Discover why The Witcher 3: The Last Wish is the perfect prequel, exploring Geralt’s origins, key characters, and the story that sets the stage for his legendary journey.
CD Projekt Red revealed Songs of the Past this month at gamescom, The Witcher 3 expansion. There is also Ciri-led Witcher 4 already in production that sparked an online discussion about the book ‘The Last Wish’ which is the origin story – the Wild Hunt is built on. The book is a collection of short stories published in 1993.
There is a reason why fans talk about it now, it helps you understand the emotional history behind some of the biggest moments in the game. So some suggest reading it before playing a game or some say read it after so it will be more interesting.
Wild Hunt released on May 19, 2015, and went on to win more than 250 Game of the Year awards. It’s still one of the most replayed RPGs on the market a decade later, which is exactly why CD Projekt Red keeps feeding it new content instead of letting it rest — Hearts of Stone and Blood and Wine both landed in 2015 and 2016, and now Songs of the Past is coming to close out the trilogy of expansions. For a game built almost entirely on the idea that your past choices and Geralt’s catch up with you, it makes sense that new players are asking where that past actually started.
It didn’t start with the game. Andrzej Sapkowski, a Polish former economist turned fantasy writer, published his first Geralt short story in 1986 and collected the earliest ones into The Last Wish (Ostatnie życzenie) in 1993 — more than twenty years before CD Projekt Red touched the material.
Gollancz published the UK edition in June 2007, with a US edition from Orbit following in 2008, translated by Danusia Stok. So when people call it “the perfect prequel,” they don’t mean Sapkowski wrote it as a companion piece to a video game that didn’t exist yet. They mean it’s the actual literary starting point of everything that follows — books, games, and the Netflix show alike.
It’s six novella-length short stories, wrapped in a framing narrative called “The Voice of Reason,” which is itself split into seven short parts scattered through the book. The frame is simple: Geralt, badly wounded after a fight, is recovering at the Temple of Melitele under the priestess Nenneke, and each time the story cuts back to the temple, it triggers a flashback that becomes the next full story.
It’s a structure that rewards picking the book up in short sessions — you can read one story, stop, and not lose the thread, which is rare for fantasy fiction and part of why it works so well for people used to console gaming in bursts.
The six stories, in the order they appear, are:
None of them require you to have read anything else first. That’s deliberate — this is Sapkowski introducing his own world to readers who’d never met Geralt before, which is precisely the position most The Witcher 3 players are in relative to the books.
The three stories not covered in detail below still matter. “The Witcher” is the striga contract at Wyzim that opens the book and establishes what Geralt’s job actually looks like day-to-day.
“A Grain of Truth” is a doomed romance with a cursed nobleman named Nivellen, closer to a Beauty and the Beast retelling than a monster hunt.
“The Edge of the World” sends Geralt into elven territory and does more to establish the tension between humans and the Elder Races than anything Wild Hunt shows directly.
None of the three are essential to understanding the game, but they’re short enough that skipping them saves almost no time.
Sword of Destiny actually printed in 1992, a full year before The Last Wish hit shelves in 1993. So chronologically inside the story, Last Wish comes first but it wasn’t published first in its original language.
English readers dodge that confusion entirely, because Stok’s translation of The Last Wish arrived in 2007, while Sword of Destiny wasn’t translated into English until 2015. If you’re reading in English, you’re already getting the books in the “correct” story order without trying.
You don’t need all six stories to understand why the book pairs so well with the game, but three of them do a specific job the game just assumes you already know.
This is the story that introduces the Law of Surprise — the custom where a person saved from death owes their rescuer whatever they didn’t know they had at the time, whether that’s a sack of gold or an unborn child. Geralt invokes it almost as a formality at Pavetta and Duny’s betrothal feast at Cintra, not realizing what he’s just claimed. Wild Hunt spends dozens of hours on Geralt’s bond with Ciri, treating her as the daughter he never planned to have.
This story is the moment that bond gets created, on paper, years before Ciri is even born. Nothing in the game explains the Law of Surprise this clearly — you either already know it or you’re taking the game’s word for why Geralt cares this much.
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The title story is where Geralt and the bard Dandelion free a djinn from a shattered vessel, and where Geralt first crosses paths with the sorceress Yennefer of Vengerberg. It’s a messy, funny, occasionally chaotic story — Yennefer manipulates Geralt into attacking a group of councilmen before the two of them team up to deal with the djinn itself and it ends with Geralt using his last wish to tie his fate to hers.
Wild Hunt shows you the relationship between them but the story shows you the moment it had all started. The game assumes you probably understand the deep connection and bond of Geralt and Yennefer which tied them together from the beginning, even when neither of them really realizes it.
