The Witcher 3 GOTY Edition

[DalekFlay]

TW1's combat sucked ass, so it doesn't bother me too much they made TW2 and 3 action games.

 

[Storyfag]

The combat in all three of the Witcher games is... a secondary consideration. Still, all the other elements of being a witcher were best handled in TW1, as was the main story.

 

[cvv]

Yep.

I'd LOVE to see CDPR do something commercially super retarded and remake TW1 in the TW3 engine.

 

[Falksi]

The combat in all three of the Witcher games is... a secondary consideration. Still, all the other elements of being a witcher were best handled in TW1, as was the main story.

For me there'd be a really nice middle ground between TW1 & TW2 to be found, muchlike I'd love to see an RPG on the middle ground betweem Dragon Age:Origns & Baldurs Gate 2.

But devs are fuckwits who go in completely the opposite direction.

 

[Storyfag]

The combat in all three of the Witcher games is... a secondary consideration. Still, all the other elements of being a witcher were best handled in TW1, as was the main story.

For me there'd be a really nice middle ground between TW1 & TW2 to be found, muchlike I'd love to see an RPG on the middle ground betweem Dragon Age:Origns & Baldurs Gate 2.

But devs are fuckwits who go in completely the opposite direction.

See here, DA: O is garbage, so no middle ground between it and BG2 is desirable...

 

[Xeon]

I had Witcher 3 since it came out and every time I played until around the Bloody Baron and got kinda bored and quit but finally manged to force myself to play it fully and beat it along with the DLCs.

Was pretty fun overall, I loved the music most of all, I hated the inventory the most. I really wish if they went with listing type or whatever its called instead of icons. It was fine at the start but holy shit later its probably lagged the most in the inventory and vendors screens, I even played with the hair options turned on and it wasn't lagging.

Combat was fun, I don't play that much action based games so I don't know how they compare overall but comparing it to Dragon Age Inquisition it was a lot more fun. I didn't like the level scaling bit of it tho, for example if you are under level and fight an enemy that's 10 levels higher you can be one shotted and do very little damage to it but if your level is closer and you go to it with the same skills and equipment you suddenly receive normal damage and do normal damage, that's just dumb and way too arbitrary or something.

I tried Gwent at first and kinda hated it, since I didn't have a lot of good cards and I challenged the Nilfgaardian Noble in the court area around 9 or 10 times until beating him which was kinda of a hassle so I didn't bother with Gwent until near the end of the main campaign, I tried it again since I kept buying any cards I found from vendors and really enjoyed it then.

Spoiler

I never got Ciri to go to see the emperor, I think I saw Yen saying she'll meet us in the court later so I thought there was no reason to take Ciri now before dealing with the Crones but nope, I dealt with the crones and the general and that was it, Ciri never saw the emperor. Story kept advancing way too fast at that point.

Ending for Blood and Wine was really good and kinda of a bitter sweet. Really wish we could play as Geralt again in the Witcher game but I think I saw a post about this being the end of his saga or something.

Really enjoyed it tho.

 

[Old Hans]

the biggest problem for me with witcher 3 is the disconnect between the cut scenes of the witchers fighting, which is fast and exciting, and then you have the gameplay, which is Geralt slowly fighting 1 monster at a time & you better look out if 3 drowners decide to attack at the same time & not run in circles.

 

[Infinitron]

TW3 producer:

People don’t play games to see sex scenes. There are more efficient ways of seeing that...

This is how you spot the socially incompetent autist. Most people want to see sex MOST OF THE TIMES, and it's never a question of efficiency.

Post src https://www.eurogamer.net/articles/2019-10-15-the-writing-of-witcher-3

The writing of The Witcher 3
"We were worried there wasn't enough content!"

Think back to the first moments of Witcher 3, just after the tutorial section in the witcher keep. Geralt and Vesemir, talking naturally together on the road to Vizima, subtly lay out the backstory, reiterate the mission to find Yennefer and indulge in some playful repartee - the writing feels seamless and uncomplicated, as though it arrived fully formed onto the pages of a performance capture script. According to lead writer Jakub Szamalek, however, it did not.

"I actually checked how many times I edited the dialogue in that scene," he recalls during our interview at Spanish sci-fi festival Celsius232. "I think it was over 120. Sometimes these were minor edits, changing one sentence, but sometimes it was rewriting the whole thing. We did a lot of that: writing something, playing it, tweaking it, scrapping everything then re-doing it. It is just inherent to the process. There are so many moving parts when you're working on a video game, it's unavoidable." It turns out, constructing the narrative behind Witcher 3 - one of the most ambitious and enormous open-world games ever made - was not easy.

