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greisekinderschar · 4 months

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Alright, guys, it’s been more than six months but it is time for a Radskier meta essay on why their storyline isn’t as badly written as many people say. (Includes spoilers)

Is it rushed? Yes. It’s a side-story of a side character and actually Jaskier’s first side-story on the show. Is it cliché? Yes. When I first watched the season I was terrified about where their story would be going, knowing what happened in the book and knowing how mainstream media treats queer storylines. (I did not know about Joey’s deep involvement in the writing until later.) But once I knew how it all ended, I was entirely sold. Of course, that’s a question of taste, Radovid just turned out to incorporate so many tropes I am obsessed with, but I am trying to say that compared to the overall writing of the show, their story is not particularly badly written, which blew me away considering it’s a queer storyline in a mainstream medieval fantasy show.

Yes, they gave Jaskier a queer story for the sake of having a queer story. That was another reason I was very anxious about it. But what they (read: Joey, and let’s be honest, Hugh too) made of it is so exciting to me.

Here’s the thing about them ageing up Radovid and making him Vizimir’s brother. I have seen people complaining that they could’ve introduced an OC instead of changing source material like that. But to me, the fact they chose Radovid makes it so much more than a queer storyline for the sake of having a queer storyline. He’s the prince and later the king of Redania. He is entangled in the greater scheme of things. He is /on/ the same chessboard as the main characters. Turning him into Vizimir’s brother rather than son is way less forced than introducing an OC to be Jaskier’s love interest. Because he is more than Jaskier’s love interest. He is the King of Redania, played by Dijkstra and Philippa. Also, he cannot be killed off.

As I already said because it’s obvious, their story is rushed. That’s just the fate of side stories in TV shows (that are not masterfully written, lbr). But to me at least it is amazing how much they managed to convey in these few scenes.

You have Jaskier’s role as a spy for the Redanian Intelligence. That begins his own side story where he has a role of his own, that has nothing to do with Geralt. He meets this guy who actually appreciates his music and openly flirts with him, showing that he is desirable, something new to the character of the comic relief (although he is the romancer but you know, we never saw it on screen, also this time he is being romanced). He is suspicious, because he knows the Intelligence is not to be trusted, and the Prince of Redania is kind of the enemy. But he is also Jaskier, and his interest is caught. Besides this interest, Radovid’s suggestion to bring Ciri to supposed safety is right up Jaskier’s alley, because he is one to rather avoid battles if possible. He ponders on whether it is a possibility.

Later, he uses this vague connection to Radovid to have some agency of his own. He negotiates with him about Rience without discussing it with Geralt. He’s following his own plan, checking out the possibilities. He’s like alright, this guy at least pretends to be into me, let’s see if I can put that to good use to help Geralt. He sweeps Radovid off his feet with his ballad, and then Radovid says things that blow Jaskier away. He speaks of his talents, of determination to get to know more about him, of how Geralt should be grateful for his loyalty and friendship. Jaskier, the comic relief, has never heard this before. He’s Weak and he’s Wanting™️. But he still knows that he is Jaskier, easily fooled by romance, and that there are great things at stake. At the same time, Geralt is also treating him with more respect to make the decisions harder on him. But Radovid stays on his mind, he doesn’t know what to make of it and discusses it with Vespula, and she knows. She sees what’s going on.

Then, Radovid shows up while he is looking after Ciri. He is still suspicious. But Radovid is different from the last time he saw him. He is scared and he is vulnerable, and Jaskier can see that the mask is gone, and that what lies beneath it is not a villain. He is still cautious, until Radovid sings him his own song and he cannot take it any longer. He is giving in, and he struggles still as he does, but he is Jaskier. He’s Weak and he’s Wanting™️.

The next morning, he is not surprised. Of course, stupid Jaskier got himself fooled by some pretty eyes once again. Of course such blatant desire and affection for him could have only been a lie. He never knew romance like this and he does not hesitate to believe it was simply not real.

But then, he finds Radovid surrounded by his dead guards, alone. The people he was supposedly scheming with left him behind, so he was not all that involved, maybe he really was their puppet. He’s scared and he’s full of regret, he��s a helpless prince in the middle of the outbreak of a war, but he’s telling Jaskier to not waste more time on him because he knows he fucked up beyond redemption. But he’s Jaskier. He has endless capacity for forgiveness. And now that their plans had failed and Radovid has no more reason to lure him in, he’s still begging for a second chance. He still wants to be with him. He wants to prove himself to him, even if that means leaving the court behind. Jaskier has other priorities right now and he’s still hurt, but if there is a chance that this affection he never knew before was real, he is taking it.

And Radovid? He’s the spoiled prince brat, underestimated by everyone (just like Jaskier), and he’s riding that wave, because he does not really care about state affairs. He likes Jaskier’s music, and when he sees him he thinks he’s hella fine. He has his fun and at the same time tries to show Philippa he’s capable of more than she thinks, but he was not expecting that Jaskier would blow him away like that. That he would challenge him (the Prince), that he would be honest with him, that he would see through his act and by doing that NOT underestimate him. Radovid is Vibing and he decides to enter Dijkstra’s and Philippa’s game until he realizes he Fucked Up with his arrogance and being a prince is actually worth shit. He knew everything going on in the castle is pretense, but he was not prepared for this level of violence. He is terrified when he meets Jaskier, and Jaskier is good to him. And, again, honest. Unlike anything he had known up to now, the courtly schemes that had only recently culminated to him being scared for his life. He is still a spoiled brat prince and wants to be with Jaskier very badly, so he Fucks Up again. It is that last mistake that makes him understand his faults. But when he sees that Jaskier still does not hate him, he is determined to fix it, and he will do anything. Fuck being a prince, I will leave everything I know behind to show this man that my feelings were true.

Jaskier changes this man’s entire life and Radovid is willing to do everything for him. Yes, the idea to just go off and find him WHEREVER was kind of idiotic, but that’s the beauty of these two. They are both smart and idiotic at the same time, and they let their actions be led mainly by emotions, which sometimes adds up to the idiocy of it all. But Jaskier has more experience, and Radovid learns from him how to be less selfish, he grows as a person through knowing him.

So yes, the love-betrayal-redemption story is hollywood cliché, but it fits the characters and leads to interesting character growth. And honestly, as a queer woman I enjoy seeing some queers having a cliché storyline in a mainstream media piece. Geralt and Yennefer had a similar story. It raises the queer love story to the level of the hetero story. They struggle and they suffer just as much as anyone else, and they have something that connects them, a story that has potential to be continued in an interesting way. They don’t just exist as the obligatory queers, and their storyline isn’t inherently queer either, to a point where it feels like they’re only queer so Jaskier’s love interest can be the gods forsaken King. (At the same time, the story has queer coded themes, like having to pretend to be someone else, but the way it is portrayed, it can be relatable to non-queers as well.) The cliché of it all does not feel more cliché than other storylines on the show (to me). Its not queered cliché, it’s just a story, and I love that.

