All right. Let's change the approach and level of argument, so to speak ))
We are on a gaming forum, after all ) On the СDPR game forum, right? )
The accusation of fatalism, which you indirectly bring against me, is in fact projected further on the glorious game studio from Poland. So yes, indeed, Cyberpunk is imbued with this philosophy - you can't change anything about V's fate in Night City, in a global sense - V is finished, no matter how you look at it. And there's no good ending. And that's something players are forced to come to terms with, just like V is forced to come to terms with.
Now tell me - if you were a writer for CDPR, what would you change about Cyberpunk? What innovations would you bring to the story? After all, you can't discuss philosophy by itself, in isolation from objective reality - and objective reality here is a game, a specific software product, a work of art, the result of the efforts of many people.
So what should be done with the game, so that no suspicion of fatalism could arise? You have said something about your pedagogical activity, right? Well, imagine children playing Cyberpunk. And how can we make sure that young players don't become a generation of fatalists (like me, presumably

)?
Firstly, I'm not "bringing anything against" you. I'm discussing a particular point of view and labeling certain arguments for what they are according to the points I'm trying to make. It actually has nothing to do with you at all -- it's just open argumentation on the topic, which anyone in the world is welcome to challenge or argue differently. That's the whole point of argumentative discussion.
As for Cyberpunk -- I wouldn't change anything as far as the arc goes. The whole narrative of CP2077 is following the traditional immortality theme very closely: as has been a celebrated story line since Gilgamesh. Since that time, we've had whole cultural traditions of the immortality tale told and retold over thousands of years: several A. Greek tragedies, Faustus, The Immortal, Anne Rice's whole vampire series, etc. CP2077 follows exactly the same arc: a youthful protagonist who reaches for immortality, quickly discovers the price of grasping at such power by losing a loved one (Jackie) during the journey, receives guidance from a metaphysical/ethereal/divine being (Johnny), overcomes the naive desire to achieve immortality and instead spends their power to right a great evil in the world, and ultimately faces the true nature of their mortal existence when they confront their death in some fashion. It's a classical arc that works beautifully as written and told -- not to mention the great and varied ways that the game qualifies different pathways to the same thematic conclusion.
I'm a fan of stories that complete their arc, and I actively dislike stories that are meant to stretch themselves endlessly, like a lot of modern network shows. The art of writing is based on arriving at a climax after steadily building dramatic action along a very clearly defined and constantly revisited theme. The main theme is where the energy and emotional impact comes from, and I feel CP2077 does that to an absolutely fantastic degree. My argument for people that want a "happy ending" is that they've missed the whole point of the story: we are
mortal. To grasp at immortality is to be in denial of what humanity means -- if one achieves immortality, they will need to sacrifice the very thing that makes one human. Our purpose in life is fueled by the constant, background knowledge that we are not going to be around forever. That reality is what drives people to make the most of their lives. Those who grasp at the wheel of fortune can very well ride it to the top, but they will be crushed by it after they reach the summit. There's only one way to go from there, and the wheel will not stop turning.
As for a direct answer, I would not change CP2077, but rather look to the future of the series and embrace the
legend of Johnny and V. The end result of the story is that the chip will eventually consume V's brain and identity, essentially making V = Johnny. However, that new being will not be 100% Johnny, either; both of them imprinted strongly on the other, meaning that some part of who V is will live on in the entity that remains. That's pretty much writer's gold to continue developing a new story that crosses paths with the legend of V and Johnny. My focus would be on creating 3 places where the next Cyberpunk crosses paths with the legend in some form. Massive potential there for haunting, evocative storytelling that shows the impact that V and Johnny had on the world, and potentially hints at what they have now become.
So is the storyline for CP2077 fatalistic -- absolutely! It wouldn't be a valid addition to the immortality quest if it wasn't. V will die. Now, I'd say the major focus would be to qualify the characters with an equally fatalistic storyline in Cyberpunk 2088, or whatever it's titled in the end. The point of worlds like Cyberpunk 2020 is definitely catharsis, to a great degree. Remove that, and you remove the heart and soul of what it is.
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Now, as per the larger discussion, the main point is on visionary individuals being shut down by the conventions of their modern societies. I guess we could apply the same thing to developing a revolutionary video game, but I think we'd need to identify what's "visionary" about it. Say, for example, I chose to make a video game set in the Cyberpunk universe and somehow have it end "happily". I don't think that it's impossible, but the tale would need to be bittersweet at the most, or it would fail to honor the Cyberpunk universe. It definitely could not be done with V's questline, as that would completely invalidate the whole concept of mortality and sacrifice that pushes the dramatic action to its conclusion. ("Oh! V's all better now. Happily ever after. See? Nothing to worry about.) That would be the same sort of thing as writing: "...and it was all just a dream."
So, for something to reach the level of visionary, revolutionary work, it first needs to understand and master what has come before. As a teacher, I'm constantly confronted with students that don't realize that what they think is "visionary" is actually just a lack of knowledge and exposure to concepts that have been explored for thousands of years. It's only "new and revolutionary" to them.
I think we see a lot of that ignorance and lack of experience bleed into so many creative works in the modern day (namely the way The Witcher series was handled on Netflix, or the way the horrendous Second Age thing is going on Amazon.) Neither one of those works has any literary or dramatic understanding of the source material that would allow for a competent visualisation of the worlds they're trying to depict. On top of that, the attempts to redefine characters and story arcs (for obvious reasoning that we're not going to discuss here, read: real-world politics) not only fail to honor the existing themes that made the literature successful to begin with, they are not "revolutionary" mindsets. By hamfisting modern mentality into already crafted stories, it's naive denial of the literature itself. It's like saying, "Jedi should be able to fly because they have the Force! From now on, all Jedi can fly, and have lightsaber battles in the air, and they can also breath in space because of the Force! That's gonna be so much cooler!" That's not a visionary take on Star Wars -- that's just whimsical nonsense attempting to redifine what creates dramatic tension in the existing source material, and therefore cheapens and invalidates the work before it.
So, when attempting to rewrite or redefine something from literature, firstly, the writer would need to understand how and why things would need to change. Was there an advancement in science that now invalidates what the story is based on? Was there a historical inaccuracy that could be re-written to better portray reality? Is there anything like a plot hole or contradiction that could be written out? For CP2077, I wouldn't touch it. Part of what it does well is leaving certain things unsaid. The arc itself is a golden example of a classical thematic arc. It's beautiful just the way it is. But the radio is too damn loud, now.