Professional Documents
Culture Documents
2012
INDEX
4|WORLD MAP
6|PROLOGUE
26|ACT I
46|ACT II
70|ACT III
88|ARENA
94|PLACEABLES
104|CHARACTERS
166|MONSTERS
194|FLASHBACKS
206|INTRO
214|PAPERCRAFTS
218|COVER ARTS
226|OUTRO
WORLD MAP
One of our primary goals when working on this part of thegame was to base clothing and architecture on actual historical ones. This also included other elements of theworld we were building, so
theaesthetics of theNorthern Kingdoms map were to be as close to medieval cartographic standards
as possible. It was agreat chance for our graphic artists to show their skills. Theresults of their efforts
and truly Benedictine work can be seen above. Thecolor map features stylized portraits of therulers
of thethree most powerful kingdoms Redania, Temeria and Kaedwen. An empty throne with acrown
placed on it symbolizes theAedirnian interregnum, while thetroubles in theLa Valette lands and in
Lormark are marked with flames on theboundaries of these domains. Themaps decorative rim
is adorned with plant motifs, fantastic animals and allegoric silhouettes holding standards and
heraldic shields. Thealphabet used to write names on themap is Glagolitic theeldest Slavic
alphabet that first appeared in early Middle Ages.
PROLOGUE
8 | THE BEGInNING
10 | siege MACHINERIES
12 | La Valette Castle
14 | FortificationS
18 | THE TEMPLE
22 | thehermitage
24 | dungeons
Some of theillustrations found on thefollowing pages are not aprecise representation of places found in thegame. Many of them serve to give an idea of thenature and
climate of alocation. In these cases theartists did not focus on details, but on pre senting theatmosphere of ascene. Theuse of shapes and colors is useful in that
regard. Such drawings make it easier for graphic artists and designers to work on
agiven part of thegame.
One of thefirst scenes takes part in King Foltests camp beneath thewalls of therebellious House
La Valettes fortress. Geralt wakes up in atent by Triss side, on theday of thevictorious assault on
thecastle. Theabove drawing is an impression of that moment. We wanted to build theatmosphere
of an illusory calmness. Theinterior is bathed in warm light, some papers and everyday items are
strewn about. In amoment, thewitcher will go outside to accompany Foltest in storming thefortress
and nothing will be like before again.
10
11
Castle La Valette is an impressive defensive structure. Because of its location near theWhite Bridge,
an important crossing on thePontar, thefortress is of great strategic importance. Its main part is
located on an island in therivers middle, but thefortified bridgehead on thesouthern bank has recently
begun to be expanded. Foltest was not shy of exploiting theparts under construction as thecastles
weakest link.
12
13
PROLOGUE | FORTIFICATIONS
14
15
PROLOGUE | FORTIFICATIONS
16
17
18
19
20
Thestained glass
and painting aesthetics are based on Gothic
art, though thefigures
present there likely
represent beings from
t h e l o c a l fo l k l o r e .
We didnt have any
specific cult from
Sapkowskis novels in
mind. Due to thecircumstances in which
Geralt finds himself in
thetemple, he doesnt
have achance to learn
thehistory of thelocal
cult. This enhances
theplaces mystery
immensely.
21
22
23
PROLOGUE | DUNGEONS
What would be amighty fortress without its
dungeons? They house thetorture chamber
where insubordinate and refractory prisoners may find themselves. Themere sight of
theimpressive collection of torture implements
is usually enough to loosen their tongues. Those
more stubborn will quickly find themselves more
acquainted with theinterior than theyd like to be.
After theseat of theLa Valettes was taken, this
place became theprison of its previous owners,
and for Geralt accused of slaying theking.
Hundreds of yards of corridors stretch beneath
Castle La Valette, leading to cells and cellars.
Thedrawing below shows apart of thedungeon.
Thearched ceilings and stone walls are lit by lanterns and torches. Iron bars block theexit from
cells. Theever-present damp, caused by therivers
proximity, gathers in stone gutters placed in
thecorridors floors. Therooms corners are full
of rotten straw. Not many of those who end up
here will enjoy their freedom once more.
24
25
ACT I
27
28
29
30
W h e n d e s i g n i n g b u i l d i n g s , w e a l w ay s
h a d a l o g ica l i nte r io r l ayo u t i n m i n d .
T h e s l a u g h te r h o u s e w a s d e s i g n e d b o t h
in theform of an interior sketch and in theform
of concept art that is visible to theright. Both
elements were thebasis forfurther work on its
design.
