Professional Documents
Culture Documents
Thewitcher2artbook Eng PDF
Thewitcher2artbook Eng PDF
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 archi-
tecture 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
4
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.
5
PROLOGUE
8 | THE BEGInNING
10 | siege MACHINERIES
12 | La Valette Castle
14 | FortificationS
18 | THE TEMPLE
22 | thehermitage
24 | dungeons
7
PROLOGUE | THE BEGINNING
8
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.
9
PROLOGUE | SIEGE MACHINERIES
10
Thebattering rams head is shod in iron and takes Theconcept sketches below show various versions
theform of aboars head. Thedevice, propelled of thebattering rams head.
by thestrength of human arms, is mounted atop
thesiege tower and is designed to crush battle-
ments and create abreach, making theassault
easier.
11
PROLOGUE | LA VALETTE CASTLE
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
We wanted thefortress interior to be as
realistic as possible. When planning it out, we
wondered what thestreets would look like and
thelocation of thesquares, courtyards and gates.
We even remembered to place agraveyard after
all thelocals had to bury their dead somewhere.
13
PROLOGUE | FORTIFICATIONS
14
15
PROLOGUE | FORTIFICATIONS
16
17
PROLOGUE | THE TEMPLE
18
When designing thetemple, we wanted to avoid any specific
architectonic styles of historical religious buildings. Therefore
we decided to mix several, creating our own original style. Hence
thecombination of aGothic portal with massive Romanesque
towers and such elements as obelisks and cromlechs.
Thedrawing shows thedesign for themain altar of thelocal
deity. This object is definitely older than thetemple walls which
surround it. It was most probably here even before thefortress
was built. Thats how thetemples of pagan deities might have
looked like if their religions were still developing in late Middle
Ages and benefited from contemporary architectural thought.
Thefinal version, visible on thenext page, isslightly different
from theone on this illustration.
19
PROLOGUE | THE TEMPLE
20
Thestained glass
and painting aesthet-
ics 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 thecir-
cumstances in which
Geralt finds himself in
thetemple, he doesnt
have achance to learn
thehistory of thelocal
cult. This enhances
theplaces mystery
immensely.
21
PROLOGUE | THE HERMITAGE
22
23
PROLOGUE | DUNGEONS
24
25
ACT I
28 | Flotsam AND Lobinden
30 | THE inn
32 | Loredos mansion
34 | thecrane
36 | thebarge
40 | theforest and its surroundings
42 | mental hospital
44 | theKayrans lair
27
ACT I | FLOTSAM AND LOBINDEN
28
A small cluster of huts com-
prises thetiny settlement of
Lobinden just next to Flotsam.
Its inhabitants mainly hail
f ro m Ae d i r n a n d m a ke t h e i r
living building and repairing
boats. Thepeople, though poor,
a r e o p e n a n d f r i e n d l y, a l s o
towards nonhumans. Thats one
of thereasons thevillage has
no walls or even apalisade, as
thepeople need not fear forest
Scoiatael units.
29
ACT I | THE INN
30
When designing theinn, we wanted to make wanted it to be functional yet save as much space
it look as comfortable and homely as possible. as possible. Thisarrangement of items makes
Thearchitecture and interior design carved it easy for theinnkeeper to access anything
wooden ceiling beams, colorful walls and benches heneeds.
standing by them are based on historical recon-
structions of such buildings. Theroom, filled with
furniture, gives off theimpression that thebuild-
ing is really lived in. We also couldnt omit such
details as mushrooms, herbs and sausages drying
under theceiling.
Theblack and white sketch above shows
thedesign of theworking part of theinn. We
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
ACT I | LOREDOS MANSION
32
Themansions basement contains thechambers
of Loredos mother. This insane woman, continu-
ously intoxicated with thedrug she distillates,
lives in aworld of thefears and nightmares
from her past. She worships aperverse version
of thedeity Vaiopatis thestatue seen here is
agrotesque alteration of those found in thesur-
rounding woods.
33
ACT I | THE CRANE
34
Since river transportation is so important to
Flotsams existence, thedesign of theport and
its structure was very important. Even if some
of thebuildings wouldnt be available in game,
we wanted thelocation to be designed as real-
istically as possible. Therefore when working
on thewharf and harbor of thetrading post,
we came up with theidea to make amodel of
awooden crane. It was inspired by an analogical
structure found in Gdansk. Thegraphic artists
began working on this part of thelocation by
making asketch showing thecrane and its inter-
nal construction. Similar cranes were used in
theMiddle Ages to load and unload goods and
during refitting boats and ships.
