“Most companies die with a bad launch, this one actually came out stronger.”
That’s a line from New York University’s Stern School of Business professor Joost van Dreunen, quoted in The Wall Street Journal earlier this year. He was describing the transformation undergone by developer CD Projekt Red from the rocky launch of Cyberpunk 2077 in 2020 to the triumphant release of major DLC Phantom Liberty late last year. And it was with understandable pride that Phantom Liberty game director Gabe Amatangelo opened his talk at the 2024 DICE Summit, quoting that exact line.
Amatangelo went on to describe to DICE attendees just how CD Projekt had accomplished such a monumental task, focusing on the most difficult part: rallying a discouraged and frustrated team around a belief that such a thing could be done. When Cyberpunk 2077 launched, he said, it seemed everyone around them knew that something had gone wrong at his company. The woman who worked at the local coffee shop. His landlord. Everyone. The perceived failure was almost inescapable.
That left Amatangelo with the critical job of rebuilding internal morale. He led by focusing on positives, encouraging the team to celebrate the elements of the launch that had gone well. He worked to build trust, so that developers who needed help felt they could ask for it. And he worked with the team to come up with a handful of key drivers that would enable the production of the DLC to be a success. These included distributing ownership over decision-making and other checks so that the game director role wouldn’t be a bottleneck on production, integrating and empowering QA closely with the rest of the team even in early development, and just…setting aside time for developers to actually play the game. A lot.
To the Stars
After Amatangelo’s talk, I spoke with him about how the team is carrying these lessons forward into its next Cyberpunk project, currently dubbed Project Orion. In addition to what he shared in his DICE talk, Amatangelo expanded on a number of learnings he’s carrying forward into the new game. He emphasizes the importance of contingency planning and the need to share backup plans both up and down the chain of command – and to have multiple backup plans, just in case. He tells me about the importance of putting oneself in the player’s shoes when establishing a new story or world, and imagining what they might hope to see or do in that space so that you don’t let them down.
And he reiterates the importance of making sure studio environments are environments of trust. “One technique, and a lot of the guys and gals that work for me know that whenever I put an idea forward, because of my position, sometimes people might not want to challenge it. So if I see that vibe, I’ll then just play devil’s advocate and I’ll start to break apart my idea. Sometimes they’ll be like, ‘Wait, so do you want to do this or not want to do this?’ I’m like, ‘I’m not sure. Let’s talk about it.’ We established a good chemistry and trust in my circle, my direct report circle, and I think that was replicated a lot as well.”
I was especially curious about Amatangelo’s plans in light of the announcement that he’s heading up a new CD Projekt studio in Boston. Announced earlier this year, the Boston studio is CD Projekt’s first studio in the United States, and will primarily be focused on Project Orion.
I ask Amatangelo what it’s like starting a new studio at such a challenging time for the industry as a whole. Amatangelo isn’t responsible for the cuts last summer to 10% of CD Projekt Group’s workforce based largely in Poland, but he does now find himself in the position of trying to build up a new studio in North America at a time when a lot of developers are looking for work. Over 10,000 developers worldwide lost their jobs last year, and roughly 6000 have been impacted thus far in 2024. Amatangelo calls it “one of the most difficult things going on right now,” but he’s hopeful the industry will bounce back… and maybe learn some important lessons about planning in the process.
“I think maybe there’ll be a maturing of structuring of certain facilities and aspects,” he says. “We’re seeing that with the rumors around consoles and stuff. I think we’re trying to figure out how to restructure things in a meta sense a little bit. But the bottom line is that the bottom line isn’t going away. That’s not decreasing. More people are interested in being immersed and taking a breather from day to day, so to speak, and having an opportunity to expand their minds or blow off some steam, stuff like that. It’s not going away. So I think it’ll sort itself out, but, obviously, some turbulent times.”
Speaking of maturing and restructuring, I ask Amatangelo specifically how, as studio head, he plans to work to mitigate crunch at the new studio he’s leading, especially given the company’s history with the practice.
“Similar to the techniques used throughout Phantom Liberty, you plan as best you can,” he said. “It’s all about getting ahead of seeing what might come up in the future and scoping accordingly, resourcing accordingly, and also being flexible. If you put in some extra hours this week, take some hours off next week. Because, admittedly, even at a certain point, there was where [responsibility] landed on me and I was like a bottleneck, and I’m like, ‘All right, I’m going to have to do some double time this week. Otherwise, too many people are pulled out, and then next week I’m taking some time off.’ You do the best you can to mitigate that, but as long as there’s that kind of climate and understanding of helping each other. Then when I took some time off, some of my reports rise to the occasion and fill in the gaps while I’m out, and you just do that at all levels.”
The Fun Phase
That’s how Amatangelo is thinking about it now in the early stages of the studio. The real test, the months leading up to launch, is still several years off. Project Orion is still in its early stages. Amatangelo points out that there really aren’t clear lines determining when a game enters different phases of production, but Project Orion is currently in what he calls the “fun phase” of game development.
“In the perfect world, when you’re making a game, it’s all ideation and concepts and putting stuff in concept art and then moving to the next stage once you’re feeling solid about your ideas or maybe your story outline, and then you start prototyping things,” he says. “We’re in that stage, but it’s kind of blurred, like prototyping some things as well as concepting some stuff and working on the story. So, yeah, we got some prototypes going on. We’ve got some exploration, some pipeline setup, some story ideas being thrown at the wall, back and forth, concept art, that kind of phase, the fun phase.”
Amatangelo isn’t sharing much more about what Project Orion is at for now. I did ask him if game console tech is where he wants it to be to meet his ambitions for the game, especially given recent online discussions about new generations of Xbox and PlayStation consoles. And sure, Amatangelo wishes tech was further along… but he admits he might always be wishing for that. “I wish there were Holodecks, you know what I mean?”
We’ve got some exploration, some pipeline setup, some story ideas being thrown at the wall.One relevant example is AI, which Amatangelo himself brought up to me when he asked if I had stayed to listen to a later DICE talk between Xbox’s Haiyan Zhang and the ESA’s Stanley Pierre-Louis on video games and AI. Amatangelo tells me he himself had been listening to an AI expert talk about large language models and generative AI recently, when they expressed how it would always be “unknowable” how these models arrive at their conclusions. While their comment was intended to be a positive one, Amatangelo says he finds that idea terrifying. He’d rather keep AI busy with menial tasks rather than content creation.
“My gut tells me that AI for pipelines, for tools for helping with, let’s call it, the busy work that no one really likes to do a lot of times, I think there’s a lot of promising stuff on that front,” he says. “It allows developers to have more satisfying jobs overall because they could spend more time on the creative elements. So that’s my optimistic take with AI and stuff like that.”
But as the game director of the next Cyberpunk, he admits the worst case scenarios, even if they terrify him, are useful fodder for storytelling at least. “On the other end, I got science fiction,” he says.
Rebekah Valentine is a senior reporter for IGN. Got a story tip? Send it to rvalentine@ign.com.
