Showing posts with label andrzej sapkowski. Show all posts
Showing posts with label andrzej sapkowski. Show all posts

Friday, 13 December 2024

CD Projekt Red formally announces THE WITCHER IV

CD Projekt Red has formally confirmed the existence of The Witcher IV with a CG trailer at the Games Awards. They had acknowledged that the game existed previously, but this is the first time they've confirmed that it would be called The Witcher IV (rather than The Witcher Colon Subtitle Something) and it will focus on the character of Ciri.


The game follows The Witcher (2007), The Witcher II: Assassin of Kings (2011) and The Witcher III: Wild Hunt (2015) and sees a change of protagonist. The first three games, which acted as an unofficial sequel to the nine-volume book series by Andrzej Sapkowski, saw you playing Geralt, the titular Witcher, as he grappled with various threats to the Northern Kingdoms. In The Witcher III he earned a pleasant retirement by saving Ciri, a young girl with impressive powers, who was destined to save the world. The game also saw you playing Ciri at several key points in the narrative. The game ended with Ciri in various possible states, including becoming the Empress of Nilfgaard, dying, or entering Witcher training.

The Witcher IV suggest that, whichever ending you chose, by several years later Ciri has circled back around to becoming a Witcher in her own right, wielding magical powers of the Cat School. Some fans had speculated that the game might allow you to create your own Witcher protagonist, in the vein of CDPR's other big video game adaptation, Cyberpunk 2077 (2020), but CDPR seemed to prefer to stick to the idea of using a pre-existing, firmly-established character.

The game entered development after the release of Cyberpunk 2077, although early work was slowed by the urgent need to patch and fix that game after its rough launch window. As a result, it's hard to know how far along The Witcher IV is; CDPR only recently confirmed that the game was entering full-time development, and Cyberpunk 2077's first trailer preceded the release of the game by a startling eight years. CDPR hope to speed The Witcher IV's development by using the more widely-used Unreal 5 Engine to speed onboarding of new staff. I'd be impressed to see this game released much this side of 2028 though.

As well as The Witcher IV, itself projected as the start of a new trilogy, CDPR are working on a sequel to Cyberpunk 2077, a game in a totally new IP and a remake of the original Witcher game from 2007.

Monday, 21 March 2022

CD Projekt confirms a new WITCHER game is in development

CD Projekt have teased a new Witcher video game project, with the byline "The Witcher: A New Saga Begins."


Not much else is known about the project - especially since CDPR's own website has crashed, possibly due to traffic - but it appears to be a new, full game in the series, following on from the 2015 release of The Witcher 3: Wild Hunt, one of the most acclaimed CRPGs of all time.

Based on Andrzej Sapkowski's seven-book series (recently adapted for television by Netflix), the three Witcher games were released in 2007, 2011 and 2015 and have cumulatively sold over 50 million copies. The games act as a possible continuation of the novel series, featuring the further adventures of the Witcher, Geralt, his adopted daughter Ciri and the sorceresses Triss Merigold and Yennefer. The second expansion for The Witcher 3, Blood and Wine, released in 2016, acted as a conclusion and coda to the series.

The new game, possibly the start of a series, is not expected to focus on Geralt, and may allow players to create their own Witcher rather than forcing them to play a pre-generated character. The game also marks a major technical shift, with CDPR using Unreal Engine 5 as part of a "multi-year strategic partnership" with Epic Games, rather than continuing to develop their own propriety REDengine.

CDPR are continuing to refine, revise and develop Cyberpunk 2077, their SF CRPG which was released in a technically poor state in late 2020. Recent updates have improved the game and CDPR are working on several expansions to the game which they hope to release this year or in 2023.

No release date for the new Witcher project has been mooted, although CDPR did acknowledge the eight-year gap between announcing and releasing Cyberpunk 2077 was a huge mistake, and subsequent gaps between announcement and release will be shorter.

Saturday, 25 September 2021

THE WITCHER renewed for a third season

Netflix have renewed The Witcher for a third season, ahead of the second season dropping in December. The franchise will also be getting a second animated movie and a spin-off aimed at younger viewers.


The Witcher's first season was a huge success when it landed on Netflix in 2019. Production of the second season was repeatedly delayed due to the ongoing COVID19 pandemic, but wrapped several months ago. An animated spin-off movie, Nightmare of the Wolf, did well when it was released on Netflix last month.

Season 3 of The Witcher will shoot in 2022 for a likely 2023 premiere. Season 2 will debut on 17 December. A live-action spin-off series, Blood Origin, is currently shooting with Netflix.

Thursday, 28 January 2021

The Lady of the Lake by Andrzej Sapkowski

The Empire of Nilfgaard is prosecuting its invasion of the North with a three-pronged assault on the remaining free kingdoms. The allied nations make ready to receive them in the largest battle in living memory. Meanwhile, Ciri has learned how to use her powers to travel between worlds, but her ability to control them remains questionable. Geralt, the witcher, and his band of companions reach the fairytale kingdom of Toussaint in their pursuit of Ciri, but face difficult decisions on how to find the missing princess.


The Witcher books are an odd bunch, with two volumes of tightly-plotted short stories followed by a five-volume novel series which can be best described as meandering. Sapkowski takes in a lot of stories, characters and ideas in the series, but sometimes it feels like a certain focus is lacking. Main characters vanish for books or half a book at at time and it sometimes feels very random what major events will be depicted on-page or left to a side-paragraph in a later volume to be referred to. Sapkowski's witty dialogue and fine grasp of politics, character and action makes these narrative tangents entertaining, but it's hard to ignore the feeling that this could have been a stronger, tighter trilogy with some firmer editing.

However, and it feels like against the odds, Sapkowski ties his flabby narrative together here in the concluding volume with a surprisingly well-constructed ending. Character and story arcs stretching back to the short stories are rounded off well, and the main storylines revolving around Geralt's hunt for Ciri (not since Mario has a hero been so frustrated by the target of his search always being in another castle) and Nilfgaard's invasion are both resolved with surprising emotional power.

The novel follows several narratives in parallel. The main story is Ciri's, as she learns how to use her power to move between worlds (including our own) and finally learn how to stand on her own two feet and make decisions rather than be subject to the whims of others. Behind her is Geralt, whose story suffers a little from him always being a few steps behind Ciri, and not having indulged in any actual witchering for some considerable time. People used to the Witcher novels and video games may be surprised at Geralt's relatively low-key presence in this volume, although his story does climax in an extended battle sequence with he and his friends getting into a fight which they don't all survive. Sapkowski's characterisation of Geralt's band of allies has been good enough that it hurts a bit when not all of them make it (though gamers may be somewhat cheered that, at least in CD Projekt's version of the story, a couple of the characters who apparently bite the dust here do survive to return later on).