35
ACT I | THE BARGE
36
Thedrawing to theleft depicts themodel that
was thebasis for thedesign of Vernon Roches
ship. TheSpecial Forces have asmall, maneu-
verable river vessel an equivalent of amodern
patrol boat. Unlike thesquare rigged prison barge,
this ship has lateen sails, allowing it to sail against
thewind more easily. Its smaller draft allows it to
safely traverse thePontars shallows. A distinctive
blue-white striped sail with theTemerian crest
was added to thevessels final in-game design.
37
ACT I |THE FOREST AND ITS SURROUNDINGS
Thetrading post of Flotsam lies in theheart of wild, every day. Thetrading post exists solely due to theefforts of
maiden territory. An ancient forest where man is its inhabitants. Had thehumans stopped rooting thetrees out,
but an intruder - begins just beyond its walls. Only theforest would quickly regain theterritories it lost to them.
afew steps are enough to leave civilization behind and become
steeped in thewoods green shadow.
Theillustration above perfectly presents theclimate we
wanted for our forest locations. Theforest is thick, with trees
growing close to each other, and almost approaches thesettle-
ment, towering above its walls. Thenarrow strip of land not
covered in vegetation is aborder that must be renewed almost
38
We wanted theforest to be
amysterious place, dangerous
and somewhat unreal. Theatmo-
sphere within was to be over-
whelming. 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
ACT I |THE FOREST AND ITS SURROUNDINGS
40
Theforest hides many mysteries. Theorigin
of thestone statues dotting thelandscape here
and there is one of them. Adding them to thesur-
roundings magnifies thewoods unsettling atmo-
sphere. Time had its effect on those sculptures
covered in moss, and they seem to be watching
those passing by. Travelers sometimes use them
as landmarks, but their original meaning and
function were completely different. For thealtar
of alocal deity, Vaiopatis, is hidden in theforest
wilderness. He is theprotector of life and fertil-
ity, but also theharbinger of death. Not many
know of his existence, and even fewer worship
him, brining humble offerings here. Thestatues
are also tied to this ancient religion of thefirst
inhabitants of these lands.
Thesketches below show one of theearlier
compositions of shapes and forms of thestone
statues. Theyre based on theexisting remains
of pagan cultures among them theso called
Zbruch Idol, astone statue of Svantevid
d ate d be twe e n 9 t h a n d 1 0 t h ce ntu r y C E .
Vaiopatishimself was inspired by an authentic
Prussian-Lithuanian deity worshipped in early
Middle Ages. His attributes, including abarrel
and afish, are visible on thestatues.
41
ACT I | MENTAL HOSPITAL
42
Thesketches show various projects of arrang-
ing thelocations rooms.
Below is an initial drawing of theruins visible
from theforest. Note that though its somewhat
conventional, theillustration excellently shows
thelocations atmosphere. It was agood basis for
our work on detailing theplace.
43
ACT I | THE KAYRANS LAIR
44
Thestone pillars are
theruins of an ancient
elven bridge. Not much
of this once impressive
structure is still standing.
Thesketches to theright
i l lu s t rate t h e i n i t i a l
work on this element of
thescenery.
45
ACT II
48 | Henselts camp
54 | Vergen
64 | thequarry
66 | no-mans land
68 | theghastly battlefield
47
ACT II | HENSELTS CAMP
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
ACT II | HENSELTS CAMP
50
51
ACT II | HENSELTS CAMP
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
56
57
ACT II | VERGEN
58
Theillustration depicts aVergen interior atype of an antechamber con-
necting 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 pre-
pared 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 inter-
esting decorative motif. We can see its sketches
above.
60
61
ACT II | VERGEN
62
63
ACT II | VERGEN
64
65
ACT II | NO-MANS LAND
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
Theremains of aburnt village near theroad to Vergen are another proof.
Theburnt out ruins of wooden huts show thefate that likely befell many
other, smaller settlements in these lands. Thestone foundations and astill
standing chimney are almost all that is left of this farmyard. This inconspicu-
ous location helped us to build theatmosphere of ravaged borderlands.
67
ACT II | THE GHASTLY BATTLEFIELD
68
69
ACT III
72 | thecity of Loc Muinne
74 | thecamps
78 | amphitheater
80 | Forest
82 | VRANS Chamber
84 | Frescoes
84 | thearchitecture
71
ACT III | THE CITY OF LOC MUINNE
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
ACT III | THE CAMPS
74
TheNilfgaardian camp was set up in one of Loc
Muinnes districts.TheEmperors emissaries were
officially invited here by king Henselt of Kaedwen
to take part in thehistoric event that therestora-
tion of theCouncil and Conclave of Sorcerers will
be. When making theconcept sketch, our artists
tried to keep in mind theactual ways of adapt-
ing asquare in aruined city for thepurpose of
atemporary encampment.
