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At the risk of making time feel like a total farce, The Witcher 3: Wild Hunt turns 10 years old this May. In the decade since its release we've had DLC, a Switch port and a new-gen update, but as for a sequel, we so far have to make do with a single trailer unveiled at The Game Awards 2024.
Following the trailer, which showed Ciri as the apparent protagonist (something I back with all my heart), I returned to CD Projekt's RPG – more specifically, its Blood and Wine DLC set in sun-kissed Toussaint. Before long, I was in combat against a bruxa, a higher vampire that moves at vicious speeds and can turn invisible. But I was ready for this monster.
When I first played The Witcher 3 some years ago, I struggled to wield Geralt's two swords – one of silver, one of steel (you know the rest) – meeting an untimely end far too often. I even bumped the difficulty down but somehow our hero's fighting style still didn't make sense to me. I understood the need to do my homework on enemies, applying the appropriate oils on my blade depending on the foe, and so on. But I apparently lacked the knowledge Geralt needed from me on a more basic level.
Time went on and I dragged myself through encounters, unable to really enjoy the experience. This was no doubt due to my struggles with combat, although subsequent playthroughs have made clear that the opening hours are a bit of a chore. Struggling as I was to appreciate Geralt's world, I decided to read The Last Wish from the Witcher book series by Andrzej Sapkowski.
Witcher is a dancer
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Before long, I found myself on the third book, Blood of Elves. In chapter three, Ciri is studying at Kaer Morhen, a stronghold occupied by witchers from the School of the Wolf. Under the tutelage of Geralt, Vesemir and others, the Child of Surprise learns how to fight as a witcher. The book makes it clear in this section that the focus is on movement. Witchers from this school are not running strength builds, so to speak. They rely on dexterity. They spin and pirouette and leap, all in order to avoid damage and strike at the opportune moment. It's a game of patience, of knowing when to go. Dare I say, it's one of rhythm.
Yes, The Witcher 3 is a rhythm game, at least in terms of its combat. This revelation seems so obvious in hindsight. The music that played during most fights was telling me all along. I was hearing the allegro vocals but not really listening as they tried to make me move quicker, driving home that this game's combat is all about speed and tactical awareness.
With renewed confidence and understanding, I returned to Wild Hunt ready for action. As Geralt, I pirouetted and slashed my way through wolves, wraiths, ghouls and, of course, humans. Armed with the knowledge I acquired at Kaer Morhen, the critically acclaimed RPG was finally charming me (with some help from Triss Merigold, the superior companion for Geralt).
Now I'm not saying The Witcher 3 is a perfect game. The fast travel system is a bit too rigid for my tastes and weapons degrade a little too quickly. While I sincerely hope both of these elements are improved for The Witcher 4, they didn't keep me from rolling credits on Wild Hunt before playing through both DLCs. This game is a masterpiece – I just had to do some reading before I could see that.
So while we wait for The Witcher 4, I'll be heading back to The Witcher 3: Wild Hunt and dancing my way through every enemy it throws at me. Who knows, maybe I'll finally give Gwent a proper go, although I've yet to find a section in the book that makes me understand the card game.
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