31
32
33
34
35
36
37
38
We wanted theforest to be
amysterious place, dangerous
and somewhat unreal. Theatmosphere within was to be overwhelming. We achieved that by
warping thescale of thearea.
Tree trunks, mushrooms and
ferns are huge, thelight rarely
pierces thetreetops and tiny
h u m a n fo r m s a r e a l i e n a n d
out of place here. Theconcept
drawing and theframe from
thegame show theidea and its
implementation.
39
40
41
42
43
44
45
ACT II
48 | Henselts camp
54 | Vergen
64 | thequarry
66 | no-mans land
68 | theghastly battlefield
47
48
Initial drawings had happier colors, and thecamp itself was more colorful. It was changed, however,
to better fit thereality of medieval military camps.
49
50
51
T h e te n t o f t h e p r o s t i tu te s fo l l ow i n g
theKaedweni army is also distinct from
theothers, but in adifferent way. Themobile
whorehouse is predominantly carmine and frills,
with draperies and lanterns stressing its role.
Theinterior is also different from that of other
quarters. A simple soldier entering it is under
theimpression of entering another world, leaving
thedirty and grey reality of themilitary camp
behind.
52
53
ACT II | VERGEN
54
55
ACT II | VERGEN
Themain gate is an important part of thetowns fortifications. Like nearly
all buildings in Vergen, it was built from solid stone blocks. Though thesettlement was not founded as amilitary outpost, its inhabitants didnt neglect
safety measures. Even if thegate fell, prospective invaders would have to
cross along stretch of street, attacked by thedefenders fire from above.
Thestone alley could turn into adeadly trap, once theboiling oil from huge
cauldrons is loosed upon theinvaders. Thesketches below depict thedesign
of these mechanisms.
56
57
ACT II | VERGEN
58
Theillustration depicts aVergen interior atype of an antechamber connecting several corridors. Thechamber has ahigh ceiling and is well lit due
to thewide windows. Though its not arepresentational building, thetall
walls are richly ornamented thefloor, frames and even stone ledges of
thesupporting structure are adorned with distinctive wicker-work. We
assumed that dwarves build things be huge in scope, but they still dont
neglect aesthetic qualities. Their style is heavily geometric, as seen in both
architecture and ornamentation, and presented on theillustrations in this
chapter.
59
ACT II | VERGEN
T h e i l l u s t ra t i o n d e p i c ts t h e d e s i g n o f
achamber adapted for theuse of theyoung heir
to theAedirnian throne, Stennis. Theprince is
avisitor here, so theaccommodation was prepared in accordance with dwarven standards.
Massive, heavy furniture, awrought chandelier
and abrass brazier fit thetypically dwarven wall
and floor ornaments. Thefigurine of adwarven
woman standing by thefireplace is also an interesting decorative motif. We can see its sketches
above.
60
61
ACT II | VERGEN
Most buildings in town were cut in thevalleys rocky face. Onlythefinished building fronts and massive supportive columns suggest that thestone
walls may hide spacious, comfortable chambers.
Dwarves have always had aknack for technical solutions. Thats why our
graphic artists made sure that thewooden crane they designed was actually
operational. Thesystem of gears and capstans reduces thestrength required
to lift necessary weights. You can see thecompleted sketch on theneighboring page. Its worth noting that thedwarves carefully decorate even everyday items. Even theheads of spindles and rivets are meticulously engraved.
Thecolor illustration depicts thestructures in-game appearance.
62
63
ACT II | VERGEN
64
65
Theres astretch of no-mans land between Vergen and Henselts camp. Designing it, we were
wondering how would thearea battled over for years by thearmies of two neighboring kingdoms
look like. Theruins of an old Aedirnian guard tower were theresult. Thecrumbling tower is proof
that these lands knew no peace for along time.
66
67
68
69
ACT III
71
Following thetrails of themysterious kingslayer, Geralt reaches theancient city of Loc Muinne.
Theprocess of creating this location of was one of our most complex tasks. Thework resulted in
theremnants of one of theoldest metropolis in that universe. If stones could speak, theruins of
Loc Muinne would tell many stories. Theslaughter of theelves its former owners is atragic but
small section of thecitys history.
72
Presented above theview towards Loc Muinne from amountain path that weaves its way down
to thecity. Loc Muinne is immediately distinguishable for its architecture, which differs greatly from
all that seen earlier in thegame. Lying within arocky ravine and surrounded by steep mountain
slopes, it is initially adeserted place. Once thewitcher appears, however, theancient walls bear
witness to momentous events that shape thefate of theworld.
