Technologies

Clair Obscur Expedition 33 Review: An Achingly Beautiful French Spin on the JRPG Formula

Sandfall Interactive weaves sharp, complex combat through an irresistible story about living in an age of death.

The Japanese RPG genre so venerates its icons, like the Final Fantasy and Dragon Quest series, that new games in its tradition replicate rather than innovate. It took a studio halfway around the world, in France, to make a JRPG that stands out of those titans’ shadows — one so starkly novel in its world and systems that it tells a story you don’t want to put down.

Clair Obscur: Expedition 33, the debut game from French studio Sandfall Interactive, achieves a bundle of superlatives. From the writing to the worldbuilding to the combat to the music, it’s easy to find aspects that are individually excellent. But more importantly, they weave together into a cohesive and thematically potent game that tells a mature story with confidence and style, packing a certain (forgive me) je ne sais quoi that immersed me in a world of passion and loss.

Expedition 33’s story explores a fantasy land at the mercy of a super-powerful being, the Paintress, who has been culling humanity once a year for generations. On a certain day, the residents of seemingly the only city left, Lumière (a devastated Paris, overrun with rubble and vines), bittersweetly gather to bid their loved ones adieu. They watch as, far off in the distance, the Paintress lowers a glowing, omnivisible number by one. Slowly, anyone that age disappears into dust, and humanity’s age limit is reduced again.

Lumière resists by sending armed groups of volunteers over the ocean into the wilderness every year to defeat the Paintress — and though they’ve been so far unsuccessful, the tradition lives on, populated by desperate believers and older soldiers choosing to use their little time left to challenge fate.

Gathering a collection of plucky adventurers to take on God for the sake of the world is textbook JRPG, but the tones of most games in the genre oscillate between the puerile extremes of naive optimism and cynical nihilism. Sandfall Interactive’s story instead envisions characters embarking from a society fluent in despair and still taking action, channeling anxiety into a belief in resolute progress. Throughout the game, the main characters repeat their city’s mantras: «For those who come after,» and, «Tomorrow comes.» Earning meaning, even in a slowly constricting apocalypse.

Through the game’s commitment to its tone, its prism of beauties shines through. The plot, alternating between sublime wonder of a vibrant new land and brutal reckonings in a world without sympathies, is full of surprises. The music is tenderly emotional, with haunting piano and violin arranged by composer Lorien Testard and achingly, hauntingly beautiful singing by Alice Duport-Percier for an hours-long original soundtrack, as Expedition 33 producer François Meurisse told me.

The wild, friendly characters you meet, the stunningly gorgeous environments, dappled with light and shadow, the truly excellent English voice cast — the game is a symphony of well-executed elements that combine into something new.

That alchemy of novelty leads to a feeling that’s rare among JRPGS, let alone games as a whole: Frequently along the way, I truly didn’t know what to expect next. For gamers jaded by tropes and tradition, a game grappling with death in uncharted territory is like water in a desert.

All of which wouldn’t matter if the game wasn’t a riot to play.

Fighting against fate with soulslike turn-based combat

Unlike more open-ended RPGs such as this year’s Avowed and The Elder Scrolls 4: Oblivion Remaster or 2023’s excellent Baldur’s Gate 3, there isn’t any choice in how Expedition 33’s story goes — at least as far as I’ve experienced in a little over 20 hours of the game. Where you do get control is in the battle system, which provides some of the most interactive turn-based fights I’ve ever played.

That’s primarily due to the reactive capabilities built into the system. Players can press a button to dodge when enemies attack with a pretty generous window. Those with more confidence can try to parry attacks, and if done for the entire enemy combo, the character will counter for severe damage. It took me around a dozen hours to be confident enough in timing to successfully parry attacks, though you can reduce the difficulty or equip particular abilities to mitigate that. Later in the game, there are even more enemy attack mechanics.

The defense system was inspired by FromSoftware games like Dark Souls and Elden Ring, though there are also parts of the game inspired by Final Fantasy 10 and Persona 5, producer Meurisse told me. The latter is evident when switching between submenus in combat, which slightly shifts the camera view — «every button you click triggers some camera movement,» Meurisse said.

The cast of characters you gather isn’t large, but each has unique skills and their own distinct mechanic that functions almost like a turn-by-turn mini-game to ramp up damage potential. For protagonist Gustave, attacking builds up charges to unleash in a massive lightning attack; Lune the mage gets elemental «stains» after casting spells that can be spent to empower later spells; the fencer Maelle switches between stances every time she uses a skill.