Jakub Szamalek. Image credit Celsius232.

Szamalek joined the writing team at CD Projekt Red in May 2012, a few months after pre-production on Witcher 3 had begun. At this point writers Sebastian Stępień, Marcin Blacha and Arkadiusz Borowik had already started to create a master document, a 60-page manual which contained a story synopsis, descriptions of the parts of the Witcher world the story was set to explore as well as background information on the key characters and concepts. The next step was transforming the treatment into a game script. This involved dividing it into smaller parts focusing on the three main hubs - Novigrad, No Man's Land and Skelligeand - then subdividing into quests, writing the dialogue and detail, and linking to other quest and character documents. "It was like a set of Russian nesting dolls," jokes Szamalek.

Although the team used Google Docs for cutscene scenarios and Excel spreadsheets for localisation production needs, most of the writing was done in a proprietary editor, written specifically for the game. "The upside was that we could mold it relatively easily for our needs - at least in the early days, when the programmers weren't flooded with other tasks," says Szamalek. "The downside was the tool was rather unstable for most of the development, so we had to endure veeeery long loading times and it crashed every once in a while, so you needed to save your work every five minutes."

Another major technical challenge was the fact Witcher 3 was CD Projekt Red's first truly open-world title so, according to Szamalek, a lot of the development tools were being written alongside the production process. "We were working on the game and on the engine at the same time, which meant the editor was hugely unstable and new features were coming in all the time - it was a pretty rocky road to release."

Look at the classic moments - the folk horror of the Whispering Hillock mission, the family tragedy of the Bloody Baron, the reunion on the Isle of Mists - they're filled with subtle emotion, with little gestures, with intense human qualities. But for most of the development period, the team didn't have the finished character models, environmental visuals or voice-over recordings to work with. While planning and testing narrative scenes, everything had to be fudged together with placeholder graphics, text and performances. For example, Szamalek recalls when he was working on a sequence where Geralt and Yennifer go hunting for a werewolf on Skellige. "This was an early iteration of the quest so we didn't have many assets," he explains. "Skellige was just this blob of land with grass textures, Geralt was being played by a Skellige Fisherman 02 model - and so was Yennifer. So we were basically using the same model of a bald guy for both of them, and it wasn't textured or animated, so it was two motionless grey characters, with no voice-overs, which meant early testers had to read the text at the bottom of the screen. And the camera was acting up - sometimes it would end up inside the character models or in the ground.

"So now we have this scene between two lovers where they rib each other a little bit and it's warm but there's a mean quality to it: Geralt has some distance from Yennifer, even though they still have a connection. There's a lot going on emotionally! But what staff reviewing the game are seeing is two bald Skellige fisherman. In these circumstances, it's very hard to assess if it's funny or not - you have no control over the delivery or pacing. It was extremely hard."

But it was also important. The Geralt of the novels is gruff and monosyllabic when his job demands it, particularly when negotiating with paymasters or enemies, but when he's with friends he's warm and sardonic. The writing team wanted to capture this lighter side to his character, but as Szamalek discovered, "telling jokes in a video game is very stressful. It's very hard to assess if they are going to work or not."

Spoiler

Comedy is not the only challenging factor to implement within an interactive space. In movies and TV shows, we're used to those quiet scenes where characters are seen just relaxing and bonding - these are crucial in revealing the relationships to the viewer while bringing variety to the narrative flow, and the Witcher 3 team wanted to provide similar moments - but they're tough in games, and Szamalek found the team had to find innovative ways to make the player feel and experience camaraderie. "There's the quest where the witchers reunite at Kaer Morhen," he says. At this stage, the player has completed a huge chunk of the story and has a decisive battle looming ahead of her. We felt she deserved a moment of respite, of fun - and meeting with old friends seemed like an ideal opportunity.

"The problem is, games are better at dynamic sequences - fighting, chasing, etc. - and have problems with quieter, more intimate moments. We wanted the player to sit down and drink with Geralt's old buddies - but where's gameplay in that? How do you engage the player, make her feel she's there, rather than just watching an interactive movie? In the end, we came up with simple tasks, based on already existing mechanics, to draw the player in - play a drinking game, go fetch something to eat, find a friend who was drunk and lost his way, pull a prank on sorceresses by dressing up in their clothes. The end result was pretty good - players loved this part - but it took lots of trial and error."

