This is very possibly a dumb question but are Polish (Slavic?) people not considered white
It's kind of arbitrary but in the UK they're considered white but still an (oppressed) minority. Class and nationality are more common lines of prejudice than race in the UK than they are in the US. British racists don't care if a Polish person is white, because they're still a foreigner.
Yes, I'm aware, but if I'm puzzling through the meaning of an acronym like BAME it helps me to have context of what the people who devised that term mean by it
I remember hearing that they were basing it off the game. I guess they changed their mind.
They have always said it was based off the books. And even so, they are able to take creative license with casting decisions, and having a more diverse cast is going to be a huge boost to their ability to draw people in to the show while having absolutely no negative impact on the quality.
knitdanIn ur baseKillin ur guysRegistered Userregular
Worth it
“I was quick when I came in here, I’m twice as quick now”
-Indiana Solo, runner of blades
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FishmanPut your goddamned hand in the goddamned Box of Pain.Registered Userregular
For some reason my eyes have been sliding over this thread for about a couple months because for the longest time I kept thinking it was a Let's play thread and I didn't want to read it because I started my Witcher 3 playthrough in May and I didn't want to hit any spoilers.
But actually apparently I should have been in here the whole time and posting about it as I went along because that's basically 90% of this thread up until about last month or something.
And I only just came in here now because I just wrapped up and thought I could now come in here and Whoops.
Oh well. I'll do my recap anyway.
I started with Witcher 2 - didn't play the first game and haven't read the books, so this was my only previous experience with Geralt. I had something like a 3-4 year hiatus in this game, as I basically was playing it a bit around the birth of my first kid, and then basically lost the ability to play anything like regularly enough for a 50hr RPG for several years. I finished it late last year and enjoyed it enough that I was quite looking forward to following up with The Wild Hunt after a break somewhat shorter than the one that was enforced on me during this one. In Witcher 2 I had:
Followed Iorveth's path and spared Letho (and Sile).
Witcher 3:
In the early part of the game, I avoided Crow's Perch and the Bloody Baron as they sounded intimidating, and I wanted to get my feet under me in Velen before I confronted the local bush-baron. Imagine my surprise at how rumour and hearsay and even the initial bluff, gruff exterior of the Baron misrepresents the depths of his character. I loved the Bloody Baron arc and the characters, and this was just a small b-plot of the main story and a few intersecting sidequests. So, so good. When it came to the tree and the orphans - I mistrusted the Heart of the Tree: while I didn't doubt it capable of holding its end of the bargain, I also didn't doubt that I would be freeing a great evil - one who would do so much worse than that little good if allowed to roam free. It was one of the most difficult choices in the game for me - the known evil versus the unknown suspected greater evil, but my gut said striking a bargain with the Heart would cost more in the long run. And thus the Heart - and the orphan's - died, Anna Strenger went mad, and the Bloody Baron left with her to find some help and peace for his wife. A battle was lost in Velen, but I felt that one day there would be a reckoning for the Crones - and it even came sooner than I might have suspected.
As The Witcher 2 was my only previous encounter with the series (and I have a soft spot for Redheads), I was basically fully expecting to go into this as Team Triss, and lined myself up in my head before Novigrad to follow through on that motion. Once again, the nuance and ability of this game to convey with very subtle body language, writing and characterisation the very different relationships and balances between all three characters - from the very first scene with Triss, where I expected to pretty much jump on that, I found myself pulling away. The whole thing basically came away as a very earnest and guileless Triss very much in the role of the younger sibling who hooked up with her sister's boyfriend one Summer while older sister was over in Europe and got caught with her hand in the cookie jar. And the power structure in the relationship only seemed to flow one way, with Triss - while independent and powerful and having her own motivations in her other parts of her life - very much ceding the power in the relationship with Geralt. The whole thing felt both manipulative, but also one-sided in a very kind of convoluted way, and I ended up leaving it hanging and moving on to Skellige to follow up unfinished business there without committing to anything.
