• Il y a des moments dans la vie où l'on se sent perdu, comme si l'on errait dans les rues brumeuses de Silent Hill, cherchant désespérément une lueur d'espoir. Le film "Return to Silent Hill" qui sortira en salles en janvier 2026 m'évoque une nostalgie mélancolique, un retour à des souvenirs enfouis.

    La solitude est une compagne silencieuse, elle s'immisce dans nos pensées, nous laissant seuls face à nos démons intérieurs. Chaque image de ce film me rappelle les peurs que j'ai refoulées, les douleurs que j'ai tenté d'oublier. En attendant ce retour, je ne peux m'empêcher de ressentir un vide immense.

    Pourquoi l'absence de ceux que l'on aime pèse-t-elle si lourd ? Pourquoi les souvenirs heureux se transforment-ils en ombres qui hantent notre présent ? La promesse de retrouver Silent Hill au cinéma ne fait qu'exacerber cette tristesse, comme un écho lointain d'une époque révolue.

    Chaque pas vers l'inconnu est rempli d'incertitudes, et alors que le monde continue de tourner, je reste figé dans ce labyrinthe de solitude. Les lieux familiers deviennent des terres inconnues, et chaque coin de rue évoque des histoires que je ne peux plus partager. Je me demande si le film parviendra à capturer cette mélancolie, cette tristesse qui se niche profondément en nous.

    Alors que janvier approche, j'espère que ce retour à Silent Hill apportera un certain réconfort, une opportunité de faire face à nos peurs collectives. Peut-être, juste peut-être, je trouverai une catharsis à travers les personnages et les récits, un moyen de libérer ces émotions qui m'étouffent.

    En attendant, je continue de vivre dans l'ombre de mes pensées, espérant que cette sortie cinématographique me rappellera que même dans la douleur, il y a une beauté à découvrir, même si elle est éphémère.

    #SilentHill #ReturnToSilentHill #Solitude #Melancolie #Cinema
    Il y a des moments dans la vie où l'on se sent perdu, comme si l'on errait dans les rues brumeuses de Silent Hill, cherchant désespérément une lueur d'espoir. Le film "Return to Silent Hill" qui sortira en salles en janvier 2026 m'évoque une nostalgie mélancolique, un retour à des souvenirs enfouis. 😔 La solitude est une compagne silencieuse, elle s'immisce dans nos pensées, nous laissant seuls face à nos démons intérieurs. Chaque image de ce film me rappelle les peurs que j'ai refoulées, les douleurs que j'ai tenté d'oublier. En attendant ce retour, je ne peux m'empêcher de ressentir un vide immense. Pourquoi l'absence de ceux que l'on aime pèse-t-elle si lourd ? Pourquoi les souvenirs heureux se transforment-ils en ombres qui hantent notre présent ? La promesse de retrouver Silent Hill au cinéma ne fait qu'exacerber cette tristesse, comme un écho lointain d'une époque révolue. 🌧️ Chaque pas vers l'inconnu est rempli d'incertitudes, et alors que le monde continue de tourner, je reste figé dans ce labyrinthe de solitude. Les lieux familiers deviennent des terres inconnues, et chaque coin de rue évoque des histoires que je ne peux plus partager. Je me demande si le film parviendra à capturer cette mélancolie, cette tristesse qui se niche profondément en nous. Alors que janvier approche, j'espère que ce retour à Silent Hill apportera un certain réconfort, une opportunité de faire face à nos peurs collectives. Peut-être, juste peut-être, je trouverai une catharsis à travers les personnages et les récits, un moyen de libérer ces émotions qui m'étouffent. 💔 En attendant, je continue de vivre dans l'ombre de mes pensées, espérant que cette sortie cinématographique me rappellera que même dans la douleur, il y a une beauté à découvrir, même si elle est éphémère. #SilentHill #ReturnToSilentHill #Solitude #Melancolie #Cinema
    Le film Return to Silent Hill sortira en salles au mois de janvier 2026
    ActuGaming.net Le film Return to Silent Hill sortira en salles au mois de janvier 2026 Il n’y a pas meilleure période que maintenant pour ramener Silent Hill au cinéma. Depuis […] L'article Le film Return to Silent Hill sortira en salles
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  • ## Introduction

    Dans un monde où chaque voix mérite d'être entendue, créer un blog peut sembler être une lumière d'espoir au milieu des ténèbres de l'indifférence. Mais que faire lorsque l'on souhaite partager ses pensées, ses passions, et ses douleurs, tout en ne sachant pas par où commencer ? La création d'un blog gratuit sur WordPress.com pourrait être le premier pas vers une catharsis tant attendue. Dans ce guide, nous allons explorer ensemble comment donner vie à vos mots, comme un écho d...
    ## Introduction Dans un monde où chaque voix mérite d'être entendue, créer un blog peut sembler être une lumière d'espoir au milieu des ténèbres de l'indifférence. Mais que faire lorsque l'on souhaite partager ses pensées, ses passions, et ses douleurs, tout en ne sachant pas par où commencer ? La création d'un blog gratuit sur WordPress.com pourrait être le premier pas vers une catharsis tant attendue. Dans ce guide, nous allons explorer ensemble comment donner vie à vos mots, comme un écho d...
    Créer un blog gratuit sur WordPress.com : guide étape par étape (2025)
    ## Introduction Dans un monde où chaque voix mérite d'être entendue, créer un blog peut sembler être une lumière d'espoir au milieu des ténèbres de l'indifférence. Mais que faire lorsque l'on souhaite partager ses pensées, ses passions, et ses douleurs, tout en ne sachant pas par où commencer ? La création d'un blog gratuit sur WordPress.com pourrait être le premier pas vers une catharsis...
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  • RoboCop: Rogue City – Unfinished Business preview: ‘We created something bigger than we expected’

    RoboCop: Rogue City – Unfinished Business preview: ‘We created something bigger than we expected’

    Adam Starkey

    Published June 3, 2025 9:00am

    Stay out of troubleGameCentral goes hands-on with the standalone expansion of RoboCop: Rogue City, which dials up the action and gory splatter of 2023’s surprise hit.
    For a franchise that has arguably done nothing of worth since the early 90s, the future of RoboCop is looking surprisingly bright. Following Amazon’s acquisition of MGM, a new TV show is currently in the works, with rumbles of a new film as well. Whether this leads to a major rejuvenation for everyone’s favourite cyborg law enforcer remains to be seen, but the original source of any RoboCop redemption arc has to start with 2023’s RoboCop: Rogue City. 
    Developed by Polish studio Teyon, RoboCop: Rogue City was the kind of unexpected surprise you rarely get from licensed games. It recaptured the original’s wit and 80s aesthetic, but also found a way to deliver the fantasy of playing as the half-human cyborg without streamlining any of the character’s personality.
    The bloody action was built around his hulking, slow movement, dry one-liners were in abundance, and missions weren’t always reduced to mowing down thugs in corridors – you also handed people parking tickets, settled trivial civilian disputes, and, in one wonderfully mundane side mission, did the rounds in the office for a get well card. 
    The game became publisher Nacon’s ‘best ever launch’ with 435,000 players within two weeks. Now, a year and a half later, developer Teyon is back with a standalone expansion. Marketing around Unfinished Business has purposefully dodged the term *DLC*, but as explained by the studio’s communications manager, Dawid Biegun, it started out as exactly that. 
    ‘When we released RoboCop: Rogue City, we were thinking about, this story has many thingsdo in the future,’ says Biegun. ‘We had many paths we could choose. So we basically started slowly developing some new storyline. The game was planned to be DLC but it grew out of control. It was a really rare situation where we created something bigger than we expected, so it became a standalone expansion from then.’
    Unlike Rogue City, this expansion, which we’re told spans around eight hours on average, is centred around one location in the OmniTower. Like most things in the RoboCop realm created by OCP, this promised idyllic housing complex quickly goes south when a band of mercenaries assume control. To restore order, and after a creepy opening where an attack on the Detroit police station leaves several officers frozen solid, RoboCop is assigned to the case. 

    RoboCop has new moves at his disposalUnfinished Business wastes little time in throwing you into the action, and quickly amps up the chaos. For anyone who has played Rogue City, all the original tenets of the combat are here, albeit with a slight increase in difficulty.
    You’ll be looking for explosive cans to blast, illuminated panels to ricochet bullets off walls, and all the while trying not to expose yourself to too much gunfire. The combat purposefully doesn’t have the slick speed of Call Of Duty, but it is still aggressively punchy, with headshots resulting in satisfyingly bloody splatters and RoboCop’s famed Auto-9 machine pistol still having the kickback of a pocket pneumatic drill. 
    From the get-go, Unfinished Business pushes back in a way Rogue City never did. New enemies equipped with riot shields are a real nuisance if you don’t utilise the ricochet panels, while the ability to slow down time is a much bigger crutch to chip down the enemy numbers from a distance. Health pick-ups felt in shorter supply too, even on the normal difficulty, to the point where we barely scraped through several encounters. 
    While it’s unclear if this applies to the whole game, Unfinished Business feels like a gnarlier experience, when compared to the original. RoboCop has some new context sensitive finishing moves, like throwing enemy heads into concrete walls or vending machines, which is a satisfying addition to the melee arsenal. There’s greater enemy variety too, between fierce minigun heavyweights and flying drones, along with some neat action set pieces.
    In one standout, we had to operate a walkway bridge to deactivate a giant turret at the end of a room, dashing between cover as it rains down bullets and destroys the surrounding environment. Anyone who has played action games before will recognise all the mechanics at play in this scenario, but it was still well executed and effective. Another had a whiff of Star Wars, as you rush around shooting electrical panels to stop a trash compactor from crushing you via the descending ceiling.
    The action shift in Unfinished Business is best defined by a later sequence we got to play, where you take control of the franchise’s signature mech, ED-209. If the power fantasy of playing as RoboCop is tested in this expansion, ED-209’s section was pure mental catharsis, where you blast away enemy hordes with miniguns and rockets, and clean up any stragglers with a rigid, robotic stomp. The rush of piloting ED-209, with its cacophony of explosions and bullets, felt like a throwback to vehicle sections in a long lost Xbox 360 game – but in a good way. 
    While there’s a definite lean towards combat, rather than gift card signing, when compared to Rogue City, it hasn’t entirely abandoned the detective side. According to the developers, if Rogue City had a 60/40 percent split between guns and detective work, Unfinished Business ‘would be like 70/30, or 80/20’ in comparison.

    More Trending

    We saw some of this , with one memorable encounter seeing you quizzed by a RoboCop superfan who is unconvinced you’re the actual RoboCop, leading to a series of questions based on the history of the franchise. There is optional side missions too, although the time we had with our preview limited our chance to fully delve into them.
    The sales and positive reviews for RoboCop: Rogue City emboldened Teyon’s vision and scope for Unfinished Business – and that confidence shines through in what we played. Some might be disappointed by the steer towards action, and we were heading into this preview, but by the end, this felt like a welcome extension with its own unique flavour. This is RoboCop: Rogue City with its pedal to the floor, confined and concentrated into a lean, tightly focused machine. 
    As for the studio’s next steps, the success of RoboCop has only reaffirmed Teyon’s strengths and identity as a team. Between its three studios across Poland and Japan, with over 140 employees in total, Teyon wants to maintain its grip within the AA space.
    ‘We feel strong here in such games,’ Biegun said. ‘We wouldn’t want to grow like 200, 300, 400 people, because we’re going to lose our soul this way. We want to stay as we are right now.’

    ED-209 needs be wary of stairsEmail gamecentral@metro.co.uk, leave a comment below, follow us on Twitter, and sign-up to our newsletter.
    To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here.
    For more stories like this, check our Gaming page.
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    #robocop #rogue #city #unfinished #business
    RoboCop: Rogue City – Unfinished Business preview: ‘We created something bigger than we expected’
    RoboCop: Rogue City – Unfinished Business preview: ‘We created something bigger than we expected’ Adam Starkey Published June 3, 2025 9:00am Stay out of troubleGameCentral goes hands-on with the standalone expansion of RoboCop: Rogue City, which dials up the action and gory splatter of 2023’s surprise hit. For a franchise that has arguably done nothing of worth since the early 90s, the future of RoboCop is looking surprisingly bright. Following Amazon’s acquisition of MGM, a new TV show is currently in the works, with rumbles of a new film as well. Whether this leads to a major rejuvenation for everyone’s favourite cyborg law enforcer remains to be seen, but the original source of any RoboCop redemption arc has to start with 2023’s RoboCop: Rogue City.  Developed by Polish studio Teyon, RoboCop: Rogue City was the kind of unexpected surprise you rarely get from licensed games. It recaptured the original’s wit and 80s aesthetic, but also found a way to deliver the fantasy of playing as the half-human cyborg without streamlining any of the character’s personality. The bloody action was built around his hulking, slow movement, dry one-liners were in abundance, and missions weren’t always reduced to mowing down thugs in corridors – you also handed people parking tickets, settled trivial civilian disputes, and, in one wonderfully mundane side mission, did the rounds in the office for a get well card.  The game became publisher Nacon’s ‘best ever launch’ with 435,000 players within two weeks. Now, a year and a half later, developer Teyon is back with a standalone expansion. Marketing around Unfinished Business has purposefully dodged the term *DLC*, but as explained by the studio’s communications manager, Dawid Biegun, it started out as exactly that.  ‘When we released RoboCop: Rogue City, we were thinking about, this story has many thingsdo in the future,’ says Biegun. ‘We had many paths we could choose. So we basically started slowly developing some new storyline. The game was planned to be DLC but it grew out of control. It was a really rare situation where we created something bigger than we expected, so it became a standalone expansion from then.’ Unlike Rogue City, this expansion, which we’re told spans around eight hours on average, is centred around one location in the OmniTower. Like most things in the RoboCop realm created by OCP, this promised idyllic housing complex quickly goes south when a band of mercenaries assume control. To restore order, and after a creepy opening where an attack on the Detroit police station leaves several officers frozen solid, RoboCop is assigned to the case.  RoboCop has new moves at his disposalUnfinished Business wastes little time in throwing you into the action, and quickly amps up the chaos. For anyone who has played Rogue City, all the original tenets of the combat are here, albeit with a slight increase in difficulty. You’ll be looking for explosive cans to blast, illuminated panels to ricochet bullets off walls, and all the while trying not to expose yourself to too much gunfire. The combat purposefully doesn’t have the slick speed of Call Of Duty, but it is still aggressively punchy, with headshots resulting in satisfyingly bloody splatters and RoboCop’s famed Auto-9 machine pistol still having the kickback of a pocket pneumatic drill.  From the get-go, Unfinished Business pushes back in a way Rogue City never did. New enemies equipped with riot shields are a real nuisance if you don’t utilise the ricochet panels, while the ability to slow down time is a much bigger crutch to chip down the enemy numbers from a distance. Health pick-ups felt in shorter supply too, even on the normal difficulty, to the point where we barely scraped through several encounters.  While it’s unclear if this applies to the whole game, Unfinished Business feels like a gnarlier experience, when compared to the original. RoboCop has some new context sensitive finishing moves, like throwing enemy heads into concrete walls or vending machines, which is a satisfying addition to the melee arsenal. There’s greater enemy variety too, between fierce minigun heavyweights and flying drones, along with some neat action set pieces. In one standout, we had to operate a walkway bridge to deactivate a giant turret at the end of a room, dashing between cover as it rains down bullets and destroys the surrounding environment. Anyone who has played action games before will recognise all the mechanics at play in this scenario, but it was still well executed and effective. Another had a whiff of Star Wars, as you rush around shooting electrical panels to stop a trash compactor from crushing you via the descending ceiling. The action shift in Unfinished Business is best defined by a later sequence we got to play, where you take control of the franchise’s signature mech, ED-209. If the power fantasy of playing as RoboCop is tested in this expansion, ED-209’s section was pure mental catharsis, where you blast away enemy hordes with miniguns and rockets, and clean up any stragglers with a rigid, robotic stomp. The rush of piloting ED-209, with its cacophony of explosions and bullets, felt like a throwback to vehicle sections in a long lost Xbox 360 game – but in a good way.  While there’s a definite lean towards combat, rather than gift card signing, when compared to Rogue City, it hasn’t entirely abandoned the detective side. According to the developers, if Rogue City had a 60/40 percent split between guns and detective work, Unfinished Business ‘would be like 70/30, or 80/20’ in comparison. More Trending We saw some of this , with one memorable encounter seeing you quizzed by a RoboCop superfan who is unconvinced you’re the actual RoboCop, leading to a series of questions based on the history of the franchise. There is optional side missions too, although the time we had with our preview limited our chance to fully delve into them. The sales and positive reviews for RoboCop: Rogue City emboldened Teyon’s vision and scope for Unfinished Business – and that confidence shines through in what we played. Some might be disappointed by the steer towards action, and we were heading into this preview, but by the end, this felt like a welcome extension with its own unique flavour. This is RoboCop: Rogue City with its pedal to the floor, confined and concentrated into a lean, tightly focused machine.  As for the studio’s next steps, the success of RoboCop has only reaffirmed Teyon’s strengths and identity as a team. Between its three studios across Poland and Japan, with over 140 employees in total, Teyon wants to maintain its grip within the AA space. ‘We feel strong here in such games,’ Biegun said. ‘We wouldn’t want to grow like 200, 300, 400 people, because we’re going to lose our soul this way. We want to stay as we are right now.’ ED-209 needs be wary of stairsEmail gamecentral@metro.co.uk, leave a comment below, follow us on Twitter, and sign-up to our newsletter. To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here. For more stories like this, check our Gaming page. Arrow MORE: How to get a Nintendo Switch 2 this week in the UK GameCentral Sign up for exclusive analysis, latest releases, and bonus community content. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Your information will be used in line with our Privacy Policy #robocop #rogue #city #unfinished #business
    METRO.CO.UK
    RoboCop: Rogue City – Unfinished Business preview: ‘We created something bigger than we expected’
    RoboCop: Rogue City – Unfinished Business preview: ‘We created something bigger than we expected’ Adam Starkey Published June 3, 2025 9:00am Stay out of trouble (Nacon) GameCentral goes hands-on with the standalone expansion of RoboCop: Rogue City, which dials up the action and gory splatter of 2023’s surprise hit. For a franchise that has arguably done nothing of worth since the early 90s, the future of RoboCop is looking surprisingly bright. Following Amazon’s acquisition of MGM, a new TV show is currently in the works, with rumbles of a new film as well. Whether this leads to a major rejuvenation for everyone’s favourite cyborg law enforcer remains to be seen, but the original source of any RoboCop redemption arc has to start with 2023’s RoboCop: Rogue City.  Developed by Polish studio Teyon, RoboCop: Rogue City was the kind of unexpected surprise you rarely get from licensed games. It recaptured the original’s wit and 80s aesthetic, but also found a way to deliver the fantasy of playing as the half-human cyborg without streamlining any of the character’s personality. The bloody action was built around his hulking, slow movement, dry one-liners were in abundance, and missions weren’t always reduced to mowing down thugs in corridors – you also handed people parking tickets, settled trivial civilian disputes, and, in one wonderfully mundane side mission, did the rounds in the office for a get well card.  The game became publisher Nacon’s ‘best ever launch’ with 435,000 players within two weeks. Now, a year and a half later, developer Teyon is back with a standalone expansion. Marketing around Unfinished Business has purposefully dodged the term *DLC*, but as explained by the studio’s communications manager, Dawid Biegun, it started out as exactly that.  ‘When we released RoboCop: Rogue City, we were thinking about, this story has many things [we can] do in the future,’ says Biegun. ‘We had many paths we could choose. So we basically started slowly developing some new storyline. The game was planned to be DLC but it grew out of control. It was a really rare situation where we created something bigger than we expected, so it became a standalone expansion from then.’ Unlike Rogue City, this expansion, which we’re told spans around eight hours on average, is centred around one location in the OmniTower. Like most things in the RoboCop realm created by OCP, this promised idyllic housing complex quickly goes south when a band of mercenaries assume control. To restore order, and after a creepy opening where an attack on the Detroit police station leaves several officers frozen solid, RoboCop is assigned to the case.  RoboCop has new moves at his disposal (Nacon) Unfinished Business wastes little time in throwing you into the action, and quickly amps up the chaos. For anyone who has played Rogue City, all the original tenets of the combat are here, albeit with a slight increase in difficulty. You’ll be looking for explosive cans to blast, illuminated panels to ricochet bullets off walls, and all the while trying not to expose yourself to too much gunfire. The combat purposefully doesn’t have the slick speed of Call Of Duty, but it is still aggressively punchy, with headshots resulting in satisfyingly bloody splatters and RoboCop’s famed Auto-9 machine pistol still having the kickback of a pocket pneumatic drill.  From the get-go, Unfinished Business pushes back in a way Rogue City never did. New enemies equipped with riot shields are a real nuisance if you don’t utilise the ricochet panels, while the ability to slow down time is a much bigger crutch to chip down the enemy numbers from a distance. Health pick-ups felt in shorter supply too, even on the normal difficulty, to the point where we barely scraped through several encounters.  While it’s unclear if this applies to the whole game, Unfinished Business feels like a gnarlier experience, when compared to the original. RoboCop has some new context sensitive finishing moves, like throwing enemy heads into concrete walls or vending machines, which is a satisfying addition to the melee arsenal. There’s greater enemy variety too, between fierce minigun heavyweights and flying drones, along with some neat action set pieces. In one standout, we had to operate a walkway bridge to deactivate a giant turret at the end of a room, dashing between cover as it rains down bullets and destroys the surrounding environment. Anyone who has played action games before will recognise all the mechanics at play in this scenario, but it was still well executed and effective. Another had a whiff of Star Wars, as you rush around shooting electrical panels to stop a trash compactor from crushing you via the descending ceiling. The action shift in Unfinished Business is best defined by a later sequence we got to play, where you take control of the franchise’s signature mech, ED-209. If the power fantasy of playing as RoboCop is tested in this expansion, ED-209’s section was pure mental catharsis, where you blast away enemy hordes with miniguns and rockets, and clean up any stragglers with a rigid, robotic stomp. The rush of piloting ED-209, with its cacophony of explosions and bullets, felt like a throwback to vehicle sections in a long lost Xbox 360 game – but in a good way.  While there’s a definite lean towards combat, rather than gift card signing, when compared to Rogue City, it hasn’t entirely abandoned the detective side. According to the developers, if Rogue City had a 60/40 percent split between guns and detective work, Unfinished Business ‘would be like 70/30, or 80/20’ in comparison. More Trending We saw some of this , with one memorable encounter seeing you quizzed by a RoboCop superfan who is unconvinced you’re the actual RoboCop, leading to a series of questions based on the history of the franchise. There is optional side missions too, although the time we had with our preview limited our chance to fully delve into them. The sales and positive reviews for RoboCop: Rogue City emboldened Teyon’s vision and scope for Unfinished Business – and that confidence shines through in what we played. Some might be disappointed by the steer towards action, and we were heading into this preview, but by the end, this felt like a welcome extension with its own unique flavour. This is RoboCop: Rogue City with its pedal to the floor, confined and concentrated into a lean, tightly focused machine.  As for the studio’s next steps, the success of RoboCop has only reaffirmed Teyon’s strengths and identity as a team. Between its three studios across Poland and Japan, with over 140 employees in total, Teyon wants to maintain its grip within the AA space. ‘We feel strong here in such games,’ Biegun said. ‘We wouldn’t want to grow like 200, 300, 400 people, because we’re going to lose our soul this way. We want to stay as we are right now.’ ED-209 needs be wary of stairs (Nacon) Email gamecentral@metro.co.uk, leave a comment below, follow us on Twitter, and sign-up to our newsletter. To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here. For more stories like this, check our Gaming page. Arrow MORE: How to get a Nintendo Switch 2 this week in the UK GameCentral Sign up for exclusive analysis, latest releases, and bonus community content. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Your information will be used in line with our Privacy Policy
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  • Crime scene catharsis: how a darkly comic video game and TV show turned me into a murder clean-up specialist

