Review by Ian Keogh

This second Witcher Omnibus differs considerably from the first via the very different look of the art over the three main stories offering alternative perspectives on Geralt and his trade.

We open with the very polished and decorative art of Marianna Strychowska (sample art left), handed a story literally a world away from Geralt’s usual Eastern Europe location. Instead we have the opulence of an Arabian community of the era, and Strychowska makes the most of the opportunities. That’s a complete contrast to the looser and sometimes abstracted work of Vanesa R. Del Ray (working from John Starr’s layouts, sample art right), which is all broad brush strokes and impressionistic views of cast and situations. The middle ground is provided by Amad Mir, whose story separates the two. He reinforces Geralt’s gloomy world, setting the story at night and accentuating the shadows, but filling the panels with detail.

To date the Witcher’s appearances in comics have been lacking the supporting cast from the novels, but that changes with Dandelion’s appearance in the first story, originally issued as Of Flesh and Flame. Game writer Aleksandra Motyka captures his charismatic character to the extent that he almost usurps Geralt from his own story. It’s a clever plot, though, endangering Geralt and making the most of the magic in an Arabian location.

Film writer Bartok Sztybor then takes over, and he’s written almost all of Geralt’s subsequent appearances. Despite his start coinciding with the screening of the TV show, Sztybor defines Geralt as solo act here, and none of the supporting cast feature in his two longer stories and one short.

What was originally published Fading Memories is revealed to have a clever title once all is disclosed. Geralt is hired to deal with foglets attacking children, which is unheard of, so he’s naturally curious, but the authorities who hired him actively hamper any further investigation. Will Geralt get to the truth?

That’s followed by the bleakest Witcher story to date, which begins with the burning of an alleged witch, and moves into even darker areas. Sztybor delivers characters and situations well, muddying the waters to prevent readers from ascertaining who’s telling the truth, and importing the idea of therapy sessions from the future is effective. Originally issued as Witch’s Lament, it more than lives up to the title.

‘Once Upon A Time in the Woods is a short story not previously available in book form. Geralt is hired to deal with the continuing theft of pigs from a woman’s farm. The solution is almost immediately revealed, but the complication is that several others feel they can deal with the problem. The humour sits uneasily alongside the tragedy, but works with an effective ending, and Nil Vendrell’s clear art brings through the assorted moods.

This is a stronger collection than the first Omnibus, and should satisfy Witcher fans, whether drawn here by the novels, the games or the TV show.