Another major story follows the military conflict and it's here that Sapkowski strikes gold, for the complex, multi-front Battle of Brenna is simply one of the finest battle sequences in fantasy this side of the Blackwater, Joe Abercrombie and Paul Kearney. The action is crisp and clear (even when the characters can't tell what the hell is going on), the consequences of the battle well-told and the conflict depicted without any glorification or glamour, just a lot of people dying unremarked in the mud for political causes they don't understand. I was extremely impressed by this extended sequence, where Sapkowski makes excellent use of some of the side-characters and stories he set up in earlier novels.

The semi-tragic finale is perhaps a bit disappointing, leaving the fates of too many characters up in the air, but it feels true to life and true to this world to leave things with a touch of ambiguity (although, again, the video games do present a non-canon, alternative idea of what might happen next). More entertaining is the discussion of the great prophecy about the end of the world, which is savagely stripped of all the traditional fantasy cliches and revealed to be a simple discussion about a scientific, natural process, which I did enjoy for subverting expectations. In fact, Sapkowski's theme in this book is that those expecting cliches and tropes to be employed without irony have definitely come to the wrong series.

Lady of the Lake (****) wraps up the Witcher series in style. It is available now in the UK and USA.

Monday, 27 July 2020

Netflix confirms a WITCHER spin-off series is in development

Netflix has confirmed it is working on a Witcher spin-off television series, in addition to the animated film Nightmare of the White Wolf which is currently in production.


The Witcher: Blood Origin is a six-part, live-action series set 1,500 years before the books and the existing TV series. It will depict the Conjunction of the Spheres, the ancient apocalypse which brought monsters, men and elves to the world of the Witcher in the first place. It also sounds like it may involve major timejumps, as it will also explore the creation of the first witchers some 1,200 years after the Conjunction, 300 years before Geralt's time.

It sounds like writer and producer Declan de Barra will take the lead on the project, with Witcher showrunner Lauren Hissrich serving in an oversight capacity. It is unclear if original Witcher creator Andrzej Sapkowski will be involved.

Meanwhile, Season 2 of The Witcher itself will resume production next month for transmission in mid-to-late 2021.

Wednesday, 1 July 2020

Sales of THE WITCHER books pass 15 million

Based on publicity information released by Gollancz, the Witcher books by Andrzej Sapkowski have now passed 15 million worldwide sales.


The previous available figure indicated that the series had sold around 6 million copies by the middle of last decade. The massive jump in sales in just a few years is down to two factors: the immense success of the Witcher video game trilogy by CD Projekt Red (the last of which has now sold around 30 million copies by itself) and the success of the Netflix television series based on the books, which debuted last December. As we saw with Game of Thrones on HBO, a successful and well-received TV adaptation can massively drive sales of the books; the Song of Ice and Fire novels sold 9 million copies in 2012 alone and have sold around 80 million extra copies since the TV show debuted in 2011. Whether The Witcher can match those kind of sales remains to be seen.

The first Witcher book - also called The Witcher - was published in 1990 and was a collection of short stories. It was later revised and reissued in 1993 as The Last Wish. A second story collection, Sword of Destiny, was released in 1992. The five-volume "proper" novel series followed: Blood of Elves (1994), Time of Contempt (1995), Baptism of Fire (1996), The Tower of the Swallow (1997) and The Lady of the Lake (1999). A stand-alone prequel, Season of Storms, followed in 2013.

Monday, 15 June 2020

Creative Assembly hint at WITCHER and MIDDLE-EARTH TOTAL WAR games

Video game documentary makers Noclip have released another big project, this time delving in the history of British company The Creative Assembly, who for twenty years have been producing the Total War series of historical wargames, as well as branching out with survival horror title Alien: Isolation. The documentary is worth watching, but it also hints at a possible future direction for the series that extends to other franchises.


In the documentary, CA confirm that before securing the Warhammer licence from Games Workshop, they were actively pursuing and discussing a Lord of the Rings licence. This is interesting because two of the biggest fan mods for Medieval II: Total War (the last Total War game which allowed total conversion mods, effectively creating brand-new games out of older ones) were Call of Warhammer and The Third Age: Total War, mods for those two respective worlds. I suspect that the Warhammer mod was significantly cheaper to acquire.

With Lord of the Rings back in the zeitgeist, courtesy of the new Second Age-set TV show from Amazon Prime, it seems a good time to revisit the concept and with more money and the success of two (soon to be three) Warhammer games behind them, Creative Assembly can make a good case for acquiring the licence. The only fly in the ointment might be that the licence is currently held with Warner Brothers' gaming division (who produced Shadows of Mordor and Shadows of War) and it is unclear if they would be willing to sub-licence the property to another studio.

CA also note that they have been in discussions with Netflix over a new project. Since they've already effectively made The Last Kingdom: Total War with Thrones of Britannia and we can rule out Unbreakable Kimmy Schmidt: Total War, the most logical property to pursue would be The Witcher, which has all the ingredients for a good Total War game: numerous factions with notable troop types and general characters fighting over a fantasy landscape. CD Projekt Red, rather obviously, has a Witcher video game licence already, so the viability of this idea depends a lot on what is permitted under that licence, whether CA would work with CDPR or whether a separate licence based on the TV show (rather than the novels, which CDPR's licence covers) is possible.

Since CA note they have been in discussions with Amazon Prime, that is likely related to the Lord of the Rings idea, but it's also possible they have been considering a Wheel of Time game. The Wheel of Time world has numerous countries, empires and factions with notable characters who could serve as generals. A Wheel of Time fan mod for Rome: Total War was unfortunately aborted in the mid-2000s over the inability to get flying creatures to work in that engine, but with modern tech, that shouldn't be a problem (and flying units play a major role in the Warhammer games).

A final possibility, which is unmentioned in the documentary but has almost certainly been discussed at CA, would be for a Game of Thrones game. There is already a popular Westeros: Total War mod based on Medieval II: Total War and the success of the TV show makes a game a bit of a home run. Given the Total War franchise is all about changing history, the game would also provide the possibility for different outcomes to the TV show's storyline, which I'm sure many fans would appreciate. If you always wanted to see Robb Stark triumph and win independence for the North, or Stannis Baratheon to win at the Battle of the Blackwater, you could in such a game.

