Sandfall Interactive Made Clair Obscur: Expedition 33 for Under $10 Million to Prove It Could

David Carcasole
Clair Obscur: Expedition 33. Characters standing before a large glowing arch with the number 33 above it.
Clair Obscur: Expedition 33 key art. Image credit: Sandfall Interactive

Sandfall Interactive's debut game, Clair Obscur: Expedition 33, is undoubtedly one of the defining games for 2025. Not only is it one of the most beloved titles of the year and the heavy favourite to win Game of the Year at The Game Awards 2025 this evening (especially after it swept the Golden Joysticks), it's one of the greatest success stories this year of an independent team made up of former Ubisoft developers coming together to prove, at least to themselves, that they could make the game they wanted to make, and that it would resonate with players.

Now, a new report from The New York Times (spotted by Game File's Stephen Totilo) reveals that's not all the studio wanted to prove. According to the report, not only did Sandfall Interactive keep the cost of Clair Obscur's development under $10 million, but it did so to prove that it didn't need to spend a crazy amount of money on a game to make something incredible.

Related Story One Year Later, Clair Obscur: Expedition 33 Has the Most GOTY Awards Ever and Over 8 Million Copies Sold

"Sandfall wanted to prove that indie studios were capable of making prestige games at a fraction of the budget and personnel of larger studios," the report reads.

"Sandfall wanted to prove that indie studios were capable of making prestige games at a fraction of the budget and personnel of larger studios...."Sandfall, which said the budget for Clair Obscur was less than $10 million..."Wowwww.nytimes.com/2025/12/11/a...

Stephen Totilo (@stephentotilo.bsky.social) 2025-12-11T14:34:11.610Z

Now, you're probably thinking that there have been countless indies before Clair Obscur: Expedition 33 that proved you could make a top-tier game at a fraction of the budget that major publishers like Activision pour into Call of Duty every year, and still they can't seem to get it right.

Several games in the last two years alone proved you don't need to spend a ton of money to make something that captivates the entire industry, see Hollow Knight Silksong, Animal Well, Blue Prince, Hades 2, etc. But those games, and many like them, don't include big-name voice actors behind their characters, let alone big-name Hollywood actors. They don't include the kind of cinematic triumphs included in Clair Obscur, and they don't reach the level of triple-A polish that we're more accustomed to seeing from the likes of Rockstar, Sucker Punch, Naughty Dog, Activision, Obsidian, and more.

It is incredibly impressive that Sandfall was able to accomplish what it did with Clair Obscur: Expedition 33, and it feels more than deserving of the accolades it has been given since it launched earlier this year. Tonight, it has the chance to add to its list of accolades, with its record-setting 12 nominations at The Game Awards 2025.

When Clair Obscur: Expedition 33 launched in April this year, Wccftech's Francesco De Meo gave it a 9.5/10 in his review, writing, "Before launch, Clair Obscur: Expedition 33 looked like a solid yet safe role-playing game, but Sandfall Interactive’s debut shattered expectations in the best possible way. With a gripping story, a beautifully written cast of characters, and engaging gameplay that breathes new life into familiar mechanics, Clair Obscur: Expedition 33 is a journey that leaves a lasting mark on both the mind and the heart."

David Carcasole Photo

About the author: David has been writing about videogames, technology, and culture since 2020, with a focus on reporting daily news across multiple publications, including GameDaily.Biz, GameSkinny, and PlayStation Universe before joining Wccftech in 2025. David started contributing as Canada/US reporter for Wccftech's gaming section in 2025. Besides being up-to-date on the industry's movements, he loves interviewing developers, reviewing games, and writing intricate essays about the symbolism and layered meanings to be found in rich narratives as he's done for publications like GamesIndustry.Biz, LostInCult, and others. Outside of games he loves movies, music, theatre, his hometown, and his family, though not necessarily in that order.

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