Witcher 3 Art Book

THE WILD HUNT

At the cavalcade’s head
rode the King of the Hunt.
A rust-eaten bassinet
swayed above a skull-like
mask and gaping eye-
sockets […]

ANDRZEJ SAPKOWSKI, TIME OF CONTEMPT

Eredin

Eredin Bréacc Glas, King of the Wild Hunt, is the
ultimate enemy in The Witcher 3 and the fiercest
opponent Geralt has ever faced. This merciless,
calculating, and ambitious warrior will stop at
nothing to achieve his goal: capturing Ciri.
Eredin has led the Hunt’s riders for dozens,
possibly even hundreds, of years. In order to
inspire greater terror, he wears armor making
him look like a ghastly wraith. Elements of it are
enameled in red and shaped so as to resemble a
body whose skin has been flayed off. Crowning
the armor is a skull-shaped helmet made of black
steel, heavy, spiked brassards and greaves, and
an openwork breastplate shaped to resemble
skeletal ribs. Galloping on his mount, sword
raised in the air, Eredin seems to most mortal
men the incarnation of their worst possible
nightmare.

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Very few are aware of the fact, but underneath aristocratic features, a pale complexion, and thin
the King of the Wild Hunt’s ghastly armor lies a lips twisted into a slight grimace complete our
being made of flesh and blood. The Riders of the main antagonist’s appearance.
Wild Hunt are in truth not wraiths, but warriors The illustrations on the right show different ver-
of the Aen Elle, the Alder Folk, distant relatives sions of the King of the Wild Hunt’s helmet.
of the Aen Seidhe, the elves inhabiting the world
in which our tale takes place.
Beneath the helmet of the King himself lies the
face of Eredin, ruler and general of the Aen Elle.
His face is slim and attractive, though clearly
marked by cold cruelty. Dark, deep-set eyes,

THE WILD HUNT

The nightmarish cavalcade
turned and soared directly
towards her, the hooves
of their spectral mounts
churning the gleam of
will o’ the wisps in the sky
above the swamp. […] The
King of the Hunt reared his
skeletal steed and let out a
wild, terrifying laugh.

ANDRZEJ SAPKOWSKI, TIME OF CONTEMPT

The Wild Hunt’s warriors are described in the
novels as terrifying riders astride no-less-terri-
fying steeds. Like the elves mounted atop them,
these horses owe their ghastly appearance to
armor stylized to make them look like undead
creatures. The illustrations on this page show
one of the early versions of the King of the Wild
Hunt riding his armor-clad steed. The armor was
modeled to a certain extent on historical exam-
ples of protective fittings for horses, known as
barding.

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In the world of the Aen Elle, Eredin Bréacc make them look like wraiths. The armor adheres
Glas once led an elite cavalry unit known as to the general style used by the people in the
Dearg Ruadhri, meaning the Red Riders in Elder world they are invading; that way, their victims
Speech. It was this unit that constituted the mistake them for dead warriors, inspiring terror
initial core of the Wild Hunt, an elite formation and hiding their true identity. Although each
able to move between worlds. The initial number Dearg Ruadhri is a superbly trained fighter, more
of Dearg Ruadhri is not known, yet one can con- skilled than even the most elite soldiers of Nilf-
fidently assume that it rose greatly after Eredin gaard or the Northern Realms, this extra element
ascended the throne after the death of his pre- of “psychological warfare” tips the scales even
decessor, King Auberon. These skilled Aen Elle further in favor of the Aen Elle.
warriors are foes that Geralt will have to face
many times in this installment of the series.
The warriors of the Wild Hunt are attired in a
way similar to that of their leader—heavy armor
with skull motifs and bare, protruding bones to

THE WILD HUNT

Imlerith

Imlerith, one of the commanding officers of the
Wild Hunt, is Eredin’s right-hand man and most
fervent supporter. This powerful and brutal war-
rior is a veteran of the many wars of conquest the
Aen Elle have waged against other worlds over
the course of centuries. Imlerith prizes physical
confrontation and direct, bloody battles in which
training, quickness, and strength determine who
lives and who dies.
Imlerith’s armor is covered with blade marks—
mementos earned during his thousands of bat-
tles. His high, heavy brassards protect his neck
and shoulders as well as his head. Like the other
warriors of the Hunt, his chest is protected by
armor with a reinforced, openwork breastplate
stylized to resemble a bare ribcage. Steel gaunt-
lets and decorated, segmented bracers guard his
hands and forearms, while his thighs, knees, and
shins are covered by their own layer of armor.
The whole ensemble combines to make this ter-
rifying Aen Elle nearly invulnerable to all blows.