73
74
75
76
77
78
79
80
Theruins of Loc Muinne are not thesole location for thegames third
and final chapter. To accommodate one of thequests, our artists created
amountain forest where alpine trees, flowery glades and moss-covered rocks
blend to produce an atmosphere markedly different from that of thewoods
outside Flotsam. Theelven ruins nestled in theforest add variety and are at
once asubtle nod to thechapters main location.
81
82
83
This illustration depicts one of the many frescoes that adorn the walls of an underground
chamber beneath Loc Muinne. Like much of the in-game iconography, these have also been fashioned to resemble late-medieval and early-Renaissance tapestries, paintings and manuscript ornaments. The style is a perfect match for the mystical ambiance that pervades this workshop where
someone devoted themselves to the study of the occult arts.
84
85
86
87
ARENA
90 | Tutorial
92 | Evolution
89
ARENA | tutorial
90
91
ARENA | evolution
Preparing the visuals and story for Arena mode required quite a bit of
work. This was because we decided from the outset to create a completely
new and singular environment for the mode without reusing any existing
in-game locations. We produced numerous sketches and concept drawings.
Many of these differ only in details, while others explore more significant
options the buildings shape and floor plan, the building materials used, or
the appearance of the cliff from which the corpses of fallen gladiators are
dropped. The final result as well as the design at various stages appear on
this and the next page.
92
93
PLACEABLES
96 | prologue
98 | AcT I
100 | AcT II
102 | AcT III
95
PLACEABLES | PROLOGUE
Placeables are elements used as location decorations in-game. Too big to be picked up, theyre
immobile props. Stalls, wagons, tables, statues,
tubs, beds, lanterns, fences, obelisks all of them
fit into this category. We present only part of
thehundreds created for thegame on thefollowing pages.
96
97
PLACEABLES | ACT I
98
99
PLACEABLES | ACT II
100
101
102
103
CHARACTERS
105
Geralt of Rivia
106
107
108
109
Thanks to our graphic artists hard work, about thirty different sets of armor, differing in both appearance and statistics, were created. Most of them are strictly tied to phases of thestory and thefactions
thewitcher decides to cooperate with. This way, theheros appearance will depend on theplayers
decisions and accomplishments. Thefollowing pages contain acomposition of armor elements available
to thewitcher.
110
1. LEATHER JACKET
2. STUDDED LEATHER JACKET
3. QUALITY LEATHER JACKET
4. ELVEN ARMOR
5. AEDERNIAN LEATHER JACKET
6. HEAVY LEATHER JACKET
7. KAEDWENI LEATHER JACKET
10
8. ASTROGARUS' ARMOR
9. QUILTED JACKET
10. SHIADHAL'S ARMOR
111
112
10
113
114
1. DRAUG ARMOR
2. ARMOR OF TIR
3. MAGICIAN'S ARMOR
4. SORCERER'S JACKET
5. BLUE STRIPES' JACKET
6. KAEDWENI LETHER ARMOR
7. ARMOR YSGITH
10
8. ARMOR OF YS
9. DREARG RUADHRI
10. ARMOR OF BAN ARD
115
STEEL SWORDS
116
SILVER SWORDS
Thesilver swords are used for fighting monsters. Theyre distinct from thesteel swords
because of their slightly curved crossguard and
more delicately constructed blades.
117
ALCHEMY
As in thefirst game, alchemy is avery important part of Witcher 2, and work on theappearance of Geralts portable alchemical set took us
some time. Theillustrations shown here depict
different variants of portable alembics, which
are an element of this part of witcher equipment.
This device allows our hero to brew potions that
enhance his combat effectiveness.
118
119
The swords on this page were designed for the special Dark difficulty level
and appear there exclusively. Players choosing this level will face the greatest challenges the game has to offer. These unique weapons are among the
things that set this level apart from other difficulties. All blades available
in Dark mode are extremely dangerous weapons. They both possess special
attributes and are afflicted by a powerful curse. Neutralizing the effects of
the latter requires significant effort, but the rewards are worth it.
In devising the swords, we used completely new designs for the blade,
grip, pommel and crossguard. We wanted all the final designs to embody the
stereotype of a dark, cursed weapon.
120
The special equipment available in this mode also includes three unique
outfits. These consist of jackets, trousers, boots and gauntlets, grouped into
sets that complement specific swords. One the one hand, the dark color
schemes are a nod to the classic witchers outfit described in the novels; on
the other, they reflect the cursed nature of these items. Apart from looking
stylish and offering increased protection, when the outfits are complete they
provide players with unique powers.
The drawings above depict the three additional outfits that are available
when playing at the Dark difficulty level.