One of the important stories where you understand what makes The Witcher 3’s choices feel different from other RPGs. Geralt had to make a difficult choice, kill Renfri, a woman who has suffered badly but has also killed people, or let her live to kill more people. Sapkowski ‘s entire point is that “the lesser evil” is still evil, and thinking otherwise is a lie, people telling themselves to feel better about hard decisions.
“Sometimes you have to live with your choices because there is no truly good option.”
That’s the exact philosophy behind almost every quest branch in Wild Hunt, from the Bloody Baron questline to the fate of Ciri at the very end. The game never states this philosophy outright. The book does, in one uncomfortable short story.
If you came to Geralt through Netflix instead of the game, you’ve technically already met most of this book, just in the wrong order.
The Witcher Season 1 have eight episodes in which the first five adapted from:
The remaining three episodes pull from Sword of Destiny instead. Showrunner Lauren Schmidt Hissrich chose to mix Geralt’s, Yennefer’s, and Ciri’s timelines together and present it on-screen for viewers but this choice made this season harder to understand without making each event clear during the story jumps across decades.
Reading The Last Wish doesn’t just prepare you for the game. It untangles exactly what confuses people about the show, because you’re seeing the same five stories told in a straight line instead of cut into pieces.
You can read this book before playing the Wild Hunt because The Last Wish doesn’t spoil a single plot point from Wild Hunt because It’s set years before the game’s story, so there’s no spoilers. It just removes the distant feeling that many players experience in the first ten hours, where Geralt clearly has a history with Yennefer, Triss, and Ciri, and it references endlessly but never fully explains because CD Projekt Red thought that players had already read the books.
Reading it after finishing the game still works, and some players actually prefer it that way, because it reveals the part where you assume and then get surprised with the actual story behind it. So both options work so well.
However, skipping it entirely and depending on the game’s codex entries won’t work to understand the story behind these relationships and make your interest loose.
If you want a low-effort entry point, the 2014 UK Audible production, narrated by Peter Kenny, runs a little over twelve hours — short enough to finish over a couple of weeks of commutes, and it’s the version most audiobook-first readers point to as the strongest performance of Geralt’s dry, deadpan voice.
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If you’re one of the players jumping back into Wild Hunt because of the Songs of the Past reveal, or picking it up for the first time because Witcher 4 is putting Ciri in the lead role, The Last Wish is the single most efficient piece of reading you can do first. Skip Sword of Destiny and the five-book saga for now because none of that is required to enjoy the game, and it’s a much bigger time investment.
Read these six stories, pay close attention to “A Question of Price,” “The Last Wish,” and “The Lesser Evil,” and you’ll walk into Wild Hunt already understanding why Geralt fights as hard as he does to protect people he technically didn’t have to.
The Witcher 3 expanded context doesn’t just make the game make more sense — it makes the ending land harder, which is exactly what a good prequel is supposed to do.
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Michelle Randolph’s Big Break is landing a big film co-starring role for the first time and it’s a real career moment.
Michelle Randolph is officially stepping into the light. After making a name for herself with her breakout roles in Taylor Sheridan’s hit dramas, the up-and-coming actress has been cast as the female lead in Amazon MGM Studios’ holiday rom-com, Clashing Through the Snow. She stars opposite The Summer I Turned Pretty favorite Christopher Briney in her first major feature film role. This is a major career moment for Randolph and fans can’t wait to see what she does next.
When Randolph made a splash in 1923, a spinoff of Yellowstone, opposite Hollywood legends Harrison Ford and Helen Mirren, she was an unknown herself. Her performance as a determined young woman finding her way through the social-political landscape of the post-war era won her critical praise and a devoted following.
That success led directly to her booking Landman-here she’s the rebellious, beguiling Ainsley Norris, the daughter of the character played by Billy Bob Thornton. The series became Paramount+’s largest global premiere week for originals, with Randolph’s character becoming an instant fan favorite.
The thing that’s most incredible about Randolph’s journey isn’t even the roles she’s landed, it’s the confidence she’s gotten along the way. She’s also been refreshingly candid in recent interviews about battling impostor syndrome while appearing alongside some of Hollywood’s most venerable veterans.
“I have worse imposter syndrome,”
—she confessed
Though she’s getting better about being less hard on herself when she sees that actors whose work is the most celebrated in this industry have doubts like hers. This vulnerability is one of the reasons she has gone on to be beloved by viewers who find her refreshingly real in a business often characterized by meticulously constructed personas.
Directed by Carlson Young (the lovely rom-com Upgraded), the film is set to give you a treat. Amazon is presenting Clashing Through the Snow as Planes, Trains and Automobiles for the new age—a contemporary take on the classic 1987 John Hughes film that starred Steve Martin and John Candy. Written by Love Hard’s Daniel Mackey and Rebecca Ewing, the script combines smart, relatable banter with genuine feeling, all framed by a festive holiday setting.