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Caranthir

Caranthir is Eredin’s second most-trusted
lieutenant. His unique abilities have made him
a key officer for the Wild Hunt, responsible for
guiding their expeditions across the expanses of
time and space that separate the Aen Elle’s world
from others.
His very appearance—gray, fur-lined coat, fan-
cifully-capped helmet, steel staff tipped with a
sphere emanating magic energy—makes Caran-
thir stand out from the other warriors of the
Wild Hunt. He stands out in terms of abilities
as well, as he is also a powerful mage who relies
in combat first and foremost on his spells and
supernatural powers. He may not be as dan-
gerous as Imlerith in a direct fight, but he can
swing his steel staff with murderous speed and
agility—something which his opponents will get
to witness firsthand during The Witcher 3.

THE WILD HUNT

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Skellige legend speaks of a ghastly ship called the Naglfar carrying specters and wraiths from the hideous land of Mörhogg. Though the myth never
equates this with the Wild Hunt, the similarities struck us strongly enough that we decided to use this motif to make the Naglfar become Eredin’s ship
in our story, the vessel that will carry his warriors to the final, decisive battle.

THE WILD HUNT

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Many sketches and designs for the Naglfar were made. Early ones assumed this ship would fly through the air. In the end, however, the more subdued
concepts which better fit the grounded feel of the witcher universe won out. The drawing above shows the final version of the Naglfar, the ghastly Hunt’s
equally ghastly vessel.

THE WILD HUNT

The Wild Hunt also counts among its ranks smaller minions—its Hounds—that accom-
pany its warriors into battle. “Hound” is a bit of a misnomer, for these are no normal
dogs, but strange four-legged beasts born in some nameless place far beyond our world
and time. While designing these monsters we tried to give them as alien a look as possi-
ble. Early designs for the Hounds are shown in the drawings below, while the illustration
on the right shows the final version.
At a glance, one can see that any relation these Hounds have to dogs is very distant in-
deed. Their heads feature blunt snouts and almost no neck whatsoever, melding abruptly
into their barrel-chested abdomen. This monster runs on four widely-spaced legs tipped
with sharp claws. Its grotesque body is covered in hard, coarse armor. The Hounds of
the Hunt are merciless creatures that obey their master’s every command and kill with
brutal efficiency.

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chapter viii

Monsters

From the dreary swamps and depopulated wastes of Velen to the bustling alleys and canals of Novi-
grad and the windswept hills and dales of Skellige, monsters are an omnipresent element of this
world, a very real threat that every one of its inhabitants must face. It is the existence of these

creatures, brought to this world in the Conjunction of the Spheres, that gave rise to the witcher
profession. Such professionals were needed because even the best-disciplined, best-trained soldiers
stood little chance in a direct fight against some of the larger, more aggressive, or more treacherous

beasts inhabiting this brutal and dangerous world. On the following pages we present some of these
creatures, a sampling taken from the much larger bestiary of the witcher universe.

MONSTERS

The Crones

The Crones of Velen do not come to us from the witcher novels, yet they
bring a look and feel that fits in perfectly with the established character of
a world full of monsters and other elements drawn from European folk-
lore. These three sisters are not human; instead, they are members of some
degenerate breed of humanoid monsters whose origins are hazy, even to
scholars and witchers. Each of the three has her own function and unique
abilities for performing it. The oldest of the sisters, Whispess, can hear
everything that happens in the swamps of Velen thanks to the sliced-off
human ears she hangs from the trees and imbues with magic. Brewess
brews magic concoctions and mixtures, while the youngest of the three
Crones, Weavess, weaves magic fetishes from human hair.

164 | 165

MONSTERS

Fiends

Like many other creatures in the witcher uni-
verse, fiends are inspired by beings that appear
in pagan Slavic beliefs and folk tales, in this case
those about amorphous evil spirits called biesy.
The fiend we created poses a more concrete and
immediate danger—not to mention a serious
challenge, even for experienced monster hunters
such as Geralt of Rivia.

