In a way, I write on many topics, using The Witcher as a framework to examine and illustrate them. I'm most into intertextual links, how ideas evolve and what gets cut, and character studies.

I approach The Witcher as a literary game. By deconstructing and reinterpreting a world in which all original stories seem to have been told already, Andrzej Sapkowski plays to his readers' curiosity about storytelling. My research has, subsequently, spun from close character studies to comparative literary analyses and meta-frames. I was first charmed by his characters, but it was the intertextual weave of the tale that got me tangled; tempting me to read broader and deeper in order to know better about what could fit into the world of these characters.

"Everything has already been, everything has already happened. And everything has already been described," says Vysogota of Corvo. I am not at a point where I could say that yet, so I persist, intuitively favouring dense, reference-heavy, indefinite texts.

This investigation continues beyond the books through CDPR's adaptations, where new layers of narrative interpretation emerge. Like the two Cycles' own relationship with myth and fairy tale, I dig into the quasi-historic foundations and study how stories and archetypes reflect and refract through different tellings; how their tales and characters mirror and transform each other. This extends to documenting cut content and early story drafts from The Witcher 3: Wild Hunt.