With Yen, there is prickliness there, true. But also warmth and care. But more than this it very much felt like dealings between equals, on an equal footing in the relationship. Yes, both members are stubborn and willful and have their own motivations - but there's also a sense of kinship in that; these are two people who don't hardly ever get to deal with folk in their own league, and they find doing so both infuriating but also attractive. Negotiating the tumults and challenges of their relationship is difficult, yes, but that's also part of what makes it work - if the relationship was always simple, for either of the individuals involved, it wouldn't be as rewarding. And in the end it is proven again and again that the benefits outweigh the costs. So, I ended up on Team Yen, against expectation.
I stayed loyal to my friends, helped those who had helped me in the past, and built up what I could. When the time came, and I called in my favours, all my peers stood beside me to defend Kaer Morhen. For being there to protect what I cared about most, I owed Roche and Ves a great debt - which I only paid in part protecting them and killing Djikstra after the Assassination of Radovid and helping them restore something like independence to Temeria.
In the End, I told the told the Emperor of his daughter's death. I then collected the Silver Witcher's blade I had forged for her, and met the newest follower of the Witcher's path in the Northern Kingdoms in a small inn in White Orchard. We had had a snowball fight in the fortress at Kaer Morhen, had not visited the Emperor on the way to enact our revenge on Imlerith, had not accompanied her to talk with Phillipa (although was sorely tempted too), tried to calm her down in Avellach's lab, and did take her back to visit Skjall's resting place.
Reading the thread, it seems a lot of people had really felt strongly about the moment on the Isle of Mists in the wooden hut. I kinda missed that, because the whole thing was so incredibly signposted as sleeping beauty that I never really doubted she was going to wake.
A few gameplay things:
I went with a sword/sign build and wolven armor. Part of me regrets not kicking up the difficulty level as I think that would have made the game even better, but I dropped 170 hours into this already and didn't really want to spend yet more time lengthening it out, even at the cost of not having quite as good an experience. Partly that's also my own foibles, as I generally eschew fast-travel in pretty much every game, a habit I should really get rid of if I want to increase the overall quality time spent playing, but it's... not really something I like doing either.
Still, the quality of the writing and overall construction of the game, its characters, its systems, pretty much everything... yeah, wow.
One thing I did think though about this game as opposed to the previous one, was that to an extent it felt more... transparent about its choices than The Witcher 2. I felt like The Wild Hunt was much more upfront about signposting your actions and consequences for the most part - you could take an action and be reasonably certain of the wider effects. In Assassin of Kings, however, I felt it often liked to throw more curves at your choices - you'd do something typically heroic, only to have your hero story cut out from under you in the aftermath. It was less afraid to perform grimdark subversion and morally gray consequences and I really liked that about the game. In the Wild Hunt game, I felt like the moral grayness was there from the start, and while there were still challenging choices and excellent nuanced decisions to make in a sort of lesser-of-evils way, the game didn't contain quite the same level of the subversion I felt helped elevate some of the choices and consequences in the second game.
That's unbelievably cool. Your new name is cool guy. Let's have sex.
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FishmanPut your goddamned hand in the goddamned Box of Pain.Registered Userregular
Oh, also having just finished this game: jesus fuck it's goddamn beautiful.
If only there was someone I could share this world with, to see the things I have seen...
Hey, Folan, check this out!
Fookin strooth, mate, that's a ploughin' looker.
The other thing this thread has convinced me of is that it's probably worth my time to pick up the expansion DLC and play through to the end. It wasn't something I had intended on, as I generally was holding to the idea of I've already sunk 4 months of exclusive gaming time into this title and the extra bits probably don't add that much to justify the additional investment, but from the sounds of thing the additional content ties things up in a nice conclusion, so...
Although I might just let it lie for a while; I've basically played nothing else since May and I can probably use the few months between now and the next Steam sale giving other games a chance.
Dude, the DLC is better than the base game in every way. Hearts of Stone is the best or second best 10 hours I've spent on a game. You just have to play it.
