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Learn moreThe fantasy story about the Witcher initially gained popularity in Eastern Europe, and then, thanks to games from CD Projekt RED, it spread throughout the world. Taking advantage of the growing interest in this universe, Netflix decided to adapt it into a series. The first season brought hope for success, but by the third season, the situation began to deteriorate. Henry Cavill, who played Geralt and was an ardent fan of The Witcher, left the project. Although he originally planned to participate in seven seasons, his journey ended after only the third.
At first glance, this series had every chance of becoming a landmark event of the decade and eclipsing Game of Thrones. However, in the end, it turned out to be an unsuccessful project. Yaroslava Sviderskaia has analyzed every stage of the franchise's development in detail and identified the key reasons for its failure—from script problems to on-set chaos.
In this article, we will share the following topics:
- The franchise attracts fans for a number of reasons, and the diversity of media it encompasses plays a significant role. People appreciate the franchise for its rich mythology and thoughtful storylines that allow them to immerse themselves in unique worlds. The franchise includes not only films but also TV series, comics, video games, and books, ensuring there's something for everyone. This wide range of media allows fans to delve deeper into the stories of their favorite characters and explore new aspects of the universe, creating a deeper connection with the content.
- The reasons the series has sparked a storm of emotions among both audiences and critics lie in several aspects. Firstly, many fans expected a certain quality or style from it, which did not live up to their expectations. Secondly, the storylines and character development may have felt underdeveloped or even illogical, leading to disappointment. Furthermore, some of the creators' decisions, such as casting or themes, may have proven controversial and provoked negative responses. Ultimately, the combination of these factors led to intense discussion and criticism, which was the main cause of the outrage.
- How The Witcher Team Set Records for Toxicity.
- The reasons for a product's failure can be varied, and pinpointing the culprit is often difficult. This can be due to flaws in the product itself, as well as errors in marketing strategy or project management. It is important to consider factors such as market research, understanding of target audience needs, the quality of development and testing, and the effectiveness of advertising campaigns. All of these aspects play a key role in the success or failure of a product, and responsibility can lie with various stakeholders.
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Reasons for the Popularity of the Witcher Franchise
Throughout the development of the fantasy genre, characteristic elements have emerged that have become clichés: elves and dragons, magic and medieval atmosphere, and select protagonists and villains residing in high towers. These images have become familiar to readers, allowing authors to use them as universal building blocks. Thanks to this, creating a compelling story that would be understood and enjoyed by the audience became significantly easier.
In the second half of the twentieth century, science fiction authors began to actively rethink the genre. Some of them sought to get rid of hackneyed plots, offering original concepts, while others, adhering to familiar fantasy clichés, transformed them, giving them new shades and meaning.
Among the most recent authors, Polish author Andrzej Sapkowski stands out. His works about the adventures of the monster hunter Geralt of Rivia demonstrated that fantasy could be written in a different vein. This groundbreaking saga, which became a cult classic first in the author's homeland and then throughout Eastern Europe, launched a vast franchise. It includes 12 comic books, a rock opera, a board game, five video games, three TV series, three feature films, and two animated films.
This diversity opens up a wealth of opportunities for engagement: everyone can experience the franchise in their own way. If you love reading, immerse yourself in books. If you prefer to relax on the couch with chips, just turn on animation on Netflix. As a result, the number of fans is steadily growing. Having fallen in love with the characters, they begin to seek out more material about them, discovering new media formats, and in the process deepening their understanding of the universe.
This method is only effective if the titles They are harmoniously connected and adhere to established traditions. Viewers expect Geralt to remain true to his character and also want a familiar aftertaste from the books and video games. For many years, the franchise managed to maintain high standards of quality. But then came The Witcher series.
To fully analyze how poorly the showrunners handled the source material, it is necessary to consider two aspects. First, it is necessary to look at the source material itself, and then at the approach taken by the creators of other adaptations. By comparing these elements, it will become clearer what mistakes were made, and, unfortunately, this will only increase the feeling of disappointment.
Disclaimer. If you're not interested in learning the franchise's history, you can skip straight to the criticism section: there we'll discuss the main complaints leveled at the series and analyze the shortcomings in the production process.
