The WitcherThe world of the is built on the rickety backs of characters who look much younger than their years. Mutants and witches can pass 40 or 20 respectively, but have seen the faces of more kings than a merchant with a bag full of coins. Don’t be fooled by the smooth skin. Their youth was a rarely conversed facade, the rigid thinking and shifting views of old age were soon evident.
Satisfied CD Projekt RED to remake The Witcher – its first RPG – the result would be the same. No matter how polished it may be on the surface, this is a game that can never be mistaken for a modern product, or accepted as one, once it opens its mouth.
It’s not that this studio’s debut game is a bad Witcher game, or a poorly written game. So many of the CDPR’s high-level decisions were right: to put the story behind the books, instead of repeating old events; to return Geralt as the main character, despite the 00s character fashion; to locate the action in the city of Vizima, where there may be consequences of Geralt’s past actions. It’s these decisions that have made the games great companions even now – co-existing comfortably alongside the novels and Netflix adaptations, each enriching the others.
It was clear from the outset that CDPR was the right developer to solve the Wied & zacute problem; min, as the Witcher series was known up to that point. Watch behind-the-scenes interviews – especially those aimed at Polish audiences – and you can sense the team’s admiration for Andrzej Sapkowski’s work. Their commitment to “inherent” humor, emotional truth, and refusal to give easy answers in his stories.
“Those books are about the modern man”, lead designers Micha & lstrok; Madej. “You can easily understand their motives. They don’t want to save the world by dropping a ring into a volcano. They just want to have fun, to gain power, make money and drink. They are real, the problems are real, the decisions in the game world are real. It was an instructive statement that ultimately led the CDPR to Wild Hunt and popular cultural resonance.
However, the precise, purposeful plot that would define later games is absent from The Witcher 1. The dialogue itself is already perfectly good – done personally, practically every The dialogue is bright, funny, or at least functional. But the dense tree of quest logic they clung to was as bony and twisted as the one on Whispering Hill.
This structural confusion has a shuffling effect. New information has a habit of materializing in Geralt’s mouth, as if he were conducting his own investigation while the player was asleep. Meanwhile, other chats can be confusingly empty – bare scaffolding waiting for events to happen elsewhere in the game before they can take on meaning.
There’s nothing wrong with creating a safety net for players with a repeatable interaction they can come back to after having a lot to say. In fact, it’s a fundamental aspect of RPG design – a necessity that makes the chat wheel spin – and even Bioware was guilty of doing the basics in a somewhat clumsy way back in the day. that point. In The Witcher 1, however, that clumsiness was exacerbated by lack of experience and budget constraints.
It all comes out early in Chapter Two, which CDPR intends to be a detective story with a private detective Raymond, a private detective Raymond, in a high-collared overcoat. It’s Raymond, tasked with anchoring your search for Salamandra, a criminal organization that attacked Kaer Morhen and stole the witcher’s secrets from its lab. But as lead narrative designer Artur Ganszyniec told TheGamer last yearThe second act’s dialogue was recorded before the mystery began to make sense.
Today, CDPR will simply solve the problem with money, recording the offending lines. But for a fledgling studio, that’s not an option. Instead, Ganszyniec spent three days rewriting diary entries in an attempt to reconstruct the story around the recordings, and “learned a lot about how not to design surveys.”
As you can imagine, that solution makes The Witcher 1’s main quest muddy at best and impossible at worst. In the most extreme case, I engaged in a key character deception – but found the game gave me no option to discard it. Only when digging into the wiki did I realize that I needed to load a previous save to get to the path I wanted; I took the wrong turn in an innocuous dialogue choice during the autopsy. If you can spot the difference in magnitude between the two lines below, you’re better than me:
Moments like this are precisely the wrong kind of ambiguity, in a sequence celebrated by its gray areas.
Do I wish that CDPR had curbed its narrative ambitions, and thus offered a less garbled game? Not really. The same ambition that made The Witcher 1 such a lackluster story experience has ultimately led CDPR to master the art of branching narratives in sequels.
However, these early mistakes will close any easy route towards rework. Sure, you can replace The Witcher 1’s mouse-and-keyboard fighting style with a more modern ‘n’ dodge block system that’s in line with The Witcher 3’s. You can tap into dialogue. here and there, like Hangar 13 did with Mafia: Definitive Edition – inculcate characters that were only sketched for the first time. But in either case, you’ll be dancing, like Geralt, around what’s really needed: a full-scale rewrite to bring back the game’s story structure from scratch. Suddenly, the project started with less Mafia: Definitive Edition, more Final Fantasy VII Remake. And at that point, you have to question the value of the whole business.
That is a strange and sad conclusion. The Witcher 1 is a critically acclaimed computer role-playing game that, due to various production issues, never made it to consoles – and therefore seems to have huge untapped potential. With a Striga-like craving for all things Witcher, it seems like a no-brainer for CDPR to reinvigorate it. However, when the requirement for a remake is so basic and extensive, the studio might be better off building Witcher 4 instead.
https://www.vg247.com/please-give-us-the-witcher-4-over-a-half-baked-remake-of-the-witcher-1 Please give us The Witcher 4 remake halfway of the original