Also, Joey and Hugh have actual chemistry. And - and no one really argues with that - immense talent that filled these few scenes with so many layers in the first place. We owe it to Hugh that Radovid is not just a romantic interest, but a layered, flawed character (although Hugh attributes it to the writing but he’s too modest).

The last thing I want to say is that I feel we are generally overly critical of queer storylines, which is not a bad thing per se, because we know how many harmful storylines there are, but I struggle to see how this one is harmful in any way. You have to relate them to the straight romances. The straights will just randomly smile at each other and then they will date, but no one complains about it being rushed.

I am obviously not saying everyone has to ship them, I genuinely do not care. I just think it’s unfair to drag their storyline when it is nothing but normal that they didn’t have enough time for an elaborate story, but they (meaning Joey and Hugh) put a lot of work into making it a good one regardless, an effort no one would have put into a straight love story, because they would not have had to.

#this turned out extremely long but cousin i had to get it out of my system #i already wrote a novel length fanfic about radovid but it was not enough #my opinions are my own make of them what you will #radskier #the witcher #the witcher meta #jaskier #radovid #twn #twn s3 spoilers #witcher #s: the witcher #otp: radskier #wiedzmin

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iwillbringyouruin · 10 months

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Radskier dialogue nuances in different languages

So I have been rewatching The Witcher in French recently and some of the changed lines stuck out to me, in the interactions between Radovid and Jaskier in particular. So i figured I'd compile my favourites from the translated versions I've seen so far here and compare their meaning to the original. I've also included some of the German lines since I'm German and I got curious!

Disclaimer: I'm just a guy who speaks a bunch of languages, don't expect overly technical linguistic wizardry here. Also this is not about the voice actors' skill or how well the lines are matched up to lip movements, strictly about the little changes in meaning when you take the translations literally! All meant to be in good fun.

Since this is about the season 3 dialogue, there are spoilers ahead.

This is going to be a long post so buckle up!

Season 3 in general: The way Jaskier and Radovid address one another

English (original): both use "you" which makes sense of course

French: Jaskier uses "vous" (the formal "you") for Radovid and Radovid uses "tu" (the casual "you") for Jaskier until they have sex in episode 4. When they talk the morning after in episode 6, they're both using "tu".

German: both use "Ihr" and the other formal derivatives for one another throughout (Even Geralt and Jaskier address each other formally the whole time. I'm not a fan)

Episode 1: Jaskier and Radovid meet

The dialogue here is generally very close, just two little things between the original and the German version I want to point out.

English (Jaskier): Fuck, I don’t really know what I’m supposed to… Bow? Or curtsy, or… I’ve been holding your hand a long time, so sorry about that.

German (Jaskier): Shit, I don't know if I'm supposed to bow or be polite... I've been holding your hand for too long, forgive me ("bow or be polite"?? HUH?)

English (Radovid): If your time at court’s been staid, you’ve been doing it wrong

German (Radovid): If your time at court has been too calm/quiet, something went wrong ([gay silence])

Episode 2: specifically Extraordinary Things

I've put the different lyrics as rather direct translations in the pictures below. They're also written out in the alt text. The French ones are a little more pointed compared to the original imo, I like that version a lot. I'm not sure how I feel about the German version but the first line did make me giggle.

Episode 3: Jaskier talks to Vespula about Radovid

I love this scene for many reasons. I have two things to point out about this.

The first thing is that while in the English and French version, Jaskier says that he and Radovid have only met twice, in the German version he says that he and Radovid don't even know each other.

The second thing is that in the English and German version, Jaskier calls Radovid a spoon and he does in the French version as well. However, he specifies Radovid is a "little spoon" here. Need I say more?

Episode 4: the scene in the shed

Ah, the scene of all time. Before the other scene of all time in episode 6. A few things about this one. The first thing is a very small change in the French version:

English (Jaskier, after Radovid admits he's scared): Just saying that makes you braver than you know.

French (Jaskier, after Radovid admits he's scared): The fact you're admitting that proves you are brave

The second thing bothered me more because it isn't really a subtle change. Both in English and French, Jaskier says Radovid has "learned [his] song", but in German he says Radovid "knows [his] song". The German line here isn't saying that Radovid "knows" the song as in he knows how to play it (from hearing and watching Jaskier play it for him once, mind you), the way it's said makes it sound like Radovid has just heard the song before.

The third thing is what they're saying right after the kiss. Unfortunately with the slightly changed lines for Jaskier we don't get the clever connection between Jaskier talking about taking Radovid into the cabin and Radovid asking Jaskier to take him (sexually).

English (Jaskier): I can't take you inside, I'm sorry.

English (Radovid): Then take me here.

French (Jaskier): The cabin is occupied, I'm sorry.

French (Radovid): Then take me here.

German (Jaskier): We can't go inside, I'm sorry.

German (Radovid): Then take me here.

Episode 6: the morning after

The German version is the same as the original here.

English (Jaskier to Radovid): I thought I’d seen through your mask. Turns out there was nothing behind it.

French (Jaskier to Radovid): I thought I had lifted the veil from your soul. But I found nothing but darkness beneath that façade

The subtle differences in the French version on the other hand not only make the pain a little different, it also includes an allusion of sorts to that version of Extraordinary Things with Jaskier talking about Radovid's soul. At least that's how I saw it. Ouch!

Episode 7: the moment where Jaskier finds Radovid at Thanedd

All three versions here make me want to cry. That's all.

English (Radovid): Just let me be there with you. Prove that I’m more than a mask.

English (Jaskier): Maybe.

French (Radovid): Just let me stay with you and show you what is beneath this façade.

French (Jaskier): Why not.

German (Radovid): Just let me be with you and show my true self.

German (Jaskier): Maybe.

#radskier #jaskovid #radovid #jaskier #the witcher #the witcher netflix #the witcher meta #twn s3 #the witcher season 3 #i made myself sad

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jaskefer · 11 months

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Obsessed with the idea of Extraordinary Things being a back and forth between Jaskier and Radovid, with Jaskier trying to draw him out in the first verse, and Radovid finally answering him in the second.

Cause like, with Radovid, Jaskier meets someone who he can't fully read properly. He knows there's something under the front of a drunken, bumbling prince, but he doesn't know him well enough yet to be certain as to what.

