Vampire: The Masquerade - Bloodlines 2 News

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

[h2]Combat Audio Systems[/h2]
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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

[h2]Environmental Audio Systems [/h2]
[h3]Audio of The City  [/h3]
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.

[h3]Environment Sensor  [/h3]
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. 
 
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[h3]Reaction System  [/h3]
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.

[h3]Player Traversal  [/h3]
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.

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[h3]City Sense  [/h3]
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.

[h3]Audio dev processes, player foley and/or UI Design [/h3]
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

[h3]Pre-mixing and Mixing Audio in VtMB2 [/h3]
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

[h2]Ambient & Narrative Audio Design[/h2]
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

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

[h2]Holiday Break[/h2]
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!

[h2]Music Direction[/h2]
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.

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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)

[h2]Craig & Eímear[/h2]
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

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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.

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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.

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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.

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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.

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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

[h2]Music Systems & Implementation[/h2]
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:

[h2]Combat[/h2]
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.

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[h2]Diegetic Systems[/h2]
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)

[h2]...and One More Thing[/h2]
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.

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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

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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.

[h2]Concept Art’s Inspirations[/h2]
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.

[h2]Sculpting the Fashion[/h2]
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.

[h2]Soundset differences for different outfits[/h2]
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

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[h2]Unlocking and Equipping Outfits[/h2]
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.

[h2]Fashion Matters in chatter, too![/h2]
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.

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Welcome, Kindred, to this Bloodlines 2 Dev Diary from the team at The Chinese Room.  Tonight, we want to talk to you about our Blood Resonance feature. For those unfamiliar with Vampire: The Masquerade, this is blood that is emotionally charged. A valuable commodity for an experienced elder vampire like Phyre.

Our vision of Phyre as an elder is that they have accrued many clan abilities over their 400 years as a vampire, but the incident that brought them to Seattle has locked away their connection to them. By using resonant blood and drinking the blood of the Clan Contacts you can restore Phyre’s connection to the abilities that aren’t native to your chosen clan. For more on the specific clan abilities, please read our previous Clan Highlights: Brujah, Tremere, Banu Haqim and Ventrue.
- Project Creative Director Alex Skidmore

Determining what Resonance a vessel has makes feeding more than just a pit stop. Most vampires observe their victims from a distance or engage them in conversation to feel them out.
-Vampire: the Masquerade 5th edition

In-game gif of Phyre feeding on an NPC

[h2]Blood Resonance Mechanics [/h2]
Blood Resonance is an important part of your journey when exploring the city. It feeds (pun intended) into how you tailor Phyre’s abilities to match your vampiric playstyle and fantasy.

When exploring Seattle you can find pedestrians with one of three potential blood resonances: Melancholic (feeling anxious or afraid), Sanguine (feeling aroused/sexual attraction), and Choleric (feeling annoyed or angry). This is something only a vampire can know so you need to use your Heightened Senses to identify these pedestrians. Once found, you need to “turn” these pedestrians fully resonated. This is done through conversations, in which you will attempt to manipulate your victim’s emotions as needed.

With this feature, it was important to us that roleplaying affected the outcomes of these conversations, so the way you act throughout the game determines what conversation options are available. Also, your appearance is an important factor in these conversations, so choose your wardrobe wisely!

In-game gif of an NPC stumbling back after being fed on.

If you manage to “turn” the pedestrians, they will become fully resonated and react accordingly. This means they might start a fight with you, run from you in terror, or even find you irresistibly attractive, all of which increases the resonant blood of that type gained from feeding on them.

Whilst these are great ways to gain resonated blood, they aren’t the only way! You can find events happening around the city - highlighted on the map - where NPCs are already fully resonated allowing players to skip the conversation and jump straight into the feeding.
Either way, you are attempting to accrue enough blood of different resonance types to ultimately increase the range of the abilities you can use, and this is where Clan Contacts come into the mix.

Once you are Sheriff of Seattle, Clan Contacts, such as Mrs Thorn (clan Tremere) at Wake The Dead Café, will offer to aid you in restoring your connection to the abilities of their clan by drinking their blood. A pre-requisite is collecting the required amounts of the resonant blood for the ability you wish to “re-learn”. Once collected you can drink the Clan Contact’s blood, adding the ability to the Ability Tree to unlock with Ability Points.

I'm really looking forward to seeing your reactions to the pedestrian conversations and can't wait to see what combinations of abilities you all put together! See you in the dark alleyways of Seattle.
- Lead Game Designer Gavin Hood

In-game image of clan menu.

[h2]Cross-Clan Ability Combos [/h2]
As your key to unlocking clan abilities beyond your clan's base set, Blood Resonance opens up a lot of options for players who like to experiment. You'll find abilities that already befit your bloodline much easier to unlock, and generally will suit your style of play best. For instance, a Banu Haqim Phyre can get hold of blood sorcery powers relatively easily, but if you're committed, all abilities can eventually be gotten hold of.

