Hello Kindred,

We would like to share an update on the development and release window of Vampire: the Masquerade - Bloodlines 2.



As Marco explained in the video, Bloodlines 2 will not be ready for release in the first half of 2025.

Paradox Interactive and The Chinese Room are committed to delivering this game, and we believe that ensuring great technical quality is more important than sticking to a specific date.

The game is currently in a late development stage, and feedback from the community has been taken into account during this time. TCR is working hard on quality assurance to ensure it is stable and free of bugs that could disrupt the player experience.

Bloodlines 2 will launch in October 2025 when the game meets the technical quality standards that you, our fans, rightfully expect and deserve. Please stay tuned for the game’s exact launch date.

We want to ensure that the content we share with you is high-quality and showcases exciting game features. With this updated release timeline, we will pause our development diaries so that the team can concentrate on refining the game. However, we will still be available online for questions and comments, and we welcome everyone to join the Bloodlines 2 Discord.

Join the vamily
Official Site – https://www.paradoxinteractive.com/games/vampire-the-masquerade-bloodlines-2
Discord – http://discord.gg/bloodlines2
Paradox Forum – https://forum.paradoxplaza.com/forum/forums/vampire-the-masquerade-bloodlines-2.1039/
Facebook – https://www.facebook.com/VampireBloodlines
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In Dev Diary 17 we introduced you to the Anarchs, one of the enemy factions you will face. Tonight, we want to introduce another: the I.A.O.

The Information and Awareness Office spearheads the U.S. government's response to the Blankbody threat. While officially defunded, it operates on a large black budget that allows its hunters to face the undead under the guise of "training missions" and "counter-terrorist strikes”.


"Does your kind still feel protective over the young? Do you still feel at all?" 

Agent Baker is pragmatic and methodical. She leads the I.A.O. in its mission to investigate the Blankbody presence in Seattle. She doggedly follows up on any suspicious deaths or disappearances and re-examines historical events to achieve her goal: to understand the monsters that she hunts so their elimination can be absolute.

The agents under her command respect her and have given her a nickname, which she bears proudly: “Mother Hen.”



First and foremost the I.A.O. needed to represent a different type of enemy to those that the player would have already encountered in the game. As opposed to the rough and ready Anarch, I.A.O. are a highly trained paramilitary force hunting a very specific type of prey.

From their hard leather padded extremities or the glaring haze of the thermal weapons, we really wanted the I.A.O. to both look and feel like an adversarial force an elder vampire would think twice about before attacking.

I.A.O. are human and thus use technology and tactics to fight their foe, so it was important that we convey the range of enemies and the threat they pose to Phyre as visually and distinctly as possible. Ranged enemies have large, hooded ponchos framing their piercing eyes from range. The more up-front melee enemies have wide dynamic stances as they swing their thermal batons at you. The weapons are military grade so overall feel harder, heavier and built for a specific purpose. The I.A.O. may not have the perks of ghouls or vampires but they’re a formidable force, using technology to their advantage.
- Project Art Director Ben Matthews



In one of my favourite quests to work on, Phyre explores an I.A.O. stronghold on Harbor Island which is heavily guarded both inside and out by I.A.O. agents.

It’s one of the game’s largest and most expansive combat areas, providing multiple ways to navigate the environment, as well as allowing you to tackle objectives in whichever order you choose. The I.A.O. have set up thermal shielding to block certain routes - touching or going near the shields will damage you. You will need to search Harbor Island to find a way of shutting them down, opening up more areas to explore.

I.A.O. agents are more organized than the other enemies you would have faced by this stage of the game. They patrol the facility in groups making it harder to pick them off one-by-one, and their use of night-vision goggles, searchlights, and personal radios requires you to be more strategic if you want to take them out without being spotted.

If you engage the I.A.O. in combat head-on they will use more militaristic tactics with better accuracy and knowledge of their weapons, knowing where to shoot you for the most damage. They wear combat armor, allowing them to take more damage than other humans, but are still weak compared to ghouls and vampires. They make up for their mortal frailty with an arsenal of anti-vampire weapons, which are the strongest you will face in the game: Thermal Batons for close combat, which unlike other enemies will cause damage if you hit them when they are blocking your attacks; Phosphor Grenades which create pools of burning damage to flush you out of hiding spots; and Sniper Crossbows which fire explosive bolts causing lots of damage if you don’t remove them in time.

A favourite tactic of mine is to catch the phosphor grenades or explosive bolts mid-air and throw them back for maximum carnage. It's also a great quest for using a Ventrue’s Possession ability, getting an agent to attack one of their own and hearing the panicked screams of friendly fire!
- Senior Game Designer Martin Akehurst



The I.A.O. aren’t the only hunters to feature in Bloodlines 2. There is evidence that an ancient hunter is active on the streets of Seattle.

In the early years of the 20th Century, many Kindred met their Final Deaths at the hands of a hunter known only as Santiago. Multiple coteries were wiped out in San Francisco and New Orleans, their destruction attributed to this same relentless pursuer. At the site of each incident, an ornate metal memento in the shape of a sharpened cross was left behind. Crucifixes of this form are called the Cross of St. James - hence the name given to this hunter.

Speculation persists that Santiago, whoever they truly were, was a member of the Society of Leopold, one of the most ancient and feared factions of hunters of the supernatural. If that were true, Santiago would have seen themselves as a soldier of Christ, waging a holy war against the Damned.
- Project Narrative Director Ian Thomas

What makes a vampire distinct? What transforms them from “alluring nocturnal wizards” to memorable creatures of horror, monsters in all but looks? Tonight, we take a look at this element: the mortals.

The characters you are about to see are all caught up in Seattle’s vampire underworld in one way or another. Most are unaware, thinking their misfortune the result of bad luck rather than the interference of vampires. Such is the way of the Masquerade.

To achieve the stark contrasts essential to gothic horror fiction, the vampire must be viewed through the attraction, addiction, and terror they inspire. Every mortal is a lens through which the audience — and player — sees a sliver of the vampire as they appear to the living world.

They are the canvas on which the Kindred wield their bloody brush, for to be a vampire is to possess terrible powers, allowing one to use and abuse people as tools, food, and pleasure. (Of course, the ratio of these three also says something about a vampire’s moral nature.) Most of all, mortals elevate the vampire experience, providing the backdrop against which the undead stand in bloody relief.

After all, if everyone is a vampire, then no one is.
- World of Darkness Head of Creative Management, Karim Muammar


Description: In-game video compilation showing various places where you will meet mortals.

"I know that you are powerful. That you are artful. That you are dangerous. That you conceal a well of such pain, deep inside you. I share that pain too. I am so glad to be in your presence."

A girl calling herself Pandora stumbles into a bar in Seattle in velvet and eyeshadow knowing too much about the Kindred and yet knowing very little about life. Who is she really, who’s been feeding her information, and does she realise how close she is to death? It’s unlikely - she seems to have a bad case of main character syndrome.


Description: 3D render of Pandora.

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"A deep sleeper? A goddamn deep sleeper? It is eight o'clock at night and I've been standing out here for an hour! Well I am sorry to interrupt your me-time, but someone wants to kill me and no-one seems to care!"

Verona left her wealthy parents to come to Seattle to find a little excitement. Given the elegantly-calligraphed death-threat she just found in her purse after a night on the town, she has achieved her aim…


Description: 3D render of Verona.

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"Oh, hey there. I got your list, somewhere - check over by the pizza boxes? We brewed up a new batch of elixirs, but my guy took some and left me this neat cloudberry candle. You want a sniff?"

