The third part of a series of games dedicated to the adventures of the witcher Geralt from Rivia turned out to be one of the best games in history. Of course, there were disputes about wild hunting, especially at the exit, but what major project is complete without discussions? There were also bugs in the game, some of which remained so far, was not the best optimization, but all this quickly corrected this.

Many talked about how good the plot is, how perfectly the secondary characters and the world around are spelled out. But it seems to me that not least the cult of this game is explained by how good the musical component is there. And this is not enough about this.

For the third witcher, they wrote not just good topics that complement the atmosphere of the game and are pleasantly obeyed in isolation from it. The main combat compositions, a lullaby vampires, the song of the prisoners, the theme of the Caer-Morhen-all these musical works have received enviously active life outside the game. At the same time, which is important, did not just become memes – this is the love of the audience.

People write down covers on a variety of tools, make analysis and create expanded versions for several hours. My name is Timur, and I propose to rummage a little in the main soundtrack of The Witcher 3: Wild Hunt and figure out why it works so well at a slightly deeper level than a simple statement that “this is excellent music”.

The first steps

Wrote music for the game Marcin Pshibilovich and Mikolai Stroinsky, and in the recording of some tracks they were helped by the folk group Percival. For them all The Witcher 3: Wild Hunt is the main work, although for Pshibilovich Cyberpunk 2077, if not according to folk love, then the degree of ambitability of the project is precisely higher. Before that, composers were not particularly known in game circles. Pshibilovich managed to distinguish only the masterful sound design and sound engineering for Vanishing of Ethan Carter, as well as several topics from The Witcher 2 soundtrack. The track record of his colleagues Stroginsky was only slightly impressive – in addition to the same Vanishing of Ethan Carter, when working on which the composers met, he came into the view of the gamers except as the author of the composition for the trailer Dark Souls 2 (about other projects in the spirit of the Bee Simulator and Mouse Craft I am tactfulI will keep silent).

Why this whole story? To the fact that the soundtrack The Witcher 3: Wild Hunt is, on the one hand, a happy combination of circumstances, on the other hand, is still a natural qualitative result, since in their future projects both composers have proved that they do not only write good music, but perfectly understand how to make soundtracks for games.

Personally, I divide the game soundtrack into several types of compositions. I do this not only to make it easier to sort in my head all musical works, but also because in fact different intra -game topics are written with different purposes. They use different techniques to achieve these goals and work differently for the player.

There are topics of characters, topics, plot topics and gameplay.

Of course, this division is far from reinforced concrete, because many compositions from the soundtrack can be easily pulled in two, or even three categories. In the same Souls series, almost the entire soundtrack consists exclusively of the bosses. These are both plot topics and characters, since the bosses are unique and, if you delve into the plot, are full -fledged personalities, and gameplay topics, since the player hears this music at the most tense points of passage.

However, in The Witcher 3: Wild Hunt, this division plus minus works, since the structure of the game is more smooth. There, unlike the Cyberpunk 2077, there are set scenes both on the game engine and in the form of beautiful intercessor rollers, there are constantly repeating battles and a large number of memorable places.

The first and most noticeable ingredient for most people of this musical dish is the elements of Slavic folk music. However, this is not only recognizable music using pigs, cymbal, domra and Byzantine lyre, but also characteristic singing – in the world the authentic music of the Slavic peoples is primarily associated with various vocal genres.

The second element of the soundtrack, which also highlights people, is a magical medieval atmosphere that many tracks create, since they use authentic ancient instruments, and as a reference, composers often choose the real music of the Middle Ages, which came to us thanks to historians, restorers and just various kinds of enthusiasts. People like such music – there are hundreds, or even thousands of hourly collections with names in the spirit of Fantasy Music From Medieval Tavern, as well as caveres for modern songs in Medieval Style.

It has its own special charm, because it really sounds as if it was written somewhere not here, in another world with magic and dragons.

Portrait gallery

I must say right away: it seems to me personally that the weakest part of the soundtrack are the themes of the characters. This does not mean that the tracks are bad, not at all, they are executed and recorded perfectly. However, for my taste, personal topics are deprived of the special charm that all the well -known combat tracks or, for example, the topics of Caer Morhen and the islands of Skelliga can boast. Last but not least, this opinion is based on the fact that in many personal topics, the composers preferred more formal Score-music using a string orchestra.

