![]() ![]() But what made The Witcher 2 so special, how did it push PC hardware and can even today's mainstream graphics tech handle the game's legendary ubersampling? CD Projekt RED's The Witcher 2 - released in May 2011 - is one such release, a game that required a radical process of re-architecting before arriving on Xbox 360 almost a year later. Geralt's plan is to lure the local succubus out of hiding using Dandelion's poetry, and they agree to meet at the nearby burned-out village at sundown.Next-gen before their time? There's an elite selection of technologically advanced titles that appear towards the tail-end of any given generation, where developers are upping their game, experimenting with the kinds of techniques we'll see in the era to come - and it's typically on PC where we tend to get these nascent next-gen experiences. Geralt frowns, and after a pregnant pause, says: “It rhymes.” But we need Dandelion's skills for this quest. “You like it?” asks Dandelion, excitedly. Heading back to the inn, we encountered Dandelion, who tried his new song of human and dwarven camaraderie out on Geralt. From this, Geralt concluded that sexy demons were involved, and off we toddled to look for our succubus. His back was deeply raked with claw-marks, he had a clutch of hair in his hands, a look of terrible pleasure on his face, and wrapped with the corpse was a page of poetry written by the foppish Dandelion, Geralt's bard associate. ![]() What followed was a kind of detective minigame examination of one of the bodies, to try and piece together what had actually happened. In no time he was swamped with wraiths, which Jan deftly dispatched.ĭown in the crypt, we had to hunt through cloth-wrapped corpses to find the bodies of the fallen soldiers. At this point, Geralt sheathed his steel sword and drew his silver blade, as conventional weapons are no good against spirit foes. It looks like a great way to start a fight, and I can envisage indulging in almost BioShock 2 levels of devious trap-placement, arranged to weaken foes before drawing them into an encounter with naked steel.Ĭontinuing the quest, Jan took us out of the woodlands and into some haunted ruins, where a quest-marker showed where the bodies were to be found. Placing three wards equidistant from each other creates a great triangular trap-area in which any foe who crosses the line takes fire damage. Levelling up the ability, however, enables you to chainlink further wards, at which points lines of fire are drawn to connect the wards together. Of particular interest was his fire-trap spell, which involves placing a ward on the floor. I also saw a few of Geralt's spells in action. As a natural defender, you have to wait for him to strike, and deliver the riposte when his guard is down. The final enemy left standing was a shieldbearer, and he was the toughest of the bunch. But in general, it seemed to be a case of drawing the greater melee away from the ranged attacker to leave him exposed, before darting around to deliver a flurry of blows. On a couple of occasions, Jan actually managed to line the caster up in front of the enemy archer so he took damage. Focusing exclusively on a single enemy means you leave yourself wide open to attack by others, so a kind of kiting approach is required to keep multiple foes at bay.īut you still need to assess who's dealing the most damage, and take him down in short order. Jan would cast an area-of-effect lightning spell, dart in for an attack, then flank the group to lay some damage onto the enemy caster, switch targets to keep the melee at bay, dart back to hit a single combatant with a heavily-damaging fireball, and so forth. Fighting numerous enemies in this game is tough, and requires plenty of blocking and rolling away when they attack simultaneously. Attacking Geralt was a band of melee combatants, an archer, and a rangeddamage spellcaster.
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