Ranking the Shadow of the Colossus Bosses from Worst to Best.

When I first played the Shadow of the Colossus remake back in 2018, I titled my review of it, “not a masterpiece but a really fun game.”
Eight years and multiple playthroughs later, I wonder what the hell I was smoking when I wrote that… and I don’t even smoke!
The tale of Wander’s journey across the Forbidden Land to kill all sixteen Colossi is both simple and yet undeniably tragic by the end.
It is a masterful story with some (mostly) masterful boss fights, from Valus, all the way to Malus.
So, after something like my fifth playthrough, I have decided to rank all sixteen Colossi from the weakest to my absolute favorite.
My opinion on Shadow of the Colossus may have become much more positive over the years, but there is one Colossi I still have a very negative opinion on.
That Colossi is…

16. Celosia, the Eleventh Colossus.

Celosia was my least favorite Colossus on my first playthrough, and it is still my least favorite all these years later. 
For starters, it is the smallest of the Colossi, going against the game’s trope of scaling massive giants.
In order to beat Celosia, you need to bait it into knocking a flaming torch down, which you can use to scare it off a ledge, exposing its weak point.
Simple enough, right?
Wrong.
See, if Celosia knocks Wander down at any point during the fight you are probably screwed.
This is because Wander’s recovery time is pretty much the exact same as Celosia’s attack windows.
So, by the time Wander gets up, he has just enough time to regret that decision before Celosia charges him into a game over screen.
There is one way to avoid this, button mashing to increase Wander’s recovery, but the game does not tell you about this.
So, on your first few play throughs, you will probably, like me, find yourself getting hit by Celosia and caught in a hit loop, resulting in Wander’s death.
However, even when you expose Celosia’s weak point, the problems do not end.
This is because it feels almost impossible to get a hit in when riding Celosia back to the original fighting spot.
It will just keep running and shaking itself, giving Wander no time to strike the beast, before his stamina meter runs out.
All of these issues combine to make Celosia easily the worst of all sixteen Colossi.
Every time I replay the game, I always dread fighting Celosia, because I know I am not going to have a fun time.  

15. Phaedra, the Fourth Colossus.

I will give Phaedra this, they have a pretty great design.
A giant stone horse, with crab-like legs, the design is unfortunately all Phaedra really has going for it.
To beat Phaedra, you have two options.
You can either lure him to the tunnels and jump up his braids once he bends down, or circle around in the tunnels to jump onto his tail.
Either way can get you to his weak point, making the fight seems simple enough.
The problem is Phaedra’s attention span.
You have to constantly shoot arrows at it, otherwise Phaedra will lose interest and walk away.
A lot of the times, I entered the tunnels, waited for Phaedra to get into position to jump on him, only to walk out after a long time waiting and find him walking away from me.
Most of your time fighting him will be spent trying to get into place, rather than actually scaling him.
It creates a lot of frustration and, even when you reach Phaedra’s weak point, he is not that fun, since it is pretty easy to just hold on and stab at him.
Phaedra appears promising, given his design, but the fight quickly turns frustrating, pushing him all the way down near the bottom.

13. Hydrus, the Seventh Colossus.

One of the few water-based Colossi, I know I had fun fighting Hydrus.
It felt tense to run along his back when he surfaced, hold on for dear life when it went underwater, and stab certain points so Wander would not be electrocuted.
The problem?
The sheer amount of time it takes to grab ahold of the damn thing.
Hydrus is one of the slowest moving Colossi and it takes forever for it to get into position so you can grab onto its tail.
Wander’s slow swim speed does not help matters, and things get worse if you miss or run out of stamina.
Either one, means having to restart the slow, boring process of trying to grab Hydrus’ tail all over again.
As a result, much like Phaedra, it is a boss you spend more time trying to get into place, rather than actually fighting.
If they had made the boss faster, it probably would have been a lot higher than it is.  