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Ice Giant

For the Ice Giant, we drew on creatures de-
scribed in ancient Scandinavian myths and sagas.
He is most likely the last representative of his
race in the witcher’s world, the sole remaining
survivor from those who, thousands of years
ago, lived in abundance in the cold regions of the
Continent and the Skellige Isles. This brutal and
primitive being, responsible for driving off the
inhabitants of Undvik, is thus in its own way an
antique, a relic of a former age.
The Ice Giant dresses in a parody of human ap-
parel made up of scraps of leather, sails, ship’s
rigging, shattered shields, and animal bones,
and decorates his massive body with primitive
drawings. The black-and-white sketch shows the
earliest version of this creature’s appearance and
depicts him with a harpy perched on his forearm.

MONSTERS

Plague Maiden

The plague maiden, a spirit personifying dis-
ease and pestilence, also has roots in European
folklore. In those legends she is most often
depicted as a deathly pale woman dressed in a
simple white peasant dress, who walks across
plague-stricken towns and villages leaving dead,
corpse-strewn streets in her wake. The concept
drawing created for our game shows the plague
maiden in her true, more horrific form. Her
rotten, worm-ridden flesh is covered in a ragged
shroud seemingly woven from miasma and foul
vapors. Crawling out from under it are dozens of
plague-bearing rats.

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These wraiths’ immaterial bodies resemble des-
iccated female corpses dressed in the tattered
remains of the dresses or robes they wore while
living. Noonwraiths still wear withered wreaths
of flowers atop their heads, while in their hands
they hold sickles, attributes tying them to rural
life. Nightwraiths wear dark clothing and hold
lanterns in their hands, which they use to con-
fuse travelers hurrying home along country
roads late at night.

Noonwraiths & Nightwraiths

Taken from Slavic mythology, these female wraiths are only active during
certain times of day. Usually they are born of some horrible tragedy tied
to ill-fated love. Women falling victim to such events become—depending
on the time of day in which they die—either noonwraiths or nightwraiths,
with grief, longing, or a thirst for vengeance having cursed them and driv-
en them insane. They are only found in rural areas, primarily meadows,
crop fields, orchards, and crossroads, with farmers and travelers being
their main victims.

MONSTERS

Godlings

Another creature with its origins in Slavic my-
thology, a godling is not a monster, at least not
in the pejorative sense of the word. The godlings
of myth were guardian spirits that watched over
farmyards and houses, bringing good fortune
and wealth in exchange for small offerings of
food and drink placed for them by the farmers.
Since no descriptions of these creatures have
survived, our artists had a great deal of freedom
in inventing their appearance. Godlings in the
world of the witcher thus look like children with
serious, wrinkled faces and disturbingly large
eyes. Barefoot and covered in mud, they dress in
simple clothing pieced together from discarded
rags. Though they might seem frightening at first
glance, upon further acquaintance they turn out
to be quite pleasant and even helpful in their
own way, making them unique among the other,
more often dangerous creatures presented here.

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Botchlings

Botchlings are cursed beings arising from un-
wanted fetuses or stillborn babies discarded
without a proper burial. They only attack preg-
nant women, sneaking into their bedrooms at
night and siphoning off their life energy until,
their victims weakened nearly to death, they can
attack and drink of their blood directly.
Botchlings look like macabre, deformed fetuses.
They move around on wobbly, crooked legs and
are wrapped in their own umbilical cords. In
keeping with how they are described in Slavic
folklore, they possess two rows of teeth—an
attribute also ascribed to strigas, who like botch-
lings are born from children who die tragically.
Also like strigas, botchlings can be cured of the
curse that has made them hideous, after which
they transform into lubberkins, household
guardian spirits.

MONSTERS

Water Hags

These deformed humanoids dwell in swamps, bogs, and wetlands as well
as on the banks of rivers and lakes. In appearance they resemble gigantic,
hunchbacked crones with long, claw-like hands, drooping breasts, tangled
hair, and gaping maws full of crooked, yellowed teeth. They hunt lone trav-
elers and fishermen, and sneak into human settlements at night to kidnap
the unwary and the unlucky.
Water hags (baby wodne in Polish) appear in central and eastern European
legends as harmless creatures that peer out at bathing youth. We decided
to base our hags instead on tales of creatures such as the infamous Baba
Jaga or Baba Drasznica—monstrous old women who feed on human flesh.