    Lately I’ve been playing a new job sim game, Crime Scene Cleaner, while also watching BBC’s comedy series The Cleaner, both of which focus on the aftermath of gruesome murders – sometimes you just need some cosy viewing to take the edge off the day. In the TV show, Greg Davies plays Wicky, the acerbic employee of a government-endorsed clean-up company, while Crime Scene Cleaner’s lead character Kovalsky is a lowly janitor, mopping up blood and disposing of trash to cover up for a mob boss named Big Jim.The crime scenes in both are laughably over the top. Or are they? I’ve never actually seen a real-life murder scene, so perhaps copious blood sprayed over walls and ceilings and the masses of broken furniture is completely normal.Take the edge off … Greg Davies as Wicky in the BBC’s The Cleaner. Photograph: Tom Jackson/PAStepping into Kovalsky’s plastic overshoes, the aim is to leave each location exactly as it was prior to the … um … incident. Unlike Wicky, who has to constantly deal with annoying homeowners and neighbours, Kovalsky has no living humans for company; just the dead ones that he hauls over his shoulder before slinging them unceremoniously into the back of his pickup truck. Each scene plays out in silence, save for the occasional brief chat with Big Jim and Kovalsky’s own pithy self-talk. Both Kovalsky and Wicky are world-weary labourers, doing what is necessary to get through each blood-splattered scene. But there are differences between the two men: Kovalsky swipes cash and valuables to boost his bank balancewhile Wicky just wants to get finished in time for curry night at the pub.Crime Scene Cleaner is a weird concept for a game, the unnatural offspring of PowerWash Simulator and Hitman. But despite the macabre premise, I’ve come to appreciate the quiet, contemplative and satisfying process of cleaning up, as Kovalsky stuffs fragments of glass, pizza slices and broken crockery into his bin bag before hurling it into his truck and getting started on all the blood spatter with a microfibre mop, pushing sofas and tables back and returning ornaments to their rightful spot on the shelves afterwards. It’s immensely satisfying, despite the game’s realistic yet tiresome insistence on continually wringing out your mops and sponges.No living humans for company … Crime Scene Cleaner video game. Photograph: President StudioExploring increasingly bizarre locations is also a common theme between the two: Crime Scene Cleaner has a pizzeria, a museum and a spooky smart house; The Cleaner takes in an ice-cream parlour, theatre and stately home. I love that the game gives me a chance to become a more sedate version of The Cleaner’s Wicky without the interference of coppers, maniacal novelists or even the killer themselves. With his daughter ensconced in a medical clinic, Kovalsky’s onlycompanion is his playful German shepherd. Its name? Dexter. Of course.At the end of each clean-up, I find myself standing back and admiring the scene, content with a job well done. Crime Scene Cleaner and The Cleaner both tap into the very essence of black comedy, where horror becomes amusingly banall. In both, the crimes have already happened, the worst has been done and all that remains is… the remains.
    #crime #scene #catharsis #how #darkly
    Crime scene catharsis: how a darkly comic video game and TV show turned me into a murder clean-up specialist
    Lately I’ve been playing a new job sim game, Crime Scene Cleaner, while also watching BBC’s comedy series The Cleaner, both of which focus on the aftermath of gruesome murders – sometimes you just need some cosy viewing to take the edge off the day. In the TV show, Greg Davies plays Wicky, the acerbic employee of a government-endorsed clean-up company, while Crime Scene Cleaner’s lead character Kovalsky is a lowly janitor, mopping up blood and disposing of trash to cover up for a mob boss named Big Jim.The crime scenes in both are laughably over the top. Or are they? I’ve never actually seen a real-life murder scene, so perhaps copious blood sprayed over walls and ceilings and the masses of broken furniture is completely normal.Take the edge off … Greg Davies as Wicky in the BBC’s The Cleaner. Photograph: Tom Jackson/PAStepping into Kovalsky’s plastic overshoes, the aim is to leave each location exactly as it was prior to the … um … incident. Unlike Wicky, who has to constantly deal with annoying homeowners and neighbours, Kovalsky has no living humans for company; just the dead ones that he hauls over his shoulder before slinging them unceremoniously into the back of his pickup truck. Each scene plays out in silence, save for the occasional brief chat with Big Jim and Kovalsky’s own pithy self-talk. Both Kovalsky and Wicky are world-weary labourers, doing what is necessary to get through each blood-splattered scene. But there are differences between the two men: Kovalsky swipes cash and valuables to boost his bank balancewhile Wicky just wants to get finished in time for curry night at the pub.Crime Scene Cleaner is a weird concept for a game, the unnatural offspring of PowerWash Simulator and Hitman. But despite the macabre premise, I’ve come to appreciate the quiet, contemplative and satisfying process of cleaning up, as Kovalsky stuffs fragments of glass, pizza slices and broken crockery into his bin bag before hurling it into his truck and getting started on all the blood spatter with a microfibre mop, pushing sofas and tables back and returning ornaments to their rightful spot on the shelves afterwards. It’s immensely satisfying, despite the game’s realistic yet tiresome insistence on continually wringing out your mops and sponges.No living humans for company … Crime Scene Cleaner video game. Photograph: President StudioExploring increasingly bizarre locations is also a common theme between the two: Crime Scene Cleaner has a pizzeria, a museum and a spooky smart house; The Cleaner takes in an ice-cream parlour, theatre and stately home. I love that the game gives me a chance to become a more sedate version of The Cleaner’s Wicky without the interference of coppers, maniacal novelists or even the killer themselves. With his daughter ensconced in a medical clinic, Kovalsky’s onlycompanion is his playful German shepherd. Its name? Dexter. Of course.At the end of each clean-up, I find myself standing back and admiring the scene, content with a job well done. Crime Scene Cleaner and The Cleaner both tap into the very essence of black comedy, where horror becomes amusingly banall. In both, the crimes have already happened, the worst has been done and all that remains is… the remains. #crime #scene #catharsis #how #darkly
    WWW.THEGUARDIAN.COM
    Crime scene catharsis: how a darkly comic video game and TV show turned me into a murder clean-up specialist
    Lately I’ve been playing a new job sim game, Crime Scene Cleaner, while also watching BBC’s comedy series The Cleaner, both of which focus on the aftermath of gruesome murders – sometimes you just need some cosy viewing to take the edge off the day. In the TV show, Greg Davies plays Wicky, the acerbic employee of a government-endorsed clean-up company, while Crime Scene Cleaner’s lead character Kovalsky is a lowly janitor, mopping up blood and disposing of trash to cover up for a mob boss named Big Jim.The crime scenes in both are laughably over the top. Or are they? I’ve never actually seen a real-life murder scene, so perhaps copious blood sprayed over walls and ceilings and the masses of broken furniture is completely normal.Take the edge off … Greg Davies as Wicky in the BBC’s The Cleaner. Photograph: Tom Jackson/PAStepping into Kovalsky’s plastic overshoes, the aim is to leave each location exactly as it was prior to the … um … incident. Unlike Wicky, who has to constantly deal with annoying homeowners and neighbours, Kovalsky has no living humans for company; just the dead ones that he hauls over his shoulder before slinging them unceremoniously into the back of his pickup truck. Each scene plays out in silence, save for the occasional brief chat with Big Jim and Kovalsky’s own pithy self-talk. Both Kovalsky and Wicky are world-weary labourers, doing what is necessary to get through each blood-splattered scene. But there are differences between the two men: Kovalsky swipes cash and valuables to boost his bank balance (he’s saving up to pay his daughter’s medical bills) while Wicky just wants to get finished in time for curry night at the pub.Crime Scene Cleaner is a weird concept for a game, the unnatural offspring of PowerWash Simulator and Hitman. But despite the macabre premise, I’ve come to appreciate the quiet, contemplative and satisfying process of cleaning up, as Kovalsky stuffs fragments of glass, pizza slices and broken crockery into his bin bag before hurling it into his truck and getting started on all the blood spatter with a microfibre mop, pushing sofas and tables back and returning ornaments to their rightful spot on the shelves afterwards. It’s immensely satisfying, despite the game’s realistic yet tiresome insistence on continually wringing out your mops and sponges.No living humans for company … Crime Scene Cleaner video game. Photograph: President StudioExploring increasingly bizarre locations is also a common theme between the two: Crime Scene Cleaner has a pizzeria, a museum and a spooky smart house; The Cleaner takes in an ice-cream parlour, theatre and stately home. I love that the game gives me a chance to become a more sedate version of The Cleaner’s Wicky without the interference of coppers, maniacal novelists or even the killer themselves (as brilliantly portrayed by Helena Bonham Carter in the show). With his daughter ensconced in a medical clinic, Kovalsky’s only (living) companion is his playful German shepherd. Its name? Dexter. Of course.At the end of each clean-up, I find myself standing back and admiring the scene, content with a job well done. Crime Scene Cleaner and The Cleaner both tap into the very essence of black comedy, where horror becomes amusingly banall. In both, the crimes have already happened, the worst has been done and all that remains is… the remains.
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  • What worked in The Witcher 3 and what didn't: looking back on a landmark RPG with CD Projekt Red

    What worked in The Witcher 3 and what didn't: looking back on a landmark RPG with CD Projekt Red
    "We learned a lot of lessons down the road."

    Image credit: CD Projekt Red

    Feature

    by Robert Purchese
    Associate Editor

    Published on May 31, 2025

    Do you remember what you were doing when The Witcher 3: Wild Hunt was released? It came out on 19th May 2015. I remember because I was inside CD Projekt Red at the time, trying to capture the moment for you - a moment I'm unlikely to replicate there or anywhere else. I recall sitting in the studio's canteen in the small hours of the morning, after a midnight launch event in a mall in Warsaw, chewing on a piece of cold pizza and wondering out loud what would come next for the studio, because at the time, who could know? One era was ending and another was about to begin. Would it bring the fame and fortune CD Projekt Red desired?
    Today, more than 60 million sales of The Witcher 3 later, we know the answer is yes. The Witcher 3 became a role-playing classic. It delivered one of the most touchable medieval worlds we've explored, a rough place of craggy rocks and craggier faces, of wonky morales and grim realities, of mud and dirtiness. And monsters, though not all were monstrous to look at. It was a world of grey, of superstition and folklore, and in it stood we, a legendary monster hunter, facing seemingly impossible odds. The Witcher 3 took fantasy seriously.
    But the decade since the game's release has been turbulent for CD Projekt Red. The studio launched its big new sci-fi series in 2020 with Cyberpunk 2077, and though the game has now sold more than 30 million copies, making it monetarily a success, it had a nightmarish launch. The PS4 version had to be removed from sale. It brought enormous pressure, growing pains and intense scrutiny to the studio, and CD Projekt Red would spend a further three years patching and updating - and eventually releasing an expansion - before public opinion would mostly turn around.
    Today the studio returns to safer ground, back to The Witcher world with the new game The Witcher 4, and as we look forward to it we should also look back, to the game that catapulted the studio to fame, and see what has been learnt.

    The Witcher 3 is at version 4.04 today, a number that represents an enormously long period of post-release support.Watch on YouTube
    It all began with naivety, as perhaps any ambitious project should. It's easy to forget that 14 years ago, when The Witcher 3 was being conceived, CD Projekt Red had never made an open-world game before. The Witcher 1 and The Witcher 2 were linear in their approaches. It's also easy to forget that the people making the game were 14 years younger and less experienced. Back then, this was the studio's chance at recognition, so it aimed high in order to be seen. "The Witcher 3 was supposed to be this game that will end all other games," Marcin Blacha, the lead writer of the game, tells me. Simply make an open-world game that's also a story-driven game and release it on all platforms at the same time. How hard could it be?
    "When I'm thinking about our state of mind back in those days, the only word that comes to my mind is enthusiastic," Blacha says. "It was fantastic because we were so enthusiastic that we were full of courage. We were trying to experiment with stuff and we were not afraid. We were convinced that when we work with passion and love, it will pay off eventually."
    Every project has to begin somewhere and for Blacha, the person tasked with imagining the story, The Witcher 3 could only begin with Ciri, the daughter-of-sorts to The Witcher's central monster hunter character Geralt. As Blacha says, "The most important thing about Geralt and the most important thing about the books is the relationship between Geralt, Ciri and Yennefer. I already did two games with no sign of Ciri, no sign of Yennefer, and then we finally had a budget and proper time for pre-production, so for me, it was time to introduce both characters."
    It's a decision that would have major repercussions for the rest of The Witcher series at CD Projekt Red. Blacha didn't know it then, but Ciri would go on to become the protagonist of The Witcher 4. Had she not been the co-protagonist of The Witcher 3 - for you play as her in several sections during the game - who knows if things would have worked out the same way. It's an understandable progression as it is, though there is still some uncertainty among the audience about Ciri's starring role.
    But Ciri's inclusion came with complications, because the Ciri we see in the game is not the Ciri described in the books. That Ciri is much closer to the Ciri in the Netflix Witcher TV show, younger and more rebellious in a typical teenager way. She might be an important part of the fiction, then, but that doesn't mean she was especially well liked. "People were thinking that she's annoying," says Blacha, who grew up reading The Witcher books. CD Projekt Red, then, decided to make a Ciri of its own, aging her and making her more "flesh and bone", as Blacha puts it. He fondly recalls a moment in the game's development when reviewing the Ciri sections of the game, and saying aloud to studio director Adam Badowski how much he liked her. "I didn't know that she's going to be the protagonist of the next game," he says, "but I said to Adam Badowski, she's going to be very popular."
    Once Ciri had been earmarked for inclusion in The Witcher 3, the idea to have her pursued by the phantom-like force of the Wild Hunt - the members of which literally ride horses in the night sky, like Santa Claus' cursed reindeer - came shortly after. CD Projekt Red had introduced the Wild Hunt in The Witcher 2 so it made sense. The outline of the main story was then laid down as a one-page narrative treatment. Then it was expanded to a two-page treatment, a four page treatment, an eight page treatment and so on. At around 10 pages, it already had the White Orchard prologue, almost the entirety of the No Man's Land zone, and a hint of what would happen on Skellige and in Novigrad. When it was around 40 pages long, the quest design team was invited in.