So, he tests the waters a bit. throws out a line to see if Radovid will take it—and he does. A little bit. But it's so interesting to me, because it doesn't just feel like Jaskier is trying to nail down Radovid's truth in this verse; it feels like he's injecting elements of his own mask into it, as well.

"Keep your words on ice, your gaze lights the fire. They say 'keep on playing nice,' but I have no desire. Why waste our words when lips were made for extraordinary things? It's not a want, it's a need, it is paying no heed to what others say to sing."

This is Jaskier's read of Radovid as he knows him so far: a man hiding more complex wants beneath the veneer of a drunken party boy. But it's also Jaskier admitting that he knows this about Radovid because he wears the exact same mask himself.

Much like how Jaskier and Ciri speak through Geralt and Yennefer in order to process their own feelings about them later in the season, Jaskier sings through himself in order to comprehend who Radovid is. Jaskier is using the performative persona he's crafted for himself in an attempt to coax Radovid out of his.

All of it leads into the main intention of this song: "The greatest songs are made up of unspoken words of love. Of them, I've had enough. with you, I am enough." I am tired of having to put up a front. I want to be understood. I think you understand me. Prove me right.

And Radovid sees what Jaskier is doing. He comments on Jaskier's ability to see people for who they are and not who they pretend to be. But there's still more he wants to understand. This still feels like a game, in a way.

It's only after Radovid sees the brutality of Dijkstra and Philippa up close, watches them orchestrate the assassination of the queen and threaten to incriminate him if he doesn't fall in line, that he then grasps the vulnerability in Jaskier's lyrics. Jaskier is also caught between multiple conflicting desires, that of his loyalty to Geralt/Yen/Ciri, and that of his work as the Sandpiper & how said work is backed by his continued commitment to Redanian Intelligence. That internal conflict and the desire to escape it is also highlighted in the song's first verse ("they say keep on playing nice, but i have no desire"). Only after all of this, when true fear begins to take over and the game stops being fun, does Radovid truly begin to truly understand Jaskier.

And so, he seeks him out. And he responds.

“Drop the sweet disguise, your heart’s beating too loud. The fairytales and little lies can’t drown out all the sound.” You were right. I do understand you. I know what you really want, because we're the same. You can’t hide it behind a façade of a song and a story and a persona.

“Take this heart and break this heart for extraordinary things.” I don't know what will become of this, or us. I still don't fully know if we can trust each other. But no one has ever seen me in the way that you have.

It's not a want, it's a need. With you, I am enough.

#angel.txt #the witcher #jaskier #radovid #radskier #meta & theories #angel.doc #twn spoilers #i never wrote my wpb meta so have some extraordinary things meta instead shdfdfddfd #i truly think that first verse is so complex and multi-layered and can be read in multiple ways (both in-universe and externally)#like this is what i meant by 4d chess like how the FUCK can i explain what jaskier's doing in that first verse #its also little things. the background vocals that pick up in the second verse.#the way the second verse is omitted from the diegetic performance of the song which could imply jaskier hadn’t written it at the time #the way that we hear this song over the credits only after they get together in ep 4 and it's an extended version BUT #the extended version is entirely instrumental after the first half ends which also imply that the second half hasn't yet been written #as a whole i think that a lot of twn songs can be read through both internal and external lenses to enhance their existence in the narrativ #the fact that some of them have different names in-universe as opposed to on the ost. the choices they make in diegetic song placement.#im not very inclined in musical terminology but my brain is going insane over what this show does with its songs and how joey himself write #(and tbh i like to think of the sountrack/ost versions of songs as smth separate or alternate from the ones seen directly In the episodes)#idk. just very much intrigued with the idea of this song as a conversation #the entire song being an illustration of the masks they both wear #the truth that lies beneath them‚ and the way they both try to chip at each other until one of them drops it first.#obsessed with certain choices and going a little too insane about them <3

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hanzajesthanza · 1 year

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the "origin" of the witcher

this year, i set forth for myself a very important goal. i began to seek the original publication of the first, original witcher story.

this was a personal goal as much as it was a "fan" goal, and at first, it originated as an amusing pipe dream, a hopeful "what if," a "if i should be so lucky".

i had become interested in the origins of the witcher through reading interviews with sapkowski, translated and published on r/wiedzmin by gracious fans. these interviews are often from the 1990s or early 2000s (the good ones, anyways), and thus, often reference the very beginning of the witcher. there was one particular interview which struck me, in which sapkowski said this:

"My book witcher is real and original. All adaptations are only more or less successful and have all the corresponding disadvantages of adaptations. There is only one original "Witcher". He is mine and no one will take him away from me." — Interview with Sapkowski in the Polish magazine Polityka

this one original "witcher". yes, of course he is referring to his geralt, the geralt that lives in my heart, but i also thought to myself, the witcher as he as a concept was originally conceived - the first publication. i need to see it. i need to see this publication, in person. if not for me as a fan, for me as a writer, an artist. i need proof that this ever existed." later in the year, i realized this was not only a dream, but a real possibility...

but first, let me introduce the witcher, for those that do not know the story. not the short story "the witcher," but the story of "the witcher"—of its creation.

sapkowski's story

36 years ago, andrzej sapkowski's short story, "witcher", was first published in the december 1986 edition of polish sci-fi and fantasy magazine fantastyka (later renamed nowa fantastyka). sapkowski, at the time, had been working as a tradesman selling leather, fur, and textiles… though he was a fan of fantasy since boyhood, in which he obsessed over arthurian legend, and throughout his life had been an avid reader. during the 1980s, sapkowski lost his job as the national company went bankrupt, and he turned more to his writing, as he had previously written some short stories and had them published in magazines.

at the time, he did not subscribe to fantastyka, and the edition in which the short story contest was announced indeed belonged to his son—his only son, his now late son, krzysztof, who asked him to write and enter the contest. the senior sapkowski's reply? "no problem, i'll write."

fantastyka magazine, as mentioned, encompassed works of both science fiction and fantasy genres. sapkowski wrote "witcher" in hopes of being a standout competitor - assuming that most applicants would write "hard science fiction," he chose to write fantasy. unexpectedly to him, it turned out that the fantasy genre was written by the majority of those who submitted stories!

the witcher, though, was indeed a standout entry. because it dealt with the familiar, but through inverting, changing, subverting, and being original, exciting the reader:

"Geralt of Rivia is the character of my first story, of my literary debut. In my first encounter with the Fantasy and SF readers, my proposition was to do something atypical, completely new. I had to rethink the fairy tales, where some problem with a dragon in a kingdom was solved, the king was disposed to offer to the first one which passed his daughter and half the kingdom for solving it. My vision of Fantasy is almost real. You have to believe that which occurs in the stories, because they are not a fairy tale. No one comes to believe that a king can be so stupid as to give half the kingdom and his daughter (...) I re-wrote the story, since it is not a poor shoemaker who kills the dragon and saves the kingdom, but instead a professional, who works for money. I have turned to construct the fantasy story: it is almost real, you have to feel it, to believe all. It is not the typical fairy tale, all is fucking real." — Interview with Sapkowski at the Feria del Libro (Spain, 2008)

the "lore" of the witcher

this is why a new reader does not need to know anything prior about the witcher in order to grasp the books, because "the witcher" was originally a collection of short stories boasting little world or "lore" to speak of:

for instance, elder speech is not a conlang, it is a deliberate crafting of various european languages together.