In 1986, the Polish magazine Nowa Fantastyka organized a competition for fantasy short stories. Andrzej Sapkowski entered the competition, submitting a text that radically reimagined the genre's traditional elements. Instead of the familiar fairytale atmosphere, the author opted for a dark realism: royal families indulged in incestuous relationships, and the monsters were fought not by simple peasants, but by highly skilled professionals. Even the disenchanted princess, freed at the end, did not reward her savior with a kiss, but remained a savage, as long years as a monster had led to the loss of memories of her past.
In Poland in the 1980s, fantasy was perceived as frivolous and childish. Nevertheless, readers showed interest in the stories, persistently demanding more. Sapkowski continued to publish in the magazine, and in 1993 he published a collection called "The Last Wish." This was followed by new stories, as well as an epic series of seven novels, culminating in the release of the final book in 2024.
Most often, fantasy writers, such as the authors of "The Lord of the Rings," "Game of Thrones," and "A Wizard of Earthsea," draw their ideas from Western mythological and fairy tale traditions. However, Andrzej Sapkowski added a unique Slavic twist to the familiar set of elements. His fictional world, in addition to classic elves and dragons, is inhabited by wood-gods, godlings, and kikimoras, and the plots are based on fairy tales familiar to Poles from early childhood. This led to his books gaining great popularity in the author's homeland, as readers saw in them a reflection of their culture, presented in an exciting and fresh interpretation.
Sapkowski skillfully combines A gripping drama with elements of light comedy, and large-scale events with personal tragedies. Set in a medieval context, his works raise topical issues such as racism and discrimination, environmental concerns, and the devastating impact of colonialism. His texts also include reflections on mutations, abortion, and genetics, with the author deliberately using these anachronisms to enhance the satirical effect. Sapkowski's works provide a unique prism that allows the reader to critically examine modernity. The world of The Witcher lacks the typical fantasy pathos of majestic heroes gathering around a table to sorrowfully decide the fate of entire nations. On the contrary, Sapkowski creates stories imbued with life and truth. In his works, he gives a voice to ordinary people, who often find themselves victims of historical cataclysms. Thus, his signature "dark realism" isn't based on violence, filth, or predetermination, but rather draws from the flaws of human nature.
For example, while the witcher enjoys an evening gathering by the fire with his comrades and saves peasants from monsters, events of global proportions are unfolding beyond his sight. Brutal wars are waged, in which rare scoundrels fight for power, and it is the common people who suffer the consequences of these conflicts. Sapkowski emphasizes that there is a way to deal with any monster—the brave Geralt of Rivia is always ready to help. However, there is one monster against which even he sometimes proves powerless, and that creature is man.
Sapkowski became recognized as the father of Polish fantasy thanks to his books, but it was his secondary content that brought him truly global popularity. In 2007, Geralt of Rivia, a character from his works, moved from the pages of books to computer screens: Polish company CD Projekt RED released The Witcher, a role-playing game based on his works.
The game stood out from the standard fantasy RPGs of its time. The creators offered players the opportunity to make decisions that significantly impacted the course of events, but these choices were not subject to moral judgment. While other games, such as Mass Effect, clearly delineate paths between "good" and "evil," in The Witcher, players faced options that lacked clear labels.
A prime example is the confrontation between the Scoia'tael rebels and the Order of the Flaming Rose, who oppose them. The player had to make a choice:
- By siding with the Scoia'tael, you would support them in their fight against injustice and oppression. However, this struggle could escalate into acts of terror and brutal crimes.
- By siding with the Order, you would only deepen the hatred. This would give the Scoia'tael additional motivation to continue their resistance. Furthermore, it would necessitate the taking of innocent lives.
- By remaining neutral, you could face the hatred of most, save your closest friends. Furthermore, terrible events would still occur, you simply would have no way to influence them.
The characters surrounding Geralt also existed within a realm of moral grayness and made decisions based on their own beliefs and principles. There was no magical indicator in the game that indicated whether the game would lead to a good or a bad outcome. Each outcome had its own downside, so the choice wasn't reduced to a confrontation between "good" and "evil," where the majority's decision would be obvious. Instead, the player faced alternatives that had no clear advantage. This is why all possible options seemed equally engaging.