13. Cenobia, the Fourteenth Colossus.

In my first review of Shadow of the Colossus, I said Cenobia was my least favorite boss, alongside Celosia.
Subsequent playthroughs have improved my opinion of this boss (as well as of the entire game).
Starting on the negatives, Cenobia is just as small as Celosia, resulting in a less than awe inspiring encounter.
The charge death loop problem from Celosia is also here.
Thirdly, while the obstacle course to beat Cenobia is fun, if you die (which I did on my first attempt this playthrough) it becomes a bit tedious to do it all over again.
Finally, I would have put Cenobia’s constant shaking in the negatives, until I learned mid-fight that you have to bait him to charge into the fallen pillars, stunning it and giving Wander enough time to deliver some blows to the weak point.  
As for the positives, like I said, it is fun on the first run to constantly jump from falling pillar to falling pillar.
Also, once you figure out the way to stun him post obstacle course, like I did, the fight is a breeze.
These qualities pushed Cenobia up a few placements from the bottom, even if it is still on the weaker end of Colossi.  

12. Quadratus, the Second Colossus.

Quadratus makes quite the first impression with his cutscene, smashing through a wall to reach Wander before the fight begins.
Despite the intimidation factor, Quadratus is a simple fight.
You just have to shoot the soles of his hooves with arrows, causing him to fall, and allowing Wander to climb and then stab him.
Easy enough.
Granted, Quadratus is only the second Colossus of the game, so it makes sense that his fight is so simple.
But, when ranking him amongst the other Colossi, it becomes hard to justify placing him any higher.
He is a good boss, which teaches the player some of the games mechanics, like shooting weak points with arrows, but on replays he is a little too simple.  

11. Basaran, the Ninth Colossus.

Speaking of Quadratus teaching players to shoot weak points with arrows, this is seen nowhere better than with Basaran.
Whenever I see someone rank the Colossi, Basaran usually sits somewhere near the bottom.
I have it a few places higher, but it is easy to see why so many have negative opinions on this fight.
For one thing, Basaran moves extremely slow.
This makes guiding it over the geysers a tedious experience, especially with how the geysers are pretty inconsistent with their timing.
What makes the fight much more bearable for me is Basaran’s attacks,
He will shoot fireballs at you constantly, requiring Wander to use his horse Agro to evade, creating a few exhilarating moments, like the one in the image above.
Once Basaran is positioned over the exploding geyser, shoot the bottom of his feet like Quadratus taught you, then scale the beast to stab his weak point.
Basaran might be a slow fight, but it has just enough interesting about it to put him in the eleventh spot.  

10. Pelagia, the Twelfth Colossus.

We enter the top ten with Pelagia, another water fight, like with Hydrus, but a much better one.
The steps to fighting Pelagia are more complicated, though.
First, you have to swim around him so you can climb on his back.
Once that is done, you hit the teeth-like objects on his head to guide him to one of the platforms.
When you have reached the platform, jump on it and hide to avoid his lightning blasts, before jumping to reach his weak point when he finally presents it.
It is strange that I enjoy this fight when there are so many steps to actually complete it, but that is due to the pacing, I think.
When you learn how to beat him, the fight moves pretty quickly, unlike Hyrdus, which takes so long. 
It is a lot of fun to move Wander and Pelagia from different positions, all to expose the Colossi’s weak point, leading to a leap of faith to reach it.

Pelagia is one of the most complicated bosses in the game, but that complication provides plenty of fun.    

9. Valus, the First Colossus.

The first Colossi in the game, Valus, is obviously way simpler than the twelfth.
He serves as a tutorial fight for the rest of the game, after all.
And what a tutorial battle he is.
There is nothing like booting Shadow of the Colossus up for a beginner’s playthrough and seeing Valus stomp across his boss arena for the first time.
Most players will find themselves thinking, I’m supposed to fight that!?
Thankfully, Valus does not serve as much of a challenge, with the weak point on his leg making it easier to climb him, and the balconies he has which you can stand on without losing stamina.
Yet, despite the exhilarating experience climbing and defeating him, the sad music which plays upon Valus’ his death hints that what Wander is doing is not right.
This score will haunt the player which each Colossi they slay, and it all begins with Valus.
Valus may be a simple fight to teach the player the game’s mechanics, but he makes quite the impression in doing so.   