For example, take three compositions: Gerelet of Rivia;Eredin, King of the Hunt and Emhyr Var Emreis. All three personalities that these tracks present us are extremely important not only for the game, but also for the world invented by Sapkovsky, although Emgyr appears quite rarely on the pages of books. They are representatives of three obviously opposing forces who cannot get along together, but not to face each other also cannot.

Geralt is a person who has talent, mind and strength, but at the same time occupies a low level in the social hierarchy, which is why he cannot claim at least some power. The White Wolf is generally trying to stay away from the kings. However, rulers, such as power-loving and prudent Emgyr, are still constantly trying to use the abilities and semi-legal status of Geralt for some of their purposes. In this case, Eredin is an antagonistic force that is opposed to absolutely everything, pursuing selfish and low interests.

The topic of Geralt is good for his character. This is a great example of a combination of medieval motifs with familiar techniques in the spirit of Tsimmer. It begins calmly, gradually gaining momentum, so that in the third part, having calmed down literally for a second, explodes an already full -fledged orchestra using a wide variety of tools. But just because of the last part, my music is completely diverging with what a white wolf was in books and games.

This character was devoid of pathos of typical heroes of fantasy sagas, even from the knightly title, he literally fled at one time. His path is not loud victories, but constant deprivations, incorrect decisions, struggle with its own complex character. The excessive orchestral pathos of the final part of the composition seems completely inappropriate to me in the topic of Geralt, especially since it has absolutely no tension in it, but it was this feeling that accompanied me throughout the reading of the saga and is densely associated with a white -haired witcher.

In contrast to this, the theme of Eredin, the king of wild hunting and, in fact, the main villain in all the many worlds of the Witcher universe, on the contrary, it seems too quiet and calm. Eredin sows death, he killed his own king, and his ambitions extend incredibly far. Yes, in his topic there is definitely a threat thanks to hissing metal percussion at the beginning and nervous violin, but this is not enough to convey the threat that the king of wild hunting represents. Eredin, who is just characterized by pathos and aggression, which could be perfectly conveyed with the help of an orchestra, in his topic appears as a dangerous intriguer acting from the shadows. This is rather like Avallak’h, this music would have come perfectly.

The king, it seems to me, is much better described by the music more aggressive and marching – there are such compositions in the soundtrack too, so it would definitely not have been out of the general background. But it is cool that the topics of Geralt and Eredin clearly echo melodically – these two characters are connected by purpose, it is in their battle that the fate of the world of the Witcher will decide. We can say, after Geralt’s acquaintance with Ciri, Eredin and the Witcher go along one road of fate, sooner or later there should have become crowded there.

But the topic of Emgyra perfectly conveys the whole essence of this character. All the instruments there sound as if the music is performed in a magnificent stone hall, the drums are quiet, but confident, and the growing melody of strings is perfectly suitable for white flame, dancing on the mounds of enemies. In this composition, the restraint, calculation and coldness of Emperor Nilfgard is felt, but at the same time the music copes well with conveying the magnificence of this person, hidden in him of an impressive force. Yes, perhaps it cannot be called super -memorable, because it is still quite typical for fantasy games, but, nevertheless, she performs her task of presenting the character excellently.

In general, the themes of characters are such a story with a stick about the two -edges. On the one hand, we have a magnificent theme of the Ezio Auditor, who outgrown the history of the Italian Assassin and became the main theme of the whole franchise about the brotherhood of the killers. On the other hand, it is often precisely the character topics are remembered by the players the least, because sometimes they only sound once when the hero is presented. In a series of games about the Witcher, there were enough memorable compositions for the characters, which is worth only a flute melody, which is played by Yorvet at the first meeting with Geralt in the second part. But in wild hunting, I would say that personal topics are the weakest part of the soundtrack. Especially when compared with how powerful tracks are waiting for us in the next sections.

Plot paths

The plot compositions should stand out quite strongly against the general musical background of the soundtrack in order to remember, but at the same time fit into the general context, so as not to look separately created by musical pieces that do not fit into the general landscape. Often, unlike those characters, plot compositions do not tell us a certain independent story, do not reveal us specific characters, they are less independent.

At the key moments of the plot, the player should be completely focused on the game, so the music can emphasize the moment well, but do not pull attention. It is the combination of excellent music, the importance of the moment and good directing in the stage that creates really unforgettable game moments, which friends later want to tell about.

