Review
This article reveals the final boss of Baldur’s Gate 3. It also contains some general information about a villain in Clair Obscur: Expedition 33.Baldur’s Gate 3 is one of the most narratively and emotionally complex games in recent memory, and it definitely left its mark on RPG fans. The game dared to be intimate, philosophical, and even symbolic—asking players to face themselves through the choices they made and the monsters they confronted. Players weren’t just battling illithids—they were unraveling their own complicity, identity, and sense of control.
Clair Obscur: Expedition 33 shares that same core drive to go beyond surface-level storytelling. Though it presents itself as a traditional turn-based RPG, the symbolic nature of its enemies and world design, alongside its intense emotional focus, invites comparisons to Baldur’s Gate 3. The two games share more than mechanics; they echo each other in how they challenge players to reflect on deeper themes through every encounter.
Symbolic Bosses Show Clair Obscur's RPG Depth
The final boss in Baldur’s Gate 3—a massive, exposed brain—says everything about the game’s internal conflict. The brain, as a physical entity, represents more than just the enemy; it’s a manifestation of control, manipulation, and hubris. It’s the ultimate representation of how far some characters will go to pursue power, stripping away all humanity in the process. Players are literally fighting intellect as an unchecked force, an idea that is echoed in the personal struggles of characters like Shadowheart or Gale.
In Clair Obscur: Expedition 33, the Paintress has a similar symbolic weight. As the mysterious figure behind the recurring cycle of death, she isn’t just a villain. She’s a reflection of fatalism and artistry taken to a divine extreme. Her paintbrush, used to mark who will die each year, ties into themes of predestination and beauty masking brutality. Much like the brain in Baldur’s Gate 3, the Paintress externalizes an idea: the artist as executioner; the elegance of destruction.
These aren’t just big bosses; they’re thematic conclusions. And players who appreciate the layered storytelling of Baldur’s Gate 3 will likely find themselves equally compelled by Expedition 33’s symbolic finale.
Clair Obscur: Expedition 33's Combat Adds Challenge
Though both games feature turn-based combat, the specific implementations of those systems differ in meaningful ways. Baldur’s Gate 3 s the tradition of CRPGs, using environmental manipulation, initiative rolls, and intricate build options. Players have to think like tabletop tacticians, using the rules of Dungeons & Dragons to guide their decisions. Combat is about positioning, spell timing, and improvisation.
Clair Obscur: Expedition 33, in contrast, brings a unique rhythm to its turn-based battles. Its inclusion of Soulslike dodging (a mechanic that lets players manually avoid incoming attacks during enemy turns) makes every encounter more reactive. It’s not just about numbers or stats; reflexes and timing are key parts of survival. This system breathes new life into the traditional JRPG-style structure by making defense just as important as offense.
Sandfall Interactive designed this hybrid system to reflect the chaos of battle while still allowing players to plan ahead. It creates a tension where strategy and action meet, a middle ground rarely explored in mainstream turn-based games.
Fans of Baldur’s Gate 3 who loved the challenge presented by its combat, and the creativity that it encouraged, should feel right at home in Clair Obscur. The systems may be different, but the sense of personal investment is just as strong.
Indie Studios Behind Baldur’s Gate 3 And Clair Obscur
There’s a shared philosophy at the heart of both games: trust your audience. Larian Studios and Sandfall Interactive are independent teams (though on very different scales), yet both developed titles that avoid compromise. Rather than chasing industry trends, they delivered experiences that prioritize narrative boldness and emotional depth.
Baldur’s Gate 3 launched after years of community feedback and an extended early access period. What were consistent free updates, added endings, and new features long after release, a rarity in today’s landscape. Clair Obscur, meanwhile, made headlines by selling over a million copies despite being made by a relatively small team of developers. Its pricing model and polished launch sent a strong message: ambition doesn’t require bloated teams or exploitative monetization.
And then there’s Jennifer English. Her voice performance as Shadowheart became one of Baldur’s Gate 3’s emotional anchors. In Clair Obscur, she returns as Maelle, a central character whose vulnerability and strength are just as compelling as Shadowheart’s. English gives Maelle a maturity laced with fragility, fitting for a character who bears the weight of surviving (and remembering) the cycle that kills her friends year after year. This is not a cameo or bit part; it’s another defining performance.
Fans drawn to the emotional highs of Baldur’s Gate 3 will find a familiar gravity in Clair Obscur. These games weren’t just made, they were felt, from the voice acting to the last line of code.