8. Malus, the Sixteenth Colossus.

We go from the first Colossi fight in the game to the final one.
The buildup to Malus is magnificent, with the tragic loss of our horse Agro, and then having to dodge fireballs to reach the biggest of all Colossi. 
Malus is also a pretty tragic figure since, given his extreme height, he has probably seen the beams of light, as all 15 Colossi before him have fallen to Wander’s blade, meaning he knows we are coming.
No wonder he attempts to shoot Wander on sight.
When you finally reach Malus, you are in for a long climb to the top of his head, and it feels like you have surpassed truly insurmountable odds upon killing him.
Malus would be a lot higher on this list if it was not for the shere frustration that inevitably arrives when he shakes you off near the top and you have to climb him all over again.
This is at its worst during the part where you have to shoot an arrow at his shoulder, while constantly trying to hold onto a hand which is moving around.
The arrow controls make this moment even more frustrating, and I am sure most players fall at least once here.
It is a shame because otherwise Malus is a great final fight for Shadow of Colossus, being both awe inspiring and tragic. 

7. Dirge, the Tenth Colossus.

Back when I played Shadow of the Colossus for the first time, Dirge was one of my favorite bosses.
This stayed true for all of my following playthroughs.
So, when I decided to play through the game so I could rank the bosses, I was sure Dirge would be in the top five, if not the top three.
Unfortunately, I encountered a few hiccups, which placed him at number seven.
Starting with the fantastic, being pursued by Dirge on Agro is one of the most intense experiences Shadow of the Colossus can offer.
Sure, the arrow controls while riding can be a bit to get used to but, once you master it, the chase becomes extremely fun.
My issues this playthrough arrived when I stunned Dirge.
The first time I stunned him, I got turned around for a minute and could not find him.
I figured when I did finally locate him, I would have no time to attack but no, Dirge was just patiently waiting for me to climb and stab him.
The second time I stunned him, I got him one hit away from death, when I decided to jump off because of how much he was shaking, sure that he was about to dive beneath the sand.
Instead, Dirge just sat there, waiting for me to deliver the killing blow.
I am not sure I encountered a glitch or Dirge was designed this way, but him just patiently waiting for me to kill him greatly lessened the intensity of the fight.
That being said, the chase is still exhilarating enough to put Dirge all the way up at number seven. 

6. Barba, the Sixth Colossus.

Much like Dirge, Barba’s fight begins with a chase, although not on Agro.
Wander has to flee towards a passage, climbing walls which Barba smashes behind him and, if you aren’t quick enough, smashes through you.
Once Wander reaches the passage, it becomes a game of waiting for Barba to kneel down, much like with Phaedra.
However, unlike Phaedra, Barba’s AI can be relied upon because he does it relatively quickly.
From there, you just need to jump on Barba’s beard, unique to the Colossi, climb it up to reach his weak points and just stabby-stab from there.
With a great starting chase and reliable AI to reach his weak point, the Sixth Colossus makes it all the way to number six on this ranking.
Funny how that worked out.  

5. Kuromori, the Eighth Colossus.

Despite being on the smaller side of Colossi, like Celosia and Cenobia, Kuromori is a fantastic fight.
The lizard-like Colossus will scale the walls in its sanctum to reach you, which you can turn against the creature by shooting its leg with arrows, causing Kuromori to fall.
From there, you have to decide to run or jump down, risking fall damage to attack Kuromori.
Rinse and repeat until the Colossi falls.
Granted, I do make it sound easier than it is.
On harder difficulties, it is very easy to die by Kuromori’s laser breath, and I died to him more than any other Colossi.
However, unlike the other smaller Colossi with their unfair charge attacks, Kuromori’s laser shots felt fair and were intense to avoid.
Kuromori shows how a smaller Colossi should be handled, putting him in fifth place.