The plot topics in Betzino Casino review The Witcher 3: Wild Hunt cope with their task perfectly. They are really remembered and they can easily be listened to in isolation from the game, but inside the project, in conjunction with the narrative and production, they open and demonstrate the strengths of both musical accompaniment and the plot with directing.

The Trail is a composition that absorbs all the best that is in the plot soundtrack of the third part of Geralt Games. It begins with a twelve -second introduction, where we first hear one woman, singing in a manner characteristic of Slavic folk singing, and then a whole choir. The entry of the slow, but at the same time, with a little attenuation before the choir and the subsequent flow of the vocal part into the instrumental party, which is most similar to a combat theme. However, then again there is a few seconds of silence, after which it begins to play a much more calm main melody, which in turn explodes a powerful orchestration in combination with choral singing.

This track, which we hear the very first in the game, immediately demonstrates us all the strengths of the musical landscape of the game. Firstly, this, of course, is the excellent use of vocal parties, which play the role of not just a filling of musical space, but an important instrument. Unlike, for example, many compositions in the Souls series, where composers also often use the choir. Moreover, I would even say that the vocals in this composition are the main tool, it is he, together with string, conducts a melody, which is best remembered. But if the strings give melodies character, then the choir perfectly emphasizes the most emotional moments, creates tension and helps the melodies to reach the peak.

How well the music goes with the video.

Secondly, the string orchestra, which today is perhaps the main tool for solving creative problems for all Score-music composers, goes well with folk motives in this composition. Mix from classical and folk music gives the right feeling of scale, but at the same time it ground the composition, adds variations to it, and also changes the mood from just pathos to combat, marching and tense.

Thirdly, here in all its glory the ability of Marcin Pshibilovich is revealed to use drums. The rhythm is the main weapon of any composer along with the melody, and Pshibilovich, who studied at the jazz conductor, understands this perfectly, because there is little genre, focuses on the rhythm so much.

That is why in The Trail such a clear emphasis is on a batch of drums and its combination with accents that the choir arranges. In his next project, Pshibilovich will also give the dominance in almost all compositions of the rhythm, inviting Nine Inch Nails to recording the samples of the drummer. However, in the game with fantasy setting, stiff industrial drums would not fit. Pshibyloavich prefers large drums, the use of which is characteristic of many peoples of the world in ritual songs, as well as small percussion tools, for example, tambourines.

And finally, fourthly, The Trail is a multi-part composition where parts are not just replaced by one without smooth transitions, as sometimes happens in modern mat-korov and post-metallic groups, but smoothly flow into each other, giving us a spectrum of emotions for one composition immediately.

I can safely say that The Trail combines all the best that is generally in the soundtrack of the third part of the game about Geralt. This is a combat mood, and talented use of folk music, especially a characteristic vocal manner, and gorgeous drums. The Trail immediately sets the mood for the whole game – it will be far from easy walk. In our gaming journey, both tense moments and calm ones, both rushes and falls, both enthusiastic pathos and low -powered mud will be enough. The Trail is a literally small musical excursion that we will wait for us, a ajar door to the Universe of Sapkovsky.

However, not only the militants boast the plot part of the soundtrack The Witcher 3: Wild Hunt. There are also lyrical compositions here, and they are not inferior in more grandiose and lively works. As an example, take the melancholy lyric compositions King Bran’s Final Voyage and Farewell, Old Friend. We hear both of these compositions in a similar context – Geralt in the presence of other heroes says goodbye to one of the characters of the Sapkovsky universe. However, these characters are for the player, and for Geralt, and for the world have completely different meanings.

King Bran is important for the islands of Skelliga, he was the leader who almost managed to unite most of the clans for the prosperity of the archipelago people. This is a prominent political figure around the world, because it is thanks to his efforts that the continent should now be afraid of the power of Skelliga. However, for Geralt himself, Bran was neither a friend nor even a close comrade. Yes, Geralt respected him for the strength and sincerity characteristic of the inhabitants, but could hardly say that he knew him well. For the Witcher, Bran was rather worthy of respect by the king, behind whom, like other crowned persons, it is better to follow from afar.

This attitude emphasizes King Bran’s Final Voyage. This is a very calm, measured, but magnificent melody, which perfectly corresponds to the mood of the scene in which it sounds. Yes, Bran died, unfortunately, because he could have done a lot for the people of the Skelliga Islands, he was the best king in history. However, in this melody there is almost no room for sadness. The composition embodies the respect of the people who earned the Bran. Yes, King Bran’s Final Voyage is quite typical: the strings evoke sadness mixed with solemnity, but this pathos does not press here, because the culmination of the explosion does not occur.

