Clair Obscur: Expedition 33 stands as a remarkable achievement in the gaming landscape, weaving a poignant narrative that captivates players from beginning to end. The game is not only visually stunning but also features an exceptional voice cast that elevates the emotional depth of the story. The gameplay challenges players in ways that are both engaging and rewarding, leaving them eager for more. Such a significant blend of critical acclaim and commercial success inevitably attracts the attention of industry peers. However, Josef Fares, founder of Hazelight Studios and creator of Split Fiction, cautions the triple-A sector against hastily mimicking the latest trends inspired by Expedition 33’s success.
Innovation in the Gaming Sphere
In recent years, the conversation surrounding innovation within the triple-A gaming industry has gained momentum. The previous year’s Game Awards showcased a notable presence of indie and double-A titles, culminating in Expedition 33 being awarded Game of the Year. The year 2025, marked by unexpected megahits, demonstrated that high-budget games no longer monopolize industry discussions. There is a palpable demand for fresh concepts and innovative gameplay.
Yet, as history suggests, the triumph of Expedition 33 may prompt triple-A publishers to pursue a path of replication rather than inspiration. Fares draws parallels to the post-Baldur’s Gate 3 landscape, where the industry may feel compelled to include romance elements as a standard feature. He anticipates a surge of turn-based RPGs influenced by Expedition 33, a trend he believes is likely to emerge.
“You do hear, after the success of things like Clair Obscur: Expedition 33, that the double-A games are taking over,” Fares shared with The Games Business. “But I would not be able to live without a triple-A title. I really want to play the blockbuster games. You can’t do GTA for ten million [dollars]. We need both.”
Fares emphasizes the importance of diversity in gaming, cautioning against the notion that double-A or indie titles are the sole future of the industry. “I hope that publishers don’t just look at a game like Expedition 33, which has been super successful, and think, ‘oh, double-A is a new thing. Let’s only do that.’ I don’t believe in that,” he asserts. “You had a huge amount of double-A games that came out this year, which nobody cared about. Let’s remember that.”
Instead of merely replicating successful formulas, Fares advocates for an internal drive toward innovation inspired by games like Expedition 33 and Baldur’s Gate 3. While it is understandable that triple-A studios may shy away from risk, Fares believes that there are talented developers willing to push boundaries and explore new ideas.
“Naughty Dog is pushing the envelope of innovation with a triple-A budget,” he notes. “I would argue Rockstar is doing it. Nintendo is, most of the time, doing it. So you can do a big triple-A title but also take innovative risks.”
He acknowledges the inherent challenges that come with substantial budgets, stating, “Once you go over a 0 million budget, you’re going to be like, ‘okay, shit. There’s a lot of money on the table.’ People are more scared. It’s understandable. But it’s proven that you can do it.”
While Hazelight operates under the EA umbrella, its creations stand out as distinctly innovative. My review of Split Fiction, rated 9/10, highlights its genre-blending narrative, themes of sisterhood, and gameplay advancements that extend beyond the studio’s previous titles, It Takes Two and A Way Out. This game exemplifies that innovation is indeed achievable.
Moreover, other major studios are also venturing into uncharted territories. Capcom’s Kunitsu-Gami: Path of the Goddess serves as another testament to a prominent publisher daring to explore unconventional ideas. The key takeaway from Expedition 33, as Fares suggests, is not to replicate its success blindly but to allow it to ignite inspiration and creativity within the industry.
