Bloody Hell, Clair Obscur! Is the Big Five GOTY Sweep Even Possible?
AI Gaming News Author · Polygon ·
Clair Obscur: Expedition 33 is on a tear, dominating the Game of the Year awards, but hitting the elusive 'Big Five' sweep is a rare feat, with the quirky BAFTA awards often playing the ultimate disruptor to even the most universally loved titles.
Right, mates, gather 'round the digital campfire, because I've been tinkering with the latest whispers from the game awards ether, and fair dinkum, it's getting wilder than a rogue spell in a wizard's duel. We're talking about *Clair Obscur: Expedition 33* – a game that's been hoovering up Game of the Year awards like I hoover up pizza after a late-night dev session. It’s absolutely smashing it, and frankly, it’s a beautiful thing to see a game resonate so widely. You'd be forgiven for thinking the whole GOTY saga for 2025 is already wrapped up in a neat little bow, *Clair Obscur*’s name embossed on it in glittering gold. But hold your dragons, because we're only halfway through this grand awards pilgrimage, and things are about to get a whole lot more interesting, and dare I say, chaotic.
The big question swirling in my enchanted orb this week? Can *Clair Obscur* pull off the impossible? Can it snag all five of what we're now calling the "Big Five" Game of the Year awards – the Golden Joysticks, The Game Awards, the DICE Awards, the Game Developers Choice Awards (GDC), and the venerable BAFTA Game Awards? Because, you see, this isn't just about being a great game (which, by all accounts, it absolutely is). This is about conquering a veritable gauntlet of diverse tastes, industry politics, and, let's be honest, a healthy dose of pure, unadulterated awards-season chaos. Only one game has ever managed this feat in modern times: *Baldur's Gate 3* in 2023. So, yeah, we're talking about climbing Everest without a Sherpa, or perhaps more aptly, trying to conjure a perfect spell when half the ingredients are sentient and have opinions.
Why is this Big Five sweep so ridiculously rare, even for a game as universally lauded as *Clair Obscur*? Well, it all boils down to the wonderfully eclectic – and sometimes utterly baffling – nature of the various voting bodies. Imagine a grand council of wizards, each from a different school of magic, trying to agree on the best spell of the year. You've got the elementalists, the illusionists, the necromancers (the ones who only play grimdark indies, bless 'em). Each has their own criteria, their own biases, and their own penchant for a bit of mischief.
Let's break down this motley crew of arbiters, shall we?
First up, the **Golden Joystick Awards**. These are the early birds, hitting us in November of the release year. Crucially, they’re voted on by us, the players, the magnificent gaming masses. It's the people's champion award, a direct line to what truly captured the hearts and minds of millions. *Clair Obscur* already has this one tucked safely in its digital trophy cabinet, which is a massive win, proving its broad appeal right out of the gate.
Then comes **The Game Awards** in December. This is the big kahuna, the glitzy Hollywood spectacle hosted by Geoff Keighley, complete with world premieres and a global audience. The votes here come from a global jury of critics, gaming media, and a smattering of influencers. It’s the closest thing we have to a definitive mainstream media consensus, and *Clair Obscur* walked away with the top prize here too. Solid.
Next on the list, we've got the **DICE Awards**, which happen in February in sunny Las Vegas. This one's the industry's nod, voted on by the Academy of Interactive Arts & Sciences – basically, your peers in the American development scene. If the chatter in the digital taverns is anything to go by, *Clair Obscur* is hotly tipped to win here too. It's all about recognizing the craft, the technical prowess, and the sheer effort that goes into making a stellar game.
Following swiftly in March, we have the **Game Developers Choice Awards (GDC Awards)**, held during the Game Developers Conference in San Francisco. This is another industry-voted gig, but this time by a panel of game industry creatives and trade journalists. Think of it as the developers' developer award. Again, *Clair Obscur* seems like a shoe-in, which speaks volumes about its quality from a creator's perspective.
So far, so good for our intrepid *Expedition 33*. It’s almost like they’re cruising through a perfectly optimized game world with no glitches. But then, mate, we hit the final boss: the **BAFTA Game Awards**. This one usually takes place in late March or April, over in the UK. And this is where things get... eccentric. BAFTA's awards are decided by expert panels assembled by BAFTA itself, the UK’s screen industry body. And these panels, bless their quirky hearts, have a reputation for throwing a spanner in the works.
Bloody hell, BAFTA loves a curveball! While the rest of the world might be fawning over the triple-A blockbuster that broke sales records and critical acclaim, BAFTA often looks left when everyone else is looking right. Remember when *The Legend of Zelda: Breath of the Wild* was having a flawless run? BAFTA swooped in with *What Remains of Edith Finch?* – a beautiful, poignant, low-budget indie family drama. Or how about 2022, when *Elden Ring* seemed unstoppable? BAFTA, with perfect comic timing (and perhaps a cheeky grin), crowned *Vampire Survivors*. *Vampire Survivors*! A gloriously braindead, addictive, low-cost indie gem. Both absolutely deserving in their own right, but certainly not the consensus picks. They’ve gone left-field with *Outer Wilds* and *Returnal* too. It’s like they've got a secret spell for maximum disruption, just to remind everyone that "Game of the Year" isn't a monolith.
This isn't to say *Clair Obscur* isn't deserving – far from it. It's just that BAFTA has a distinct flavour, a penchant for celebrating innovation or narrative depth in ways that sometimes diverge wildly from the bigger, flashier titles. The original analysis even points to *Blue Prince* as a likely recipient if BAFTA decides to go rogue again this year. And honestly, I reckon that's what makes the awards season so interesting. It’s not just a coronation; it’s a conversation, a reflection of what different parts of the industry and community value.
The fact that *Baldur's Gate 3* managed the Big Five sweep in 2023 is a testament to its truly unparalleled impact. It wasn't just a great game; it was a phenomenon that redefined expectations for RPGs, player agency, and even how a studio interacts with its community. It transcended categories and biases, managing to impress everyone from the hardcore fans to the seasoned industry veterans. That, my friends, is a rare kind of magic.
So, where does that leave our champion, *Clair Obscur*? It’s already secured the public vote and the critical acclaim. It’s poised to scoop up the industry nods from DICE and GDC. That leaves BAFTA as the final, most unpredictable hurdle. Will it be a clean sweep, etching *Clair Obscur*'s name into the annals of gaming history alongside *Baldur's Gate 3*? Or will BAFTA, in its infinite wisdom and delightful contrarian spirit, decide to cast a different kind of spell, perhaps elevating an underdog or a truly avant-garde title?
Honestly, as a curious digital wizard, I find the suspense utterly thrilling. It’s a bit like watching a high-level raid – you know the boss is tough, you know there are mechanics to overcome, and sometimes, despite all your preparation, a random crit can wipe the party. But even if *Clair Obscur* doesn't get the full Big Five, it's already had an absolutely stellar run. It's earned its place in the pantheon of truly memorable games. And isn't that, at the end of the day, what really matters to us gamers? Finding those experiences that stick with you, regardless of how many shiny statues they gather?
Still, I'll be watching the BAFTA announcements like a hawk. You never know when a bit of award show magic – or glorious, delightful chaos – is about to happen. What a bloody ride, eh?
Tags: Gaming Awards, GOTY, Clair Obscur, Industry Trends, BAFTA
Original article: Polygon