YMMV / The Witcher

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    Mixed media 
  • Complete Monster: Has its own page here.
  • Darkness-Induced Audience Apathy: Who do you want to root for? A bunch of back-stabbing racists? The evil empire conquering the known world? Mages and sorceresses playing their own game of world domination? Cruel elven supremacists? Or maybe an ignorant hunter, who kills everyone in his way? Oh, and you know from the start how meaningless everything is, since you are informed before the title page of the first book about the incoming ice age.
  • Draco in Leather Pants:
    • Nilfgaard Empire. Nazis By Other Name with a dash of Mongol Invasion. Oppressive totalitarian state where saying the wrong thing gets your head cut off. Slavery. Their armies sadistically slaughter civilians as the statutory war tactic and burn everything to the ground as the long-term economic strategy. They even manipulate the Scoia'tael into fighting with them, promising them freedom and equal rights, only to sell them out as scapegoats the second they cease being useful. All this under the pretense of bringing culture to the conquered lands. Surprisingly, part of the audience goes along with this in-universe propaganda, whitewashing Nilfgaard as the beacon of justice and Realpolitik in this Crapsack World.
    • Northern Kingdoms. A Crapsack World bent on extreme racism toward non-humans, bigotry, envy and exploitation of serfs. Nobles abusing their privileges. Magicians controlling the market and living luxurious lives on the cost of everyone. Both nobles and magic users looking for their own petty profit and nothing else. Not that their nominal rulers are any better or smarter. Common people are a nasty combination of Medieval Morons and Torches and Pitchforks, usually led by some Church Militant priest. Unsurprisingly, because of Sympathetic P.O.V., many people consider Nordlings and their kingdoms as a nice place to stay and a home of freedom and liberty, where everyone (supposedly) is a master of his or her life.
  • Ensemble Darkhorse: Dandelion. He's the ultimate Spoony Bard. As the saga progresses, he becomes the only spot of light, wits and humour in this grim-dark world. In the TV adaptation, he was the only character to be acclaimed by both fans of the saga and regular viewers. His popularity was actively invoked in the tabletop game and he's still there in the video games, gaining even more fans. A rare case when a Non-Action Guy (and more or less The Load) in an action-oriented genre becomes highly popular. Being just a regular guy in the World of Badass helps immensely.
  • Fandom Rivalry: With fans of The Elric Saga due to both them and Michael Moorcock, the author, believing that Geralt of Rivia is a rip-off of Elric. Geralt shares numerous similarities with Elric and was inspired by him (They are both pale, white-haired swordsmen-sorcerers who are known as "The White Wolf" and use a lot of potions), they are in the end different characters, chiefly in that Geralt remains a "witcher", a marginal and liminal figure who moves between classes and is not really a chosen one figure, while Elric is an Emperor who has fallen on hard times and destined to bring about an apocalyptic prophecy.
  • Harsher in Hindsight: The main choice of the game becomes harder (or easier) if you've read 'The Lesser Evil' in The Last Wish.

    Film and TV series 

    Short stories and saga 
  • Ho Yay: While both of them are strictly hetero, Geralt and Dandelion seem to be a little bit to close to each other for being just buddies. At one point, Geralt finds himself unable to kill a doppelganger who took his friend's form, because the sole thought of doing it fills him with disgust. He wouldn't have any problems killing the monster when it took his own form, but Dandelion is in a whole different league. At one point in the short stories, they even have to share a bed at an inn.
  • Money, Dear Boy: After years of constant claiming that he would never return to Witcher, that he considered it his worst creation and practically burning all the bridges, the author is publishing another book, calling the saga his biggest achievement and best idea ever. No wonder if it was the only one successful and is hyped again by video games. To his credit, he openly admits this trope.
    • Hardly the only one successful, his Hussite trilogy is highly regardednote . Since he doesn't publish all that often, that makes Sapkowski an author of a greatly popular fantasy cycle, a somewhat popular Historical Fantasy trilogy, and a passable war-with-fantasy-elements novel.
  • Moral Event Horizon: Leo Bonhart crosses his almost immediately after his first appearance in Tower of the Swallow, when after brutally killing all the Rats except Ciri, he makes her watch her lover Mistle slowly and painfully die, then forces her to watch as he saws their heads off... leaving Mistle for the last.
  • Sequelitis: Depending who you ask, you can get few conflicting answers:

    The first video game 

YMMV tropes for Assassins of Kings go here and YMMV tropes for Wild Hunt go here.

