Back to Gaming
Sandfall's 'We Don't Care If You Hate It' Attitude Is Exactly What Gaming Needs Right Now
Gaming

Sandfall's 'We Don't Care If You Hate It' Attitude Is Exactly What Gaming Needs Right Now

5d ago0 views

Key takeaways

  • Sandfall Interactive director Guillaume Broche says the studio doesn't care if its next game is disliked, crediting that attitude for Expedition 33's success.
  • Clair Obscur: Expedition 33 has sold over six million copies and won multiple major awards, outpacing Final Fantasy 16's estimated lifetime sales.
  • The studio's creative independence stands in stark contrast to broader industry struggles, with Xbox and other publishers pulling back from original projects in favor of known franchises.

Guillaume Broche, founder of Sandfall Interactive and director of the breakout RPG Clair Obscur: Expedition 33, has offered a strikingly unbothered take on the reception his studio's next game might receive. Speaking on the Konbini YouTube channel's Video Game Club segment, Broche said plainly: 'Maybe people won't like it. That's life. We didn't make the first game to please anyone, and I think that's why it worked.' It's a statement that would sound arrogant from almost anyone else, but given what Sandfall has already achieved, it reads as something rarer — genuine artistic confidence.

Clair Obscur: Expedition 33 launched to extraordinary fanfare earlier this year, sweeping up three BAFTA awards, a DICE Game of the Year prize, acknowledgment from the French president, and estimated global sales of over six million copies. The game drew inspiration from celebrated but underappreciated titles including Persona 5, Lost Odyssey, and Blue Dragon, channeling their systems into something fresh that reinvigorated turn-based RPG combat for a new generation. It accomplished all of this without chasing industry trends or kowtowing to market research — a fact Broche and his team have been remarkably consistent in highlighting.

This week's comments aren't entirely new territory for Sandfall. Back at the start of the year, following the studio's dominant showing at The Game Awards 2025, chief operating officer François Meurisse similarly brushed off the weight of expectation, describing the resulting pressure as 'not so important to us.' Lead writer Jennifer Svedberg-Yen echoed the sentiment even then, warning that too many creative works lose their soul by trying to please everyone. The studio appears united around a philosophy that puts internal creative vision above external validation — and so far, the market has rewarded that philosophy handsomely.

The timing of these remarks gives them extra resonance. Across the wider industry, a very different story is unfolding. Xbox is reportedly heading toward a sweeping reset that could see beloved studios shuttered in favor of iterating on established franchises like Halo, Gears, and Call of Duty. Meanwhile, IO Interactive — developer of the acclaimed 007: First Light — is losing staff as investors pull back. The contrast between Sandfall's momentum and the turbulence surrounding larger, more corporate operations is difficult to ignore.

Sandfall's second project remains unannounced and undescribed in any meaningful detail, but Broche has previously noted that Final Fantasy 8 is his all-time favorite game. Speculation among fans has naturally drifted toward what a Sandfall take on an Active Time Battle system might look like, given the studio's evident love for classic JRPG mechanics. Whatever direction the team chooses, they have earned the goodwill and the runway to take genuine risks — and if their debut is any indication, those risks may well pay off spectacularly.

The bigger picture

What makes Sandfall's posture so striking isn't just the confidence — it's the structural reality backing it up. The studio operates with meaningful independence despite being published by Kepler Interactive, retaining creative control in a way that many developer-publisher arrangements simply do not allow. That combination of financial support and creative autonomy is genuinely rare, and it's worth asking why more of the industry hasn't managed to replicate it. The answer probably lies in the risk calculus of larger publishers, who view guaranteed franchise revenue as far safer than the unpredictable returns of original IP — even when the data increasingly suggests otherwise.

The commercial comparison between Clair Obscur and Final Fantasy 16 is a genuinely significant data point. Square Enix's flagship franchise, backed by decades of brand recognition and enormous marketing budgets, managed an estimated ceiling of around 4.5 million lifetime sales for its most recent mainline entry. Sandfall, a studio that didn't exist in any meaningful public sense three years ago, has already surpassed that figure with a debut title. This isn't just an anomaly — it's part of a pattern that includes Baldur's Gate 3 and other independently-spirited projects outperforming expectations by enormous margins. Audiences are clearly hungry for novelty and authorship, not just brand familiarity.

What readers should watch closely is whether Sandfall's next project can hold the same creative line under even greater scrutiny. Success at this scale inevitably invites pressure from all directions — publishers wanting a repeat formula, fans wanting sequels, investors wanting predictability. Broche's blasé public statements are encouraging, but the real test will be whether the studio's second game arrives feeling as personal and uncompromising as its first. If it does, Sandfall could become one of the most important studios of the decade. If they overcorrect and chase their own success, it will be a cautionary tale worth revisiting.

LagPing's take

We're covering this story because it cuts to the heart of what we think matters most in gaming right now — the tension between creative courage and corporate risk-aversion. The games industry is going through one of its most turbulent periods in recent memory, with layoffs, studio closures, and franchise consolidation dominating the headlines week after week. Against that backdrop, watching a small French studio shrug at the possibility of its next game being disliked feels genuinely important. It's not naivety — Sandfall has the receipts to back up that attitude. We also think it's worth situating these comments within the wider conversation about what makes games resonate, because Expedition 33's success was never really a surprise to those who understood why it was made the way it was. We'll be watching Sandfall's next move very closely, and we suspect most of our readers will be too.

Shop Video Games on Amazon

As an Amazon Associate, LagPing earns from qualifying purchases. Product links are affiliate links.

You might also like