Baroque breakout hit Clair Obscur: Expedition 33 is unlike any game you've played before

The Guardian

14-05-2025

Much has been made of the fact that the year's most recent breakout hit, an idiosyncratic role-playing game called Clair Obscur: Expedition 33, was made by a small team. (It has just sold its two-millionth copy). It's a tempting narrative in this age of blockbuster mega-flops, live-service games and eye-watering budgets: scrappy team makes a lengthy, unusual and beautiful thing, sells it for £40, and everybody wins. But it's not quite accurate.
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Sandfall Interactive, the game's French developer, comprises around 30 people, but as Rock Paper Shotgun points out, there are many more listed in the game's credits – from a Korean animation team to the outsourced quality assurance testers, and the localisation and performance staff who give the game and its story heft and emotional believability.
Compared to the enormous teams who make the Final Fantasy games – a clear inspiration for Sandfall – Clair Obscur's team is minuscule. The more interesting achievement isn't that a small team has made a successful game – it's that a small team has made the most extravagantly French thing any of us will ever play. Much to my partner's annoyance, I've set the voice language to French with English subtitles, just to enhance the immersion.
In Clair Obscur's belle époque-inspired world, a sinister entity called the Paintress daubs a number on a distant totem every year, descending from 100 – and every person of that age dissolves heartbreakingly into petals and dust, leaving behind devastated partners and orphaned children. (This and Neva are the only games in recent memory to make me shed a tear at their beginning.) The game starts as the Paintress counts down from 34 to 33, and an expedition of brave and slightly magic thirtysomethings from the dwindling population sets out, as they do every year, to sail across to the Paintress's continent and try to kill her and stop the cycle. I was sad to leave this opening area, because the city was so beautiful, and everyone was impeccably dressed. Also, nothing was trying to kill me every few minutes.
Many expeditions have gone before. You find their grisly remnants all over the place as you explore, their recorded diaries left to help whoever comes next. You start off in a kind of ravaged Paris, the Eiffel Tower distorting towards a distant horizon like a Dalí painting. The game looks like a waltz through a distinguished art museum that's about to get sucked into a black hole. One early area of the continent is a waterless ocean, the wrecked vessel of one expedition wrapped around a dead leviathan of a sea creature, fronts of seaweed waving in the nonexistent currents. It's beautiful but extremely dangerous: you quickly have to get the hang of a pretty complicated combat system to survive even the first few boss fights.
Clair Obscur's fighting is inspired by classic and modern Japanese RPGs: rhythmic and flashy, it lets you supercharge a fireball or dodge the fist of a stone automaton with a well-timed button press. Combining your unusually distinctive characters' abilities is the key. One of them wields a rapier and changes stance every attack, another attacks with an impenetrable system of sun and moon tarot cards, a third mostly with a gun and a sword. If this all sounds needlessly extravagant, it is – and I love it. The combat menus are a tinkerer's dream, letting you pore over and combine characters' esoteric powers and skills to create interesting combo attacks.
What I enjoy most about this game is that it doesn't look like everything else or, indeed, anything else. The majority of games riff on the same few predictable references: Star Wars, The Lord of the Rings, Marvel. Instead it draws from completely different aesthetic and thematic sources; this is a baroque fantasy that tells a story about fatalism and love and death and legacy, a European-style tale with Japanese-style action and flair. It plays very differently, but its distinctiveness and determination to actually say something with its story reminds me of last year's excellent Metaphor: ReFantazio. (There is a strong correlation between intellectually ambitious RPGs and baffling titles, it seems.)
Clair Obscur also illustrates just how good game development tools are now: if you're wondering how a smallish team could create something that looks this high-end, that's a large part of the answer. This makes me feel pretty optimistic about the future of this middle sector of game development, in between blockbuster and indie. In the 00s and 2010s, that was where many of the most interesting games could be found. I can imagine several large publishers deeming this game simply too French to be marketable, but Sandfall was able to make it anyway. Expedition 33 is an encouraging commercial success that will be cited all year as a counternarrative to the games industry's prevailing doomsaying, but it's a creative success, too.
A new Doom game is out very shortly and reviews suggest that it is a glorious heavy-metal orgy of violence. It has you massacring hordes of gross demons at once, impaling them with spikes, shredding them with a chainsaw-shield, even punching gigantic hellspawn from within a giant robot or shooting at them from the back of a mecha-dragon. Doom: The Dark Ages is slower than the other modern games in the series, with more up-close combat and (as the title suggests) a vaguely medieval flavour to its aesthetic, but it's still thrill-a-minute.
Available on: Xbox, PS5, PC
Estimated playtime: 20-plus hours
Grand Theft Auto VI, which is delayed until next May, left a crater in the 2025 release schedule that other game companies are scrambling to fill, reports Bloomberg (via Kotaku). Expect some serious rescheduling to be going on behind the scenes before the summer's glut of game announcements.
The Strong National Museum of Play in the US has inducted four new games into its Hall of Fame: Defender, GoldenEye 007, Quake and the (IMO) equally deserving Tamagotchi. They beat contenders from Age of Empires to Angry Birds.
After last week's industry media drama, long-established podcast-video collective Giant Bomb has bought itself out and gone independent, joining a growing stable of worker-owned and reader-supported games outlets.
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Reader Travis sent in this week's question:
'I'm planning to start a book club-style video game club. Two questions: what should I call it and what game would you love to share and discuss in such a setting?'
This is an excellent idea, and you've reminded me that I tried to do something like this a million years ago as a podcast on IGN, but I cannot for the life of me remember what we called it. Press Pause? Save Point? LFG? I would pick shorter games for a book club-style group (so that everyone could actually play them through), and I'd want ones that leave room for people's personal histories to inform how they respond to it. I'd love to hear other people talk about Neva's environmentalist and parental themes, or any Life Is Strange game's mix of emerging-adulthood drama and quasi-successful supernatural storytelling, or even a game like While Waiting, what it made them think about. That would surely be more interesting than simply arguing about whether the latest Assassin's Creed is any good.
I asked my partner what he'd call a video game book club, and he suggested Text Adventure, which is annoyingly better than anything I can think of. My pal Tom suggested Pile of Shame, One More Go and Shared Worlds. Readers: can you think of any more?
If you've got a question for Question Block – or anything else to say about the newsletter – hit reply or email us on [e-mail].