Every project has a visible surface and a hidden foundation. This story begins not with characters or trailers, but with the people who set things in motion, quietly and from far away.

Coming from an artistic background in cinema and drawing has meant always being fascinated by the way images move people, how they speak without words, how they leave impressions that last long after the screen fades to black. For as long as memory serves, the most captivating video games have been those with a strong artistic identity and a narrative heart. Not necessarily the largest productions or the most action-packed, but the ones that leave something behind, a thought or a feeling, once they are over.

Games like What Remains of Edith Finch, Beyond Two Souls, or The Last of Us shaped that perspective. They proved that video games are more than gameplay systems or visual spectacle: they are complete experiences, artistic works shaped by people rarely in the spotlight. And while turn-based RPGs or fantasy-driven formats do not usually take center stage in personal preferences, Expedition 33 broke that pattern. Genre became irrelevant; its visual world, elegance, and atmosphere spoke for themselves. It was beautiful in a way that made everything else disappear.

When it emerged that a group of eight Korean animators had helped create that world, working remotely across time zones and often outside their day jobs, the connection to the project deepened. Here was a collaboration built on trust and shared vision, across languages and continents. It was not simply about technical animation, but about movement with meaning. About artists shaping something from afar, not for recognition, but because they believed in the work.

Who are the people behind the animation? They’re individuals who spoke with humility and quiet care. Kim Byung-geun, introduced himself by saying that he majored in animation and he always dreamed of making a game. “Now I enjoy this as an animator”, Lucas Yu, who transitioned into animation after studying visual design and starting his career in web design, said, “I also love sharing helpful tips with friends and connecting with international artists. These are the reasons I will always love this job.” Ju Minjee admitted, “ I had no formal art education, not during university or even earlier. I’ve always loved video games and was curious about the development process.”Then add how the notion of movement, which in itself expresses so many purposes and emotions, is inspiring.Harry Lee, once on the path to comics, introduced himself by saying, “I’ve always loved games and animation, so it felt natural for me to pursue this path.”. Seungyun Kim kept things sincere, explaining he started in design, then wrote, “To be honest, I chose a profession that felt rare and unique…Among all disciplines, animation felt like the one where I could express my thoughts and emotions most freely.” Taehyun Park simply said how it started with his passion for video games then wondered “What if I could actually make this ? “. Minryeong Lee reflected on the relation gamers have with their games as the source of motivation “Players don’t just watch; they participate in building the narrative” . And Roh Chanho, said of his experience, “There was one Korean 2D game I particularly loved and that still exists today. I dreamed it would last forever and often asked myself: “What if this game were in 3D? What would the attacks look like?” These thoughts eventually led me to study 3D animation.” Many of them were surprised to be interviewed at all. Some were hesitant at first, unsure of what to say. But all of them responded with sincerity, generosity, and an openness that left a lasting impression. The initial questions about animation uncovered something more: a group quietly proud of their craft, and all the more inspiring for it.

Screenshot taken by Océane Castilla taken while playing  the game Clair Obscur: Expedition 33, Paintress fighting animation that was animated by SeungYun Kim, (The animation process can be found on his LinkedIn ' Sylvan Kim) 

When the opportunity came to join Expedition 33, it didn’t come through casting calls or job boards. It came through people. Through shared trust and community. A mentor recommending a student. A colleague reaching out after seeing someone’s reel. Friends sharing an opportunity they believed in. The visual identity of the game spoke for itself. The concept art alone convinced many of them to say yes. And once they started, they stayed some for months, others for years working after hours, balancing other jobs, but always returning because something in the project resonated.

Their influences revealed a shared sensitivity. Whether it was cinematic titles with emotional weight like BioShock, Dragon Age, or NieR:Automata, or stylized, movement-focused games like Hollow Knight, Ori, and Tekken, their choices revealed a shared attention to how games make us feel through motion, not just mechanics. Even those who didn’t name specific titles spoke of studying rhythm, weight, and gesture, watching how characters pause before acting or how silence can build tension. it shows what was references sooner with games like What Remains Of Edith Finch or The Last Of Us. Animation can support storytelling without ever needing to be loud. What also stood out was how, even when talking about their own big breaks or first chances, they rarely placed themselves at the center. Many were introduced to the project by someone they had studied or worked with before, and they often spoke of each other’s with admiration, gratitude, or genuine affection. That kind of humility shaped the spirit of the collaboration from the start. It extended naturally to the French team, whose feedback and artistic direction clearly left an impression. The collaboration wasn’t one-sided; it was a space where ideas passed back and forth, and that dialogue shaped the animation as much as any reference ever could. What connected them wasn’t just what they admired but how they observed, absorbed, and built on one another’s creativity.