4. Avion, the Fifth Colossus.

When I first finished Shadow of the Colossus, Avion was my favorite boss fight.
While I do still love him, he has fallen down a few spots in subsequent playthroughs.
Much like how Valus’ arrival stuns first-time players, there is nothing like grabbing hold of Avion for the first time and being carried off into the sky, while holding on for dear life. 
It was the moment which truly taught me how far Wander was willing to go to resurrect Mono, as he hung upside down from Avion’s wings.
Running the length of the Colossi’s wingspan, all the way to the tail to strike the weak points creates a view like no other.
So, why is at number four and not number one?
Well, when you fall off Avion, depending on where you land, it can be a bit of a chore to get back into place to trigger the Colossi.
As I said when talking about Hydrus, Wander’s swim speed it extremely slow, so it feels a bit tedious to get back into place if you fall far away from the platform.
Otherwise, Avion is a fantastic boss who just misses out on the top three.

3. Gaius, the Third Colossus.

Much like how the sixth Colossi came in sixth place, the third Colossi comes in third.
Gaius is pretty much the poster child of
Shadow of the Colossus at this point, what with him being on the cover of the remake.
And you know what?
That position is entirely earned because he is one of the game’s best fights.
The tallest Colossi you have fought at that point, Gaius is unique in that the way he attacks you is also the way to beat him.
You have to position Wander deliberately, so Gaius’ next strike hits the platform at the center of the arena.
This will chip off some of the stone around Gaius’ arm, allowing Wander to climb up his sword on his next strike, and more easily attack him.
There is also unexpectedly some humor with Gaius’ fight because, upon defeat, you can actually see Wander being thrown from Gaius as he falls, something which always gets a laugh out of me.
One of Shadow of the Colossus’ most iconic fights, Gaius is easily the third best boss, in my opinion.

2. Argus, the Fifteenth Colossus. 

While Gaius is the poster child of the game, I would argue Argus is actually the most underrated boss in Shadow of the Colossus.
Most people seem to rank him a little under or below the top ten, while I think he is amazing.
His introduction makes for one hell of an impression, as he climbs up a cliff to face you, weapon in hand.
It is probably the biggest aura farming moment of the entire game.
The arena you fight Argus in is also one of the best, taking place in massive ruins, which really make you question what the Forbidden Lands were like before it was abandoned, and if Dormin had anything to do with its destruction.
Back to Argus himself, after tricking him into stomping on a platform, and into knocking down sections of buildings to reach him, including a bridge, you can jump upon his head to attack the weak point.
But there is a final trick to Argus, which is a hidden weak point upon the hand holding his weapon.
You need to stab him in the arm to get Argus to drop the weapon, then either drop down onto the hand or grab a hold of it by getting him to slam the ground, getting Wander close enough to deliver the final strike and bring Argus to the ground.
Argus is the penultimate fight of the game, and he does a great job of hyping the player up for the end with how amazing he is.
But Argus is not my favorite boss in Shadow of the Colossus.
No, that title belongs to…

1. Phalanx, the Thirteenth Colossus.

I see Phalanx ranked at the top spot on a lot of lists ranking the Shadow of the Colossus bosses.
In the end, I am no different because Phalanx is a masterpiece of a boss.
Fought in a large desert, the thirteenth Colossus is honestly the most tragic of the entire game.
He is the one Colossi in the game who does not attack Wander, even when provoked.
It is just a peaceful giant, flying through the sand and sky, minding its own business, until we come along to kill it.
It makes me feel guilty for having such fun defeating it, which is pretty much the point of Shadow of the Colossus.
Agro is essential for this fight because you have to chase after Phalanax and shoot arrows into its air sacks, causing it to lower altitude to the point where you can leap from Agro and grab its fins.
From there, much like Avion, you run along its back, striking weakpoints, holding on for dear life when it tries to throw you off.
Eventually, Phalanx dives into the sand and the fun, yet tragic process starts all over again.

