Dying Light 2 Stay Human - zombie survival with choice & consequence

[Infinitron]

More Avellone:

 

[hpstg]

What if this is the Avellone RPG that was promised.

 

[moleman]

https://www.rockpapershotgun.com/20...ur-dying-light-2-city-and-im-sold-e3-preview/

"...Perhaps if the plot had been halfway engaging, or if the more interesting second area and grappling hooks (yes, there were grappling hooks) had appeared at some point before the ten hour mark..."

WTF!! The grappling hook was most retarded thing in Dying Light 1. It made the game way too easy, since you could just "batman" your way through the city.
The plot was okay. The game felt a bit like a John Carpenter movie with zombies. A large part of this came from the soundtrack which had a strong Carpenter vibe to it, which was great.

 

[cretin]

I'm calling bullshit on the extent of the changes that will hide content from players. No company wastes all that time making assets that half the players arent ever going to see. Which leads me to make a point about how games that are very long dont typically invite replays. Sure you could, but you probably wont want to.

 

[LESS T_T]

Design/development interview with lead designer: https://www.gamasutra.com/view/news/345394/Building_interesting_emergence_in_Dying_Light_2.php

Praise be to MCA, "master of master of nonlinear narratives."

Building interesting emergence in Dying Light 2

At last year's E3, Techland introduced Dying Light 2 to the world with the help of a new lead writer: Chris Avellone. The former Obsidian writer was on hand to explain that not only was he working on Dying Light 2, but the game would also be adding an incredible amount of choice-based divergence.

Instead of following a linear adventure like the first game, players will be constantly making choices that will reshape the zombie-filled city they're parkouring around in. At E3 this year, Techland showed off a demo behind closed doors that established how far these decisions will go. Small decisions can open or close quest paths in a way that will be familiar to many RPG developers, but Techland also showed off a prominent divergence that literally impacted the physical level design of Dying Light 2.

At the end of the demo, Dying Light 2 protagonist Aiden Caldwell must choose whether to open the pumps to give water to the whole city, or practice restraint and listen a the Colonel Kurtz-like NPC who has another plan for the city. It's a (complicated) moral choice, but more importantly, it's a decision that will impact the actual game geography.

Lower the pumps, and a new section of the city becomes available, filled with a new type of zombie. Keep the pumps raised, and the player will never see that section of the city, or those enemies, in the rest of their playthrough.

After the demo, lead game designer Tymone Smektala was on hand to chat about the game design process of Dying Light 2, and how Techland is taking inspiration from Avellone's choice-driven storytelling to make a more emergent game experience.

What have you learned in a year as a game designer since you got to show Dying Light 2 to the world?

What I learned is how complex it is to work with narratives that are nonlinear, and with sandbox space that can have a lot of variation and variance in it. You need to support every possible combination of these too. This is really stressful, and we had to come up with some internal methodologies for how we wanted to handle this.

This is really a headache, especially if you're doing this for the first time. But thankfully we have support from Chris Avellone, who's basically a master of nonlinear narratives. He has been supporting us very much, first of us he shares his knowledge with us, he shares his experience with us, he helped us build the world that Dying Light 2 takes place in.

The city, the factions, the whole lore is either made by Chris himself or with support from Chris. But I think the most important thing we benefit from right now is the fact that he also as I said shared with his knowledge with his internal team of writers.

So he did a lot of nonlinear games where you have choices and those choices have some kind of consequences, of course these games never really offer the opportunity to change the actual game space, but still this helps out. He knows how to do it, he knows how to approach it, so it's manageable.

You said a great word in there, methodologies. We're seeing a lot of procedural games this year at E3, would you be able to share anything about the procedural methodologies developed for Dying Light 2?

If you are pushing this in that direction, the biggest tool for us in that regard is something we are calling CityBuilder. It's not the fanciest of names...

It's a good name!