121
A slim man was lying by its side, delicately nudging thecords of alute. His eyes were covered
by afancy hat thecolor of aplum, adorned
with asilver buckle and along, nervous, heron
feather.
Geralt knew thehat and thefeather. Both were
famous from theBuina to theYaruga, known
at courts, keeps, inns, taverns and brothels.
Especially at thebrothels.
Andrzej Sapkowski, TheBounds of Possibility
122
Dandelion
123
Triss Merigold
Sorceress Triss Merigold, Geralts friend and former lover, is one of themost important
supporting characters in TheWitcher 2: Assassins of Kings. Sheaccompanies our hero
during his travels, and thechoices theplayer will make concerning her will heavily influence thestory.
If Triss Marigold couldnt be my girlfriend, Id like her to at least be my sister this
phrase may be humorous, but it still gives agood impression of theeffect we wanted to get
when working on thesorceress new appearance. Trisss appearance changed themost of all
characters we met in thefirst game. Her new clothes were to be equally elegant, functional,
and comfortable for traveling. We based them on a15th century doublet. Its skin-tight cut
underlines thesorceress shapely figure perfectly, especially when coupled with trousers and
high topped boots. Themale clothing, fingerless leather gloves and pinned up hair make her
stand out among other women, and turn her into atomboy.
Triss personality has changed too. Shes no longer thegirl from thenovels known to
giggle like aflapper. Now shes adecisive, brave woman. Sheknows what she wants and
she wont hesitate to take risks in order to get it. Her new appearance is also areflection of
this change. One can openly admit that Triss grew up and is more mature, though she has
lost none of her personal charm and grace.
124
125
126
Zoltan Chivay
Thedwarf Zoltan Chivay is Geralts cordial friend from thetime even
before theevents of thefirst game. Theshort, sturdy dwarf kept his
appearance from theprevious game, though of course his model was
built from scratch using our new graphics engine.
Though our artists had no doubts as to how Zoltan would look in this
part of thegame, thefinal model was created only after theanatomy and
proportions of thedwarven race were redesigned. With that basis, Chivay
was given his face and distinctive haircut. As aveteran of theBattle of
Brenna, Zoltan also kept themilitary element of his clothing, that is:
aworn-out gambison.
According to theliterary original, Zoltan was armed with asword, so
we decided to go with that, giving him exactly that weapon. Its certainly
adeparture from thestereotypical image of adwarf using an axe or
ahammer.
127
Vernon Roche
Vernon Roche, Commander of theBlue Stripes King Foltests special
forces is one of themost important characters in thegame. Depending on
theplayers choices, he and Geralt may stand side by side.
Vernon is acommon man, elevated to his rank by theTemerian king
himself. At first sight he doesnt look like aveteran of years of fighting nonhumans. His clothes achaperone and an overcoat remind us instead of
amerchant or burgher. However coupling this attire with his face and his
rough, unyielding personality showcases thecontrast we aimed at. Though
Roche wears amail beneath his clothes, he doesnt really need to be clad in
steel to inspire respect with his appearance alone. Suffice to say that those
who dismiss him make abig mistake. Vernons rank and position are signified
by theBlue Stripes insignia he wears, as well as by themedallion bearing
thecrest of thekingdom he serves with his full devotion and complete dedication. Thewords For King and Temeria become atrue oath in his mouth.
Vernon is an experienced soldier who rarely parts with his arms. His main
weapon is atwo-handed sword, though he also carries aheavy mace and
abacksword. This selection of arms is quite different than that used by
Geralt. Unlike thewitcher, Roche prefers to fight with less finesse, but more
brutally.
128
129
130
Iorveth
131
Dethmold
Dethmold of Ban Ard is asorcerer for whom any and all ethical and moral
norms have ceased to exist. Since his brother died in theincident at Thanedd,
Dethmold changed alot. And not for thebetter. He wont hesitate to follow
any means to his ends, treating others like tools and trampling more than
one corpse on his way.
Theabove illustrations show theprocess of creating this characters
concept art. Visions of thesorcerer sometimes diverge from one another
wildly, but all have one thing in common wewanted to make thecharacter
unsettling in away. He is most certainly not anice old man that one might
want to leave ones younger siblings with.
Dethmold is awind sorcerer, therefore his most distinctive possession is
his staff that ends in an anemoscope weathervane. He has asack and bottles
of magical infusions on his belt. We also couldnt omit armor fragments,
worn more for aesthetic reasons than for protection.ThiswaytheBanArd
sorcerer fits thefashion style we deemed typical ofhisconfreres.