As production ramped up, another common factor of game development came into play: the question of artistic vision. Video game development studios are made up of separate teams - game design, narrative, programming, art - and all have their own vision of what the game is and how it will work. These differing perspectives are not always complementary, and in an interactive medium, it's usually the writers who have to remodel their vision: sometimes brilliant narrative concepts don't work when you factor in the agency and preferences of the player.

"When we began working on Witcher 3 we had this war-ravaged No Man's Land area - hell on earth basically," says Szamalek. "The residents were close to starvation trying to make ends meet, reverting to black magic, holding rituals to ensure their survival and so on. We had a really clear mental image of what this should be like. So we wrote our documents and handed them to the art team. Later, when we played the game, we entered the village and immediately we saw this old woman plucking geese - she'd pull out the feathers, put it aside and pluck another one - and if you stood there long enough she'd have this pile of 20 geese. Then we went into another house and there were all these sausages hanging up from the ceiling, and we're like, 'wait a minute, this is not what we imagined!' The environment artist said, 'yes, but if we remove all the food the place looks boring! The people have nothing to do! If everyone is hungry and destitute, they just sit around looking sad - it's not visually interesting for the player!' So we had to work out a compromise."

That wasn't the end of it though. "When the gameplay systems were implemented we went back to this war-ravaged land and talked to an innkeeper, and he says 'do you want to trade?' Then he opens up his inventory and he has swords and plate armour and thousands of crowns. And we say to the designers, 'guys, this is supposed to be a war ravaged village! These people are poor - they can't afford any of this stuff.' So the designers say, 'yeah, but think about the player - they have all this loot they've picked up on the way, they want to buy stuff.' I understand their aims and needs so we have to find the least bad solution that works for each of the teams involved."

There were also challenges in staying true to the novels, especially recreating some of Sapkowski's most memorable set-pieces. There's one sequence in the books where Ciri takes part in a battle on a frozen lake and puts on skates to give herself an advantage. "We really wanted to put that in the game, and it worked in the beta version," says Szamalek. "But then it turned out that getting motion capture footage of people skating and fighting at the same time was... difficult. We tried putting our actors on roller skates but then our motion capture studio is quite small so before they could gain any speed they'd be crashing into the walls. Sadly after trying several different approaches we decided to drop it."

Interestingly, as the graphical detail of the world came together, the visual fidelity of the Witcher 3 engine brought in new challenges for the writing team. As Szamalek recalls: "I remember one day, a lead environment artist came over to my desk and said, 'we are working on the fortifications for Novigrad - what kind of stone are the walls made of?' I said, 'I have no idea. Is there any information in the novel?' They said no. So I said, 'let's look at the level together and study the geology - if we look at that river, I don't think there would be any hard stone, so let's look where the river goes, it heads toward those mountains, so they could have hewn the stone there and brought it down via boats.'

"It's worth putting in that effort, even if players don't notice it consciously. I don't think they'll point to the fortifications and say, 'it's interesting they used this type of stone because, geologically, it makes sense,' but perhaps they register it. That's a part of what makes it all come together."

A key element of writing for an open world game is the need to provide scenarios and dialogue for cutscenes that are not tied to the main story, which can be used anywhere in the game, to add some context, intrigue or diversion for the player. And this being Witcher 3, these scenes weren't always about fighting or talking.

"At one point, a producer came in to the writring room and said, 'we need 12 cutscenes with sex - who wants to write them?' Nobody wanted to do it. If I remember correctly, I wrote them all. It was a pretty awkward process for everyone involved. First I had to come up with the scenario, and describe it - and writing it down for other people to comment on was awkward, and then the animation staff had to figure out how to show it and then they have to direct the mo-cap actors, which is awkward, and then the actors have to perform it and deliver the lines, which is also awkward. But sex is awkward anyway so it all works out fine in the end.

"For us, the point is, a sex scene should not be just be about showing some bodies. People don't play games to see sex scenes - there are more efficient ways of seeing that, so we always try to infuse the scene with additional reasons - to add some humour, or tell us more about the characters."

In the later stages of development, one of the most challenging aspects was the writing team had to deliver all the dialogue three months before alpha because the voice performances all needed to be localised into 10 different languages. But until Witcher 3 went into beta, there was no game to speak of. It was in pieces. "At that point, we were unable to play the game from the beginning to the end," says Szamalek. "We could launch a particular quest, but playing the whole game and opening quests as we went and seeing how they meshed together was not possible. It did not run smoothly."