Some other aspects are more conventional, with a range of status effects that can be applied to enemies like a damage-over-time burn, a slow or marking the enemy to take higher damage. But players can also, through guns or unspecified magic, shoot enemies to target weak points. Each shot costs AP, the resource used to also power spells and skills, so it takes some restraint not to gleefully fire off volleys.

Which is a lot to keep in mind already, but the Picto system escalates the complexity. Pictos are essentially bonus passive abilities that characters can equip up to three of at a time. After a handful of battles, they can unequip the PIcto and add its ability to their character, provided they have enough ability points to afford it. Juggling this budget is key to the late game and, incidentally, to breaking the combat altogether: Many of these Pictos offer bonus damage or effect if conditions are met, like they attack an enemy that already has a status effect. With scores of these Pictos picked up across the game, players can make builds and synergize between characters to rack up dizzying damage totals.

Mastering the deep combat and deeper Picto system is a joy for the RPG fan who loves diving into granular strategies, making short fights and long boss battles more engaging and interactive than most other JRPGs. It satisfies a crunchy part of the brain that delights in overclocking a system willingly ripe for abuse from the determined player. And it serves as both a distraction from and a harmony with the themes of the game — of companions soaked in a lifetime of death vainly endeavoring to stop it for «those who come after» until, inevitably, they’re cut down too.

Expedition 33’s dance with death and meaning

When I heard that a French game studio was taking on the venerable JRPG genre, I jokingly wondered how many berets, baguettes and mimes would make it in. Plenty, it turns out, as you can fight some surreal, optional and tough mime mini-bosses. Do so and claim ridiculous but chic outfits for the main characters wearing sunglasses, berets and long loaves of bread strapped to their backs like swords.

Expedition 33 embraces this oddness as a complement to its melancholy tone, and it’s all the richer for it. There’s something beyond the stereotypical French organ music and mimes that Sandfall Interactive admirably threw in — a desire to tell a story not just about a different world but how people muddle through its severe and unfair limits to reach some meaningful end anyway. In the absence of JRPG tropes like the plucky, annoying protagonist ticking off Joseph Campbell’s heroic checklist, Expedition 33 is populated with somber realists devoted to each other but expecting loss, all in dedication to a future they believe they won’t see.

Expedition 33 was partly inspired by a 2004 French novel called La Horde du Contrevent («The Horde of Counterwind»), Meurisse said, a cult classic telling the story of successive expeditions of people sent to find the origin of world-warping winds. Similarly, the Paintress ticking down humanity is an unknowable force at the world’s edge, and pushing back against her seems futile.

Over the course of the game, I discovered journals from previous years’ expeditions, each trying a new way to succeed where others failed, some ending humorously or ignobly, others in a grim blaze of glory. But I found their bodies regardless, locked in a final pose, bronzed in a strange process as begets all humans venturing beyond their city — a marker for those who follow, and hopefully, surpass.

The strange landscape beyond Lumière is forever changed by the Fracture, a calamity that happened a century ago before the Paintress started ticking down humanity’s clock. In its wake, islands float in the sky and antediluvian buildings meld into dirt and rock. With the light dappling through the trees or around airborne archipelagos, I frequently stopped to stare at the landscapes, as beautifully alien to me as to the characters of the game. I’ve racked up over a hundred screenshots, mostly of areas where I was struck with awe.

Clair Obscur Expedition 33 Screenshots: Beauty and Wonder in a World of Death

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In chatting with Meurisse, I asked him what was uniquely French about the game, and he listed the clothes and architecture inspired by France’s Belle Epoque era of the late 1800s and Art Deco stylings, which are featured in the gilded gold-and-black walls of the doomed buildings, long abandoned and entombed in the dirt beyond humanity’s reach. But there’s another perspective blended into Expedition 33 that is different and fresh — creating a world where its characters still bask in wonder even when swimming in death.

I did, too.

Expedition 33 will be celebrated for its many excellences, and deservedly so. But above all, it tells an adult story about what’s left for us when the future is ripped away bit by bit — and why it’s worth fighting against the inevitable anyway. You never know what wonder you’ll get to see before the end.

Clair Obscur: Expedition 33 is available now on PC, PS5 and Xbox Series X and S.

Technologies

Today’s NYT Mini Crossword Answers for Monday, May 19

Here are the answers for The New York Times Mini Crossword for May 19.

Looking for the most recent Mini Crossword answer? Click here for today’s Mini Crossword hints, as well as our daily answers and hints for The New York Times Wordle, Strands, Connections and Connections: Sports Edition puzzles.

