The gaming world is still buzzing about Clair Obscur: Expedition 33. Since its release, the French-developed JRPG has captivated millions with its stunning art direction, emotionally charged soundtrack, and a narrative that refuses to leave players even after the credits roll. Central to that lasting impact is the game's powerful conclusion—or rather, conclusions.
In the weeks since launch, a fierce debate has raged across forums and social media: which of the game's two primary endings is the "good" one, and which is the "bad"? Fans have dissected every choice, theorized about the true canon, and passionately defended their preferred outcome. Now, the game's lead writer has stepped in to settle the debate, but not in the way players might expect.
In an exclusive interview, Jennifer Svedberg-Yen of Sandfall Interactive has made it clear: there is no correct ending to Clair Obscur: Expedition 33.
"No Canon Ending": The Official Word from Sandfall Interactive
During a detailed conversation with Lits Play, Svedberg-Yen directly addressed the community's binary classification of the game's finale. Her message was unequivocal.
"I tell everyone there is no correct ending, there is no canon ending, there is no official Sandfall ending," Svedberg-Yen stated. "Both endings are there for a reason, we put them both there for a reason, they were designed in a very particular way."
She elaborated on the emotional calculus behind each conclusion, explaining that the team intentionally moved away from a simplistic moral framework. "Neither is perfect. Both are heartbreaking in their own ways. Both of them have parts of them that make you glad, that make you feel like 'I want a happy ending for these characters', but both of them have their own cost."
This philosophy of nuanced storytelling is at the heart of the game's narrative success. According to the lead writer, this reflects a deeper truth about the human experience. "It's a reflection of reality, a lot of the time," she said. "Some people's happiness does come with its cost; things are rarely perfect."
This nuanced approach to storytelling has become a hallmark of thoughtful role-playing game design, inviting comparisons to other titles that challenge player morality. For a deeper look at how modern games are evolving their narrative mechanics, this analysis of Lies of P and its Belle Epoque competition provides fascinating context.
A Conflict of Care, Not a Battle of Good vs. Evil
Svedberg-Yen further peeled back the curtain on the writing process at Sandfall Interactive, revealing that the team actively debated and ultimately rejected the idea of a straightforward confrontation between good and evil. The goal was never to present one side as righteous and the other as villainous.
"In this instance, we wanted to focus on the fact that because both sides care, they have different perspectives on how best to move forward," she explained. "They care about each other, and they care about each other's future."
This design choice fundamentally shifts the player's role from simply choosing the "right" side to genuinely grappling with a complex philosophical dilemma. The weight of the decision comes from understanding that each path is championed by characters with valid, caring motivations.
"The player can decide for themselves what is the right ending based upon their own perspective," Svedberg-Yen concluded.
This player-centric philosophy empowers gamers to become the true arbiters of the story's meaning. The ending you get isn't a grade on your moral performance, but a mirror reflecting your own values and the choices you deemed necessary throughout your adventure in the game's unique and beautifully rendered world. This intricate narrative design ensures that the conversation around Expedition 33 will continue long after the final choice is made.
For more insights directly from the development team, you can read the full interview on GamesRadar.
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