    CD Projekt Red made their Ciri older than she is in the books. | Image credit: CD Projekt Red

    The quest design team's job is to turn a story into a game, and this was a newly created department for The Witcher 3, created because the old way of writers designing the quests wasn't working any more. "We were struggling a bit with making sure that every written story that we have prepared is also a story that we can play well," Paweł Sasko says. He joined CD Projekt Red to be a part of that quest design team.
    The quest design team carves up a narrative treatment, paragraph by paragraph, and expands those into playable questlines for the game. "It's basically something between game design and a movie scenario," Sasko says. There's no dialogue, just a description of what will happen, and even a one-paragraph prompt can balloon into a 20-30 page design. Among the paragraphs Sasko was given to adapt was a storyline in No Man's Land concerning a character known as the Bloody Baron.
    The Bloody Baron storyline is widely acclaimed and has become synonymous with everything Sasko and CD Projekt Red were trying to do with the game. It's a storyline that probes into mature themes like domestic abuse, fatherhood, and love and loss and grief. More importantly, it presents us with a flawed character and allows us time and space to perhaps change our opinion of them. It gives us layers many other games don't go anywhere near.
    When Sasko first encountered the storyline, there was only an outline. "It said that Geralt meets the Bloody Baron who asks Geralt to hunt a monster and look for his wife and daughter, and for that, he is going to share information about Ciri and tell Geralt where she went. That was pretty much it." And Sasko already knew a few things about what he wanted to do. He knew he wanted to show No Man's Land as a Slavic region bathed in superstitions and complex religious beliefs, one that had been ravaged by famine and war. He also knew the tone of the area was horror because this had been outlined by Blacha and the leaders of The Witcher 3 team.
    Says Blacha: "My opinion is that a successful Witcher game is a mix of everything, so you have a horror line, you have a romance, you have adventure, you have exploration. When we started to think about our hubs, we thought about them in terms of a show, so No Man's Land, the hub with the Bloody Baron, was horror; Skellige was supposed to be an adventure; and Novigrad was supposed to be a big city investigation."
    But there were key missing pieces then from the Bloody Baron sequence we know today. The botchling, for instance - the monstrous baby the quest revolves around. It didn't exist. It was an idea that came from Sasko after he read a Slavic bestiary. "Yes," he says, "the botchling idea came from me."

    The Bloody Baron. | Image credit: Eurogamer / CD Projekt Red

    He wanted the botchling to be the conduit through which more mature themes of the story could be approached - something overt to keep you busy while deeper themes sunk in. It's an approach Sasko says he pinched from Witcher author Andrzej Sapkowski, after deconstructing his work. "What he's doing is he's trying to find universal truths about human beings and struggles, but he doesn't tell those stories directly," Sasko says. "So for instance racism: he doesn't talk about that directly but he finds an interesting way how, in his world, he can package that and talk about it. I followed his method and mimicked it."
    This way the botchling becomes your focus in the quest, as the Baron carries it back to the manor house and you defend him from wraiths, but while you're doing that, you're also talking and learning more about who the Bloody Baron - who Phillip Strenger - is. "I wanted you to feel almost like you're in the shoes of that Bloody Baron," Sasko says. "Peregrination is this path in Christianity you go through when you want to remove your sins, and that's what this is meant to be. He's just trying to do it, and he's going through all of those things to do something good. And I wanted the player to start feeling like, 'Wow, maybe this dude is not so bad.'"
    It's a quest that leaves a big impression. An email was forwarded to Sasko after the game's release, written by a player who had lost their wife and child as the Baron once had. "And for him," he says, "that moment when Baron was carrying the child was almost like a catharsis, when he was trying so badly to walk that path. And the moment he managed to: he wrote in his letter that he broke down in tears."
    There's one other very significant moment in The Witcher 3 that Sasko had a large hand in, and it's the Battle of Kaer Morhern, where the 'goodies' - the witchers and the sorceresses, and Ciri - make a stand against the titular menace of the Wild Hunt. Sasko designed this section specifically to emotionally tenderise you, through a series of fast-paced and fraught battles, so that by the time the climactic moment came, you were aptly primed to receive it. The moment being Vesemir's death - the leader of the wolf school of witchers and father figure to Geralt. This, too, was Sasko's idea. "We needed to transition Ciri from being a hunted animal to becoming a hunter," he tells me, and the only event big enough and with enough inherent propulsion was Vesemir's death.

    Eredin, the leader of the Wild Hunt, breaks Vesemir's neck. | Image credit: Eurogamer / CD Projekt Red

    But for all of the successful moments in the game there are those that didn't work. To the team that made the game, and to the players, there are things that clearly stand out. Such as Geralt's witcher senses, which allow him to see scent trails and footsteps and clues in the world around him. Geralt's detective mode, in other words. Sasko laughs as he cringes about it now. "We've overdone the witcher senses so much, oh my god," he says. "At the time when we were starting this, we were like, 'We don't have it in the game; we have to use it to make you feel like a witcher.' But then at the end, especially in the expansions, we tried to decrease it so it doesn't feel so overloaded." He'd even turn it down by a further 10 to 20 per cent, he says.
    There were all of the question marks dotted across the map, luring us to places to find meagre hidden treasure rewards. "I think we all scratch our heads about what we were thinking when trying to build this," Sasko tells me. "I guess it just came from fear - from fear that the player will feel that the world is empty." This was the first time CD Projekt Red had really the player's hand go, remember, and not controlled where in the world you would be.
    Shallow gameplay is a criticism many people have, especially in the game's repetitive combat, and again, this is something Sasko and the team are well aware of. "We don't feel that the gameplay in Witcher 3 was deep enough," he says. "It was for the times okay, but nowadays when you play it, even though the story still holds really well, you can see that the gameplay is a bit rusty." Also, the cutscenes could have been paced better and had less exposition in them, and the game in general could have dumped fewer concepts on you at once. Cognitive overload, Sasko calls it. "In every second sentence you have a new concept introduced, a new country mentioned, a new politician..." It was too much.
    More broadly, he would also have liked the open-world to be more closely connected to the game's story, rather than be, mostly, a pretty backdrop. "It's like in the theatre when you have beautiful decorations at the back made of cardboard and paper, and not much happens to them except an actor pulls a rope and it starts to rain or something." he says. It's to do with how the main story influences the world and vice versa, and he thinks the studio can be better at it.

    Ciri and Geralt look at a coin purse in The Witcher 3. This is, coincidentally, the same tavern you begin the game in, with Vesemir, and the same tavern you meet Master Mirror in. | Image credit: Eurogamer / CD Projekt Red

    One conversation that surprises me, when looking back on The Witcher 3, is a conversation about popularity, because it's easy to forget now - with the intense scrutiny the studio seems always to be under - that when development began, not many people knew about CD Projekt Red. The combined sales of both Witcher games in 2013 were only 5 million. Poland knew about it - the Witcher fiction originated there and CD Projekt Red is Polish - and Germany knew about it, and some of the rest of Europe knew about it. But in North America, it was relatively unknown. That's a large part of the reason why the Xbox 360 version of The Witcher 2 was made at all, to begin knocking on that door. And The Witcher 3, CD Projekt Red hoped, would kick that door open. "We knew that we wanted to play in the major league," says Michał Platkow-Gilewski, vice president of communications and PR, stealing a quote from Cyberpunk character Jackie.
    That's why The Witcher 3 was revealed via a Game Informer cover story in early 2013, because that was deemed the way to do things there - the way to win US hearts, Platkow-Gilewski tells me. And it didn't take long for interest to swell. When Platkow-Gilewski joined CD Projekt Red to help launch the Xbox 360 version of The Witcher 2 in 2012, he was handing out flyers at Gamescom with company co-founder Michał Kicinski, just to fill presentations for the game. By the time The Witcher 3 was being shown at Gamescom, a few years later, queues were three to four hours long. People would wait all day to play. "We had to learn how to deal with popularity during the campaign," Platkow-Gilewski says.
    Those game shows were crucial for spreading the word about The Witcher 3 and seeing first-hand the impact the game was having on players and press. "Nothing can beat a good show where you meet with people who are there to see their favourite games just slightly before the rest of the world," he says. "They're investing their time, money, effort, and you feel this support, sometimes love, to the IP you're working on, and it boosts energy the way which you can't compare with anything else. These human to human interactions are unique." He says the studio's leader Adam Badowski would refer to these showings as fuel that would propel development for the next year or so, which is why CD Projekt Red always tried to gather as many developers as possible for them, to feel the energy.
    It was precisely these in-person events that Platkow-Gilewski says CD Projekt Red lacked in the lead up to Cyberpunk's launch, after Covid shut the world down. The company did what it could by pivoting to online events instead - the world-first playtest of Cyberpunk was done online via stream-play software called Parsec; I was a part of it - and talked to fans through trailers, but it was much harder to gauge feedback this way. "It's easy to just go with the flow and way harder to manage expectations," Platkow-Gilewski says, so expectations spiralled. "For me the biggest lesson learned is to always check reality versus expectations, and with Cyberpunk, it was really hard to control and we didn't know how to do it."
    It makes me wonder what the studio will do now with The Witcher 4, because the game show sector of the industry still hasn't bounced back, and I doubt - having seen the effect Covid has had on shows from the inside of an events company - whether it ever will. "Gamescom is growing," Platkow-Gilewski says somewhat optimistically. "Gamescom is back on track." But I don't know if it really is.

    Michał Platkow-Gilewski cites this moment as one of his favourite from the Witcher 3 journey. The crew were at the game show PAX in front of a huge live audience and the dialogue audio wouldn't play. Thankfully, they had Doug Cockle, the English language voice actor of Geralt, with them on the panel, so he live improvised the lines. Watch on YouTube
    Something else I'm surprised to hear from him is mention of The Witcher 3's rocky launch, because 10 years later - and in comparison to Cyberpunk's - that's not how I remember it. But Platkow-Gilewski remembers it differently. "When we released Witcher 3, the reception was not great," he says. "Reviews were amazing but there was, at least in my memories, no common consensus that this is a huge game which will maybe define some, to some extent, the genre."
    I do remember the strain on some faces around the studio at launch, though. I also remember a tense conversation about the perceived graphics downgrade in the game, where people unfavourably compared footage of Witcher 3 at launch, with footage from a marketing gameplay trailer released years before it. There were also a number of bugs in the game's code and its performance was unoptimised. "We knew things were far from being perfect," Platkow-Gilewski says. But the studio worked hard in the years after launch to patch and update the game - The Witcher 3 is now on version 4.04, which is extraordinary for a single-player game - and they released showcase expansions for it.
    Some of Marcin Blacha's favourite work is in those expansions, he tells me, especially the horror storylines of Hearts of Stone, many of which he wrote. That expansion's villain, Master Mirror, is also widely regarded as one of the best in the game, disguised as he is as a plain-looking and unassuming person who happens to have incredible and undefinable power. It's not until deep into the expansion you begin to uncover his devilish identity, and it's this subtle way of presenting a villain, and never over explaining his threat, that makes Master Mirror so memorable. He's gathered such a following that some people have concocted elaborate theories about him.
    Lead character artist Pawel Mielniczuk tells me about one theory whereby someone discovered you can see Master Mirror's face on many other background characters in the game, which you can, and that they believed it was a deliberate tactic used by CD Projekt Red to underline Master Mirror's devilish power. Remember, there was a neat trick with Master Mirror in that you had already met him at the beginning of The Witcher 3 base game, long before the expansion was ever developed, in a tavern in White Orchard. If CD Projekt Red could foreshadow him as far back as that, the theory went, then it could easily put his face on other characters in the game to achieve a similar 'did you see it?' effect.

    The real villain in the Hearts of Stone expansion, Gaunter O'Dimm. Better known to many as Master Mirror. There's a reason why he has such a plain-looking face... | Image credit: CD Projekt Red

    The truth is far more mundane. Other characters in the game do have Master Mirror's face, but only because his face is duplicated across the game in order to fill it out. CD Projekt Red didn't know when it made the original Witcher 3 game that this villager would turn into anyone special. There was a tentative plan but it was very tentative, so this villager got a very villager face. "We just got a request for a tertiary unimportant character," says Mileniczuk. "We had like 30-40 faces for the entire game so we just slapped a random face on him." He laughs. And by the time Hearts of Stone development came around, the face - the identity - had stuck.
    Expansions were an important part of cementing public opinion around The Witcher 3, then, as they were for cementing public opinion around Cyberpunk. They've become something of a golden bullet for the studio, a way to creatively unleash an already trained team and leave a much more positive memory in our heads.
    Exactly what went wrong with Cyberpunk and how CD Projekt Red set about correcting it is a whole other story Chris Tapsell told recently on the site, so I don't want to delve into specifics here. Suffice to say it was a hard time for the studio and many hard lessons had to be learned. "The pressure was huge," Platkow-Gilewski says, "because from underdogs we went to a company which will, for sure, deliver the best experience in the world."
    But while much of the rhetoric around Cyberpunk concerns the launch, there's a lot about the game itself that highlights how much progress the studio made, in terms of making open-world role-playing games. One of my favourite examples is how characters in Cyberpunk walk and talk rather than speak to you while rooted to the spot. It might seem like a small thing but it has a transformative and freeing effect on conversations, allowing the game to walk you places while you talk, and stage dialogue in a variety of cool ways. There's a lot to admire about the density of detail in the world, too, and in the greater variety of body shapes and diversity. Plus let's not forget, this is an actual open world rather than a segmented one as The Witcher 3 was. In many ways, the game was a huge step forward for the studio.
    Cyberpunk wasn't the only very notable thing to happen to the Witcher studio in those 10 years, either. During that time, The Witcher brand changed. Netflix piggybacked the game's popularity and developed a TV series starring Henry Cavill, and with it propelled The Witcher to the wider world.
    Curiously, CD Projekt Red wasn't invited to help, which was odd given executive producer Tomek Baginski was well known to CD Projekt Red, having directed the intro cinematics for all three Witcher video games. But beyond minor pieces of crossover content, no meaningful collaboration ever occurred. "We had no part in the shows," Pawel Mileniczuk says. "But it's Hollywood: different words. I know how hard it was for Tomek to get in there, to convince them to do the show, and then how limited influence is when the production house sits on something. It's many people, many decision makers, high stakes, big money. Nobody there was thinking about, Hey, let's talk to those dudes from Poland making games. It's a missed opportunity to me but what can I say?"

