Aux Lendemains non Écrits
To Unwritten Tomorrows
Warning: MAJOR SPOILERS FOR CLAIR OBSCUR: EXPEDITION 33, SO STOP READING HERE IF YOU HAVEN'T PLAYED THE GAME. Please and thank you.
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Engaging with art deeply is a strange and almost insane thing to do. You sit down with a story - a game, a book, a film, whatever - and you agree, without anyone asking, making you sign a contract, that you will care about it. The stories you dive into have the power to consume you, as good stories should be allowed to! Because they matter. You give it a piece of your emotional reality in exchange for a piece of its fictional one. And somewhere in that exchange, the line blurs.
There are a few experiences in my life that changed me completely. Dramatically, in an instant. Clair Obscur: Expedition 33 was one of them. Weeks have passed since I finished it, and I am yet to fully understand my feelings about it in their entirety. Here's a shot at putting them down finally...
The world itself is fucking breathtaking. I loved everything about it from the first time I saw it. Everything we see is suspended in this amazing landscape (deathscape?): streetlamps floating, bricks hanging mid-fall, entire structures frozen. Unarrived, unresolved. Gravity itself with no power to pull things down to their final destination. There's definitely something unsettling to the aesthetic, and it captures you from the moment you first gaze upon it. (Not to mention the music - pure genius!) It is one of the most specific artistic visions I've ever seen in a game, the contrast it draws between that floating, heartbreaking beauty and all the bloody destruction lurking just behind the facade.
"Our whole world carries the burden of your family's grief".
What tears me the most is, OF COURSE, the ending of Act 2, everything we thought we were fighting for, gone in an instant. Our reality, their reality, weeks and months spent learning and caring about these people, completely flipped upside down. I was in shock, and I wasn't even sure why. I had legit tears down my face, but I couldn't explain to you in that moment why, and I still struggle to put into words exactly what devastated me enough for there to be such a visceral response. It felt like the biggest rug pulled from under my feet. That the Paintress was not the villain we deemed her, that the Expeditions over the decades were completely misguided, our entire understanding of the whole world dissolved away, with that one letter. In ridding the world of the Paintress, I had set into motion things I couldn't control anymore, changing everything for everyone I had come to love so far. Finally, everything made sense, but at what cost! Reality rushed up to me all too suddenly for me to allow it room to settle in. Like a tidal wave catching me unawares at the beach. The consequences of my actions inevitable, and I, the unsuspecting victim of it all, about to be swept away by it all - mind, body and soul. Everyone I'd grown to love in the game had been trapped, the fates of Lumièreans written before I ever got a chance to change it, a mass of people dragged into an ocean of grief they had no hand in making. I was destroyed. These people didn't ask for any of this. Their only crime existing - fully and painfully - inside someone else's mourning. A mourning they wanted no part in.
On the canvas, our love remains/is dying Sur la toile, notre amour demeure/se meurt
Aline built an entire world out of losing her son. Filled it with people who never asked to exist (but who does?), because the alternative was accepting he was gone. And I get her... She suffered just as much, maybe more. She spent 67 years in the monolith. How's that for being in a rut? Someone on Reddit pointed out, and it promptly wrecked me yet again, that the whole Dessendre family is just in different stages of grief: Maelle is denial. Her memories kinda buried, she's almost taken a new identity, a whole other life constructed on top of the one she couldn't face, though not completely by her own will? Clea is anger, and the only one using it effectively, channelling it into action. Renoir is bargaining. He's trying to undo what Aline built because he believes it's the only way to free her. Watching her disappear into it and not knowing what else to do. And Aline is depression. She can't stop, can't help it. She probably knows what it costs, but still she cannot pull herself out.
And Verso! Verso is acceptance. Side note: he's just as real as the real Verso, 100%. They both say the exact same thing to Maelle as they sacrifice themselves, in two entirely different situations, for her and the greater good - "you're okay". They're the same person. It's the same love, though this one held back by the invisible reins that destiny commands.
