Here we are once again, doing another three-part series. I know, I know! I should learn how to keep things brief, but hear me out. I swear this was gonna be a quick write-up on the changes CDProjektRed made to the narrative of The Witcher as they adapted Andrej Sapkowski’s novels the gaming medium—but then something changed. Something convinced me this topic was worth more of my (and your) time. That something was a little book called Narrative Mechanics.

Narrative Mechanics is an open-source collection of academic essays that analyze narrative mechanics in video games and how those mechanics intersect with political messaging in the real world. If you’re anything like me, you’re probably wondering what the hell narrative mechanics even are (if not, then well done—you’re already a step ahead). I had no idea when I started the book; after reading a few chapters, I’ve learnt that narrative mechanics are storytelling devices that engage the player and incentivize immersion within the gameworld. Though I planned my post on The Witcher well before picking up this book, the more I read, the more I believe that a closer look at Narrative Mechanics could explain why CDProjektRed chose to diverge in some areas from their source material. What’s more, this series might be just what I need to take the abstract theory in Narrative Mechanics and distill it into something tangible, like nice flask of White Gull.

Wait, is White Gull even a Witcher potion, or is it just a base alcohol? Clearly, I need to brush up on my book knowledge. Speaking of which, I think it’s time to jump into the first part of the series, where I’ll talk about a plotline from the books that CDProjektRed chose to ignore in their games…

CRUCIAL POSTSCRIPT: Narrative Mechanics was recommended to me by my friend Lam at Tracing Inward. Please click the link and check out his blog as well; there he posts his quick insights & full-length essays on detective fiction and gaming (sometimes at the same time!). If you like my stuff you’ll be sure to enjoy his 🙂