In 2011, a sequel was released called The Witcher 2: Assassins of Kings, which immerses players in a fascinating world of political intrigue. Following in the tradition of Andrzej Sapkowski, the game focuses on characters and their inner worlds. In the Witcher universe, events do not unfold randomly; they are initiated by heroes with unique aspirations, fears, and motivations. These characters are created as complex and multi-layered individuals, which makes them compelling through their ambiguity and allows them to remain long-lasting in players' memories. Yennefer, known for her complex relationship with Geralt, is a woman with a sharp tongue and a complex character. She masterfully manipulates people, uses them for her own ends, and often resorts to deception in pursuit of her selfish goals. Her behavior does not reveal deep traumas or grievances from the past that could explain her ill will. This is because she possesses immense magical power and is accustomed to impunity and the privileges that come with it. Yennefer occupies an important place in the saga, serving as one of the key characters. She's been given ample attention in both literary and game formats, allowing readers and players to see her more human qualities: her steadfast loyalty, loving heart, and caring attitude toward Ciri and Geralt. Thus, despite her complex character, she has earned the affection of many fans. However, it's important to remember that she's not immune to criticism, and she's received plenty of negative reviews.
Having refined their storytelling and game design skills, the CD Projekt RED team has created a true masterpiece in the video game industry. The third installment in the series, The Witcher 3: Wild Hunt, released in 2015, quickly gained worldwide popularity and was awarded thirty different awards, including prestigious ones like the Golden Joystick Awards and The Game Awards.
The game generated significant interest in the Witcher universe: in honor of the tenth anniversary of its release, the developers announced that the total sales had exceeded 60 million copies. These figures put it on par with such giants as PUBG: Battlegrounds and Red Dead Redemption 2 – the best-selling games of all time. Currently, The Witcher 3: Wild Hunt ranks twelfth in the global rankings, and sales can be expected to continue to grow, as CD Projekt RED is preparing to release the fourth installment. In this new chapter, Geralt will retire, and Ciri will take center stage.
While CD Projekt RED's games have achieved significant commercial success, for the developers, they are, above all, a way to express their affection for the characters and the universe that surrounds them. These projects are created "by fans for like-minded people" and often feature familiar characters from literary works and subtle references to various little things.
The developers' passion for their craft has trickled down to players, who immerse themselves in the games with rapt attention to detail. For example, when Wild Hunt was released, fans were dissatisfied with the absence of one of their favorites from the second game: the fearsome Scoia'tael leader Iorveth, a minor character with whom Geralt could both fight and travel. For ten years, fans have been digging through the game files for clues about Iorveth's fate, constantly asking the developers if he would appear in the fourth installment.
When Netflix announced plans to create a series set in The Witcher universe, millions of fans held their breath in anticipation. They hoped the project's creators would pay close attention to the characters and world they had come to love. However, these expectations turned into disappointment: The Witcher adaptation was a complete failure.
Television series and films can significantly increase the popularity of various phenomena. A case in point is The Witcher: the first attempts to adapt this title for a wider audience were made back in 2002, when a Polish series starring Michal Żebrowski was released. However, due to insufficient funding, the film adaptation looked like a meeting of role-playing game fans in the woods, and the plot was distorted and significantly shortened. As a result, neither viewers, nor critics, nor creator Andrzej Sapkowski himself were satisfied with the result. Nevertheless, the Netflix series has generated a lot of buzz around "The Witcher." This is understandable: the streaming platform is eager to fill the void left by "Game of Thrones." Despite the infamous eighth season leaving viewers with unpleasant memories, expectations for fantasy projects have become incredibly high. The Witcher faced two possible scenarios: impress a demanding audience or disappear into oblivion in disgrace.
Making an impression proved challenging, as the series attracted the attention of both readers and gamers, who already had an understanding of the world created by Sapkowski. Fans were concerned that American producers might not be able to convey the unique atmosphere of Polish culture. However, these concerns were allayed by Henry Cavill himself, who plays the lead role and is a true fan of the games. He intended to participate in all seven planned seasons, but only on the condition that the writers adhere to the original and treat it with due respect.
The participation of those who contributed to the evolution of the franchise in the production also inspired optimism. For example, animator Tomasz Bagiński, who created cinematics for all three games in the series, was invited to the position of executive producer.