They worked after hours, during weekends, or alongside full-time jobs. It wasn’t the easiest setup, but none of them framed it as a burden. Instead, they spoke about the space they were given, the beauty of the project, and the satisfaction of bringing ideas to life. The French team’s trust and feedback created room to explore and refine. In that distance, something collaborative grew not through constant meetings or calls, but through movement, shared files, and messages that acknowledged what was working. It was international work in the most focused and respectful way. The result was animation that carried both voices. You can’t always see where one influence ends and another begins, and that’s part of what makes it feel so seamless.

Collaboration, for them, wasn’t about being in the same room. It was about communication, clarity, and respect. Every animator I spoke to described their work with the French team in the same way: supportive, organized, and open. Feedback was honest and constructive. Direction was clear. Even though time zones and language could have been obstacles, they never became problems. In fact, several told how refreshing it was to work with a team that trusted their instincts and let them experiment and it was just as much noticable during the interview. Even if communication could have been a difficulty, they all showed much respect and enthusiasm.

None of them boasted. None of them claimed their work as central. In fact, many pointed out how crucial the full team was the effects, the design, the direction. But they also took pride in the details. A boss battle that felt alive. A creature’s attack that landed just right. A moment when something they imagined in their heads showed up on screen exactly as they pictured it. They didn’t chase recognition. They just wanted to do the work well.

Screenshot taken by Océane Castilla taken while playing  the game Clair Obscur: Expedition 33, the Dualliste fighting animation that was animated by Lucas Yu (The animation process can be found on his LinkedIn ‘ Lucas Yu’) 

When asked what advice they would give to someone dreaming of becoming a 3D animator, their responses weren’t technical checklists. They were small, thoughtful observations, the kind that come from people who have quietly spent years figuring things out on their own. Most of them didn’t talk about tools or techniques. They talked about how to see, how to begin, and how to stay in motion even when it feels slow.“Try to find joy in observing and studying movement,” said Kim Byung-geun. “Whether it’s people, animals, or objects, break things down into simple forms and focus on how they move. It’s a bit like croquis drawing, but in 3D.” Ju Minjee wrote, “ Just because you’re starting late doesn’t mean opportunities won’t come your way. Please don’t be afraid to try and express yourself. The first attempts may be rough, but with time and effort, they can evolve and those unique traits will eventually become your artistic charm.” Seungyun Kim echoed that:“If you’ve thought about it, don’t hesitate — jump in. The sense of accomplishment when you bring your imagination to life is incredible.” Lucas Yu offered something simple and direct: “To be a 3D animator, you need diverse experiences — from exercise, sports, and drawing to watching animations, playing games, dancing, and even enjoying music. I highly recommend trying as many things as possible. These experiences will enhance your animation in unexpected ways.” Taehyun Park advised, “The more you dive into animation, the more rewarding it becomes. Seeing yourself grow, and working on projects that align with your creative taste it’s an amazing and deeply satisfying experience.” Harry Lee reminded future animators to go beyond what they think might be the finish line;  “You can’t learn the most important things in school — you learn them in the field. Don’t be afraid to jump into the industry. Just go for it.” Minryeong Lee encouraged persistence. “If you continue working with love and persistence, I truly believe good opportunities will come your way.” And Chanho Roh keeps it straight aligning what comes out the most of all the advices “Don’t hesitate—just dive in… the step-by-step growth can feel slow at times, but the sense of accomplishment when you finally bring your ideas to life is incredible.”

From the outside, Expedition 33 might be remembered for its visual flair or dramatic tone, but underneath that are movements crafted by people who care deeply about how things feel, not just how they look. Interviewing the animators was more than research. It was a reminder of why we’re drawn to creative work in the first place. There is something powerful in watching people build meaning into a frame, a gesture, a flicker of motion, especially when no one’s asking them to. It’s not just their skill that was impressive. It’s the way they continue, with humility, precision, and heart, and this mindset keeps showing through the interviews. They were welcoming, open-minded, and passionate.

In the end, we are all individuals trying to hold on to what makes us feel alive. And these animators, and more broadly, everyone behind the scenes of games like this, remind us that what truly matters is not always chasing the biggest goal but believing in what you do. Leaving behind something thoughtful, sincere, and hopeful for those who come after.

Their advice was more than notes for an article. It was a reminder of how easy it is to lose sight of why we create, especially when we get caught up in results, pressure, or the need to prove something. They brought  back a simpler truth: that art begins with attention and survives through passion. That even the quietest efforts matter when they come from care. That we learn by doing, and we continue because we love it.

They gave more than answers; they offered a glimpse into a way of being. In that sense, the conversation was not just an interview, it was a passing of perspective from one generation of creators to another. And I know that I, too, am a part of those who came after.

Merci, mes amis. 

You can have a look at the full Interview : Here