How did “Clair Obscur: Expedition 33’’ come to life?
Benjamin Dimanche: It all started back in 2019, when Guillaume Broche began experimenting with Unreal Engine through a personal project. From the beginning, he wanted to create a real-time RPG prototype. The initial version, titled “We Lost’’, already featured elements like character names and real-time turn-based combat mechanics, which carried over into the final game. We actually released some videos of that early version not long ago. “Clair Obscur: Expedition 33’’ was built around this clear creative direction, present from the start. It was during this reboot that core concepts like the Monolith, the Paintress, the Belle Époque setting, and the idea of Gommage (“Erasure’’ in French) were born. The creation of “Clair Obscur: Expedition 33’’ is closely tied to the founding of the studio itself.
Early in the prototype development phase, Guillaume teamed up with programmer and longtime friend Tom Guillermin to develop the reactive combat systems. François Meurisse soon joined them, leaving his previous position. From the synergy of these three emerged Sandfall Interactive. Fun fact: Guillaume’s first Unreal project was titled “Sandfall’’, which ended up inspiring the studio's name.
What was the development process of “Clair Obscur: Expedition’’ 33 like?
The game was developed between Montpellier, where the core team is based, and Paris, home to our cinematic division. We often mention that the main team includes around 30 people to emphasize the studio’s human scale. Even at the peak of development, the number of people involved, including external partners, was far below what you'd find in a typical AAA production.
Although we have different departments within the studio (audio, character design, environment, programming, etc.), many of us are multi-talented and worked across different aspects of the game. We approached development with an indie mindset while making the most of cutting-edge tools and technologies. This flexible approach is what made a game like ours possible.
Set in a dark fantasy world with Belle Époque and steampunk influences, the game’s aesthetic is striking. What shaped that vision?
The project draws from various artistic movements. Art Director Nicholas Maxson-Francombe drew inspirations from the Belle Époque, Victorian-era motifs and even Art Deco (although the latter emerged later historically). His background in theater and circus arts – especially Cirque du Soleil – also brought a unique style. As other artists joined the project, they followed that initial creative impulse while enriching the visual world by bringing their own influences. Without revealing too much, since art plays a big role in the game, it was important to convey this through the environments and overall atmosphere to create this dreamlike world.
The game also has a cinematic feel. What were the inspirations there?
This is something I love about video games: everyone on the team brings their own creative references, and the game benefits from that mix. Guillaume [Broche] might point to “La La Land’’, Nicholas [Maxson-Francombe] references “The Lord of the Rings’’ and “Dune’’, and our lead writer Jennifer Svedberg-Yen was inspired by “Battlestar Galactica’’ and “The Expanse’’. All these references enrich the direction, storytelling, art, and overall game design.
Composer Lorien Testard created the soundtrack, with vocals by Alice Duport-Percier. What was it like working with him?
Lorien was one of the earliest members to join the development team. He spent five years composing, writing, and performing the game's music, giving it a deeply unique and distinct sound. Far from being a guest contributor, Lorien was fully integrated into the team and played a key role in the artistic process. He had the time and creative space to experiment and explore different styles. He drew heavily on early concept art and research from Nicholas [Maxson-Francombe], which helped him craft the soundtrack.
What role did the CNC’s Video Game Support Fund (FAJV) play in the creation of the game and studio?
We received pre-production funding from the CNC at the end of 2021. That support was crucial; it allowed us to properly structure the studio and build a vertical slice of the game, which we then used to pitch to publishers. It also validated the game’s concept and helped secure production funding. The CNC’s feedback was key in helping us steer the project in the right direction.
“Clair Obscur: Expedition 33’’ has been a massive global success. Did you expect such enthusiasm?
We’ve now sold over 3 million copies, just a month after the game’s release. It’s surreal, we still can’t quite believe it. That level of success is hard to predict. We knew the project was unique and could resonate emotionally with players, but not to this extent. I was especially eager to see reactions to the end of Act 1; it’s a powerful moment. We kept a close eye on wishlists and preorders every day; which suggested a strong launch, but we didn’t expect to sell out of physical stock or receive such overwhelmingly positive reviews. We feel very lucky for the success and the community’s reaction.
What’s next for Sandfall Interactive?
Right now, we are focusing on post-launch improvements, including quality-of-life updates, new features, bug fixes – basically, the features we wanted to include before release but didn’t have time for. We remain, first and foremost, a game development studio, and we plan to support “Clair Obscur: Expedition 33’’ for a while. And after such an intense emotional and creative journey, I think it’s safe to say: the team deserves a well-earned rest before diving into what’s next.
“Clair Obscur: Expedition 33’’
Developer: Sandfall Interactive
Publisher: Kepler Interactive
Creative Director: Guillaume Broche
Art Director: Nicholas Maxson-Francombe
Executive Producer: François Meurisse
CTO/Lead Programmer: Tom Guillermin
Marketing & Publishing Producer: Benjamin Dimanche
Lead Writer: Jennifer Svedberg-Yen
Composer: Lorien Testard
Released on April 24, 2025 – PlayStation 5, Xbox Series X/S, PC
Supported by the CNC’s Video Game Support Fund (FAJV) – Pre-production grant