Calm farewell, filled with dignity and faith in the future with relying on the past. The past that I do not want to forget and from which I do not want to reject, but this is not the past of Geralt. He is a respected warrior here, but still not his. The past and future of the people Skelliga is not connected with him, which is why King Bran’s Final Voyage sounds a little distant and from afar.

King Bran’s Final Voyage

Vesemir, on the contrary, was for Geralt a father, mentor and friend, one of the closest people to whom he again returned to wintering to Caer Morhen and all the time found a warm welcome there. The death of Vesemir is the personal tragedy of Geralt, all the more he understands that it is partially also to blame for it, because, if he hadn’t, there would be no wild hunt to attack Caer Morhen.

The violin makes Farewell, Old Frew much more sad. Everyone who is present on the wires of Vesemir saw in him not just an old witcher, but a mentor, friend, father or grandfather. And the better all this is aware of this, the more sad the violin becomes, at the fifty second moving to sobbing.

However, after this violin crying reaches its peak, the background music of the orchestra begins to change, lighter major notes appear in it. At the very end, the violin falls silent, only the orchestra remains, so the finale is quite life -affirming – despite the significant loss for Geralt, it must live on. Moreover, Vesemir died as he wanted, in a battle with monsters. Anyway, not a single witcher was dying in his bed.

Farewell, Old Friend

Landscape sketches

Now let’s move on to the topics of significant places. They also have a very peculiar task, arising from the fact that they sound, unlike the plot or personal, not only at certain moments of the game, but almost constantly during the player’s trip along a particular location. Accordingly, in the more general plan, their specifics lies in the fact that they should not be too bright – in this case they will overload the player and begin to annoy too quickly.

But at the same time, they should not be done too gray, because then many locations can be lubricated, because whoever says what, and sounds play in the perception of games no less important role than a visual component. Music for locations should be a pleasant, but not too talkative companion, who accompanies the hero while he rummages through the dungeons or conquers mountain peaks.

It seems to me that both composers followed this balance perfectly. All musical topics are both remembered at the same time and go well with the location in which they sound, but at the same time do not annoy you during long races along the streets of Novirad or swamps of Velen. They become a very important part of our journey in the world of a witcher, endow each location with a special atmosphere and a unique character, thanks to this, Skelliga is not only distinguished by a visual atmosphere, which is logical, but also an audio.

“Tall and green speaker, the mountains and tops of which were drowned in the clouds” – one of the islands of Skelig. It is medium sizes, but one of the most little -tied in the archipelago, because even the islanders are not so harsh as to settle here. But at the same time, the speakerog, like other islands of the Skelliga archipelago, is not without his harsh charm of northern nature.

This is what tried to convey Strainsky in the excellent combination of strings and flutes with a pendant, conducting the main, rather lyrical melody. At the same time, the composition is developing, at first we are met by a flute, as if we first approach the speakerogo and its peaks begin to protrude from the dawn fog as barely visible silhouettes. In the middle, the melody reaches its peak – the island opens for us in all its glory, after which the melody continues to develop with small attenuations and bursts, because we, like a metaphorical navigator, enjoy the beauty of this place.

This is both very “fragile” music, emphasizing the subtle beauty of the northern nature, and magnificent, because the speaker is in the sea longer than any empire, and will meet the sea with stone breasts even eternity. Stroinsky perfectly recreated this balance due to the orchestral background arrangement and wind. He also uses vocal inserts very competently several times per composition, which, like the choir of the ancestors of the formidable residents of the speakerogo, remind us of the great past and, I want to believe, no less the great future of this proud people.

The Fields of Ard Skellig also has a similar charm. But if Spiceroog was primarily about the beauty and simplicity of nature, about the pristine greatness of the islands, then The Fields of Ard Skellige is more about how people live on these islands. This composition is one of the best examples of using reverb, echo and hum. They create the feeling that the song flies over the deserted expanses of Ard Skelliga to escape into the sea to the fisherman, while amazing panoramas rush before the eyes of the listener. This is probably the most beautiful composition from the entire soundtrack. You listen to it and as if you yourself become one of the islanders of the Skelliga archipelago.

