Go back to a section where we grab previously released games to see how they have evolved over time and see if they remain in effect and are still recommended today.
The following text contains small details about the plot of The Witcher 3: Wild Hunt and its two expansions, Hearts of Stone and Blood & Wine.
It is at least doubtful to say that medieval fantasy is back in fashion, as much as television has pushed the genre towards the masses with a palatial plot, dragons, characters with a deliberately disseminated moral compass and large doses of sex and violence to make it digestible. a speech much closer to our own history than we would all like to admit. A certain circular trilogy had done the same thing a decade earlier, knocking down the invisible wall that divided one of the most representative fandoms of what was known as a “subculture” when it came to people with more tastes. banal. , accepted and broad. What once served to distinguish,
It is possible that the role in this sense was the one that benefited the most from the change, due to its ability to transfer the tastes and desires of any user to a fantasy of its own, subject to its own laws but flexible in its own right. its aspects. who have closed works of fiction that they cannot even imagine. As much as it hurts Sapkowski, that CD Projekt put Geralt on the map with The Witcher trilogy gave us the opportunity to choose, to accept certain aesthetic conditions in exchange for creating a unique and non-transferable discourse. . The Witcher 3: Wild Hunt is, I think we can emphatically say – and forgive me Dragon Age fans – the best example we have in the midst of a fantasy world whose story needs our involvement to be able to continue ahead.
Looking back, the truth is that it’s hard to deny CD Projekt anything. His work in bringing life to life and nurturing the flame of his creation has been admirable from the start, and although the use of the word “populism”, if it is devalued by poor political analysts, it is quite precise in How much that announced by gestures towards the gallery, it is also fair to recognize that the support they continue to give to the game today is exemplary. I don’t think it is necessary to list all the changes it has undergone since its initial release (perhaps that would make a full-fledged article), but the study’s commitment to this must be mentioned,
These are all relatively superficial aspects, of course, because while this is an amazing job in the technical realm – few things are nicer than seeing the lighting change over time as we travel through the different environments offered. by the main game – and, here too, it goes without saying, clumsy in the execution of its mechanics; the setting and the course of the story elevate the set above a five foot drop capable of instantly taking out someone fighting griffins and vampires three times before breakfast, or horses stuck in front of a bush not too leafy.
The Witcher 3 does not respond to this maxim I spoke of before, at least aesthetically: being a face with white hair and marked and a reserved character is not negotiable; But it does allow us to make a series of decisions that are much less obvious than the ones we’re used to that strongly influence the outcome of the end. Here, it’s not about falling better or worse for the characters around us, it’s about applying our voice to a sort of butterfly effect capable of destroying kings, condemning entire communities or affect those who are closest to us.
The Witcher 3: Wild Hunt is the best example we have in the middle of a fantasy world whose story needs our involvement to move forward.
Maybe that’s why Hearts of Stone, the first paid expansion of the two announced in its time, has become my favorite piece of this gigantic puzzle. Where Wild Hunt juggles multiple side stories, constant moments of disconnection from the primary focus, and an almost inevitable tendency in the genre to downplay moments of tension – the Ludonarrative Dynasty! – Hearts of Stone presents a much more contained story, able to follow your rhythm without leaving the space already traveled. It also weighs heavily on what is being said, abandoning clichés of medieval fantasy for a much more mature story, reminiscent of Goethe’s Faust or Oscar Wilde’s Dorian Gray, with an antagonist as mysterious as he is deadly and a capable capable ally. to wake up to aversion, pity and even tenderness at different points in the plot. If CD Projekt already demonstrated in The Warlock contracts his expertise in the balance between good and evil in materials that allow only gray, here they manage to shine with their own light by becoming spectators of materials that initially escape our control. understanding and executors after convictions and redemptions. .