This is our internal tool that lets us create a city like you have in Dying Light 2 with a lot less effort than we would need to have if it was all done manually. There's a guy outside who is the architect of this system...our engineering programmer, he could answer more questions about it. This is our tool that allows us to build whole cities from prefabs, small pieces.

When I say small pieces, I don't mean like building stuff, basically each part of the city, of the geometry you see, every ledge, every window, every door opening, everything is one brick that's used by CityBuilder to create various city parts which doesn't require that much input from our level designers. It understands our game, it understands what works in parkour, so it's a great tool that lets us create something quite quickly, and iterate quickly.

Emergent gameplay is a promise that everything you do has a consequence. What have you found is a way to let your team make very emergent gameplay without it explode out of control and break your game?

So I think there are two questions in one. The first one is actually about emergence itself. We have to introduce a lot of different solutions for that. One of the biggest - and it always works - is basically physics. We have so many cool emergent moments because of the physics and how it plays with things like our AI behaviors, with our destruction models.

For example, we had one presentation today early where in the first scene of the demo, we want you to see that emergence so we try to cut off the head of the first guy. The player did that, and the head flew off. But the head hit another guy in the face, and it broke his nose! So suddenly he started bleeding from his nose because he got hit by that head cut off by another guy.

So that's emergence. When we talk about the number of variance not blowing out of proportions, you have to put a limit somewhere. Because the limit is either your capabilities as a developer or even the limits of the Blu-Ray disc you have to ship the game on.

We decided what's important, what kind of changes are important to us. The goal is to create a game where each player can feel that they were able to shape the city by their own decisions, and we look at things that really support that. Things that let you activate or deactivate. Reveal or destroy, heat or unheat interactive elements of the sandbox space.

This is how we kept our head cool, let's say, and how we were able to wrap our heads around it.

You're working with a custom engine, right?

Yes it's our in-house engine, it's called C-engine. It's something we've built purposefully for the games we're making. Techland said internally it wants to make open-world first-person games, and this is an engine that supports that with a lot of different things, how it streams data, how it streams spaces with the high fidelity of graphics you see in the scene. All of those things, we have built in the engine on purpose because we know what kind of games we want to make.

What are some other things you found that emergent gameplay system rewards you in terms of making interesting moments for the player? How do you create a sense of triumph, or partnership with the NPCs?

When we talk about partnership with NPCs, this is an important part of our game. This might not be that visible here in the demo, but there's a theme to Dying Light 2 which asks you to look at the selfish needs of the player character and the collective needs of the NPCs around you. When you first start thinking about it, you may think "screw the NPCs, they're just computer people on my monitor, I don't really care about them, I want all of the good stuff for me as a player character."

But there's a theme in our game where you will have to choose between the needs of your player character and the needs of those computer people. But when you finish the game, you start thinking "maybe I shouldn't be so insensitive. Maybe I should think about the NPCs more. Maybe there's something those guys are trying to tell me. Maybe it's not always about thinking about yourself. Maybe we should sometimes think about other people as well."

Is there anything in the gameplay about letting players see those consequences that you think has emerged?

This is something we knew by gut instinct, but it's clear in playtesting it's really empowering for players that they feel their decision made some kind of a change. The bigger the change, the bigger the scale of it, the bigger the feeling of empowerment.

We had a lot of people leaving our playtests saying "wow, this was amazing when I climbed to the highest building, the shape of the city, what's in it, is because of my decisions." maybe this is not a new finding but it really solidified in our heads and experience and knowledge knowing it makes a difference and knowing that it excites people and they know they can impact what's happening in the game they're playing.

A lot of devs talk about their willingness to let the player miss content a lot. You mentioned that the player will miss 50% of the content in the game, because they're going to make binary choices and content will be locked off. As a person who makes games and loves seeing people play your stuff, how does it feel to put a lot of work of something and only a few people see it?

No! But I still believe people will see it. We had a very high number of players who completed Dying Light. So we had 50 percent of people completing the first game---

A 50 percent completion rate?

That's crazy if you compare it to other games, if you think about it.