132
133
134
Letho
135
CHARACTERS | ARISTOCRACY
Foltest
136
Henselt
137
CHARACTERS | Nobles
Baron
Kimbolt
138
Count
Maravel
139
Cynthia
140
Brigida
141
CHARACTERS | COMMONERS
142
143
CHARACTERS | PRIESTS
144
145
CHARACTERS | COURTESANS
Whores, strumpets, courtesans, womenof
negotiable affection whatever one might call
them, therepresentatives of this profession are
an element of thegame world. Though theinitial
sketchescanbeat times quite different from their
final appearance in game, looking at theideas
thatwere thebasis of thefinal look might be worth
your while. Hair cut short and clothesrevealing
legs are something of acall-sign of this profession.
Details such as jewelry, tattoos or garters complete
theimage.
146
147
148
149
CHARACTERS | NONHUMANS
150
151
CHARACTERS | NONHUMANS
152
153
CHARACTERS | NONHUMANS
154
155
CHARACTERS | NONHUMANS
TheScoiatael, or theSquirrels, is theoverall
name for all nonhuman freedom fighters. These
illustrations depicttheelves fighting in their
ranks.
156
157
CHARACTERS | FRACTIONS
They surrounded them suddenly, swiftly, from all sides. Men in conical helmets, mail and dark blue tunics with thegolden-black
checkerboard of Verden at their chests. They surrounded them, but none approached or touched aweapon.
From where, and where to? barked astocky individual in worn green clothes, as he stopped before Geralt, spacing his arched
legs widely. His face was dark and wrinkled, like adried plum. A bow and white-feathered arrows stuck out from behind his
back and high above his head.
Andrzej Sapkowski, TheSword of Destiny
Theclass, age, provenance, height, corpulence or nationality
do not matter. Whether because of necessity or lifestyle preferences, they are all connected by their warrior profession.
Thewitcher will meet many warriors during his journey, from
steel-clad knights of theorder, through simple men-at-arms
to bandits and marauders. They can become either his mortal
enemies or faithful allies.
158
159
CHARACTERS | FRACTIONS
160
161
CHARACTERS | FRACTIONS
162
163
CHARACTERS | FRACTIONS
- If you would allow me, lady and gentlemen atone all too familiar to
those present entered Shilard Fitz-Oesterlens voice, atone meaning that
theambassador considers his next words to be extremely important.
- If you would allow me, lady and gentlemen, I shall read thecontents of
theaide memorie Ireceived from His Imperial Highness Emhyr var Emreis,
by theGreat Suns grace theEmperor of Nilfgaard
- Oh no. Not again Demavend gritted his teeth, and Dijsktra simply
groaned. It did not escape Shilards attention, for it couldnot.
- Thenote is long he admitted. Therefore I will summarize it instead
of reading it. His Imperial Highness expresses immense pleasure on how
thenegotiations proceed, and as aman of peaceful disposition, he happily
welcomes thecompromises and reconciliations achieved. His Imperial
Highness wishes thenegotiations to progress and end to mutual benefit
Andrzej Sapkowski, TheLady of theLake
Theappearance of theemissaries from theNilfgaardian Empire in thegame
allowed us to introduce aplethora of colorful characters that stand out from
theinhabitants of theNorth.
164
165
MONSTERS
168 | Kayran
172 | draug
176 | DRAGON
180 | OTHERS
167
MONSTERS | KAYRAN
[] TheHyphydridae family of theorder Amphipoda, that is, Differentfooted, includes four species. Two of them live solely in tropical waters. In
our climate, however, one can presently, though very rarely, find thesmall
Hyphydra Longicauda, and theZslightly larger Hyphydra marginata.
Thebiotope of both species is made up of stagnant or slowly flowing
waters. Thespecies are indeed predatory and prefer warm-blooded
creatures as sustenance. You wish to add anything?
Andrzej Sapkowski, Blood of Elves
168
169
MONSTERS | KAYRAN
170
171
MONSTERS | DRAUG
172
In thegames second act, Geralt will have to lift acurse from abattlefield where thesouls of thefallen fight an eternal battle and cannot find
rest. To do so, hell have to face aDraug acreature born of wrath, blood
and hatred, an unchallenged ruler of acursed domain,
TheDraug is one of themost dangerous opponents in theentire game.
Themonsters huge form towers over thelesser wraiths. Its body is made
up of remains from thebattlefield remnants of shattered siege engines,
broken spears, swords, torn leather belts, bent armor plates, barding and
shields. Crackling flames and acrest of smoke crown its shapeless head.
TheDraug is thebattlefields master, and it exists only tofight and kill.
