Of the game’s three main questlines (Velen, Novigrad, and Skellige), I personally consider Novigrad to be the weakest.
This isn’t because of Novigrad itself, which as I’ve said is one of my favorite cities in all of gaming. Rather, it’s because the quests, which invovle finding Dandelion, unraveling a heist, navigating the city’s underworld, and finally taking on the Church of the Eternal Fire, are frequently disjointed and full of stray threads. During my first playthrough, I remember often losing track of exactly what I was doing and why.
I personally suspect that the entire area was the subject of significant last-minute cuts which required a rapid reshuffling the story. I say I “suspect” this because I don’t claim to have any inside knowledge of the development process – however, the suspicion is a strong one. There were many things here that made my “last minute scramble in development” spider senses go off: how the various figures of Novigrad’s underworld were introduced in more detail than their significance in the story seemed to merit, the detail invested in the buildings of Temple Isle (the Church’s home base), most of which were only seen in one cutscene, the rather wet-fart resolution of the whole “find Dijkstra’s treasure” quest (we just never find it, and we knew it was Dandelion all along anyway), and numerous smaller rough edges, some of which I’ll mention as we go on.

I’m not trying to dump on the developers here. The Witcher 3 was a massive game with massive ambitions, and given all that it’s a miracle it came out as polished as it did. What’s more, as I’ve heard more stories about the development of this game or that game, I’ve come to believe that one of the most important skills a game developer can have – and especially if you’re in a management position – is improvisation.
Continue reading 〉〉 “The Witcher 3: Novigrad, Part One”
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