Dale is so laid back that he’s almost horizontal. He is certainly aware that Kindred society exists, but only in the same way that he’s aware that cleaning products exist, or personal hygiene. They’re out there, occasionally he crosses paths with them, but he wouldn’t call any of them close companions.


Description: 3D render of Dale.

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"Ma frien', life'sss a bowl o cherries. Schweet, sticky, full o' color, an... an... uh... Lemony, lemony moss..."

No-one knows what Mr. Lemon’s real name is, but that’s okay, because neither does he. He’s been in the SPD’s drunk-tank for a few days now and still hasn’t sobered up. He keeps muttering about citrus fruit and seems to think Seattle might be his mother.

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"Well now, my man, I can see the ghosts in your trail. Don't pay them no mind. You can always lay them down gentle. Just find your purpose."

There are a few people in Seattle who claim to sense the out-of-the-ordinary. Guru talks about seeing ghosts, but that doesn’t seem to disturb him. He’s usually to be found close to the rest of his biker friends near The Dutchman bar.


"You know how it is. When the call comes to you to help others, you see so many faces. They blur together for a time, and I guess, I guess, it all just got too much... I started to forget..."

Carla used to be a dedicated paramedic, but somewhere along the way something went wrong, and she parted ways with her employers. You’ll still found her out on the streets though, helping where she can, dispensing medicine that she must have got through less-than-legitimate means.


Description: 3D render of Carla.

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"Do you hear the city? It's waiting there for you. Become one with its heartbeat... sharing is the route to nirvana."

Reggie is a bum. He’s philosophical about it - he has his own view of the city, how the city functions, and where he can make a difference. He haunts Pioneer Square and usually has a good idea what’s going on in the nearby streets.

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"For a few bucks I can show you the heavens - one way or another."

Marigold is a familiar figure in the streets near Atrium - she's been plying her trade to passing johns for a long time now. Her side gig is prognostication through astrology. Whether her predictions are accurate, who knows? She believes with a whole heart.

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"The end is nigh, yet it is a gentle end that will carry us to rapture."

Shelby was a trader in a major financial organization until six months ago, when she was granted a Revelation. Now she walks the streets of uptown Seattle making sure everyone is aware of the coming Rapture. According to Shelby it is nothing to fear.


Description: 3D render of Shelby.

"I gotta wonder what craziness you're bringing into our station this time. Just do whatever you do, and I better not hear any... well, you know. Any. Just... don't."

Wheeler is a solid, dependable officer of Seattle’s Police Department. Although he does have problems with his memory, from time to time. And is aware that... everything isn’t quite as it should be. It’s probably best to focus on the things that he does understand, like desk duty, and not to think too hard about the rest.


Description: 3D render of Wheeler.
These are only some of the mortals you will encounter in the game. What you do with them is up to you. Whether you treat them with respect, contempt, or simply as the next meal, their lives may be irrevocably changed by the encounter. Some will never sleep easy again. Others will spend every night looking for you. And some — perhaps many — will face death, victims of Hunger, fury, or casual whim.

Hello Kindred,

Last time in Dev Diary 18 (“Building Our Seattle”), we walked through the streets of our Seattle, exploring its foundations and the world you’ll navigate. Tonight, we’re diving deeper into the city, its inhabitants, and the rules that keep everything in check. These rules—the Masquerade—aren’t just a suggestion; they’re the law. Break them, and you might find yourself on the wrong end of a court assassin’s stake.


Description: In-game video of when you break the Masquerade, the Scourge will stake you.

“Thou shall not reveal thy true nature to those not of the Blood. Doing such shall renounce thy claims of Blood.”

The first tradition is the only one universally respected, but also the one that is broken most often. A sloppy feeding with witnesses, a vulgar display of undead might, a confession to a beloved mortal. These things happen, but Kindred are expected to clean up after themselves, or there will be hell to pay. The crime-world code “snitches get stitches” doesn’t even begin to describe how seriously both the Camarilla and the Anarchs take the Masquerade. In the age of YouTube dares, clickbait, and fake news, a Masquerade breach is easily overlooked by the masses, but any transgression can end with a black ops team kicking in a haven door. Only the craziest of Cainite superiority fanatics dream of an age where they can rule openly; the rest have faced reality – the undead fare better as parasitic powers behind the throne than as great predators or infernal lords of human dominions.
-Vampire: The Masquerade - Core Rulebook (5th Edition)


Description: In-game video of as a Tremere, you get the passive perk of bodies dissolving.

In the World of Darkness, the Masquerade refers to the efforts made by Kindred to conceal their existence from humanity to ensure their survival. This secrecy is vital, as widespread knowledge of their existence would likely lead to a catastrophic response from humans, ultimately resulting in the destruction of Kindred society.

The Masquerade is enforced by the Camarilla, particularly in Seattle, under the authority of the Sheriff. Violations of the Masquerade, such as using supernatural abilities in public, are met with severe punishment, including exile or final death.

In Bloodlines 2, you must maintain the Masquerade. Failure to do so will result in a swift stake through your heart. To help monitor your actions, there is a Masquerade meter at the top of the screen, consisting of two key parts:

• The Eye Symbol: If the eye is open it indicates that someone is currently watching you. It is best to perform vampiric activities out of sight of human witnesses.
  
• The Bars Around the Eye: These bars fill up when you are caught committing acts that breach the Masquerade. The progression of the bars occurs in three stages:
  
• Upheld (Green): Minor infractions, such as being seen jumping abnormally high or running too fast. Avoid repeated minor breaches, or the meter will advance to the next stage.
  
• Caution (Orange): Triggered by excessive actions, such as feeding, using violent abilities, or accumulating too many minor infractions. At this point, humans become suspicious. If someone witnesses your crime, they may report it to the police. You can deal with the witness directly or avoid the police. Using an ability to make witnesses forget what they saw can be an effective strategy.
  
• Engaged/Broken (Red): At this stage, the police are actively pursuing you. You must break their line of sight immediately. If the meter fills completely, the Camarilla will take decisive action to end your activities swiftly and mercilessly.

Maintaining the Masquerade is critical for survival in Bloodlines 2. Stay vigilant and avoid unnecessary risks to ensure you remain under the radar.
-Project Design Director Jey Hicks


Description: In-game video showcasing the Masquerade meter through red, orange, and green phases.

As Sheriff, the Nomad has a duty to keep the peace, that includes stamping down on any outside attempt to breach the Masquerade.

With the Court's control of the city in jeopardy, other factions are starting to let the chaos bleed out from the alleyways and into the streets. The Police, under the thumb of the Camarilla, are a reactive force, not a preventative one, when it comes to kindred affairs.
From a gang causing trouble in a graveyard to an outright assault on one of the city's most public places, groups like the Anarch's can sense the rift among those in power and leap to action.

Throughout the journey of the Nomad, the risk of exposure grows and grows. We wanted quests that take place in the city to feature bursts of violence and disorder that require the Sheriff's undivided attention. Quick thinking will be required as much as discreet tactics. The Nomad must restore order, outright crush the enemies of the Court, and perhaps, find new allies.
-Junior Level Designer Jack Goddard


Description: In-game video of Phyre watching thin-blood NPCs fight police NPCs.

Hey, Bloodlines fans! Let’s talk about our Seattle. We’ve split it into five districts: Uptown, Downtown, Chinatown, Financial, and Industrial. Each one has its own vibe, quirks, and dangers. This city doesn’t sleep - and you’ll be hunting at its heart.

All districts connect into one seamless space. No unnecessary barriers in between them to break your immersion. You’re free to roam, stalk, and keep the Masquerade intact. From alleyways to rooftops, it’s your playground - or hunting ground. Just don’t let the locals catch you doing something “unsightly” unless you want to be hunted by the authorities.