    The debut trailer for The Witcher 4.Watch on YouTube
    Nevertheless, the Netflix show had a surprisingly positive effect on the studio, with sales of The Witcher 3 spiking in 2019 and 2020 when the first season aired. "It was a really amazing year for us sales wise," Platkow-Gilewski says. This not only means more revenue for the studio but also wider understanding; more people are more familiar with The Witcher world now than ever before, which bodes very well for The Witcher 4. Not that it influenced or affected the studio's plans to return to that world, by the way. "We knew already that we wanted to come back to The Witcher," Platkow-Gilewski says. "Some knew that they wanted to tell a Ciri story while we were still working on Witcher 3."
    But, again, with popularity also comes pressure. "We'll have hopefully millions of people already hooked in from the get-go but with some expectations and visions and dreams which we have to, or may not be able to, fulfil," Platkow-Gilewski adds. You can already sense this pressure in comments threads about the new game. Many people already have their ideas about what a new Witcher game should be. The Witcher 4 might seem like a return to safer ground, then, but the relationship with the audience has changed in the intervening 10 years.
    "I think people are again with us," Platkow-Gilewski says. "There are some who are way more careful than they used to be; I don't see the hype train. We also learned how to talk about our game, what to show, when to show. But I think people believe again. Not everyone, and maybe it's slightly harder to talk with the whole internet. It's impossible now. It's way more polarised than it used to be. But I believe that we'll have something special for those who love The Witcher."
    Here we are a decade later, then, looking forward to another Witcher game by CD Projekt Red. But many things have changed. The studio has grown and shuffled people around and the roles of the people I speak to have changed. Marcin Blacha and Pawel Mielniczuk aren't working on The Witcher 4, but on new IP Project Hadar, in addition to their managerial responsibilities, and Pawel Sasko is full-time on Cyberpunk 2. It's only really Michał Platkow-Gilewski who'll do a similar job for The Witcher 4 as on The Witcher 3, although this time with dozens more people to help. But they will all still consult and they're confident in the abilities of The Witcher 4 team. "They really know what they're doing," says Sasko, "they are a very seasoned team."
    "We learned a lot of lessons down the road," Platkow-Gilewski says, in closing. "I started this interview saying that we had this bliss of ignorance; now we know more, but hopefully we can still be brave. Before, we were launching a rocket and figuring out how to land on the moon. Now, we know the dangers but we are way more experienced, so we'll find a way to navigate through these uncharted territories. We have a map already so hopefully it won't be such a hard trip."
    #what #worked #witcher #didn039t #looking
    What worked in The Witcher 3 and what didn't: looking back on a landmark RPG with CD Projekt Red
    What worked in The Witcher 3 and what didn't: looking back on a landmark RPG with CD Projekt Red "We learned a lot of lessons down the road." Image credit: CD Projekt Red Feature by Robert Purchese Associate Editor Published on May 31, 2025 Do you remember what you were doing when The Witcher 3: Wild Hunt was released? It came out on 19th May 2015. I remember because I was inside CD Projekt Red at the time, trying to capture the moment for you - a moment I'm unlikely to replicate there or anywhere else. I recall sitting in the studio's canteen in the small hours of the morning, after a midnight launch event in a mall in Warsaw, chewing on a piece of cold pizza and wondering out loud what would come next for the studio, because at the time, who could know? One era was ending and another was about to begin. Would it bring the fame and fortune CD Projekt Red desired? Today, more than 60 million sales of The Witcher 3 later, we know the answer is yes. The Witcher 3 became a role-playing classic. It delivered one of the most touchable medieval worlds we've explored, a rough place of craggy rocks and craggier faces, of wonky morales and grim realities, of mud and dirtiness. And monsters, though not all were monstrous to look at. It was a world of grey, of superstition and folklore, and in it stood we, a legendary monster hunter, facing seemingly impossible odds. The Witcher 3 took fantasy seriously. But the decade since the game's release has been turbulent for CD Projekt Red. The studio launched its big new sci-fi series in 2020 with Cyberpunk 2077, and though the game has now sold more than 30 million copies, making it monetarily a success, it had a nightmarish launch. The PS4 version had to be removed from sale. It brought enormous pressure, growing pains and intense scrutiny to the studio, and CD Projekt Red would spend a further three years patching and updating - and eventually releasing an expansion - before public opinion would mostly turn around. Today the studio returns to safer ground, back to The Witcher world with the new game The Witcher 4, and as we look forward to it we should also look back, to the game that catapulted the studio to fame, and see what has been learnt. The Witcher 3 is at version 4.04 today, a number that represents an enormously long period of post-release support.Watch on YouTube It all began with naivety, as perhaps any ambitious project should. It's easy to forget that 14 years ago, when The Witcher 3 was being conceived, CD Projekt Red had never made an open-world game before. The Witcher 1 and The Witcher 2 were linear in their approaches. It's also easy to forget that the people making the game were 14 years younger and less experienced. Back then, this was the studio's chance at recognition, so it aimed high in order to be seen. "The Witcher 3 was supposed to be this game that will end all other games," Marcin Blacha, the lead writer of the game, tells me. Simply make an open-world game that's also a story-driven game and release it on all platforms at the same time. How hard could it be? "When I'm thinking about our state of mind back in those days, the only word that comes to my mind is enthusiastic," Blacha says. "It was fantastic because we were so enthusiastic that we were full of courage. We were trying to experiment with stuff and we were not afraid. We were convinced that when we work with passion and love, it will pay off eventually." Every project has to begin somewhere and for Blacha, the person tasked with imagining the story, The Witcher 3 could only begin with Ciri, the daughter-of-sorts to The Witcher's central monster hunter character Geralt. As Blacha says, "The most important thing about Geralt and the most important thing about the books is the relationship between Geralt, Ciri and Yennefer. I already did two games with no sign of Ciri, no sign of Yennefer, and then we finally had a budget and proper time for pre-production, so for me, it was time to introduce both characters." It's a decision that would have major repercussions for the rest of The Witcher series at CD Projekt Red. Blacha didn't know it then, but Ciri would go on to become the protagonist of The Witcher 4. Had she not been the co-protagonist of The Witcher 3 - for you play as her in several sections during the game - who knows if things would have worked out the same way. It's an understandable progression as it is, though there is still some uncertainty among the audience about Ciri's starring role. But Ciri's inclusion came with complications, because the Ciri we see in the game is not the Ciri described in the books. That Ciri is much closer to the Ciri in the Netflix Witcher TV show, younger and more rebellious in a typical teenager way. She might be an important part of the fiction, then, but that doesn't mean she was especially well liked. "People were thinking that she's annoying," says Blacha, who grew up reading The Witcher books. CD Projekt Red, then, decided to make a Ciri of its own, aging her and making her more "flesh and bone", as Blacha puts it. He fondly recalls a moment in the game's development when reviewing the Ciri sections of the game, and saying aloud to studio director Adam Badowski how much he liked her. "I didn't know that she's going to be the protagonist of the next game," he says, "but I said to Adam Badowski, she's going to be very popular." Once Ciri had been earmarked for inclusion in The Witcher 3, the idea to have her pursued by the phantom-like force of the Wild Hunt - the members of which literally ride horses in the night sky, like Santa Claus' cursed reindeer - came shortly after. CD Projekt Red had introduced the Wild Hunt in The Witcher 2 so it made sense. The outline of the main story was then laid down as a one-page narrative treatment. Then it was expanded to a two-page treatment, a four page treatment, an eight page treatment and so on. At around 10 pages, it already had the White Orchard prologue, almost the entirety of the No Man's Land zone, and a hint of what would happen on Skellige and in Novigrad. When it was around 40 pages long, the quest design team was invited in. CD Projekt Red made their Ciri older than she is in the books. | Image credit: CD Projekt Red The quest design team's job is to turn a story into a game, and this was a newly created department for The Witcher 3, created because the old way of writers designing the quests wasn't working any more. "We were struggling a bit with making sure that every written story that we have prepared is also a story that we can play well," Paweł Sasko says. He joined CD Projekt Red to be a part of that quest design team. The quest design team carves up a narrative treatment, paragraph by paragraph, and expands those into playable questlines for the game. "It's basically something between game design and a movie scenario," Sasko says. There's no dialogue, just a description of what will happen, and even a one-paragraph prompt can balloon into a 20-30 page design. Among the paragraphs Sasko was given to adapt was a storyline in No Man's Land concerning a character known as the Bloody Baron. The Bloody Baron storyline is widely acclaimed and has become synonymous with everything Sasko and CD Projekt Red were trying to do with the game. It's a storyline that probes into mature themes like domestic abuse, fatherhood, and love and loss and grief. More importantly, it presents us with a flawed character and allows us time and space to perhaps change our opinion of them. It gives us layers many other games don't go anywhere near. When Sasko first encountered the storyline, there was only an outline. "It said that Geralt meets the Bloody Baron who asks Geralt to hunt a monster and look for his wife and daughter, and for that, he is going to share information about Ciri and tell Geralt where she went. That was pretty much it." And Sasko already knew a few things about what he wanted to do. He knew he wanted to show No Man's Land as a Slavic region bathed in superstitions and complex religious beliefs, one that had been ravaged by famine and war. He also knew the tone of the area was horror because this had been outlined by Blacha and the leaders of The Witcher 3 team. Says Blacha: "My opinion is that a successful Witcher game is a mix of everything, so you have a horror line, you have a romance, you have adventure, you have exploration. When we started to think about our hubs, we thought about them in terms of a show, so No Man's Land, the hub with the Bloody Baron, was horror; Skellige was supposed to be an adventure; and Novigrad was supposed to be a big city investigation." But there were key missing pieces then from the Bloody Baron sequence we know today. The botchling, for instance - the monstrous baby the quest revolves around. It didn't exist. It was an idea that came from Sasko after he read a Slavic bestiary. "Yes," he says, "the botchling idea came from me." The Bloody Baron. | Image credit: Eurogamer / CD Projekt Red He wanted the botchling to be the conduit through which more mature themes of the story could be approached - something overt to keep you busy while deeper themes sunk in. It's an approach Sasko says he pinched from Witcher author Andrzej Sapkowski, after deconstructing his work. "What he's doing is he's trying to find universal truths about human beings and struggles, but he doesn't tell those stories directly," Sasko says. "So for instance racism: he doesn't talk about that directly but he finds an interesting way how, in his world, he can package that and talk about it. I followed his method and mimicked it." This way the botchling becomes your focus in the quest, as the Baron carries it back to the manor house and you defend him from wraiths, but while you're doing that, you're also talking and learning more about who the Bloody Baron - who Phillip Strenger - is. "I wanted you to feel almost like you're in the shoes of that Bloody Baron," Sasko says. "Peregrination is this path in Christianity you go through when you want to remove your sins, and that's what this is meant to be. He's just trying to do it, and he's going through all of those things to do something good. And I wanted the player to start feeling like, 'Wow, maybe this dude is not so bad.'" It's a quest that leaves a big impression. An email was forwarded to Sasko after the game's release, written by a player who had lost their wife and child as the Baron once had. "And for him," he says, "that moment when Baron was carrying the child was almost like a catharsis, when he was trying so badly to walk that path. And the moment he managed to: he wrote in his letter that he broke down in tears." There's one other very significant moment in The Witcher 3 that Sasko had a large hand in, and it's the Battle of Kaer Morhern, where the 'goodies' - the witchers and the sorceresses, and Ciri - make a stand against the titular menace of the Wild Hunt. Sasko designed this section specifically to emotionally tenderise you, through a series of fast-paced and fraught battles, so that by the time the climactic moment came, you were aptly primed to receive it. The moment being Vesemir's death - the leader of the wolf school of witchers and father figure to Geralt. This, too, was Sasko's idea. "We needed to transition Ciri from being a hunted animal to becoming a hunter," he tells me, and the only event big enough and with enough inherent propulsion was Vesemir's death. Eredin, the leader of the Wild Hunt, breaks Vesemir's neck. | Image credit: Eurogamer / CD Projekt Red But for all of the successful moments in the game there are those that didn't work. To the team that made the game, and to the players, there are things that clearly stand out. Such as Geralt's witcher senses, which allow him to see scent trails and footsteps and clues in the world around him. Geralt's detective mode, in other words. Sasko laughs as he cringes about it now. "We've overdone the witcher senses so much, oh my god," he says. "At the time when we were starting this, we were like, 'We don't have it in the game; we have to use it to make you feel like a witcher.' But then at the end, especially in the expansions, we tried to decrease it so it doesn't feel so overloaded." He'd even turn it down by a further 10 to 20 per cent, he says. There were all of the question marks dotted across the map, luring us to places to find meagre hidden treasure rewards. "I think we all scratch our heads about what we were thinking when trying to build this," Sasko tells me. "I guess it just came from fear - from fear that the player will feel that the world is empty." This was the first time CD Projekt Red had really the player's hand go, remember, and not controlled where in the world you would be. Shallow gameplay is a criticism many people have, especially in the game's repetitive combat, and again, this is something Sasko and the team are well aware of. "We don't feel that the gameplay in Witcher 3 was deep enough," he says. "It was for the times okay, but nowadays when you play it, even though the story still holds really well, you can see that the gameplay is a bit rusty." Also, the cutscenes could have been paced better and had less exposition in them, and the game in general could have dumped fewer concepts on you at once. Cognitive overload, Sasko calls it. "In every second sentence you have a new concept introduced, a new country mentioned, a new politician..." It was too much. More broadly, he would also have liked the open-world to be more closely connected to the game's story, rather than be, mostly, a pretty backdrop. "It's like in the theatre when you have beautiful decorations at the back made of cardboard and paper, and not much happens to them except an actor pulls a rope and it starts to rain or something." he says. It's to do with how the main story influences the world and vice versa, and he thinks the studio can be better at it. Ciri and Geralt look at a coin purse in The Witcher 3. This is, coincidentally, the same tavern you begin the game in, with Vesemir, and the same tavern you meet Master Mirror in. | Image credit: Eurogamer / CD Projekt Red One conversation that surprises me, when looking back on The Witcher 3, is a conversation about popularity, because it's easy to forget now - with the intense scrutiny the studio seems always to be under - that when development began, not many people knew about CD Projekt Red. The combined sales of both Witcher games in 2013 were only 5 million. Poland knew about it - the Witcher fiction originated there and CD Projekt Red is Polish - and Germany knew about it, and some of the rest of Europe knew about it. But in North America, it was relatively unknown. That's a large part of the reason why the Xbox 360 version of The Witcher 2 was made at all, to begin knocking on that door. And The Witcher 3, CD Projekt Red hoped, would kick that door open. "We knew that we wanted to play in the major league," says Michał Platkow-Gilewski, vice president of communications and PR, stealing a quote from Cyberpunk character Jackie. That's why The Witcher 3 was revealed via a Game Informer cover story in early 2013, because that was deemed the way to do things there - the way to win US hearts, Platkow-Gilewski tells me. And it didn't take long for interest to swell. When Platkow-Gilewski joined CD Projekt Red to help launch the Xbox 360 version of The Witcher 2 in 2012, he was handing out flyers at Gamescom with company co-founder Michał Kicinski, just to fill presentations for the game. By the time The Witcher 3 was being shown at Gamescom, a few years later, queues were three to four hours long. People would wait all day to play. "We had to learn how to deal with popularity during the campaign," Platkow-Gilewski says. Those game shows were crucial for spreading the word about The Witcher 3 and seeing first-hand the impact the game was having on players and press. "Nothing can beat a good show where you meet with people who are there to see their favourite games just slightly before the rest of the world," he says. "They're investing their time, money, effort, and you feel this support, sometimes love, to the IP you're working on, and it boosts energy the way which you can't compare with anything else. These human to human interactions are unique." He says the studio's leader Adam Badowski would refer to these showings as fuel that would propel development for the next year or so, which is why CD Projekt Red always tried to gather as many developers as possible for them, to feel the energy. It was precisely these in-person events that Platkow-Gilewski says CD Projekt Red lacked in the lead up to Cyberpunk's launch, after Covid shut the world down. The company did what it could by pivoting to online events instead - the world-first playtest of Cyberpunk was done online via stream-play software called Parsec; I was a part of it - and talked to fans through trailers, but it was much harder to gauge feedback this way. "It's easy to just go with the flow and way harder to manage expectations," Platkow-Gilewski says, so expectations spiralled. "For me the biggest lesson learned is to always check reality versus expectations, and with Cyberpunk, it was really hard to control and we didn't know how to do it." It makes me wonder what the studio will do now with The Witcher 4, because the game show sector of the industry still hasn't bounced back, and I doubt - having seen the effect Covid has had on shows from the inside of an events company - whether it ever will. "Gamescom is growing," Platkow-Gilewski says somewhat optimistically. "Gamescom is back on track." But I don't know if it really is. Michał Platkow-Gilewski cites this moment as one of his favourite from the Witcher 3 journey. The crew were at the game show PAX in front of a huge live audience and the dialogue audio wouldn't play. Thankfully, they had Doug Cockle, the English language voice actor of Geralt, with them on the panel, so he live improvised the lines. Watch on YouTube Something else I'm surprised to hear from him is mention of The Witcher 3's rocky launch, because 10 years later - and in comparison to Cyberpunk's - that's not how I remember it. But Platkow-Gilewski remembers it differently. "When we released Witcher 3, the reception was not great," he says. "Reviews were amazing but there was, at least in my memories, no common consensus that this is a huge game which will maybe define some, to some extent, the genre." I do remember the strain on some faces around the studio at launch, though. I also remember a tense conversation about the perceived graphics downgrade in the game, where people unfavourably compared footage of Witcher 3 at launch, with footage from a marketing gameplay trailer released years before it. There were also a number of bugs in the game's code and its performance was unoptimised. "We knew things were far from being perfect," Platkow-Gilewski says. But the studio worked hard in the years after launch to patch and update the game - The Witcher 3 is now on version 4.04, which is extraordinary for a single-player game - and they released showcase expansions for it. Some of Marcin Blacha's favourite work is in those expansions, he tells me, especially the horror storylines of Hearts of Stone, many of which he wrote. That expansion's villain, Master Mirror, is also widely regarded as one of the best in the game, disguised as he is as a plain-looking and unassuming person who happens to have incredible and undefinable power. It's not until deep into the expansion you begin to uncover his devilish identity, and it's this subtle way of presenting a villain, and never over explaining his threat, that makes Master Mirror so memorable. He's gathered such a following that some people have concocted elaborate theories about him. Lead character artist Pawel Mielniczuk tells me about one theory whereby someone discovered you can see Master Mirror's face on many other background characters in the game, which you can, and that they believed it was a deliberate tactic used by CD Projekt Red to underline Master Mirror's devilish power. Remember, there was a neat trick with Master Mirror in that you had already met him at the beginning of The Witcher 3 base game, long before the expansion was ever developed, in a tavern in White Orchard. If CD Projekt Red could foreshadow him as far back as that, the theory went, then it could easily put his face on other characters in the game to achieve a similar 'did you see it?' effect. The real villain in the Hearts of Stone expansion, Gaunter O'Dimm. Better known to many as Master Mirror. There's a reason why he has such a plain-looking face... | Image credit: CD Projekt Red The truth is far more mundane. Other characters in the game do have Master Mirror's face, but only because his face is duplicated across the game in order to fill it out. CD Projekt Red didn't know when it made the original Witcher 3 game that this villager would turn into anyone special. There was a tentative plan but it was very tentative, so this villager got a very villager face. "We just got a request for a tertiary unimportant character," says Mileniczuk. "We had like 30-40 faces for the entire game so we just slapped a random face on him." He laughs. And by the time Hearts of Stone development came around, the face - the identity - had stuck. Expansions were an important part of cementing public opinion around The Witcher 3, then, as they were for cementing public opinion around Cyberpunk. They've become something of a golden bullet for the studio, a way to creatively unleash an already trained team and leave a much more positive memory in our heads. Exactly what went wrong with Cyberpunk and how CD Projekt Red set about correcting it is a whole other story Chris Tapsell told recently on the site, so I don't want to delve into specifics here. Suffice to say it was a hard time for the studio and many hard lessons had to be learned. "The pressure was huge," Platkow-Gilewski says, "because from underdogs we went to a company which will, for sure, deliver the best experience in the world." But while much of the rhetoric around Cyberpunk concerns the launch, there's a lot about the game itself that highlights how much progress the studio made, in terms of making open-world role-playing games. One of my favourite examples is how characters in Cyberpunk walk and talk rather than speak to you while rooted to the spot. It might seem like a small thing but it has a transformative and freeing effect on conversations, allowing the game to walk you places while you talk, and stage dialogue in a variety of cool ways. There's a lot to admire about the density of detail in the world, too, and in the greater variety of body shapes and diversity. Plus let's not forget, this is an actual open world rather than a segmented one as The Witcher 3 was. In many ways, the game was a huge step forward for the studio. Cyberpunk wasn't the only very notable thing to happen to the Witcher studio in those 10 years, either. During that time, The Witcher brand changed. Netflix piggybacked the game's popularity and developed a TV series starring Henry Cavill, and with it propelled The Witcher to the wider world. Curiously, CD Projekt Red wasn't invited to help, which was odd given executive producer Tomek Baginski was well known to CD Projekt Red, having directed the intro cinematics for all three Witcher video games. But beyond minor pieces of crossover content, no meaningful collaboration ever occurred. "We had no part in the shows," Pawel Mileniczuk says. "But it's Hollywood: different words. I know how hard it was for Tomek to get in there, to convince them to do the show, and then how limited influence is when the production house sits on something. It's many people, many decision makers, high stakes, big money. Nobody there was thinking about, Hey, let's talk to those dudes from Poland making games. It's a missed opportunity to me but what can I say?" The debut trailer for The Witcher 4.Watch on YouTube Nevertheless, the Netflix show had a surprisingly positive effect on the studio, with sales of The Witcher 3 spiking in 2019 and 2020 when the first season aired. "It was a really amazing year for us sales wise," Platkow-Gilewski says. This not only means more revenue for the studio but also wider understanding; more people are more familiar with The Witcher world now than ever before, which bodes very well for The Witcher 4. Not that it influenced or affected the studio's plans to return to that world, by the way. "We knew already that we wanted to come back to The Witcher," Platkow-Gilewski says. "Some knew that they wanted to tell a Ciri story while we were still working on Witcher 3." But, again, with popularity also comes pressure. "We'll have hopefully millions of people already hooked in from the get-go but with some expectations and visions and dreams which we have to, or may not be able to, fulfil," Platkow-Gilewski adds. You can already sense this pressure in comments threads about the new game. Many people already have their ideas about what a new Witcher game should be. The Witcher 4 might seem like a return to safer ground, then, but the relationship with the audience has changed in the intervening 10 years. "I think people are again with us," Platkow-Gilewski says. "There are some who are way more careful than they used to be; I don't see the hype train. We also learned how to talk about our game, what to show, when to show. But I think people believe again. Not everyone, and maybe it's slightly harder to talk with the whole internet. It's impossible now. It's way more polarised than it used to be. But I believe that we'll have something special for those who love The Witcher." Here we are a decade later, then, looking forward to another Witcher game by CD Projekt Red. But many things have changed. The studio has grown and shuffled people around and the roles of the people I speak to have changed. Marcin Blacha and Pawel Mielniczuk aren't working on The Witcher 4, but on new IP Project Hadar, in addition to their managerial responsibilities, and Pawel Sasko is full-time on Cyberpunk 2. It's only really Michał Platkow-Gilewski who'll do a similar job for The Witcher 4 as on The Witcher 3, although this time with dozens more people to help. But they will all still consult and they're confident in the abilities of The Witcher 4 team. "They really know what they're doing," says Sasko, "they are a very seasoned team." "We learned a lot of lessons down the road," Platkow-Gilewski says, in closing. "I started this interview saying that we had this bliss of ignorance; now we know more, but hopefully we can still be brave. Before, we were launching a rocket and figuring out how to land on the moon. Now, we know the dangers but we are way more experienced, so we'll find a way to navigate through these uncharted territories. We have a map already so hopefully it won't be such a hard trip." #what #worked #witcher #didn039t #looking
