More than 40 hours in Clair Obscur: Expedition 33 and its staggeringly beautiful world have made me a turn-based combat convert

Turn-based role-playing game (RPG) Clair Obscur: Expedition 33 is easily an early game of the year contender. It has some of the best visual execution and artistic design I’ve ever seen, some of the most beautiful environment and world building I’ve immersed myself in, and also some top-tier, multifaceted combat that has changed me from a skeptic to a turn-based convert.

Clair Obscur: Expedition 33 deftly carves out its own style despite the clear influence of JRPGs (Japanese role-playing games) that it so readily wears on its sleeve, but not once does it feel like it’s purely imitating other games, or tamely reimagining established elements.

Instead, it delivers a sublimely sombre story with fantastic performances, in a world full of breathtakingly beautiful environments, that has some exhilarating, slick, and rewarding combat that is fantastic to get your teeth into.

There are a few wrinkles along the way that affect some elements of the game such as dialogue, progression and navigation, and the overall pacing a little, but this effort Sandfall Interactive’s small team of developers is as good as some of the best RPG games, and is definitely an early contender for game of the year discussions.

A world worth fighting for

As I have touched upon, there are three core elements of Clair Obscur: Expedition 33 that combine to create its brilliance.

The first is the immensely high-quality and breathtaking setting, environments, and art direction. The entire game is a visual treat, with every map, level, environment, and locale designed with intelligence, but also aesthetic brilliance.

Each and every place in the game is itself a staggeringly beautiful environment. From Giants Causeway-esque volcanic rock coastal areas, to strangely underwater (but not actually underwater) zones and huge mountainous areas where each cliff is a face, to icy stalactite riddled caves and all kinds of lush landscapes in between, there’s never a dull moment.

Navigating is a simple joy too: you can seamlessly switch between characters with the press of a button, and Lune’s smooth gliding movement (the character’s alternative to sprinting) is one of the many simple things that Clair Obscur does tremendously.

This environmental excellence even extends to the overworld used to navigate between the main areas of the game. Much like the map, it has a wonderfully painterly quality to it, and you can move your characters around from a different perspective, almost like miniatures on a tabletop game.

You can engage in battles in this overworld-come-map too and navigate it like almost any other part of the game, while also deploying your camp - your expedition’s hub area where conversations and upgrades happen.

Each main area in the game is largely linear, with some tucked-away ends with rewards for those who explore. You’ll come across expedition flags regularly, too. These remnants of expeditions past act a little like bonfires from Souls games: you can heal your party, tinker with skills and attributes, and replenish your supplies at the cost of spawning defeated enemies.

Everything is further enhanced by the wonderful acting and voice work provided by the game’s cast. Dressed in the dark fantasy Belle Époque aesthetic, stars such as Charlie Cox, Ben Starr, Jennifer English, Kirsty Rider, and Andy Serkis give emotive and powerful performances.

The design of non-player characters (NPCs) and foes contributes to the overall level of artistic brilliance, too. The former are quirky beings named Gestrals, who appear as if they’ve been designed around Salvador Dali’s impressions of living paintbrushes, and the latter come in a variety of forms that beautifully complement the areas in which you find them. There’s some repetition here and there, but generally, each was a joy to face - though a lot of that joy comes from the combat, more on that below.

All in this wonderfully stylish execution and presentation has a cinematic quality at times, and it sometimes feels like you’re playing in a stylish film from French cinema. It’s an incredibly imaginative and unique setting, and with such strong placemaking, it will be a game world that stays with me.

Masterfully crafted combat

More than anything else, Clair Obscur: Expedition 33’s combat is quite possibly the biggest accomplishment in the entire game - despite my heaped praise above.

Clair Obscur: Expedition 33 has what I’d call ‘active turn-based combat’. Built upon the staple turn-based action found in JRPGs, the game adds a small tweak - a tweak that was one of the main things that drew me in initially.

This affects the ‘passive’ part of turn-based combat - i.e. between turns or as enemies engage make their moves, and inserts active actions like dodging and parrying. There are also quick-time events (QTEs) in your moves to enhance the impact and power of your attacks.

This not only means that you can still influence both attack and defense throughout each turn, but the execution of these also elevates the combat masterfully. Foremost because the parries, dodges, and QTEs are all extremely well balanced and can be game changers once you’ve mastered them. They aren’t always essential, and they are hard to time perfectly, but when you nail them, it can turn a losing encounter into a winning one in a split second.

Within each battle, your characters can perform a basic attack to gain one action point (AP), fire their free aim weapon at the cost of one AP per fire, use a potion, or execute one of their many skills, should you have enough APs available.

The points requirement can be an obstacle, but you can swiftly gain APs by dodging and parrying perfectly. This places extra importance on the combat’s active elements, though thankfully, it never feels like you’re being forced to play a specific way.

And there’s also a whole lot more to the combat than APs, dodging, and parrying. An incredible amount more, and the game offers plenty of cogs to its combat wheel that can be a total blast to experiment with as you form impactful loadouts and combinations.