Thesolders tents are set up in atight order
near thewalls of ancient mansions. In thedis-
tance, theroof of theofficers pavilion, which is
stretched between two walls of ruined buildings,
can be seen. Banners with theimage of thesun
Nilfgaards coat of arms leave no doubts as to
whose camp it is.
75
ACT III | THE CAMPS
76
77
ACT III | amphitheater
78
Some of thebuildings in Loc Muinne were built
by theelves. Their construction and appearance
are based on theclassical style of Greek and
Roman architecture. A huge amphitheatre is one
of themore important locations in thecity. This
ancient building becomes themain arena for
theevents that will shape thefuture fate of that
world.
When we discussed how thelocation of theLoc
Muinne debate could look like, we had this idea
almost immediately. Thesemicircular arena sur-
rounded by rows of stone benches is theideal
setting for theculmination planned for thegames
final Act.
79
ACT III | FOREST
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
ACT III | VRANS Chamber
82
While exploring the cellars, the witcher
reaches the secret laboratory of the legendary
mage Dearhenna. The sketch above presents the
design for this location. It is immediately appar-
ent that this was once a mages workshop. Theres
a complicated alchemy apparatus, shelves densely
packed with books, and details like the magical
symbols on the floor and the skeleton of a strange
creature suspended from the ceiling.
83
ACT III | Frescoes
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 fash-
ioned to resemble late-medieval and early-Renaissance tapestries, paintings and manuscript orna-
ments. 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
ACT III | THE ARCHITECTURE
86
87
ARENA
90 | Tutorial
92 | Evolution
89
ARENA | tutorial
90
Arena mode is simultaneously atutorial and astandalone game mode
that tests ones combat abilities. It teaches thebasics of gameplay from
movement and interaction with NPCs, through use of thein-game Journal,
Alchemy panel, Inventory and Meditation mode, to character development
and use of witchers Signs and combat tactics.
Theamphitheatre where thebloody fights take place is akind of fortified
castle erected at theedge of asteep cliff. Its precise location in thegame
world remains unspecified. Our hero arrives there at night, by riverboat,
and thearea hardly seems welcoming. Theres asmall river landing and, just
up thehill from that, avillage that remains nameless, just as thedoors of
its huts remain tightly shut. Clearly, thelocals dislike strangers and want
nothing to do with them. All this serves to enhance theareas gloom and,
in point of fact, works well as an introduction to thegeneral mood that
dominates theuniverse of TheWitcher. Its agrim, dangerous world where
people live in fear of ever-present threats, and unfamiliar faces only evoke
suspicion.
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
96
97
PLACEABLES | ACT I
98
99
PLACEABLES | ACT II
100
101
PLACEABLES | ACT III
102
103
CHARACTERS
106 | THE WITCHER
120 | DARK WITCHER
122 | MAIN CHARACTERS
136 | Aristocracy
138 | NOBLES
140 | QUEST CHARACTERS
142 | COMMONERS
144 | priests
146 | courtesans
148 | Sorcerers and sorceresses
150 | NONHUMANS
158 | FRACTIONS
105
CHARACTERS | THE WITCHER
Geralt of Rivia
Creating Geralts character for TheWitcher2:AssassinsofKings was
achallenge as difficult as it was for thefirst game, though for slightly dif-
ferent reasons. We were designing him from thescratch back then, and
we had to rise up to the expectations of fans of thenovels. Now, however,
our graphic artists faced anew challenge designing themain characters
appearance using thenew graphical engine and all of its new possibilities.
Work on thewitchers appearance had to be done from scratch. Geralts
face from theprevious game was our basis. His new appearance was to be
linked to theoriginal, but would also use thefull potential of thenew engine.
Certain physical traits of aperson can reflect that persons personality.
With adistinctive nose and forehead curvature, aswell as themouth and
chin arrangement, we managed to give Geralt acertain predatory look.
Things inseparably associated with thewitchers appearance, such as
thescar on his face or yellow eyes with cat pupils were obviously retained,
though Geralt now sports anew haircut. Thetied hare is more practical,
since it wont get in theway in combat.
In several scenes we also have thechance to admire thescars covering
Geralts body. Its obvious at first sight that our hero has experienced alot,
and his profession is not thesafest one.
106
107
CHARACTERS | THE WITCHER
108
theradical step of placing thesword hilts
on thesame side of Geralts head. Theasym-
metry adds dynamism to Geralts profile,
and it eliminates theproblem of animations
looking ridiculous with thecharacter drawing
aweapon over his own left shoulder.
109
CHARACTERS | THE WITCHER
1 2
5 6 7
Thanks to our graphic artists hard work, about thirty different sets of armor, differing in both appear-
ance 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
3 4
8 9 10
111
CHARACTERS | THE WITCHER
1 2
5 6 7
112
3 4
8 9 10
113
CHARACTERS | THE WITCHER
1 2
5 6 7
114
3 4
8 9 10
115
CHARACTERS | THE WITCHER
STEEL SWORDS
Thewitchers steel swords are designed to
be weapons for humans. Our hero will have
achance to use several dozen various types
in-game. We present several chosen models here.