Each district is distinct. Uptown and Financial have skyscrapers to trunk around while Downtown is packed tight and alive. Chinatown glows with lanterns and secrets. Industrial is raw, with warehouses and factories. These layouts shape your experience and strategy.


Description: An in-game screenshot of the map in Bloodlines 2 (without the game interface).

Key locations fit each district’s theme, from a shadowy pawn shop in Downtown to a bustling nightclub in Uptown. The deeper you get into the story, the more locations are revealed and open for you to explore, drawing you further into the city’s secrets. And yes, there are familiar Seattle landmarks too. But this isn’t your postcard city. It’s darker, tailored for vampires. Sorry, no Space Needle views - unless you’re looking for a long way down.

Seattle’s districts are more than a backdrop - they’re alive. Hunt recklessly, and you’ll feel the heat. Play it too safe, and you’ll miss what’s lurking. Balance is key in this city of shadows. See you out there.
-Lead Environment Artist Michael Genesis Asis

We’ve touched on feeding in the city before, but what does that actually mean? As Phyre, you’ll have plenty of opportunities to feed, but within the city, feeding expands into a broader set of options. Let’s explore them.

One of these options is social feeding. This differs significantly from feeding in the heat of combat - where the act is often aggressive, violent, and purely a means to an end. Social feeding, on the other hand, is more intimate. It’s an embrace rather than an attack. For me, it was important that social feeding felt distinct - not only because it’s generally more rewarding for Phyre, but because it requires the player to consider who they target, where they strike, and how they go about it. These feeds take longer, are more deliberate, and demand a careful approach.


Description: In-game video of an NPC being lured into an alley for a feed that breaks the Masquerade.

Since social feeding is both an embrace and a higher-reward action, we always kept in mind the need for strategy - stalking prey, setting up the right situations, and, most importantly, avoiding discovery. If a civilian catches you in the act, they will run to report you to the nearest police which will lead to conflict and combat, often resulting in a breach of the Masquerade which can quickly escalate into all out violence. I really like this risk and reward system that social feeding offers which you just don’t get from combat feeds.

Whilst there are many ways to manipulate the civilians of Seattle, conversation or raw intimidation to name a few I personally like to lean into my vampiric abilities to put civilians into a relaxed state where I can freely feed on them in a secluded alleyway - it's one of the perks of playing as a Ventrue.

Speaking of alleyways, the Seattle of Bloodlines 2 isn’t just a hunting ground - it’s a city rich with personality, distinct districts, and a diverse population. As you explore, you’ll come across different districts, each with its own unique feel, look, and feeding opportunities. Chinatown is bathed in neon light, bustling with nightlife, while the Financial District is a prime spot to find business professionals among the high-rises. The homeless can be found in most districts, but Downtown is home to entire encampments. Understanding where to find certain civilians can be key to mastering social feeding - after all, the tactics you use on bikers outside a bar will be very different from those you employ on shoppers in Uptown.
-Lead Game Designer Gavin Hood


Description: A community show by TCR that talks to the environment artists.


Description: Up-coming Dev Diary Image.

To see the Dev Diary complete with videos, please check out our website.

Hello Kindred,

It’s been about a year since we last talked about combat in Dev Diary 7, so the team have put this article together to give you a deeper dive into the things you can do as you go bump in the night.

When blades come out in BL2, unless you've taken extra care to isolate your prey, you're going to be outnumbered. While several discipline abilities can help you escape or swiftly resolve a fight, you'll need to do a bit of brawling when those options aren't available. Spacing is key - your basic attacks can make short work of individuals but are risky when you're getting sliced apart from all sides.

The basic attacks get used a lot, so during their development, I was keen to make time to give each clan their own set. Banu is sharp and fast, Ventrue firm and precise, Tremere has a bit more reach to let you maintain distance, and Brujah, well, punches stuff. It’s a small thing, but I found it really helped people get into the attitude and poise of their current clan.

Dashing is an ability Phyre can use regardless of clan and is critical for maintaining distance. It can even be used aggressively - dashing forwards into a strike right as it hits will break your opponent's guard and leave them open for a counterattack, though this is best suited for one-on-one situations.

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Kicks are another useful tool and are great for handling groups - done by attacking straight after a dash, you can pick which type you use with your movement direction. A big swinging roundhouse can stumble a large group but won't create much space - whereas a backkick can send a single enemy soaring away. Both you and your opponents will be able to resist attacks used repeatedly, so you'll want to mix things up a bit to stay on top.

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While kicks are great for getting opponents away from you, telekinesis is perfect for bringing them close. You can use it to yank a chosen target in for a follow-up or a feed, though consider that Kindred and their ghouls may be expecting this.

Telekinesis can also earn a quick kill when used to pull an unsuspecting enemy near the edge of a rooftop, causing them to fall to their death on the street below.

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Breakable objects, like bottles and ashtrays, can be grabbed using telekinesis and then thrown to create a noise, distracting enemies. If you really want to create a bang, pick up and throw an explosive, such as a gas tank – a good way to hurt several enemies at once.

Telekinesis can also be used to pick up weapons from the dead, from knives to sniper rifles. A goal of Phyre’s combat design was to be fast and fluid, so we incorporated the use of Telekinesis with weapon use to maintain speed and flow – you can kill one opponent, dump their gun’s magazine into a second, and toss it at a third to open them up for your next attack.

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This can be even more useful when used in tandem with discipline abilities. For example, Tremere's explosive blood curse can be triggered from a distance with a well-placed shot, and Brujah's taunt (when used with mass manipulation) can encourage a whole team of opponents to drop their weapons, allowing you to turn them on their owners.

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And, of course, the bigger they come, the harder they fall- When fighting enemies equipped with explosives, telekinesis can lead to an even more devastating turnabout.
- Senior Game Designer Max Bottomley

Our setting of Seattle features a large population of Thin-bloods: weaker vampires who use alchemy to create powerful “elixirs” that give access to the vampiric powers they otherwise could not. As you explore, you can find and collect these elixirs to give you an edge in combat or help level the playing field in a difficult boss encounter.

The four elixirs Phyre can use are:

• Mending Elixir – Instantly restores health, allowing you to avoid final death.
  
• Blood Elixir – Instantly restores blood pips for your abilities, great for continuing ability combo chains.
  
• Potence Elixir – Temporarily boosts your strength, increasing the damage caused by your attacks.
  
• Fortitude Elixir – Temporarily turns your skin to marble, reducing the damage you take from attacks.

Having recently started a playthrough to test out my favourite Clan Tremere, I’ve enjoyed the sense of space control a well-planned fight can give you. Starting out by placing Recall up high so that I can teleport away if it gets out of hand.

Later in the game, mixing Disciplines from different Clans can make fighting more powerful Kindred much easier. There are a lot of useful combinations that Ventrue’s Mass Manipulation can provide to manage many combatants at once. The effect of Banu Haqim’s Mute on a group can make sure the battle will go unnoticed by nearby enemies. And it’s not just your own powers but the environment that you’ll have to observe, helping you find tools that are left lying around.

Not all enemies will go down that easily, and I’m really excited for you all to learn how much trouble you’ll be in when you face off against your first Kindred foe. Their powers can quickly make well-planned fights go wrong if you’re knocked over and surrounded.

Using Cauldron of Blood to draw everyone to the screaming victim and then picking one of them to explode with Blood Curse can blast a lot of the crowd away before I even get close to the fighting. And when it does go wrong, as it always will eventually, a quick Blood Curse on the ghoul chasing you can serve as a very handy projectile if you kick them into the people behind them!