To collect resonant blood even faster, certain abilities induce a blood resonance on their own - Brujah’s Taunt will fill people with rage, causing them to gain Choleric blood resonance right away.

There's some really strong ability combinations available, as well as some silly ones! I'm not sure if Earthshock is suited to a sneaky build, but it does make breaking stealth more dramatic. Mass manipulation can be used in a few more ways, and there’s no shortage of things you’ll want to do inside of stopped time (Split Second).

Personally, I like to have multiple relocate abilities unlocked so I can adapt my movement to different situations.

Unlocking a clan's abilities also gives you access to that clan's perk, which you can stack up with others for a powerful edge as you progress through the game. You’ll definitely want to collect a few of them if you’re looking to reach the apex of what an elder vampire can be.
- Senior Game Designer Max Bottomley

In-game picture of Ability Tree with Abilities Equipped from Across Clans.

[h2]Visualising Heightened Senses [/h2]
Following our previous post, in which we explored Phyre’s heightened senses, the next step was all about how we could differentiate what we see to easily show the player what kind of prey they’re dealing with. We called this part of Phyre’s senses “Blood Resonance,” where we visualise the type of person we’re hunting based on the scent of the blood pumping through their veins.

When it came to concepting the visual style of this feature, we needed to consider a few different factors. Firstly, the level of danger a person has in relation to Phyre. Are they unaware of your presence? Are they actively searching for a threat, or are they just a bit agitated or worried after they’ve caught a glimpse of you in the shadows? Additionally, we wanted to visualise a way to show the types of emotions that enemies and the public are feeling too, are they angry? Lustful? Fearful? These types of blood resonance may just come in handy while exploring Seattle.

For the concept itself, we felt like a good direction would be colour-coding the types of blood resonance enemies and the public are experiencing. When they’re idle and unaware of us, a cool blue signifies their calm demeanour. When they’re actively hostile, a vivid red to show their blood pumping, their silhouette almost on fire.

Concept art for how Blood Resonance appears in Heightened Senses.

As you are exploring the world, we hope that this feature will be a great tool to hunt down Phyre’s prey while keeping her safe in the underbelly of Seattle.
- Senior Concept Artist, Jordan Grimmer

[h2]Writing the Blood Resonance Conversations [/h2]
Some Kindred are picky eaters. Some of them prefer to hunt specific prey that fit their preferred tastes. In Bloodlines 2, Phyre will sometimes need to deal with fellow night-dwellers who desire certain delicious meals.

Behind the scenes, we wanted to look at what it would feel like to go hunting for specific prey like this. Seattle is populated by people who have an inclination to certain types of Resonance in their blood. Maybe they are Choleric, prone to anger if pushed too far. Perhaps they are merely Melancholic, having a bad day and fearful of what the future holds? Or maybe they are Sanguine in their mood, ready for… love?

The key for us was that merely by being prone to these feelings, their blood wasn’t quite ripe yet. This is where our Blood Resonance conversations come in. Phyre needs to search out these people in Seattle and give them that little extra push. And not everyone will respond to the same type of push! What might push a Lustful Businesswoman to be ready for a romantic dalliance with someone who appears to have wealth won’t work if you want to terrify a Fearful sex worker into running for his life.

In-game gif of Phyre using Heightened Senses to see the Blood Resonance of an NPC.

Phyre will need to use all the tools at their disposal. It starts with a hunt through city streets to find the right person, then sizing up what approach to use. If dressed like a wealthy partygoer, will this potentially fearful Biker be properly terrified? And even if the right clothing is selected, what if Phyre says the wrong thing? Or maybe Phyre is strong enough that they can rely on their vampiric abilities in the conversation to properly prepare the meal they crave?
After all, everyone likes a bit of seasoning on their midnight snack.
- Senior Narrative Designer Arone LeBray

Our players knowledgeable in the lore of Vampire: The Masquerade may wonder if playing as Ventrue Phyre will be much more difficult, giving Ventrue Bane in the 5th Edition forces them to drink only from a preferred “type”. Your feeding in game won’t be limited at any point - the mark on your hand has affected not only your powers but also your Bane, as you find yourself slowly returning to your old self. This gives you more freedom in feeding or, for example, doesn’t make you prone to raging outbursts as a Brujah. Clan-specific dialogue options allow you to tap more into your clan characteristics and play more as the “type” that will differ from playthrough to playthrough. Ventrue Phyre will probably feed less than others, given you heal more from a single bite - which is a part of how we translated Fortitude into the game.

However, that temporary “freedom” is not the case for other NPCs you will meet in the game. You will still find Ventrue dealing with refined tastes, which will cause them problems. We won’t spoil you more now, though!