Not only the main melody played on the violin or cello, but also the female voice that sings about the fisherman works well here. The Fields of Ard Skellig is an interpretation of the song of this song “FHIR A ‘BHàTA”, a Gel song of the late 18th century. In the version of Marcin Pshibilovich, this became a song of love not only for a person, but also for tradition, to the native shore and the sea. This composition, combined with SpikeRoog, perfectly conveys the whole essence of the islands – such harsh and impregnable, full people who are ready to grab combat axes if possible. But at the same time, from the beauty of the archipelago, these people, despite their cruelty and temper, know how to be grateful, they value their traditions and culture, which in a sense makes them even more civilized than the peoples of the continent.

The Fields of Ard Skellig

And of course, speaking of the topics of significant places, one cannot help but recall the absolutely beautiful theme of Caer Morhen – the old dilapidated castle, which has been a stronghold of the wolf school for many years. The sensations from the melody of lute, flute and background losses of the string orchestra are such as it should be from listening to the composition dedicated to the house of the main character. Calmness and peace reign in the Kaur Morhen lost in the mountains, where not to get without the knowledge of the witches. This is a place where thanks to Vesemir, his students can find shelter after their dangerous everyday life, consisting of fights with monsters and traveling from a village to a penny in a pocket.

The music is so light, transparent and elusive, unlike the beautiful, but in a certain sense of the fundamental The Fields of Ard Skellig, which you understand: Caher Morhen is only a temporary refuge, shelter from bad weather, which will still or later overtake. After the death of Vesemir, it is no longer a fact that at least one of them wants to return here. Perhaps soon Kaer Morhen is completely dilapidated and will remain only a shadow of memory. But so far this is a warm place, filled with pleasant memories and comfort of his home, Geralt enjoys this, as long as there is an opportunity, which is transmitted by the composition of Kaer Morhen.

Almost the exact opposite is The Hunter’s Path, Velen’s theme. Unlike the Spiceroog and Kaer Morhen, the Hunter’s Path very specific in their expressive means, is somewhat different.

Here, on the contrary, we hear a lot of tools: violin, cello, and lute or guitar, and many types of percussion instruments, each of which makes some kind of unique sounds. Like Velen himself, his topic is full of various rustle, bursts, and the main melody clearly should pushing us on associations with swamps and dangerous forests with its slow howls, in which danger lurks at every step. In noeous lands, you can literally see the drowsy of your own hut from the window of your own hut, or hear ghosts howl in neighboring elves howls.

The Hunter’s Path is a very gloomy, slow composition, from which it becomes uncomfortable, but that’s why it suits Velen. A rotting and ruined battlefield on which the two largest states of the world lead their political games. This is the hunter’s path not only because Geralt hunts for monsters, but also because he himself can become someone else’s victim at any moment.

Stroinsky and Pshibilovich were able to convey both bewitching beauty and the severity of some places, both a cozy sensation of the house and the threat. Each track for location is a composer success. There is a feeling that this is how such a contradictory world should sound like that. But what about gameplay topics?

Let’s get it?

We go to the finish line – intra -game, gameplay topics. First of all, this is music that sounds during battles with opponents – this will happen quite often, and both in the plot and during the usual study of the world, because there are always full of dangers around Geralt, starting from ordinary bandits and deserters from the Temer Army, ending with the most dangerous monsters, including small naders are one of the most harmless.

The task of combat compositions is similar to the task of music for locations, but still for gameplay, especially combat compositions, it is extremely important to fill more space. They place emphasis in the battle, forcing the player to act either smoothly and measuredly, such as the topics of many bosses in the Souls series, or vice versa to run ahead and destroy everything that comes into view, as does, say, Cyberpunk 2077.

This music does not just conveys the atmosphere, its task is much less trivial – passively and, as it were, imperceptibly push the player to choose a certain strategy of behavior, while not knocking him out of the general rhythm and not pulling too much attention to himself.

And, of course, speaking of the fighting topics in The Witcher 3: Wild Hunt, we somehow draw our attention to one of the best duets of combat topics in the history of the video game: Silver for Monsters … and … Steel for Humans. The first sounds during battles with many monsters in the open world, while the second, as it is easy to guess, during battles with people. These two compositions are quite similar, they even use plus minus the same set of tools, but each of them perfectly emphasizes the difference between Geralt’s fights with people and monsters

Silver for Monsters … It begins smoothly, there are no drums, the desired tense rhythm creates a certain guitar -like tool, as well as a cellular background. Geralt never fights the monsters from the scab, because each of them is stronger and more dangerous than any even the most prepared person. Moreover, strong monsters are hiding, create a den in their hard -to -reach and hidden from human eye places. Before you go to order, you need to find out who you have to face, find a monster, understand how to lure a monster from a den, create elixirs. Only then – into battle. It is this stage of preparation and tracking down that the first fifty seconds of the composition symbolize.