"Life keeps forcing cruel choices"
At the end of Act 3, again, I was torn apart. I could not bring myself destroy the canvas. Everyone I came to love was in there, and their reality and sentience are undeniable; the canvas Verso proves it. To destroy it is to say one family's grief is worth more than an entire world's existence, and I refuse to make that call just because "logic dictates" it's the way to go. What even waits for Maelle out there? No voice. No loving brother. The second family she found, gone. The one she lost, still lost.
I know what the mature answer is. The real family outside is waiting. And Verso deserves his chance at finally finding peace. You can't build a home inside grief forever. At some point, you have to let the paint dry.
I was in limbo...
But this is maybe exactly why I love this fucking game so much: it begs this question, which I keep coming back to, and it's what makes the final decision so hard. What's the right choice?
In that moment when we're posed with the question of deciding the fate of the canvas, I knew in my heart of hearts which one to pick (Verso's!), but the nagging question of "who are we to destroy it" kept me from going to it instantly. Coz it's us, the players, not Maelle, Renoir, Verso or anyone else. We, the people who've spent 40, 60 hours in that world. Learning all the weird little things about it, its people, all its flavours of love and loss. Crying over characters whose existence was, by no stretch of imagination, ever "real". But the grief you feel is real. The love you feel for these characters is real. So, at what point does the world that produced all of that stop being fictional? We lost ourselves in the canvas too, that's the whole thing, we were in the game, quite literally - we role-played some (of the most beautifully written!) characters and lived through a part of their lives, and we were in the canvas with them. We are canvas folk!
So when the game asks you to destroy the canvas, it's also kinda asking you to question the very fact of you playing the game. Would you just get rid of it? Can you look at everything you built inside yourself over all those hours, and choose to let it go? Can you accept that the world you loved was always going to end, and that ending it yourself is somehow the more honest thing? And it's suddenly a very heavy decision.
That's what great art does. It doesn't just tell you a story. It makes you a participant in it. Expedition 33 finally hands us the brush and says: finish this madafaka. What a fucking masterpiece!
"Great art is both a mirror and a window"
Walking away from a world you love, even a painted one, even a fictional one, is still a kind of loss worth grieving. There was no "right" decision in the end; both sides had truth to them, and maybe that's the most brutally honest thing a story can ever do. It's what makes it a great, terrible tragedy. It's exactly how grief works, and exactly why it never truly ends.
(Side note: I do think walking away from it, finally giving it that resolution, kinda makes sense. The canvas deserves a moment, or three, where we just stand in awe of it and admire its devastating beauty and sheer brilliance, but in the end, we must move on...)
What this game did was make me feel the full weight of an impossible situation and give me nowhere comfortable to put it down. It did not resolve cleanly. And I think that’s the point. It refused to give us the mercy of moral clarity. Instead, it handed us a choice where both paths carried love and loss in equal measure. We all walked into that final decision carrying our own grief with our own thresholds for what we could bear to sacrifice. Some of us chose mercy for the painted world. Some of us chose mercy for the one outside it. Neither choice was empty. Neither was cruel without also being compassionate. The game doesn’t separate right from wrong; it leaves it completely open-ended. And you're not choosing between good and evil; the choice is which truth you can live with. Which grief you are willing to carry forward. Life rarely presents us with clean answers, only trade-offs. The game trusts us enough to sit in the discomfort, to acknowledge that two opposing things can both be valid, both be seated in love, both be equally devastating. That’s why the ending lingers the way it does. It leaves you haunted by the choice you didn't make.
This is truly the greatest game I've played in years. One of the greatest pieces of media I've had the privilege to experience and engage with. A piece of art for the ages. A freaking masterpiece!
What a world to have fallen through.
For those who come after!
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"I envy them, those who can't see. Those who know not, that they are not. And those who live, blithe and free, sins forgotten and thus absolved. A fresh dawn in their playground, while we live in shadows, swimming in ink. We are but a fragile dream, a singular weed, resisting, ever resisting. That iron dirt, that eternal law. Those who can't see. Those who know not, that they are not. Do you know? We are fellows. Those who know not, that they are not."