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    What worked in The Witcher 3 and what didn't: looking back on a landmark RPG with CD Projekt Red
    What worked in The Witcher 3 and what didn't: looking back on a landmark RPG with CD Projekt Red "We learned a lot of lessons down the road." Image credit: CD Projekt Red Feature by Robert Purchese Associate Editor Published on May 31, 2025 Do you remember what you were doing when The Witcher 3: Wild Hunt was released? It came out on 19th May 2015. I remember because I was inside CD Projekt Red at the time, trying to capture the moment for you - a moment I'm unlikely to replicate there or anywhere else. I recall sitting in the studio's canteen in the small hours of the morning, after a midnight launch event in a mall in Warsaw, chewing on a piece of cold pizza and wondering out loud what would come next for the studio, because at the time, who could know? One era was ending and another was about to begin. Would it bring the fame and fortune CD Projekt Red desired? Today, more than 60 million sales of The Witcher 3 later, we know the answer is yes. The Witcher 3 became a role-playing classic. It delivered one of the most touchable medieval worlds we've explored, a rough place of craggy rocks and craggier faces, of wonky morales and grim realities, of mud and dirtiness. And monsters, though not all were monstrous to look at. It was a world of grey, of superstition and folklore, and in it stood we, a legendary monster hunter, facing seemingly impossible odds. The Witcher 3 took fantasy seriously. But the decade since the game's release has been turbulent for CD Projekt Red. The studio launched its big new sci-fi series in 2020 with Cyberpunk 2077, and though the game has now sold more than 30 million copies, making it monetarily a success, it had a nightmarish launch. The PS4 version had to be removed from sale. It brought enormous pressure, growing pains and intense scrutiny to the studio, and CD Projekt Red would spend a further three years patching and updating - and eventually releasing an expansion - before public opinion would mostly turn around. Today the studio returns to safer ground, back to The Witcher world with the new game The Witcher 4, and as we look forward to it we should also look back, to the game that catapulted the studio to fame, and see what has been learnt. The Witcher 3 is at version 4.04 today, a number that represents an enormously long period of post-release support.Watch on YouTube It all began with naivety, as perhaps any ambitious project should. It's easy to forget that 14 years ago, when The Witcher 3 was being conceived, CD Projekt Red had never made an open-world game before. The Witcher 1 and The Witcher 2 were linear in their approaches. It's also easy to forget that the people making the game were 14 years younger and less experienced. Back then, this was the studio's chance at recognition, so it aimed high in order to be seen. "The Witcher 3 was supposed to be this game that will end all other games," Marcin Blacha, the lead writer of the game, tells me. Simply make an open-world game that's also a story-driven game and release it on all platforms at the same time. How hard could it be? "When I'm thinking about our state of mind back in those days, the only word that comes to my mind is enthusiastic," Blacha says. "It was fantastic because we were so enthusiastic that we were full of courage. We were trying to experiment with stuff and we were not afraid. We were convinced that when we work with passion and love, it will pay off eventually." Every project has to begin somewhere and for Blacha, the person tasked with imagining the story, The Witcher 3 could only begin with Ciri, the daughter-of-sorts to The Witcher's central monster hunter character Geralt. As Blacha says, "The most important thing about Geralt and the most important thing about the books is the relationship between Geralt, Ciri and Yennefer. I already did two games with no sign of Ciri, no sign of Yennefer, and then we finally had a budget and proper time for pre-production, so for me, it was time to introduce both characters." It's a decision that would have major repercussions for the rest of The Witcher series at CD Projekt Red. Blacha didn't know it then, but Ciri would go on to become the protagonist of The Witcher 4. Had she not been the co-protagonist of The Witcher 3 - for you play as her in several sections during the game - who knows if things would have worked out the same way. It's an understandable progression as it is, though there is still some uncertainty among the audience about Ciri's starring role. But Ciri's inclusion came with complications, because the Ciri we see in the game is not the Ciri described in the books. That Ciri is much closer to the Ciri in the Netflix Witcher TV show, younger and more rebellious in a typical teenager way. She might be an important part of the fiction, then, but that doesn't mean she was especially well liked. "People were thinking that she's annoying," says Blacha, who grew up reading The Witcher books. CD Projekt Red, then, decided to make a Ciri of its own, aging her and making her more "flesh and bone", as Blacha puts it. He fondly recalls a moment in the game's development when reviewing the Ciri sections of the game, and saying aloud to studio director Adam Badowski how much he liked her. "I didn't know that she's going to be the protagonist of the next game," he says, "but I said to Adam Badowski, she's going to be very popular." Once Ciri had been earmarked for inclusion in The Witcher 3, the idea to have her pursued by the phantom-like force of the Wild Hunt - the members of which literally ride horses in the night sky, like Santa Claus' cursed reindeer - came shortly after. CD Projekt Red had introduced the Wild Hunt in The Witcher 2 so it made sense. The outline of the main story was then laid down as a one-page narrative treatment. Then it was expanded to a two-page treatment, a four page treatment, an eight page treatment and so on. At around 10 pages, it already had the White Orchard prologue, almost the entirety of the No Man's Land zone, and a hint of what would happen on Skellige and in Novigrad. When it was around 40 pages long, the quest design team was invited in. CD Projekt Red made their Ciri older than she is in the books. | Image credit: CD Projekt Red The quest design team's job is to turn a story into a game, and this was a newly created department for The Witcher 3, created because the old way of writers designing the quests wasn't working any more. "We were struggling a bit with making sure that every written story that we have prepared is also a story that we can play well," Paweł Sasko says. He joined CD Projekt Red to be a part of that quest design team. The quest design team carves up a narrative treatment, paragraph by paragraph, and expands those into playable questlines for the game. "It's basically something between game design and a movie scenario," Sasko says. There's no dialogue, just a description of what will happen, and even a one-paragraph prompt can balloon into a 20-30 page design. Among the paragraphs Sasko was given to adapt was a storyline in No Man's Land concerning a character known as the Bloody Baron. The Bloody Baron storyline is widely acclaimed and has become synonymous with everything Sasko and CD Projekt Red were trying to do with the game. It's a storyline that probes into mature themes like domestic abuse, fatherhood, and love and loss and grief. More importantly, it presents us with a flawed character and allows us time and space to perhaps change our opinion of them. It gives us layers many other games don't go anywhere near. When Sasko first encountered the storyline, there was only an outline. "It said that Geralt meets the Bloody Baron who asks Geralt to hunt a monster and look for his wife and daughter, and for that, he is going to share information about Ciri and tell Geralt where she went. That was pretty much it." And Sasko already knew a few things about what he wanted to do. He knew he wanted to show No Man's Land as a Slavic region bathed in superstitions and complex religious beliefs, one that had been ravaged by famine and war. He also knew the tone of the area was horror because this had been outlined by Blacha and the leaders of The Witcher 3 team. Says Blacha: "My opinion is that a successful Witcher game is a mix of everything, so you have a horror line, you have a romance, you have adventure, you have exploration. When we started to think about our hubs, we thought about them in terms of a show, so No Man's Land, the hub with the Bloody Baron, was horror; Skellige was supposed to be an adventure; and Novigrad was supposed to be a big city investigation." But there were key missing pieces then from the Bloody Baron sequence we know today. The botchling, for instance - the monstrous baby the quest revolves around. It didn't exist. It was an idea that came from Sasko after he read a Slavic bestiary. "Yes," he says, "the botchling idea came from me." The Bloody Baron. | Image credit: Eurogamer / CD Projekt Red He wanted the botchling to be the conduit through which more mature themes of the story could be approached - something overt to keep you busy while deeper themes sunk in. It's an approach Sasko says he pinched from Witcher author Andrzej Sapkowski, after deconstructing his work. "What he's doing is he's trying to find universal truths about human beings and struggles, but he doesn't tell those stories directly," Sasko says. "So for instance racism: he doesn't talk about that directly but he finds an interesting way how, in his world, he can package that and talk about it. I followed his method and mimicked it." This way the botchling becomes your focus in the quest, as the Baron carries it back to the manor house and you defend him from wraiths, but while you're doing that, you're also talking and learning more about who the Bloody Baron - who Phillip Strenger - is. "I wanted you to feel almost like you're in the shoes of that Bloody Baron," Sasko says. "Peregrination is this path in Christianity you go through when you want to remove your sins, and that's what this is meant to be. He's just trying to do it, and he's going through all of those things to do something good. And I wanted the player to start feeling like, 'Wow, maybe this dude is not so bad.'" It's a quest that leaves a big impression. An email was forwarded to Sasko after the game's release, written by a player who had lost their wife and child as the Baron once had. "And for him," he says, "that moment when Baron was carrying the child was almost like a catharsis, when he was trying so badly to walk that path. And the moment he managed to: he wrote in his letter that he broke down in tears." There's one other very significant moment in The Witcher 3 that Sasko had a large hand in, and it's the Battle of Kaer Morhern, where the 'goodies' - the witchers and the sorceresses, and Ciri - make a stand against the titular menace of the Wild Hunt. Sasko designed this section specifically to emotionally tenderise you, through a series of fast-paced and fraught battles, so that by the time the climactic moment came, you were aptly primed to receive it. The moment being Vesemir's death - the leader of the wolf school of witchers and father figure to Geralt. This, too, was Sasko's idea. "We needed to transition Ciri from being a hunted animal to becoming a hunter," he tells me, and the only event big enough and with enough inherent propulsion was Vesemir's death. Eredin, the leader of the Wild Hunt, breaks Vesemir's neck. | Image credit: Eurogamer / CD Projekt Red But for all of the successful moments in the game there are those that didn't work. To the team that made the game, and to the players, there are things that clearly stand out. Such as Geralt's witcher senses, which allow him to see scent trails and footsteps and clues in the world around him. Geralt's detective mode, in other words. Sasko laughs as he cringes about it now. "We've overdone the witcher senses so much, oh my god," he says. "At the time when we were starting this, we were like, 'We don't have it in the game; we have to use it to make you feel like a witcher.' But then at the end, especially in the expansions, we tried to decrease it so it doesn't feel so overloaded." He'd even turn it down by a further 10 to 20 per cent, he says. There were all of the question marks dotted across the map, luring us to places to find meagre hidden treasure rewards. "I think we all scratch our heads about what we were thinking when trying to build this," Sasko tells me. "I guess it just came from fear - from fear that the player will feel that the world is empty." This was the first time CD Projekt Red had really the player's hand go, remember, and not controlled where in the world you would be. Shallow gameplay is a criticism many people have, especially in the game's repetitive combat, and again, this is something Sasko and the team are well aware of. "We don't feel that the gameplay in Witcher 3 was deep enough," he says. "It was for the times okay, but nowadays when you play it, even though the story still holds really well, you can see that the gameplay is a bit rusty." Also, the cutscenes could have been paced better and had less exposition in them, and the game in general could have dumped fewer concepts on you at once. Cognitive overload, Sasko calls it. "In every second sentence you have a new concept introduced, a new country mentioned, a new politician..." It was too much. More broadly, he would also have liked the open-world to be more closely connected to the game's story, rather than be, mostly, a pretty backdrop. "It's like in the theatre when you have beautiful decorations at the back made of cardboard and paper, and not much happens to them except an actor pulls a rope and it starts to rain or something." he says. It's to do with how the main story influences the world and vice versa, and he thinks the studio can be better at it. Ciri and Geralt look at a coin purse in The Witcher 3. This is, coincidentally, the same tavern you begin the game in, with Vesemir, and the same tavern you meet Master Mirror in. | Image credit: Eurogamer / CD Projekt Red One conversation that surprises me, when looking back on The Witcher 3, is a conversation about popularity, because it's easy to forget now - with the intense scrutiny the studio seems always to be under - that when development began, not many people knew about CD Projekt Red. The combined sales of both Witcher games in 2013 were only 5 million. Poland knew about it - the Witcher fiction originated there and CD Projekt Red is Polish - and Germany knew about it, and some of the rest of Europe knew about it. But in North America, it was relatively unknown. That's a large part of the reason why the Xbox 360 version of The Witcher 2 was made at all, to begin knocking on that door. And The Witcher 3, CD Projekt Red hoped, would kick that door open. "We knew that we wanted to play in the major league," says Michał Platkow-Gilewski, vice president of communications and PR, stealing a quote from Cyberpunk character Jackie. That's why The Witcher 3 was revealed via a Game Informer cover story in early 2013, because that was deemed the way to do things there - the way to win US hearts, Platkow-Gilewski tells me. And it didn't take long for interest to swell. When Platkow-Gilewski joined CD Projekt Red to help launch the Xbox 360 version of The Witcher 2 in 2012, he was handing out flyers at Gamescom with company co-founder Michał Kicinski, just to fill presentations for the game. By the time The Witcher 3 was being shown at Gamescom, a few years later, queues were three to four hours long. People would wait all day to play. "We had to learn how to deal with popularity during the campaign," Platkow-Gilewski says. Those game shows were crucial for spreading the word about The Witcher 3 and seeing first-hand the impact the game was having on players and press. "Nothing can beat a good show where you meet with people who are there to see their favourite games just slightly before the rest of the world," he says. "They're investing their time, money, effort, and you feel this support, sometimes love, to the IP you're working on, and it boosts energy the way which you can't compare with anything else. These human to human interactions are unique." He says the studio's leader Adam Badowski would refer to these showings as fuel that would propel development for the next year or so, which is why CD Projekt Red always tried to gather as many developers as possible for them, to feel the energy. It was precisely these in-person events that Platkow-Gilewski says CD Projekt Red lacked in the lead up to Cyberpunk's launch, after Covid shut the world down. The company did what it could by pivoting to online events instead - the world-first playtest of Cyberpunk was done online via stream-play software called Parsec; I was a part of it - and talked to fans through trailers, but it was much harder to gauge feedback this way. "It's easy to just go with the flow and way harder to manage expectations," Platkow-Gilewski says, so expectations spiralled. "For me the biggest lesson learned is to always check reality versus expectations, and with Cyberpunk, it was really hard to control and we didn't know how to do it." It makes me wonder what the studio will do now with The Witcher 4, because the game show sector of the industry still hasn't bounced back, and I doubt - having seen the effect Covid has had on shows from the inside of an events company - whether it ever will. "Gamescom is growing," Platkow-Gilewski says somewhat optimistically. "Gamescom is back on track." But I don't know if it really is. Michał Platkow-Gilewski cites this moment as one of his favourite from the Witcher 3 journey. The crew were at the game show PAX in front of a huge live audience and the dialogue audio wouldn't play. Thankfully, they had Doug Cockle, the English language voice actor of Geralt, with them on the panel, so he live improvised the lines. Watch on YouTube Something else I'm surprised to hear from him is mention of The Witcher 3's rocky launch, because 10 years later - and in comparison to Cyberpunk's - that's not how I remember it. But Platkow-Gilewski remembers it differently. "When we released Witcher 3, the reception was not great," he says. "Reviews were amazing but there was, at least in my memories, no common consensus that this is a huge game which will maybe define some, to some extent, the genre." I do remember the strain on some faces around the studio at launch, though. I also remember a tense conversation about the perceived graphics downgrade in the game, where people unfavourably compared footage of Witcher 3 at launch, with footage from a marketing gameplay trailer released years before it. There were also a number of bugs in the game's code and its performance was unoptimised. "We knew things were far from being perfect," Platkow-Gilewski says. But the studio worked hard in the years after launch to patch and update the game - The Witcher 3 is now on version 4.04, which is extraordinary for a single-player game - and they released showcase expansions for it. Some of Marcin Blacha's favourite work is in those expansions, he tells me, especially the horror storylines of Hearts of Stone, many of which he wrote. That expansion's villain, Master Mirror, is also widely regarded as one of the best in the game, disguised as he is as a plain-looking and unassuming person who happens to have incredible and undefinable power. It's not until deep into the expansion you begin to uncover his devilish identity, and it's this subtle way of presenting a villain, and never over explaining his threat, that makes Master Mirror so memorable. He's gathered such a following that some people have concocted elaborate theories about him. Lead character artist Pawel Mielniczuk tells me about one theory whereby someone discovered you can see Master Mirror's face on many other background characters in the game, which you can, and that they believed it was a deliberate tactic used by CD Projekt Red to underline Master Mirror's devilish power. Remember, there was a neat trick with Master Mirror in that you had already met him at the beginning of The Witcher 3 base game, long before the expansion was ever developed, in a tavern in White Orchard. If CD Projekt Red could foreshadow him as far back as that, the theory went, then it could easily put his face on other characters in the game to achieve a similar 'did you see it?' effect. The real villain in the Hearts of Stone expansion, Gaunter O'Dimm. Better known to many as Master Mirror. There's a reason why he has such a plain-looking face... | Image credit: CD Projekt Red The truth is far more mundane. Other characters in the game do have Master Mirror's face, but only because his face is duplicated across the game in order to fill it out. CD Projekt Red didn't know when it made the original Witcher 3 game that this villager would turn into anyone special. There was a tentative plan but it was very tentative, so this villager got a very villager face. "We just got a request for a tertiary unimportant character," says Mileniczuk. "We had like 30-40 faces for the entire game so we just slapped a random face on him." He laughs. And by the time Hearts of Stone development came around, the face - the identity - had stuck. Expansions were an important part of cementing public opinion around The Witcher 3, then, as they were for cementing public opinion around Cyberpunk. They've become something of a golden bullet for the studio, a way to creatively unleash an already trained team and leave a much more positive memory in our heads. Exactly what went wrong with Cyberpunk and how CD Projekt Red set about correcting it is a whole other story Chris Tapsell told recently on the site, so I don't want to delve into specifics here. Suffice to say it was a hard time for the studio and many hard lessons had to be learned. "The pressure was huge," Platkow-Gilewski says, "because from underdogs we went to a company which will, for sure, deliver the best experience in the world." But while much of the rhetoric around Cyberpunk concerns the launch, there's a lot about the game itself that highlights how much progress the studio made, in terms of making open-world role-playing games. One of my favourite examples is how characters in Cyberpunk walk and talk rather than speak to you while rooted to the spot. It might seem like a small thing but it has a transformative and freeing effect on conversations, allowing the game to walk you places while you talk, and stage dialogue in a variety of cool ways. There's a lot to admire about the density of detail in the world, too, and in the greater variety of body shapes and diversity. Plus let's not forget, this is an actual open world rather than a segmented one as The Witcher 3 was. In many ways, the game was a huge step forward for the studio. Cyberpunk wasn't the only very notable thing to happen to the Witcher studio in those 10 years, either. During that time, The Witcher brand changed. Netflix piggybacked the game's popularity and developed a TV series starring Henry Cavill, and with it propelled The Witcher to the wider world. Curiously, CD Projekt Red wasn't invited to help, which was odd given executive producer Tomek Baginski was well known to CD Projekt Red, having directed the intro cinematics for all three Witcher video games. But beyond minor pieces of crossover content, no meaningful collaboration ever occurred. "We had no part in the shows," Pawel Mileniczuk says. "But it's Hollywood: different words. I know how hard it was for Tomek to get in there, to convince them to do the show, and then how limited influence is when the production house sits on something. It's many people, many decision makers, high stakes, big money. Nobody there was thinking about, Hey, let's talk to those dudes from Poland making games. It's a missed opportunity to me but what can I say?" The debut trailer for The Witcher 4.Watch on YouTube Nevertheless, the Netflix show had a surprisingly positive effect on the studio, with sales of The Witcher 3 spiking in 2019 and 2020 when the first season aired. "It was a really amazing year for us sales wise," Platkow-Gilewski says. This not only means more revenue for the studio but also wider understanding; more people are more familiar with The Witcher world now than ever before, which bodes very well for The Witcher 4. Not that it influenced or affected the studio's plans to return to that world, by the way. "We knew already that we wanted to come back to The Witcher," Platkow-Gilewski says. "Some knew that they wanted to tell a Ciri story while we were still working on Witcher 3." But, again, with popularity also comes pressure. "We'll have hopefully millions of people already hooked in from the get-go but with some expectations and visions and dreams which we have to, or may not be able to, fulfil," Platkow-Gilewski adds. You can already sense this pressure in comments threads about the new game. Many people already have their ideas about what a new Witcher game should be. The Witcher 4 might seem like a return to safer ground, then, but the relationship with the audience has changed in the intervening 10 years. "I think people are again with us," Platkow-Gilewski says. "There are some who are way more careful than they used to be; I don't see the hype train. We also learned how to talk about our game, what to show, when to show. But I think people believe again. Not everyone, and maybe it's slightly harder to talk with the whole internet. It's impossible now. It's way more polarised than it used to be. But I believe that we'll have something special for those who love The Witcher." Here we are a decade later, then, looking forward to another Witcher game by CD Projekt Red. But many things have changed. The studio has grown and shuffled people around and the roles of the people I speak to have changed. Marcin Blacha and Pawel Mielniczuk aren't working on The Witcher 4, but on new IP Project Hadar, in addition to their managerial responsibilities, and Pawel Sasko is full-time on Cyberpunk 2. It's only really Michał Platkow-Gilewski who'll do a similar job for The Witcher 4 as on The Witcher 3, although this time with dozens more people to help. But they will all still consult and they're confident in the abilities of The Witcher 4 team. "They really know what they're doing," says Sasko, "they are a very seasoned team." "We learned a lot of lessons down the road," Platkow-Gilewski says, in closing. "I started this interview saying that we had this bliss of ignorance; now we know more, but hopefully we can still be brave. Before, we were launching a rocket and figuring out how to land on the moon. Now, we know the dangers but we are way more experienced, so we'll find a way to navigate through these uncharted territories. We have a map already so hopefully it won't be such a hard trip."
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  • Did The Big Death In Last of Us Season 2 Ultimately Deliver A Killing Blow To the Series As A Whole?