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Nobody’s invulnerable to an exploding gas bottle telekinetically thrown at their head, and they’re easier to aim at when you’ve locked them in place with Mass Manipulation. If everything else fails then you can just use Possession on a ghoul and make them jump somewhere nobody will notice them…
- Josh Mathews, TCR Community Manager

While difficulty settings are a standard feature for action RPGs, we thought we’d mention that they are included because we recognise our audience's varied preferences for challenges and strive to accommodate them with carefully designed difficulty settings.

For players primarily interested in narrative and exploration, Easy mode ensures a smooth experience by making combat encounters more manageable.

Normal mode represents the intended balance of the game, challenging players to adapt and use a mix of stealth, combat, abilities, and elixirs to succeed.

For those seeking a more formidable challenge, Hard mode delivers an Elder Vampire experience, demanding mastery of all your skills and strategies.


- Project Design Director Jey Hicks

Happy New Year, and welcome to a fresh and tasty Dev Diary from the team at The Chinese Room. We are starting the year by talking about the player character, Phyre, and how you can shape their legend and add to it as you play. As you’ll see below your story will start wearing rags, but will it end in riches? Seattle’s fate is in your hands.
- Project Creative Director Alex Skidmore


Description: Masculine and feminine side-by-side renders in the robes you start the game wearing.

As our game starts, an Elder that some call the Nomad wakes up in an abandoned building in Seattle. They don't know where they are or how they got there, but they are quick to adapt - the Nomad is old, and they have survived for a long time.

It is clear that they have experienced the deathlike sleep of torpor. The last they remember was a smile and a piercing pain in the chest, delivered in their Haven in Tunis at the start of the 20th century.

Now they are awake. What happened to them in their long slumber, and who woke them? Why does their Blood lack the strength and power they are used to? And why is their body carved with arcane sigils?

The Nomad is a legend amongst Kindred. Their name has been whispered for four hundred years - of their presence in revolutions, on battlefields, at slaughters, and at the fall of Princes. Are they escaping these situations, causing them, or taking joy in red wrath and ruin? Whatever the truth, they are a catalyst - when they appear, the world of the Kindred will be irrevocably changed.


Description: In-game screenshot of Safia recognising the Nomad.

The concept of the Nomad came when we were expanding early ideas of Phyre to make the most of an Elder's history in the world. There is a reason a vampire survives - and in the game our vampire is always on the front foot, leaving an indelible mark on Kindred society. That must have been true for the rest of Phyre's existence. So what might people in Seattle have heard?

In our story, different characters have different beliefs about the Nomad and their history. While these events may not have an immediate effect on the game world, they will affect how our protagonist is treated. We have deliberately left it up to the player to decide how Phyre treats these stories and their legend, and how much they tell other characters about their past - and indeed, which stories they tell.

How would a Prince behave if asked for a favor by the legendary and powerful Nomad, who is not yet caught up in local politics?
- Ian Thomas, Narrative Director


Description: In-game screenshot of Phyre’s mark glowing.

In Bloodlines 2, the matter of history takes a front seat. Our protagonist is centuries old, and while they may change things up to survive, adapt and keep pace with the march of time, they’ve nonetheless garnered something of a reputation. If a time-immune forensic detective were to inspect and compare the various crime scenes that are human history, they would no doubt find one set of fingerprints consistent. May you live in interesting times, etcetera etcetera. Playing an Elder was a bold choice; to move forward without leaning into the unique opportunities that provides for roleplay would be a missed opportunity.

In Narrative Design, we often find ourselves pulled between two ideals: providing agency and choice for players to make the story their own vs keeping the story feeling intentional, strong and tightly wound. The solution, then, is to establish what is immutable and, within that, carve out a more flexible play space. Ultimately, a good story is driven by characters being true to their psychology and either following that thread down towards tragedy, making the same mistakes over and over, or seizing upon the chance to challenge and change themselves.

That’s what makes a happy ending triumphant: a character’s ability to sacrifice what they have desired and strained towards for so long, to defy the never-ending hunger of old, painful wounds for a chance at long-lasting healing. It’s what makes a tragic ending tug at our hearts: we see clearly what the character needs, and we see them turn away from it one too many times, too consumed by their pain to do the hard thing, give up their coping mechanisms and save themselves. What I’m getting at is that history, for us, is not merely superficial or textural. Sure, the Nomad’s been around a while, and sure we want to give you folks the chance to say what they did with that time. But as far as storytelling tools go, that doesn’t give us much and, as Narrative Designers, we need tools that will allow us to chisel out those big, emotional moments. So more important than the ‘what’ is the ‘why’. The play space.


Description: In-game screenshot of Lou meeting the Nomad for the first time.

In this case, we know the Nomad has moved around. We know they are notorious. But the questions that fuel and texture those facts are still up for grabs: You say this Nomad has moved around, so what drove their movement? Were they fleeing something, chasing something, or merely making the most of a long eternity? Where did they go, what did they do there? And what can we surmise about the Nomad’s psyche as a result of these decisions? Are they paranoid, curious, ambitious? What kind of arc does that suggest which might allow us to play with the framing of what they will encounter, to give the impression of those personal trials?

You will have the option to tailor the Nomad’s legacy at various points peppered throughout the game. Importantly, we have chosen not to do this up-front in the style of Bloodlines 1, because this history is a choice as much as any other in the game, and a choice is most effective once you know the stakes. It should make you umm and ahh, maybe even agonise a little: What will happen to X if I choose Y? As such, it was important to us to have these choices occur once play has already begun, once you have started to feel your way around Seattle and its various dangers. These will come in waves — some ‘golden path’, others optional (for instance, if you choose to spend more time with and open up to certain characters) — each tackling a different aspect of your legacy which, tapestried together, suggest a more bespoke story.

The first thing we establish is the theme. Who does the Nomad say they are? A legendary warrior? A curious traveler? Or a desperate survivor, fleeing disaster to disaster to avoid their foes? Once this is chosen, we branch out into further options — each unique to that choice — which both refine roleplay and drill further into that initial theme with your motivation. These sub-choices layer in more texture, allowing your mind to play it all out like a movie and start filling in the details. Later, you’ll have other opportunities to further fill out this narrative, even (if you wish) touching on details that preceded or even caused your embrace. As a personal note, the research that went into fleshing out these options and bedding them into interesting (but no less real) history was a veritable warren of rabbit holes — too many, even. Many, many darlings suffered their final death in the making of this game (may they rest in peace). Even so, nerding out with this stuff was a complete joy.


Description: In-game screenshot of Phyre and Fabian discussing the Legend of the Nomad.

These choices, once made, are not lost to forgotten metadata. Many will have direct nods or follow-ups, sometimes much further down the line. For instance, here’s a line from Lou that directly references a choice made during an earlier conversation with Fabien, showing how talk of the Nomad’s deeds have spread:

LOU: You'll have to tell me some time how you escaped Madame Guillotine and her... cutting tongue.

Others feed more subtly into the narrative, affecting the framing of why you might choose something to make it fall in line with your chosen psychology and resulting arc…

PHYRE: Katsumi is being pushed into a corner and must fight merely to exist. I know the feeling well.

VS

PHYRE: Merely holding where you stand is not enough. You need to gain ground.

VS

PHYRE: Were I in her shoes, I would leave this place. The world has more to offer than a dingy bar in a city that hates you.

…or else affecting how others perceive your motives based on what they can surmise from your legacy, branching their reactions to your choices:

MYSTERY CHARACTER: The Black Hand locked you behind iron doors under Paris, and you only escaped the blade by crawling through sewage. You are no mere survivor. You are the plague rat, the harbinger of wretched misery.

