Cyberpunk: Edgerunners returns to Netflix on October 20 with a new season, and creators involved with the series discussed the upcoming installment at IGN's Fall Fan Fest. The sophomore season introduces a new narrative focusing on Roman Carax, a young cinephile, and Talia Yang, a member of the Maelstrom gang.
Following the success of the first season, which centered on David Martinez and Lucyna "Lucy" Kushinada navigating Night City's criminal underworld, the creators faced the challenge of introducing a fresh cast. Bartosz Sztybor, VP of Franchise at CD Projekt Red, acknowledged both the encouragement and the pressure that came with the first season's reception. "Both," Sztybor said when asked if the success was encouraging or terrifying. "I’m a person that is never one hundred percent happy with what I wrote. So the success of Cyberpunk: Edgerunners was on one hand encouraging — that the stories I write can resonate with so many people. But on the other hand: 'Oh, shit. I will never write anything that good again.'"
Saya Elder, Executive Producer – Anime, added that the success provided motivation and confidence to pursue more anime projects. The primary challenge in writing for season two, according to Sztybor, was to avoid simply repeating elements that resonated with fans or creating something drastically different. "The biggest challenge was to stop thinking about David and Lucy, and not get into a trap of artificially repeating things that fans fell in love with — or trying to create something extremely opposite," he explained.
Instead, the team focused on staying true to the core principles of the Edgerunners franchise, allowing for a dialogue between the two seasons without direct repetition. Sztybor revealed he had pre-existing ideas for the Cyberpunk universe that were revisited for the new season, allowing for a fresh perspective.
When planning season two, the creators explored aspects of the Cyberpunk 2077 world that had not been the focus in the first season. Sztybor noted that his focus is typically on themes and characters rather than specific locations. For Edgerunners 2, this meant delving into braindances, the lives of corporate workers, and the edgerunner lifestyle from a new vantage point. "I rarely think about the locations when I write or plan stories. I mostly think about themes and characters, so 'unexplored areas' for me were not buildings, streets, or districts, but braindances and people working in that industry, backstories and private lives of corporate workers or again the edgerunners lifestyle but from a different perspective," Sztybor stated.
The series does not shy away from intense violence, drawing inspiration from horror cinema. Sztybor cited directors like David Cronenberg, Takashi Miike, and Julia Ducournau, as well as the New French Extremity movement, as influences. "I will always say more is better and I’m so happy that Kai Ikarashi digs that too," he said of the gore in the series. The team aimed for a balance between exaggerated gore and cold, unemotional depictions of violence, referencing filmmakers like Cormac McCarthy and Michael Haneke.
Elder added that the animation studio, TRIGGER, is given freedom to explore gore and sex organically during the storyboard phase, often amplifying Sztybor's initial script ideas. "TRIGGER usually takes that and amplifies it in a way only they can," she commented.
Roman Carax, the new child protagonist, is deeply influenced by his passion for filmmaking. This obsession shapes the narrative, offering a counterpoint to the reliance on braindances prevalent in Night City. "It’s inspired by the 90s when cinema was different than it is today, which led to an idea of a kid that thinks there’s value in the past, in a cinematic experience versus being plugged into a braindance," Sztybor explained. Elder admitted initial hesitation about a child protagonist but noted that Night City offers no leniency, even for its youngest inhabitants. Roman's motivation to capture stories fuels his perilous journey.
The theme of storytelling and its evolution is central to the season, reflecting CD Projekt Red's ethos. "Good stories are CD PROJEKT RED’s ethos, that’s true," Sztybor affirmed. He described Roman as a self-referential character and a tribute to cinema from the creators. Elder highlighted the generational loss of storytelling methods, using the example of younger generations being unfamiliar with VHS tapes. "In the same way, old film and cinema represent a form of storytelling that is disappearing from Night City," she said.
Regarding the art style and animation, Sztybor indicated a connection to 90s inspirations and a move towards more uncomfortable, realistic depictions of violence, rather than solely reflecting the theme of revenge. Roman's character also provided opportunities for varied visual storytelling perspectives. Elder pointed out specific details, such as the animation of sweat, as contributing to an uncomfortable and visceral viewing experience, particularly for characters experiencing trauma.