Moving on from combat, it's arguably the story and the beautiful world that it's set in that are looking to make the biggest statement. It is indeed an amazing conceptual and technical world to explore, and the designers achieved the exact intended vibe, that you're walking inside a painting from someone else's dream. There's this hazy, defocused atmosphere that fazes out the horizons and peripherals, and colors are applied in gorgeous, surreal combinations. The mix of Belle Époque aesthetic, whimsical creature designs, and dark fantasy enemies works. It's cohesively tied together and supports the story and mood, and I appreciate how original it is, even if some familiar themes appear here and there.

The continent in general is a joy to take in. So many bespoke environments! I was frequently at cliff edges, pausing and panning around to absorb it all. The variety and scale continues to expand as you progress at just the right amount, and from an exploration standpoint, I thought what was achieved within the boundaries of its linear map design was solid. I've seen criticism about the lack of a mini-map and the difficulties around navigating, but I personally enjoyed the moments of confusion and that necessity to be considered in order to find the right path and discover all the tucked-away items. You're in an abstract and surreal world, so to me it makes sense to be somewhat disoriented and forced to pay attention to make sense of things. Without this, the linear map would be too straightforward, and I believe much of that sense of exploration would be gone.

The story, unfortunately, is the one thing I couldn't resonate with, which is a shame given how much love and focus it's given. The premise is excellent and original, and the prologue exceptional, but the tension quickly faded after Act 1. It then begins it's slow meander through the central mystery, becoming less cohesive and more belabored as it goes, featuring many overly long cutscenes with vague, cryptic and repetitive dialogue that drags down the overal momentum. I get that the theme of grief is at the core of the narrative, and it is handled earnestly, but after 30 hours it became more tedious than tragic, and by Act 3 the story is skewed towards a somewhat convoluted and melodramatic family drama that sidelines the broader implications of Lumière and the expedition.

This final act is the weakest part of the game. The character motivations and messages that underpin the story become increasingly unsatisfying and confusing when scrutinized and the choice given at the end strange. I was to 'murder' everyone I had come to know in the canvas (and spent the entire game setting out to save), or alternatively, allow Maelle to live in this fantasy world that would eventually turn her insane. This latter option would be at the cost of her Brother's soul, which begs for release, and a father who is understandably agonizing at the thought of losing another family member, but who we cant sympathize with, as we've been shown no redeeming qualities. Not an amazing final set of choices, and it was suprising how much agency is robbed from the side characters like Sciel and Lune. Ultimately the nuance is missing in the stories escapism conflict, and there are mixed messages on the how we should view the characters and their fantasy versus reality dilemma.

I can find positives about the story though, with that plump and aloof companion being one of them. Esquire's empathy and comic humor was a welcomed relief amongst all the glumness, and Monocco and the Gestrals added a cool flavor to the story. I was also very happy to hear the voice actor I had come to know and love through Baldur's Gate's Shadowheart take the lead role. She was excellent, a level above the rest, and helped develop Maelle into a great character. The screenplay and art-style of the cutscenes was also impressive. There was some popping and awkward expressions here and there, but ultimately it was a polished, cinematic, and immersive experience that felt like a AAA game.

I also have high praise for the music. The composer, Lorien Testard, was a guitar teacher and solo composer who had never scored a game prior to Expedition 33. The team found him on SoundCloud, and he went on to create 154 tracks for the project, absolutely nailing the emotional tone and the incorporation of French influences. Amazing versatility to compose across so many different genres and moods. It's dramatic, emotional, whimsical, energetic and adaptive to the game's needs. What an unreal job he's done there for a first major project.

To wrap this up, I'll give final props to the developers and the staggering amount of content they've given us. After completing the main story I ran many side dungeons and bosses, and continued to be frustrated by enemies, even at high levels. I was getting into some 20-minute fights at times. I loved exploring the map while flying, looking for more locations, and appreciated the effort to mix things up with non-combat-related content. OK, it was a little hard to sequence end-game areas to manage your power level, but overall It felt like just the right amount of game for the casual or the completionist, with no corners cut or sense of things being rushed.