Any announcement of a new fantasy project is likely a way off. Total War Saga: Troy launches in August, whilst the company is continuing to release new material and expansions for Total War: Three Kingdoms. Total War: Warhammer III is also due in the near future, so it might be a year or two before we hear about any post-Warhammer fantasy projects.

Friday, 1 May 2020

The Tower of the Swallow by Andrzej Sapkowski

The Empire of Nilfgaard continues its invasion of the Northern Kingdoms, unaware that several of its most wanted targets are now far behind its lines. Ciri, the missing Princess of Cintra, has joined forces with a band of outlaws plaguing the northern provinces of the empire, whilst the witcher, Geralt, and his band of mismatched companions are now heading into occupied territory in search of the missing princess. But events take an unexpected turn when Ciri is captured by a brutal sellsword and discovers previously unknown powers.


The Tower of the Swallow is the sixth Witcher book and, chronologically, the penultimate. It continues the narrative from Baptism of Fire with Geralt and his party trying to track down Ciri, but it is grander in scale and fortunately not as inert in terms of plot progression.

The Tower of the Swallow feels like the broadest-scoped novel in the series to date, with two major stories occurring in tandem and a host of subplots. We get Ciri on the run, being captured and finally realising her true destiny. There's some excellent characterisation in this section, especially of the ruthless sellsword Bonhart and Ciri herself, who is finally realising her own ability to determine her path instead of being passed around between those who would abuse her name or her power. With Ciri largely absent from Baptism of Fire, it's good to get back to her story.

We also get more development of Geralt's party. After their snail's pace journey through a forested warzone in the previous book, they break out of that rut in this volume and make much better progress. There's a bit of a Dungeons and Dragons feeling to Geralt's adventures as he gets a party together and they try to follow the important main plot only to get constantly sidetrack by apparently more urgent side-quests. This is all fun stuff, although again the feeling is that the main storyline is really not progressing very far or very fast at this point.

We also get cutaways to political intrigue in the Nilfgaardian capital, various military manoeuvres as the Northern Kingdoms try to regain the initiative against an overextended Nilfgaard and some interesting scenes as we visit new locations, such as two subplots, set in the northern kingdom of Kovir and on the Skellige Isles respectively, which are both told with economy and skill.

Sapkowski's way with witty dialogue and musings on human nature (especially in terms of desperation and warfare) remain intact and it feels like he's here handling a disparate narrative consisting of widely-scattered characters and storylines with a great deal more confidence than in previous novels in the series, even if there is a feeling that this book and the two previous ones could have been telescoped into one, stronger volume with a bit more discipline.

Still, The Tower of the Swallow (****) continues the story of the Witcher with aplomb and is more enjoyable than the previous book in the series. It is available now in the UK and USA.

Monday, 16 March 2020

Production of THE WITCHER shut down

The second season of The Witcher has shut down production due to the coronavirus pandemic.


The Witcher was shooting its second season just outside London when the shutdown order came through. It is the first UK-based streaming drama to suspend production due to the outbreak, but scores of others are expected in the coming days as the outbreak in the UK worsens. Native UK TV shows including Line of Duty and Peaky Blinders have also suspended production. It is likely that other shows which were due to start shooting in the coming weeks and months, such as the next season of Doctor Who, will also be delayed.

Officially the suspension is for two weeks, but it is highly unlikely that the situation will be better by then, so effectively the suspension is indefinite until the global situation becomes clearer.

Worldwide, hundreds of TV shows and films have shut down filming or delayed their release, with the understanding that cinemas are unlikely to attract large numbers of viewers at this time.

Saturday, 18 January 2020

Season 2 of THE WITCHER moves filming to the UK, builds entire town

Season 2 of The Witcher is moving its filming base from Hungary to the United Kingdom.


Season 1 of The Witcher was based in Belgrade, with location filming in both Hungary and Poland, the home of the author of the novels, Andrzej Sapkowski. However, the production has shifted to the UK for the second season which shoots next month. Season 2 will be based at the newly-built Arborfield Studios near London with location filming across the country, including Scotland.

The reason for the move is likely linked to the much more established film and post-production base in the UK, the wider pool of English-speaking actors and the fact that much of the cast is already based here (including Henry Cavill, who lives in London), as well as the UK government's generous tax breaks for filming.

An entire medieval town is also being built near Arborfield, likely to stand in for several different locations in the books (probably including Gors Velen and Oxenfurt, potentially Novigrad as well).

Although production being based in the UK means that opportunities for location filming in Eastern Europe will be more limited, there will still be some scope for it, especially given the production team's keenness to ensure that Poland is still represented in the project.

Season 2 of The Witcher begins shooting on 17 February and is expected for around five to five and a half months, with an estimated wrap date of late July or early August. Based on the post-production turn-around of Season 1, that means the earliest Season 2 can air is March or (more likely) April 2021.

Friday, 10 January 2020

Netflix show turns THE WITCHER novels and games into bestsellers

Better late than never. Twenty-seven years after it was first published, The Last Wish, the first book in The Witcher series, has hit the New York Times Bestseller list, landing at #4. Blood of Elves, the third book, has landed at #12. Sword of Destiny, the second, has joined the two books on the Amazon bestseller lists as well.


In fact, the books have sold so well that it appears that Orbit Books, the US publisher of the series, may have run out of physical copies as well.

This isn't the first time the success of a visual adaptation has driven fantasy book sales. J.R.R. Tolkien's The Lord of the Rings sold over 50 million additional copies in the first few years after Peter Jackson's movie trilogy hit screens (and many more since then), whilst the titanic success of Game of Thrones on HBO resulted in around 80 million additional sales of the Song of Ice and Fire novel series (and bringing total sales close to 100 million).

There are also reports of a massive boom in sales of the three Witcher video games, with The Witcher 3: Wild Hunt enjoying a particularly large spike in sales. According to the publishers, CD Projekt, the game now has more people playing it than when it was released just under five years ago. CD Projekt will be launching their next game, the hugely anticipated SF RPG Cyberpunk 2077, in April and will be hoping some of their new Witcher fans will check that game out as well.

Meanwhile, showrunner Lauren Hissrich is back on set in Budapest ahead of the shooting of Season 2 of The Witcher, which is expected to start in early February and air around March 2021.