Christopher Briney is at a turning point in his career with the age-appropriate lead role, after breaking through as Conrad Fisher in the hit series The Summer I Turned Pretty. After enchanting young viewers for three seasons, Briney is now taking on different projects, eager to prove his versatility outside of the darling teen romance series. His casting opposite Randolph has also created a buzz, with fans looking forward to their on-screen chemistry.
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Production will begin in February for a planned holiday 2026 release ― which is just right for audiences looking for some good vibes around the winter holidays. This is a big step career-wise for both leads, but especially for Randolph, whose trajectory from unknown to co-starring in a major streaming holiday movie demonstrates the power of steady, captivating work.
As the landscape of entertainment shifts, Michelle Randolph is a testament to the fact that those performers who are truly able to be both strong and vulnerable will eventually have their moment. Crashing Through the Snow seems to belong to her.
The path Randolph’s taken seems less like a sudden ascendant storyline, and more the culmination of an incredible amount of hard work. From competing with iconic attorneys in 1923 to becoming a Landman favorite, she has earned straight-faced, hardened, and genuine connections with audiences.
Clashing Through the Snow is more than just another holiday rom-com—it’s a pointed signal that Randolph can carry a story, not just support one.
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See how George RR Martin draws tragic parallels between Baelor Breakspear and Oberyn Martell, reverberating fate & honor throughout the history of Westeros.
If you have ever found yourself buried deep in the lore of George RR Martin — A Song of Ice and Fire, or you just have a passing interest in Game of Thrones, you are probably familiar with the popular phrase “History doesn’t repeat itself, but it often rhymes.”
In Westeros, this is more than just a clever saying. How the George RR Martin whole story is built around it. George RR Martin has a penchant for retroactively playing out events of the past in the present, but often with a grimmer, more twisted result. But of all his books’ historical “rhymes,” there are none quite so heartbreaking or headache-inducing as the link between Prince Baelor “Breakspear” Targaryen and Prince Oberyn “The Red Viper” Martell.
Almost a hundred years apart, these two men were the rockstars of their times. They were the top fighters, the coolest princes, the dudes everyone wanted to be. Yet, both of them died in virtually the same way: trial by combat against a giant, intimidating rival with a gory, skull-crushing ending, in a result that altered the destiny of the George RR Martin Seven Kingdoms for all time.
So let’s get down to the fascinating, tragic and completely brutal comparisons between the George RR Martin Dragon and the Viper.
Before discussing how they died, we need to talk about why what they died for hurt so much. “In a George RR Martin narrative tragedy it must hit home, so you make the audience fall in love with the character first.” Martin did this to perfection with both Baelor and Oberyn.
Baelor Targaryen as seen in The Hedge Knight is the very picture of the perfect prince. He was crown prince and Hand of the King, and also a legendary warrior. Not only was he a man of strength and power, but his character was so good that he was looked upon as a shining light of virtue and leadership in the land.
In addition, he was both the Hand of the King and the crown prince, and a fighter so famous that he was the subject of ballads. He wasn’t just strong; he was good. He was the kind of leader who made people feel safe. Had Baelor ascended the throne, the Targaryen rule might have persisted for an additional thousand years or so.
A century and change from there to the main series. Oberyn Martell was Baelor’s polar opposite in personality, but his equal in charisma. He’s the “Red Viper” – a second son who lives in the world, fighting in mercenary companies, learning poisons, and basically doing whatever he wants. He was dire, capricious, and that Shot-in-the-dark Really Cool, Just as Baelor stood for the best House Targaryen could offer, Oberyn stood for the prickly, fiery, indomitable soul of Dorne.
Both were what we call “Era Parents.” When they entered a room, they demanded respect. When they pulled out a gun, you knew something amazing was about to happen.
The similarities really start to emerge when you examine the causes of their deaths. Neither prince died in a grand war or a serendipitous mishap. They each took part in a judicial duel—a trial by combat to rescue someone who was being annihilated by the system.
Baelor Breakspear shocked the whole realm when he backed a hedge knight named Duncan the Tall (Dunk). Dunk was charged with attacking a royal prince (who actually deserved it), and Baelor saw that his own family was wrong. In an act of idealistic chivalry, Baelor practically staked his life on a nobody’s honor. He battled for the helpless against the mighty.
Oberyn Martell advances to champion Tyrion Lannister. However Oberyn’s motivation was slightly different, he craved the chance to kill Gregor Clegane (The Mountain) for the murder of his sister, Elia. But it’s the same: a scion of high-born nobility takes up his rapier in the ring, now defending a man whose fate has been decided by the crown.
Here again, we have a champion confronting a beast for a small fry, in both cases. And in both cases the story tricks us into thinking they’re going to win.
This is the part that makes everyone cringe. George RR Martin didn’t simply kill those characters — he dismembered them, in ways that are specific, graphic, and medically horrifying.