That's incredible.

We had also about 35 percent of people playing co-op in a game which wasn't really about co-op, it was just a mode we added. 35 percent of people were playing co-op. We had guys really going crazy with it, the guys who played 4,500 hours. I believe they will go back to the game even when they finish it, this is something they will really experience, and this will really get them interested.

I think also we did some artistic choices that we hope will really engage people, like the modern dark ages thing. You see things from the modern times but we'll say they're medieval-ized. This is something that really interests players, because this is kind of familiar, but also alien, so you want to explore that. So I think people would want to stay in our game for a long, long time.

 

[toro]

This game will be a disappointment in the narrative department.

When you need so many words and interviews in order to present the idea of limited C&C then you know something is not right.

They are not confident about it and they are convincing themselves and the audience that whatever they implemented is good enough.

However I hope I'm wrong and they managed to deliver on "everything you do has a consequence".

 

[Ash]

Fuck the gameplay looks even better than the first. Not sold on "the master" coming along and providing a great narrative, but he's bound to at least make an improvement over the original. There's no way he can fail to do that.

 

[Infinitron]

https://wccftech.com/dying-light-2-interview-e3-2019/

Dying Light 2 Interview: You Can be a Joker-like Agent of Chaos, Cross-Gen Confirmed

If Wccftech had named a “Most Improved Game” in our E3 2019 Awards, it would almost certainly have gone to Dying Light 2. Not that what I saw at last year’s E3 was lacking in any way. The 2018 version of Dying Light 2 looked to be a solid step forward for Techland’s franchise, but what I saw this year, was truly impressive. The game is an eye-popping visual showcase and the parkour-infused action is as intense as ever, but it’s the player-choice driven story (overseen by Fallout and Baldur’s Gate veteran Chris Avellone) that really impressed me. Cyberpunk 2077 was the most impressive demo I had a chance to see at E3 2019, but Dying Light 2 was a surprisingly-close second.

The E3 2019 Dying Light 2 demo properly introduces players to the game’s protagonist, Aiden Caldwell. He’s been infected by the zombie virus, but otherwise, seems to be your typical square-jawed video game hero. I can’t say that Aiden stood out as particularly memorable, but it’s pretty clear Techland’s real focus is on Dying Light 2’s complex world. The demo kicks off in a crowded, atmospheric bar, where Aiden receives a mission to infiltrate the Castle, a water plant that has been turned into a fortress/medieval fiefdom by a local warlord known as the Colonel. Unfortunately, before Aiden can set off on this mission, his group is ambushed by another faction, and his buddy Frank is shot. Players are given the choice of staying with Frank or pursuing the attackers, with Techland taking the latter option.



The chase sequence was an impressive showcase of Dying Light 2’s tech, with Aiden scrambling up, over, and through the ruined cityscape, dodging monsters as he tries to keep up with the bad guy’s van. During all this, the game’s soundtrack steadily builds in intensity, making the sequence feel like an interactive scene from a great action movie. During the chase, Aiden accidentally plunges into a zombie-infested Dark Area, and the tone of the action goes from Michael Bay to edge-of-your-seat horror, as the player must use a limited supply of UV flares and their parkour skills to stay one step ahead of the horde. Eventually Aiden escapes the Dark Area and catches up with the van, but the victory is tarnished when he finds out Frank has died. Could he have been saved if you had stayed with him? The entire sequence was seamless, fluid, and intense, and the way the game marries action and decision making is very promising. If Techland can pull off multiple sequences like this, they could have something special on their hands.



Aiden does manage to infiltrate the Castle, which is where Dying Light 2’s more challenging writing really comes to the fore. While your friends have made the Colonel out to be a villain, the community he’s built actually seems to be…rather nice. Certainly less of a cesspool than the City you just came from. Once you confront the Colonel, you’re giving the option of working with him or taking him out and opening the floodgates. Should you sacrifice the Castle for your scuzzy friends back in the City? That’s what the folks running the demo opted for, which resulted in the reservoir around the Castle draining, revealing an entirely new area to explore…and an intimidating new zombie type. And if you had sided with the Colonel? No new area, no new zombie type, but perhaps some interesting storylines to pursue. These are the kind of difficult choices you expect of a hardcore PC RPG, not necessarily a mainstream action-aventure game like Dying Light 2.