Fun fact: Netflix allocated significant funds to create a high-quality fantasy series "The Witcher." The budget for the first two seasons was $318.7 million. An estimated $12 million was spent on each episode, almost comparable to the cost of Game of Thrones' sixth season.
The series had all the necessary characteristics to become a significant milestone in the franchise's development: a devoted fan base, a solid storyline, and a production team comprised of Witcher fans. However, something went wrong. Rotten Tomatoes data shows that audiences have gradually become increasingly disappointed with the project:
- The first season, released in 2019, received 68% positive reviews from critics and 88% from audiences.
- The second season, released in 2021, received high praise from critics - 95%, but audiences rated it significantly lower, giving it only 54%.
- The third season (2023) received a rating of 79% from critics, while the audience score was only 19%.
In October 2022, Henry announced his departure from the project, which had long been considered the ideal role for him. To get the opportunity to play Geralt of Rivia, the actor even agreed to a reduced salary: for each episode of the first season, he received 400 thousand dollars, which is the minimum rate for actors of his level. For comparison, Chris Pratt, also known for his roles in superhero films, received a million dollars per episode for his participation in the series "Dead List".
Cavill's decision to leave the project was a real shock for fans, but this didn't come as a surprise. Most treated the actor's choice with understanding, sometimes even with a certain degree of schadenfreude, interpreting his departure as karmic retribution for the mistakes made by the series' creators. And there were indeed many such mistakes. Let's recall the heated discussions that arose on social media after the release of each new episode.
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Disclaimer. If you're not interested in a brief history of the franchise, skip ahead to the criticism section, where we'll examine the shortcomings the series has faced and analyze the mistakes made during production.
Reasons for Fan Discontent with The Witcher
The creators decided to abandon a linear narrative, which, in turn, made the plot difficult to understand. For example, events could take place with Geralt in the present, and then suddenly transport viewers to his adventures that took place two decades ago. The showrunners didn't prepare the audience for such abrupt time jumps: there weren't even any explanatory captions in the corner of the screen. As a result, viewers were presented with a confusing cocktail of names, place names, and historical events.
Thus, the main goal of the adaptation was not achieved: to make the material more accessible to viewers. Game of Thrones faced a similar challenge, and it accomplished it significantly better: the plot developed gradually, introducing key characters and familiarizing viewers with the kingdoms of Westeros and other locations. In contrast, The Witcher didn't allow viewers to immerse themselves in the story. Instead, they had to struggle to understand who was who and what time period they were in.
The Witcher presents itself to viewers as a typical American fantasy. All Slavic elements were eliminated, and ultimately only the monsters—the striga and the leshy—remained. However, their presence in the series is explained solely by a desire for spectacle: these creatures have no deep roots in Polish mythology and serve only for entertainment value.
The depiction was simplified and reduced to visual clichés common in the fantasy genre. The creators of the series openly stated their intention to adapt the plot for American audiences, and as a result, the Polish elements were significantly reduced. This led to the loss of the unique features that distinguished the original universe from many other fantasy works, in particular, the rare Eastern European flavor characteristic of the genre.
Americans were formed in a different historical context, where everything is obvious: America is a symbol of good, and other countries are often perceived as antagonists, without any nuances. When a series is created aimed at a wide audience, the majority of which are Americans, such simplifications become not only logical, but also absolutely necessary.
Tomasz Bagiński gave an interview to Wyborcza.
The authors of the series showed disregard for the literary sources. Starting from the first season, they began to deviate from the source material. This negatively affected both the characters' personalities and the development of storylines.
In literary works, Geralt is depicted as a terrifying monster hunter, inspiring fear and contempt in those around him. But beneath his witcher armor lies a kind and sincere man: he defends those who cannot defend themselves, treats his friends tenderly, and cannot remain indifferent to injustice, which often leads him into difficult situations. At the same time, in the series, Geralt became the image of a soulless macho, incapable of showing feelings and affection.
Some of the concepts presented by Sapkowski, the showrunners, it seems, did not quite grasp, even despite The fact that they are laid out over many pages. For example, the creators of the series emphasized the idea of fate: the interconnectedness of the characters' lives is based not on their desire to be together at any cost, but on the idea that "this is fate" and "there is no escaping it." At the same time, the books assert the opposite: nothing can overshadow our freedom of choice. Everything remains open—we determine the direction of our own path.