Saturday, 21 December 2019

The Witcher: Season 1

The Northern Kingdoms are braced for war. The great southern empire of Nilfgaard is on the advance, plotting to annex more territory. The north is divided. The fate of the continent may depend on three individuals: Ciri, a princess and heir to a fallen nation; Yennefer, a sorceress who is not sure what it is she wants; and Geralt, a witcher, a hunter of monsters who has learned that the worst monsters walk on two legs, wear clothes and pretend to be just.


It may be difficult to think now, but when HBO launched Game of Thrones in 2011 it was taking a massive gamble, one may critics thought was doomed to fail. It turned out that HBO's call was the right one, delivering the biggest watercooler show and the most globally successful drama series of the decade, and making fantasy cool again overnight.

Other networks wanted in on the action and have been snapping up fantasy novel series all over the shop, and the early failures (like MTV's poor Chronicles of Shannara) don't seem to have taken the wind out of their sails. Amazon has Lord of the Rings: The Second Age and The Wheel of Time both in production, the BBC and HBO's His Dark Materials is already airing and Netflix is going all-in on the fantasy genre. It has a live-action reboot of Avatar: The Last Airbender in pre-production and a new take on The Chronicles of Narnia in the planning stages. But before those arrive, it has rolled the dice hard on The Witcher.

The Witcher is a cult European fantasy success story which shifted a couple of million copies in its native Poland and other parts of eastern Europe in the 1990s, but went global thanks to a trilogy of well-received video games from CD Projekt Red. The games have now sold over 30 million copies (outselling the books 6-to-1) and The Witcher 3: Wild Hunt is now being cited by many critics as the greatest video game of the decade.

Netflix's show is based firmly on the distinctly cheaper-to-licence books, specifically the first two (the short story collections The Last Wish and Sword of Destiny) but also drawing on some story elements in the first two novels proper, Blood of Elves and Time of Contempt. Those looking for a linear, chronological adaptation of the books best look elsewhere. Showrunner and head writer Lauren Hissrich has taken the stories from the early books and blended them together to turn an episodic story which gradually becomes more serialised into a single, big-picture epic from the off. This structural decision winds up being the show's biggest mistake, creating a story which is often unnecessarily confusing and which muddles both characterisation and stakes.

Effectively, The Witcher uses the same timeline structure as Christopher Nolan's Dunkirk, having one story (Yennefer's) unfolding over thirty years, another (Geralt's) over fifteen and another (Ciri's) over a few weeks. Whilst Nolan actually told the audience what was going on, there is no indication in the show that we are viewing three disconnected narratives, at least not until the fourth episode when Geralt finally reaches Ciri's homeland and instead of finding it in flames and under enemy occupation, he's instead meeting a younger version of Ciri's grandmother. Once you understand that, the show makes a bit more sense but this doesn't solve the relating problem that Ciri's story is simply too thin for the amount of screentime it gets.

The teenage Ciri is in almost every episode, a result of casting Freya Allan as a series regular, which is baffling because she doesn't need to be. Ciri's entire Season 1 arc is her escaping a bloody battle, running through some woods, getting captured a couple of times, escaping and eventually finding a temporary safe refuge. This entire storyline could have been told in one episode. Spreading it over eight means both a lot of wheel-spinning in her story and constant interruptions in both Geralt's and Yennefer's stories, which are generally a lot more interesting.

The other main negative is the quality of the effects. The effects for creatures, such as the striga and kikimores, are generally excellent and impressive. A terrible dragon in one episode, which looks like a PS3-era video game, is the exception. Environmental effects, magic and especially the depiction of a big battle sequence in the first episode are absolutely woeful, with a lot of painfully obvious greenscreen. Although The Witcher's budget is reasonably solid (at $7 million per episode, adjusted for inflation, it's roughly comparable to the first two seasons of Game of Thrones), it's clear it was insufficient to do the things asked of it. Better that the show hadn't bothered and left those scenes offscreen (as they are in the books) and spent the money elsewhere, such as the prosthetics for the elves and dwarves which are also not great (the dwarves more or less get away with it, but the elves look like under-prepared and under-budgeted cosplayers).

Another problem, although this varies by episode, is the running time. Several of the episodes are 60 minutes long but run out of story at around the 35-40 minute mark, meaning a lot of spare time that's taken up by filler (usually another episode from Ciri's story) or redundant dialogue. The freedom of not having a set running time is great when an episode badly needs a bit more time to do its story justice, but it can backfire when the opposite is the case.

Fortunately, and this saves the show, the performances are very solid, with Cavill splendidly gruff as Geralt but bringing out the (often well-concealed) wit and charm of the character when required. Anya Chalotra may be the stand-out revelation of the cast, having to play considerably older than her years to reflect Yennefer's world-weariness and cynicism. Freya Allan is also very good as the young Ciri, whose world been shattered by harsh events and she needs to adapt to a rapidly changing situation without being prepared for it.

Of the recurring cast, Jodhi May is exceptional as Queen Calanthe, whom she plays like King Robert Baratheon in his prime. MyAnna Buring is also very good as Tissaia (a minor character from the books who is given a much larger role here as Yennefer's mentor) and Emma Appleton is memorable as Renfri, who is only really present in the first episode but shows up in flashback as a framing device for Geralt's acceptance of his destiny. The performances throughout are pretty strong. Joey Batey's performance as Jaskier (aka Dandelion) is also pretty good, especially as they lean on the actor's real-life singing and musician skills, but I can see him annoying some people. That's half the point of the character but may grate with some viewers. Overall both characterisation and performances are good, enough to overcome some decidedly ripe dialogue at times.

Disregarding the unnecessary timeline structure, the story arcs are also reasonably compelling. Yennefer's is by far the best. Depicting her backstory on-screen is a splendid choice and we see her growth into the person she is in a way that sells the character very well. Geralt's development is more subtle but also more nuanced, as we witness his initially aimless, self-reliant drifting turning more into an acknowledgement he needs other people around him and then his adoption of finding Ciri as his goal.

The fight sequences (at least those not involving CGI) are also very impressive and the soundtrack is superb, so those departments can rest easy knowing they've done a superb job.

The result is...okay. The first season of The Witcher (***½) is fine. It's not great but it's not awful either. An unnecessarily puzzling timeline structure, some ripe dialogue and some dodgy effects make the series feel cheaper and less professional than it really should, but some great performances and effective character arcs bring the show back to the level of watchability, and a few good laughs and a great score improve a little over that. The second season certainly promises to be a lot better. Season 1 of The Witcher - which is more the 2007 original video game than the 2015 exceptional one - is on Netflix now and Season 2 starts shooting in February for a 2021 debut.