After scoping out the Dying Light 2 demo at E3, I got the chance to ask Chris Avellone, producer Kornel Jaskula, and Techland chief technology officer Paweł Rohleder a few questions. We touch on the game’s visual tech, soundtrack, morality system (or lack thereof), the possibility of this being a cross-gen title, and more, so read on…

Spoiler

At E3 you revealed your new protagonist, Aiden Caldwell. What’s his goal in the game? How will his infection play into his character and progression?

Chris Avellone: We don’t want to give away too much about Aiden’s background and his arc at this stage, but it’s safe to say his goals aren’t static. They shift throughout the game as he learns more about himself, the City, and the inhabitants. And aside from Aiden’s personal goals, his agenda is also influenced (or aligned with) various other factions in the City – and they also depend heavily on what the players themselves want to accomplish in the landscape of the City.

Still, there’s common challenges and threats everyone in the Dying Light world struggles with. The infection that consumed most of humanity is ever-present, and it touches the lives of everyone in the City, Aiden included. The threat of losing one’s mind to the infection and joining the infected in the City streets is never far from the player’s mind – and it is a constant driving force to all those living in the City, and often the reason factions are at each other’s throats. That said, while the threat of infection a looming threat, on a positive note, it’s also the reason factions band together to work toward a common goal: survival, and Aiden will see that play out in Dying Light 2’s story.

Aiden does feel a bit familiar, especially in light of the recent push for more diverse heroes. Is that intentional? Is Aiden supposed to be a bit of a cypher, with the world being the main focus?

Kornel Jaskula: We have created our playable character with a certain goal in mind. We want Aiden to be a mere vessel, a shell that the player fills with their decisions. The Aiden that emerges in the end will be shaped by the player’s own moral compass.

The E3 demo focused heavily on player choice. Is there a traditional morality system at play here or is strictly up to you to choose if something you’ve done is “good” or “bad”?

CA: There’s no traditional morality bar or a Karma system like you’d find in other games – you are the judge of your own actions. Ultimately you know why you’re making a choice, what the intention was behind your choice, then you face the consequences of your choice. Even if you had the best of intentions, it’s entirely possible to make a choice that will cause others to regard you as a villain or an enemy – and choices you may have made for selfish reasons may end up causing the inhabitants of the City to interpret it as an act of goodwill. Ultimately, the player is their own moral compass, but the world around them may pass judgement on the player’s actions based on their own agendas, perspective, and motivations.



Is it possible to essentially play the Joker in the game? To pit everyone against each other and sow chaos just for laughs?

CA: Yes. Dying Light 2 is designed to allow the player to play any number of roles – helpful benefactor, selfish looter, ruthless pragmatist, betrayer, or even a trickster if they wish, and you can definitely turn the factions against themselves and individuals against each other. There may be many instances where such behavior earns rewards, both expected and some unexpected… but unexpected consequences as well. While you can orchestrate chaos, there’s also the danger of being swept up in it as well.

Much of the E3 demo took place outside of the City, in the countryside and at a separate outpost. How big is the wilderness around the City? Are there any other unique communities we might stumble upon?

KJ: The City in its entirety is four times bigger than all of the maps from the original Dying Light combined. It consists of seven different regions, including some less urbanized areas. Each region is a truly unique environment where every inch is playable, both vertically and horizontally. The City is inhabited by two main factions, Peacekeepers and Scavengers, and numerous other communities that the player can discover.

At the end of the demo, Aiden’s decisions result in a whole new area being exposed. Would it be possible to totally miss that area if you had made different decisions?