"No, I didn't [create a new language for my books, like Tolkien]. (...) I limited myself to only creating a couple sentences, whose entire point was for me to avoid putting a footnote there, because it annoys me beyond belief, when someone writes ''drapatuluk papatuluk'' and underneath the translation says ''close the doors or we'll get flies''. My point was for this made up language to be acceptible for a Pole, who's well read and can see through foreign languages; so it'd be clear without a footnote. Henceforth I decided to construct the language based on languages that Polish people know well: French, English, Latin and German, and just for funsies I threw in some Celtic, so no one cared for specific words, but everybody understood more or less what it meant. I created it as a cocktail language." — Sapkowski on anime, manga, D&D, adaptations, the origins of the Witcher and Elder Speech (2001)

sapkowski never drew a map for publishing—though a map was drawn by czech translator stanislav komárek (and husband of illustrator jana komárková, what a power couple!).

"That's where the biggest problem lies, stemming from the simple fact that I've never had the ambition to create worlds. Never! The world of the Witcher was always an allegory to me. I've never done what's supposed to be a Commandment of every fantasy writer, especially one that writes a longer story or a novel. He starts with the heavy duty of… cartography, meaning he has to draw a MAP. (...) I've never bothered with that and it was on purpose. It came from the fact that my world was supposed to be an allegory and from the fact that I was doing a different take on fairy tales! Themes and problems were more important, these two words, from which I usually built the title and that often appeared in the dialogue, was more important. — Andrzej Sapkowski about accusations of sexism, postmodernism, adaptations and why there is no map - part 2

and as we all know from francesca's wonderful demonstration via apples and a pomegranate, explanations of bloodlines only enter into the fray in the fifth book.

for all intents and purposes, the motto of the witcher's "lore" should be: "the story comes first!"

"And write so that it would be interesting to read. Questions? Answers? Who the fuck needs them! This is a novel, not an instruction to a DVD player. As a writer, as a prose writer, I do not read any sermons to anyone in the church, I do not push speeches in Hyde Park. I'm a storyteller. I tell stories to give readers pleasure, create heroes to arouse sympathy / dislike, situations, to amuse, to laugh, upset, frighten - and, of course, to make them move their brains, to think. But this is a story, it's a farce, not a conversion, not a vocation, not faith." — Interview with Sapkowski "The work of my life is yet to come."

back to getting published

"witcher" placed third in the contest, but its publication was soon followed by fan demand for more stories of the "witcher" variety and universe. it was shortly followed by "road with no return" in 1988, "a grain of truth" in 1989, and "the lesser evil” and "a question of price" in 1990 (and more in the first half of the decade, as well).

soon, sapkowski's name was featured on the very cover of fantastyka to excite readers:

note that there is not one, but THREE exclamation marks on the cover of this edition from september 1990, the one with "a question of price". [unlike the other pictures in this post, this is not my photo]

soon afterwards, sapkowski was able to secure publishing with supernowa—a distinct challenge, because nearly no publisher would "risk" publishing a polish author:

“Finally, in Poland, the moment for a fantasy was absolutely crucial: "SuperNova" published my "Sword of Destiny". This was a real event, because until then there was hardly anyone among the Polish publishers who would have risked doing something like this. Polish fantasy was published by some amateurs, losing money on every edition.” (...) in Western countries, (...) the average fan always chooses a book of the familiar Anglo-Saxon in the bookstore - the exotic name of the author will force him to refrain from buying. Unfortunately, publishers also know about this, therefore, picking up a book from "some Poland" or "some Moldavia" - even a good one - he will think ten times before publishing.” — Andrzej Sapkowski and Stanisław Bereś "History and fantasy" part 2

as that is a whole other loooong story... let's get back to the short story.

the story as it is today

this is all a very abridged version of the story, and i've cut out a lot of the historical context and cultural context surrounding the subject for brevity. i may have mentioned that this came about for me throughout the entire year of 2022 - and it really has been a product of the year. i actually received the copy of fantastyka in september, now four months ago, but for various reasons i decided to keep it between me and friends (if you're a part of the books discord server, you may have seen this already!)

the largest reason is that i want to pay as much respect to this as i possibly can. since september, i've been working on a video to feature the magazine and through its presence, explain the context and history surrounding the witcher as i have done in this post, just with... more history and context. i want to do my research and have more conversations before i record and publish a video like that. and not just some, but more. this isn't something i feel comfortable reading a wikipedia article about and saying, "cool, i think i know the whole story now." especially as an american fan—especially knowing and feeling how the witcher has been treated over these past couple of years. so, expect it, but maybe not soon. though there will likely be other things along the way on my youtube channel :)

my story

for me, this year marks 5 years since i got into the witcher. it was the fall of 2017 when i got interested, and the winter of 2017 when i got serious about it.

the witcher came to me at a really difficult time in my life. my parents separated in the march of 2018. it was not a peaceful separation. the last spring break i had in high school ended with a restraining order and the changing of the locks on our door.

so imagine the solace i felt being able to point to an actually healthy father-daughter relationship with a middle-aged father and a teenage girl. one such as this:

‘Where to now?’ asked Geralt, looking at the column of smoke, a smudged streak discolouring the sky glowing pink in the dawn. ‘Who do you still have to pay back, Ciri?’ She glanced at him and he immediately regretted his question. He suddenly desired to hug her, dreamed of embracing her, cuddling her, stroking her hair. Protecting her. Never allowing her to be alone again. To encounter evil. To encounter anything that would make her desire revenge. — Lady of the Lake, Ch. 11

or of an alcoholic, acknowledging and owning up to his past of violence:

‘Each time I became more savage,’ the vampire continued. ‘And as time went on I was getting worse. (...) Disappointment and grief, as you know, is a great alibi. I was looking for justification for my behavior, and it was the perfect excuse. Everyone seemed to understand. Even I thought I understood. And I matched the theory to practice.’ — Baptism of Fire, Ch. 7

and intentionally pursuing sobreity in the present:

‘I beg your forgiveness, gentlemen,’ the alchemist said. ‘I do not drink. My health is no longer what is was, so I had to give up… many pleasures.’ ‘Not even a sip?’ ‘It is a matter of principle.’ Regis said quietly. ‘I never violate the principles I set for myself.’ — Baptism of Fire, Ch. 3

‘I do not touch blood. Not at all and never.’ — Baptism of Fire, Ch. 7

later, when i had begun to recover my senses from shock, i felt rage. i felt a need for revenge, a sick hatred and vile indignation for what had happened. i thought there must be something wrong with me, to have such a reaction. but i then realized how natural, though dangerous, it was:

‘(...) I know what I have to do. I’m a witcher!’ ‘You're an unstable young person!’ he exploded. ‘You're a child who's been through traumatic experiences; a damaged child, on the verge of a nervous breakdown. And more than that, you're sick with a craving for revenge! Blinded by a lust for retribution! Do you not understand that?’ ‘I understand it better then you!’ she yelled. ‘Because you have no idea what it means to be hurt! You have no idea of revenge, for no one has ever truly wronged you!’ — Tower of the Swallow, Ch. 10

but lastly, i learned that the tragedies of my past do not bind me to a tragic fate:

They rode straight into the setting sun. Leaving behind them the darkening valley. Behind them was the lake, the enchanted lake, the blue lake as smooth as a polished sapphire. They left behind them the boulders on the lakeside. Thepines on the hillsides. That was all behind them. And before them was everything. — Lady of the Lake, Ch. 12

to be clear, i'm not sharing my story for pity. like as triss says when recounting the battle of sodden, "And then I saw what they had done to me, and I started to howl, howl like a beaten dog, like a battered child—Leave me alone! Don’t worry, I’m not going to cry. I’m not a little girl from a tiny tower in Maribor anymore," (Blood of Elves, Ch. 3) ...

i'm sharing this story because i think it's relevant to understanding the witcher. the witcher is about a realistic view of fairytales and the fantasy genre, a view that is often dark and showcases all the sorrow and violence in the world, but a view that really centers the people of the world, their relationships, their motivations, and what makes them fight to keep living. it's about family, friendship, laughter at the end of the world... and one doesn't need to experience a personal trauma to understand these very human, very instrinsic experiences. one also does not need extensive research to be able to jump into the witcher.

fantastyka and me

even if i'm not prepared at the moment to publish an extensive historical research and analysis on this subject, i just wanted to make this post today to remind all witcher fans what the witcher really is, where it really came from, what it all really means.

reading through this copy of fantastyka, what really struck me is the community of it—there is an entire personals section for finding copies of fantasy books, there are opinion polls, critical essays, and an entire novel published in three installments across monthly editions. this must not have been just a magazine, but a lifeline for sci-fi and fantasy fans at that time. i see so many parallels between the sci-fi and fantasy fans of these pages and my experience as a witcher fan in the community. this is a piece of history, "the witcher" is a piece of history, and i am honored to not only know of it, but to have seen it, touched it, and proven to myself that yes, this is all real. "all is fucking real."

now, for my favorite picture of myself:

and as expressed by the editors of the december 1986 edition of fantastyka...

i wish you a fantastic christmas and new year... this time, new year 2023 ;)

[this post has also been posted on reddit]

#the witcher books #the witcher #wiedźmin #witcher #the witcher meta #geralt of rivia #geralt #analysis #excerpt #andrzej sapkowski #fantastyka #personal #the witcher netflix #twn #blood origin

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abeautifulblog · 10 months

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Thoughts on the Radovid romance

A couple people have asked about the Radovid/Jaskier relationship, and I thought it was... fine? As fine as anything in this show gets?

I wasn't expecting it to dethrone Geralt/Jaskier, because 20+ years of Jaskier building his life and legacy around Geralt is a lot more compelling than Some Twink He Met Yesterday, but I did go into it with a genuinely open mind. Everyone on tumblr was gushing over their chemistry, and I was like, Yea I'd believe it, given that this is Joey Batey we're talking about. So I was expecting to enjoy it the way I'd enjoyed the Yennskier content in S2, the rare treat of two characters having a real emotional connection.

And then I watched it, and it wasn't bad, but the relationship was a lot more disjointed (and their "chemistry" a lot less compelling) than tumblr had led me to believe. (Lol, mea culpa, I should have known better than to take tumblr's word for it.) Also it’s unclear whether it’s supposed to be a cute romance, or whether it’s two people using each other for their own ends?

But it did brush up against some interesting thoughts I'd had before about Jaskier and his patrons, and got me to thinking about consent and power dynamics again, because I am THEE MOST predictable little beastie in fandom. 🤣

First off, I'm not sure what we're supposed to make of Radovid. Obviously he's ~hiding his true self~ in some way, but I can't tell if we're meant to take at face value the side of himself he shows Jaskier -- that he's more intelligent than he's been letting on, and is actually deeply lonely in the empty-headed partyboy role he's been playing, desperate for genuine connection and for someone to truly see him for who he is -- or whether that is yet more deception, and this is all part of some big ambitious scheme that he'll whip out in a mustache-twirling villain reveal. There are elements that make me think it's the latter, but Hugh Skinner's acting is also just weird (and why are his eyes so wet o_o), and I can't tell whether that's supposed to be deliberate foreshadowing, or if, once again, the people making the show are just clueless about how their creative choices are coming off.

(I assume this will get answered at some point, possibly already has in part 2, but I haven't watched that yet.)

Honestly, the part that caught my interest the most was when Jaskier showed up at Radovid's salon wanting to talk about new intel he had on Rience, and Radovid was blithely uninterested, just wanted Jaskier to sing for them -- and then proceeded to casually, completely disregard Jaskier's No.

gremble: Oho? 👀

That's a red flag! 😊 Jaskier tried to set a boundary, and Radovid brushed right past it. And in any competently-executed piece of media, I would expect that to be deliberately signaling something. It doesn't necessarily mean that Radovid is evil -- could just mean he's a crown prince who doesn't have much experience with people telling him No -- but seeing him blithely override Jaskier's wishes in a low-stakes situation sets a bad precedent, and foreshadows how he might behave later, when the stakes might well be higher.

...Except that this production team is so HILARIOUSLY bad at writing healthy relationships -- for three seasons they've been feeding us the most toxic slop imaginable and telling us that's what love looks like -- that I have no idea whether that was on purpose or not. 😂😂😂

The Radovid storyline does touch on some concepts that I've long found fascinating, about Jaskier's system of patronage and how he trades on his sexuality. How his work is canonically sex work, or at least sex-work adjacent (that's made explicit when he talks about the Countess de Stael, that they were involved sexually while she was supporting him financially), and the balancing act of keeping his patrons happy when they are always, always going to be second in his affections to Geralt -- and how they probably wouldn't be too happy to learn that.