Silver for Monsters ..

Then Geralt still finds the monster-enters the vocal, which grows with the rest of the instruments literally a few seconds, then then explodes in endless climax with periodic attenuations and flashes. A fight with a monster is always a matter of life and death, a crazy dance, where the witcher lays out to the full, shows all the knowledge and skills that he acquired for many years of class with his craft, because if it turns out that he lacks something, then the case will definitely not limit himself to a cut with coins.

In Silver for Monsters … a torn pace, because the monsters are unpredictable. Hunting is not like a fight on swords in the same way as a fight with a wild beast in the forest is not like a duel – a person is predictable, his actions are easy to predict, especially for a mutant, but the monster did not teach treatises on fencing. Monsters are guided by instincts and reflexes that sometimes force them to perform unexpected actions, and if the witcher cannot react on time, then it will be disposed of. That is why, despite the fact that most of the composition is a climax with a torn pace, music cannot be called too harsh, there is a certain primitive pace of the battle between nature and man. Thanks to the feeling of this rhythm, Geralt defeats the monsters.

At the same time … Steel for Humans, on the contrary, literally bursts from the foot. Here, immediately shock and fast dance pace, which no longer seems so torn and unstable that the repeated phrases of the song only emphasize. Fights with people usually happen much more suddenly than battles with monsters, because, as you know, witches do not hunt people. In any case, most of them. Usually fights are tied suddenly-the word for the word in the tavern, someone pushed someone, the hot guys grabbed the swords, and after a minute the witcher is already standing in blood.

There is no test in such battles, there is nothing really dangerous, because Geralt has been chosen more than once or twice from serious troubles, where he had to fight alone with a dozen much more serious opponents than the people of the baron or criminals of Novihrad. Even trained knights, military and witchcraft hunters cannot contrast anything with a witcher who makes a life with a sword more than any of them years.

… Steel for Humans stressful, fast, she can’t take it away, but this is the tension of a professional boxer before the battle, where he is confident in victory. There is no drops of the uncertainty that is in Silver for Monsters … After all, no matter how much you kill, one of them can always easily get you from the back. Monsters are wild and unbridled, they will not be able to deceive the feint, and their claws often cannot be rejected with a sword. It’s easier with people, this is a dance where Geralt is always, without exception, is the leader. The inability of people emphasizes for a long time to survive in battle with the Witcher and the fact that Silver for Monsters … lasts almost twice as much.

These two compositions perfectly show that both Pshibilovich and Stroinsky very well understand how to write music for games, because, at least, wherever you stop any of them, it will still seem to have listened to a full -fledged track. They perfectly convey the mood, while using exactly the same set of musical instruments and other artistic means as other compositions of the soundtrack.

The Nightingale, which sounds during Gwint and conveying the atmosphere of gatherings in the tavern, is no worse, and the atmosphere of gatherings for the next partner due to a very measured rhythm and cheerful melody, as well as accents placed in the house. Cloak and Dagger with a rapid rhythm and intentionally slow flute melody, which is gradually accelerating, immediately associated with some gambling, which are races where this composition sounds.

Marcin Pshibilovich and Mikolai Stroinsky did a really impressive job. They created a gigantic musical canvas, where they demonstrated not only the possibilities of their own composer talent, but also in general the potential of game soundtracks as not just accompanied by a loved one for many entertainment, but independent, whole projects.

There are enough pathos of them that are impressive by their great. There are lyrical compositions setting up in a melancholy mood, because even in the cruel world of a witcher there is time to stop, think about the eternal and a little load. And, of course, a large number of fast, combat compositions that reveal all the charms of this music to the maximum. But the most important thing is that, turning on any song from the Soundtrack of the Third Witcher, you will immediately understand where it is, thanks to the integrity and uniqueness of the sound landscape that composers created with your own hands.

Thanks for the viewing. My name is Timur, subscribe to the channel, comment, do not forget about my social networks, read the stories on the Authortude, until the ambulance.