Others still will crop up more concretely in the game world. But now I run the risk of getting ahead of myself, so I’ll wrap things up here. After all, it’s always better to leave a few things unsaid, a little to the imagination…
- Senior Narrative Designer and Writer Sarah Longthorne


Description: In-game screenshot of Safia discussing the Legend of the Nomad.


Description: Test storyboard for the art style by Senior Concept Artist, Jordan Grimmer

Because they begin and end your experience, our intro and ending sequences needed a unique and recognizable look. The True Detective opening titles were a big inspiration and so we blended atmospheric images of Seattle with unique and recognisable shapes from the game.

Our narrative team led by Ian Thomas ideated all the possible Bloodlines 2 endings. There are almost 40 images for all the different ending options in the game. To help, they made a map of all the endings so we could see how they connected, and the concept team used it to create a series of storyboards and select the right images for each ending shot. We had to pick where the endings overlapped in location, event or character to make the parts efficiently.

Some of our shots needed to be flexible enough so we could, for example, swap characters but keep the same environment if different endings were happening in the same place. The cutscenes you’ll see are built from combinations of a few images from those created.


Description: Concept Art of the transitional scenes by Senior Concept Artist, Jordan Grimmer

To visualize how to transition between two images and how a static image could be animated, we made some tests and used them as a proof of concept to scope the work that needed to be done for the ending cinematics.

Ben Matthews, Associate Art Director, directed our concept team to create transitions that were like blood undulating and curling through water. All the images are wreathed in soft lighting, so they melt together beautifully with these animations.

As we’ve mentioned, the art direction set its roots in Neo-Noir and the intro and outros are also designed with this light and dark contrast in mind. To give Bloodlines 2 a unique look, we wanted to use red and black combined with blood animations overlaid to add secondary movement and drench the city in blood. Each individual image should be evocative, and this is why our shots aren’t too literal.

We wanted to leave something to the player’s imagination and together with the voiceover it results in an ending cinematic personal to each player, based on their choices in game.

Creating the ending shots towards the end of production gave us the chance to have access to a vast library of assets from the game. We took advantage of this assembling the ending scenes using the character models and props.

Once the shot was approved our concept artists had to separate each layer in a way that the animators could easily create a parallax effect to bring the shot to life. For example, in the images with a main character plus an environment, the scene happens inside the main character shape, like illustrated in the scheme below.


Description Cinematics making methods

To draw your attention to the focal points we leant on balancing lights and darks which was important to make the message of each image stand out. Then to give it more life we added secondary motion with snow, blinking lights, or smoke.

Motion graphic animation has been done by our studio partner Atomhawk Design Ltd. who worked closely with our Art Department. The concept team provided them with layered images and Atomhawk have animated and timed each shot in sync with voice-over.


Description: In-game video from the intro scene.

To avoid any spoilers, we are not showing too much from the ending cinematics but safe to say you’ll see the faces and places you’ll come to know well. Now it’s up to you to complete Bloodlines 2 and unlock them!
- Michele Nucera, Lead Concept Artist

As we know that you are all hungry for more information regarding the customisation options that will be available in the game, we want to leave you with a confirmation of what will be available to you. You will be able to change Phyre’s gender, hair style, hair colour and outfit. We’ll share more in-depth information about this when we are ready, but to tide you over until then here is a sneak peek!


Description: In-game UI of hair selection.

Hello everybody, today we return with another audio-focused Dev Diary. We’ll be talking about sound design and implementation, with a specific view on the less obvious aspects that go into this. Our hearing is sometimes described as our ‘shadow sense’ – sound and listening by and large affect and work at the subconscious level. Our ears are never turned off; even when we are asleep, our ears and brains continue processing sounds. For sound design, this means that a lot of our work is designed to be subtle and go unnoticed.

So in this Dev Diary, us at The Chinese Room’s audio team want to explain the processes and thinking that go into designing sounds and audio systems that one might take for granted: environmental audio, UI sound design, player traversal, combat and the mix process. These all contribute to making the world of Bloodlines 2 feel alive and believable. There is a lot of craft and passion that goes into getting even the smallest of details just right, so I’m proud to let some of the audio team members have the opportunity to show and discuss their work in progress.
-Audio Director Daan Hendriks



Here's a short video demo to show off some of the techniques and processes we used when designing the combat sounds and how we used some of the V:tM lore to inform our creative sound design work.
-Sound Designer Marcus Bagshawe

Numerous systems have been developed for the game’s urban area, set in Seattle, that enable audio to create an adaptive yet cohesive soundscape. Many of these are designed to go unnoticed, yet there’s a lot to show underneath the bonnet, so let’s discuss some of these systems here.

Because the game is set in Seattle with its many streets, buildings, alleyways and rooftops, the soundscape needs to be appropriate in every location. To assist with this, we detect the size of the environment around the player at any given time. This is done by firing out traces from the player position and detecting the surrounding geometry, as seen in the below image (Green lines are the traces and the large green blocks are the geometry).


Description: One of our system set-ups in Unreal Engine.

We combine this information along with other variables to help us control what audio is heard in any given location. Gusts change from blustery rooftops to whistling alleyways. Street activity such as pedestrians and distant vehicles change to trash rattling through the backstreets. Reverb changes from close early reflections to a wider slap-back in bigger streets.  

All of this is complemented by positional emitters such as trees creaking, buzzing electrical units, city aircon and human activity bleeding from building windows. Using Unreal's Mass framework we are able to efficiently process thousands of potential sonic sources allowing us to create a rich ambience.  

Here’s a video I captured exploring a small section of the city, demonstrating some of what was discussed above. Please be aware that this is still a work in progress. 
 


We want the city to not only be dynamic, but also reactive. As you move around the urban environments, the objects around you react to the cold winds of the Seattle winter. Fences, trees and even small things like trash bags and bicycles will react to gusts and bring that extra touch of reality to the world.

This means the ambient audio should respond convincingly to stimuli either driven by the player or from the environment. We achieved this by building a system of drivers and reactions. Sorry, this will now get a bit technical, but such is the job! We perform an overlap check to find what static meshes are around the listener at any given time. Audio components are then moved to these locations and if they are tagged to react to a driver, their audio will play based on how loud the driver is.  

For this to work optimally, we limit the amount of audio component available and prioritise where these components will be based on proximity to the player. As an example, below you can see the sphere around the player that is checking for meshes. The green and blue spheres represent the meshes found - green have audio components and blue do not. 


Description: Here’s how the debug tools for this system look like in Unreal Engine.

Traversing the city should be a satisfying experience whether on the streets or rooftops. A big part of this is ensuring that the environmental materials always sound appropriate in whatever way you choose to move around. 
 
This was achieved in multiple ways: 

• Material Switching - Whether it’s the player’s feet or hands, we detect what material it hits and change the sound accordingly.   
  
• Snow Build-Up – This is applied to objects in the world such as cars and bus shelters that have been covered in snow. We introduce appropriate snow sounds on top of the underlying material. 
  
• Runtime Virtual Texture (RVT) - Covering the entire map, this texture allows footstep sounds to adjust depending on the level of snow, ice, and slush in the roads and alleyways. Our audio programmer intelligently compressed the resolution of this texture for optimal performance.  
  
• Decals – Sometimes you’ll find puddles of blood and other ground cover like leaves and trash. We do an addition check for these and layer sounds on top of the base material, so you get, for instance, a nice blend of a concrete floor and ‘walking on leaves’ footstep sounds. 
  
