The witcher perhaps does not have the media success of The Money Heist. Nor the viral of The Squid Game. But it is Netflix’s bet on a genre that, after the success of Game of Thrones, it has been sought to explore. This gives it a unique status: that of a series that offers a niche theme, such as hard fantasy, for a broad market. Not for nothing was, during the last two years, the product most promoted by the service.
Unlike other literary and fantasy adaptations to the small or big screen, which range from The Lord of the rings Y Harry Potter until Twilight, The witcher it has a quirk. Most of the fans who know the franchise have not read the series of books, but have come from a third media version that is video games. This complicates everything because you have a source material that is not only different from what said public knows, but also its author (Andrzej Sapkowski) has stressed that it does not even have a real relationship with what he expresses in his stories.
We had a successful first season, but one that is difficult to qualify for. On a technical and on-screen level, we have a visually appealing product. Henry cavill, while he built his character identity based on the games, creates an interesting portrait of Geralt of Rivia. The Continent is depicted as a decadent place, but full of secrets. And, to their measure, they respect certain characteristics of the original work, although it is understood how complicated it is to adapt a book and a half in a few episodes.
A few days ago, after two years, the second season was released. What is coming is not a review. It is not intended to express a qualitative or quantitative opinion of what the series is. Its objective is different: to establish why it has become an element that has not only pointed out the differences between the fandom, but has divided it more. Especially due to the way the work has been adapted to the screen, with various deficiencies.
Spoilers will be avoided as much as possible, because the intention is not for you to stop watching. But, apart from what is indicated here, you can watch the eight episodes and provide your own opinion. Either if you come from the games, if you had contact with the books or if you enjoyed the series without going through any of the other means that make up the franchise.
The House of Stained Glass
There is a detail that has been applauded and that is that the series highlights in an important way the character of Ciri. It’s no spoiler, given that his part of the plot has been widely promoted by Netflix for the past few months. Although there are plenty of scenes, or moments in which his relationships with other characters were not built in the most appropriate way, it is clear that the adaptation seeks to put the spotlight on his role. Reason is not lacking.
The books make it very clear the importance it has, the role it must fulfill. But this role is blurred throughout seven books in the midst of the adventures of the White Wolf. So much so that even games come to overlook, for most of their plot, the great potential he has as a character. It is not just about a potential warrior or an adoptive daughter for the leading couple. Looking at the environment from their point of view reveals many insights into what it can deliver, and of course this could be considered a wise move.
Triss he is another character who has been, shall we say, promoted. Fans grew fond of him thanks to the games, whereas in the books he was merely a minor character. Now it has more weight in an adaptation that has not only given it more dialogue, but has also recovered its most memorable moments in the saga to put them on the showcase. It is, perhaps, the first sample of the wild weight that gamers have as the target audience of this series.
Visually it is a beauty. It is clear that the budget levels are not yet at the level of what HBO spent to build the episodes of Game of Thrones. But you do see a better work at the level of CGI, choreography at the time of fighting, as well as wardrobe and makeup. Yes, part of the two years of waiting are due to the stoppage that the pandemic brought. But also because, given the success, there were the possibilities of elaborating these sections in greater detail. The jump, of course, is widely noticeable.
The adaptation, on the other hand, has given them the opportunity to exploit the broad bestiary that the series has. Let’s face it: while palace intrigues and cruel teachings are important to this story, visually what is most appealing about a monster hunter tale is the hunt itself. When each beast also needs its own elements to be killed, we have a wide range to take advantage of in terms of on-screen resources and action scenes. Let’s add a correct use of CGI, practical effects and script twists. It is, of course, the best of the series.
Henry Cavill has prepared himself better for his character. In the first season his somewhat flat “acting resources” were parodied. Although he plays a relatively cold character, the emotional evolution that he has around various characters is very clear. Freya Allan, Although she is older for the age in which the role casts her, she becomes endearing with what her role achieves. Anna shaffer take advantage of the moments of brilliance that the series gives Triss that the books do not have, while Anya Chalotra make it clear that And inBeneath all the layers of femme fatale, she has very earthly uncertainties and doubts. Which, of course, he makes clear in a more than convincing way.
The series also makes it clear that its main audience is the players. The story may not be connected to the games, but the episodes occasionally feature easter eggs and details that allude to the titles. They are not peculiarly relevant to the plot, but they are a mere sweet for those of us who especially play the third title. Recognizable at a glance, in addition.