For an open world game in which players are able to explore and attempt quests in a myriad of different ways, this presented a huge logistical problem. It meant the writing team had to map out the whole game, and all its branching possibilities on paper. "We had a lot of tables and trees and diagrams and post-it notes to try and build the whole picture but it was extremely difficult," says Szamalek. "We were actually very worried that we didn't have enough content. We were seriously concerned there weren't enough quests, enough dialogue sequences, there wasn't enough to keep the player busy. Obviously we were hugely mistaken because the density of the experience is definitely not lacking - but it was so hard to assess it when the game was still being made."

Witcher 3 was a gigantic project, its small writing team charged with creating characters, scenes and an emotional throughline that made sense in a world players were free to explore - and all this was while the studio learned the technical dynamics of constructing explorable environments. Here in this test case, we see the challenges facing all developers of vast open narrative games. It's easy to criticise the day one patch culture of the modern industry, but when you glimpse the process, it becomes more understandable.

"What people outside of the industry don't always appreciate is a game is constructed from so many pieces and you don't see the final product until the very end so it's hard to plan for unforeseen problems," says Szamalek. "When you're working on a play in the theatre, you might not have the costumes or the set, but you can see the actors interpreting the lines, you can imagine what it will look like - in games that's extremely hard. Even if you do have a clear goal and direction, you might end up in a different place because a certain part of the game gets cut or a new mechanic is introduced and this requires you to change the storyline, or it turns out that a tester says the game is lacking this or that."

What Witcher 3 also shows however, is having a pure, simple vision at the heart of the story is a huge help. The process of creating this astonishing game was messy, complicated and terrifying, but beyond the spreadsheets, post-it notes and Google docs, there was something important there.

As Szamalek puts it, "although the story went through many iterations throughout development, the core remained the same: you play as Geralt of Rivia, searching for Ciri, who is running from the Wild Hunt..."

 

[DalekFlay]

the biggest problem for me with witcher 3 is the disconnect between the cut scenes of the witchers fighting, which is fast and exciting, and then you have the gameplay, which is Geralt slowly fighting 1 monster at a time & you better look out if 3 drowners decide to attack at the same time & not run in circles.

Doesn't this depend on how you play? I used light armor and rolled/dodged around like a madman and it was pretty fast-paced, and groups weren't an issue.

 

[CrunchyHemorrhoids]

"When we began working on Witcher 3 we had this war-ravaged No Man's Land area - hell on earth basically," says Szamalek. "The residents were close to starvation trying to make ends meet, reverting to black magic, holding rituals to ensure their survival and so on. We had a really clear mental image of what this should be like. So we wrote our documents and handed them to the art team. Later, when we played the game, we entered the village and immediately we saw this old woman plucking geese - she'd pull out the feathers, put it aside and pluck another one - and if you stood there long enough she'd have this pile of 20 geese. Then we went into another house and there were all these sausages hanging up from the ceiling, and we're like, 'wait a minute, this is not what we imagined!' The environment artist said, 'yes, but if we remove all the food the place looks boring! The people have nothing to do! If everyone is hungry and destitute, they just sit around looking sad - it's not visually interesting for the player!' So we had to work out a compromise."

That wasn't the end of it though. "When the gameplay systems were implemented we went back to this war-ravaged land and talked to an innkeeper, and he says 'do you want to trade?' Then he opens up his inventory and he has swords and plate armour and thousands of crowns. And we say to the designers, 'guys, this is supposed to be a war ravaged village! These people are poor - they can't afford any of this stuff.' So the designers say, 'yeah, but think about the player - they have all this loot they've picked up on the way, they want to buy stuff.' I understand their aims and needs so we have to find the least bad solution that works for each of the teams involved."

Those teams should've just done as instructed by the seemingly more mature writing team, the compromises only ended up harming the game. And in the end gameplay mostly ignored the writing anyway. Velen wasn't famished despite the writing claiming so, every peasant hut had sacks full of diamonds and rich food. And Geralt was richer than Midas. I don't know if the developers who championed for that kind of decline were being truthful when they claimed they were thinking of the players when doing so (the 5million+ new players needed who hadn't played/wouldn't have enjoyed the previous witcher games) rather than speaking to their own personal tastes. But it should have been clear at that stage that the game was going to need to offer more gameplay option settings for different kinds of players than just how much damage enemies can do.

