The Industry Would’ve Killed Clair Obscur: Expedition 33 If They Could

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In an ideal scenario for the gaming industry, the game “Clair Obscur: Expedition 33” might have been released and forgotten much sooner than it did, before gamers could develop a strong affection for it.

Expedition 33 was developed by a dedicated team of approximately 30 developers, who had previously left the bureaucratic structure at Ubisoft. With external assistance for aspects like animations and translations, this game is a bold challenge to the bloated, conventional approach that dominates today’s AAA industry.

This type of game was considered a long shot by major publishers, labeling it as “too daring,” “too specialized,” or “not profitable enough.” However, against all expectations, it not only stayed alive but flourished — selling more than a million copies within the first three days, receiving exceptional player ratings, and proving that enthusiasm triumphs over capital when it comes to outstanding games.

As I immerse myself in the captivating world of Clair Obscur, it’s like I’m part of a creative uprising. In this age where major publishers often view creativity as a burden, a tiny studio from France dared to defy convention by developing a heartfelt turn-based RPG brimming with style, emotion, and life. Unlike many others who follow the corporate path, Sandfall Interactive chose to bypass trends like microtransactions and live-service models, instead crafting a game that resonates deeply within me – a game that feels personal.

In my opinion, they crafted an emotionally gripping narrative set against stunningly beautiful Belle Époque-inspired backdrops, coupled with a combat system that seamlessly blends turn-based strategies with real-time maneuvers like parrying and dodging – all of which truly appreciate genuine skill. Frankly, if the industry could have, they would have stifled it due to its exceptional quality.

In today’s top-tier game development (AAA), it’s all about high numbers. Publishers invest hundreds of millions into individual projects, fearing anything that doesn’t promise a substantial return. This preoccupation with secure strategies pushes them towards duplicating battle passes, mandating multiplayer modes, and chasing trends to squeeze the maximum profit out of players.

As a passionate gamer, I find myself drawn to games like Clair Obscur, which buck the trend of traditional gaming models. Unlike most titles, it doesn’t rely on battle passes, cash shops, or other marketing ploys to attract the masses. Instead, its simplicity is refreshing, not just a breath of fresh air but a challenge to the status quo.

The success of this game has exposed a lie that big publishers have been telling themselves for years – that gamers want nothing more than these gimmicks in their games. The fact that Clair Obscur is thriving, despite its lack of these elements, shows just how misguided they’ve been all along.

The extraordinary quality of Clair Obscur isn’t solely due to its ambition, but rather in its ability to deliver impressive results without the excessive burden that typically plagues AAA games today. Crafted with Unreal Engine 5, Metahuman tools, and efficient production workflows, this game exudes the polish of a premier blockbuster, despite being developed by a team smaller than many big-name studios’ human resources departments.

In stark contrast to its high-profile peers such as Oblivion Remastered, it surpassed predictions remarkably — boasting over 120,000 simultaneous players on Steam and receiving glowing reviews all around. On the other hand, grandiose ventures with extensive budgets and advertising campaigns struggled initially, even though they had armies of developers and financial resources in the millions, suggesting that quality may outshine quantity in the realm of gaming development.

What’s so fulfilling about Clair Obscur’s success is the way it rekindles a sense of wonder that some had assumed the industry had lost touch with. Within just an hour, players are drawn into a richly detailed world brimming with sorrow, optimism, and struggle for existence. This isn’t achieved through tedious expositions or jaded storytelling, but rather by creating authentic characters who express their pain and bravery in a relatable way, without feeling the need to overexplain their emotions.

This game assumes its players are intelligent enough to grasp the story without constant explanation. The battle strategy is seamless and satisfying, particularly for those who excel at timing, positioning, and constructing a strong team rather than merely boosting stats. For quite some time, leading publishers have debated that turn-based games are extinct — that players have supposedly transitioned away from them.

Initially with Baldur’s Gate 3 and now with Clair Obscur, it’s evident that the desire for intricate, well-crafted role-playing games persists robustly. Regrettably, the industry has opted to neglect this audience in pursuit of larger, more secure earnings. Games that are inflated to a 100 hours length to justify a $90 cost.

Expedition 33 demonstrates that gamers yearn for more than just another loot-shooter or monotonous checklist game; they seek titles with genuine emotion. Clair Obscur isn’t merely a triumph for a modest indie team, it serves as a wake-up call to the entire industry.

As a gamer, I’ve seen it firsthand: The notion that creativity is too risky, or that gamers only crave shallow blockbusters, or that emotional depth in games can’t sell, has been debunked. What truly resonates with us are games that tap into our genuine feelings and emotions.

It might strongly indicate that, unless publishers adapt to current trends, the control over gaming may shift back to studios who truly care about it once more.

If the industry had the chance to suppress Clair Obscur: Expedition 33, it would have done so. However, it failed to do so. Now, it must observe as the project, which they might have suppressed, demonstrates to all what they’ve been overlooking.

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2025-04-29 07:12