CD Projekt Red’s announcement of “The Witcher 4” has ignited a firestorm among fans, with many calling it an unsightly new direction for a franchise that was once adored. The decision to make Ciri the central protagonist has led to fierce backlash, as long-time fans express outrage over her radically altered design and the revision of her character lore.
Adding fuel to the fire is the growing concern about the influence of developer activism on the game’s narrative, with many questioning how these shifts will impact the overall direction of the series.
At the heart of the controversy is CD Projekt Red’s decision to shift the spotlight from Geralt of Rivia to Ciri as the central protagonist of The Witcher 4. While logicn would argue that Ciri’s character arc makes her a natural heir to Geralt’s legacy, many are skeptical. In Andrzej Sapkowski’s source material and the established game lore, Ciri, a woman with Elder Blood, is biologically unfit to become a Witcher due to her inability to undergo the Trial of the Grasses.
In the trailer, however, Ciri is shown seemingly using Witcher abilities, drinking a potion and casting signs. This contradicts the books, where Ciri never becomes a Witcher, and there is no indication that any woman ever did. Sapkowski’s The Sword of Destiny makes it clear that drinking a Witcher potion would be fatal unless a person was “inured to it from childhood.”
Many fans view CD Projekt Red’s decision to rewrite this crucial aspect of the lore as a betrayal of the franchise’s roots. In an interview with IGN, Executive Producer Malgorzata Mitręga defended the choice, calling Ciri “the very organic, logical choice.” She explained, “It was always about her, starting from the Saga when you read it in the books. She’s an amazing, layered character. And of course, as a protagonist, we said goodbye to Geralt previously. So this is a continuation. I guess for all of us, it’s like she was meant to be. That was always her.”
Game Director Sebastian Kalemba further emphasized Ciri’s role as the titular Witcher, stating, “She’s actually about to become the Witcher. She’s about to actually form her own codex, but on her own terms. The way she deals with monsters, the way she handles quests, the adventures—it’s her own unique way.”
Kalemba continued, “And also, I think she gives more room to tell different stories here and there. Of course, we want to give the player the opportunity to explore more nuance, because that’s what we do. But she deserves that.”
Ciri’s reimagined appearance has sparked further controversy, with fans criticizing her more “masculinized” and “uglified” design compared to previous iterations. This has led to accusations that The Witcher 4 prioritizes political messaging over preserving the character’s original aesthetic.
Many long-time fans question whether the game’s direction reflects the preferences of its established audience or is being dictated by ideological influences. These concerns are compounded by CD Projekt Red’s recent track record, including their receipt of an ESG award for offering menstrual leave to female employees, a detail some critics view as emblematic of a broader progressive agenda.
Following the divisive reception of Cyberpunk 2077, seen by myself as nothing more than a progressive abomination, it’s anyone’s guess whether The Witcher 4 will fare any better.
By placing Ciri in a role that blatantly contradicts established lore, the upcoming game risks alienating long-time fans who value the authenticity and depth that made the series iconic thanks not only to Andrzej Sapkowski’s novels but primarily to the video game adaptations crafted by CD Projekt Red.
Turning Ciri into a Witcher is a glaring violation of the lore and reeks of lazy, agenda-driven storytelling. She was already an immensely powerful character without the need for this contrived “girlboss” narrative. The Trial of the Grasses, a dangerous process granting Witchers their abilities was explicitly reserved for men, and Elder Blood carriers like Ciri were deemed unsuitable.
Twisting the franchise’s foundation to push a forced diversity angle only undermines what made The Witcher resonate with its audience in the first place.
Adding to the controversy is the public profile of the game’s lore designer, who has gained infamy for inflammatory remarks about gamers and outspoken support for Netflix’s widely criticized adaptation of The Witcher.
The adaptation’s extreme deviations from Andrzej Sapkowski’s source material were a major factor in Henry Cavill’s exit from the show, with Cavill hinting that creative disagreements over fidelity to the books he adores drove his decision. The lore designer’s vocal admiration for the divisive adaptation, coupled with their controversial statements, has only fueled fears that The Witcher 4 is prioritizing activism over staying true to the franchise’s beloved storytelling roots.