The “head-crush” is a very specific motif in Westeros. It is the beheading of a family or movement’s “head.”
The Hedge Knight tells the tale, and Baelor appears fine at the end of the fight. He’s sitting up, chatting, and instructs his maester to attend the other injured men first. But then, he complains about a headache. The horror is revealed when he removes the helmet.
His brother, Maekar, had clubbed him with a mace in the scramble. The blow had crushed the back of Baelor’s skull. The helmet was the only thing holding his head together. Baelor collapsed when the helmet was removed and the pressure relieved. The “red blood and pale bone” that is poured out here is one of the most memorable images in fantasy literature. Baelor was exhausted as a “walking ghost” – alive only thanks to his armor and force of will.
Oberyn’s death is the violent, fast-paced rhyme to Baelor’s slow tragedy. We all know the scene. Oberyn has the Mountain pinned. He has won. But his arrogance gets the better of him. He wants a confession.
The Mountain trips him, punches his teeth out, gouges his eyes and then— in a moment sextillions of TV viewers will rerun in their heads that crushes his skull with his bare hands. The “sickening crunch” described in the books is a direct echo of the noise Baelor’s skull emitted when his helmet was taken off.
Both men were inches away from survival. Both men were the superior fighters. And both men were left broken on the tourney grounds.
If we investigate a little, there turns out to be an interesting “technical” reason why they both died, and it says a lot about what kind of men they were.
He raced late into the melee without any armor of his own. He had to borrow armor from his son, Prince Valarr. The problem? Valarr was smaller and slimmer than Baelor. The helmet was too tight.
A helmet must be padded and have some space in front to play the shock of the hit in medieval fights. The death of Baelor Toesdrinker was a tragic example of what can happen when armor is ill-fitting. That which should have protected him from harm, was what killed him, underscoring the need for accuracy and caution when making protective equipment.
Oberyn was known to fight without a helmet. He wanted to be quick, light, and to have everything in sight. This was his hubris. He thought his ability was sufficient protection. If Oberyn had been wearing a heavy helm like a regular knight, the Mountain would not have been able to gouge out his eyes and crush his skull so easily.
Baelor is one of the coolest lessons on how to read prophecies George RR Martin Game of Thrones can teach us.
In The Hedge Knight, Daeron the Drunkard has a “dragon dream.” He says to Dunk:
“I dreamed a great red dragon fell upon you, but you were living and the dragon was dead.”
Everyone is initially under the impression that Dunk is going to kill a prince in the fight. But that’s not what happens. Baelor (the “great red dragon”) dies from a blow to the head and collapses over Dunk, who is crying on the ground. The prophecy was fulfilled, but not as anyone expected.
Tragedy is the source of great wisdom that audiences can learn from in this tale. When Daenerys has visions, or Cersei hears prophecies, it is a signal to treat such pronouncements with a grain of salt and a generous helping to understand the “falling dragon” is not an actual monster that drops from the sky but it’s the fall of a great man. Baelor’s death is the key to understanding the magical logic of the whole George RR Martin series.
You might be thinking: “So a prince died 90 years ago, big deal. Where’s the relevance to the main storyline?”
But this is why we have the Mad King, thanks to Baelor Breakspear’s death.
Let’s see how the dominoes fall:
The succession to the throne would have been secure. There would be no Mad King Aerys, no Robert’s Baratheon, and no Ned Stark losing his head.
Baelor’s death was the “hammer blow” that shattered the foundations of House Targaryen. When we reach Oberyn’s death in the novels, we are simply witnessing the end of the house.
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Baelor Targaryen, by birth, looked very different from most Targaryens. His mother was Mariah Martell of Dorne the source of his Dornish heritage, he inherited her black hair and black eyes. It gave him a decidedly Doran look, and some quietly commented that Baelor was “more Martell than Targaryen.”
Particular, grotesque fate for the Martell line Martin has reserved, it seems like. It’s almost a “blood-rhyme.” The ones who have the blood of Dorne with fierce, proud, rebellious to keep ending up crushed by the likes of what the Iron Throne can put its enforcers, blunt force.
So the next time you see that gruesome scene of Oberyn Martell in Season 4, or The Hedge Knight, keep in mind that you’re not just watching a fight. You are watching a cycle of history repeating itself.
George RR Martin connected these two men across time to reveal to us that the “Game of Thrones” consumes even its best players. Baelor was the fire of the past, and Oberyn was the hope of the present. They both crumbled under the burden of their own decisions, and the cruelty of their world.
The death of Baelor broke the Targaryen dynasty, and that of Oberyn shattered the peace between the Lannisters and Dorne. They are the two “crushed crowns” of Westeros that testaments to how even the brightest stars can go out swiftly, violently.
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