KJ: If Aiden had chosen differently, the area would have remained flooded. It still would be playable, but in a totally different way. A lot of activities and adventures connected to that decision would be missed. It is worth mentioning that during a single playthrough of Dying Light 2, you will see perhaps 50 percent of the content.

You also hint at a new type of zombie at the end there. Can you tell us more about them? How many new types of zombies can players expect?

KJ: I don’t want to share too many details just yet, but I can say that Dying Light 2 takes place 15 years after the original game, so it only makes sense that the infection creating these monsters has evolved. You can expect new enemies and new ways to fight them as well.

Last year one of the things you showed off were the new “parkour puzzles,” but we didn’t really see a new example this year. Are those still a big focus?

KJ: We strive to build memorable adventures for the player. We use many different gameplay “bubbles” to achieve that. Sections where you have to figure out the optimal path and perform a sequence of moves while constantly monitoring stamina are one of them. So yes, they are still a big focus for us.



One thing that really struck me about this year’s demo was the music. It felt very dynamic. Who’s doing the soundtrack?

KJ: Our aim is a top-notch soundtrack with music that captures the dark mood of our “Modern Dark Ages” setting. Celebrated video game composer Olivier Deriviere is creating that for us. The demo also featured the song “Help I’m Alive” by Metric. We want the music to stick as closely as possible to the spirit of Dying Light and have indeed introduced a system that dynamically adapts the music to the situation the player is in.

The game also looks to have improved visually over the past year. Are you using any fancy new rendering techniques, like, say, ray tracing or DLSS? Would you consider doing so in the future?

Pawel Rohleder: At Techland, we have always been keen on new technologies, especially when it comes to photo-realism and graphical fidelity. Ray tracing has been the holy grail of real-time computer graphics for years, so of course we are looking into it. Regarding DLSS, we are a bit more skeptical, but we are conducting research in that area as well.

What resolution was the demo we saw running at? Definitely looked sharper than 1080p to my eyes. What resolution and features are you looking to deliver on more powerful consoles like the Xbox One X and PS4 Pro?

PR: The demo you saw was running at 2.5K (2560×1440). For Xbox One X and PS4 Pro, we want to run at full HD (1920×1080). It’s too early to specify exclusive features for more powerful consoles, but our top priority is a smooth gameplay experience (parkour, combat, etc.).

Dying Light 2 seems like a good candidate to become a cross-generation title. You’ve hinted at it before, but can you confirm the game will come to next generation consoles?

PR: Techland always has an eye on the latest new toys! To be more specific — yes, the plan since the beginning of production has been to make Dying Light 2 a cross-generation title.

Thanks for answering my questions, guys!

Dying Light 2 hits PC, Xbox One, and PS4 in the first half of 2020.

 

[RaptorRex888]

Nice, the gameplay from the first game was great, especially the parkour but the story was hot garbage. So if both can be good in the sequel I'll enjoy it.

 

[Infinitron]

https://www.gamesindustry.biz/artic...corporate-studio-we-still-get-crazy-sometimes

Techland: “It's still not a corporate studio. We still get crazy sometimes”
The Dying Light 2 developer on the rise of the Polish industry, and growing from 200 staff to 300 in just a few years

E3 2019 was one hell of an advert for the Polish games industry. CD Projekt headlined with Cyberpunk 2077, CI Games showed us Sniper Ghost Warrior Contracts, People Can Fly teased Outriders, Bloober Team intrigued us with Blair Witch, Phobia gave us more Carrion... It seemed that wherever you went, whatever press conference you found yourself watching, Poland was represented.

"The Polish press went crazy about E3," says Tymon Smektala, lead designer at Techland, who was showcasing the other major Polish game of E3, Dying Light 2. "We were at the Microsoft conference, at the Square Enix conference, CD Projekt was also at the Nintendo conference [with The Witcher 3], which was a first for a Polish developer.

"The successes of Polish games is something that is making other people think that maybe they can do this as well. There are big players like us and CD Projekt, but there are also smaller companies that manage themselves very well. Companies like 11 bit with Frostpunk and This War of Mine."


