When I left off last week my plan was to get some XP by doing quests that had little to no combat. I did the one where you find out who burned down the dwarf’s smithy, the one where you make a potion for a victim of a griffin attack, the one where you get the old lady’s pan, and advanced the griffin contract a few steps (which only requires you to fight a few wild dogs, with Mislav’s help). I won’t cover them in too much detail. For one, if I cover every quest in detail this series will be a thousand entries long, and for two, I think many of you reading this have already played the game anyway.
Instead I want to write a bit about what they all add up to. White Orchard is a setting with a very focused hook – the tension between the Temerian locals and the Nilgaardian occupiers – and pretty much everything that happens here explores that tension in some way, and how it intersects with people’s everyday lives. At no point during my time in White Orchard did I feel like I played through a quest that was just there as filler. (I’m talking about actual quests here, not bandit camps/monster nests/etc) Seeing it from a critical perspective, it’s startling how easy the developers make it all look.

It’s also unique in that it explores the aftermath of a military conflict rather than the conflict itself. Were the Witcher license to be acquired by, say, Activision, I can pretty much guarantee you that the dramatic opening battle cutscene would have been the part you played, and the state of the countryside afterwards likely wouldn’t have been mentioned at all. CD Projekt does it the other way round, which is a good illustration of how – for lack of a better phrase – Sapkowski-ish they are.
Continue reading 〉〉 “The Witcher 3: White Orchard, Part Two”
T w e n t y S i d e d