    Streaming Wars is a weekly opinion column by IGN’s Streaming Editor, Amelia Emberwing. Check out the last entry No, Netflix Isn't Saving HollywoodThis column contains spoilers for Season 2 of The Last of Us on HBO Max as well as The Last of Us Part II game. When Joel was brutally killed in the second episode of HBO’s The Last of Us Season 2, it confirmed what many fans of the games expected was coming. But as the season progressed after that point, Joel’s death came and went without any significance. Replacing it was, for me, a certainty: what was a controversial decision for the The Last of Us game franchise would prove to be a killing blow for the television series.Now, I realize that an adaptation fundamentally deviating from its source material can be polarizing in and of itself, but the HBO series simply did not need to kill Joel to successfully tell its story.First and foremost, I think it’s important to note that there’s a reason that this column is being written at the end of the season rather than immediately after Joel’sdeath in Episode 2. I did want to be wrong, for whatever that sentiment might be worth. I dutifully watched the rest of the season, hoping that the show’s writers would find a way to reset their story and carry on their narrative in any kind of meaningful way. But, despite the best efforts of Bella Ramsey and newcomers Isabela Merced, Kaitlyn Dever and Young Mazino, there’s little to be done when your blockbuster show’s first season was fully reliant on a relationship that no longer exists. The show’s audience — which is made up of plenty of folks who have never played the games — signed up for a series that no longer exists. The Last Of Us Series Messes With Canon, But the Wrong PartsThe Last of Us has implemented a series of story elements that deviate from the game, and vary in impact, but have broadly served the medium shift. Billand Frank’sSeason 1 episode wasn’t just the best of the series, it was one of the best episodes of television that year, it hasn’t mattered at all that Dever’s Abby isn’t jacked the way she is in the game, Season 1 had tendrils instead of spores, Stalkers play more of a role in the series than they did during gameplay, etc.But the Big Joel Death Scene™ features both 1:1 scenes and major canon divergence, and the core problem with the majority of Season 2 is that the series stayed loyal where it shouldn’t have and diverted where it should have remained true to story. In killing Joel and revealing Abby’s motives from the start, The Last of Us series removed any reason for the audience to return in Season 3.In the game, players stuck around when it came time to play Abby because they needed to know why the hell she did what she did. By the time that information is revealed, Abby had become interesting enough for people to keep playing. In the series, since Abby’s motivations were revealed pretty much in the series premiere, all viewers have to look forward to now is wondering who’s going to shoot who or who is going to forgive who first. And, with respect to what I know is a long adored franchise, I’m forced to ask why should the television audience care?The series either needed to keep Joel alive, choosing to have Abby beat him within an inch of his life and have Ellie believe that he was dead before leaving Jackson on her revenge tour, or leave Abby’s motives a mystery. Joel may have been the inciting incident that made the forgiveness meaningful in the game, but let’s not pretend it’s the only way to get to the desired end result. This series has wildly talented writers attached. It can be done. Meanwhile, while the mystery of Abby’s motivations wouldn’t have been enough to keep me around personally, I can see why it would appeal to a broader television audience. Now though, we’re all stuck in an impending future of no catharsis.Not One, Not Two, But Three Shows in OneEllie spent much of this season insisting she’s not like Abby despite her rising body count and similar obsession. This will remain a throughline for the upcoming seasoneven though Ellie will continue to make rash decisions on her quest for revenge. All of this will come after Ellie’s current pickle, as we left her with Abby’s gun pointed squarely at her face. Season 2’s odd “cliffhanger” is another 1:1 pull from the game, as this is the moment where you shift from playing Ellie to playing Abby. This means that we can likely expect the central focus of the series to shift yet again, giving us not one show, not two shows, but a surprise third show. The thing about these focus and perspective shifts is that they totally could have worked if they had billed The Last of Us as an anthology series with the overall wrap-aroundbeing the apocalypse they’re all sharing. But because this was presented as a traditional prestige series, there are rules and expectations as to how the story is meant to play out. Storytelling rules are made to be broken, but Season 2 does not inspire any faith that the rest of The Last of Us series will succeed in doing so.Television has always played with the death of the mentor. It’s a trope that often offers more meaning than most, forcing the protagonist to finally take said mentor’s lessons to heart or otherwise reckon with the devastation of their loss. The difference here is that there is typically a broader ensemble to rely on to avoid shaking up the core of the series. We get a little bit of that from Season 2 in Merced’s Dina and Manzino’s Jesse, but they aren’t meaningfully established before the core relationship of the series is destroyed. By introducing them later — and then giving us little reason to care about them until after that still — the foundation of the series remains fractured in a way that seems beyond repair. But that fracture was always avoidable.All signs point to Season 3 being told from Abby’s perspective.Season 1 set the expectation for television viewers that this was a show about Joel and Ellie. Season 2 haphazardly shifted that focus to a story about Ellie, Dina and their quest for revenge against Abby. All signs point to Season 3 being told from Abby’s perspective as she rescues defecting Seraphites Lev and Yara three days before murdering Jesse and holding Ellie and Tommyat gunpoint. While I cannot stress enough that Kaitlyn Dever is doing great work with the material she has been given, what reason do folks have to stick around at this point? Television viewers with no knowledge of the games aren’t going to buy into the show suddenly being told from the perspective of someone that they’ve been given no reason to care about. I am from the outside looking in when it comes to the game, but it doesn’t seem likely that the WLF vs. Seraphites war was engaging enough to watch a second time in TV form, even with Isaac’sexpanded involvement in the series. Is there enough interest in seeing Ellie and Abby’s anticlimactic ending to keep viewers already in the know around?It’s All a CompetitionGames as a medium have plenty of hurdles, but they have the benefit of fewer releases than television by a remarkable margin and, whether the audience loves or hates a game, it’s already bought and paid for. The Last of Us Part II may be plenty controversialbut a key factor in any television show’s success is giving the audience a reason to return episode after episode. The story format's constantly shifting perspective is a tremendous hurdle in and of itself. Add in The Last of Us’ wildly short seasons, long hiatuses, and Season 2’s lackluster story, and you’ve got yourself one hell of a pickle when it comes to getting fans back for Season 3. The rest of The Last of Us Part II’s arc is one focused on forgiveness and how being hellbent on revenge tears everything apart. Sometimes the journey on the way to an already well-known ending is worth it for the ride! But given that The Last of Us Season 2 featured exactly one compelling episode focused on a flashback with its now long-dead protagonist, is that journey worth it? The cast sure is doing their damndest to ensure that’s the case, but will that be enough for the audience?Season 2’s penultimate episode may have been great, and Neil Druckmann has confirmed that we’ll have more Joel flashbacks to come, but it’s just not a bandaid to the show’s problem. No amount of strong performances or stellar production value can fix a failure to adapt your story to a new medium. Joel ain’t coming back to life and there’s no putting Abby’s reveal back in the proverbial bag. The Season 2 finale was lackluster at best, the rest of the season wasn’t much better, and knowing where the story heads next forces me to wonder if The Last of Us’ best days are behind it. It’s a dog eat dog world in the land of TV, and people’s time is a zero-sum game. With such high competition and waning interest from viewers, maybe it’s just time to take the show to look at a pretty lake while it rides out its last moments before losing itself to the infection…
    #did #big #death #last #season
    Did The Big Death In Last of Us Season 2 Ultimately Deliver A Killing Blow To the Series As A Whole?
    Streaming Wars is a weekly opinion column by IGN’s Streaming Editor, Amelia Emberwing. Check out the last entry No, Netflix Isn't Saving HollywoodThis column contains spoilers for Season 2 of The Last of Us on HBO Max as well as The Last of Us Part II game. When Joel was brutally killed in the second episode of HBO’s The Last of Us Season 2, it confirmed what many fans of the games expected was coming. But as the season progressed after that point, Joel’s death came and went without any significance. Replacing it was, for me, a certainty: what was a controversial decision for the The Last of Us game franchise would prove to be a killing blow for the television series.Now, I realize that an adaptation fundamentally deviating from its source material can be polarizing in and of itself, but the HBO series simply did not need to kill Joel to successfully tell its story.First and foremost, I think it’s important to note that there’s a reason that this column is being written at the end of the season rather than immediately after Joel’sdeath in Episode 2. I did want to be wrong, for whatever that sentiment might be worth. I dutifully watched the rest of the season, hoping that the show’s writers would find a way to reset their story and carry on their narrative in any kind of meaningful way. But, despite the best efforts of Bella Ramsey and newcomers Isabela Merced, Kaitlyn Dever and Young Mazino, there’s little to be done when your blockbuster show’s first season was fully reliant on a relationship that no longer exists. The show’s audience — which is made up of plenty of folks who have never played the games — signed up for a series that no longer exists. The Last Of Us Series Messes With Canon, But the Wrong PartsThe Last of Us has implemented a series of story elements that deviate from the game, and vary in impact, but have broadly served the medium shift. Billand Frank’sSeason 1 episode wasn’t just the best of the series, it was one of the best episodes of television that year, it hasn’t mattered at all that Dever’s Abby isn’t jacked the way she is in the game, Season 1 had tendrils instead of spores, Stalkers play more of a role in the series than they did during gameplay, etc.But the Big Joel Death Scene™ features both 1:1 scenes and major canon divergence, and the core problem with the majority of Season 2 is that the series stayed loyal where it shouldn’t have and diverted where it should have remained true to story. In killing Joel and revealing Abby’s motives from the start, The Last of Us series removed any reason for the audience to return in Season 3.In the game, players stuck around when it came time to play Abby because they needed to know why the hell she did what she did. By the time that information is revealed, Abby had become interesting enough for people to keep playing. In the series, since Abby’s motivations were revealed pretty much in the series premiere, all viewers have to look forward to now is wondering who’s going to shoot who or who is going to forgive who first. And, with respect to what I know is a long adored franchise, I’m forced to ask why should the television audience care?The series either needed to keep Joel alive, choosing to have Abby beat him within an inch of his life and have Ellie believe that he was dead before leaving Jackson on her revenge tour, or leave Abby’s motives a mystery. Joel may have been the inciting incident that made the forgiveness meaningful in the game, but let’s not pretend it’s the only way to get to the desired end result. This series has wildly talented writers attached. It can be done. Meanwhile, while the mystery of Abby’s motivations wouldn’t have been enough to keep me around personally, I can see why it would appeal to a broader television audience. Now though, we’re all stuck in an impending future of no catharsis.Not One, Not Two, But Three Shows in OneEllie spent much of this season insisting she’s not like Abby despite her rising body count and similar obsession. This will remain a throughline for the upcoming seasoneven though Ellie will continue to make rash decisions on her quest for revenge. All of this will come after Ellie’s current pickle, as we left her with Abby’s gun pointed squarely at her face. Season 2’s odd “cliffhanger” is another 1:1 pull from the game, as this is the moment where you shift from playing Ellie to playing Abby. This means that we can likely expect the central focus of the series to shift yet again, giving us not one show, not two shows, but a surprise third show. The thing about these focus and perspective shifts is that they totally could have worked if they had billed The Last of Us as an anthology series with the overall wrap-aroundbeing the apocalypse they’re all sharing. But because this was presented as a traditional prestige series, there are rules and expectations as to how the story is meant to play out. Storytelling rules are made to be broken, but Season 2 does not inspire any faith that the rest of The Last of Us series will succeed in doing so.Television has always played with the death of the mentor. It’s a trope that often offers more meaning than most, forcing the protagonist to finally take said mentor’s lessons to heart or otherwise reckon with the devastation of their loss. The difference here is that there is typically a broader ensemble to rely on to avoid shaking up the core of the series. We get a little bit of that from Season 2 in Merced’s Dina and Manzino’s Jesse, but they aren’t meaningfully established before the core relationship of the series is destroyed. By introducing them later — and then giving us little reason to care about them until after that still — the foundation of the series remains fractured in a way that seems beyond repair. But that fracture was always avoidable.All signs point to Season 3 being told from Abby’s perspective.Season 1 set the expectation for television viewers that this was a show about Joel and Ellie. Season 2 haphazardly shifted that focus to a story about Ellie, Dina and their quest for revenge against Abby. All signs point to Season 3 being told from Abby’s perspective as she rescues defecting Seraphites Lev and Yara three days before murdering Jesse and holding Ellie and Tommyat gunpoint. While I cannot stress enough that Kaitlyn Dever is doing great work with the material she has been given, what reason do folks have to stick around at this point? Television viewers with no knowledge of the games aren’t going to buy into the show suddenly being told from the perspective of someone that they’ve been given no reason to care about. I am from the outside looking in when it comes to the game, but it doesn’t seem likely that the WLF vs. Seraphites war was engaging enough to watch a second time in TV form, even with Isaac’sexpanded involvement in the series. Is there enough interest in seeing Ellie and Abby’s anticlimactic ending to keep viewers already in the know around?It’s All a CompetitionGames as a medium have plenty of hurdles, but they have the benefit of fewer releases than television by a remarkable margin and, whether the audience loves or hates a game, it’s already bought and paid for. The Last of Us Part II may be plenty controversialbut a key factor in any television show’s success is giving the audience a reason to return episode after episode. The story format's constantly shifting perspective is a tremendous hurdle in and of itself. Add in The Last of Us’ wildly short seasons, long hiatuses, and Season 2’s lackluster story, and you’ve got yourself one hell of a pickle when it comes to getting fans back for Season 3. The rest of The Last of Us Part II’s arc is one focused on forgiveness and how being hellbent on revenge tears everything apart. Sometimes the journey on the way to an already well-known ending is worth it for the ride! But given that The Last of Us Season 2 featured exactly one compelling episode focused on a flashback with its now long-dead protagonist, is that journey worth it? The cast sure is doing their damndest to ensure that’s the case, but will that be enough for the audience?Season 2’s penultimate episode may have been great, and Neil Druckmann has confirmed that we’ll have more Joel flashbacks to come, but it’s just not a bandaid to the show’s problem. No amount of strong performances or stellar production value can fix a failure to adapt your story to a new medium. Joel ain’t coming back to life and there’s no putting Abby’s reveal back in the proverbial bag. The Season 2 finale was lackluster at best, the rest of the season wasn’t much better, and knowing where the story heads next forces me to wonder if The Last of Us’ best days are behind it. It’s a dog eat dog world in the land of TV, and people’s time is a zero-sum game. With such high competition and waning interest from viewers, maybe it’s just time to take the show to look at a pretty lake while it rides out its last moments before losing itself to the infection… #did #big #death #last #season
    WWW.IGN.COM
    Did The Big Death In Last of Us Season 2 Ultimately Deliver A Killing Blow To the Series As A Whole?
    Streaming Wars is a weekly opinion column by IGN’s Streaming Editor, Amelia Emberwing. Check out the last entry No, Netflix Isn't Saving Hollywood (But It Isn't Killing It, Either)This column contains spoilers for Season 2 of The Last of Us on HBO Max as well as The Last of Us Part II game. When Joel was brutally killed in the second episode of HBO’s The Last of Us Season 2, it confirmed what many fans of the games expected was coming. But as the season progressed after that point, Joel’s death came and went without any significance. Replacing it was, for me, a certainty: what was a controversial decision for the The Last of Us game franchise would prove to be a killing blow for the television series.Now, I realize that an adaptation fundamentally deviating from its source material can be polarizing in and of itself, but the HBO series simply did not need to kill Joel to successfully tell its story.First and foremost, I think it’s important to note that there’s a reason that this column is being written at the end of the season rather than immediately after Joel’s (Pedro Pascal) death in Episode 2. I did want to be wrong, for whatever that sentiment might be worth. I dutifully watched the rest of the season, hoping that the show’s writers would find a way to reset their story and carry on their narrative in any kind of meaningful way. But, despite the best efforts of Bella Ramsey and newcomers Isabela Merced, Kaitlyn Dever and Young Mazino, there’s little to be done when your blockbuster show’s first season was fully reliant on a relationship that no longer exists. The show’s audience — which is made up of plenty of folks who have never played the games — signed up for a series that no longer exists. The Last Of Us Series Messes With Canon, But the Wrong PartsThe Last of Us has implemented a series of story elements that deviate from the game, and vary in impact, but have broadly served the medium shift. Bill (Nick Offerman) and Frank’s (Murray Bartlet) Season 1 episode wasn’t just the best of the series, it was one of the best episodes of television that year, it hasn’t mattered at all that Dever’s Abby isn’t jacked the way she is in the game, Season 1 had tendrils instead of spores, Stalkers play more of a role in the series than they did during gameplay, etc.But the Big Joel Death Scene™ features both 1:1 scenes and major canon divergence, and the core problem with the majority of Season 2 is that the series stayed loyal where it shouldn’t have and diverted where it should have remained true to story. In killing Joel and revealing Abby’s motives from the start, The Last of Us series removed any reason for the audience to return in Season 3.In the game, players stuck around when it came time to play Abby because they needed to know why the hell she did what she did. By the time that information is revealed, Abby had become interesting enough for people to keep playing. In the series, since Abby’s motivations were revealed pretty much in the series premiere, all viewers have to look forward to now is wondering who’s going to shoot who or who is going to forgive who first. And, with respect to what I know is a long adored franchise, I’m forced to ask why should the television audience care?The series either needed to keep Joel alive, choosing to have Abby beat him within an inch of his life and have Ellie believe that he was dead before leaving Jackson on her revenge tour, or leave Abby’s motives a mystery. Joel may have been the inciting incident that made the forgiveness meaningful in the game, but let’s not pretend it’s the only way to get to the desired end result. This series has wildly talented writers attached. It can be done. Meanwhile, while the mystery of Abby’s motivations wouldn’t have been enough to keep me around personally, I can see why it would appeal to a broader television audience. Now though, we’re all stuck in an impending future of no catharsis.Not One, Not Two, But Three Shows in One [Derogatory]Ellie spent much of this season insisting she’s not like Abby despite her rising body count and similar obsession. This will remain a throughline for the upcoming season (or seasons, if co-creator Craig Mazin has his way) even though Ellie will continue to make rash decisions on her quest for revenge. All of this will come after Ellie’s current pickle, as we left her with Abby’s gun pointed squarely at her face. Season 2’s odd “cliffhanger” is another 1:1 pull from the game, as this is the moment where you shift from playing Ellie to playing Abby. This means that we can likely expect the central focus of the series to shift yet again, giving us not one show, not two shows, but a surprise third show. The thing about these focus and perspective shifts is that they totally could have worked if they had billed The Last of Us as an anthology series with the overall wrap-around (the narrative treatment surrounding the individual stories that ties everything together) being the apocalypse they’re all sharing. But because this was presented as a traditional prestige series, there are rules and expectations as to how the story is meant to play out. Storytelling rules are made to be broken, but Season 2 does not inspire any faith that the rest of The Last of Us series will succeed in doing so.Television has always played with the death of the mentor. It’s a trope that often offers more meaning than most, forcing the protagonist to finally take said mentor’s lessons to heart or otherwise reckon with the devastation of their loss. The difference here is that there is typically a broader ensemble to rely on to avoid shaking up the core of the series. We get a little bit of that from Season 2 in Merced’s Dina and Manzino’s Jesse, but they aren’t meaningfully established before the core relationship of the series is destroyed. By introducing them later — and then giving us little reason to care about them until after that still — the foundation of the series remains fractured in a way that seems beyond repair. But that fracture was always avoidable.All signs point to Season 3 being told from Abby’s perspective.Season 1 set the expectation for television viewers that this was a show about Joel and Ellie. Season 2 haphazardly shifted that focus to a story about Ellie, Dina and their quest for revenge against Abby. All signs point to Season 3 being told from Abby’s perspective as she rescues defecting Seraphites Lev and Yara three days before murdering Jesse and holding Ellie and Tommy (Gabriel Luna) at gunpoint. While I cannot stress enough that Kaitlyn Dever is doing great work with the material she has been given, what reason do folks have to stick around at this point? Television viewers with no knowledge of the games aren’t going to buy into the show suddenly being told from the perspective of someone that they’ve been given no reason to care about. I am from the outside looking in when it comes to the game, but it doesn’t seem likely that the WLF vs. Seraphites war was engaging enough to watch a second time in TV form, even with Isaac’s (Jeffrey Wright) expanded involvement in the series. Is there enough interest in seeing Ellie and Abby’s anticlimactic ending to keep viewers already in the know around?It’s All a CompetitionGames as a medium have plenty of hurdles, but they have the benefit of fewer releases than television by a remarkable margin and, whether the audience loves or hates a game, it’s already bought and paid for. The Last of Us Part II may be plenty controversial (all of the best art is!) but a key factor in any television show’s success is giving the audience a reason to return episode after episode. The story format's constantly shifting perspective is a tremendous hurdle in and of itself. Add in The Last of Us’ wildly short seasons, long hiatuses, and Season 2’s lackluster story, and you’ve got yourself one hell of a pickle when it comes to getting fans back for Season 3. The rest of The Last of Us Part II’s arc is one focused on forgiveness and how being hellbent on revenge tears everything apart. Sometimes the journey on the way to an already well-known ending is worth it for the ride (looking at you, Andor)! But given that The Last of Us Season 2 featured exactly one compelling episode focused on a flashback with its now long-dead protagonist, is that journey worth it? The cast sure is doing their damndest to ensure that’s the case, but will that be enough for the audience?Season 2’s penultimate episode may have been great, and Neil Druckmann has confirmed that we’ll have more Joel flashbacks to come, but it’s just not a bandaid to the show’s problem. No amount of strong performances or stellar production value can fix a failure to adapt your story to a new medium. Joel ain’t coming back to life and there’s no putting Abby’s reveal back in the proverbial bag. The Season 2 finale was lackluster at best, the rest of the season wasn’t much better, and knowing where the story heads next forces me to wonder if The Last of Us’ best days are behind it. It’s a dog eat dog world in the land of TV, and people’s time is a zero-sum game. With such high competition and waning interest from viewers, maybe it’s just time to take the show to look at a pretty lake while it rides out its last moments before losing itself to the infection…
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  • Mickey 17, Fountain of Youth, Wolfs, and every movie new to streaming this weekend