The mention of the antagonist allows us to praise one of the most remarkable qualities of the study and which sometimes goes unfairly unnoticed, such as its ability to merge elements of history or different mythologies and folklore. This is nothing new in medieval fantasy: Tolkien, although he is a relatively ordinary writer in formal opinion – perhaps controversial, but think about it the next time you take ten pages of description from a forest – created a new world by merging languages, creatures and legends of legends from around the world. For the creation of their Gaunter O’Dimm, the writers not only opted for the obvious influences mentioned above, but have also capitalized on their own heritage by incorporating extracts from an ancient Polish tale and even drank many more modern stories, such as The Dark Tower by Stephen King. This amalgamation of concepts makes the character much more than just an enemy, and it is this aura of mystery that makes the result much more complex and vibrant than the mere embodiment of evil, a well-known cliché, surely could have offered; with one in three cat and mouse games in which, as in good examples of the genre, we have the final say. a well-known cliché, surely could have offered; with one in three cat and mouse games in which, as in good examples of the genre, we have the final say. a well-known cliché, surely could have offered; with one in three cat and mouse games in which, as in good examples of the genre, we have the final say.
In The Witcher 3, it’s not about getting better or worse for the characters around us, it’s about applying our voice to a kind of butterfly effect capable of destroying kings, of condemn entire communities or affect those closest to us.
And while Blood & Wine, the game’s next big expansion, takes all of these fantastic landscapes and creations even further, it may be about containment and how to balance the moments that break with what has been established until present. now, like the marvelous stroll through The Von Everec Mansion, with its impressionistic, dreamlike setting, transforms Hearts of Stone into a much more rounded and more defined sequel, closer to the literal meaning of “expansion” in its next iteration.
Because Blood & Wine has little DLC, and much more of a separate game. Not mechanically, because in both they have additions that only serve to slightly increase the numbers that slightly accompany the more statistical part of the saga, but they do so in extension, in story and, above all, in decor. It is no coincidence that here, unlike its predecessor, we have to leave familiar ground to access the content. Toussaint’s reign represents a complete break with what has been seen so far, even in terms of historical inspiration: from a medieval late European world, we jumped straight into the Italian Renaissance, leaving behind constant rains and dark central European legends to make way for a sunny world that tends to admire and mythologize chivalrous tales. The streets of this reinvented Tuscany are full of life, art, a certain hedonism and cult of the human being and even a certain naivety that works perfectly in contrast to the dark and bloody events that take place in its streets.
Again, The Witcher’s laws governing the world are flexible enough that there is even a noticeable change in tone, from the imposed seriousness with small drops of levity interspersed with the main work to the neoclassical tragedy of Hearts of. Stone and, now, that kind of light comedy with some fantastic touches and weird gruesome details. Ironically, the highlight here is not how well all of the elements fit into the wizard’s story, but how far Geralt is faced with frivolous cavalry ideals away from the demanding work he does or that feeling. constant that the population shines. the tragedy unfolding before their eyes in the city is not possible, at least for people so well placed and used to living without more worries than a bad harvest.
The two expansions, Hearts of Stone and Blood & Wine, show some differences, but they also finished refining some aspects that make Wild Hunt a game that is still recommended today.
The two cases therefore have some differences, but also end up refining some aspects that make Wild Hunt a game that is still recommended today. I’ve spoken at length and harshly about the importance of the script and our role in branching out the story, but that’s only a small part of what it offers in terms of storytelling. Even more relevant, because subtle, is the conscious duality that operates between what is counted and what is intuitive. Like all great works of this style, griffins, witches and other monsters are nothing more than an excuse to talk about racism, sexism, politics and many other topics much broader than fleeting violence. or frenzied sex. In The Witcher, it matters almost as much what he says as what he doesn’t say, and if you take a little interest in it, you will see the problems that exist between those who have lived in the world and those who have been condemned to live. in a completely foreign place; Or how difficult it is to thrive in the lower strata of society if, in addition to providing food for you and your family, you have to worry if a monster comes to eat you by the legs at night.
All this symbolic burden, present even in the architecture of cities in front of fragile cities abroad or in the celebration of social events like a wedding or a chivalrous fair, is what gives this patina of lasting validity to The Witcher 3. At the start of the year, with the game already in the library but not playing, I wondered what drove people to make sure we were dealing with one of the best and biggest exponents of the genre, even with his sometimes poor control and his tendency to show Geralt as an almost parodic alpha male. Today, with over 180 hours of play, I continue to get lost in the streets of Novigrado, sailing the cold and dangerous waters of Skellige,
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