173
MONSTERS | DRAUG
174
175
MONSTERS | DRAGON
176
177
MONSTERS | DRAGON
178
Despite its huge size, with its massive shoulders and wide chest,
thedragon is not alanguid giant. These have an anatomical justification, too here themuscles moving thewings during flight are attached.
Thecreatures torso is, despite all appearances, quite slender and slightly
thinner at thewaist. Thecombination of these traits brings agreyhounds
slim shape to mind. Thehead, placed on amuscular neck, is adorned
with apair of short horns, and thewide jaws are filled with pointed
teeth. Thedragon is aterrifying opponent, fully deserving its fearsome
reputation.
179
MONSTERS | OTHERS
Elemental
- Sorcerers explained Krepp draw their power from natural forces, or, more precisely, theso
called Four Elements or Roots. Air, Water, Fire and Earth. Each element has its own Dimension,
called aPlane in thesorcerers argot. So there is aPlane of Water, aPlane of Fire and so on.
TheseDimensions, inaccessible to us, are inhabited by creatures called genies.
Andrzej Sapkowski, TheLast Wish
Just as genies are thenative inhabitants of theelemental
planes, elementals are lesser creatures born of themagic
drawn from one of theElements. They are radically different
in appearance and size. When properly controlled, theyre completely obedient to their owners will. Powerful magic is necessary to create one, therefore theyre usually only created by
experienced sorcerers. Most often they are employed for tasks
that do not require finesse, but brute strength alone. Theyre
excellent as guardians of important items or places, ready to
kill either all intruders or just those who they were told to.
They know no pain, they do not tire, they do not sleep, they
show no mercy or fear, they are unflinchingly loyal and never
demand raises in aword theyre ideal servants.
Theelemental in Philippa Eilharts laboratory was certainly
not made with gardening or dusting in mind. Made of clay and
wooden beams, its not theepitome of finesse, but its mighty
180
181
MONSTERS | OTHERS
Harpy
Thelist of creatures that can be blamed for thedeed is quite long. Its opened by apack of savage
dogs, aplague quite common in wartime. You cant imagine what such dogs are capable of. Half
thevictims ascribed to chaotic monsters is in reality thework of packs of savage backyard mutts.
- So you rule monsters out?
- Not at all. It could have been astriga, aharpy, agraveir, aghoul...
Andrzej Sapkowski, Baptism of Fire
182
183
MONSTERS | OTHERS
Nekker
Claws scratched on thebeams to theleft and another monster suddenly jumped from beneath
thebridge. Theothers ran forth in amazing leaps. Thestranger turned in place, his sword,
unsheathed gods know when, flashed. Thehead of thecreature climbing thebridge was catapulted
two yards into theair, trailing blood. Thewhite haired man jumped into themidst of theother
creatures, swirled, hacking swiftly left and right. Themonsters, flailing their arms and howling,
lunged at him from all sides, not caring for theluminous blade cutting them like arazor.
Andrzej Sapkowski, Something more
Thecreation of thenekker was inspired by thecreatures that
Geralt fought in one of Sapkowskis short stories. Thescene
featuring thefight against themisshapen horde of murderous midgets was so expressive that we began working on
theappearance of anew opponent. Thenekker is thefinal
effect, and though its somewhat different from themonsters
from theliterary original, it certainly is their worthy successor.
Nekkers are small, humanoid creatures that live in forests.
There, according to rumor, they dig underground tunnels
which they use to move about swiftly and efficiently. Stooping
humanoids with long upper limbs that stretch almost to
theground and end with sharp claws, they resemble misshapen, deformed children. Their hairless heads tucked onto
thetorsos make them look comical, but this is countered by
their toothed maws.
184
Despite their small size, nekkers should not be underestimated. Theyre mortally dangerous because they hunt in packs.
Though one nekker is ameager opponent at best, alarge group
is aterrifying killing machine that is constantly hungry. Many
unwary travelers of woods and forests have become victims
oftheir appetite.
185
MONSTERS | OTHERS
Troll
One day, I ride up and what do I see? A bridge. And under that bridge sits atroll and demands every
passerby pays him. Those who refuse have aleg injured, sometimes both. So I go to thealderman:
How much will you give me for that troll? Hes amazed. What are you talking about? he asks,
Who will repair thebridge if thetrolls not there? He repairs it regularly with thesweat of his brow,
solid work, first rate. Its cheaper to pay his toll.
Andrzej Sapkowski, TheVoice of Reason
186
187
MONSTERS | OTHERS
Rotfiend
- Geralt pointed out thelast hanged man, who, though dangled high, had bloody stumps gashed with
claws and with visible bones. Look. Its thework of ghouls.