According to his LinkedIn profile, Cian Maher has been employed by CD Projekt Red since April 2023, serving as the lore designer for what is now confirmed as The Witcher IV.
However, a closer look at his history reveals a rather telling coincidence, Maher previously worked as a journalist for The Gamer, one of many notorious publications known for championing progressive agendas. The outlet frequently criticized heteronormative content in games while relentlessly promoting themes of homosexuality, diversity, and inclusivity, raising eyebrows among fans who see this as yet another red flag for the direction of the upcoming game.
Cian Maher has been an outspoken defender of the lore changes in Netflix’s The Witcher adaptation, which introduced new storylines and characters while significantly altering established ones. Ciri’s characterization, for example, was made more passive and underdeveloped, stripping away much of her complexity.
Meanwhile, Geralt’s philosophical depth and moral dilemmas were sidelined in favor of a more action-heavy narrative, leading to widespread criticism from fans of the original material. Maher’s staunch support for these controversial changes has only heightened concerns about his influence on The Witcher IV.
Yennefer’s expanded backstory pulls focus away from her relationship with Geralt, while the non-linear timeline of Season 1 muddles the narrative. Core dynamics, like the familial bond between Geralt, Yennefer, and Ciri, are barely touched on. Major deviations in characters like Vilgefortz and the Brotherhood undermine the established lore, and the inclusion of original subplots and characters strays even further from the books’ tone and themes.
Cian Maher had no problem heaping praise on lore-breaking disasters like Netflix’s The Witcher and The Rings of Power, despite his title as a Lore Designer, a role you’d think is all about respecting the source material. But with his background as a journalist, it’s more likely CD Projekt Red brought him on for his flair for spinning fiction. After all, if there’s one thing journalists excel at, it’s lying and defamation.
As expected from yet another one of CDPR’s activist hires, Cian Maher is a vocal supporter of transgender ideology. He’s openly criticized the Harry Potter franchise due to its association with J.K. Rowling, a feminist with a firm grasp on basic human biology. Once a fan of the series, Maher claims he abandoned it entirely because of Rowling’s antics in the years following its conclusion.
In September 2023, Maher targeted critics of pronouns in gaming, smugly declaring: “If you are an adult who loses their mind at the concept of pronouns, which everyone, everywhere, throughout all of history has used every single day, there is something wrong with your life but it’s not what you think it is. The Wokes aren’t out to get you. You’re just a clown.” He doubled down, adding: “It is absurd that people can be so far gone that they will publicly go berserk at the sight of the word ‘they,’ or even just ‘pronoun.’”
This rhetoric perfectly illustrates the progressive agenda’s tactic of dismissing valid critiques of identity politics infiltrating hobbies, franchises, and escapism as mere ignorance or “bigotry.” Meanwhile, they actively champion the very policies that erode the integrity of creative industries. Maher’s remarks reveal a deeper contempt for traditionalist perspectives, painting anyone who questions these changes as regressive or intolerant, further widening the cultural divide.
His stance aligns seamlessly with the ESG-driven corporate culture, where tokenism takes precedence over authenticity, reducing complex discussions about creativity, lore, and language to simplistic accusations of “clownery.”
Maher’s unapologetic promotion of DEI (Diversity, Equity, and Inclusion) policies highlights the creeping influence of radical leftist ideology within the gaming industry. In a May 2022 post, he openly mocked the concept of meritocracy, proclaiming: “Anyone who responds to calls for diversity with ‘How is this fair? Hiring should be based on skill’ usually has no skill whatsoever. If you claim you can’t get a job because you’re straight and white, I’m sorry — you can’t get a job because you’re shite.”
He went even further, arrogantly claiming that critics of diversity policies are simply untalented and hiding behind their identity. “People would rather be bigoted and blame the fact they’re straight white men on their inability to get a job than, you know, the fact they’re not quite as good a writer as they’d like to think,” he declared, even attributing their “confidence” to what he described as “unfounded straight white man confidence.”
Similar narratives have been echoed by CDPR CEO Michael Nowakowski, who dismisses the company’s progressive DEI alignment as “conspiracy theories,” insisting that the team follows a merit-based hiring policy.