Phalanx is a thrilling fight, full of many moments of brilliance which some players can experience.
I have even seen one clip of someone falling from Phalanx, only to land directly on Agro and continue chasing after the Colossi.
Name another video game where you can experience something like that? 
It is for this and many other reasons that I consider Phalanx to be the best boss in Shadow of the Colossus.
  

So, there you go, my ranking for the Shadow of the Colossus bosses.
It is just a shame that BluePoint Games recently got shut down after delivering such a great remake.
I will continue to play Shadow of the Colossus for years to come, and enjoy scaling its colossal beasts even more.
If you somehow have not played this masterpiece of a video game yet, I would highly recommend it. 
Even if you do not love it immediately, you may in time, which is the experience I had. 

Resident Evil: Requiem Review: An Intense Blend of Survival Horror and Action.

It is hard to believe that a decade ago it seemed like Resident Evil might be a dying franchise.
The last mainline installment, Resident Evil 6 in 2012, had not been well received by the fans and, even worse, Capcom had released Umbrella Corps in 2016, one of the most reviled games in the series.
Then Resident Evil: Biohazard arrived like a godsend in 2017, returning the series to its survival horror roots and revitalizing the brand.
This was the game that first got me into series, and what a time to become a fan because ever since then, Capcom have been on a roll.
Over the years, they have released Resident Evil: Village and numerous remakes, which are considered among the best video game remakes of all time.
Well, now we have another banger with Resident Evil: Requiem, the ninth mainline installment.

Resident Evil goes back to the Umbrella well with RE9.

After finishing my first playthrough, I am excited to say that Requiem is definitely in the top five best Resident Evil games.
It does a truly fantastic job of blending the survival horror of Biohazard with the over-the-top action of 4.
The story follows FBI Agent Grace Ashcroft (Angela Sant’Albano), the daughter of one of the previous game’s protagonists, Alyssa,
Tasked with investigating a mysterious disease tied to the Raccoon City Incident, Grace finds herself kidnapped by Umbrella scientist Dr Victor Gideon (Antony Byrne) and must survive his care facility of horrors. 

You have to wonder how these crazy looking, mad scientists keep getting people to help with their potentially world ending experiments.

Grace’s segments of the game are pure survival horror, and I found myself screaming many a time when faced with terrifying zombies.
What makes these zombies so unique is that they retain parts of their personalities from when they were alive.
A massive zombie chef tries to cook human flesh, a maid cuts herself repeatedly on glass trying to keep everything clean, and some zombies even apologise for trying to hurt you when they are killed.
It makes them not only scary but also pretty pitiable.
But the true horror of Grace’s segments is The Girl, a hag-like monstrosity with a weakness to light that pursues Grace throughout the facility. 

The Girl is Resident Evil‘s scariest stalker enemy since the baby in Village.

With Grace’s limited stock of weapons, every fight with the undead could be her last.
It is a good thing then that she is not alone because the one-man army Leon Kennedy (Nick Apostolides) is also investigating Gideon, with Sherry Birkin (Eden Riegel) acting as his handler.
Leon’s segments of the game are when the over-the-top action comes into play and, I have got to say, after a few hours of hiding in the dark terrified as Grace, it is such a relief to kick zombie ass as Leon, shooting them, hacking them up, and cutting them apart with a chainsaw.
I never thought the survival horror of the series could blend so well into the action and yet Capcom achieved this. 

How Leon is still doing roundhouse kicks on zombies in his 50s is unknown to me. Not complaining though. Rule of cool, and all.

They even provided different styles of gameplay for different playthroughs, with the choice between first or third person for both Grace and Leon.
I went with the recommended first-person for Grace and third-person for Leon, which felt perfect for their playstyle’s differing atmosphere.
Just as perfect was the game’s use of nostalgia, which can be a slippery slope.
Too much and it will feel like the game is just pandering to fans for cheap points, rather than doing something new.
Thankfully, Requiem offers plenty of new with that old, and the old content is lovingly handled. 