116
SILVER SWORDS
Thesilver swords are used for fighting mon-
sters. Theyre distinct from thesteel swords
because of their slightly curved crossguard and
more delicately constructed blades.
117
CHARACTERS | THE WITCHER
ALCHEMY
As in thefirst game, alchemy is avery impor-
tant part of Witcher 2, and work on theappear-
ance 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
CHARACTERS | DARK WITCHER
The swords on this page were designed for the special Dark difficulty level
and appear there exclusively. Players choosing this level will face the great-
est 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
CHARACTERS | MAIN CHARACTERS
122
Dandelion
Thewitchers companion, Dandelion, or more precisely viscount Julian
Pankratz de Lettenhove is afamous troubadour, but also afop, awoman-
izer and adandy. When making thecharacters model, our artists had no
problem with visualizing him. Dandelions appearance, as usual, speaks
for itself.
Some instantly recognizable elements of Dandelions appearance,
such as gaudy, ornate clothes, were already present during our work on
thefirst part of thegame. Nowthey were enriched with afew more
details, among them thedistinctive plumed hat with along feather.
Dandelions clothes were to correspond with this characters person-
ality that of atravelling bard. It consists of clothing and accessories
inspired by fashion from theturn of the15th and 16th centuries.
Even though theDandelion described in thenovels wears no beard,
we decided to add adetail in theform of aneatly trimmed beard. This
element gives thecharacters features some coherence and allows us to
emphasize his care for external appearance.
123
CHARACTERS | MAIN CHARACTERS
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 influ-
ence 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
- Triss she mumbled.
- Teleport us out of here!
- No, Yennefer Triss voice was calm. And very
cold.
- Theyll kill us
- No, Yennefer. I wont run. I wont hide behind
theLodges skirt. And have no fear, I wont faint
from fear like at Sodden. Ill break it in myself. I
already did!
125
CHARACTERS | MAIN CHARACTERS
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
CHARACTERS | MAIN CHARACTERS
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 non-
humans. 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 dedi-
cation. 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
- Judging by that cockade, youre
in king Demavends special forces?
- Yes, my lady.
- Your rank?
- Captain.
- Excellent [] Demavends army,
as I can now ascertain to my
satisfaction, finally grew ahabit
of handing out officers patents to
soldiers with balls.
Andrzej Sapkowski,
Time of Disdain
129
CHARACTERS | MAIN CHARACTERS
Andrzej Sapkowski,
Baptism of Fire
130
Iorveth
Iorveth is acharacter created from scratch for thesecond
witcher games story. There are precious few references to
theelf of that name in thenovels. These inspired us to expand
him into afully fledgedcharacter.
We wanted Iorveth to be aperson equally capable as an
adversary and as an ally. Thecooperation between artists and
designers allowed us to achieve thedesired effect.
Iorveth is thecommander of one of thelast elven units that
still fight humans. Theelfs once beautiful face is now cruelly
scarred that is theprice he paid for his determination.
TheAen Seidhes pride makes him conceal thescars, so he
covers part of his face with acowl. His clothes are amixture
of human and elven garments, typical of theScoiatael gue-
rillas. One detail that stands out is acollection of badges
from thespecial forces that human kingdoms recruit to fight
nonhumans. Theirowners had themisfortune of running
into Iorveth, and he only lacks Vernon Roches badge to make
thecollectioncomplete.
131
CHARACTERS | MAIN CHARACTERS
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
After awhile, Keira Metz returned, but not
alone. She was accompanied by aflaxen-haired
sorcerer, whom was introduced to Geralt theday
before as Dethmold of Ban Ard. Theman cursed
at thesight of thewitcher, slamming his fist into
his open palm.
- Damn! Is he theone Yennefer is so fondof?
- Yes said Keira. - Geralt of Rivia. Theproblem
is, Ive no idea how are things with Yennefer
- Neither do I Dethmold shrugged. -Either way,
hes involved now. He saw too much. Take him to
Philippa, shell decide. Bind him.
133
CHARACTERS | MAIN CHARACTERS
Andrzej Sapkowski,
TheSwordofDestiny
134
Letho
Letho is witcher Geralts main antagonistand was designed to be aliving
contradiction. Muscular hands, athick neck, broad chest and athick brow
are reminiscent of an ape, but that huge, bald man with awrestlers build
moves swiftly and gracefully like acat. Theface fitting adumb brute shows
no emotion, but that faade conceals acold, calculating mind.