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BroloBroseidonLord of the BroceanRegistered Userregular
yeah, hearts of stone isn't super long, but everything there is great
blood and wine is a lot bigger and has more side content, but its also got some very engaging quests and character moments
That is Queen Meve of Rivia and Lyria
From what I can tell from the articles going around, the card games are representing the actual military campaign you are waging against Nilfgaard
An English version of Sapkowski’s letter, which we have embedded below, makes two serious allegations against CD Projekt. First, it claims that the royalty contract negotiated between the two parties runs afoul of a specific Polish law regarding royalty payments.
“It may be invoked when the compensation remitted to the author is too low given the benefits obtained in association with the use of that author’s work,” the letter, written by representatives for Sapkowski, states. “Notably, the latter condition is considered fulfilled if the compensation remitted to the author is too low by a factor of at least two.”
Well, I mean
If that's true, that's really a bit he ought to be paid eh
It goes a step further if the second allegation, that the rights were only sold for one game, can be proven
I wonder if the fact that he was offered and then declined the percentage royalties has any impact. That and whether the agreement covered one game only will require a review of the actual contract
I found the specific section of the act though!
Article 44. In the event of gross discrepancy between the remuneration of the author and the benefits of the acquirer of the author's economic rights or the licensee, the author may request the court for
a due increase of his/her remuneration.
I'd love to read the case(??) they cite but I'm pretty sure that's in Polish only
Posts
It's kind of arbitrary but in the UK they're considered white but still an (oppressed) minority. Class and nationality are more common lines of prejudice than race in the UK than they are in the US. British racists don't care if a Polish person is white, because they're still a foreigner.
Yes, I'm aware, but if I'm puzzling through the meaning of an acronym like BAME it helps me to have context of what the people who devised that term mean by it
We will see how it goes.
This isn't an adaptation of the game
edit: sorry, this was perhaps needlessly short. I know you said it's what people are expecting, but like... too bad
people often expect things from adaptations, but aren't necessarily entitled to them
you can just...go experience that other thing again
you can do that! nobody is stopping you!
They have always said it was based off the books. And even so, they are able to take creative license with casting decisions, and having a more diverse cast is going to be a huge boost to their ability to draw people in to the show while having absolutely no negative impact on the quality.
... this is apropos of nothing in particular, I just think she'd rock that roll
which, yeah, sure, what the hell, that sounds fine for Yennefer
-Indiana Solo, runner of blades
But actually apparently I should have been in here the whole time and posting about it as I went along because that's basically 90% of this thread up until about last month or something.
And I only just came in here now because I just wrapped up and thought I could now come in here and Whoops.
Oh well. I'll do my recap anyway.
I started with Witcher 2 - didn't play the first game and haven't read the books, so this was my only previous experience with Geralt. I had something like a 3-4 year hiatus in this game, as I basically was playing it a bit around the birth of my first kid, and then basically lost the ability to play anything like regularly enough for a 50hr RPG for several years. I finished it late last year and enjoyed it enough that I was quite looking forward to following up with The Wild Hunt after a break somewhat shorter than the one that was enforced on me during this one. In Witcher 2 I had:
Witcher 3:
As The Witcher 2 was my only previous encounter with the series (and I have a soft spot for Redheads), I was basically fully expecting to go into this as Team Triss, and lined myself up in my head before Novigrad to follow through on that motion. Once again, the nuance and ability of this game to convey with very subtle body language, writing and characterisation the very different relationships and balances between all three characters - from the very first scene with Triss, where I expected to pretty much jump on that, I found myself pulling away. The whole thing basically came away as a very earnest and guileless Triss very much in the role of the younger sibling who hooked up with her sister's boyfriend one Summer while older sister was over in Europe and got caught with her hand in the cookie jar. And the power structure in the relationship only seemed to flow one way, with Triss - while independent and powerful and having her own motivations in her other parts of her life - very much ceding the power in the relationship with Geralt. The whole thing felt both manipulative, but also one-sided in a very kind of convoluted way, and I ended up leaving it hanging and moving on to Skellige to follow up unfinished business there without committing to anything.