- Wraiths? Zoltan Chivay stepped back and spat.
- Necrophages?
Andrzej Sapkowski, Baptism of Fire
188
Just like other necrophages, therotfiend is also apost-conjunction creature, theresult of theConjunction of theSpheres
amagical cataclysm that brought new species and monsters,
usually hostile to humans, to theWitcher universe. Therotfiend doesnt have an ecological niche, so one doesnt disturb
thebalance of natural relationships by killing it.
189
MONSTERS | OTHERS
Arachas
Because even an orchid only resembles aflower in Ysgith sometimes, and in reality is avenomous
arachas. Well have to keep Dandelion on short leash, make sure he doesnt touch anything. Especially
since theres no shortage of plants that like to supplement their chlorophyll diet with apiece of meat
there. With sprouts rivaling theeffectiveness of arachas venom in contact with skin.
Andrzej Sapkowski, Baptism of Fire
Before theabove final appearance of thearachas was
settled, many other concepts of its visage were created.
ThePolish name, crabspider, was our main inspiration mainly things associated with theanimals its composed of.
We knew from thebeginning that thecreature would be an
overgrown hybridof both arthropods. Its camouflage abilities and thesymbiosis that real-life hermit crabs share with
sea anemones inspired our artists to make it similar to that
creature. Thepredators uneven armor provides its thorax and
forelimbs with ample protection, but themonsters vulnerable
abdomen requires additional protection. Thespecimen guarding theentrance to Iorveths hideout covers its hindquarters
in ahuge shell.
Only afew casual notes about thecreature can be found on
thepages of Andrzej Sapkowskis novels. What does acreature
that is ahybrid of acrustacean and an arachnid look like?
Why is it called what it is? On one hand, thelack of amore
detailed description made our work more difficult, but on
theother, theartists designing thecreature had more leeway.
Theillustrations of theevolution of its appearance prove that,
190
191
MONSTERS | OTHERS
Werewolf
He pulled thepouch from under thepillow and quickly counted theten crown coins. A hundred and
fifty for yesterdays manticore. Fifty for thefogler killed on contract from thealderman of avillage
near Carreras. And fifty for thewerewolf exposed by thesettlers in Burdorff.
Fifty for thewerewolf. A lot, considering how easy thejob had been. Thebeast put up no defense.
Cornered in acave with just one entrance, it kneeled and waited for thesword strike. Thewitcher
had felt pity.
But he needed themoney.
Andrzej Sapkowski, TheTime of Disdain
A werewolf is aman cursed with lycanthropy, which periodically turns him into acreature that is half man, half wolf.
Thechange occurs at night, often when themoon is full.
Scholars and mages debate theroot cause of werewolf aggression. Some claim it derives from theshock of transformation
and thesudden surge of animal instincts into thehuman
mind. Others contend it comes directly from thecurse. Of
theafflicted, afew prove strong-willed enough to rein in their
murderous instincts, which clearly supports thefirst of these
theories.
Most of these troubled souls recall none of their actions
once transformed. Come morning they are shocked to discover their clothing tattered and dirty, their joints aching,
their hands bloodied, and themetallic taste of blood in their
mouths. If their curse is not lifted in time and their vengeful
neighbors dont kill them first, madness slowly consumes their
minds. They become athreat to all around them, susceptible
to outbursts of uncontrolled rage, and begin to crave raw meat.
When thecall of thewild grows too strong to resist, they flee
to forests where they live in exile, hunting unwary travelers,
foresters and lumberjacks. On occasion they sneak into human
homes and abduct children from cradles to feed on in their
lairs.
In designing thewerewolfs appearance, we had to keep in
mind that thetransformation is acurse rather than agift.
Thus, theman/wolf hybrid our artists created bears thetraits
192
193
FLASHBACKS
195
FLASHBACKS
196
Theplayers decisions and choices have consequences for their story. Helping Vernon or
allying with Iorveth, defending Vergen, relieving
theScoiatael these events are recalled through
retrospections partly animated drawings,
illustrating important moments and thestorys
turning points.
These drawings also depict another, equally
important element thememories of thewitchers past. Combined with thenarrative, they
shed some light on certain facts that our hero
himself was notaware of until now. Thecombination of retrospections and memories completes
thebackground of thestory told in TheWitcher 2:
Assassins of Kings. Thisand thefollowing pages
depict someof them.