  • Anticlimax Boss: Both the Final Boss (Jacques de Aldersberg) and the True Final Boss (the King of the Wild Hunt) are ridiculously easy to kill, especially in comparison to some of the monsters you had to kill throughout the last two chapters of the game.
  • Complete Monster: Azar Javed and the Reverend, for more infos see here.
  • Early Installment Weirdness:
    • While still a pretty great game, the rookie mistakes of the by then newly funded CD Project are clearly visible in the game's storyline. Many characters are just Expies or Suspiciously Similar Substitutes for book characters (Azar Javed for Vilgefortz, Alvin for Ciri, Triss' characterization resembles Yennefer's etc) and the storyline revisits almost every part of the books, while at the same time, they almost never talk about anything that happened before (because of the lazy Amnesiac Hero excuse). The sequels gradually form their own compelling storyline, create independent characters and resolve old plotlines from the books.
    • A more minor example would be the quest journal and character glossary. In the first game, both are written from Geralt's point of view, and are appropriately factual and dry. The next two games changed it so that Dandelion wrote them based on what Geralt told him some time after the fact. As such, they tend to be laced with his biases and sense of humor.
    • The combat system is a bizarre mixture of classic CRPG combat and a rhythm game, in contrast to the more straightforward action RPG combat of the two sequels.
  • Ending Fatigue: Act V and the Epilogue of the first game are, for the most part, linear sequences of fights. Whilst the plot is advanced decently, the gameplay doesn't exactly have a hub like the previous acts, meaning that for the most part you'll just be running around killing dudes. This quickly gets tedious, boring, and if you haven't levelled up enough or aren't good at combat, frustrating.
  • Game-Breaker: Has its own page.
  • Goddamn Bats: Drowners. They're encountered everywhere during the game, but they were only a threat in the Outskirts in the first chapter.
  • Magnificent Bastard: Due to a last-second reveal of his motivations, just how WELL-PLANNED Jacques' plan to take over Temeria isn't really spelled out. He's funding his Order of Holy Knights with money gained by selling Fisstech on the black market. This allows his Holy Knights to operate without hitting people up for money and get better PR. Then he starts rousing up the nonhumans to riot so he can cause chaos, which is designed to force King Foltest to either hand over power or look weak. In the latter case, his daughter is also cursed to be a Strigga again so Jacques can seize the throne for himself. This is all so he can become King of Temeria and lead its people in a mass exodus South when the White Frost hits so he can save them all.
  • Never Live It Down: The sex cards have cast a shadow on the entire series that it has yet to shake off, even though the sequels omitted them entirely, reduced the number of Optional Sexual Encounters dramatically, and dialed back on the All Women Are Lustful trope. On the bright side, though, through Leaning on the Fourth Wall, CDPR themselves have shown they're willing to joke about it themselves by way of Self-Deprecation.
  • No Problem with Licensed Games: Despite being based on a fantasy series virtually unknown outside of Poland, made by unproven developers, and initially having a shoestring-budget localization job, the first game turned out to be a Sleeper Hit thanks to positive reviews and good word-of-mouth from gamers, paving the way for the rest of the game series.
  • Replacement Scrappy: For people familiar with the books, Alvin is this for Ciri.
  • Scrappy Mechanic: The combat system is generally considered pretty bad, especially compared to the sequels.
  • "Seinfeld" Is Unfunny: It's rather dated compared to its sequels. That said, it was considered good enough to fund said sequels and is still good for what it was supposed to be.
  • That One Boss: The Beast, while it can, if you're lucky, be knocked to the ground with Aard and executed in one blow, it can stuns you for quite a long time while the barghest he summons and it eat through your lifebar, not to mention the fire effects can and will slow your computer to a crawl (though the last one isn't really an issue anymore).
    • Azar Javed is easily the hardest fight in the game. Not only he hits hard, he constantly spams his stuns and Knockbacks where there is no discernible pattern to predict them. There are potions that counter knockback, but God help you if you don't have any potions prior to the fight. And the worst part? You are instantly teleported to his arena after killing his two Elite Mooks (which are relatively easy to deal with), where there is an unusable fireplace in the room where you fight them. Berengar will aid you during the fight if you spare him, but he does little damage and will go down after taking a few hits. Good luck.
  • Woolseyism: The re-released Enhanced Edition of the game. The original version of the dialogue scripts was cut down by 20% through Executive Meddling just to save money on voice acting for a rather risky project due to how niche it was deemed to be. The end result, while workable, sounded pretty awkward. The Enhanced Edition, which came later as both a retail re-release and a free-to-download patch, features a mostly re-recorded script with no cuts applied to the source material to make it sound more natural and make the English version of the game just as complete dialogue-wise as the Polish original was. Here's example of the changes made:
    • Original:
    Geralt: Why do locals persecute nonhumans?
    Dwarf: Humans have always hated dwarves and elves.
    Geralt: I don't understand.
    Dwarf: Then go see that bastard Brogg. I won't discuss it with strangers.
    Geralt: Understandable.

    • Enhanced:
    Geralt: Why do the locals persecute nonhumans?
    Dwarf: Why do pricks go in cunts? It's the natural order of things. Humans have always hated dwarves and elves. Not for me to know why.
    Geralt: I'm not sure I understand.
    Dwarf: Then ponder it on your own. Or discuss it with that maggot Brogg. I don't talk to strangers about these things.
    Geralt: Fine.
    • When Jaskier, Magister and Baranina became Dandelion, Professor and Ramsmeat rather than Buttercup, Schoolteacher and Mutton in the English translation, exactly no-one complained.