Returning to the RPD was just one of many nostalgic moments in Requiem.

Well, I have spent so long lathering this game with praise, you have to be wondering if I have any problems with it.
A few, but I really had to think about it for a bit.
For starters, I think we can all agree that there was one antagonist who deserved a boss fight but did not get one.
Along with this, there is one segment of the game which reminded me of the cannon section in the Resident Evil 4 remake.
Since that was my least favorite section of that game, you would be right in assuming it was my least favorite part of Requiem as well.
Finally, there is one reveal towards the end that feels like a bit of a copout, but it was a convenience that made me smile so I can let it go.
And that is it for my issues.
The rest of the game is so good that it overwhelmingly overshadows any bad.

The game looking fantastic also helps matters.

Resident Evil: Requiem is one of the best Resident Evil games.
The story is investing and the gameplay styles of Grace and Leon blend perfectly.
I know it is only March, but it would not surprise me if Requiem ended up topping a lot of best games of 2026 lists.
And, with new story DLC probably dropping at some point, the game is only going to get better.
If you are a Resident Evil fan and have somehow not played this yet, hurry up and do so.
It is one of the series’ best.  

Dispatch Review: HR’s Having a Heart Attack.

2025 has been a spectacular year for indie gaming.
Games from smaller studios like Kingdom Come: Deliverance 2, and Clair Obscur: Expedition 33 captured the attention and hearts of gamers everywhere.
Clair Obscur (deservedly) won Game of the Year, so that is proof enough.
One of the games released by a smaller studio later in the year was Dispatch, a superhero comedy in the vein of Telltale.
This description was enough to sell me on it and, after completing my first playthrough, I can say it is well worth the money. 

I highly recommend this game is you are a Telltale fan.

Dispatch follows Robert Robertson The Third (Yes, that is his actual name), the superhero Mecha-Man.
After his suit is destroyed, Robert is left driftless, until superheroes Blonde Blazer (Erin Yvette) and Track Star (Jeffrey Wright) come to him with an offer: Work as a dispatch worker, coordinating a team of former super villains turned heroes, and they will help him rebuild his suit. 
And so, Robert has to work to transform the Z-Team from a group of combative, squabbling children, into heroes the public can trust.

The Z Team are all great characters, but the HR Department’s worst nightmare.

Each of the characters you dispatch are interesting in their own way, from the Crypto-Man-Bat, Sonar (MoistCri1tiKaL), to shortie Irishman, Punch Up (Jacksepticeye), to the rebel Invisigal (Laura Bailey).
The latter in particular takes center stage, with the player’s decisions determining how Robert’s relationships with both her and Blonde Blazer progresses.
All of the performances for these characters are great, especially Aaron Paul’s as Robert.
Usually whenever I hear him in a voice-acting role, I associate his character with the actor.
For Robert, however, he felt completely his own person, showing how good of a job Aaron Paul did for this game from the serious moments to the humorous ones.
Speaking of the humor, this game can be incredibly funny, and I broke out into laughter multiple times.
Probably one of my favourite jokes was delivered by Prism (Thot Squad) in a bar fight.

The bar fight has many great gags.

But enough about the characters, what about the choices?
Dispatch does have quite a few after, all.
Well, overall, the story does not change too drastically.
The current end point of a few characters changes depending on your choices, along with who Robert decides to romance but, otherwise, the storyline is generally the same.
That being said, the quality of the story more than makes up for it.
One thing Dispatch has over Telltale though is its gameplay.
Dispatch’s is strategy based, with you sending different combinations of heroes on different missions and then leveling their stats with their successes while learning from their failures.
After Episode One, I thought this would make the gameplay a bit of a chore, but Dispatch quickly proved me wrong.
The banter between the characters, the time limits to send characters on missions, the suspense over whether I had made the right choices, and even the sheer randomness of outcomes created a lot of fun moments, even if I did a really good job one episode and a terrible one the next. 

