The_Witcher_-_Artbook.pdf

This book summarizes work done on the graphics for The Witcher in the years 2002-2007. Initially consisting

of three members, the art team expanded over time. Ultimately twenty people – all employed by CD Projekt

Red – created the game visuals.

We drafted the artistic concept at the turn of 2002 and 2003. Familiar with Andrzej Sapkowski’s prose,

having a clear idea of how it should look in game form, we devised the overriding visual formula within a few

weeks. The Witcher would draw on the ‘dark fantasy’ genre and the best available example of it – Diablo

2 . This was consistent with our vision of a brutal and grimy game world that would afford little room for

charming illusions. It had to be a thoroughly believable world, a convincing backdrop for the contemporary

social problems that would play out within it.

We looked to historical sources to strengthen the credibility of our vision. I believed combining a ‘dark

fantasy’ aesthetic with the realities of 15th and 16th century Europe would be our best option, so the

architectural, costume, character, weapon and furniture designs reference late Medieval and early

Renaissance trends.

Producing the right mood was ultimately more important than achieving historical accuracy. Rather

than limiting ourselves to the late Middle Ages, we also incorporated elements from the late Renaissance

(especially in its German and Dutch varieties), drew inspiration from Baroque paintings, the Dutch masters

of the landscape and genre scene. Slavic culture also provided numerous aesthetic ideas.

The visuals would be a background for the postmodern world of Andrzej Sapkowski’s novels. This in itself

provided artistic freedom, the lexibility to blend different conventions with little restraint. Thus, like the

author’s books, the game contains many anachronisms.

The concepts and designs in this volume describe our process. Many ideas never made it into The Witcher ,

but without them certain game elements would not have arisen. This book is the sole outlet for presenting

them.

I recommend the chapter about the two ilms Tomasz Bagiƒski produced. Providing a unique look at the

differences between game and ilm production, it simultaneously notes the similarities between the two

mediums.

I wish to thank all the art team members. The Witcher ’s visuals are a product of their vast talents,

enthusiasm, and dedication. I can’t name everyone, but the following deserve special mention: Damian

Bajowski, Patryk Brzozowski, Michał Buczkowski, Marian Chomiak, Piotrek Chomiak, Bartek Gaweł, Adam

Kozłowski, Kamil Kozłowski, Adrian Madej, Paweł Mielniczuk, Seweryn Niedzielski, Tomek Polit, Dominik

Redmer, Przemek TruÊciƒski, Lucjan Wi´cek, and Łukasz Ziobrowski.

Adam Badowski

Head of Art

The Witcher

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