Today’s NYT Mini Crossword is pretty easy. 5-Across, «one for whom every day is Boxing Day,» stumped me because I really wanted the answer to have something to do with cats. (Spoiler: It did not.) Need some help with today’s Mini Crossword? Read on. And if you could use some hints and guidance for daily solving, check out our Mini Crossword tips.

The Mini Crossword is just one of many games in the Times’ games collection. If you’re looking for today’s Wordle, Connections, Connections: Sports Edition and Strands answers, you can visit CNET’s NYT puzzle hints page.

Read more: Tips and Tricks for Solving The New York Times Mini Crossword

Let’s get at those Mini Crossword clues and answers.

Mini across clues and answers

1A clue: Network satirized on «30 Rock,» for short
Answer: NBC

4A clue: Sport played on horseback
Answer: POLO

5A clue: One for whom every day is Boxing Day?
Answer: MOVED

6A clue: Like correct letters in Wordle
Answer: GREEN

7A clue: Blend together
Answer: MELD

Mini down clues and answers

1D clue: «Invisible Man» or «Little Women»
Answer: NOVEL

2D clue: Run in the wash
Answer: BLEED

3D clue: What bourbon whiskey is primarily made from
Answer: CORN

4D clue: Tiny hole in the skin
Answer: PORE

5D clue: Longtime movie studio acquired by Amazon in 2022
Answer: MGM

How to play more Mini Crosswords

The New York Times Games section offers a large number of online games, but only some of them are free for all to play. You can play the current day’s Mini Crossword for free, but you’ll need a subscription to the Times Games section to play older puzzles from the archives.

Technologies

Today’s NYT Connections: Sports Edition Hints and Answers for May 19, #238

Hints and answers for the NYT Connections: Sports Edition puzzle, No. 238, for May 19.

Looking for the most recent regular Connections answers? Click here for today’s Connections hints, as well as our daily answers and hints for The New York Times Mini Crossword, Wordle and Strands puzzles.

Connections: Sports Edition might be tough today if, like me, you don’t know what «loge» means. Read on for hints and the answers.

Connections: Sports Edition is out of beta now, making its debut on Super Bowl Sunday, Feb. 9. That’s a sign that the game has earned enough loyal players that The Athletic, the subscription-based sports journalism site owned by the Times, will continue to publish it. It doesn’t show up in the NYT Games app but now appears in The Athletic’s own app. Or you can continue to play it free online.

Read more: NYT Connections: Sports Edition Puzzle Comes Out of Beta

Hints for today’s Connections: Sports Edition groups

Here are four hints for the groupings in today’s Connections: Sports Edition puzzle, ranked from the easiest yellow group to the tough (and sometimes bizarre) purple group.

Yellow group hint: Brag.

Green group hint: Where’s my seat?

Blue group hint: City that never sleeps.

Purple group hint: Opposite of go.

Answers for today’s Connections: Sports Edition groups

Yellow group: Boast

Green group: Stadium seating sections

Blue group: New York Knicks

Purple group: ____ stop

Read more: Wordle Cheat Sheet: Here Are the Most Popular Letters Used in English Words

What are today’s Connections: Sports Edition answers?

The yellow words in today’s Connections

The theme is boast. The four answers are crow, gloat, grandstand and showboat.

The green words in today’s Connections

The theme is stadium seating sections. The four answers are bleacher, loge, suites and upper deck.

The blue words in today’s Connections

The theme is New York Knicks. The four answers are Bridges, Hart, McBride and Towns.

The purple words in today’s Connections

The theme is ____ stop. The four answers are back, jump, pit and short.

Technologies

Blade Runner: 18-Rotor «Volocopter» Moving from Concept to Prototype

It may look "nutty" and like a "blender," but the designers say the craft could challenge helicopters

Inventor and physicist Thomas Senkel created an Internet sensation with the October 2011 video of his maiden—and only—test flight of a spidery proof-of-concept 16-rotor helicopter dubbed Multicopter 1. Now the maker of the experimental personal aviation craft, the European start-up e-volo, is back with a revised «volocopter» design that adds two more rotors, a serial hybrid drive and long-term plans for going to 100 percent battery power.

The new design calls for 1.8-meter, 0.5-kilogram carbon-fiber blades, each paired with a motor. They are arrayed around a hub in two concentric circles over a boxy one- or two-person cockpit.

After awarding the volocopter concept a Lindbergh Prize for Innovation in April, Yolanka Wulff, executive director of The Charles A. and Anne Morrow Lindbergh Foundation, admitted the idea of the multi-blade chopper at first seems «nutty.» Looking beyond the novel appearance, however, she says, e-volo’s concept excels in safety, energy efficiency and simplicity, which were the bases of the prize.

