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Next, I analyze three aspects of the game itself: 1) connections of the political tension in the gameworld with Polish historical experience 2) the game’s use of ‘Slavic aesthetics’: a conglomerate of images and motifs that players, especially those engaged in the online debate, associate with Slavic mythology and folklore 3) relations between the protagonist, Geralt the Witcher, and epistemic tools of modernity. Firstly, I address the two competing stands taken by participants of an online debate over the racial representation within the game, one group claiming that Witcher lacks diversity and and that this is a problem and the other arguing that Slavic people have a right to create an exclusively white digital world. In this way, I will address the issues of a Central European country’s right to tell its own stories, and the problematic relation between the concepts of ‘Polishness’ and ‘Slavicness’ within Polish national discourse as a source of ideology in Witcher 3. Mignolo’s concepts of epistemic disobedience and oppressive modernity, as well as some of the existent postcolonial approaches to Polish culture, in order to explore the phenomenon of an internationally recognized game set during the Second World. Starting with an insight into an online debate on the game’s handling of racial diversity, I will employ Walter D. The aim of this article is to examine The Witcher 3, a blockbuster game which has become the most successful product of contemporary Polish popular culture, as a regional creation negotiating its place in the global (i.e. Reprehensible gods, my dear Titus Vilius. The circle of thick skulls expands around us. Moreover, it employs the tradition of Polish Romanticism to establish itself as a bridge between Slavdom and Western culture, and strengthen the colonial idea of Poland being the proper ruler over Slavs. Mignolo’s concept of decolonization through epistemic disobedience, this article aims to demonstrate paradoxical qualities of the game, which tries to simultaneously distance itself from the established, West-oriented ways of knowledge production and gain recognition as an artifact of modern Western pop culture. By referring those three issues to postcolonial analyses of Polish culture, as well as Walter D. It departs from an analysis of an online debate on racial representation in the game as a possible act of epistemic disobedience, and moves on to a consideration of three narrative aspects of the game itself: its representation of political struggle, the ideological stance of the protagonist, and ethnic inspirations in worldbuilding. This article is a reading of The Witcher 3 in relation to postcolonial approaches to Polish culture.