CD Projekt Red has confirmed that the Next Gen version of Cyberpunk 2077 will be free for all players who already have the game.Cyberpunk 2077 was one of the most anticipated releases of 2020. The newest project from The Witcher developer CD Projekt Red, it was promoted as a sea change in video games that would merge the deep history of R. Talsorian Games’ sprawling cyberpunk Night City with storytelling chops that made Geralt’s adventures in The Witcher so compelling for so many of us. It was all portrayed in first-person perspective, to really sell us on our protagonist V’s embodied relationship with the world around them.
But in a move typical for the cyberpunk genre, there was a stark difference between the hype and the actual thing. The game landed with a dull thud, the stark reality of which could be blamed on any number of factors called out by reviewers and players: plodding cyberpunk gameplay, the general emptiness of the world, and a lack of compelling narrative. Above all, it has a number of technical issues that quickly turn the Cyberpunk 2077 into a glitch meme generator and discover a rapidly evolving game created in depressing conditions. Numerous performance bugs led to its removal from the Sony PlayStation Store, and the following months saw a slow pace of fixes, additions, and improvements to the game's incremental CD updates - a comprehensive offering to keep pace with sales promises.
Now, 16 months ago, the most important question I've always been asked is, "Is Cyberpunk 2077 good now?" In February 2022, Project CD released a major patch, version 1.5, for Cyberpunk 2077. It includes a number of enhancements and fixes, some new content, and native support for the PlayStation 5 and Xbox Series X. Reading patch notes is a long time commitment, but the general is that the CD Project took over some aspects of almost every Cyberpunk 2077 gaming system, from combat artificial intelligence, through player statistics functions, to economics to the way it works in cars.
These big post-release swings are not unfamiliar to the developer, since it performed similar system and world overhauls with the second and third Witcher games. However, this is the first time that a single patch has had the weight of “fixing” an entire game on its back. It is a heavyweight, and I’d be lying if I said that having to evaluate how “fixed” the game does not weigh on me heavily as I booted the game up on Playstation 5 once it was re-launched back in February. In the weeks since I have leisurely played through Cyberpunk 2077 for the first time. My eyes are as fresh as they can be since I skipped the initial game to wait for the inevitable second swing. My verdict, put shortly if you’re looking for the soundbite: Cyberpunk 2077 is now a pretty good game. It will work. It happens in a world that everyone seems to be waiting for. People live their lives in the big Night City, and player character V is just a character caught in a testing process that gets a little higher in the hierarchy. You can easily wander from dirt roads to perfect suites with a megatower panorama, and various missions turn V like a needle through these political realities created in three-dimensional forms, just as any other cyberpunk media does (thank you, Fredric Jameson). Based on reading reviews on the original Cyberpunk 2077 and comparing my experience with completing the new Cyberpunk 2077 in the past, some days there seems to be a significant difference in intensity between before and after 1.5. When launched, CD Project looks like a coffin nail because the world is so big and just futuristic. What it fumbled was a sense of density, a feeling that this big world contained functioning people — other than the player character — going about their business. The game world lacked a sense of weight as if everything existed merely for the illusion of there being a city here rather than an evocation of a real metropolis, with shops and stalls and cyberpunk criminals and their entire network of economic relations. It is a strange marker of current video game culture that this is the thing that we most desire since by definition the entirety of a video game environment is a technical illusion to make a player feel important. The people on the sidewalk in any given game are not there to be full people. They are there to give context, and a certain aesthetic feeling, to a player speeding by them in a souped-up future car. If there is a key maneuver in patch 1.5, it is that these fantasies seem to be fulfilled. NPCs do not have much interaction with their surroundings and panic when the weapon starts to approach. They act "realistically" and, like most non-gaming content, like a quick leap forward from videos you may remember from the scary "see this shit" answers that address the brand's technical issues by 2020.
The fight is also very different from the first edition. As I walked through the combat zone, I played as a technically young infected enemy with charged hacks on her vital organs. It was quite clear to me how much my strategy differed from the others on offer, which gave me a sense of sharp tactics that worked on groups of enemies. When my more elegant skills don't work, I always go to my cyber enemies with a baseball bat.
The gunfight, which is always inevitable many times over, has more flavor in some weapon concepts, such as assault rifles with track bullets, than the sharp Far Cry, which was immediately promoted by Syndicate in 2012. Although there is a complete weapon upgrade system, with a large number of materials to collect and retrieve the content of the game is made so that the second, better weapon always drops such an enemy, which has no effect on the whole system. As a scavenger master who likes to play this way, I appreciate this as a great way to experience many types of weapons. I can imagine a more tactical player who finds it frustrating. One of the great hopes I and many others place in Cyberpunk 2077 are how he can approach storytelling in his sci-fi universe. Sorcerers have successfully built their basic cast of characters and placed them in positions where we can perceive them as three-dimensional people with thoughts, feelings, and complications that are rare, represented only in video games. The decision to create this cyberpunk game within the Cyberpunk brand identity means that this game can build on the deep history of this world created by Mike Pondsmith at the R. Talsorian Games Cyberpunk Institution for more than 30 years.
The promotional material of the CD Project makes it difficult for you to tell about Night City and its entire history, find V in this nest of relationships for players who receive the product. This world history and its players are what provide the context for the open world and its various zones and factions. It is important to understand that Night City has divided into a dozen different groups, each with its own wishes for the future and the traditions they keep alive. Instead, these groups provide a background where we can meet the main characters of the game, such as Johnny Silverhand, Panam Palmer, or the Arasaka corporate family. As a genre, cyberpunk is constantly examining who is limited by what, and novels like Bruce Sterling's Islands and William Gibson's Neuromancer act as part of the excitement of looking at their characters. they demolished the social, economic, and technical walls that founded them.
The mode here is (unsurprisingly) similar to The Witcher: The main character, V, is shaped so that the player interacts with other characters in various situations where difficult decisions have to be made. A terrible world of violence where the lights are bright and life is cheap. However, the character created the character V, and various backgrounds that can be V (such as Nomad or Corporate Puppet) give the Cyberpunk 2077 an even greater Mass Effect atmosphere. The other characters are heavily attracted, they have their own ways of searching, and when V enters their lane, they each change their lives in a tangible, glorious way. From a broader perspective, it works in Mass Effect mode, where my understanding of V allows me to make some decisions from their perspective, but in the nature of V "made by the player", something is missing. While Night City has a great cast of characters with their own history in the area, the reluctance to see V strongly in the area means it all washes me off as a player. When Geralt meets a new character or visits a new location in Sorcerer 3, he always knows a little about the context in which he is, and my job as a player is to guide him through and find out what I can do. V, who has no fixed history, runs from mission to mission and from place to place without much connection, only knowing what the quest giver says. For a specific place and time, many of the things I did in the game ended in a normal feeling. This is, frankly, astonishing to me. Even the design elements CD Projekt has deployed to check this dislocated feeling work in strange ways. I chose the Corporate background, which meant the game began with my firing from Arasaka corp, and I had some additional dialogue options whenever corporate politics became the focus. However, early in the game, that merely unlocked sarcastic or manipulative dialogue responses, allowing me to get deeper into a convo with my corporate-speak; by the end of the game, those same Corpo dialogue choices became almost entirely about obedience and pro-corporate approaches. This switch midstream of what a game mechanic does ultimately produces a situation where I could not make assumptions or assertions about V to give them a role-playing grounding on my own terms. This robbed many la
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