Because for all that S3 tells us Jaskier is developing a crush on Radovid, Joey Batey's acting says something very different. He did not come off as a man in love, to me -- he came off as someone who's acutely aware that when the crown prince of Redania rolls up and tells you he's your biggest fan, you fucking smile for him.

(Why yes, Moulin Rouge is my all-time favorite movie, why do you ask? 🤣)

Jaskier's interactions with Radovid feel very... 'calculated' isn't quite the word for it, but Jaskier is conscious of the power differentials there, and always carefully choosing what he does and says in light of what he knows Radovid wants from him. He's conscious of having to keep Radovid happy, yes but he's also conscious of what he stands to gain from having a crown prince clamoring to win his affections, and what he could leverage out of that. (Like, say, having the entire Redanian army to protect his little found family.)

And the power imbalance isn't entirely one-directional either. Radovid wants Jaskier's affections, something that can't be bought or coerced, and wants his specifically, which means Jaskier has all the power to give or withhold it... while also being aware that toying with a prince's affections is a dangerous game.

........Or maybe I entirely misread that, and Jaskier's feelings for Radovid are meant to be genuine, and the whole thing was supposed to be a cute little romance. The way that Joey & the production team have talked about that relationship makes it sound like that's what they were going for, but what's onscreen is very ambiguous.

It will surprise no one to learn that I think the more interesting option would be the one that complicates Jaskier’s motives. That even if he likes Radovid well enough, he's still deliberately leveraging Radovid's crush on him to get help for Geralt -- and that if he oversteps, he's risking the wrath of a very powerful man. (And that as the perceived rival, Geralt could wind up as the target of Radovid’s retribution.)

Anyway, it's a fascinating situation, and almost identical to a fic premise I've been tossing around for years. It's never quite coalesced enough to get written, but it does compel me.

(Alternately, if you wanted Radovid to be noble and tragic, @coffee-mage-sans-caffeine suggested a situation in which Radovid and Geralt are in peril together, one of them is not going to make it out of this, and Radovid sacrifices himself so Geralt lives -- because he knows which of them Jaskier loves more.)

#witcher shit #radskier #witcher meta #twn season 3

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kuwdora · 9 months

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The Witcher Netflix - 3x08 Episode Reaction In season 3 of The Witcher Netflix we got our first look inside the Nilfgaardian Empire. I was taken by surprise because sometimes I think the show isn't subtle with certain things. Sometimes showing without telling. Or telling without showing in a way doesn't offer viewers enough information to understand the impact of a creative choice. The glimpses we got of Nilfgaard are, in my opinion, a subtle bit of worldbuilding that doesn't lose its impact without showing too much or telling too little. In the books Nilfgaard's culture and history, its military strategy--it's all pastiche from different historical empires. That is a hallmark of Sapko's style. I'm sure other people have spoken more definitively about that on tumblr and elsewhere. CDPR absorbed a lot of Roman Empire influences from the books for its own take for Nilfgaard. And now we can see TWN's production is also picking up on that as well and going with Eastern Roman Empire (Byzantine) flavor. So let me share a few screenshots from episode 3x08 that caught my eye. This is a mini-commentary with some thoughts, not a deep analysis. We had this establishing shot of a Nilfgaardian city (which I'm presuming to be the capital). This looks like Constantinople to me.

A modern day photo of Constantinople ruins for comparison:

Next we have Emhyr with several men dressed in what comes off as very Eastern Orthodox-inspired vestments, right down to the monastic headwear (mitre, I think?). I'll leave more the in depth TWN and costume critical takedown to perseruna. But those hats definitely kept screaming Eastern Orthodoxy at me and making me circle back to Eastern Roman Empire.

And finally we have this scene of Francesca and Fringilla in the church. In all of my groupchats everyone was losing their mind about their conversation and heartbreak. But I was losing my mind over the fact that they were a) in a Nilfgaardian church or temple and b) this shot was framed in such a way to show us the statue of an ambiguous church figure in the background. Standing in between Fringilla and Francesca, no less.

I can't help but think this might be a statue of the Nilfgaardian Emperor who, in the books, is implied to be a prophet or important figure in the religious sphere.

"...Recently the main topic of preaching has been of a Saviour who will come from the south. From the south! From beyond the Yaruga!” “The White Flame,” muttered Demavend. “White Chill will come to be, and after it the White Light. And then the world will be reborn through the White Flame and the White Queen… I’ve heard it, too. It’s a travesty of the prophecy of Ithlinne aep Aevenien, the elven seeress. I gave orders to catch one cleric who was going on about it in the Vengerberg market place and the torturer asked him politely and at length how much gold the prophet had received from Emhyr for doing it… But the preacher only prattled on about the White Flame and the White Queen… the same thing, to the very end.” -Blood of Elves

(thank you to @akilah12902 for sourcing this quote for me when I was looking for help!) This just reaffirms my thoughts that Fringilla and Francesca are arguing before a statue of Emhyr. A surprising amount of symbolism for this scene and show. Anyway. This was my main takeaway from 3x08. It was nice to be pleasantly surprised by this.

#twn #twn season 3 #witcher meta and thoughts #kuwdora's witcher screaming #not really screaming but i tagged all my other episode reactions under that so here i am i guess #blogdora #textpost

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spacecores · 1 year

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man i'm so sad about the outfits we've seen for yen in s3 because the costuming was one of my favorite things in s1 and it just keeps getting less interesting and special for the main cast in particular :(

#allie.txt #twn critical #jaskier should have his slutty doublets again and yen should have gorgeous outfits #but alas #the costume breakdown post is one of my favorite witcher meta posts so i weep #and ciri's dress looks pretty but where is her Butch Era she deserves :(

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fangirleaconmigo · 1 year

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for 'I can't believe it's canon', what about Jaskier/Dandelion's youthful looks? I know it's common fanon to make him at least part elf or fae or some other type of creature to explain the longevity, but i think in canon he's just like that? Babyfaced?

Hello dear! Ok, so,

Dandelion's looks and longevity/(and potential elven lineage) in the books, now with English and original Polish versions.

Alright, in order to answer this ask, I conferred with the wonderful and helpful @cherrypoison1889, who is Polish and has the books and is willing to indulge my obsessive absurdity.

(In my post about Geralt and Religion, I put out a request for any Polish fan of the books who wouldn't mind me bothering them with silly and ridiculous questions occasionally to get in touch. Cherry was kind enough to dm me.)

