped and you helped them, maybe they reach out later and maybe they could do something. You know how their story could develop and what would be the thing you expect as a player. It really is much simpler than it sounds because when you build that or this, you know exactly what to do.
It's like you look at the story and try to think what is natural and authentic; you're not trying to put limitations on yourself because of another branch. It's not like "There's another branch with only one scene and only one call, I can only do that much here." That's not the case. We're always saying to ourselves that, no, you can absolutely and completely do it asymmetrical, do much more on one branch than another. It gives the player the feeling that it's their version of the story. It works really well. People are often worried about what happens if someone only picks the shortest branches, and I say that's really difficult to do because you would have to know exactly what to pick every single time and be incredibly unlucky. If the whole game is done like that, it's close to impossible when you have hundreds or thousands of cases. How the hell did it happen that you always picked the shortest one?
I don't think it's a concern because, with the number of cases, the volume actually helps you. One player will have a short version of this quest in the branch but will have the longest one in another one, depending on their choices. I'm trying to teach my designers and always tell them to not be afraid of that. It's fine if, of course, you have enough volume. If you are making a smaller game or a shorter game, I think that it's a different conversation because then you have different objectives. But in our case, the objective is to show the player that it's their game, their story, and they can replay it in a different way.
Q: Has anything about Gamescom LATAM stood out to you so far?
A: There's a couple of things. First of all, I was really surprised with how big it is. I was expecting it to be a smaller event since it's like the first one, so that was the first surprise. Another thing is just that there are so many international brands present everywhere here. That's so great to see, and there are so many young creators here showing their games. There are just numerous indie games being made in Brazil, and we spoke with a couple of devs here whose games had roots in Brazilian culture, characters, and so on. It's amazing to see. You can see this market is huge, and it's growing. Numerous players I've met here own multiple consoles, and they know all these games. How professional it is, how big it is, how many small devs are here, and how many international companies showed up, to be here, to show Brazilian gamers and the Brazilian community, I think, shows how important the market here is. Also, the food here is f*cking great.
Cyberpunk 2077
- Released
- December 10, 2020
WHERE TO PLAY
Cyberpunk 2077 is an open-world action-adventure from the creators of The Witcher 3: Wild Hunt, CD Projekt Red.
Set in Night City, a megalopolis obsessed with power, glamour and body modification, you play as V, a mercenary outlaw going after a one-of-a-kind implant that is the key to immortality.
Upgraded with next-gen in mind and featuring free additional content, customize your character and playstyle as you take on jobs, build a reputation, and unlock upgrades.
The relationships you forge and the choices you make will shape the story and the world around you. Legends are made here. What will yours be?
- Developer(s)
- CD Projekt Red
- Publisher(s)
- CD Projekt Red
- Platform(s)
- PlayStation 5, PlayStation 4, Xbox Series X, Xbox Series S, Xbox One, Nintendo Switch 2, PC
