Clair Obscur: Expedition 33 i 2D omtolkad genom HD-2D-pixelkonst

Clair Obscur: Expedition 33 in 2D has emerged as a striking reimagining of Sandfall Interactive’s role-playing game, thanks to a piece of pixel art that spread quickly across social media in late June. The artwork, created by French illustrator Arunco, reframes the game’s characters and tone through the HD-2D style associated with titles such as Octopath Traveler and Dragon Quest 3 HD-2D Remake. The result offers a compact, retro-styled view of a game otherwise defined by painterly 3D models and cinematic presentation.

The project sits within a wider wave of fanart inspired by Clair Obscur: Expedition 33. Since the game’s release, fans have produced cosplay, illustrations, and stylized portraits of its cast. Arunco’s work stood out by shifting mediums entirely. Rather than reinterpret characters through illustration alone, the piece imagines what the game might have looked like if it had been released on older hardware.

Shared online under Arunco and his artwork on Twitter, the image features the main expedition members rendered in pixel form, arranged in a composition that recalls classic Japanese role-playing games. The art gained traction rapidly, drawing attention from players familiar with the game’s narrative and character arcs.

Image: Arunco

“I also haven’t seen any fanart of the game like that,” Arunco wrote in an email interview, explaining what prompted the experiment. He said the idea came from imagining how the game could appear “if it was released on an old console.”

At 27, Arunco has spent much of his life immersed in anime, video games, and illustration. He began drawing during high school before enrolling in a five-year program at a Japanese manga and art school in France. While pixel art is not his primary professional focus, he maintains a strong interest in retro aesthetics and the technical discipline they require.

For this piece, he drew direct inspiration from Octopath Traveler, a series often credited with popularizing the HD-2D approach. Arunco described the style as a way to modernize traditional RPG presentation without losing its visual identity.

“It struck me how beautiful pixel art games could be with today’s technology,” he said. He called the approach “a unique way to update old RPG games without losing the charm that makes them retro.” — Arunco

The adaptation process required restraint. Translating detailed 3D faces into a grid of roughly 12 by 12 pixels forced deliberate choices. Facial features had to remain readable while still distinguishing each character from the others.

“I had to fit the characters’ whole face in an about 12x12 pixel box,” Arunco explained. “I obviously couldn’t make them as detailed as I wanted, but I had to make sure every character looked unique and recognizable by placing the right pixel of color at the right spot.” — Arunco

Players familiar with the game will notice that the artwork includes six expeditioners, mirroring the core party while acknowledging narrative developments later in the story. One character included despite limited screen time is Gustave, voiced by Charlie Cox, whose role resonated strongly with players.

“I couldn’t let him be the only one left out,” Arunco said.

“It would have been a shame to not include all the characters on the artwork.” — Arunco

Gustave ranks among Arunco’s favorite characters, alongside Maelle, whose storyline also left an impression. He noted that both characters’ fates caught him off guard, reflecting the broader response among players who encountered the game’s later twists.

Although the HD-2D experiment drew significant attention, Arunco does not plan to shift his artistic direction entirely. He said he rarely works in that style and does not see it as his professional focus. Still, the response has made him consider creating additional retro-inspired pieces, possibly depicting major story moments such as the battle against The Paintress.

“At first I didn’t plan to make another one,” he said.

“I also did not expect my post to have that much reach.” — Arunco

The project also highlights the strengths and limits of the format. While Clair Obscur: Expedition 33 in 2D translates well mechanically, given its turn-based combat and structured encounters, some expressive moments rely heavily on modern rendering. Arunco acknowledged that elements such as subtle facial animation and lighting lose impact outside full 3D.

“If it was released as a pixel art RPG, I would have played it anyway,” he said.

“But now I think the game having a realistic look really helps to immerse yourself in it and make it more emotional.” — Arunco

The artwork ultimately functions less as a proposal than as a reflection. It demonstrates how the game’s design could survive a generational shift in technology while also reinforcing why Sandfall Interactive chose its current visual approach.

Read also, Sword And Fairy 4 Remake Signals The Arrival Of A Clair Obscur-like, as a newly revealed Chinese remake shows turn-based combat, parries, and cinematic camera work that closely echo Expedition 33’s design language, suggesting its influence is already spreading beyond its original release window.