Clair Obscur: Expedition 33 Devs React to Sony No-Discs

Sony has decided to stop producing game discs, a move that’s sparked frustration and debate across the industry. For creators of upcoming RPG Clair Obscur: Expedition 33, the shift also lands as a personal loss—one tied to the tactile experience of buying games, visiting stores, and keeping releases on shelves.

Sony’s disc shift leaves studios and players worried about ownership

While some in the industry see the change as a business inevitability, studio leaders behind Clair Obscur: Expedition 33 describe it as something harder to replace: physical releases as a form of art you can touch. In interviews, Sandfall Interactive’s leadership pointed to the emotional value of game stores and the culture of collecting, even as they acknowledge that producing discs comes with added logistical pressure.

Sandfall Interactive: physical releases still matter

Guillaume Broche, CEO and Creative Director at Sandfall Interactive, said the decision feels “super sad,” explaining that many team members play on PS5 and enjoy collecting physical discs. He framed physical media as part of the “beauty of art,” something tangible that players can hold.

Broche also stressed that he understands the appeal of owning tangible media—being able to line up DVDs and games and feel that they truly have them. From a business perspective, he said the rationale may make sense, but he argued the choice is still disappointing when viewed through the lens of game artistry.

Tom Guillermin, CTO and co-founder, agreed that physical releases add constraints. He noted that studios must account for production lead times for physical items and that publishers earn less revenue per copy compared with digital distribution. Even with those downsides, he said the studio considered physical packaging “special,” believing the game deserved a format players would want to hold in their hands.

“It starts feeling real” when players see it in stores

Broche shared a personal anecdote about seeing Clair Obscur in a Japanese videogame store, saying the moment made him feel like “a kid,” because it looked “real” in the physical world. He described how quickly a game becomes more meaningful when you can see it among other titles in retail display.

Alan Reynaud, the game’s lead character and concept artist, echoed that sentiment. He said that even now—when he sees the studio’s game in a store while out in everyday life—it still makes his day. Reynaud called the feeling “selfish” because it’s tied to being part of the project, but he added that the uncertainty of whether that experience will remain possible is what makes the shift upsetting.

Preserving memories is part of the physical appeal

Technical artist Alexandre Breton added that physical games offer something beyond the fact that they’re “our game.” His view is that a box provides a durable reminder: years later, players can keep the case, hold it, and revisit the memories tied to the title.

What the disc stop means for the broader debate

The studio’s comments arrive amid a larger discussion about game preservation and long-term access. With more franchises moving toward always-online models, the end of physical media is often cited as another step toward a future where publishers, platforms, and payment systems may control what players can access—and for how long.