Friday, 20 December 2019

The Witcher Franchise Familiariser (updated)

In the last ten years, the Witcher series has grown from a relatively obscure (to English-speaking audiences) Polish fantasy series to a major franchise, driven by three highly successful video games and an English translation of the original books. A Netflix TV series is now on air. But what if you haven’t yet sampled the series and want to find out what’s going on? Time for a franchise familiariser course.

Five of the primary characters of The Witcher saga, from left to right: Yennefer, Ciri, Geralt, Vesemir and Triss.


The Basics

The Witcher is a series of short stories, novels and videos games set in a land known only as “The Continent”. The Continent is divided between the Northern Kingdoms, which are the primary setting for both the books and games, and the massive Empire of Nilfgaard to the south. Nilfgaard invades the Northern Kingdoms three times in an attempt to annex them, and these wars form the backdrop for many of the stories in the series.

The titular “Witcher” is a reference to Geralt of Rivia, the primary protagonist and viewpoint character of the series. However, the books move away from Geralt as the only major character and introduce other characters of equal or arguably greater importance, such as the sorceress Yennefer and Geralt’s sort-of apprentice, Ciri.

The books were written by Andrzej Sapkowski (1948-present). These comprise two collections of short stories, a five-novel series (often known The Witcher Saga) and a stand-alone prequel novel. Sapkowski has mooted returning to the world for additional books and stories.

The video games were created by Polish developer CD Projekt Red. To date, three games have been developed and released, along with some additional spin-offs. A fourth game (which will be set in the same world but not carry on the previous storyline from the game) is tentatively planned. Sapkowski advised on the games, but did not write the storyline, which was instead written by a team of writers (Marcin Blacha is the only writer credited with working on all three games).

Netflix's Witcher TV series hit screens on 20 December 2019. It is co-written and produced by West Wing, Daredevil and Defenders writer Lauren Schmidt Hissrich, with Jarek Sawko and Tomek Baginski (who worked on the video games) as producers. The TV show stars Henry Cavill as Geralt, Anya Chalotra as Yennefer and Freya Allan as Ciri. The show has been renewed for a second season, expected to air in 2021.


The Canon

The Witcher canon is a slightly complicated beast due to the fact that the franchise originated as a book series written by one author, but it was the video game trilogy which boosted it into a world-famous series. The video games take the books as canon, and frequently refer to events in the novels, but Sapkowski does not accept the video games as canon himself (although he has written nothing – so far – to contradict the games). For the purposes of this guide, we will assume that the novels and video games form one canon for now.

The TV series primarily adapts the books and not the games, but occasionally has homages to events in the games.


The Witcher Short Stories by Andrzej Sapkowski (in chronological order)

The Last Wish (1993)
  • The Voice of Reason
  • The Witcher
  • A Grain of Truth
  • The Lesser Evil
  • A Question of Price
  • The Edge of the World
  • The Last Wish

Sword of Destiny (1992)
  • The Bounds of Reason
  • A Shard of Ice
  • Eternal Flame
  • A Little Sacrifice
  • The Sword of Destiny
  • Something More

Note: The Last Wish was a reprint of an earlier short story collection called The Witcher (1990), which included all of the stories in that collection plus several new ones. However, although The Last Wish supersedes The Witcher in the canon, it omits the short story “The Road With No Return” (featuring Geralt’s mother and set before his birth).


The Witcher Saga by Andrzej Sapkowski
  1. Blood of Elves (1994)
  2. Time of Contempt (1995)
  3. Baptism of Fire (1996)
  4. The Tower of Swallows (1997)
  5. Lady of the Lake (1999)


The Witcher Stand-Alone Novels by Andrzej Sapkowski
  • Season of Storms (2013)


The Witcher video game series by CD Projekt Red
  1. The Witcher (2007)
  2. The Witcher II: Assassins of Kings (2011)
  3. The Witcher III: Wild Hunt (2015)
    • The Witcher III: Hearts of Stone (2015)
    • The Witcher III: Blood and Wine (2016)

A simplified map of the Northern Kingdoms from the first Witcher video game.

Backstory

According to myth, over two and a half thousand years ago, the world was the domain of the elder races, elves and dwarves. An event known as the “Conjunction of the Spheres” took place, during which time the world intersected with one and possibly two other worlds through an astral alignment. Portals opened which allowed the inhabitants of these worlds to cross over, including (allegedly) humans and various creatures and monsters. This event also introduced magic to the world, and the creation of the first mages (among the various races) as being who cold harness magic.

In the year 760 after the Resurrection (what exactly the Resurrection is remains unclear), humans crossed the Yaruga and Pontar rivers into what are now called the Northern Kingdoms in force. They initially settled along the coastlands before moving inland, displacing some of the native elven tribes. Other humans, particularly magic-users, aligned with the elves to learn their ways of magic. 

However, as the human settlements expanded from villages to towns to small cities, so the elves found themselves rapidly outnumbered by the rapidly-growing human nations. The elves found themselves forced to assimilate – where they often faced racial prejudice and suspicion – or flee. Some elves later banded together with renegade dwarves and other nonhumans (most notably halflings) to found the Scoia’tael or “Squirrels”, a guerrilla force that resists human encroachment on their lands with violence.

Two centuries later, the mages Alzur and Cosimo Malaspina founded the witchers. Witchers are trained in the art of monster-slaying, which requires them to gain superhuman and supernatural abilities. These are bestowed upon them through the consumption of potions and alchemical substances known as mutagens. Witchers are formidable warriors, far outstripping most human, elven or dwarven opponents due to superior reactions, faster healing abilities and uncanny reflexes. As well as physical combat, they are trained in the art of identifying supernatural monsters and how to kill, neutralise or banish them. They also gain a significantly expanded lifespan, but are rendered infertile in the process. The witchers were founded due to the large number of monsters still living in the Northern Kingdoms, and soon found themselves in regular employment as they made the lands safe for human settlement.

In 1239 the southern kingdom of Nilfgaard annexed Ebbing, a nation to the north. Although still far to the south of the Northern Kingdoms, this event alerted the north to the growing threat of Nilfgaard. Over the next several decades, as the small kingdoms and cities to the north of Ebbing fell, the threat of Nilfgaard became clearer.

Shortly after this time, the witcher Geralt of Rivia became known to the world at large. Geralt was noted for his skill, intelligence and combat abilities, all of which outclassed that of the witchers in general. In particular, Geralt was noted for his skills in avoiding unnecessary bloodshed: he made his name in particular by saving the daughter of King Foltest of Temaria, who had been transformed by a curse into a striga. Geralt defeated the striga and restored the princess to normal. The Witcher short stories relate various adventures which see Geralt’s rise to fame (or infamy).

