Ever since the first trailer, Clair Obscur Expedition 33 held my attention all the way up to release. The art style, the music, combat, characters and the unique Paintress story captured my imagination. It seemed like the perfect example of games as art. Although the music is not something I’d normally listen to, the way it brought everything together in that trailer earned an almost emotional response.
The Story of Clair Obscur Expedition 33
The reveal of Clair Obscur Expedition 33 surprised the entire gaming world, not just me. As the debut game for Sandfall Interactive, it promised players an emotional journey with strategic combat. In my few hours so far, it’s delivered on all fronts.
It takes place in Lumiere, a world inspired by Belle Époque France, with art and death overlapping. At the center of the surprising story is the Paintress, a giant being who paints a number each year, disintegrating everyone of that same age. The countdown ticks down another year and Expedition 33 is latest attempt to reach the Paintress and put an end to her.
So far, Gustave is the main character I’ve followed. As a member of the expedition, he’s joined by a diverse cast of characters like Maelle and Lune. Clair Obscur Expedition 33 explores themes of grief, sacrifice, and resilience, while delivering twists and emotional payoffs.
I’ve only hardly scratched the surface.
Such Great Visual and Audio Art Style
From that first trailer, the music just hits something deep. It nails the fantasy and desperation of Clair Obscur Expedition 33. In my first few hours, it continues to pair really well with the game. The voice acting is also terrific so far, featuring Charlie Cox (from Daredevil), Jennifer English (Shadowheart from BG3), Ben Starr (Clive from FFXVI), Andy Serkis (no intro needed), and more.
The sound design is so good that I had to mention that before the visuals, which are just as impressive. Sandfall flexes their UE5 muscles in this game. Everything looks great and an almost twisted fever dream way. It’s beautiful yet twisted. It feels only slightly familiar at times, but mostly foreign in others.
Parts of the game’s world can’t decide if they are breaking apart or coming back together. Probably a great metaphor for the progress of Expedition 33. Say what you want about the French (and here in the US there are plenty of views lol), but art is just in their veins.
Turned-Based Combat Oozing with Action and Style
The game’s combat system is standout for me, combining turn-based strategy with real-time interactions is something I’ve never played before. I have yet to play a Persona or Final Fantasy game (please don’t stone me, I know), but others have framed it as a love letter to those games.
I’m not usually a huge fan of having to nail parry timing or actions to perfectly maximize attacks and defenses. Clair Obscur Expedition 33 has made it fun for me though, at least so far. It definitely keeps things more engaging compared to other turn-based RPGs.
The camera cuts and animation flourishes really keep things exciting. Keeping an eye on the timing meter for attacks is a bit distracting though. I find myself taking an eye off of the beautiful animations to watch a line race around the diamond timer. It is getting easier to no look the timing, so that will help ensure I’m not missing the action.
I’ve only just now started upgrading weapons, unlocking new skills, figuring out what Pictos and Lumina really are. There’s plenty of depth there that I’ve just hardly touched and the combat is already impressive.
Now, I will really need to go back and complete some shorter games I have in progress, so I can fully commit to the world of the great Clair Obscur Expedition 33.