    Each week on Polygon, we round up the most notable new releases to streaming and VOD, highlighting the biggest and best new movies for you to watch at home.

    This week, Mickey 17, the science fiction comedy from Oscar-winning Parasite writer-director Bong Joon Ho, starring Robert Pattinson as an expendable clone, gets copied onto HBO Max following its March theatrical debut. Netflix has a full slate of releases, with the Academy Award-winning Brazilian drama I’m Still Here and Fear Street: Prom Queen, the fourth horror flick in the franchise based on the R.L. Stein books. Guy Ritchie fans can check out his adventure film Fountain of Youth on Apple TV Plus, and you can rent Wolfs to watch George Clooney and Brad Pitt team up again.

    Here’s everything new that’s available to watch this weekend.

    New on Netflix

    Air Force Elite: Thunderbirds

    Genre: DocumentaryRun time: 1h 31mDirector: Matt Wilcox

    The documentary takes viewers inside the cockpit of the U.S. Air Force’s demonstration squadron, which has been touring the country since 1953 to perform feats of aerial acrobatics and family-friendly military propaganda. The Netflix original, produced by Barack and Michelle Obama, features interviews with the daredevil pilots, explaining how they train to show off the capabilities of the F-16 Fighting Falcon fighter jets with complex synchronized maneuvers.

    Fear Street: Prom Queen

    Genre: HorrorRun time: 1h 30mDirector: Matt PalmerCast: India Fowler, Suzanna Son, Fina Strazza

    There’s just two days to go until senior prom 1988, and the most popular girls at Shadyside High are fighting over the title of prom queen. But the race gets shaken up as candidates start disappearing. Expect a lot of gory kills. Matt Palmerco-writes and directs the slasher film, which is the fourth in a series based on R.L. Stein’s Fear Street books.

    I’m Still Here

    Genre: Political dramaRun time: 2h 15m Director: Walter SallesCast: Fernanda Torres, Selton Mello, Fernanda Montenegro

    As a military dictatorship takes over Brazil, congressman and father of five Rubens Paivais arrested and disappears. His wife, Eunicespends decades searching for answers and justice. I’m Still Here won the Oscar for Best International Feature Film, and Torres won a Golden Globe and an Academy Award nomination for her performance.

    New on Apple TV Plus

    Fountain of Youth

    Genre: Action adventureRun time: 2h 5mDirector: Guy RitchieCast: John Krasinski, Natalie Portman, Stanley Tucci

    Guy Ritchie puts his spin on Indiana Jones in this Apple original, where estranged siblings Lukeand Charlotte Purduego on a globe-trotting adventure to chase the legendary source of eternal life. The film was shot on location in London, Cairo, Vienna, and Bangkok, and is packed with chase scenes, gunfights, and puzzles.

    From our review:

    If Fountain of Youth kept up the simple fun of its first few scenes, it could have been a solid tribute to the adventure genre. But James Vanderbilt and Guy Ritchie’s attempt to find some profound meaning in the search for lost treasure never really works, because their characters are too thin to make their emotional catharsis meaningful.

    New on Hulu

    The Last Showgirl

    Genre: DramaRun time: 1h 25mDirector: Gia CoppolaCast: Pamela Anderson, Jamie Lee Curtis, Dave Bautista

    After three decades of donning a sparkly costume and feathered crown to perform in Le Razzle Dazzle on the Las Vegas strip, Shelly Gardnerlearns the show will be closing in two weeks, pushing her to reassess her life and try to figure out her future. Anderson was nominated for a Golden Globe for her role in the melancholy film.

    New on HBO Max

    Mickey 17

    Genre: Science fictionRun time: 2h 17mDirector: Bong Joon HoCast: Robert Pattinson, Naomie Ackie, Mark Ruffalo

    Desperate to get off Earth, Mickey Barnesvolunteers to become an expendable, a crew member who is cloned over and over again to assist with space exploration in the latest science fiction film/vicious critique of capitalism from Oscar-winner Bong Joon Ho. Mark Ruffalo plays the buffoonish leader of a planned colony, whose ambitions come into conflict with the creatures living on the frozen planet.

    New on Shudder

    The Surrender

    Genre: HorrorRun time: 1h 35mDirector: Julia MaxCast: Colby Minifie, Kate Burton, Chelsea Alden

    The Surrender starts as a family drama with Meganreturning home to help her mother Barbaracare for her terminally ill father and deal with the issues that drove them apart. But when Robertfinally dies, Barbara plans a resurrection ritual instead of a funeral, and the horror really begins.

    New to digital

    The Legend of Ochi

    Genre: Fantasy adventureRun time: 1h 36mDirector: Isaiah SaxonCast: Helena Zengel, Finn Wolfhard, Emily Watson, Willem Dafoe

    A24’s family-friendly movie used complex puppetry to bring its titular adorable monkey-like creature to life. Set in a remote area of the Carpathian mountains, the film follows lonely 12-year-old Dasha, who goes on a quest to return a baby ochi to its family, defying her father Maxim, who thinks the mythological creatures are vicious beasts that should be hunted down.

    The Trouble with Jessica

    Genre: Dark comedyRun time: 1h 29mDirector: Matt WinnCast: Shirley Henderson, Alan Tudyk, Rufus Sewell

    Cash-strapped Sarahand Tomare having one last dinner party for their old friends before selling their London home, but one of those friends, Jessicaalmost ruins everything when she hangs herself in the garden. Two couples band together to try to cover up the death and avoid spooking the buyer as things get increasingly out of hand.

    Until Dawn

    Genre: HorrorRun time: 1h 43mDirector: David F. SandbergCast: Ella Rubin, Michael Cimino, Odessa A’zion

    A teen investigating her sister’s disappearance leads a group of her friends to a mysterious mansion in an abandoned mining town, and they get stuck in a time loop where they’re brutally murdered in a different way each night. Reminiscent of The Cabin in the Woods, David F. Sandberg’s love letter to the horror genrebuilds tension as the group puzzles together how to survive the night. The film is only available for digital purchase as of May 23, with no date set yet for digital rental.

    From our review:

    There’s way too much going on in Until Dawn. Director David F. Sandberg tried to make a faithful-ish adaptation of the popular 2015 video game, a Groundhog Day-style repeating-day movie, a comedy, a drama with something to say about trauma, and a love letter to every horror subgenre ever, all at the same time. But the byproduct of all this ambition is a movie that never quite finds an identity, and winds up feeling more generic than inspired.

    Wolfs

    Genre: Action comedyRun time: 1h 48mDirector: Jon WattsCast: Brad Pitt, George Clooney, Amy Ryan