With Yen, there is prickliness there, true. But also warmth and care. But more than this it very much felt like dealings between equals, on an equal footing in the relationship. Yes, both members are stubborn and willful and have their own motivations - but there's also a sense of kinship in that; these are two people who don't hardly ever get to deal with folk in their own league, and they find doing so both infuriating but also attractive. Negotiating the tumults and challenges of their relationship is difficult, yes, but that's also part of what makes it work - if the relationship was always simple, for either of the individuals involved, it wouldn't be as rewarding. And in the end it is proven again and again that the benefits outweigh the costs. So, I ended up on Team Yen, against expectation.
I stayed loyal to my friends, helped those who had helped me in the past, and built up what I could. When the time came, and I called in my favours, all my peers stood beside me to defend Kaer Morhen. For being there to protect what I cared about most, I owed Roche and Ves a great debt - which I only paid in part protecting them and killing Djikstra after the Assassination of Radovid and helping them restore something like independence to Temeria.
In the End, I told the told the Emperor of his daughter's death. I then collected the Silver Witcher's blade I had forged for her, and met the newest follower of the Witcher's path in the Northern Kingdoms in a small inn in White Orchard. We had had a snowball fight in the fortress at Kaer Morhen, had not visited the Emperor on the way to enact our revenge on Imlerith, had not accompanied her to talk with Phillipa (although was sorely tempted too), tried to calm her down in Avellach's lab, and did take her back to visit Skjall's resting place.
Reading the thread, it seems a lot of people had really felt strongly about the moment on the Isle of Mists in the wooden hut. I kinda missed that, because the whole thing was so incredibly signposted as sleeping beauty that I never really doubted she was going to wake.
A few gameplay things:
Still, the quality of the writing and overall construction of the game, its characters, its systems, pretty much everything... yeah, wow.
One thing I did think though about this game as opposed to the previous one, was that to an extent it felt more... transparent about its choices than The Witcher 2. I felt like The Wild Hunt was much more upfront about signposting your actions and consequences for the most part - you could take an action and be reasonably certain of the wider effects. In Assassin of Kings, however, I felt it often liked to throw more curves at your choices - you'd do something typically heroic, only to have your hero story cut out from under you in the aftermath. It was less afraid to perform grimdark subversion and morally gray consequences and I really liked that about the game. In the Wild Hunt game, I felt like the moral grayness was there from the start, and while there were still challenging choices and excellent nuanced decisions to make in a sort of lesser-of-evils way, the game didn't contain quite the same level of the subversion I felt helped elevate some of the choices and consequences in the second game.
There, that's probably enough for now.
If only there was someone I could share this world with, to see the things I have seen...
Fookin strooth, mate, that's a ploughin' looker.
The other thing this thread has convinced me of is that it's probably worth my time to pick up the expansion DLC and play through to the end. It wasn't something I had intended on, as I generally was holding to the idea of I've already sunk 4 months of exclusive gaming time into this title and the extra bits probably don't add that much to justify the additional investment, but from the sounds of thing the additional content ties things up in a nice conclusion, so...
Although I might just let it lie for a while; I've basically played nothing else since May and I can probably use the few months between now and the next Steam sale giving other games a chance.
blood and wine is a lot bigger and has more side content, but its also got some very engaging quests and character moments
But you still made the wrong call. :P
As was said, get the DLC. They are awesome.
i.e. can I pick it up from my end-of-game save game, or will I need to NG + to get the best out of it?
So its Gwent with a story
From what I can tell from the articles going around, the card games are representing the actual military campaign you are waging against Nilfgaard
Well, I mean
If that's true, that's really a bit he ought to be paid eh
It goes a step further if the second allegation, that the rights were only sold for one game, can be proven
I found the specific section of the act though!
Article 44. In the event of gross discrepancy between the remuneration of the author and the benefits of the acquirer of the author's economic rights or the licensee, the author may request the court for
a due increase of his/her remuneration.
I'd love to read the case(??) they cite but I'm pretty sure that's in Polish only
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