For example, as well as their own weapon types - that you can, of course, upgrade as you go - each character has their own unique skill tree with a variety of options that do different levels of damage for different amounts of action points. There are also Pictos (a sort of rune that can be equipped to offer boosts), three of which can be equipped by characters in their loadout at any one time.

Lumina points can also be applied to characters, which enables them to make use of Pictos equipped by other party members. Then there are also base attributes which can be boosted with each level-up, and that change in importance depending on the characteristics of the weapon you have equipped.

While each character has a host of skills to use, none ever feel unobtainable as the game isn’t shy about giving you plenty of the items that let you reset attributes and skills. I ended up with nearly two dozen of these left over at the end of my playthrough, despite having used a fair few.

So if you really like skill swapping and experimentation, then you’ll be well served here and you’ll be rewarded for getting to know each style, especially as grander skills open up later in the game. With so many systems to get stuck into, there’s a chance that they may be overwhelming - especially given their unique names and terms - but I appreciate the freedom to create your own style.

Combine this with each party member being very different and can be played in a multitude of different ways due to all of the above, and the options you have are wonderful.

Some of my favorite moments of the combat are when it feels like a chess game - perhaps even after a failure or two first planning multi-character moves in advance to make the most of buffs and a good sequence of blows on an enemy. However, I have also really enjoyed being able to react, relying on parrying and dodging to overcome an unforeseen challenge, reacting on the fly.

A superbly sombre story

Forming the bedrock for the wonderful combat and beautiful lands is the extraordinarily gripping story. You play as a party of expeditioners embark on a mission to eliminate the ‘Paintress’ and her effect on the island of Lumière, which means that every year, people above an ever-decreasing age perish is what’s referred to as a Gommage.

Following each Gommage, the populace sends out an Expedition to try and slay the Paintress, with each previous to the 33rd attempt being unsuccessful. Finding out what happened to the past expeditions through lost journals adds further depth to the worldbuilding, pulling you in and ensuring you want to find out more and more.

I was locked into the narrative extremely quickly, with the actors' performances combining beautifully with the setting and the pacing of the setup. There’s no barrage of lore here, though: it hooks into you right from the off. And as the story progresses, you get to know the characters more, get invested in their relationships, and see and meet a variety of interesting parties that all play a part in the narrative.

I’m eager not to reveal any spoilers, as it is riveting throughout and wholly unique in games I’ve played. It’s immediately intriguing, always engaging, and perpetually sombre, dark, and melancholy - though never quite truly bleak. It’s not so relentlessly miserable that it would make folks turn off, but it’s never very far from relentlessly melancholy.

That’s not to say it’s totally without fault, as some minor frustrations are present.

Dialogue can be a bit disjointed at times, and there are multiple instances where you need to press X to say “Yeah”, for example. This is on top of some more baffling omissions, such as having no journal for quests or minimap, and not being able to quickly compare weapons in character menus or when trading. There are also times when areas drag on a bit, or multi-cutscene narrative moments go on for a while.

Those minor qualms aside, and they are very minor, never impacting on my experience enough to put me off, Clair Obscur: Expedition 33 is a wonderful, beautiful, sombre, exceptional game that I can’t recommend highly enough.

Should you play Clair Obscur: Expedition 33?

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Accessibility

Clair Obscur: Expedition 33 has a smattering of accessibility options that can be tinkered with. The headline is the three difficulty levels present, which you can switch between at any time to find the right challenge for you.

There’s also an auto quicktime mode for executing attacks during combat, which can certainly take some of the stress out. However, there’s no such mode for defence, which feels like an, albeit very specific, oversight.

Elsewhere, there are customisations for subtitles and good colorblind options, along with camera adjustments, but there are no control customization options available by default.

How I reviewed Clair Obscur: Expedition 33

I played Clair Obscur: Expedition 33 for more than 40 hours, completing the main storyline (in about 30 hours) as well as visiting every corner of the map I could and carrying out a host of side quests.

I reviewed the PlayStation 5 version of the game on my two PS5 setups: a PS5 Slim combined with an Acer X32QFS gaming monitor and a Yamaha SR-C20A soundbar; and a PS5 Pro teamed with a Samsung Q6F 55-inch 4K QLED TV and Samsung soundbar.

When using a headset, I opted for a SteelSeries Arctis Nova 7 on the PS5 Slim, and a set of Sennheiser HD 550 headphones, or a SteelSeries Arctis Nova Pro Wireless headset with my PS5 Pro. I used a regular DualSense Wireless controller with both machines and played many hours of the game on my PlayStation Portal, too.

I tested the game thoroughly in both its graphics modes, Performance and Quality, and preferred the former, playing the vast majority of the game in it. The smoothness of the framerates - and extra quality on PS5 Pro - made for a slicker experience, especially in the exhilarating combat, but whichever mode you choose, you’ll be treated to an absolute spectacle, visually.

First reviewed April 2025