Some years later, Geralt became involved in the events precipitated by Nilfgaard’s invasion of the Northern Kingdoms. Geralt’s acquaintance with a young girl named Ciri, whom he had trained in witcher combat techniques, proved instrumental in halting the stopping the war and bringing about peace (as related in the five Witcher Saga novels). During this period Geralt met and fell in love with the sorceress Yennefer, befriended the dwarf Zoltan and the bard Dandelion and became involved in the affairs of kings. Two years after the end of the war, Geralt (who had gone missing in the meantime) reappeared at the witcher stronghold of Kaer Morhen suffering from amnesia, unable to recall what had happened after his “death” (this marks the beginning of the Witcher video games).


Setting

The setting for the Witcher saga is a single, large landmass known only as “The Continent”. The Continent is divided into several regions by the vast Korath Desert in the middle of the landmass. The Northern Kingdoms lie to the north-west of the desert, the Nilfgaard Empire to the south-west, Hakland to the north-east and Zerrikania to the south-east.

The Northern Kingdoms are the primary setting for the action in the story. The kingdoms are (at the outset of the saga):
  • Temeria, ruled by King Foltest from Vizima.
  • Redania, ruled by King Radovid V from Trelogor.
  • Cintra, ruled by Queen Calanthe and King Eist Tuirseach from Cintra City.
  • Kaedwen, ruled by King Henselt from Ard Carraigh.
  • Aedirn, ruled by King Demavend III from Vengerberg.
  • Kovir, more properly Kovir and Poviss, ruled by King Tankred Thyssen from Pont Vanis and Lan Exeter.
  • Lyria and Rivia, ruled by Queen Meve from Rivia and Lyria.
  • Skellige, or the Skellige Isles, ruled by Jarl Eist Tuirseach from An Skellig (and Cintra City).

Other significant locations include Kaer Morhen, the witcher stronghold, located in north-eastern Kaedwen; and the free city of Novigrad, located close to Redania and Temaria.

The Nilfgaard Empire plays a major role in the story, although its capital of Nilfgaard, the City of the Golden Tower, is located a good two thousand miles or so to the south of the Northern Kingdoms.

Provinces of the Nilfgaardian Empire include EtoliaGemmera¸ GesoMetinnaEbbingVicovaroYmlacMag TurgaNazair and Toussaint. Only Toussaint is visited in the saga, in the Blood and Wine expansion for The Witcher III: Wild Hunt.

A spectacular fan map of the entire explored Continent from DwarfChieftain on DeviantArt.

Magic

Magic is used liberally in the Witcher saga, by both mages and sorceresses (or, less kindly, “witches”), as well as Geralt himself who has access to minor magical powers (known as "signs"). However, the attitudes to magic radically shift from kingdom to kingdom. Temeria employs mages as advisors but is distrustful of unsponsored magic-users wandering the countryside. Redania is fiercely anti-mage and burns sorcerers at the stake. Nilfgaard strictly regulates them and forces them to the serve the Emperor’s will.


Monsters

Geralt’s day job – when he isn’t getting involved in high-level politics and deciding the fate of nations – is hunting down monsters roaming the countryside. Monsters, for the most part, are animalistic and cannot be reasoned with, but in some cases they can be banished rather than killed. Some monsters are actually humans transmogrified by a curse: in some cases they can be cured, in others not. Monsters include alghouls, basilisks, bruxa, cockatrices, drowners, echinops, ghoul, kikimores, noonwraiths, strigas and wyverns.

Other entities of interest include godlings, intelligent and mischievous (but not evil) child-like spirits, and creatures such as the Crones, three powerful creatures inhabiting the swamps of Velen. These beings are intelligent and capable of speech and bargaining, but they are also capricious. These kinds of entities are ones that even Geralt would hesitate to engage in battle, but in many cases it is unnecessary as they bound by strict rules governing their interaction with mortals.

More troublesome are spectres, ghosts and otherworldly beings who are unnatural to this world but still intelligent and reasonable beings. Geralt can dispel or banish such entities. The most troublesome and dangerous of these creatures is the army known as the Wild Hunt, who are constantly on the lookout for beings of true power to recruit into their ranks.


Conception and Development

Andrzej Sapkowski was born in Łódź, Poland, in 1948 when it was still under Soviet occupation. He studied economics and worked as a senior sales representative for a foreign trade company. He was a big fan of science fiction and fantasy, particularly the Chronicles of Amber series by Roger Zelazny. He later became a translator of science fiction. He wrote his first short story, “The Witcher”, which introduced the character Geralt of Rivia, for Fantastyka magazine in 1986. The story was popular and led to a number of sequels, which were assembled as a short story collection, The Witcher, in 1990. This was followed by a second collection, which also worked as a prelude to the longer novel series Sapkowski was planning, called Sword of Destiny (1992). In 1993 Sapkowski reworked The Witcher with some new stories and re-released it under its definitive title, The Last Wish. The first Witcher novel proper, Blood of Elves, was published in 1994 and was followed by four sequels.

After writing a series of historical novels, Sapkowski returned to the Witcher universe for a prequel novel, Season of Storms, in 2013. He has since confirmed that he has plans to write more books in the setting.

By 2007 the Witcher books had sold over 2 million copies and was extremely popular in Poland, Ukraine and Russia, with additional sales in France and Spain (among others). Although these sales were very modest compared to the big British and American fantasy authors, they were unprecedented for a European author writing in a language that was not English.

In 2001 a 13-part Witcher television series aired in Poland. It was a critical and commercial failure.

In 2007 CD Projekt released The Witcher, a PC video game based on the books (the opening cinematic adapts the short story “The Witcher”). Based on the Aurora Engine developed by BioWare for their 2002 game Neverwinter NightsThe Witcher was a surprise success: the game launched with severe bugs (including one that resulted in cripplingly long load times) and a mixed critical reception. CD Projekt quickly fixed these problems and issued an upgraded version of the game, known as The Witcher: Enhanced Edition a few months later. The company was forced to cancel a planned, ambitious console version of the game due to problems with the company handling the port.

In 2008 CD Projekt also launched GoG.com (originally Good Old Games), a service dedicated to resurrecting old games and releasing them in new editions compatible with modern game systems. 