Themysterious kingslayers identity remains amystery through much of
thegames story. Its obvious hes responsible for thedeaths of at least two
rulers of theNorthern Kingdoms. He seemingly cooperates with theelves,
but it quickly turns out that theScoiatael guerillas are but tools in his hands.
In time, it is revealed that hes following his own mysterious plans.
Lethos clothes are simple and functional. Thesleeveless leather jacket,
multiple belts and buckles holding reserve weapons and necessary equip-
ment, and above all else thesword worn on theback, are immediately remi-
niscent of witcher gear. Letho is our heros equal both in terms of his abilities
and his equipment.
135
CHARACTERS | ARISTOCRACY
Foltest
Foltest, lord of Temeria, Pontar, Mahakam and
Sodden and recently thesenior Protector of
Brugge demonstrated his noble profile to all,
turning his head towards thewindow.
136
Henselt
- No, no, and one more no! bellowed king
Henselt, pounding thetable top with both of his
fists so hard that agoblet overturned and ink
pots trembled.
- I will have no discussion on that subject! No
tender in this case! Enough, schluss, deireadh!
[] - I object to such remarks! bellowed Henselt,
this time so loudly that not many buffalos would
keep up with him.
- I object to such remarks, especially made by
various spies! Im abloody king!
137
CHARACTERS | Nobles
Baron
Kimbolt
To theside, an older, powerfully built, bearded
man sat on achest. Behind theking stood
another man - richly clothed, aproud look on his
face. A magnate.
138
Count
Maravel
In therainbow of colors cast by thestained
glass window, ahunting tapestry at his back,
stood aman of impressive girth clad in acaftan
dripping with gold and apelt-trimmed cloak.
139
CHARACTERS | Quest CHARACTERS
Cynthia
[]She ever so slightly puckered her full lips. Her
doll face contrasted sharply with the strategic
wisdoms she proclaimed.
The strike is preemptive. Specially selected units
of Army Group East will engage King Henselts
forces, knocking any ideas he might have of
assisting Temeria out of his mind.
140
Brigida
And you, Sir Loudmouth, what do you display
on that silver shield? A black pillar between
griffin heads? The arms of House Papebrock, if
Im not mistaken and Im rarely mistaken in
these matters. They say the pillar accurately
represents the intellect typical of the familys
members.
141
CHARACTERS | COMMONERS
142
Attention to realism and details of appearance
was as important to thedesignof background
characters as it was in thedesign of other elements
of theenvironment. Details such as abag, apouch,
aladle at thebelt, aknife, amug or akey ring make
thecharacter look less generic and more natural
we can suggest that he or she doesnt carry these
items for show, but that theyre important for his or
her occupation or profession. We wanted thestreets
in TheWitcher 2 to be full of real people not out-
of-context extras in their medieval Sunday best.
143
CHARACTERS | PRIESTS
144
Thepriests were created as aseparate background group. Weattempted
to attain theappearance of aclergyman without suggesting any specific
religion. These illustrations depict theworks final appearance, as well as
initial sketches of faces and clothing details.
145
CHARACTERS | COURTESANS
146
147
CHARACTERS | SORCERERS AND SORCERESSES
148
149
CHARACTERS | NONHUMANS
150
151
CHARACTERS | NONHUMANS
152
Theassimilated elves are theones that chose
or were forced to live among humans by various
circumstances. Therefore they often meet with
disdain of their prouder kin and open hostility
and intolerance of their new neighbors. Despite
that, its theonly alternative for many. Their
clothes depend on their profession or social posi-
tion, but its usually amix of their indigenous
clothes with elements of human clothing. This
distinctive style gave us alot of leeway when
detailing their final image.
153
CHARACTERS | NONHUMANS
154
155
CHARACTERS | NONHUMANS
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.
Theclass, age, provenance, height, corpulence or nationality During work on thewarriors equipment, our graphic artists
do not matter. Whether because of necessity or lifestyle pref- used both scientific publications as well as historical accounts
erences, they are all connected by their warrior profession. paintings, etchings, drawings and fencing treaties. They made
Thewitcher will meet many warriors during his journey, from sure that every faction or military formation would have aset
steel-clad knights of theorder, through simple men-at-arms of details based on their provenance and training, thatwould
to bandits and marauders. They can become either his mortal distinguish them from other groups.
enemies or faithful allies.
158
Thecolor illustration on theneighboring pagedepicts
thedesign of thearms and armor of AdamPangratts merce-
naries. These professionals have earned their reputation as
deadly opponents. If thepay is decent, they fear neither man,
normonster, nor witcher.
159
CHARACTERS | FRACTIONS
160
TheKaedweni knights also follow
thesame concept. Their equipment,
including thebasinet helmets, is
historically 100 years older than
theTemerian equipment. They also
dress warmer, and details such as belt
fittings and armor dcor in theshape
of oaken leafs make them stand out
when compared to theknights of
other factions.
