CD Projekt Red’s origin story reads like the kind of underdog tale that only gets better with a couple of poorly timed deadlines and a lot of stubbornness. Art director Paweł Mielniczuk says that when he joined the studio in 2006, there were about 60 people cramped into two rooms, and a single red room acted as the creative hub. The early years were lean and weird.
Mielniczuk recalls seven years of work on the first Witcher that came at a heavy cost for the team both financially and emotionally. Staff on the publishing side apparently viewed the developers like outsiders living in a cellar, making games. The company’s expectations were blunt. “They will never earn any money here” was the line people used. That attitude left the studio feeling like the company’s ugly child until the first Witcher finally launched and caught on in Poland and across Europe.
The anecdote casts a long shadow over the studio now known for multi-million sellers and global reach. The first Witcher was a turnaround moment that helped the team shake off internal skepticism and grow into a developer with major franchises. That growth is visible today in hiring and project scale. For an idea of where the studio has landed since those two-room beginnings, see the company’s recent team expansion for The Witcher 4 and Cyberpunk 2 in a hiring update that outlines ongoing recruitment and studio scaling.
Hearing developers describe the early days the way Mielniczuk does helps explain why some of CD Projekt Red’s later missteps felt so dramatic. When a group starts from being discounted and underfunded, that history can make big failures hurt even more. Success for the studio was not a straight line. It was a slow splice from cellar projects to a global franchise that now supports massive teams and big bets.
The story also serves as a reminder that reputations inside a company matter. The people who are waved off as odd or unlikely can turn into the creative engine that defines the firm for a decade.
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