The Witcher continues to violate the golden rule of screenwriting: show, don’t tell. Its penchant for clunky exposition ruined the series.
Warning: SPOILERS for The Witcher season 2.
The Witcher always ignoring the golden rule of screen writing, “show, don’t tell”, and this will ruin the series. Since the start of season 1, The Witcher constantly expressing exposition in an attempt to improve complex lore and characters. The show delights in lengthy monologues or conversations that see Geralt, Yennefer, and other major players reveal the backstory of specific characters, factions, and major world events in unbelievably unrealistic ways. in the way people speak. If the series lasts, this exposition can be delivered organically, in multiple stages and through visual flashbacks rather than boorish conversations that turn out to be inorganic.
Netflix The Witcher season 2 sees Henry Cavill return as Geralt of Rivia, with the season including major plot improvements that require a lot of explanation, as it has been revealed that Princess Ciri has Elder Blood and thus holds the key to creating more Witchers, a process long thought to be lost. Season 2 introduces and expands on many other plot points, including the pursuit of the Elven race, and then there’s an expansion of Yennefer’s story with Vengerberg, who is unleashed of his magical abilities after tapping into mysterious magic. of fire during the end of time. 1.
The Witcher Season 2 sadly maintains the same clunky exposition as its predecessor. Every time one character has to learn new information, another comes out with seemingly endless exposition in a unique wooden way. This practice violates the oldest rule of book screen writing: “show, don’t tell”. Writers of TV shows and movies are taught to express information through actions, emotional responses, or other intelligent means. The purpose of a script is to guide the audience toward the outcome, rather than directly expressing it. The Witcher sometimes getting it right, but always wasting self-success by having a character that immediately confirms the conclusion that the audience has already made. The Witcher season 2, episode 2 is the most terrifying example of this, as Elven sorceress Francesca Findabair introduced without much construction, before spending a few minutes revealing the important Elven backstory, but in a somewhat dull way.
Instead of these endless monologues, The Witcher it is better to use alternative methods of communication. For example, it has already proven that flashbacks can be an effective way to convey its important backstory. The series uses flashbacks that are effective during this time to show the initial relationship between Geralt and his friend and fellow Witcher, Eskel, that Geralt is eventually forced to kill when he becomes Leshy. This scene proves that The Witcher can show a historical part of its history without a character explaining to Ciri or others why Eskel and Geralt are very good friends. The scene thus allows the audience to feel empathy for Geralt because the audience sees his relationship, not just is told about it.
Delivering its historical history aside, The Witcher Always still suffering from a troubled ensemble cast that didn’t have enough time to develop. As such, their dialogue can often be shallow or impure. Even if the series undoubtedly has some good characters that viewers love, like Ciri, Dara, and Geralt in Rivia itself, the surprising number of new faces introduced in the second season takes significant screen time to allow characters from the first season to properly develop their characters arc. Instead of focusing on one story, the series instead delivers more to the audience, delivering clunky exposition and extensive backstory that doesn’t allow viewers to identify with anyone other than Geralt, Ciri, and Yennefer. As a result, the writers force themselves to quickly provide new context to give viewers the ability to understand the place of new characters in the world, which is neither organic nor effective.
The Witcher season two still delivers some great action and further enhances his unique fantasy world. However, it should solve the screen writing issue if it goes too far and delivers eight (much better) moments like its contemporary fantasy, Game of Thrones. Clunky exposition is the smallest way to expose about important lore and character backstories, and The Witcher should improve in future seasons.
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