This earned them a lot of goodwill from gamers. In 2011 CD Projekt released The Witcher II: Assassins of Kings, a much more successful game than its forebear due to its great technical achievements and console editions. In early 2015 they released The Witcher III: Wild Hunt, a massive open-world roleplaying game which attracted immediate and widespread critical acclaim. In the nearly-three-years since release, The Witcher III has been acclaimed as one of the greatest video games of all time. As of 2019, the Witcher video games have sold over 30 million copies, considerably more than the Dragon Age series, and rapidly closing in on The Elder Scrolls games (which have sold approximately 40 million).

In 2017 it was announced that Netflix had optioned the television rights for a new Witcher series. The new series has been made for an English-speaking audience and will involve both Sapkowski and several of the creative minds behind the video games as advisors. The series debuted in December 2019.


Further Reading


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Thursday, 28 November 2019

Baptism of Fire by Andrzej Sapkowski

The Northern Kingdoms continue to skirmish with the armies of Nilfgaard along the Yaruga. Rumours have reached Geralt, the witcher, that his ward Ciri has been kidnapped by the Emperor of Nilfgaard, who plans to marry her against her will. Geralt, reluctantly, joins forces with a band of heroes and companions to rescue her.


Baptism of Fire is the third novel (and fifth book) in The Witcher saga by Polish author Andrzej Sapkowski, following on from Blood of Elves and Time of Contempt. The previous books established the basic plot: the Empire of Nilfgaard is warring with the Northern Kingdoms and absolutely everyone wants to get their hands on Ciri, the princess of fallen Cintra. For some, Ciri is a political prize, through whom one can claim the vacant throne of that kingdom. Others are more interested in her formidable magical skills. For her former mentors, the witcher Geralt and sorceress Yennefer, they just want to protect her from those who would abuse her for their own ends.

The Witcher books have always been a bit oddly structured - starting with two short story collections before segueing into novels which have felt more like parts of books and not whole ones - and Baptism of Fire continues that trend. From the plot synopsis, you might be expecting a grand adventure in which Geralt traverses half the Continent to rescue Ciri. That doesn't even remotely come close to happening. Instead, Geralt doesn't seem to get more than fifty miles from where he started off, accumulating a bunch of companions along the way. The book then becomes much more interested in exploring these characters and their various personality quirks then in moving the main plot forwards. We do get brief cutaways to Yennefer, Ciri and the political machinations between the kingdoms and the wizards, but mostly the action focuses on Team Geralt.

This has the makings of an entertaining storyline. Geralt's companions include the redoubtable bard Dandelion (aka Jaskier), the nobleman Regis who is more than he seems, the dwarven mercenary Zoltan Chivay, Nilfgaardian turncoat Cahir and the skilled archer Milva. Their adventures include helping refugees, trying to feed themselves and dealing with superstitious peasants eager to burn strangers as suspected vampires. The characterisation of the party is fun and Sapkowski writes some witty banter between the group.

After a while, though, it becomes clear this story isn't really going anywhere fast. Our cutaways to Yennefer and the newly-founded Lodge of Sorceresses, or to various political groups scattered around the Continent, mostly give Sapkowski an excuse to drop huge info-dumps on the political situation. For an author who wrote such skilled, focused short fiction in the first two books in the series, Sapkowski is much less assured at novel-length narratives and becomes embodiment of "tell, don't show." Sapkowski does make some cutting points about the morality of war and how innocents pay the price for the decisions of kings and so on, but by this point these are fairly stock tropes.

As a serialised chunk of a longer narrative, Baptism of Fire (***) is fine. As a novel in its own right, the book doesn't really work, with inconsistent pacing and a reluctance to push forward the main storyline with any urgency or tension. Very solid characterisation and some fun dialogue do keep things ticking over though. The book is available now in the UK and USA.

Sunday, 24 November 2019

Season 2 of THE WITCHER to start shooting in February

Season 2 of The Witcher will start shooting in February 2020, with production expected to run through August.


Season 1 of The Witcher drops onto Netflix on 20 December and will consist of eight episodes, recently named. The first season will most adapt short stories from the first two Witcher books, The Last Wish and Sword of Destiny. The second season is expected to cover some more of the short stories but also move into the action of the main novel series, starting with Blood of Elves (although given how short that novel is, I wouldn't be surprised to see them also drawing on material from Time of Contempt).

Given Season 2's filming dates, it will likely hit screens in early 2021.

Friday, 22 November 2019

Netflix announces episode titles for THE WITCHER

Netflix has confirmed episode titles for the first season of The Witcher.


The titles are as follows:

  1. The End's Beginning
  2. Four Marks
  3. Betrayer Moon
  4. Of Banquets, Bastards & Burials
  5. Bottled Appetites
  6. Rare Species
  7. Before the Fall
  8. Much More
Episode 1 will likely feature Geralt's battle with the striga and the restoration of King Foltest's daughter, which is the subject of the short story "The Witcher" (from The Last Wish) and also featured in the animated opening to the first Witcher video game. It also sounds like it will expand to cover "The Lesser Evil" (featuring the massacre at Blaviken) as well.

Episode 2 appears to be a mixture of original material and references from the books, and will explore Yennefer's backstory.

Episode 4 adapts the short story "A Question of Price" from The Last Wish, where Geralt exposes a complex mystery in the capital of Cintra and wins a promise for the future.

Episode 5 will possibly adapt "The Last Wish" itself, depicting the first meeting of Geralt and Yennefer.

Episode 6 sounds like it will adapt the story "The Bounds of Reason" from Sword of Destiny, where Geralt and Yennefer join a hunt for a dragon which turns into a more complicated affair than they were expecting.

Episode 7 will expand on the Nilfgaardian invasion of the Northern Kingdoms, particularly the assault on Cintra.

Episode 8 may adapt the story "Something More" from Sword of Destiny, which expands on the aftermath of the attack on Cintra. It's quite a short story, so I wonder if it will also adapt "Sword of Destiny" itself, as the two stories define Ciri's relationship with Geralt in important ways.

There are, however, several additional question marks raised about how the series will proceed. We know many characters from much later in the book series will appear in Season 1, such as Triss Merigold and Taissia. This suggests that Yennefer's flashback episode may also introduce many of the other sorceresses of the world, or that new subplots featuring these characters will be in play, setting them up long before they first show up in the books. The character of Istredd has also been cast, despite "Shards of Ice" from Sword of Destiny apparently not being fully adapted this season.