When the creators of the series began introducing new elements, they began to contradict the internal logic of the world. Some storylines, such as Ciri's arc in season two, resembled weak fanfiction or a collection of familiar fantasy clichés. The writers seemed to simply recount their teenage dreams of gaining superpowers and becoming the center of attention at school. As a result, viewers often felt cheated: they were promised a series based on The Witcher, but in reality, there was almost nothing left of their beloved work.
Showrunner Lauren Hissrich became the target of criticism for introducing the so-called "agendar" into her series. Many viewers expressed dissatisfaction with the characters' inconsistency with their book counterparts, pointing out the fantasy series' Polish roots and the fact that the roles were played by black actors. This complaint was the most vocal, although its argumentation leaves much to be desired. The adaptation process took into account the American audience, for whom diversity on screen has become commonplace. In the modern United States, it is difficult to imagine a cast consisting exclusively of "white" performers - this has nothing to do with the "agendar", but rather with the reality where people of different skin colors are part of everyday life. A series that lacks diversity will, at best, be perceived as unnatural, and, at worst, offensive and will fail to attract an audience.
The game "Wild Hunt" has been known to attract a fair number of racists. Being a Polish project, it features exclusively white characters, which has made it attractive to white supremacists, who see it as a reflection of their ideal world. These people often cite their love of literature, but they don't seem to bother reading: if they did, they would notice how often Andrzej Sapkowski condemns all forms of intolerance. Themes of racial hatred, ethnic diversity, and mutual respect are also actively explored in other works of the franchise. For example, in the game "The Witcher 2: Assassins of Kings," the iconic character Iorveth delivers the following monologue:
"But the conflict arose precisely because of this [race. - Ed.]! We have pointy ears, you have rounded ones. <...> Everyone strives to prove that their ears are superior to others. Because of this, humans and elves have been fighting among themselves for four hundred years. It's all because of the differences in the shape of the ears."
Thus, the diversity in the cast, first of all, continues Sapkowski's ideas. It focuses attention on issues of social injustice, providing an opportunity to discuss them in more detail. However, explaining this to racists is unlikely to succeed.
The Impact of Chaos During the Filming Process on Film Performance
The failure of the Witcher series caused discontent among viewers, who began to blame the agenda, feminism, and the incompetent direction of Lauren Hissrich. However, the diversity of the cast cannot explain why the script is so unsuccessful and the visual effects look substandard. At the same time, the lack of clear direction could have led to numerous errors. To gain a more complete understanding of the situation, let's delve into the details of the production process and determine exactly when the breakdown occurred.
The creators of the series have repeatedly emphasized that Henry Cavill is a true fan of the world created by Andrzej Sapkowski. This can certainly be considered part of their marketing strategy aimed at attracting fans. However, when the project began to come under fire for deviations from literary sources, the creators used Cavill as a kind of defense mechanism. They were essentially hinting that since such a passionate fan of The Witcher supported their choice, viewers shouldn't be outraged.
Cavill's departure reflected the diversity of opinions on set. Neither the writers, directors, nor the actors could reach a consensus on what the series should be. This was especially noticeable in regards to the main character: Cavill's vision of Geralt diverged significantly from what the creators had envisioned. In numerous interviews, the actor emphasized his desire to pay tribute to the original and make Geralt closer to his book counterpart, while the on-screen character did not live up to this ideal.
From the very first pages of Sapkowski's works, the reader is introduced to Geralt as a fully formed character. The hero has already achieved mastery and does not need to level up or learn secret skills—he is already an expert in his field. He doesn't need to go through suffering and trials to open his heart to others, as he already has loyal friends and family ties with other witchers. His reputation as a fearsome mutant only strengthens his desire to value close relationships and seek out human interaction.
The series was conceived as a narrative about the character's journey: showing Geralt's evolution from a lonely wanderer to a caring father and friend. Ciri, Yennefer, and Dandelion were to be important figures in this process, helping him regain his humanity. In this way, the creators aimed to gradually reveal Geralt's character, softening his initially cold heart over several seasons.