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
164
We finally decided on armament that stylisti-
cally resembled theearly Renaissance. We focused
on creating thesoldiers of an evil empire looking
like arepresentational company. Elementssuch
as high topped boots allowed us to optically slen-
derize their profiles. Thefinal element contribut-
ing tothat effect is theform of theNilfgaardian
helmets, similar to German helmets from
thefirst half of the20thcentury, crowned with
theblackwings of predatory birds.
165
MONSTERS
168 | Kayran
172 | draug
176 | DRAGON
180 | OTHERS
167
MONSTERS | KAYRAN
[] TheHyphydridae family of theorder Amphipoda, that is, Different- TheKayran, known as theOld Man by
footed, includes four species. Two of them live solely in tropical waters. In thepeople of Flotsam, is ariver monster related to
our climate, however, one can presently, though very rarely, find thesmall theaeschna. Its hard to tell whether it is asepa-
Hyphydra Longicauda, and theZslightly larger Hyphydra marginata. rate species or asingular specimen with aunique
Thebiotope of both species is made up of stagnant or slowly flowing mutation. Itdwells in thedepths of thePontar
waters. Thespecies are indeed predatory and prefer warm-blooded where it can remain hidden despite its mon-
creatures as sustenance. You wish to add anything? strous size. It consumes nearly everything that
falls into its maw. TheOld Man hunts its victims
Andrzej Sapkowski, Blood of Elves while hidden beneath thesurface, pulling cows,
horses or unwary drunk sailors from thewharf
or thedecks of passing punts.
TheKayrans anatomy contains elements
typical to both crustaceans and cephalopods.
Its elongated thorax is hidden beneath aknobby
chitin carapace, and three pairs of limbs facilitate
its movement on theriverbed. Its long, thick ten-
tacles allow it to capture prey and carry it to its
168
toothed maw. At thesame time, however, theyre
one of its weak spots. Unlike thethorax, theyre
not covered by its hard shell, making them vul-
nerable to attack. Luckily, there are no creatures
in its natural ecosystem that could threaten
themonster in any way. TheOld Man is at thetop
of thefood chain in this section of thePontar.
One would need more than asharp sword to deal
with this monstrosity those who would hunt it
without proper preparation and abilities would
simply become its next meals.
169
MONSTERS | KAYRAN
170
171
MONSTERS | DRAUG
- Where does it come from? Spells,magic? In thegames second act, Geralt will have to lift acurse from abattle-
- I have no idea, sire. TheSages research these field where thesouls of thefallen fight an eternal battle and cannot find
phenomena. For us witchers, it is enough to rest. To do so, hell have to face aDraug acreature born of wrath, blood
know that strongwill may create them. We also and hatred, an unchallenged ruler of acursed domain,
liketo know how tofight them. TheDraug is one of themost dangerous opponents in theentire game.
Themonsters huge form towers over thelesser wraiths. Its body is made
Andrzej Sapkowski, TheWitcher 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.
172
These illustrations feature various phases of
work on theDraugs final appearance. Before
thefinal version wasselected, many concepts
were entertained, especially concerning its head.
These included huge fancy steel helms adorned
with shattered horns, awrought mask, afantas-
tical creatures skull, abrass bell hovering above
it, and even acompletely headless shape, where
thehead isreplaced by acrooked beam with
ahuge carrion bird sitting on it.
173
MONSTERS | DRAUG
174
175
MONSTERS | DRAGON
176
Thedragon wound up, crouched on theground
and attacked from above its own back, with its
tail, like ascorpion, hitting Garpike who tried
to flank it, instead of Boholt. Garpike fell to
theground along with his horse, to theclang
of armor, screaming and neighing. Boholt,
approaching at agallop, slashed with aterrible
swing. Thedragon dexterously jumped away,
avoiding thewide blade. Thegallops impetus
carried Boholt away. Thedragon twisted,
climbing to its hind legs, and attacked Sawfly
with its claws, shredding thehorses belly and
theriders thigh inone swing.
Andrzej Sapkowski,
TheLimit of Possibility
177
MONSTERS | DRAGON
178
Despite its huge size, with its massive shoulders and wide chest,
thedragon is not alanguid giant. These have an anatomical justifica-
tion, 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.
Just as genies are thenative inhabitants of theelemental arms command great strength. Instead of prehensile hands,
planes, elementals are lesser creatures born of themagic it was given bludgeoning maces bristling with splinters of
drawn from one of theElements. They are radically different wood they are used to smash and crush anything in its way.
in appearance and size. When properly controlled, theyre com- Theelementals head and fists are wrapped in bands covered in
pletely obedient to their owners will. Powerful magic is neces- magical symbols and arcane signs. These animate its body and
sary to create one, therefore theyre usually only created by make it unfailingly obedient to its mistress.