The series also has Ciri (Freya Allan) listed in a starring role, which would be unusual if she really isn't showing up as an adult until the final two episodes of the season. This suggests there may be some kind of framing device where we see Ciri as an older girl flashing back to earlier events in her life and she will be much more present through the series.

We'll find out for sure on 20 December when the first season of The Witcher is released on Netflix.

Wednesday, 13 November 2019

THE WITCHER renewed for second season at Netflix

The Witcher has been renewed for a second season at Netflix, before the first season even airs.


The first season filmed in late 2018 and early 2019 and will be released on the streaming service on 20 December. A second season renewal was considered likely - Netflix usually gives shows two seasons to find their feet - but it's still a good sign of confidence by Netflix in the project.

Season 2 of The Witcher will shoot next year for likely release in early 2021. Henry Cavill, Anya Chalotra and Freya Allan will return as Geralt, Yennefer and Ciri respectively. It will again consist of eight episodes.

Saturday, 9 November 2019

Time of Contempt by Andrzej Sapkowski

A new war is threatening to erupt between the Northern Kingdoms and the Empire of Nilfgaard. Sorcerers are gathering on the island of Thanedd to decide on their position. A young woman guarding a power she cannot control is in the care of a sorceress, whilst the Witcher, Geralt, is fighting off threats to her life. These are perilous times for the Continent.


Time of Contempt is the fourth book (and second full-length novel) in the Witcher series by Polish author Andrzej Sapkowski. Following directly on from the events of Blood of Elves, the novel follows several storylines in close parallel. Numerous factions are still trying to capture or kill Ciri, the princess and only heir of fallen Cintra. Ciri is in the protection of the sorceress Yennefer, who is also trying to navigate the perils of both international and sorcerous politics. The situation also draws in Geralt, who has been trying to protect Ciri from afar, and puts all three of our protagonists in jeopardy when all-out chaos erupts.

Time of Contempt is an improvement over Blood of Elves, which felt like a very long prologue for the rest of the story. That story really gets underway in Time of Contempt, which mixes character development (particularly Ciri becoming less impetuous), international politics, war and action. If Blood of Elves didn't feel complete as a novel, Time of Contempt is more successful in that area, with a distinct battery of storylines and subplots which further the overall narrative.

There are some issues. In order for the chaos at Thanedd to really land, the reader should already be familiar with many of the wizards involved from their (oft-brief) appearances in the opening two short stories collections, The Last Wish and Sword of Destiny. In fact, several more events during the story only really landed with the appropriate emotional weight because I was familiar with the characters from their chronologically later appearances in The Witcher 3 video game. In the absence of that familiarity, I think the events of this storyline might be much less effective.

Once the book straightens itself out it does get more compelling, and the concluding section which is effectively a solo adventure for Ciri as she crosses a desert and finds a new band of companions feels like the opening of a bold new storyline for her, one that is cut short by the novel not so much concluding in a thematic or dramatically appropriate way, but just ending as if Sapkowski was working to a strict page count deadline. The storyline continues fairly directly into Baptism of Fire.

Time of Contempt (****) is an improvement over the previous Witcher novel and features some very good plot and character development. If it has a weakness, it's that it feels a bit too short and in fact I think the series may have benefited from being released as four fat omnibuses rather than eight shorter novels. Nevertheless, it is another solid installment in the series. It is available now in the UK and USA.

Thursday, 31 October 2019

THE WITCHER gets trailer and release date

Netflix's adaptation of Andrzej Sapkowski's Witcher novels will arrive on Friday 20 December.


The eight-episode first season is a partial adaptation of elements from the first three Witcher books (The Last Wish, Sword of Destiny and Blood of Elves) and will focus on the adventures of Geralt (Henry Cavill), professional monster-hunter, as his path crosses that of Yennefer (Anya Chalotra), a powerful sorceress, and Ciri (Freya Allan), a princess who goes on the run when her kingdom is attacked by an expansionist empire.

The TV series is not based related to or based on CD Projekt's best-selling Witcher video game trilogy, although the studio that provided high-quality CGI cut-scenes for the games is also working on the show in an effects capacity.

Production for the series was based in Budapest and featured extensive location filming in Hungary and Poland, Andrzej Sapkowski's home country where the books have been huge bestsellers for over 25 years.

Wednesday, 30 October 2019

Blood of Elves by Andrzej Sapkowski

The Northern Kingdoms are flush from their great victory at Sodden Hill, when they defeated the Empire of Nilfgaard after it had conquered the nation of Cintra. The allied rulers now scheme to liberate Cintra, and to this end attention has fallen on the missing princess of that nation, Ciri. Agents scour the land for Ciri, for purposes noble and nefarious, unaware that she is in safekeeping in the great witcher stronghold of Kaer Morhen, where Geralt the White Wolf attends to her training. The arrival of an old friend, Triss Merigold, spurs Geralt into taking Ciri to another place of safety, but brings him face to face with those searching for her.


Blood of Elves is the third book in the Witcher series (following on from The Last Wish and Sword of Destiny) but also the first full-length novel, the first of five which collectively tell the story of Geralt, Ciri, Yennefer and the destiny of the Northern Kingdoms.

For those used to Sapkowski's tight and economical writing in the two story collections, Blood of Elves is something of a surprise. The novel sprawls almost indulgently, with much of the book being taken up by conversations, a lot of which consist of rather unsubtle exposition about the state of the world and politics. This stuff is interesting but overdone. The storyline itself should have a lot more tension, as Geralt takes Ciri from one potential refuge to another, staying ahead of pursuit, but the lengthy infodumping tends to dissipate the effect.

The book does come alive in its latter part, as Geralt does some traditional Witcher stuff (fighting off a sea monster, getting embroiled in intrigue with Dandilion and some sorcerers, fighting off assassins on the streets of Oxenfurt), and it's fun to meet a bunch of important new characters, such as Triss, Vesemir, Dijkstra,  and Lambert. Players of the Witcher video games will particularly find a lot of things to enjoy here, as The Witcher 3 in particular has a lot of callbacks and nods towards this book.

The book's key weakness is that not a huge amount happens: it's mostly set-up. Well-written, enjoyable set-up, but nevertheless an extended prologue for a much longer narrative. It does feel like it might have been better to combine this book with the following one, Time of Contempt, to create a more complete narrative. As it stands, Blood of Elves whets the appetite but cannot satisfy it on its own.

Blood of Elves (***½) is a solid instalment of the Witcher series, but is not as tight and varied as the two story collections. It does leave the reader keen to read on, but it feels a bit too slight in itself. It is available now in the UK and USA.