Curse of the Ravens
We are talking about a division of the fandom, especially in this second season. But what divides it? Basically adaptation. In the first season the writers had struggled to tell three stories and alluded to complicated time jumps. In this second, they simply achieved many of the previous virtues using the same resource as CD Projekt Red: detach from what was told in the books.
You have some pending stories The last wish Y The Sword of Destiny from the first season. You have a whole book like The Blood of the Elves and you want to give an introduction to The Time of Hate. Basically four books that must fit into eight episodes. A complex task that they solved by committing more to the fact of creating their own universe than to portray one. Just like the Polish studio did in their games.
It suffices to get to the second episode to notice that the writers have decided to use their own narrative to tell a story on its own rather than to fill in the gaps left by the original story. This, even, sacrificing characters that despite not being protagonists if they come to have a later weight. Noticing these aspects alienates those who already know the original work. He first generates some confusion in what he discovers that the series will follow a vastly different plot path than the books. Afterward, depending on how you feel about the resulting story, you may be relieved or disappointed.
It is precisely this detail that divides the reactions regarding this season. Not only among fans of the franchise and the public that has only seen the series, but among the fandom itself. The resulting narrative is not bad by itself, but it comes after two years with promises in which it has been ensured that the adventures seen in the books would be portrayed in a big way. It just doesn’t happen. It is not surprising that the best opinions on this part of the plot come from those who have not read the original work, while it generates varying degrees of rejection among those who have.
The argument, however, does not finish mooring. In the first instance, it has been dragging a problem of unresolved situations in the first season. Details that were sacrificed in the previous part to give cliffhangers or epic moments that were saved to give space to others end up piling up in the new stories that they want to tell.
There are even characters and elements of this universe where the script does not deepen because it implies that it will do so in the third season. It does not matter if there are chapters that have their names as their title. This leaves a feeling that, despite sacrificing much of the original narrative, the writers are struggling to compact a large amount of content in a very short time, falling short in the process.
Game of Thrones resolved this issue by counting, as far as it could, one book per season. The Lord of the Rings did it in the original trilogy recounting one per tape and Harry Potter as well, except in the last volume. It seems that the producers and writers are aware that doing this would mean a long-term effort with eight books to adapt, with Netflix being able to cut the project at any time. Hence the rush of not just placing as much material as possible. Also to connect it as soon as possible with a series of books that, in theory, take place after the final ending and could also be considered fan fiction.
Yes, many plots and elements are invented to overcome the previous problem. Which would not be a problem if it were to fill in spaces that the original author did not count or left unfinished (such as Nightmare of the wolf). The issue here is that they not only contradict the original work, but are not consistent with issues that this same universe is raising. What separates so much from the books is that it makes these flaws more evident as they are not supported by the literary base that sustains the franchise.
Memories fading
Unlike other franchises, fans are divided between those who read the books and those who did not. This from the outset already generates a division, because reading the original work gives a very different point of view about the entire franchise. Let’s add, now, to those who arrived for the Netflix adaptation. Some of them have played the CD Projekt Red titles, others have started to enjoy the stories, and a handful more have done both.
The series, as mentioned, was sold as an adaptation for over a year. The product, however, was far from it. The response that the event has generated in the various communities has made these divisions more evident. There are those who do not agree with the way in which the work was adapted, while there are those who consider it a marvel.
Many times the background regarding what they have consumed from the franchise is widely visible at the time of supporting these opinions. Be careful, gatekeeping is not being encouraged. If you have not read the stories and the series seemed original to you, your opinion is not only very valuable. Make it very clear for which audience the project was built.
When the differences in a fandom are marked by a product or a fact, friction is inevitable. Both from a public, a reader, who does not feel taken into account by the final product, and from one who feels their points of view invalidated for not being one. The discussions about how valid it is to wait for a faithful portrait of the literary work begin to intensify in what were once more than respectful spaces.
It is very clear that The Witcher is being a hit and will continue. Its successes and errors are also evident, both in adaptation and in plot construction. However, the fans, all of us, will have between now and the beginning of the following season to assimilate a great truth: this is no longer an adaptation, a portrait of Sapkowski’s work. It is a content with roots in it, but with its own life and direction. Considering this, it may be easier and less divisive to receive the episodes that are on the way.