Who knew dispatching heroes could be this fun?

All in all, Dispatch is a great time.
The story is fun and often hilarious, the choices, while not incredibly impactful, are cool to see play out in the moment, and the gameplay is engaging.
I really hope we get a Season Two because I want to see the continuation of Robert’s story, alongside his dispatch team. 

Clair Obscur: Expedition 33 Review: A Stunning Exploration of Grief.

All of us, in some way, have experienced grief.
Whether it be over the loss of a family member or friend, grief is part of the human experience.
There are many ways we can deal with this grief, both healthy and unhealthy.
Yet, I have not seen a video game explore the concept in such a profound way before as Clair Obscur: Expedition 33.
With many AAA games falling below the mark recently, AA studios have risen to the challenge to fill in the quality gap.
Directed by Guillaume Broche. Expedition 33 is the latest video game to fill in that gap. 

The world will have truly gone mad if this game is at least not nominated for Game of the Year.

Set in an alternate universe, the island of Lumière is facing certain oblivion.
Every year, a mysterious gigantic figure, known as the Paintress, paints a number upon her monolith.
The people that age then disappear in an event known as the Gommage.
With the Paintress counting down, it will not be long before everyone in Lumière has passed on   
And so, every year, a group of expeditioners are sent out to kill the Paintress, so that the people of Lumière can hope to grow old again. 
The game follows, you guessed it, Expedition 33 on this mission.

“She’ll never paint again,” a character states, perfectly summarizing many of the character’s goals.

On the journey is our main character Gustave (Charlie Cox), his adopted sister Maelle (Jennifer English), the intelligent Lune (Kirsty Rider), and the optimist Sciel (Shala Nyx).
They are also joined by a mysterious former Expeditioner named Verso (Ben Starr), his hilarious friend Monoco (Rich Kebble), and the giant friendly creature known as Esquie (Maxence Cazorla).
Together, the seven travel across the land, befriending Gestrels and fighting Nevrons in numerous fantastic battles. 
Expedition 33 is a turn-based game, and it is already one of the best in the genre if you ask me.
Every character feels unique to use with their various different skillsets.
Not only that, but the dodge and parry mechanics are riveting.
There is a lot of challenge in getting the timing down for certain bosses strikes but, when you can parry an eight-hit attack you feel like a god.

It feels very similar to the boss fights of Elden Ring, in that way.

Speaking of the bosses, they are all mostly excellent, as are the soundtracks accompanying them.
This is made all the more impressive by the fact that the game’s composer, Lorien Testard, had never worked on a video game before.
This is a common theme with Expedition 33.
Many of its developers are newbies to the industry, with a lot of them having been discovered by complete chance.
This makes the existence of Expedition 33 nothing short of a miracle, and I would highly encourage you to look into the history of the game just to see how it all came to be. 
Much like the composer, the game’s main writer, Jennifer Svedberg-Yen, had also never written for a video game, and this makes the excellence of her writing all the more inspiring.
The reveal of why the Paintress does what she does is excellent and perfectly set up throughout the narrative.
That narrative also does a fantastic job of building up the characters, especially Maelle and Verso, who are already among some of the most morally complex characters in video games.

I am going to remember Maelle’s journey for a while.

And then there are the themes.
As I stated at the beginning of this review, Expedition 33 is a game that centers around grief and what it can drive people to.
This results in multiple emotional moments, the standout of which is the ending.
No spoilers here, but it had me questioning the morality of characters in such a way that I have not experienced since the ending of the original Last of Us. 
It is an ending I have already seen multiple debates about online, arguing over which character, if any, made the right decision. 

Expedition 33‘s conclusion really makes you think.

As of right now, Clair Obscur: Expedition 33 is my game of the year. 
The gameplay is enthralling, the music is spectacular, and the writing delivers an emotional and beautiful message about grief.
I cannot wait to see what Sandfall Interactive does next in the gaming world.
If their future titles are anything like Expedition 33, we may have another legendary studio on our hands.