"We shared a story about the witcher's transformation into a father figure and how that affects his personality. It forces [Geralt - Ed.] to begin openly sharing his emotions and exploring them more deeply. In reality, he's trying to win Ciri's trust, which requires a certain amount of vulnerability on his part. So, this season we'll see... "There's a lot more discussion about feelings."
Lauren Hissrich gave an interview to the Associated Press.
The writers' method makes it clear that the sincere friendship between Geralt and Dandelion has gone into one-sided feelings reminiscent of the Shrek and Donkey dynamic, rather than the characters we know from literary sources. Likewise, the bond with Ciri began to resemble the Terminator/John Connor plot, where the child acts as an imposed burden that only develops emotional intimacy over time.
However, when the script takes these concepts into account and Cavill portrays Geralt in accordance with the literary source, some confusion arises. Consider the scene in which Geralt's horse, Roach, dies. Cavill himself reworked this moment, insisting on a touching farewell, which was highly appreciated by viewers. Especially after it was revealed that in the original version of the script, Geralt was supposed to utter the humorous line: "You were my beloved Roach."
The changes made give Geralt some canonical characteristics, but at the same time weaken the overall cohesion of the plot. The original concept involved Geralt swiftly and decisively putting Roach out of his misery, after allowing Ciri to say goodbye and waiting until she turned away. This moment emphasized his concern for Ciri: if Geralt were truly emotionless, he wouldn't care about the horse's fate, but he nonetheless sought to protect the girl from the traumatic sight. The episode, originally conceived by the creators, illustrated Geralt's development and the difficulties associated with fatherhood, but after Cavill's edit, it rather emphasizes his relationship with Roach.
Ultimately, Geralt's character in the series turned out to be in some weird in-between state, somewhere between a soulless Terminator and a disgruntled Shrek. His storyline never took shape. The producers couldn't get their vision across to Cavill, and the actor himself wasn't willing to compromise for the sake of a shared idea.
"I'm probably the most annoying person on set because I'm constantly saying, 'Excuse me, but you know this is supposed to happen, and they wouldn't do that? And you haven't read the material, so it's impossible.' And everyone's like, 'Henry, just do it.' And I'm like, 'I don't want to do that! He wouldn't behave like that.'"
Henry Cavill gave an interview to Collider.
Cavill often improvised without coordinating his actions with the other participants in the filming. For example, when a line was required, he would either sullenly remain silent or offer a disgruntled "Hmm," reminiscent of Geralt's style in the third game. This created additional difficulties for his colleagues, as they had to integrate Geralt's lines into their own, as the plot could not tolerate pauses. Filming became increasingly chaotic with each passing day.
A video blogger under the pseudonym Alien Platypus hypothesized that the writers were so exhausted by Henry Cavill's whims that they decided to give him complete freedom in embodying the character of Geralt. As a result, they simply put together a cut of the plot that matched their own vision of how the show should look.
"They allowed Cavill to interpret the character from the literary work, but during the editing stage, his performance was heavily reworked, which gave us a fresh take on the character. Instead of being very clear about their performance requirements from the start, they took a different approach. It's really interesting: it feels like we're watching a train moving along two tracks at once, each inevitably diverging from the other."
For The Witcher, dismissals due to creative differences have become commonplace, not uncommon. Members of the crew left the project even before the first season premiered on Netflix.
The first season was created under the direction of Alik Sakharov, who had previously worked on several episodes of Game of Thrones. He was originally slated to direct the first, second, seventh, and eighth episodes of The Witcher, but ultimately only managed to complete the second. He couldn't make it to the finals, and in the pilot episode, due to the replacement of the actress, he had to completely revise and rework all his material.
"I evaluate [my work on the project. — Ed.] with a certain criticism. The fact is that, in my understanding, Eastern European literature has a completely different rhythm. It's not for nothing that Andrzej Sapkowski has many plot lines and characters. The project's management set themselves the task of creating a film adaptation with a dynamic pace and a rich visual component - that's their concept. My point of view was significantly different, and I tried to convey it to them, presenting my arguments. Unfortunately, I was not convinced, and I decided to leave the project."
Alik Sakharov gave an interview to Forbes.
