Bloody Baron: portrait and tragedy

In my opinion, the Bloody Baron is the most dramatically powerful character in the third Witcher. His story, the drama of his life, repentance, self-flagellation, the cross that he will have to bear for the rest of his life – all this makes the Baron real, alive and makes us condemn him and still worry about him. Therefore, in my column “Portrait and Tragedy” I want to express my opinion about this character and try to understand what exactly makes the Baron such a strong character.
So let’s go.

Why does the Baron’s story touch us so strongly?? The fact is that this quest is based on a classic and never outdated Greek drama. We see a causal connection between the Baron’s actions (he drank and periodically beat his wife) and his subsequent fate. Meanwhile, we, as spectators or players, cannot predict until the last moment where this or that twist in this story will turn. We see the character’s sincere repentance, his willingness to give everything, even his life, in order to correct his biggest mistake.

Throughout human history, playwrights of https://luckstercasino.co.uk/ all stripes have touched upon the themes of redemption and repentance.
This topic was touched upon by Dostoevsky, Shakespeare, Goethe and many others. However, this topic has been and remains one of the most difficult in the art of drama. The writers of the third Witcher succeeded.
Yes, the Bloody Baron is a product of the imagination of the writers of the third Witcher, and not the pen of Sapkowski, which gives the character even more value and shows what level they have achieved over these 10 years.

Despite the fact that in life we ​​rarely meet people with a pronounced temperament, the Bloody Baron is a typical choleric person. His mood changes extremely quickly and is subject to emotional outbursts, but these impulses are quickly exhausted. He loves his wife and daughter immensely, but from time to time he shows strong aggression towards them, which is due to alcohol. He sincerely thinks (and this probably makes sense) that he is a good and kind person – and only vodka turns him into a monster.
The Baron has great leadership qualities, thanks to which, as well as his strong-willed qualities, he achieved success and built himself a huge castle. His subordinates fear him, but respect him.

The first thing I want to say is that the Baron (or, more conveniently, Philip Stenger) has a mysterious Slavic mentality. There are many videos on YouTube in which the authors say that the third Witcher is not a Slavic, but rather a European fantasy. However, characters like the Bloody Baron show that there is truly a lot of Slavic in the game.
He drinks vodka, pouring it into small glasses from the height of a skyscraper, spilling it and not seeing anything wrong with it, he lives to the fullest, on a grand scale. He is rude and insolent, but at the same time remains a deeply sensual and kind person. Loves life and yet is completely indifferent to it. Responsiveness goes quite harmoniously with aggression. And the emotional pendulum shifts from depression to lust for life in a matter of seconds. And from these striking contradictions such a fascinating character is born.

The voice acting is also worth mentioning. She’s gorgeous. Perhaps it was impossible to voice the Baron better than what was done in the Russian localization. For comparison, let’s listen to the English voice acting, which, however, is also very good.
However, the way the Baron was voiced by Sergei Chikhachev is beyond praise.

The most important value of the Bloody Baron is his family – his wife and daughter. These are the two people he loves more than anything in the world. But the drama of this story lies precisely in the fact that the Baron loses them both at one moment and the moment of redemption comes, which is manifested in two endings of the quest. The strong drama of the third Witcher emerges even here – no matter what the ending is, it is still tragic. It is tragic, perhaps, because some mistakes simply cannot be corrected. Simply because these are the laws of drama and tragedy, and perhaps of life itself.

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