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...
Theharpy is awinged humanoid. Its as large as aman, but When we were creating this monster half human, half bird
its wingspan stretches several yards. Itsbody is amockery of we wanted to make it really repulsive. Thenearly hairless
human appearance wrinkled skin, sagging breasts and an body and drooping skin should remind people of carrion birds.
oval head covered in thin, long hair make it resemble an old One sketch includes several variations of theharpys head.
woman from one angle and acarrion bird such as avulture or Theatrophy of its eyes is aresult of themonster depending on
acondor from another. Thefront of theface has abony beak its scent and psychic abilities to locate its victim.
which theharpy uses to rend its preys flesh and to crush bones
to get to themarrow. It also uses its prehensile front limbs to
that end. Both its hands and its feet end in sharp talons.
These creatures are known for their telepathic abilities. They
can penetrate avictims mind and steal its dreams. Their talons
and wings are equally dangerous. Theformer are used to shred
opponents to pieces, thelatter to land mighty blows. Harpies
can create primitive weapons and baubles from thebones of
killed animals and humans. They build their nests and lairs in
inaccessible places among mountain peaks and rocky ravines.
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.
Thecreation of thenekker was inspired by thecreatures that Despite their small size, nekkers should not be underesti-
Geralt fought in one of Sapkowskis short stories. Thescene mated. Theyre mortally dangerous because they hunt in packs.
featuring thefight against themisshapen horde of murder- Though one nekker is ameager opponent at best, alarge group
ous midgets was so expressive that we began working on is aterrifying killing machine that is constantly hungry. Many
theappearance of anew opponent. Thenekker is thefinal unwary travelers of woods and forests have become victims
effect, and though its somewhat different from themonsters oftheir appetite.
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 mis-
shapen, deformed children. Their hairless heads tucked onto
thetorsos make them look comical, but this is countered by
their toothed maws.
184
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.
After years of living near human abodes and some level of found for abandoned, acquired or stolen items produced by
coexistence, its difficult to clearly classify trolls as monsters. their smaller neighbors.
Its an intelligent race (though one should not count on ahigh We wanted TheWitcher trolls to be different than theste-
level of that intelligence) that can be reasoned with. Trolls are reotypical image of thespecies, widely popularized by games
good craftsmen, especially when it comes to wooden construc- and films. As you can see, thefinal concept is far removed from
tion atroll living under abridge and collecting tolls for cross- theinitial sketches. Thesquat body, long hands and short legs
ing it is nearly proverbial. One must keep in mind, however, still make it misshapen and grotesque, however we decided
that above all else trolls are huge, not very bright brutes. Trolls that an inversion of proportions was in order. Thetrolls
form afamily with asingle partner, similar to marriages, and overgrown head is firmly placed on thetorso, thus it seems
their family life often resembles that of humans, with all its thecreature has no neck. Theappearance and singular traits
bright and dark moments. of individual specimens differ, as can be clearly seen from
As they have lived near humans for so long, trolls have theabove combinations.
adopted some of their customs, like theuse of primitive
clothes. Theyre also familiar with jewelry, though its not
certain if they properly understand thefunction and meaning
of theitems they use as such. Still, awagon wheel worn
around theneck, alantern or armor elements seem to fit their
aesthetic tastes. Their superior size allows them to use large
sacks or barrels as small pouches and containers. Theillustra-
tions present agallery of troll figures, along with theuses they
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?
Rotfiends are thedistant relatives of ghouls, members of Just like other necrophages, therotfiend is also apost-con-
thebroad family of necrophages creatures feeding on human junction creature, theresult of theConjunction of theSpheres
and animal corpses. When making this creature, our graphic amagical cataclysm that brought new species and monsters,
artists had alot of leeway to give it as disgusting apresence usually hostile to humans, to theWitcher universe. Therot-
as possible. They achieved it by combining an anatomically fiend doesnt have an ecological niche, so one doesnt disturb
nearly human appearance with disgusting deformities. thebalance of natural relationships by killing it.
Therotfiends head draws attention immediately. Its eyes dis-
appear in folds of white, dough-like flesh. Its maw is agaping
hole filled with crooked yellow teeth. Theback of its skull,
covered with outgrowths, is swollen with thegases gathering
inside. Thecreatures frame resembles alean humanoid, but
thats all it has in common with any living creature. Therot-
fiends body is almost skinless, revealing knots of muscles.
These grant it dexterity and agility, its main combat assets.
Thefront of its chest is adorned with sharp breastbone and
rib spurs.
188
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.
