The Academic Blog Post 07
Realism, Representations, and Simulation in The Witcher
Figure 1: Realism, Representations, and Simulation in The Witcher
It is with The Witcher series in mind that we have observed the trends of the real and the represented, not to mention the force of simulation in both the video game series and the subsequent Netflix show. In a fairy tale world defiant of magic, monsters, and other mythical creatures, the audience has a realistic representation created by the series. Despite not being a work of non-fiction, The Witcher seems quite realistic as an RPG game whereas it is firmly based on a fan-made fictitious universe. Primarily, the series is replete with complex emotions and moral ambiguities as Geralt of Rivia grapples with significant decisions, romantic relationships and conflicts, and military and political outcomes. This kind of story of character Tajdar Javed identified with characters and dealt with societal issues reflects André Bazin’s theory of realism in media and films which attempts to make people have a realistic environment by depicting real-life situations. For The Witcher, both for the games and show ha guarantee for the audience or player experience that makes them believe that they live in a real and imagined world. Representation and simulation are also crucial to The Witcher series: while the game implies extensive participation in the plot and lets the players make decisions for the character, the latter is heavily present. This element of the simulation enables players enter the world in a realistic and meaningful way. Though the story is written and directed and the main events are spearheaded by the creators, the show is an exploration of a multifaceted existence through realistic sets, accurate costumes, and character development.
Figure 2: Representation and Simulation in The Witcher Netflix Adaptation
These types of representation and simulation, which Bill Nichols mentions, enhance the participatory and observational processes in which the viewer feels the weight of the decision he/she is not making (Cunha, 2023).
References:
CD Projekt Red. (2015). The Witcher 3: Wild Hunt. Official Website. Retrieved from https://olh.openlibhums.org/article/id/4463/
Cunha, N. M. (2023). Narrative architecture and level design: Analysis of The Witcher III: Wild Hunt (2015). Research, Society and Development, 12(4), e4332814398. Retrieved from https://doi.org/10.33448/rsd-v12i4.43328.
Game Rant. (2021). How The Witcher Netflix Series Looks Different From The Games. Retrieved from https://gamerant.com/witcher-netflix-game-characters-different-look-compared/.