Techland's Tymon Smektala

He continues: "I think there is this attitude in Poles generally where we want to prove to the world that we're important. People should notice us. I don't want to draw too much on the history of Poland, because it might be too simplistic. But for many years we were looking at the Western world and seeing that these guys were doing these amazing things, and we weren't doing those things. But we wanted to. And now there's an urge to prove to the world that we are here and we know how to make games."

E3 went some way toward confirming that. From the indie to the mid-tier, there was plenty of intriguing projects on display. But it was (naturally) the AAA projects that grabbed the headlines, and for all the excitement around Cyberpunk 2077, Dying Light 2 was arguably the more surprising.

Techland's sequel won more than 40 game of the show awards and -- judging by the non-playable demo -- looks to be a major step-up from the original (which was a surprise hit back in 2015). The studio has come a long way from its first big zombie project, Dead Island, which arrived to mixed reviews back in 2011.

"I think there is this attitude in Poles generally where we want to prove to the world that we're important"

"We did some marketing presentations for our partners where we showed the evolution from Dead Island to Dying Light and Dying Light to Dying Light 2," Smektala tells us. "So there is this continuity. But I think each game does something different, and each game is its own beast. Dead Island was basically a first-person hack-and-slash with zombies. Dying Light was more of an action game, but we didn't have the capacity to build a game with a narrative or a scale as big as this new one. But the success of Dying Light, how it was received, gave us confidence that we know what we are doing, that we should stop questioning ourselves. That is how Dying Light 2 came about."

It also helped that the first Dying Light just kept on selling. The game sold more in 2018 than in 2017, and more in 2017 than 2016.

"It is mostly down to word-of-mouth, and we have a vocal community that really tries to tell everyone in the world that they love this game and that you should love it as well," adds Smektala. "I am not sure how this year stacks up. We did the '10-in-12' campaign last year, which was 10 DLCs that we released over the span of 12 months. So I'm not sure about this year, because it's time to focus on Dying Light 2.

"But we had a meeting right before E3 where we said we still wanted to add things to the first one. And there's now a small team which is working on additional stuff that will happen in Dying Light."

The continued success of one project also provides a level of financial stability that can benefit a sequel. There was no pressure at Techland to get Dying Light 2 out quickly, and it allowed the firm to test things out with the first game's audience, too.

"We supported the game for two reasons. The first is that we believe in our community, and we really believe they will be the most essential part for us getting the word out about Dying Light 2. The other thing is that supporting a game like Dying Light for such a long time allows us to be slightly more crazy, and slightly more creative with some things, and also test some ideas and gameplay elements that we're not sure about.

"If we had an idea we're unsure about for Dying Light 2, we could mimic that idea to some extent in support of the first game and see how it works. We can see what people find attractive and what's unattractive to them."

The most striking element of Dying Light 2 is in how narrative choices impact the game. The decisions players make will determine what enemies they see and what part of the world is accessible to them. Techland revealed that gamers will only experience 50% of the game during their first play through -- a fact that garnered plenty of press attention at E3.

Spoiler

Dying Light 2's choices will see players miss out on 50% of the game

"It started simpler," Smektala explains. "When we were analysing Dying Light, we realised we had created this game that was quite sandboxy. It gives you a lot of options in how to solve the gameplay problems. However, the narrative was very linear. Also with the narrative, which was not so cool, the main protagonist [Kyle Crane] was making a lot of decisions that were quite controversial. There were a lot of times in Dying Light where you wanted Kyle to choose something but the scriptwriters had decided something different. So the dream with this game is that we could give you the same amount of freedom in the narrative as we have in the gameplay.

"We were initially only thinking about the narrative. But with the technological advancements of our new engine -- the C-Engine -- we realised we were able to do more. So for instance, what if these decisions didn't just change the narrative, but the sandbox space itself? We started working on it and we realised it was a powerful feeling for the player, because they make that decision and they discover the world around them has changed due to it.

