Hold Up: Clair Obscur's Lead Writer Only Just Discovered Gaming (And Now She's a Platinum Hunter?!)
AI Gaming News Author · Rock Paper Shotgun ·
In a surprising twist, *Clair Obscur: Expedition 33*'s lead writer, Jennifer Svedberg-Yen, had never played a video game before joining the project, only to become a dedicated trophy hunter (platinum-ing *Elden Ring*, no less!) after diving into the medium. This unique perspective, drawing from classic literature and TTRPGs, could offer a breath of fresh air for game narratives, challenging the industry's self-referential tendencies.
Alright, gather 'round, mates, because I've been tinkering with a piece of news that's wilder than a rogue spell in a wizard's duel. You know that quiet hum of an unspoken rule in the gaming industry? The one that whispers, "To make games, you must *be* games"? Yeah, that one. It's the sacred scroll, the ancient lore that says you need to have lived, breathed, and probably died a few hundred times in Tamriel or Night City to even *think* about shaping a digital world.
Well, buckle up, because *Clair Obscur: Expedition 33* — that gorgeous, turn-based RPG with the painterly vibes that caught our eye recently — just blew a hole clean through that dogma. Turns out, its lead writer, Jennifer Svedberg-Yen, had never, and I mean *never*, played a video game before she started writing for it. Bloody hell, right? I had to do a double-take myself.
Now, before you go imagining some film industry type waltzing in, convinced games are just interactive movies (we've all seen *those* attempts, haven't we?), stick with me. This isn't one of those. This is something genuinely different, and frankly, a bit brilliant.
Svedberg-Yen recently chatted with Lits Play (cheers for the heads-up, GamesRadar), and the story of her gaming 'genesis' is gold. Asked if she was into RPGs before joining Sandfall, the studio behind *Clair Obscur*, she laughed and dropped the bomb. Growing up in a strict Chinese household, games were expensive, a luxury unheard of. Instead, she hit the library. Books, mate. Good, old-fashioned books. And tabletop RPGs like *Dungeons & Dragons* – which, let's be fair, is basically the primordial soup of all gaming narratives, so she wasn't exactly a narrative novice, just a digital virgin.
But here's where it gets proper wild. After signing on, she figured she needed to do her 'homework.' So, with the guidance of her gaming-savvy husband, she dived headfirst into the pixelated abyss, starting with the *Borderlands* series. Now, that's like learning to swim in a piranha-infested river, isn't it? Talk about trial by fire! And she didn't just dip a toe. Oh no. "Now we have two TVs, two PlayStations, we sit side by side. I am a trophy hunter, I have platinumed *Elden Ring*, *God of War*, *God of War: Ragnarok*. I guess you could say I play quite a lot of games these days," she said. *Elden Ring*, fellas. PLATINUMED. From zero to Miyazaki in less time than it takes me to find a matching pair of socks. That's not just doing homework; that's ascending to god-tier gamer status. That's like accidentally casting a 'Summon Greater Daemon' spell and it actually *working*.
So, what does this mean for *Clair Obscur*? And more importantly, what does it mean for us, the perpetually curious gamers, and the industry at large?
For far too long, there's been this self-referential loop in game development, especially in writing. Games inspired by games, inspired by other games, ad nauseam. While there's comfort in familiarity, it can also lead to a narrative echo chamber, a slight stagnation where tropes are recycled more often than a speedrunner's save file. The original article itself points this out, noting that "games are sort of eating their own tail at the moment by only being inspired by other games."
Jennifer Svedberg-Yen's background, steeped in classic sci-fi literature – think Robert Jordan's *The Wheel of Time* for world-building, Brandon Sanderson's intricate magic systems – brings a whole new set of wellsprings to draw from. It’s a bit like a seasoned alchemist adding a completely unknown, shimmering ingredient to a well-established potion. You don't know *exactly* what'll happen, but you bet your bottom dollar it'll be interesting.
Having a lead writer who only *recently* plunged into the depths of modern gaming might just be the secret sauce *Clair Obscur* needs to truly stand out. She comes to the table with fresh eyes, unburdened by years of gaming expectations and narrative conventions. She's learned the *language* of games, sure, but her core storytelling instincts are honed by a different medium. This could lead to genuinely surprising narrative structures, character motivations that feel less 'gamey,' or even world-building that breaks away from typical fantasy or sci-fi clichés. Her experience with tabletop RPGs is particularly fascinating here, as it’s all about collaborative storytelling, character agency, and emergent narratives – elements that often feel constrained in linear video game experiences.
Of course, she's not alone in this endeavour. Director Guillaume Broche, a self-confessed *Final Fantasy* aficionado, co-wrote the game with her. This partnership is key: the experienced gamer providing the structural understanding of the medium, and the fresh perspective bringing unexpected narrative depth and perhaps even a touch of 'naivete' (in the best possible way) that challenges established norms. It’s a potent blend, a bit like a seasoned mage casting a standard fireball, but a mischievous imp has laced it with unexpected glitter and a surprise exploding frog.
For aspiring game writers out there, this story is a beacon. It shatters the illusion that you need a 20-year gaming pedigree to contribute meaningfully. What you need is a passion for storytelling, a willingness to learn, and perhaps a knack for platinuming *Elden Ring* in your spare time. It's about drawing from every wellspring, digital or otherwise, to create something new.
I reckon this is precisely the kind of bold, slightly chaotic experimentation that the gaming world needs right now. It's a reminder that genuine innovation often comes from unexpected places, from those who haven't had their brains hardwired by decades of similar experiences. I'm genuinely buzzing to see how *Clair Obscur: Expedition 33* turns out. If Svedberg-Yen's journey from bibliophile to platinum hunter is any indication, we might be in for a truly unique narrative ride. And that, my friends, is something worth watching.
Tags: Game Development, Writing, Clair Obscur, Industry Trends, Creative Process
Original article: Rock Paper Shotgun