Before theabove final appearance of thearachas was as do thevarious versions of individual specimens. Theforest
settled, many other concepts of its visage were created. variants are especially interesting, as thecreature uses either
ThePolish name, crabspider, was our main inspiration - atree-trunk or ahuge pinecone with thelatter helping
mainly things associated with theanimals its composed of. its camouflage and mimicry. Thanks to such camouflage,
We knew from thebeginning that thecreature would be an thearachas is able to blend with its surroundings perfectly,
overgrown hybridof both arthropods. Its camouflage abili- andawait clueless victims.
ties 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 guard-
ing 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.
A werewolf is aman cursed with lycanthropy, which peri- of an ailing animal. With its lean, wiry frame, thebeast is as
odically turns him into acreature that is half man, half wolf. unnaturally gaunt as an underfed stray dog. Thecreatures fur
Thechange occurs at night, often when themoon is full. seems tangled by blood and filth. Its long arms stretch almost
Scholars and mages debate theroot cause of werewolf aggres- to theground, ending in oversized paws and sharp claws.
sion. Some claim it derives from theshock of transformation Thewerewolf is eternally hungry and half mad, adreadful
and thesudden surge of animal instincts into thehuman aberration, thenightmare of all those who inhabit secluded
mind. Others contend it comes directly from thecurse. Of forest settlements and isolated villages.
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 dis-
cover 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 con-
sequences 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 thewitch-
ers past. Combined with thenarrative, they
shed some light on certain facts that our hero
himself was notaware of until now. Thecombi-
nation 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
INTRO | INTRO CHARACTERS
210
Harmond and Dagonet, droll fools who brought
mirth to our good monarch with their farces
and jests []
211
INTRO | MAking of
212
Senior TD
Bartosz Opatowiecki
Alan Uran
CD PROJEKT RED
Grading
Original Story
TD Piotr Dutkiewicz
Sebastian Stpie
Mateusz Popawski
On-line Editors
CG Supervisor
FX TD Adam Kauski
Pawe Mielniczuk
ukasz Sobisz Magdalena MikoajczykZieliska
Concept Art
FX Artists Music
Bartomiej Gawe
Marek Sulcki Adam Skorupa
Jan Marek
Bartosz Grzybowski
Sound
Piotr Suchodolski Characters and Locations Models
Genetix Jarosaw Wjcik Studio:
Maciej Jurgielewicz Marcin Baszczak
Marcin Kardach
Jakub Jeziorski Marian Chomiak
Motion Capture Performers Arkadiusz Matyszewski
R&D
Maciej Kwiatkowski Tomasz Polit
Adam Wierzchowski
Sawomir Kurek Bartomiej Gawe
Concept Artists Tomasz Lewandowski Pawe Mielniczuk
Bartomiej Gawe Bartomiej Ostapczuk
Damian Bajowski Marek Wasilewski
Artur ebrowski
Additional Artists
Tycjan Bartu Motion Capture Session
Kamil Pohl Sointeractive Studio
Olga SzablewiczPisuk
Adam Trdowski
213
Papercrafts
215
PAPERCRAFTS
216
Success came through weeks of hard work.
Thepapercrafts got awarm reception from
players, and that was thebest compliment we
could possibly receive. Thefigures quickly gained
many fans who set out to collect theentire set.
One fan even designed figures of additional game
characters.
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
The movie that concludes The Witcher 2:
Assassins of Kings was created by CD Projekt RED
based entirely on the games graphics engine. We
produced a number of unique character models
for this segment, including the mounted scouts
of the Empire of Nilfgaard.
The cinematic needed to bring the story as a
whole to an end, to provide proper closure. We
begin with the idyllic countryside, build tension
through the sudden, unsettling appearance of
armed horsemen, and end on a strong, grim note
in the final few shots as the village burns and
we reveal events that will affect the entire game
world.
229
OUTRO | the tale will continue
OPOWIE TRWA
ART Z OUTRO
230
The final frame of the movie ends the game, but
it does not conclude the tale told in The Witcher 2.
The armies of Nilfgaard ostensibly prepare to ford
the river. Through the morning mist, the terrified
inhabitants of the village observe disciplined
Imperial infantrymen assembling into ranks on
the opposite bank. Is it just a show of force, or
are the Northern Kingdoms about to face a full-
scale invasion? What fate awaits the world and
its heroes?
Thus the storys finale brings us to the end of
this art book. But the tale will continue
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
Map designed by
Karol Kowalczyk
TEXT
Marcin Batylda
TRANSLATION
Jerzy Gorthuar miaek
Troy Goodfellow
WORDING
Daniel Denisiuk
Marcin Blacha
PROOFREADING
Daniel Denisiuk
Photos
bartosz czechowski
przemysaw juszczyk
ARTISTIC VISION
Adam Badowski