The situation is developing in such a way that it seems as if Netflix brought in Sakharov and Cavill solely to please fans of the genre. This makes it possible to publish exciting press releases announcing how Superman is working in tandem with the famous director from Game of Thrones on a new fantasy project.
After the first season, another person left the team - costume designer Tim Aslam. His work was rightly criticized, in particular, for the fact that the pattern on the Nilfgaardian armor resembled the wrinkles on male genitals. However, Aslam was given neither clear technical requirements nor sufficient time to develop high-quality costumes.
"In order to create the concepts, I had about a week - from the first sketches to sending to production. This was necessary, as I had to prepare approximately 250 sets in less than two months... "basically starting from scratch."
Tim Aslam, Redanian Intelligence.
Hissrich didn't want the series to be just another example of classic medieval fantasy. She expressed a desire to avoid Eastern European, traditional, and medieval elements, stating, "We just want black armor." However, this can be compared to asking "to find something completely unique." The issue of creating armor is quite complex, because it has existed in various forms for three to four thousand years. Therefore, no matter what we can come up with, there will always be someone who has encountered something similar before.
Tim Aslam, Redanian Intelligence
Fashion experts argue that costumes represent a unique visual language that can reveal a lot about the cultural aspects of the environment. For example, the color purple, known for its rare pigment, can signal that the character wearing such shades possesses power and wealth. However, in The Witcher series, the costumes are completely devoid of cultural significance and fail to reflect the social structure. They are created purely for visual appeal, haphazardly drawing inspiration from both Victorian Gothic and contemporary fashion trends, but bear no relation to the original story's Polish roots: all characters are dressed exclusively in Western styles.
The costumes were often inappropriate for both the scenes and the filming conditions. For example, Anya Chalotra, who plays Yennefer, wore a dress weighing 25 kilograms during dynamic action scenes. She had to constantly run and move around in this outfit, which posed a real challenge. At the end of the working day, Anya almost passed out from fatigue.
Henry Cavill also experienced his own difficulties: he had to redesign his armor. In the first part of the series, he fought more in a shirt than in full armor, as the suit significantly restricted his movement. However, in the second season, Geralt appeared with a new look. Costume designer Lucinda Wright even noted that Henry could now at least raise his arm and draw his sword from behind his back.
Post-production also faced a difficult situation due to the showrunners' lack of organization. For example, the producers created a set for the kikimora scene, but failed to consider the views of the special effects specialists whose task was to integrate the character into the frame. As a result, it was decided to shorten the scene, which required significant time spent on reworking it. Perhaps this is why the quality of each new episode leaves much to be desired: the special effects artists tried to improve on the already released episodes, which, however, took away the time needed to work on the next scenes.
“They allowed Cavill to embody a character from literary works, and then significantly changed his performance in the editing stage to present us with a new take on the hero. Why not ask the actor to play the role as it is required from the very beginning? It’s even interesting: it’s like we are watching a train moving simultaneously on two tracks that are inexorably diverging in different directions.”
Who is responsible for the failure of the Witcher series?
How can such a project get out of control so quickly? Apparently, the reason is that Netflix realized too late that Game of Thrones was coming to an end and rushed to fill the void. Just over two years passed from the announcement to the release of the first season of The Witcher. In this short period of time, scripts were written, a budget was determined, the cast and locations were found, costumes were created, filming and editing were completed, special effects were added, and the sound was mixed—such speed is simply astounding.
Lauren Hissrich managed to create the pilot episode in just four days. Although the script later underwent numerous revisions, it is worth noting that it is impossible to plan an entire season in detail in such a short time. It is necessary to think through not only the plot lines, but also the character arcs, and to arrange elements that may later play a significant role. Achieving all this in four days is simply impossible, especially if the main goal is to create a high-quality story.
Nevertheless, it seems that the writers did not attach much importance to quality. In a now-unavailable interview, screenwriter Hayley Hall shared that any idea was possible during the early stages of script development. "Perhaps a character will face a serious illness. Or the protagonist might fall in love with the antagonist. It's important to understand that your primary goal when pitching ideas is to develop storylines that will fit the characters introduced in the pilot and help guide them toward the desired outcome." The series does feature both a nightmarish illness and romantic feelings for the antagonist, though neither aligns with the events of the original books. Clearly, the script hasn't changed at all since the writers first met to discuss the concept. The Witcher feels like the writers were making it up as they went along, without a clear idea of how the story should end. They only managed to outline the main themes, while adding dynamics and well-worn tropes.