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Foglets

Considered part of the necrophage family, foglets are creatures gifted with
powers of deception they use to haunt unpopulated and wild regions. With
their control over fog, their ability to imitate human voices, and the pale
light they emit from their bodies, they can lure unwary travelers off the
beaten path and into bushes, swamps, or simply off mountain cliffs, feast-
ing on their corpses after they die.
Foglets are only mentioned in passing in the books, and so our artists had
a great deal of freedom in giving them a visual identity. During work on
these creatures we created many different drawings, though in the end we
chose the one shown in the illustration on this page.

MONSTERS

Ghouls

Of all the monsters returning in The Witcher 3
from previous games in the series, ghouls have
probably undergone the most change in terms
of their appearance. The concept shown here
combines the look of a deformed, degenerate
humanoid with that of the hyena-like scavengers
of our own world. The end result is a grotesque
and unsettling four-legged creature. The ghoul’s
front paws are fitted with massive claws with
which it can dig up buried bodies, and its strong
jaws are used to crush bones in order to better
get at the marrow—its favorite treat.

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Alghouls

Alghouls make up a larger, stronger, and more
aggressive subspecies of ghoul that otherwise
shares most of its cousin’s traits. Yet while some-
thing human remains in the faces of ghouls, al-
ghouls have almost nothing humanoid left about
them. Their legs are widely situated to support
their large frames, and cresting their heads are
two bony growths that protect them from blows
and can be used to scoop up dirt covering tasty
bodies.

MONSTERS

Bears

Not every danger lying in wait for travelers venturing off the beaten track
takes the form of a monster or magical creation. Normal predators also in-
habit remote woodland and mountain regions, and when driven by hunger
or provoked they can be just as dangerous as ghouls or fiends.
Bears are one such creature featured in The Witcher 3. Our artists sought to
emphasize these animals’ raw strength and heft, as well as their powerful,
sharp claws and blunt, grimacing snouts.

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Leshens

Leshens are another monster mentioned only in passing in the witcher
saga, but one with rich roots in the mythology and folk tales of central and
eastern Europe. Described as mysterious, shape-shifting beings possessing
power over the forest and its denizens (their Polish name—leszy—derives
from the Slavic root las, meaning woods), leshens were ideal candidates for
use as one of the more interesting opponents Geralt will have to face in the
latest game in the series.
The leshen’s appearance was inspired by Slavic legends but also by Celt-
ic and Anglo-Saxon descriptions of a distantly related figure, Herne the
Hunter—a deep woods spirit fitted with large antlers. Our in-game leshen
stands over seven feet tall with an enormous moose or elk skull for a head.
The creature’s long arms end in powerful claws and its body is adorned
with the bones and skulls of its victims. Leshens are incredibly deadly hunt-
ers, the ultimate terrors lurking in the darkest woods of the witcher’s world.

MONSTERS

Katakans

Katakans are one of several species of powerful vampires mentioned in
the books. We took as a starting point the idea that all of these nocturnal
predators should look more like bats than humans, and thus the katakan
possesses many bat-like traits, though stretched to monstrous proportions.
There are of course still humanoid elements to its appearance, such as its
upright posture, eerily sentient gaze, and the man-made objects collected
and woven into its fur, but the being’s whole suggests a deadly predator
that attacks with membranous wings tipped by razor-sharp claws.

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Cockatrices

The cockatrice appears in the legends of several European countries, where
it is known for its deadly stare. The version of the beast presented in the
Witcher books is a one-of-a-kind representative of the fictitious ornitho-
saur genus, a made-up species combining reptilian and avian traits. The
monster’s head is decorated with a characteristic red comb that makes
it resemble a giant rooster. Though, contrary to popular belief, the cock-
atrice’s gaze does not kill or even turn one into stone, one would still be
ill-advised to take this opponent lightly. Its short, seemingly harmless beak
is extraordinarily sharp, and the monster wields it with unerring precision
and enormous strength, aiming for its victims’ eyes, neck, or aorta and
dealing deep wounds that bleed profusely.

MONSTERS

Sirens

Sirens are bloodthirsty, treacherous creatures that lure naïve travelers in
close with their illusory female forms and then, when escape is impossible,
transform into hideous monsters and tear their unfortunate victims to
shreds. These creatures are commonly confused with mermaids, which
are in fact a mostly peaceful race of underwater humanoids. They are quite
easy to distinguish, however, because the more deadly sirens have large,
bat-like wings that lift them into the air and fold up when swimming.
For the sirens’ appearance we drew inspiration from the so-called “flying
fish” of our oceans, which have broad pectoral fins that let them glide
above the water for short distances.