    Spider-Man: No Way Home director Jon Watts reunites George Clooney and Brad Pitt as a pair of lone-wolf fixers who both get called in to dispose of the same body. But when the job gets messier than expected, they’re forced to grudgingly work together to survive the night.
    #mickey #fountain #youth #wolfs #every
    Mickey 17, Fountain of Youth, Wolfs, and every movie new to streaming this weekend
    Each week on Polygon, we round up the most notable new releases to streaming and VOD, highlighting the biggest and best new movies for you to watch at home. This week, Mickey 17, the science fiction comedy from Oscar-winning Parasite writer-director Bong Joon Ho, starring Robert Pattinson as an expendable clone, gets copied onto HBO Max following its March theatrical debut. Netflix has a full slate of releases, with the Academy Award-winning Brazilian drama I’m Still Here and Fear Street: Prom Queen, the fourth horror flick in the franchise based on the R.L. Stein books. Guy Ritchie fans can check out his adventure film Fountain of Youth on Apple TV Plus, and you can rent Wolfs to watch George Clooney and Brad Pitt team up again. Here’s everything new that’s available to watch this weekend. New on Netflix Air Force Elite: Thunderbirds Genre: DocumentaryRun time: 1h 31mDirector: Matt Wilcox The documentary takes viewers inside the cockpit of the U.S. Air Force’s demonstration squadron, which has been touring the country since 1953 to perform feats of aerial acrobatics and family-friendly military propaganda. The Netflix original, produced by Barack and Michelle Obama, features interviews with the daredevil pilots, explaining how they train to show off the capabilities of the F-16 Fighting Falcon fighter jets with complex synchronized maneuvers. Fear Street: Prom Queen Genre: HorrorRun time: 1h 30mDirector: Matt PalmerCast: India Fowler, Suzanna Son, Fina Strazza There’s just two days to go until senior prom 1988, and the most popular girls at Shadyside High are fighting over the title of prom queen. But the race gets shaken up as candidates start disappearing. Expect a lot of gory kills. Matt Palmerco-writes and directs the slasher film, which is the fourth in a series based on R.L. Stein’s Fear Street books. I’m Still Here Genre: Political dramaRun time: 2h 15m Director: Walter SallesCast: Fernanda Torres, Selton Mello, Fernanda Montenegro As a military dictatorship takes over Brazil, congressman and father of five Rubens Paivais arrested and disappears. His wife, Eunicespends decades searching for answers and justice. I’m Still Here won the Oscar for Best International Feature Film, and Torres won a Golden Globe and an Academy Award nomination for her performance. New on Apple TV Plus Fountain of Youth Genre: Action adventureRun time: 2h 5mDirector: Guy RitchieCast: John Krasinski, Natalie Portman, Stanley Tucci Guy Ritchie puts his spin on Indiana Jones in this Apple original, where estranged siblings Lukeand Charlotte Purduego on a globe-trotting adventure to chase the legendary source of eternal life. The film was shot on location in London, Cairo, Vienna, and Bangkok, and is packed with chase scenes, gunfights, and puzzles. From our review: If Fountain of Youth kept up the simple fun of its first few scenes, it could have been a solid tribute to the adventure genre. But James Vanderbilt and Guy Ritchie’s attempt to find some profound meaning in the search for lost treasure never really works, because their characters are too thin to make their emotional catharsis meaningful. New on Hulu The Last Showgirl Genre: DramaRun time: 1h 25mDirector: Gia CoppolaCast: Pamela Anderson, Jamie Lee Curtis, Dave Bautista After three decades of donning a sparkly costume and feathered crown to perform in Le Razzle Dazzle on the Las Vegas strip, Shelly Gardnerlearns the show will be closing in two weeks, pushing her to reassess her life and try to figure out her future. Anderson was nominated for a Golden Globe for her role in the melancholy film. New on HBO Max Mickey 17 Genre: Science fictionRun time: 2h 17mDirector: Bong Joon HoCast: Robert Pattinson, Naomie Ackie, Mark Ruffalo Desperate to get off Earth, Mickey Barnesvolunteers to become an expendable, a crew member who is cloned over and over again to assist with space exploration in the latest science fiction film/vicious critique of capitalism from Oscar-winner Bong Joon Ho. Mark Ruffalo plays the buffoonish leader of a planned colony, whose ambitions come into conflict with the creatures living on the frozen planet. New on Shudder The Surrender Genre: HorrorRun time: 1h 35mDirector: Julia MaxCast: Colby Minifie, Kate Burton, Chelsea Alden The Surrender starts as a family drama with Meganreturning home to help her mother Barbaracare for her terminally ill father and deal with the issues that drove them apart. But when Robertfinally dies, Barbara plans a resurrection ritual instead of a funeral, and the horror really begins. New to digital The Legend of Ochi Genre: Fantasy adventureRun time: 1h 36mDirector: Isaiah SaxonCast: Helena Zengel, Finn Wolfhard, Emily Watson, Willem Dafoe A24’s family-friendly movie used complex puppetry to bring its titular adorable monkey-like creature to life. Set in a remote area of the Carpathian mountains, the film follows lonely 12-year-old Dasha, who goes on a quest to return a baby ochi to its family, defying her father Maxim, who thinks the mythological creatures are vicious beasts that should be hunted down. The Trouble with Jessica Genre: Dark comedyRun time: 1h 29mDirector: Matt WinnCast: Shirley Henderson, Alan Tudyk, Rufus Sewell Cash-strapped Sarahand Tomare having one last dinner party for their old friends before selling their London home, but one of those friends, Jessicaalmost ruins everything when she hangs herself in the garden. Two couples band together to try to cover up the death and avoid spooking the buyer as things get increasingly out of hand. Until Dawn Genre: HorrorRun time: 1h 43mDirector: David F. SandbergCast: Ella Rubin, Michael Cimino, Odessa A’zion A teen investigating her sister’s disappearance leads a group of her friends to a mysterious mansion in an abandoned mining town, and they get stuck in a time loop where they’re brutally murdered in a different way each night. Reminiscent of The Cabin in the Woods, David F. Sandberg’s love letter to the horror genrebuilds tension as the group puzzles together how to survive the night. The film is only available for digital purchase as of May 23, with no date set yet for digital rental. From our review: There’s way too much going on in Until Dawn. Director David F. Sandberg tried to make a faithful-ish adaptation of the popular 2015 video game, a Groundhog Day-style repeating-day movie, a comedy, a drama with something to say about trauma, and a love letter to every horror subgenre ever, all at the same time. But the byproduct of all this ambition is a movie that never quite finds an identity, and winds up feeling more generic than inspired. Wolfs Genre: Action comedyRun time: 1h 48mDirector: Jon WattsCast: Brad Pitt, George Clooney, Amy Ryan Spider-Man: No Way Home director Jon Watts reunites George Clooney and Brad Pitt as a pair of lone-wolf fixers who both get called in to dispose of the same body. But when the job gets messier than expected, they’re forced to grudgingly work together to survive the night. #mickey #fountain #youth #wolfs #every
    WWW.POLYGON.COM
    Mickey 17, Fountain of Youth, Wolfs, and every movie new to streaming this weekend
    Each week on Polygon, we round up the most notable new releases to streaming and VOD, highlighting the biggest and best new movies for you to watch at home. This week, Mickey 17, the science fiction comedy from Oscar-winning Parasite writer-director Bong Joon Ho, starring Robert Pattinson as an expendable clone, gets copied onto HBO Max following its March theatrical debut. Netflix has a full slate of releases, with the Academy Award-winning Brazilian drama I’m Still Here and Fear Street: Prom Queen, the fourth horror flick in the franchise based on the R.L. Stein books. Guy Ritchie fans can check out his adventure film Fountain of Youth on Apple TV Plus, and you can rent Wolfs to watch George Clooney and Brad Pitt team up again. Here’s everything new that’s available to watch this weekend. New on Netflix Air Force Elite: Thunderbirds Genre: DocumentaryRun time: 1h 31mDirector: Matt Wilcox The documentary takes viewers inside the cockpit of the U.S. Air Force’s demonstration squadron, which has been touring the country since 1953 to perform feats of aerial acrobatics and family-friendly military propaganda. The Netflix original, produced by Barack and Michelle Obama, features interviews with the daredevil pilots, explaining how they train to show off the capabilities of the F-16 Fighting Falcon fighter jets with complex synchronized maneuvers. Fear Street: Prom Queen Genre: HorrorRun time: 1h 30mDirector: Matt PalmerCast: India Fowler, Suzanna Son, Fina Strazza There’s just two days to go until senior prom 1988, and the most popular girls at Shadyside High are fighting over the title of prom queen. But the race gets shaken up as candidates start disappearing. Expect a lot of gory kills. Matt Palmer (Calibre) co-writes and directs the slasher film, which is the fourth in a series based on R.L. Stein’s Fear Street books. I’m Still Here Genre: Political dramaRun time: 2h 15m Director: Walter SallesCast: Fernanda Torres, Selton Mello, Fernanda Montenegro As a military dictatorship takes over Brazil, congressman and father of five Rubens Paiva (Selton Mello) is arrested and disappears. His wife, Eunice (Fernanda Torres) spends decades searching for answers and justice. I’m Still Here won the Oscar for Best International Feature Film, and Torres won a Golden Globe and an Academy Award nomination for her performance. New on Apple TV Plus Fountain of Youth Genre: Action adventureRun time: 2h 5mDirector: Guy RitchieCast: John Krasinski, Natalie Portman, Stanley Tucci Guy Ritchie puts his spin on Indiana Jones in this Apple original, where estranged siblings Luke (John Krasinski) and Charlotte Purdue (Natalie Portman) go on a globe-trotting adventure to chase the legendary source of eternal life. The film was shot on location in London, Cairo, Vienna, and Bangkok, and is packed with chase scenes, gunfights, and puzzles. From our review: If Fountain of Youth kept up the simple fun of its first few scenes, it could have been a solid tribute to the adventure genre. But James Vanderbilt and Guy Ritchie’s attempt to find some profound meaning in the search for lost treasure never really works, because their characters are too thin to make their emotional catharsis meaningful. New on Hulu The Last Showgirl Genre: DramaRun time: 1h 25mDirector: Gia CoppolaCast: Pamela Anderson, Jamie Lee Curtis, Dave Bautista After three decades of donning a sparkly costume and feathered crown to perform in Le Razzle Dazzle on the Las Vegas strip, Shelly Gardner (Pamela Anderson) learns the show will be closing in two weeks, pushing her to reassess her life and try to figure out her future. Anderson was nominated for a Golden Globe for her role in the melancholy film. New on HBO Max Mickey 17 Genre: Science fictionRun time: 2h 17mDirector: Bong Joon HoCast: Robert Pattinson, Naomie Ackie, Mark Ruffalo Desperate to get off Earth, Mickey Barnes (Robert Pattinson) volunteers to become an expendable, a crew member who is cloned over and over again to assist with space exploration in the latest science fiction film/vicious critique of capitalism from Oscar-winner Bong Joon Ho. Mark Ruffalo plays the buffoonish leader of a planned colony, whose ambitions come into conflict with the creatures living on the frozen planet. New on Shudder The Surrender Genre: HorrorRun time: 1h 35mDirector: Julia MaxCast: Colby Minifie, Kate Burton, Chelsea Alden The Surrender starts as a family drama with Megan (Colby Minifie of The Boys) returning home to help her mother Barbara (Kate Burton) care for her terminally ill father and deal with the issues that drove them apart. But when Robert (Vaughn Armstrong) finally dies, Barbara plans a resurrection ritual instead of a funeral, and the horror really begins. New to digital The Legend of Ochi Genre: Fantasy adventureRun time: 1h 36mDirector: Isaiah SaxonCast: Helena Zengel, Finn Wolfhard, Emily Watson, Willem Dafoe A24’s family-friendly movie used complex puppetry to bring its titular adorable monkey-like creature to life. Set in a remote area of the Carpathian mountains, the film follows lonely 12-year-old Dasha (Emily Watson), who goes on a quest to return a baby ochi to its family, defying her father Maxim (Willem Dafoe), who thinks the mythological creatures are vicious beasts that should be hunted down. The Trouble with Jessica Genre: Dark comedyRun time: 1h 29mDirector: Matt WinnCast: Shirley Henderson, Alan Tudyk, Rufus Sewell Cash-strapped Sarah (Shirley Henderson) and Tom (Alan Tudyk) are having one last dinner party for their old friends before selling their London home, but one of those friends, Jessica (Indira Varma) almost ruins everything when she hangs herself in the garden. Two couples band together to try to cover up the death and avoid spooking the buyer as things get increasingly out of hand. Until Dawn Genre: HorrorRun time: 1h 43mDirector: David F. SandbergCast: Ella Rubin, Michael Cimino, Odessa A’zion A teen investigating her sister’s disappearance leads a group of her friends to a mysterious mansion in an abandoned mining town, and they get stuck in a time loop where they’re brutally murdered in a different way each night. Reminiscent of The Cabin in the Woods, David F. Sandberg’s love letter to the horror genre (and only very lose adaptation of the 2015 video game Until Dawn) builds tension as the group puzzles together how to survive the night. The film is only available for digital purchase as of May 23, with no date set yet for digital rental. From our review: There’s way too much going on in Until Dawn. Director David F. Sandberg tried to make a faithful-ish adaptation of the popular 2015 video game, a Groundhog Day-style repeating-day movie, a comedy, a drama with something to say about trauma, and a love letter to every horror subgenre ever, all at the same time. But the byproduct of all this ambition is a movie that never quite finds an identity, and winds up feeling more generic than inspired. Wolfs Genre: Action comedyRun time: 1h 48mDirector: Jon WattsCast: Brad Pitt, George Clooney, Amy Ryan Spider-Man: No Way Home director Jon Watts reunites George Clooney and Brad Pitt as a pair of lone-wolf fixers who both get called in to dispose of the same body. But when the job gets messier than expected, they’re forced to grudgingly work together to survive the night.
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  • Photographer Who Scales Buildings to Get the Perfect Shot Arrested at Opening Night of His First Solo Exhibition

    Photographer Who Scales Buildings to Get the Perfect Shot Arrested at Opening Night of His First Solo Exhibition
    Isaac Wright was detained for climbing the Empire State Building’s spire in 2024. The photo he took during the climb was on display at the show in New York City

    Lillian Ali

    - Staff Contributor

    May 21, 2025 2:01 p.m.

    And When We Die It Will Feel Like This , one of Wright's photographs on display at the exhibition
    Drift / Robert Mann Gallery

    At the opening for his first solo gallery exhibition, photographer Isaac Wright was speaking with the crowd when a woman tapped him on his shoulder. She revealed that she was a plainclothes officer and told him he was under arrest.
    “I really thought it was a joke,” Wright, who is known as Drift, tells the New York Times’
    The incident occurred just after 8 p.m. on May 15, the opening of Wright’s show, titled “Coming Home,” at the Robert Mann Gallery in New York City. After the plainclothes officer informed him of his arrest, uniformed officers entered the exhibition and led Wright to the back of a squad car.
    Wright’s lawyer, Priya Chaudhry, tells the Cincinnati Enquirer’s Cameron Knight that the artist has been charged with misdemeanor criminal trespassing. The charges are linked to a photograph on display at the exhibition, which Wright shot after climbing to the top of the spire of the Empire State Building in 2024.
    “Ansel Adams probably trespassed in his day to get a great photo; plenty of photographers did,” gallery owner Robert Mann, who has exhibited works by renowned photographers including Adams and William Eggleston, tells the Times. “But in all my years, I have never seen an artist taken out of an opening in cuffs.”Urban explorer Vitaliy Raskolov expressed a similar disbelief to Now Media’s Matt Medved, saying that over 16 years of scaling buildings and photographing his escapades, he had “never seen anything like this before.”
    Wright began climbing buildings in 2018 to cope with post-traumatic stress disorder resulting from his years of service in the Army. When he was stationed with a battalion in Louisiana, he started acting as an “ad hoc chaplain, filling in as needs dictated,” as the Cincinnati Enquirer reported in 2022.
    “Part of my job was helping our soldiers reintegrate into life at home after deployment,” Wright told the publication. “Without a chaplain in the unit, many soldiers came to me for counseling and to talk about their struggles with suicide.”
    At the end of his service, he was diagnosed with PTSD and depression. He decided to take up photography, and he found solace in the hobby. One day, he took the stairs to the roof of a skyscraper in Texas to get a more interesting shot.
    “just ended up sitting there for two or three hours, all by myself, taking in the view,” he tells the Times. “And this wave of catharsis and peace came over me. I was so present and alive, and I remember thinking, ‘Oh my God, I don’t know what this is, but I have to keep doing it.’”
    The recent gallery opening wasn’t the first time Wright’s art has led to encounters with police. In late 2020, the artist, who is from Ohio, sneaked onto the rooftop of the Great American Tower, the tallest building in Cincinnati.Weeks later, police shut down an interstate to arrest him in Arizona. They had been told that he was a veteran with specialized military training and PTSD, and that he might be armed. “Five to ten officers approached my vehicle with handguns and assault rifles pointed at me,” he told the Cincinnati Enquirer
    After a judge set his bond at Wright spent months in jail. He ultimately accepted a plea deal, agreeing to pay in restitution and enroll in a treatment program.
    At that time, the artist had around 13,000 followers on Instagram. Today, he has about 225,000. Wright regularly posts and sells photos taken from the tall buildings he scales. In 2022, he donated from his art sales to the Bail Project, which helps low-income Americans pay bail.
    Wright was released last week and is scheduled to return to court on June 4. The artist explains that this encounter with the law has been less harrowing than his previous arrests.
    “I had always been treated as some sort of dangerous weapon for what I do, even though I had never hurt anyone,” he tells the Times. “This time, the cops were very respectful. In the cop car, they even told me they liked the art.”
    “Coming Home” is on view at the Robert Mann Gallery in New York City through June 28, 2025.

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    Photographer Who Scales Buildings to Get the Perfect Shot Arrested at Opening Night of His First Solo Exhibition
    Photographer Who Scales Buildings to Get the Perfect Shot Arrested at Opening Night of His First Solo Exhibition Isaac Wright was detained for climbing the Empire State Building’s spire in 2024. The photo he took during the climb was on display at the show in New York City Lillian Ali - Staff Contributor May 21, 2025 2:01 p.m. And When We Die It Will Feel Like This , one of Wright's photographs on display at the exhibition Drift / Robert Mann Gallery At the opening for his first solo gallery exhibition, photographer Isaac Wright was speaking with the crowd when a woman tapped him on his shoulder. She revealed that she was a plainclothes officer and told him he was under arrest. “I really thought it was a joke,” Wright, who is known as Drift, tells the New York Times’ The incident occurred just after 8 p.m. on May 15, the opening of Wright’s show, titled “Coming Home,” at the Robert Mann Gallery in New York City. After the plainclothes officer informed him of his arrest, uniformed officers entered the exhibition and led Wright to the back of a squad car. Wright’s lawyer, Priya Chaudhry, tells the Cincinnati Enquirer’s Cameron Knight that the artist has been charged with misdemeanor criminal trespassing. The charges are linked to a photograph on display at the exhibition, which Wright shot after climbing to the top of the spire of the Empire State Building in 2024. “Ansel Adams probably trespassed in his day to get a great photo; plenty of photographers did,” gallery owner Robert Mann, who has exhibited works by renowned photographers including Adams and William Eggleston, tells the Times. “But in all my years, I have never seen an artist taken out of an opening in cuffs.”Urban explorer Vitaliy Raskolov expressed a similar disbelief to Now Media’s Matt Medved, saying that over 16 years of scaling buildings and photographing his escapades, he had “never seen anything like this before.” Wright began climbing buildings in 2018 to cope with post-traumatic stress disorder resulting from his years of service in the Army. When he was stationed with a battalion in Louisiana, he started acting as an “ad hoc chaplain, filling in as needs dictated,” as the Cincinnati Enquirer reported in 2022. “Part of my job was helping our soldiers reintegrate into life at home after deployment,” Wright told the publication. “Without a chaplain in the unit, many soldiers came to me for counseling and to talk about their struggles with suicide.” At the end of his service, he was diagnosed with PTSD and depression. He decided to take up photography, and he found solace in the hobby. One day, he took the stairs to the roof of a skyscraper in Texas to get a more interesting shot. “just ended up sitting there for two or three hours, all by myself, taking in the view,” he tells the Times. “And this wave of catharsis and peace came over me. I was so present and alive, and I remember thinking, ‘Oh my God, I don’t know what this is, but I have to keep doing it.’” The recent gallery opening wasn’t the first time Wright’s art has led to encounters with police. In late 2020, the artist, who is from Ohio, sneaked onto the rooftop of the Great American Tower, the tallest building in Cincinnati.Weeks later, police shut down an interstate to arrest him in Arizona. They had been told that he was a veteran with specialized military training and PTSD, and that he might be armed. “Five to ten officers approached my vehicle with handguns and assault rifles pointed at me,” he told the Cincinnati Enquirer After a judge set his bond at Wright spent months in jail. He ultimately accepted a plea deal, agreeing to pay in restitution and enroll in a treatment program. At that time, the artist had around 13,000 followers on Instagram. Today, he has about 225,000. Wright regularly posts and sells photos taken from the tall buildings he scales. In 2022, he donated from his art sales to the Bail Project, which helps low-income Americans pay bail. Wright was released last week and is scheduled to return to court on June 4. The artist explains that this encounter with the law has been less harrowing than his previous arrests. “I had always been treated as some sort of dangerous weapon for what I do, even though I had never hurt anyone,” he tells the Times. “This time, the cops were very respectful. In the cop car, they even told me they liked the art.” “Coming Home” is on view at the Robert Mann Gallery in New York City through June 28, 2025. Get the latest stories in your inbox every weekday. #photographer #who #scales #buildings #get
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    Photographer Who Scales Buildings to Get the Perfect Shot Arrested at Opening Night of His First Solo Exhibition
    Photographer Who Scales Buildings to Get the Perfect Shot Arrested at Opening Night of His First Solo Exhibition Isaac Wright was detained for climbing the Empire State Building’s spire in 2024. The photo he took during the climb was on display at the show in New York City Lillian Ali - Staff Contributor May 21, 2025 2:01 p.m. And When We Die It Will Feel Like This (2023), one of Wright's photographs on display at the exhibition Drift / Robert Mann Gallery At the opening for his first solo gallery exhibition, photographer Isaac Wright was speaking with the crowd when a woman tapped him on his shoulder. She revealed that she was a plainclothes officer and told him he was under arrest. “I really thought it was a joke,” Wright, who is known as Drift, tells the New York Times’ The incident occurred just after 8 p.m. on May 15, the opening of Wright’s show, titled “Coming Home,” at the Robert Mann Gallery in New York City. After the plainclothes officer informed him of his arrest, uniformed officers entered the exhibition and led Wright to the back of a squad car. Wright’s lawyer, Priya Chaudhry, tells the Cincinnati Enquirer’s Cameron Knight that the artist has been charged with misdemeanor criminal trespassing. The charges are linked to a photograph on display at the exhibition, which Wright shot after climbing to the top of the spire of the Empire State Building in 2024. “Ansel Adams probably trespassed in his day to get a great photo; plenty of photographers did,” gallery owner Robert Mann, who has exhibited works by renowned photographers including Adams and William Eggleston, tells the Times. “But in all my years, I have never seen an artist taken out of an opening in cuffs.”Urban explorer Vitaliy Raskolov expressed a similar disbelief to Now Media’s Matt Medved, saying that over 16 years of scaling buildings and photographing his escapades, he had “never seen anything like this before.” Wright began climbing buildings in 2018 to cope with post-traumatic stress disorder resulting from his years of service in the Army. When he was stationed with a battalion in Louisiana, he started acting as an “ad hoc chaplain, filling in as needs dictated,” as the Cincinnati Enquirer reported in 2022. “Part of my job was helping our soldiers reintegrate into life at home after deployment,” Wright told the publication. “Without a chaplain in the unit, many soldiers came to me for counseling and to talk about their struggles with suicide.” At the end of his service, he was diagnosed with PTSD and depression. He decided to take up photography, and he found solace in the hobby. One day, he took the stairs to the roof of a skyscraper in Texas to get a more interesting shot. “[I] just ended up sitting there for two or three hours, all by myself, taking in the view,” he tells the Times. “And this wave of catharsis and peace came over me. I was so present and alive, and I remember thinking, ‘Oh my God, I don’t know what this is, but I have to keep doing it.’” The recent gallery opening wasn’t the first time Wright’s art has led to encounters with police. In late 2020, the artist, who is from Ohio, sneaked onto the rooftop of the Great American Tower, the tallest building in Cincinnati.Weeks later, police shut down an interstate to arrest him in Arizona. They had been told that he was a veteran with specialized military training and PTSD, and that he might be armed. “Five to ten officers approached my vehicle with handguns and assault rifles pointed at me,” he told the Cincinnati Enquirer After a judge set his bond at $400,000, Wright spent months in jail. He ultimately accepted a plea deal, agreeing to pay $5,500 in restitution and enroll in a treatment program. At that time, the artist had around 13,000 followers on Instagram. Today, he has about 225,000. Wright regularly posts and sells photos taken from the tall buildings he scales. In 2022, he donated $500,000 from his art sales to the Bail Project, which helps low-income Americans pay bail. Wright was released last week and is scheduled to return to court on June 4. The artist explains that this encounter with the law has been less harrowing than his previous arrests. “I had always been treated as some sort of dangerous weapon for what I do, even though I had never hurt anyone,” he tells the Times. “This time, the cops were very respectful. In the cop car, they even told me they liked the art.” “Coming Home” is on view at the Robert Mann Gallery in New York City through June 28, 2025. Get the latest stories in your inbox every weekday.
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