The question of how deeply the writers know the source material is intriguing. Some truly possess the necessary knowledge, while others can only rely on brief descriptions from Wikipedia. The answer to this question is ambiguous: the team includes both seasoned fans of the universe and those completely unfamiliar with it. For example, Lauren Hissrich, when Netflix approached her to become showrunner, had only read The Last Wish. She even considered turning it down—her previous experience in the fantasy genre was quite limited, as her portfolio included projects like Daredevil and The Umbrella Academy, which focused on a contemporary context. Hissrich was confident that she wouldn't be able to properly manage the development of The Witcher, and believed that adapting a work with such a significant and devoted fan base required a more meticulous approach.
"However, Netflix pushed back, saying, 'Don't worry about the fans. Just share the story you want to tell.'"
Lauren Hissrich gave an interview to Mega.
However, it's not as if Lauren has offered a unique interpretation of The Witcher world. Instead, her method is to create a platform for diverse creative expressions. She described her work this way: "I don't expect everyone to speak with the same voice or copy my style. I strive for everyone to champion their own writing." In another interview, when asked about fan opinions, Lauren explained:
"The responsibility for the show's script lies with the writing team, not just me. We have six writers and four assistants on our team. I wrote the pilot, and then they used my ideas and continued developing it. I don’t try to control every aspect, I don’t make decisions on every issue that arises - on the contrary, I delegate these tasks to other team members. "
The series is a collection of disparate concepts that were put together without There was no attempt to coordinate them on the part of the showrunners. Hissrich's uncertainty and indecisiveness had a negative impact on the production process, which began to resemble the well-known story of "The Swan, the Crayfish, and the Pike." Amid all the controversy, it's often forgotten that the original idea for the series was conceived as a film. Tomasz Bagiński had long sought to adapt The Witcher for Hollywood. In 2015, he collaborated with the Sean Daniel Company on a film based on "The Lesser Evil" and other Witcher stories. The script was already completed, and the film was planned for release in 2017. However, the project fell through: the company entered into an agreement with Netflix and transferred the rights to the series. Bagiński's replacement, Lauren Hissrich, was appointed creator, as she was better suited for an American audience.
Despite losing his dream project, Bagiński demonstrated remarkable professional fortitude: he defended his colleagues' decisions, even though he admitted it was sometimes difficult, and explained complex aspects of production that weren't always obvious. However, in 2023, his restraint began to crack. In an interview with a Polish YouTube channel, he expressed his dissatisfaction, noting that the approach to adaptation was largely determined by the popularity of short video formats.
"Younger audiences are often interested in less complex story structures. Instead, pure emotion, its intensity and richness, comes to the fore. These young people were formed in the era of TikTok and YouTube, moving from one video to the next. ...Dear friends, your habits are making you less able to comprehend long and complex narratives!"
The producer's careless remarks quickly spread online. Press reports surfaced of Baginski blaming TikTok for the decline in media literacy and calling Americans narrow-minded. Users, rightly outraged by the creators' arrogant approach, felt they were being deemed unintelligent and incapable of appreciating the complexity of Sapkowski's works.
For Western audiences, Baginski personifies the force that deprived them of The Witcher and turned that beloved project into something resembling immature fan fiction. However, we see the problem elsewhere: the thirst for profit forced Netflix to focus on profiting from the franchise, while neglecting deadlines, quality, and logic. Under dire deadlines, the emphasis was placed on the speed of production and content release. Ultimately, the film adaptation of "The Witcher" might as well have been created by neural networks.
The fourth season is expected to premiere on Netflix in 2025, with Liam Hemsworth replacing Henry Cavill. However, his tenure as Geralt will be short-lived, as the series creators have decided to cut the total number of seasons from seven to five. Fans have concluded that there's little cause for celebration, and they shouldn't expect anything good. The situation on the Continent looks rather grim. Now the only consolation is to follow the news about the new game from CD Projekt RED.
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