Basically, my meta has powered up. XD I now have a partner in crime. I am going to include our conversations about the words used in the original Polish and in the English translation to describe Dandelion.

We are just having very silly fun here, this isn't academic or anything pls my god, if you want academic or authoritative consult a doctor (phd in languages and whatnot). This is just fun, that's all.

Ok, so we know Dandelion looks young for his age.

In The Blood of Elves, which takes place AFTER the first two short story collections, Djikstra says that Dandelion looks like he is in his late twenties, even though he is in his late thirties. Here is what he says.

"...I know you're almost forty, look almost thirty, think you're just over twenty, and act as though you're barely ten."

So he looks a good ten years younger than he is and This is in Blood of Elves, which for TWN fans is around S2.

We also know he is a 'pretty boy'.

Dandelion is called pretty, by the narrative and other characters.

When Angoulême is being interrogated in The Tower of Swallows, and she is asked who Geralt is traveling with, she describes Dandelion like this....

"...a comely fellow called Dandelion, who's a troubadour, and carries a lute."

So she uses the term comely, which in English is typically usually used to describe women. I think that's the first time I've heard that word used to describe an adult man. Here's how Oxford dictionary defines it:

Comely: pleasant to look at; attractive (typically used of a woman).

So to me, this implies a pretty boy and yes the baby face.

I asked Cherry about what the Polish word is, and here is their answer:

Angouleme calls Jaskier "Przystojniak" in Polish, which is colloquial of Handsome Fellow (see also the word Przystojny, which means Handsome). This word is generally used only to describe men, but has been, in the past, also applied to women

So, there is some subtle gender-y stuff going on in that translation, but either way, he is considered good looking.

Then I asked Cherry about whether Dandelion is really often mistaken for an elf. There is a passage in the English translation that suggests that he is, but the wording in English is a bit ambiguous and slightly awkward.

In the process, Cherry and I found that there is a word in that section that changes pretty significantly in translation, suggesting again that he is very pretty.

Dandelion and longevity or elven lineage:

As far as his longevity, there is never at indication that he is part elf except that sometimes he is mistaken for an elf. The English translation implies that this is because of his style, but the original Polish implies it is his pretty face as well.

In Baptism of Fire, Geralt and Dandelion are in a forest, caught in a thunderstorm. They happen near a group of men who are waiting to meet elves and the men call to them:

"Over here, Master Elves!"

Geralt is not surprised by this mistake, as visibility is low, and they are both wrapped in grey elven mantels. Also, apparently, this is a regular occurrence for Dandelion. The book says:

"As far as the foppish Dandelion was concerned, he was regularly mistaken for an elf or a half-elf, particularly since he had begun wearing his hair shoulder-length and taken up the habit of occasionally curling it with tongs."

Ok, so, the English translation uses the phrase 'as far as...Dandelion was concerned', which could mean two different things. It could mean "regarding Dandelion," or "according to Dandelion." So I asked Cherry what it says in Polish.

fangirleaconmigo

So that phrase in english could basically say that dandelion WAS regularly mistaken for an elf

OR OR OR

it could mean that he CLAIMS he is regularly mistaken for an elf

cherrypoison1889

So, in Polish it is that Dandelion is often mistaken for an elf or half-elf.

fangirleaconmigo

ok, so it isn't that he claims it, but that he IS mistaken for an elf.

ok perfect. thank you.

cherrypoison1889

As in, it's other's opinion that he looks like an elf

Then, Cherry asked me about the word foppish, and we realized that the original word in Polish has quite different connotations!

Foppish, in English, generally refers to a man who is "concerned with one's clothes and appearance in an affected and excessive way." (Oxford dictionary)

So, an English speaker sees this word as a commentary on Dandelion's vanity and clothing. But actually the Polish word is different. Here is what Cherry said:

cherrypoison1889

In Polish it's "Gładysz", which means someone with a smooth, unblemished visage (see also the word Gładki, which means smooth)

fangirleaconmigo

the word they translated to foppish?

cherrypoison1889

Yep, that's the word. So, 1 count for Dandy being called a pretty pretty boy <3

fangirleaconmigo

haha that's awesome thank you

cherrypoison1889

So in english, you could say he's described slightly more pejoratively?

fangirleaconmigo

foppish it's less about his attractiveness and more about his own vanity or obsession with appearance.

just stylish and vain basically

you could see that negatively, as interest in appearance is often looked down upon in men, (eta: unfairly of course, in macho cultures, not by me obviously) but not everyone does see it as negative. but yes, it has more potential for negative implications

cherrypoison1889

Just looked it up in a dictionary, apparently Gładysz also means someone who is nice, i.e. kind

So in Polish it's just he's a sweet pretty boy uwu

fangirleaconmigo

ah interesting! so the original word has better implications all around

that's so cute

cherrypoison1889

Baby boy baby

So, there is no conclusive evidence for Dandelion being part elven, other than just the fact that he is mistaken for one. He is a pretty pretty boy who looks young for his age.

But since he looks like an elf, there's a bit of fertile ground to headcanon it. It's not canon but it's a reasonable use or extrapolation of canon! Would he even know if he were like a quarter elf? Who knows? We don't even know where Lettenhove is. Go crazy!

So, TWN accidentally not aging him turned out to be not too 'off canon'. And it is no surprise that he is often head-canoned as part elf.

Actually I think Hexer actually makes him part elf as well. Hell, I make him part elf in most of my fics.

So there's no canon evidence? But it's not an outrageous thing to headcanon or anything.

THANK YOU CHERRY FOR DOING THIS WITH ME. IT'S SO FUN BEING A NERD WITH YOU ABOUT TRANSLATIONS.

#asks #the witcher

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dol--blathanna · 1 year

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I try not to post too much TWN negativity on this blog, because I know plenty of people enjoy the show just fine, and I hate being an asshole and raining on other people’s parades. But, god, the way that the show treats Yennefer - or rather, mistreats her - just upsets me and pisses me off so much.

The book already puts her through the wringer - too much at times, honestly - but the show just takes it to a whole new level. The amount of suffering they put her through that wasn’t present in the books is so frustrating to me. Like adding in random torture scenes that weren’t present (the hysterectomy scene, being tortured by Stregebor), losing her magic powers, constantly being captured in S2, not even having a particularly good court standing - like in S1 when Fringilla mocks her for not helping advance Aedirn at all, and Yennefer doesn’t even have a good comeback to that. It’s as if the show is just obsessed with giving her constant Ls and never really letting her come out on top. Sidenote: I am fine with angst, in fact I enjoy it, and I am fine with a character going through hardships and suffering. You can do a lot of great character, story and theme exploration with angst, and sometimes it’s necessary for a character to suffer to develop that. If I wasn’t fine with angst, I wouldn’t be a fan of the witcher lmao. But when I see a character who already goes through a shit ton of misery in the books get forced into even more suffering in the show that never happened....I start to have a problem.