"With Dying Light 2 the company grew so much, we got so many developers, that it became really difficult for us to manage all of that"

"They can climb to the top of the highest building, look around and go: 'Wow, I made this. What surrounds me is the outcome of my choices.' This really excited the heck out of us, and it was an idea that wasn't designed for the project from the start. But around two years ago we realised this is something we can and should do."

If players can only experience 50% of the game during a playthrough, does that mean Techland had to build double the amount of content they'd usually have to?

"Yes and no. This is a AAA, high budget, open-world game. People will expect it to have a lot of content. Yes, we have to do more than in a regular game, but it's just us making reasonable decisions over what should be part of the choices and consequences and what shouldn't be. It is bigger, but it's not crazy. We are still, subjectively, like a small studio. It's about 300 people. It's not Ubisoft, where there are five studios of that size used to create Assassin's Creed or Far Cry. We did do more content, but not really two games, because that would be too much for us to do."

Even so, 300 people represents significant growth for Techland, which has increased its team size by a third since its last release. Such growth hasn't been without some pain, Smektala says candidly. Yet while the studio has changed fundamentally since the original Dying Light, that independent spirit remains.

"It has changed a lot," he concludes. "Not many people know this, but Techland started 25 years ago. It was basically a garage company with a couple of people working on games. Even with Dead Island, which was 2011, that game was done in two rooms, with 50 or 60 people. The first Dying Light was a step up for us where we had a team of about 200, but even then all the decisions were basically made by one or two guys. So it still had the feeling of a small project.

"With Dying Light 2 the company grew so much, we got so many developers, that it became really difficult for us to manage all of that. So, to be honest, we looked at outside talent, people with experience managing teams and working on huge projects. Now we have people from a couple of Western companies, such as our game director Marc Albinet, who worked at Ubisoft for many years. These people know how to work with that scale of a project. They shared their experience on how to do this, which introduced us a lot of methodologies that really made this manageable.

"There is still this guerrilla feeling to what we do. Just this morning I was texting with my friend, who is the lead level designer and is in the office, and he noticed that some people were commenting on one of our [Dying Light 2] YouTube videos, and the person hoped that there would be as many Easter Eggs in this game as there was in the first. We had a lot of them in the first game and they became almost like a signature for Dying Light. My friend said to me: 'Well, you're all at E3, the creative director isn't looking, the game director isn't looking, so I have introduced about three new Easter Eggs into the game.'

"It's still not a corporate studio. It's not a huge studio where everything is rigid and formalised. We still get crazy sometimes."

 

[Danikas]

They called it action Rpg Infinitron .

 

[Dishonoredbr]

Action RPGs mean almost nothing nowdays tbh. You only need to have EXP and a leveling system/perks and minimal ''choice and consequences'', bam , your Action ''''RPG''' .

Still this games gameplay looks really good, graphics really good and level design solid (it's triple AAA after all) even if i doubt that the ''consequences'' will be that impactful, even with Avellone. Last one was the typical open world game.. Don't expect them to be that different here.

 

[toro]

This looks good and it has a certain Dishonored vibe both stylistically and in the level design.

Well, I enjoyed the first game (less the retarded end game) therefore I guess this is something to look for.

Edit: Dying Light and Cyberpunk are the most anticipated, good looking and polished games for 2020. This is a huge achievement for Poland. Respect.

 

[Zer0wing]

This looks good and it has a certain Dishonored vibe both stylistically and in the level design.

Ironic. Dishonored itself didn't get much popular with times (Booooo, low testosterone Thief clone!!!!) but "dishonored-template" have become a go-to for first-person rpgs. Especially those with poor budget (VTMB2).

 

[Infinitron]

This is very impressive. It might not be an exaggeration to say that Techland are at the same level as Witcher 3-era CD Project right now.

 

[Danikas]

This game's budget doesn't look so limited. It might not be an exaggeration to say Techland are at the same level as Witcher 3-era CD Project right now. It's very impressive.