This, of course, comes despite the hiring of someone like Cian Maher, a former journalist who defended Netflix’s The Witcher lore revisionism in the crucial role of Lore Designer for The Witcher IV, a title that openly strays from the novels to push a now “uglier” and more masculine version of Ciri as a Witcher, despite her well-developed character in the books. It’s also worth noting that CDPR has a female-only scholarship program.
Such rhetoric exemplifies the corrosive influence of ESG (Environmental, Social, and Governance) principles, which prioritize ideological conformity over real talent and quality. By championing policies that marginalize merit-based hiring, Maher and others like him are eroding the creative integrity of the industry, replacing it with a hollow, tokenistic approach that values politics over passion and storytelling.
This ideology has alienated both fans and creators, leaving the industry increasingly dominated by divisive, activist-driven narratives rather than quality, fan-centered experiences. All the while, Cian himself openly declared his disdain for gamers, even admitting he wanted to punch them.
Cian Maher serves as the perfect example of the widening disconnect between modern game developers and the gaming audience. We’ve seen this play out with Obsidian Entertainment’s upcoming Avowed, which introduces gender pronouns and clunky DEI-centric character designs.
The art director even boasted on social media about pushing the agenda, mocking those complaining about “woke” ideology in game design, especially after Elon Musk called out the trend. Meanwhile, the level designer for Crystal Dynamics’ woke Perfect Dark reboot openly expressed contempt for gamers, calling them a “mistake” and labeling anyone objecting to forced race swaps as racist.
It’s a disturbing trend where creators seem to prioritize activism over consumer satisfaction and creative integrity.
As fans debate the impact of these changes, the conversation exposes the growing tensions within the gaming industry. The artificial push for greater diversity and inclusivity clashes with audiences’ desire for consistency and authenticity, creating friction that risks alienating even the most loyal fanbases.
Modern video game design feels increasingly driven by activism, with games seemingly crafted by people who actively disdain consumers for objecting to their aggressive ideological stances and their propaganda seeping into the product. The Witcher has always been a series steeped in sexual content, integrating sex scenes into its storytelling, character dynamics, and world-building with its central character Geralt.
So, what’s the plan for The Witcher 4? Now that we’re playing as Ciri, are we just abandoning all of that, or are we going full-on with lesbian romps with wooden dildos instead?
The blatant lore revisionism in The Witcher 4 was primarily aimed at pushing the franchise to new heights, attracting a broader audience while alienating its core fanbase. The reality is that The Witcher 4 is being made by a completely different team than the one behind the first three iconic entries.
CDPR operates like a revolving door, regularly replacing seasoned veterans with inexperienced diverse hires. This is in line with CDPR’s ties to BlackRock’s ESG agenda, further underscored by the studio’s female-only scholarship program designed to nurture the talents of aspiring developers fresh out of education. CDPR is using The Witcher as a vehicle to push their progressive fantasies, regardless of the lore originally created by Andrzej Sapkowski.
The hiring of Mary Kenney, formerly of Insomniac Games, by CDPR is yet another nail in the coffin for the studio. Kenney, who openly stated that the game industry must “pull every lever” to push progressive LGBT representation, is presumably being brought on to work on the upcoming Cyberpunk sequel.
With this move, it’s clear there’s no salvaging CDPR. The studio has also hired a former game journalist as the lead lore consultant for The Witcher IV, a person who shamelessly defended Netflix’s heavy deviations from the novels.
Now, this same individual plays a key role in the radical new direction the game adaptations are taking, crafted by a completely different team than the one that made the first three games so iconic.
As for The Witcher IV and CDPR’s financial and sales prospects, only time will tell. But honestly, I hope nothing but failure for this increasingly radical studio, which continues to hire activists who not only have no respect for the source material but actively scorn the very fans who oppose the intrusion of radical leftist ideology and identity politics into their beloved franchises and forms of escapism.
It’s clear CDPR has shifted its priorities, and with each move, they seem further removed from the core values that made them great. As far as I’m concerned, it’s a studio on a path to self-destruction, alienating its true fans in the process.