"At one point, a producer came in to the writring room and said, 'we need 12 cutscenes with sex - who wants to write them?' Nobody wanted to do it. If I remember correctly, I wrote them all. It was a pretty awkward process for everyone involved. First I had to come up with the scenario, and describe it - and writing it down for other people to comment on was awkward, and then the animation staff had to figure out how to show it and then they have to direct the mo-cap actors, which is awkward, and then the actors have to perform it and deliver the lines, which is also awkward. But sex is awkward anyway so it all works out fine in the end.

No wonder it ended up having the least sex appeal of all 3 games. Even the pokemon collectible cards would've been more entertaining than most of those cutscenes.

 

[Xeon]

Yen's sex scene with the unicorn is probably the best sex scene I ever seen so far in a video game, it was more hilarious than cringe so I kinda liked that. Kreas's was kinda short so didn't mind it, there are 2 others from the dlcs that were kinda cringy. Kinda wish they did more of Yen's type of sex scenes instead of the serious ones so at least it was kinda entertaining.

I am kinda with the designer on this "So the designers say, 'yeah, but think about the player - they have all this loot they've picked up on the way, they want to buy stuff.'" I don't tend to care about constancy that much if it gets in the way of gameplay, so it was kinda of hassle visiting a store to store selling crap to vendors and dealing with the fucking lag on inventory/store screens. Kinda wish if some of the rewards from contract were a little more rewarding so at least we could just do that instead of looting every crap that can sell for a little bit of money. Some vendors if you help them they'll say they will give you a good discount or whatever but the price didn't seem to change, I think only one person who actually gave a 100% selling rate but that's only happens in Blood and Wine and the dumbasses gave him less than 1000 Orens of money so he was kinda useless in the end.

 

[Old Hans]

the biggest problem for me with witcher 3 is the disconnect between the cut scenes of the witchers fighting, which is fast and exciting, and then you have the gameplay, which is Geralt slowly fighting 1 monster at a time & you better look out if 3 drowners decide to attack at the same time & not run in circles.

Doesn't this depend on how you play? I used light armor and rolled/dodged around like a madman and it was pretty fast-paced, and groups weren't an issue.

for me there is something about witch 3 that feels bad. I think I actually like the 2nd games combat because Geralt is always moving in combat. The 3rd game you always stuck in this annoying combat stance. it feels so clunky.

 

[Xeon]

IIRC Witcher 2 was all about rolling all around everywhere, I played it on Dark Mode or something and Letho's first fight was pretty much hell if you didn't roll none stop while casting Quen. Witcher 3 is still somewhat similar but at least they added dodging and Parry as well which was kinda cool so you can have some variety.

 

[Old Hans]

IIRC Witcher 2 was all about rolling all around everywhere, I played it on Dark Mode or something and Letho's first fight was pretty much hell if you didn't roll none stop while casting Quen. Witcher 3 is still somewhat similar but at least they added dodging and Parry as well which was kinda cool so you can have some variety.

yea the rolling was annoying, but Geralt had a momentum that was missing in part 3.

 

[Starwars]

Witcher 2 is one of those games that I've gotten sort of excited to replay every now and again. And each time I've done it I find myself waiting for "that good moment" but it never comes. Yes, there is some good atmosphere and the story and writing is probably the best in the series but it's just not fun whatsoever to play. Opening village is nice but the swampy forest is just fucking boring. And then the whole cursed battlefield quest is just horrendous, a true slog. And Loc Muinne just kinda sucks as well.
And I hate how the clunky and shitty the movement feels in the game. Not talking combat, just walking around, looting and all that.

And while I would never claim that Witcher 1 has great gameplay, there were a lot of cool things about it. And Witcher 2 didn't do much to actually improve upon those things, mostly just ended up making them less interesting instead.

So yeah, I can get this urge to replay it but whenever I do I'm like "oh yeah... I remember why I don't like this game very much".

 

[Gerrard]

the biggest problem for me with witcher 3 is the disconnect between the cut scenes of the witchers fighting, which is fast and exciting, and then you have the gameplay, which is Geralt slowly fighting 1 monster at a time & you better look out if 3 drowners decide to attack at the same time & not run in circles.

Which is exactly why people saying you should only play on the highest difficulty are fucking retarded.

That being said, the choreography of the fights in cutscenes was pretty bad in many places, movements are slow and clumsy, it looks like something mocapped by some amateurs swinging sticks around, not people actually practicing sword fighting like they apparently hired.