197
FLASHBACKS
198
199
FLASHBACKS
200
201
FLASHBACKS
202
203
FLASHBACKS
204
205
INTRO
208 | Close-ups
210 | INTRO CHARACTERS
212 | making of
207
INTRO | Close-ups
208
209
210
211
INTRO | MAking of
Platige Image
Director
Tomek Bagiski
Compositing
Szlum Pinkumbaum
Tomek Bagiski
Script
Producer
Marcin Stpie
Stanisaw Marek
Micha Firek
Andrzej Sykut
Selim Sykut
CG Supervisor
Stanisaw Marek
Production Manager
Krzysztof Olszewski
Grzegorz Kuku
Wojciech Idzi
Mariusz Gitkowski
Tomek Bagiski
Marcin Kobylecki
Piotr Sikora
Environment Artists
Maciej Jackiewicz
Maciej Jackiewicz
Marta Staniszewska
Layout Supervisor
Damian Nenow
Lighting Artists
Layout Artist
Wojciech Idzi
Bartomiej Kik
Texture Artists
Film Editors
Bartomiej Walendziak
Damian Nenow
212
Tomasz Zaborek
Stanisaw Marek
Jarosaw Handrysik
Character Modelers
Tomasz Wrbel
Marcin Klicki
Tomasz Stefaski
Maciej Halber
Micha Godlewski
Artur Ownicki
Tomasz Stryjewsk
Krzysztof Olszewski
Additional Modelers
Mateusz Bargiel
Piotr Luziski
Character Animators
ukasz Kubiski
Waldemar Nalepa
ukasz Krawczyk
Arkadiusz Firlit
Arkadiusz Zawada
Pawe wierczynski
Senior TD
Bartosz Opatowiecki
TD
Mateusz Popawski
Alan Uran
Grading
Piotr Dutkiewicz
On-line Editors
ukasz Sobisz
FX TD
Adam Kauski
Magdalena MikoajczykZieliska
FX Artists
Music
Marek Sulcki
Bartosz Grzybowski
Piotr Suchodolski
Maciej Jurgielewicz
Jakub Jeziorski
R&D
Adam Wierzchowski
Concept Artists
Bartomiej Gawe
Damian Bajowski
Additional Artists
Tycjan Bartu
Kamil Pohl
Olga SzablewiczPisuk
Adam Trdowski
Adam Skorupa
Sound
Maciej Kwiatkowski
Sawomir Kurek
Tomasz Lewandowski
Bartomiej Ostapczuk
Marek Wasilewski
Artur ebrowski
CD PROJEKT RED
Original Story
Sebastian Stpie
CG Supervisor
Pawe Mielniczuk
Concept Art
Bartomiej Gawe
Jan Marek
Marcin Baszczak
Marian Chomiak
Arkadiusz Matyszewski
Tomasz Polit
Bartomiej Gawe
Pawe Mielniczuk
Sointeractive Studio
213
Papercrafts
215
PAPERCRAFTS
216
217
COVER ARTS
219
COVER ARTS
220
221
COVER ARTS
222
223
COVER ARTS
224
225
OUTRO
228 | LOCATIONS
230 | the tale will continue
227
OUTRO | LOCATIONS
228
A conceptual stage similar to that used in producing the games other visual assets preceded
work on the movie itself. This stage entailed
designing every last detail. The sketches and
drawings produced by our graphic artists were
an important step towards creating a final result
that would satisfy us. The wooden bridge in the
movie is one of the more interesting elements.
Originally, it was supposed to be the work of a
troll. The drawing on the left shows the design
for the bridge and its builder.
229
OPOWIE TRWA
ART Z OUTRO
230
231
CREDITS
CD Projekt RED
ILLUSTRATIONS AND CONCEPT-ARTS
Bartomiej Gawe
Sawomir Maniak
Jan Marek
Jakub Rebelka
Monika Zawistowska
grzegorz krysiski
Damian Bajowski
CHARACTERS
Marcin Baszczak
Grzegorz Chojnacki
Arkadiusz Matyszewski
Pawe Mielniczuk
Dominik Milecki
LOCATIONS
Micha Buczkowski
Marian Chomiak
Arkadiusz Duch
Jacek Krogulski
Krzysztof Krzycin
Jonas Mattson
Marcin Michalski
Daniel Olejnik
Adrian Sobieraj
Lucjan Wicek
Igor Zieliski
Marek Ziemak
ukasz Ziobrowski
Patryk Brzozowski
Pawe Kwiatek
Map designed by
Karol Kowalczyk
TEXT
Marcin Batylda
TRANSLATION
WORDING
Daniel Denisiuk
Marcin Blacha
PROOFREADING
Daniel Denisiuk
Photos
bartosz czechowski
przemysaw juszczyk
Przemysaw Juszczyk
ARTISTIC VISION
Adam Badowski