In Defense of ‘The Witcher’ and Complex Storytelling
If Pulp Fiction proved anything, it’s that audiences are smart. Tarantino told three different stories over seven acts, but what really kept audiences on their toes was the non-sequential chronology. The New York Times gushed that it was a “triumphant, cleverly disorienting journey,” and promptly awarded it five stars. Tarantino was neither the first nor the last storyteller to use nonlinear narrative. Which brings me to one very sensible question: Why are critics harshly objecting to the non-sequential chronology of The Witcher?
Now, don’t get me wrong, Netflix’s latest fantasy romp isn’t perfect. The plot takes a while to get moving, the dialogue sometimes smacks of its video game predecessors, and the CGI isn’t always smooth. But the nonlinear structure ought to be beyond reproach; the storyline might be a little confusing, but it sure is engaging. In fact, it’s the engine that drives the entire first season forward, and, in the process, elevates the show from merely good to great.
The Fine Line Between Confusing and Engaging
Let’s be honest here: There are no training wheels when it comes to The Witcher. Aside from a few references, the show makes little effort in the opening three episodes to let us know that we’re watching three distinct stories over three overlapping timelines. (That is, unless…