• Water and Wetness – Detected in a similar way to decals, except the play will remain wet for a set amount of time after leaving water for some nice soggy shoe sounds. 
  
• Slopes – To support variation in elevation we cache the player’s height and check whether they are moving up or down. This then adjusts the pitch and footstep sound type. 

There is even more to the player traversal audio than mentioned above, such as the different sounds for Phyre’s outfits, or the audio design for vampiric traversal abilities - but we’ll leave that for another time.





Being hundreds of years old, Phyre has seen cities change as people live and die, and knows that rooftops are a great place to avoid breaking the masquerade (and sometimes take in a vista). Having acute vampiric senses, we wanted the player to be able to tune into the city’s past and present, in a hyperreal way.  To do so we detect whether the player has been sat still over a certain time and above a certain height. We then subtly attenuate the diegetic audio and gently introduce more designed ethereal sounds. 


Description: In-game image of the city that will provide a rich auditory experience

Our Seattle is comprised of many other elements that complete its full soundscape, but hopefully this will give you something to listen out for that you otherwise might not have. Thanks for your interest!
-Sound Designer Mike Lane, Senior Audio Programmer Joe White and Lead Sound Designer Tessa Verplancke.

In Bloodlines 2, the UI audio serves as an extension of each player character, reflecting not only their distinct personalities, but the essence of their eras and supernatural depths. For our protagonist Phyre, the UI sounds evoke her origins, weaving in period-specific instruments and relics. This is a representation of their specific mind and thoughts, it also keeps that more fantastical energy of the vampire in mind.
-Lead Sound Designer Tessa Verplancke

In the final stages of game development, one of the most challenging aspects for the audio team is bringing the mix together. The diversity of narrative and gameplay contexts means we need to go through the game meticulously, room by room, encounter by encounter, ensuring each moment elevates the player experience. The precision is key - we have to zoom in and work with exacting detail.

At times, this means bending the rules to amplify the moment. The game’s acoustic model might suggest, for instance, that you shouldn’t be able to hear an NPC through two doors and a window - but if it feels right to hear them, we’ll definitely make that exception for the sake of immersion.

One of our core pillars for the audio experience is contrast, and it plays a vital role in mixing. For gameplay, this means highlighting the difference in feel between the raw intensity of combat and the fluidity of vampiric traversal. Audio helps ground you when it counts, or lets you feel light, stealthy, and almost ethereal when you’re on the move. For instance, we cut low-end frequencies from player foley sounds during agile movements, adding a low, ominous ‘whoosh’ as you close in on a target - reinforcing the sensation of a predator honing in for the kill.

Combat mixing is especially tricky; we aim for impact without overwhelming players with repetitive, sharp sounds. To balance this, we use priority mixing within combat audio. High-priority sounds like player punches or hits lower the presence of background sounds like footsteps or foley, while firearms are mixed at an even higher tier for clarity - essential information for survival.

We always mix with surround and LFE content in mind as we never want players to be disappointed when they plug our game into their swanky 7.1 home cinema setup. We even use deliberate surround mixing to accentuate some of the core narrative components in our title. For example, we position Phyre's first-person speaking voice very differently to where Fabien's voice plays from in your head, which certainly adds to the immersion. So yeah, there’s a lot that goes into all of it, we hope you enjoy all the layers!
- Lead Sound Designer Dom Parker

For me, Ambient and Narrative Audio Design is a way to breathe a haunting, layered life into the world - a craft I’ve especially relished in Bloodlines 2. Through audio, we can lend depth to the environments that other departments have painstakingly crafted, imbuing each location with that sense of story, history, and character that oozes through the game.

Our approach allows us to amplify the narrative tone through soundscapes that subtly guide the player’s emotions. When we want the player to feel truly alone, we pull back elements from the soundscape, creating an eerie sense of emptiness that heightens their isolation. Or does the player need to feel more tense and on edge, we can then add in more obscure elements that contrast with what would normally be an ordinary ambience.

Through narrative audio design, we can also shape how players perceive their own presence within the environment. Do they feel like unseen observers, or do they sense they could be spotted at any moment? Do we want them to feel more secure in the area they are in and that they are able to blend in?

One way I’ve been looking at creating this are ways in which we push and pull the players focus of the ambient sounds, pulling sounds closer and playing back audio that sounds close up, draws attention to the player immediate position and actions, whereas playing more distant sounds bring focus onto the wider area, could allow the player to feel like they can blend in more.

I’m truly looking forward to seeing how players respond to our audio design, and how these crafted sounds shape their experience in the world of Bloodlines.
-Senior Sound Designer Lewis Bean





Description: An illustration of the complexity of filling an environment with sonic detail.

And with that, the Dev Diaries will take a holiday break and return on the 15th of January next year. We look forward to the new year, and can’t wait to show you everything we have planned for 2025. This includes showing off how you can customise Phyre, more information about the weapons system, the planned DLCs and most importantly: the release! From us at Paradox and TCR we wish you all a pleasant holiday season, full of food and fangs!

Kindred, welcome to another Dev Diary where we hear from the team at The Chinese Room (TCR) and learn about the development of Vampire: The Masquerade - Bloodlines 2. Tonight, we’re joined by Audio Director Daan Hendriks, who lifts the veil on TCR’s approach to music for this game and introduces the composers behind the key scores for the game.

We are excited to announce that the exceptionally talented Craig Stuart Garfinkle and the internationally renowned Eímear Noone are joining the team for Bloodlines 2 as lead composers. In addition, fans can look forward to the inclusion of music created by the legendary Rik Schaffer, known for his contributions to the first Bloodlines game!

The core of any TCR game always revolves around narrative: the story and its characters. Across all disciplines, our focus is to serve the narrative as well as we can. Music is of course a very powerful tool for this, as it can provide subtext and unspoken meaning in a way that no other artform can.



A key aspect of the music direction has therefore always been to develop strong, memorable themes for the main characters in Bloodlines 2. These themes are interwoven throughout the game, sometimes directly in a scene involving their character and other times indirectly, perhaps when we want to subtly hint about deeper, unrevealed narrative entanglements.

Another important aspect of the musical direction has been to develop a style that fits our game. There are numerous considerations that informed this: the diverse cast of characters you meet, the noir-inspired art style, the motivations of the player character, Phyre, the pace and violence of the combat encounters and of course, the rich musical heritage from the original Bloodlines game, released in 2004.

We looked for the score to invoke a sense of timelessness, a sensation of age and melancholy. We also wanted the music to express a strong sense of contrast, of opposing extremes, and to be a vital part of the game’s narrative, adding depth to the moody, nocturnal atmosphere.

The original Bloodlines had a captivating and immersive feel, as well as a strong musical identity, which of course, served us well as a point of reference and inspiration. So did the music written for Hardsuit Labs’s version of Bloodlines 2 – more on that later. References also came from many other places, such as OST’s from films like Only Lovers Left Alive, Under the Skin, or the Coen brothers’ oeuvre, as well as jazz and choral music such as Gregorian chanting.

Through their extreme versatility and sheer tour-the-force of musical capability, our lead composers Craig Stuart Garfinkle and Eímear Noone have molded all these influences into a stunning and expressive soundtrack that perfectly encapsulates the mood and themes of the story being told in Bloodlines 2. The styles range from distorted guitar feedback, haunting, ambient soundscapes, driving, heaving combat music to strikingly beautiful melodic, wistful and gloomy themes. They have made extensive use of creative processing and unconventional techniques, and the results are outstanding. I can’t wait for you to hear it all in-game, but for now, over to them to tell you more about their process.
-Daan Hendriks, Audio Director (TCR)

Working on the music for Vampire: The Masquerade – Bloodlines 2 has been an incredibly rewarding journey, full of opportunities to experiment with sounds, styles, and instruments. Bloodlines 2 combines the modern urban environment of Seattle with characters that are centuries old, layered with the mystery, horror, and allure that makes the vampire lore so captivating. Crafting a score for this unique world has allowed us to explore everything from film noir to Eastern European influences.