First game sold like 13 milion copies.

 

[toro]

This game's budget doesn't look so limited. It might not be an exaggeration to say Techland are at the same level as Witcher 3-era CD Project right now.

Check the first game. The first Dying Light was on-par with Witcher 3. Their graphic engine is a beast.

 

[Zer0wing]

This game's budget doesn't look so limited. It might not be an exaggeration to say Techland are at the same level as Witcher 3-era CD Project right now. It's very impressive.

I didn't say either DL or DL2 had limited budget, the real game is written in brackets. Is it your judaism and bracketphobia kicks in and hinders your reading ability? Fucking pleb.

 

[Infinitron]

This game's budget doesn't look so limited. It might not be an exaggeration to say Techland are at the same level as Witcher 3-era CD Project right now. It's very impressive.

I didn't say either DL or DL2 had limited budget, the real game is written in brackets. Is it your judaism kicks in and blocks your reading ability?

No, I saw the post before you edited it.

Anyway yeah, Poland/Eastern Europe is going to bury the North American AAA RPG industry at this rate. The Outer Worlds and VTMB2 are basically indie games compared to this & CP2077, and even Bethesda is going to find it hard to compete. In the past Eastern Euros were held back by not having access to writing/design talent and a lack of experience, but that's changed now.

 

[Zer0wing]

No, I saw the post before you edited it.

I didn't edit it, Trotsky.

 

[toro]

Anyway yeah, Poland/Eastern Europe is going to bury the North American AAA RPG industry at this rate. The Outer Worlds and VTMB2 are basically indie games compared to this & CP2077, and even Bethesda is going to find it hard to compete. In the past Eastern Euros were held back by not having access to writing/design talent and a lack of experience, but that's changed now.

Mostly Poland.

Ukraine had 4A Games but those guys moved to Malta. GSC Gameworld was a great developer but it's unclear if they are still able to produce something worthwhile.

Czechs have Warhorse but Kingdome Come: Deliverance is more like AA.

Belarus has Weappy Studio which produced This is the Police.

Serbia has Stygian Software.

Hungary has Neocore and J_C

Bulgaria has Snapshot Games which is Julian Gollop's studio. Phoenix Point is starting to look like an AAA-title.

Russia has a lot of studios but nothing really close to AAA titles.

Romania has shit. We are the most retarded of the entire bunch. We have great outsourcing studios

Yeah, it's basically Poland with Techland (founded 1991) and CD Projekt (founded 1994). Both Dying Light 2 and Cyberpunk look incredible compared with what is released in the rest of the world.

 

[Danikas]

 

[Wulfric Pinewood]

WTF is this game an crpg?
What's going on ? Massive paid promotion or what ?

Maybe we should call Tomb Raider an crpg or Crash Bandicoot too ? Where this world goes now? Why this arcade 3d platformer with Mirror Edge/prince of persia gameplay is in wrong category? It's complete bullshit .

BUT WAIT HERE IT IS TRUE LEGENDARY CRPG GEM [crpg zombies not included] :

BUT WAIT FROM NOW ON WE CALL EVERY ARCADE SHIT AN CRPG TO MAKE STUPID MOTHERFUCKING INVESTORS PAY MORE FOR OUR ACTIVES:

Today there is no true gaming, there is only hype left to push up stock sales of every developer , where is gaming in all of this shit ? Why games became stock business to lose it's soul and gain only industrial quality to gather more and more stock buyers becouse so many fucking morons are hyped to lose money on their flashy games.
That's why Interplay dies, that's why some fucks turn legendary gems like Fallouts into some action shooters and that's why Bioware turns into flat crpg's maker , all becouse stock market sells.

 

[Zer0wing]

Russia has a lot of studios but nothing really close to AAA titles.

It had something representing AAA in 2000s.

 

[Quillon]

WTF is this game an crpg? What's going on ?

Yup, its another spiritual successor to IE games.