All three attributes arrive thanks largely to evolo’s removal of classic helicopter elements. First, the energy-robbing high-mass main rotor, transmission, tail boom and tail rotor are gone. The enormous blades over a normal chopper’s cabin create lift, but their mass creates a high degree of stress and wear on the craft. And the small tail rotor, perched vertically out on a boom behind the cabin, keeps the helicopter’s body from spinning in the opposite direction as the main blades, but it also eats up about 30 percent of a helicopter’s power.

The volocopter’s multiple rotor blades individually would not create the torque that a single large rotor produces, and they offer redundancy for safety. Hypothetically, the volocopter could fly with a few as 12 functioning rotors, as long as those rotors were not all clustered together on one side, says Senkel, the aircraft’s co-inventor and e-volo’s lead construction engineer.

Without the iconic two-prop configuration, the craft would be lighter, making it more fuel efficient and reducing the physical complexity of delivering power to the top and rear blades from a single engine. Nor would the volocopter need an energy-hungry transmission. In fact, «there will be no mechanical connection between the gas engine and the blades,» Senkel says. That means fewer points of energy loss and more redundancy for safety.

E-volo’s design eliminates the dependence on a single source of power to the blades. As a serial-hybrid vehicle, the volocopter would have a gas-fueled engine, in this case an engine capable of generating 50- to 75 kilowatts, typical of ultralight aircraft. Rather than mechanically drive the rotors, the engine would generate power for electric motors as well as charge onboard lithium batteries. Should it fail, the batteries are expected to provide enough backup power so the craft could make a controlled landing.

Whereas helicopters navigate by changing the pitch of the main and tail rotor blades, the volocopter’s maneuverability will depend on changing the speed of individual rotors. Although more complex, it is more precise in principle to control a craft using three to six redundant microcontrollers (in case one or more fails) interpreting instructions from a pilot using a game console–like joystick—instead of rudder pedals, a control stick and a throttle.

Wulff’s first impression about the volocopter’s design is not uncommon. E-volo’s computer-animated promotional videos of a gleaming white, carbon-fiber and fiberglass craft beneath a thatch of blades recall the many-winged would-be flying machines of the late 19th century. This point is not lost on Senkel.

«I understand these skeptical opinions,» he says. «The design concept looks like a blender. But we really are making a safe flying machine.»

That would be progress in itself. Multicopter 1 looked like something from an especially iffy episode of MacGyver, complete with landing gear that involved a silver yoga ball. Senkel rode seated amid all those rotors powered only by lithium batteries. Multicopter 1 generated an average of 20 kilowatts for hovering and was aloft for just a few minutes.

There’s a reason why the experimental craft flew briefly and only once.Senkel describes that first craft as «glued and screwed together.» Seated on the same platform as the spinning blades, he says, «I was aware of the fact that I will be dead, maybe. Besides, we showed that the concept works. What do we win if we fly it twice?» he asks rhetorically.

Other than putting the pilot safely below the blades, the revised volocopter design would operate largely the same as the initial prototype. The design calls for three to six redundant accelerometers and gyroscopes to measure the volocopter’s position and orientation, creating a feedback loop that gives the craft stability and makes it easier to fly, Senkel says.

The volocopter’s revised prototype under construction could debut as soon as next spring. The first production models, available in perhaps three years, are expected to fly for at least an hour at speeds exceeding 100 kilometers per hour and a minimum altitude of about 2,000 meters, still far shy of standard helicopter’s normal operating altitude of about 3,000 meters. «This could change our lives, but I don’t expect anything like that for 10 years,» Senkel adds.

Given that most of the technology needed to build the volocopter is already available, «this idea is fairly easy to realize,» says Carl Kühn, managing director of e-volo partner Smoto GmbH, a company that integrates electric drive systems and related components.

Like Senkel, Kühn has modest short-term expectations despite his repeated emphasis on the standard nature of the technology involved. «I guess that e-volo will have [a prototype] aircraft in three years that can do the job—that it will lift one or two persons from one point to another,» he says.

The biggest immediate limitations appear to be regulatory. For instance, European aviation regulators consider any electrical system greater than 60 volts to be high voltage and regulate such systems more aggressively, Kühn says. As a result, the volocopter will operate below that threshold. The craft will also need to weigh no more than 450 kilograms to remain in the ultralight category, which is likewise subject to fewer government aviation regulations, according to Senkel.

The Lindbergh Foundation’s Wulff says the organization’s judges felt e-volo had «a greater than 50 percent chance of succeeding, or they wouldn’t have given them the innovation award.» Asked if she would line up to fly one someday, she says, «I sure would. It looks very compelling to me.»