One of the most exciting aspects of working with video game music is the freedom to experiment with rich, dramatic compositions that might not fit in other forms of media. Unlike other music forms, which are often limited by time or structure, video game scores allow for expansive, thematic soundscapes that evolve as the player moves through the story. For Bloodlines 2, this freedom has been crucial. We are both supporting an engaging narrative and adding an extra depth to each character, many of whom often are many decades old, mysterious, seductive, and dangerous



In creating the soundscape for Bloodlines 2, we wanted to balance the old with the new. The game takes place in a contemporary setting, yet the characters, vampires with decades of history, carry the weight of their respective eras. To embody this, for us, it meant combining the harmonic and instrumental qualities of film noir with the gritty, raw, and often darkly seductive tones that vampires embody.

The main approach for the music in Bloodlines 2 has been the organic nature we went with for the score. We ended up relying a lot on manipulated guitars and cello throughout. While listening, remember that even things that might sound like a synth or electronic instruments are often not; it’s a guitar or cello. Rather than using electronics, we used natural instruments in unusual ways so they were not identifiable.

These manipulated instruments provide an unsettling quality that fits the game’s atmosphere, close to reality but always slightly distorted, like looking through a fractured lens.

We turned to film noir for its atmospheric harmonic language and also for its instrumentation. Guitar, strings, and dark piano melodies frequently evoke a classic, brooding feel suitable for characters such as these with long and twisted pasts. But vampires aren’t just elegant or tragic; they are also raw, primal, and predatory. To capture this, we infused guttural, primitive sounds into the score. Deep percussion, drones, and dark-sounding elements mimic the underlying danger that lurks beneath the surface, reminding the player that these beings are elegant yet eternally tied to something visceral and untamed.

We had the opportunity to incorporate a unique element for one particular quest. In this sequence, an old Victrola plays a traditional aria, serving as both a plot device and a hauntingly beautiful soundtrack. Writing an aria for this was really exciting as it’s something you don’t normally get to do in video game music. We worked with one of Ireland’s top sopranos, Celine Byrne, to create this piece, blending operatic tradition with the game’s dark, modern tone. This aria stands out as a significant musical moment within the score but also serves as a narrative clue, weaving music directly into the storytelling.

Each character in Bloodlines 2 has their own personality and backstory, which influences the music we created for them. For characters with roots in the Balkan/Anatole area, like Phyre, we drew from Middle Eastern scales and harmonies, introducing sounds and modes that might be unfamiliar to Western listeners but evoke an ancient and dark allure. We even had our cellist Adrian Mantu imitate the way traditional instrumentalists would perform on the Balkan fiddle. That's the source of the harmonics and Ponticello accents.



Another example is what we did for a certain enemy type Phyre encounters in the game. To give them a distinct sonic identity, we recorded the sounds of shovels being banged at different pitches, creating unique percussive instruments. This method allowed us to craft a truly raw, organic feel that resonates with our soundscape through the score. The result is a haunting, metallic rhythm that’s both unsettling and compelling. These recordings became one of the musical identities of the entire score because they were so unique and effective.



One of the recurring themes in Bloodlines 2 is the seductive danger vampires present. To express this in the score, we relied on slow, sensual rhythms and minor tonalities that evoke a sense of allure and mystery. Vampires in Bloodlines 2 are not just terrifying monsters; they possess a fluidity and sexuality that make them both attractive and dangerous.

The use of the human voice has been an essential component in creating this seductive quality. We used vocals to add a deep and atmospheric texture. The voice becomes a living instrument. Resonating with the subtle intimacy that is intrinsic to the vampire’s allure. Close, personal, and yet ultimately dangerous. The human voice as an element also adds to the organic nature of the score.

Bloodlines has a dedicated fanbase, and with that comes an expectation of continuity, a desire for the familiar alongside the new. As composers, this was both an opportunity and a challenge. We wanted to respect the original while expanding on its themes and introducing fresh elements that would suit the story of Bloodlines 2.

The original Bloodlines score had a distinct sound that many fans hold dear, so in Bloodlines 2, we leaned into some of those established atmospheric qualities, like the dark, moody overtones and the sense of lurking danger. However, we avoided directly replicating any of the old themes. Instead, we focused on the underlying tone that made Bloodlines unique, incorporating noir-inspired elements while introducing a more organic approach.



Building the world of Bloodlines 2 required a different approach from the fantasy games we’ve previously worked on, which were set in worlds so different from the real world. Fantasy worlds often call for sweeping orchestras and epic, thematic compositions. But Bloodlines 2 demanded a more intimate and introspective score, reflecting a world that is urban, gritty, and inhabited by beings who lurk in the shadows of the modern world.

This smaller, more focused soundscape draws the player into the dark underworld of the game’s setting. We focused on subtle, atmospheric cues that complement the game's environmental storytelling. The choice to use organic sounds allowed us to build a sense of a place that feels real and present. Even within this stripped-down approach, the characters’ ancient history and their modern urban surroundings of Seattle create a nuanced soundscape that pulls the player deeper into Bloodlines 2’s world.



Creating the music for Bloodlines 2 has been a journey of blending the old with the new, the organic with the manipulated, and the seductive with the terrifying. This project has allowed us to explore unconventional sounds and shape a soundscape that complements the game’s dark, complex world.

We hope that, as players move through the game, they feel the depth and intricacies that we’ve tried to instill in the music. Each note, each beat, and each sound is crafted to bring them closer to the characters, the setting, and the mystery that lies at the heart of Bloodlines 2. Whether it’s the metallic clang of a shovel, the eerie call of a manipulated cello, or the haunting strains of a Victrola aria, every piece of music is designed to resonate with the world and the stories of Bloodlines 2.
-Eímear Noone & Craig Stuart Garfinkle

Multiple music system functions have been implemented for Bloodlines 2, enabling us to present the compositions in an immersive and adaptive way. From narrative quest progression to non-linear exploration, combat encounters of varying intensities, cutscenes, conversations, UI and diegetic score, it all needs to be dynamic and transition smoothly between each other. The challenge has been presenting all of this in an immersive way so that the player doesn’t notice the complexities of the systems that drive it.

A lot of the heavy lifting is done in our game engine, Unreal Engine, providing our audio implementation middleware Wwise the appropriate variables to utilise its music hierarchy effectively. We can go into two examples here: combat and dietetic:

Combat encounters are divided into four primary states:

1. Exploration (Enemies are above a minimum proximity variable)
   
2. Stealth (Enemies are within the minimum proximity)
   
3. Investigate (Enemies have received a stimulus and are looking for the player)
   
4. Combat (They have found you!)

Each of the above states has additional variables driving them. We track the number of enemies unaware, aware and in active combat, the proximity from the player and the threat level that the player is under. Threat level is comprised of various factors such as enemies' attack power, maximum health, blood reserve and player health. All of these feed into the system allowing us to raise and lower stems and transition between cues according to the action in game.

Player abilities also come into play with this system, transitioning and ducking depending on the ability performed.



There are several locations in the game where music plays diegetically, including the Glacier hotel lobby, the Makom Bar and the Atrium nightclub. Each of these pose a different spatialisation challenge with differing rooms, corridors, doors and windows. The system has been implemented to ensure that the music fades in naturally as you approach, diffracts around corners, and is occluded by any barriers as it would be in real life.