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Griffins

Griffins are, along with dragons, one of the most iconic creatures of the
fantasy genre. They exist in the witcher’s world as well, though this will be
the first game in which these enormous flying monsters will be shown in
the full glory they deserve.
Griffins are hybrids, or creatures possessing the traits of two different
species. The front portion of a griffin’s body—its head, ribcage, and front
legs—resembles that of an enormous bird of prey. Its rear, however—its
back, hind legs, and tail—is that of an equally enormous predatory cat.
This aggressive beast’s sheer size, combined with its ability to fly and dive
at great speeds, makes killing it a challenge for even the most experienced
monster hunter.



chapter ix

Flashbacks

Our ambition was to create a storyline stretching across all three games that would be consistent,
epic, and branching—one that would stick in the collective gaming imagination for the ages. From
the very start of the series, a key part in our presentation of major plot points has been the use of

flashbacks shown via partly animated, hand-drawn sequences. Their task was to highlight key mo-
ments and the effects of the most important decisions our hero makes. The following pages present
a few chosen frames from these, depicting crucial moments in the story of The Witcher 3: Wild Hunt.

FLASHBACKS

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FLASHBACKS

186 | 187

FLASHBACKS

188 | 189



epilogue

We are rebels...

There is an inner fire in everyone at CD PROJEKT RED. It’s fueled by what we surround ourselves
with; it’s what we play, where we live and who we spend that life with.
We want to hone that fire and make it grow. It’s what makes the games we create so unique. As a

studio, we have one mission: making the best RPGs on the planet. Off duty, we’re not only colleagues,
but also dear friends who spend time together and support each other every day. We’re a family. And
here’s our family album.

Meet the people behind The Witcher 3: Wild Hunt.

WE ARE REBELS...

2012 2013

192 | 193

2014 2015

The end of our journey

is the beginning of yours...

cd projekt red

concept artists credits

Bartłomiej Gaweł Paweł Kwiatek
Monika Zawistowska Peter Gelencser
Sebastian Nowak
Jan Marek Sebastian Spłuszka
Marek Madej Simon Besombes
Lea Leonowicz
Marta Dettlaff art production
Andrzej Dybowski
Dominika Gonsierowska
characters artists Michał Krzemiński
Michał Stec
Paweł Mielniczuk Stan Just
Antonio Jose Gonzalez
Arkadiusz Matyszewski 3d renders

Bill Daly Paweł Brudniak
Marcin Błaszczak
Sebastian Bąkała additional illustrations
Grzegorz Chojnacki
Dominik Milecki Grzegorz Rutkowski
Tomasz Stryjewski Sławomir Maniak
Victor Titov
Marcin Klicki
Wojciech Michalski world map illustration

Ovidiu Voica Damien Mammoliti (painting)
Grzegorz Magiera Lea Leonowicz (sketch)

Dave Yablonsky animation sequences

environment artists Marcin Przybyś (direction & editing)
Grzegorz Przybyś (storybooks, flashbacks, recap)
Lucjan Więcek
Adam Wrotek Marcin Karolewski (finalboards)
Daniel Cordell Katarzyna Niemczyk (additional illustrations)
Daniel Olejnik
Elena de Gracia text
Fabian Kubicki
Javier Pintor Marcin Batylda (author)
Joanna Królak Andrew Stone (proofreading)
Jonas Mattsson Travis Currit (translation)
Jose Teixeira Robert Malinowski (additional text)
Kacper Niepokólczycki
Kamil Grzelak cover
Krzysztof Kornatka
Bartłomiej Gaweł
Łukasz Maj
Łukasz Łakomski layout
Marcin Michalski
Marian Chomiak Przemysław Juszczyk (design)
Paulina Łukiewska (grid)
Mark Foreman
Michał Buczkowski photos
Michał Janiszewski
Michał Stelmachowicz CD PROJEKT RED Library

Miles Tost artistic supervisor
Norbert Narożnik
Adam Badowski
Jean–Francois Mignault

Bartłomiej Gaweł

special thanks

Ashley Karas
James Daly
Karolina Lewandowska

made in poland