By This month, Vampire: The Masquerade – Bloodlines 2 stepped into the spotlight as the cover feature of our magazine. We had the chance to go hands-on with the game and speak directly with the developers at The Chinese Room, including art director Ben Matthews, who shed light on the game’s unusual and atmospheric setting—Seattle during Christmas.
Originally, Bloodlines 2 was being developed by Hardsuit Labs, but after delays and major staff changes, the project was handed over to The Chinese Room, known for narrative-driven titles such as Dear Esther and Still Wakes the Deep. While neither studio has gone into detail about the handover process, there are elements from the original vision that remain intact. The Seattle-at-Christmas backdrop is one of the most obvious carryovers—trailers from E3 2019 for the previous version already featured holiday lights lining the city streets.
When The Chinese Room took over, they had the opportunity to start from scratch, and in many ways, they did. The protagonist, for example, changed dramatically—from a young thinblood vampire to an Elder named Phyre, over 400 years old. But the wintry Seattle streets stayed. Matthews explains that it’s “a nice hook,” contrasting the cheerful human festivities with the darker, more dangerous vampire underworld. The game’s opening drives this home—Phyre awakens after a century-long slumber in a dilapidated building, only to emerge into the dazzling glow of the Seattle skyline.
Matthews emphasizes that this isn’t just a story beat—it’s the foundation of the game’s visual language. Bright, bustling streets represent the human domain, while the shadowy alleys and hidden corners are where vampires conduct their deadly business. Having played the game, I can confirm the contrast is striking: festive lights reflect off snow-covered streets, while unlit alleys call out to players who prefer stealth and secrecy.
The Masquerade, a rule that demands vampires conceal their true nature from mortals, means players must use their supernatural powers carefully—often away from prying eyes. Matthews says the focus was on “detail over scope.” According to Game.News, the map isn’t an expansive, free-roaming city like in Grand Theft Auto. Instead, every area is designed to feel dense, lived-in, and full of interactive detail. Pioneer Square, in particular, stands out as a centerpiece location.
Creative director Alex Skidmore, who personally visited Seattle, recalls the surreal moment of walking through real-world streets he had seen daily in the game’s development. The Chinese Room, based in Brighton, England, didn’t have the luxury of stepping outside for reference, so Skidmore gathered countless photos—especially of Seattle’s intricate alleyways packed with fire escapes, air vents, and pipes. Initially, some doubted the sheer number of ducts and metalwork, but Skidmore’s photo evidence proved otherwise.
The art team relied heavily on reference material, including extensive use of online resources. According to Game.News, Google Maps became an invaluable tool, with dozens of bookmarked locations to ensure Seattle’s in-game portrayal felt authentic.
Vampire: The Masquerade – Bloodlines 2 launches this October on PS5, Xbox Series X/S, and PC. Fans can explore the dark yet festive streets of Seattle themselves soon, but until then, more details can be found in the latest issue of the magazine, along with a full 14-page cover story.
The post “We’re Not Making GTA”: Bloodlines 2’s Art Director Talks About Christmas-Time Seattle first appeared on Mediamark Digital.
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