Description: Visual examples of the diegetic system.

In order to achieve this we get the location that we want the music to emit from and use it to drive the panning position and volume. Said location is handled via splines that project the position a variable distance ahead or behind the player, which then controls panning, distance and stereo spread. High frequencies fall off as distance increases as you would expect, with additional occlusion at specified spline points as well as functions for doors opening and closing.
The screenshots above show an example corridor spline where the music position will follow ahead of the player, as well as the pink debug spheres where the music position will end up when entering the main room.
-Mike Lane, Sound Designer (TCR)

As many of you may already know, the development journey of Bloodlines 2 has been through significant changes, initially in the hands of Hardsuit Labs (HSL) before transitioning to The Chinese Room (TCR). This shift presented a unique opportunity, as it left us with an extraordinary collection of music crafted by Rik Schaffer, the original composer behind Bloodlines 1. Rik had been contracted by Paradox & HSL to compose for Bloodlines 2, and the result was a rich library of musical pieces that had yet to find their place in the new direction of the project.

Throughout the development process, it became clear that this music was not just a source of inspiration; it had the potential to enhance the game’s atmosphere in a profound way. As Craig and Eímear began to shape the soundscape for TCR's rendition of Bloodlines 2, we actively sought opportunities to weave Rik Schaffer’s compositions into the fabric of the game.

Now, we are thrilled to share that these stunning pieces have been integrated into various segments of the gameplay. Players will experience them during intense combat encounters, poignant narrative moments, and as they explore key locations within the game world. We believe that this addition not only enriches the gaming experience but also beautifully complements the exceptional original score that Eímear and Craig have meticulously crafted. The culmination of these musical elements elevates the overall quality of Bloodlines 2, providing an even deeper and more immersive experience for players.

Welcome, Kindred, to our latest Bloodlines 2 Dev Diary from the team at The Chinese Room.  Tonight’s diary is about the different outfits you can collect and wear. A vampire’s clothing is an important tool in their hunting arsenal: do you wish to blend in unnoticed, lure your victims with your beauty, or intimidate others into submission? What you wear sets a first impression so choose your dinner attire wisely.
- Project Creative Director Alex Skidmore



The visual identity of each clan has been displayed in countless vivid images, and it was crucial for us to capture this in the clan outfits. At a glance, each outfit should convey the essence of its clan - whether it's the refined opulence of the Ventrue or the sinister threat of the Banu Haqim. We worked meticulously to compartmentalise and distill these visual styles to their purest form, ensuring players truly feel they are embodying their chosen role.
- Associate Art Director Ben Matthews


Character renders of the 4 base clans.

While coming up with ideas for each clan’s costumes, we had so much flavour to draw from. Making sure to incorporate their history, subcultures and preferred activities gave us opportunities to explore different shapes and details that fit the clan style.

Brujah are rough and ready. They need hard-wearing materials that reflect their rebellious nature. Denim, leather and band T-shirts blend into Punk and rock bars. We added details like rips, anarchic logos and badges to show the Brujah’s anti-establishment streak.

Tremere’s history as mortal mages, and their use of arcane powers, inspired us a lot when designing this clan. The outfits reflect a more antiquated time, while also incorporating modern elements. We considered how practical they were to wear while using powerful ranged attacks, so the arms are less restricted for those large, magical gestures. Red was, of course, the first choice for accent colours in clothing and jewels, as the Tremere can control blood.

We wanted Banu Haqim to be a modern take on stealth-style clothes. Sticking to the shadows, finding ways to conceal your identity. Being able to move freely and silently through the environment unencumbered by jingling jewelry or heavy armour. They can also use Celerity, so we used accessories such as scarves, hoods, and pieces that add a sense of movement to their actions while hiding their face.

Ventrue are defined by their wealth and status so each version reflects a different kind of upper social class and culture. They wear fashion that is more about showing who they are to people rather than pieces ready for combat. To this end we used colours and styles that are opulent, almost regal. Every detail is there to show they’re ready for business or to show off their expensive jewelry.
- Senior Concept Artist, Jordan Grimmer and Lead Concept Artist, Michele Nucera


Concept art by Michele Nucera. One outfit from each clan.

Creating the outfits for Vampire: The Masquerade - Bloodlines 2 is more than just a matter of fashion - you have to think about the character's usability, animation and so on. We started with setting a benchmark costume; in our case, this was "Tremere 03," which served as the initial guide for clothing fit and design direction before even having the masculine Phyre model ready. This outfit became the foundation for future costumes, helping our team understand how different clothing types would fit and move.

From long coats to tight, sleek outfits, our goal is to offer players a variety of styles to suit their tastes. Concept art is just the beginning; we evolve these designs into something that not only looks good in cutscenes and fighting but also considers animation and practicality. Textures are given an "uplift" as they transition from 2D concept to 3D model, adding depth and realism.

Each clan has its own unique flair - for instance, "Ventrue 04" stands out as a favourite, while "Banu Haqim 02" features this great hood. Many of the costumes feature dramatic elements, like big collars or materials that add visual complexity - leather, fur, denim, silk, and cashmere. We think all these through with great importance. For instance, these outfits need to be functional for vampires running up buildings! And even though vampires rarely feel cold, we don’t want them breaking the Masquerade.
- Principal Character Artist Tim Turner



3D-rendering of outfits.

For the different outfits for our Protagonist, we took into account the different reactions from players and the effect the player might have on the passers-by.

Each outfit is curated not only to the clothing they are wearing but the foley (clothes and shoes) are mixed for the clan that said outfit is attributed to. Creating a more stealth-like feeling or the aggressive presence that one might expect between Banu Haqim vs Brujah.
- Lead Audio Designer Tessa Verplancke



As you play through the game, you’ll gain access to a wide variety of outfits. These outfits not only allow you to set the fantasy you might want to play as but also have an effect on the inhabitants of Seattle.

One of the goals we had for outfits was to really lean into and reflect each clan’s style and personality while also offering lots of dress-up options; after all fashion is king!

With that in mind, we decided to unlock the outfits based on what abilities you have gained access to. Because it's possible to play as Brujah but still gain access to Ventrue abilities, you can unlock and wear all the outfits in the game simply by playing, but you will naturally unlock the outfits for your chosen clan earlier.

Honestly, some of the outfits are so cool that I sometimes choose the order in which I unlock abilities based on the outfits I’ll gain from the unlock. I’m partial to some of the streetwear of the Banu Haqim (who doesn’t love a good hoodie). But with a wide range of options to unlock, I’m confident there’s plenty of fashion to suit everyone's tastes.
- Lead Game Designer Gavin Hood


In-game outfit menu with the four base clan outfits unlocked.

Prey can be scared off by sudden movements, loud noises, or things that don’t seem quite right… So, for Phyre, if they want to feed on the right Blood Resonance, they need to keep that in mind. Just knowing that the angry sex worker nearby is full of choleric blood and ready for a fight is just step one. Step two is making sure that you’re wearing something that will push them over the edge and really make that blood boil. Dressing and acting like a wealthy John could get them talking, but if you approach looking like someone who likes it rough? That might scare them right out of their angry mood, and then all that delicious choleric potential goes away.



In-game examples of NPCs reaction (with a non in-game overlay to show which outfit is equipped).

Many people in Seattle judge a book by its cover, but a Kindred knows that it's what you have inside that counts. You know. The blood.
- Senior Narrative Designer Arone LeBray

"Blue-bloods in the castles, peasants in the gutter. Same old story with a pretty flag on top."

Vampire: The Masquerade - Bloodlines 2 will release in the first half of 2025.