 

[HoboForEternity]

so witcher 3 with NVIDIA ansel is pretty great.

 

[Markman]

Finally got to it.
After preordering the game and playing it for like 3-4 hours at release, remembered I had it.
No work for 2 weeks so had some time to kill.

45 hours of playtime so far, lv 22 and just finished Skellige main quest. Start working on Sunday so might finish it before that if I rush a bit.

I figured out why 90% of people quit after Bloody Baron. Game is just too fucking big.
Can focus a bit and derp through the White Orchard but scope of Velen/Novigrad hits like a truck. Its massive.

Derped through alot of contracts and sidequests along with main mission and the amount of unexplored territory is still huge and they tease you with a hundred questionmarks still unexplored.

Biggest negative I have for the game is the rpg/leveling system. Could've come up with a smarter way cause most of the side content is really well done, just a sigh of dissapointment when you invest an hour solving someones problem and you get 20 orens and 7xp.
While taking a boat to Skellige and talking with Yen nets you 2 levels.

Also monster contracts should have been way harder no matter your or monsters level. Like nigga, you need to prepare for this shit. Biggest challenge I had was that first werewolf and mostly it was difficult cause I was underleveled.
Just a shame with all the effort put into them you head right in and whack the ugly fucker few times like its a regular peasant.

Dont have much to complain besides that and its size. Its a massive time investment but a well made one.

Also props to some of you fuckers itt that hated it and played through it twice like there are no other games on this planet. Still not Skyway level, but derping 200+ hours on something you dont enjoy deserves a medal.

 

[a cut of domestic sheep prime]

Biggest negative I have for the game is the rpg/leveling system.

Now you know why mods like TW3:EE are so popular. The base game’s rpg systems are completely broken by differing design philosophies implemented in the same system, and usually poorly implemented at that.

 

[Infinitron]

Oh nice:

 

[Sentinel]

Lol @ the absolute delusion of the fanboys in the replies saying CDPR is a "good guys" company and that they're "independent".

Looking forward to seeing the mental gymnastics these people will go to defend them when CP2077 mp is flooded with MTX, and then the cope for when the next game has MP from the start.

 

[J_C]

Lol @ the absolute delusion of the fanboys in the replies saying CDPR is a "good guys" company and that they're "independent".

Looking forward to seeing the mental gymnastics these people will go to defend them when CP2077 mp is flooded with MTX, and then the cope for when the next game has MP from the start.

A game having microtransactions and multiplayer doesn not mean that the game is bad by default. It's about how you implement them. You really have to stop thinking in black and white. Who cares if you can buy skins in CP77, if the gameplay is great, if they will produce big expansion packs, if it will have great writing and missions.

 

[Sentinel]

Lol @ the absolute delusion of the fanboys in the replies saying CDPR is a "good guys" company and that they're "independent".

Looking forward to seeing the mental gymnastics these people will go to defend them when CP2077 mp is flooded with MTX, and then the cope for when the next game has MP from the start.

A game having microtransactions and multiplayer doesn not mean that the game is bad by default. It's about how you implement them. You really have to stop thinking in black and white. Who cares if you can buy skins in CP77, if the gameplay is great, if they will produce big expansion packs, if it will have great writing and missions.

I never said the game would be bad because of MTX (even if MTX are absolute cancer). I said that the narrative of "CDPR are the good guys" has no basis in anything real anymore.

 

[J_C]

Lol @ the absolute delusion of the fanboys in the replies saying CDPR is a "good guys" company and that they're "independent".

Looking forward to seeing the mental gymnastics these people will go to defend them when CP2077 mp is flooded with MTX, and then the cope for when the next game has MP from the start.

A game having microtransactions and multiplayer doesn not mean that the game is bad by default. It's about how you implement them. You really have to stop thinking in black and white. Who cares if you can buy skins in CP77, if the gameplay is great, if they will produce big expansion packs, if it will have great writing and missions.

I never said the game would be bad because of MTX (even if MTX are absolute cancer). I said that the narrative of "CDPR are the good guys" has no basis in anything real anymore.

Come on... CDPR did nothing which was anti consumer when it comes to their games or GOG. The worst you can say is that their curation on GOG can be questionable sometimes.

 

[BlackAdderBG]

Hahahah sucker is born every minute. They sold scene releases on GOG, had DRM on Witcher 2, were sending cease and desist letters to abandonware sites and alleged pirates in Germany to pay them.