And then, of course, S2 committed the cardinal sin with that stupid ass Voleth Meir plotline. As if torturing her, having her be captured, making her lose her powers, wasn’t bad enough - they completely character assassinate her by making her almost sacrifice Ciri to a fucking demon. Something that is so bewilderingly OOC for Yennefer, something that never EVER happened in the books. When the show got bored with creating narrative suffering for her, they decided to take it to a meta level by character assassinating her in a really bizarre, stupid way. Because, why was this necessary? I know that they were concerned about the fact Yennefer doesn’t really show up much in Blood of Elves, I understand they wanted to create a plot line for her that got her more involved in the main plot. But - why this???!!! There were 101 different plot lines they could have given her that didn’t involve her trying to sacrifice Ciri to a fucking demon, in the process completely messing up her relationship with Geralt and Ciri!!

And this is the main reason I’m making this post - her relationship with Geralt and Ciri being messed up. I’ve seen a lot of articles recently about S3, all stating that Yennefer essentially has to grovel to Geralt, that he ignores her for potentially a full year, that at the beginning he doesn’t even let her enter the same abode as them - what the fuck!!! It upsets me so much. Because this was the biggest problem with the VM plotline - it completely upends Geralt and Yennefer’s dynamic. In the books, their relationship is way more equal - in fact, it honestly would be accurate to say that Yennefer is the more dominant one in the relationship, not Geralt. The show is now completely turning that on its head, and making Geralt the dominant one - but not personality wise, more in a moral highground type way. Because now, whatever stupid shit Geralt does, or has done in the past - e.g. tell Yennefer she’d be a terrible mother, which he never apologises for - none of that matters!! Because it will never be as bad as Yennefer trying to kill Ciri. Instead of a relationship where they both fuck up and both make mistakes, like in the books, in the show the emphasis will all be on Yennefer. Yennefer is the one fucking up, Yennefer is the one making absurdly stupid mistakes, Yennefer is the one who needs to apologise and grovel and beg for forgiveness.

And this is what I mean by, the show is obsessed with giving her Ls. Not only do they make her suffer, they character assassinate her by forcing her character to do this cartoonishly evil thing, and then punish her for it!! They don’t just take away her powers, her court standing, they even strip her of her own relationships!!! And I ask again - why is this necessary?? Who decided that punishing her like this would be an extremely important plot line, an improvement, over the original source material? Like back when the show was first announced, I sure as shit wasn’t thinking “oh wow a netflix witcher show - I sure do hope they have a plot thread where Geralt refuses to talk to Yennefer, and doesn’t even let her into the same fucking house as him, because she tried to kill Ciri!!” who wanted this??? Who thought this was a good idea??? Honestly, it makes me feel as if someone on the writing team hates Yennefer and wants her to suffer, both in a narrative and meta level. And no, I’m not talking about that infamous Beau deMayo interview - something that caused a huge amount of online drama and should be taken with a big old pinch of salt, especially since the writer who made this claim was responsible for some pretty questionable decisions, namely the whole Treeskel thing. I’m not making a direct accusation here - it’s more a feeling. When I look at TWN, I cannot help but sense a level of contempt and spite towards the character of Yennefer. That doesn’t necessarily mean someone in the writing team genuinely has it out for her, but if that’s the impression that I get from the way they treat her in the show, then something has gone very wrong with the narrative decisions they made for her.

And this is why, not only can I not let myself be excited for S3, it’s why I’m genuinely feeling dread about it. Every time I read interviews about how Geralt and Yennefer have this really rocky start and he’s ignoring her or whatever, my stomach just sinks. And again - why was this decision made? Who thought this was a good idea? And yeah, the TWN team have already said they’re trying to fix the problem with their relationship caused in S2, but a) the way they are going about fixing it only serves to punish Yennefer’s character more and b) it should not have been something to fix in the first place. It’s also why I can’t bring myself to believe that S3 will suddenly be more faithful and better than S2, esp in regards to Yennefer (aside from the fact they’ve made this promise before and failed to deliver). Because the early plot points of a story are extremely important in setting the foundation of your later plot, especially in a series like the witcher. If your foundation is inherently flawed, it doesn’t matter how good your later seasons are; they are built on a faulty base, and will therefore lack a good structure. Case in point with Yennefer. Without going too much into book spoilers, let’s just say she has a really rough time of it post-Time of Contempt in the books. So in the show, either a) they will just put her through even more suffering and leave you thinking “wow did this entire show exist just to punish Yennefer?” or b) they will have to deviate away from the books. Neither of these options are particularly good. (this also is one of my problems with S2 as a whole - they were so desperate to put in all this insane blockbuster action and dramatic plot points, but sometimes in stories you need moments of calm to make later dramatic plot points more hard hitting. In the books, Blood of Elves was the moment of calm before Time of Contempt’s batshit, action packed drama. In the show, you never get that moment of calm. Why should I care about whatever happens in Thanedd if S2 had Ciri get possessed by a fucking demon and go on a killing spree? But anyway.)

And I think the reason why I’m particularly disappointed with the way that the show has treated Yennefer’s character so badly (aside from the numerous promises of “we’re a faithful book adaptation” being complete lies) is that Yennefer is a character who already receives a lot of unfair hate. Obviously there’s the annoying “Team Yen vs Team Triss” thing from the games, but even within the show there were a certain type of fans of a certain ship who hated a lot on Yennefer for daring to get in the way of their ship. Like, I’m so sick of seeing Yennefer getting hate for stupid, unfair reasons - and now even the show is treating her like shit??? Like, give me a break!!

I’m just tired of it. And obviously, if you like TWN and you’re excited for S3, that’s fine. In fact, I’m honestly jealous, I wish I could feel the same. And who knows, maybe the show will improve its treatment of Yennefer, maybe they’ll finally give her some Ws. But that’s what I thought about S2, and was proven VERY wrong. Any confidence, trust or optimism I had left for the show was completely destroyed by the Voleth Meir plotline in S2, and the show will have to work very hard to rebuild that trust for me. And unfortunately, everything I’ve heard about S3 so far is only confirming that they’ll continue to treat her poorly.

#sorry I just had to rant about my feelings after seeing all the interviews about S3 recently #it's just so disappointing #and I don't like being negative about TWN on this blog too much bc I don't like pissing on other people's enjoyment of things #but man. i'm just so sick of how this show treats Yennefer in such a weirdly mean-spirited way #anti twn #anti witcher netflix #twn critique #twn critical #twn negativity #long post #text

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