Greedfall: The Kotaku Review

Greedfall: The Kotaku Review

In many ways, Spiders’ latest, Greedfall, does what it sets out to do. It provides a role-playing adventure comparable to BioWare’s most compelling narratives, with companions to meet and recruit, quests to discover and more. But Greedfall’s tendency to settle for the barest possible option constantly weakens it. Whether that is an unwillingness to reckon with its fraught setting or an inability to let players actually role-play, Greedfall is a game riddled with compromises.

Spiders is the French studio behind clunky oddities like 2014’s Bound By Flame and 2016 action-RPG The Technomancer. They produce games that are both charmingly scrappy and in over their heads. Greedfall, their largest game to date, feels mostly like the latter. While there’s often consideration in the small details⁠ — intricate crafting systems, clever ways for players to complete quests⁠ — it stumbles as a whole. Whether it’s the variety of glitches ranging from magically appearing characters to deadly game crashes, or the revelation that Greedfall’s systems exist in service of an ultimately vapid story, the game doesn’t hold up to scrutiny.

Set in a fictional world modelled after 18th-century Europe and early colonial North America, Greedfall casts players in the role of De Sardet, a diplomatic representative of a merchant’s guild. As a strange plague called the Malichor runs rampant on the old continent, De Sardet sets off across the ocean alongside their cousin in order to find a cure.

The destination is Teer Fradee, a magical island whose strange powers might provide means to eliminate the Malichor. Aiding their aforementioned cousin — the newly appointed governor of a port town — players must navigate the intrigue of Teer Fradee’s various factions. Success rests more on a silver tongue than a steel blade.



My name is De Sardet. I am legate of the Merchant Congregation here on Teer Fradee.


Dragon Age: Literal Inquisition


Exciting combat, unique quest solutions, enjoyable companion quests. This game looks gorgeous.


Dull plot with terrible conclusion, reach exceeds grasp, length is never justified.




PlayStation 4, Xbox One, PC (played)


September 10, 2019


Finished on normal difficulty in roughly 30 hours.

Greedfall will feel familiar to anyone who has spent time with western RPGs over the last five years. Players accept missions from faction leaders, some of which offer branching paths depending on key decisions. There is a small assemblage of companion characters with personal stories to pursue, pasts to unearth, and potential romances to ignite. There’s faction reputation to manage, as taking sides during quests starts to affect De Sardet’s relationships. Completing quests is a mixture of navigating dialogue trees and dealing with combat if things take a turn for the worse.

There are moments when Greedfall comes together. I like my companions, like Vasco, a sailor with the Nauts — a guild that takes its members when they are young — whose real family I helped locate. I engaged in an intrigue with Petrus, my scheming clergyman mage, and uncovered a scandal at the heart of the Church of Thélème.

At one point, a faction staged a grand coup, and I found that because I’d not completed a companion questline, I was forced to fight one of my friends. When the time came, I slit their throat for siding against me. I hiked over hills and came face to face with gnarled monsters unlike anything I could imagine. I uncovered secret truths about my lineage and the history of Teer Fradee.

Greedfall often offers multiples ways to solve a problem but never manages to be consistent in what you can or cannot do, making its approach to role-playing feel attentive but incomplete. Take a common scenario: There is something inside of a restricted area that you need to find, perhaps a forged document or a shipment of special tools.

One option is to simply trespass and kill everyone in your way, damning you in the eyes of the faction you have crossed. That’s not a particularly great idea. Instead, you might craft a sleeping potion to knock out the guards if you’ve invested enough into your Science skill. If you want, you could even procure a disguise to that you can walk around freely without arousing suspicion.

With a high enough Charisma score, you can bypass all of this entirely with some smooth talk. Greedfall delights in minor divergences that allow players to fulfil archetypes: the brash sell-sword, the soothing conversationalist, the clever scientist.

But Greedfall is a role-playing game where there is very little room to play within your role. De Sardet is little more than a cipher that sucks up loot and completes quests. Greedfall’s writing is limited, its dialogue trees remarkably utilitarian.

As a result, there’s very little opportunity to learn more about who you are dealing with, take stances, or else do anything that might add colour to your interactions. Often, it is a gamble whether or not your various skills will even be relevant. Wait, if I have max Charisma and Intuition, why exactly can’t I engage in some diplomacy here? It’s never clear why certain options can or can’t be explored in different situations, and there are rarely opportunities to respond to events outside of asking where to go next.


When the player does choose to engage in combat, there are plenty of interesting options. Players can use the usual swords and hammers, but Greedfall also offers magic and a variety of firearms, from matchlock pistols to smoke-belching arquebuses. Specializing in a magic build might grant you access to shadowy powers that allow you to freeze enemies in place.

With the right specialisations, your stasis fields can emanate a corrosive rot that burns away enemies’ armour. Pouring points into one-handed blades allows access to acrobatic rolls and deadly slashes whose animations feel lifted from the performance of a skilled sabre-master. If combat proves too hectic — although this never seems to be the case on the default difficulty — you can pause the action entirely with a button press and carefully select your next move. All of this works. The smallest gears of Greedfall turn with a surprising intricacy, but their relative quality is not enough to sustain the 30-35 hours it takes to complete the game.

The greatest problem is Greedfall’s inability to do anything with its colonial setting. The landscapes of Teer Fradee are gorgeous, but in adopting the imagery and pageantry of the 18th century, Greedfall inextricably ties itself to that era’s problems. You cannot simply, as Gredefall often does, have people in funny hats or Inquisitors choking “savages” and assume that putting these things on display is sufficient commentary.

Greedfall's Detailed Role-Playing Can't Make Up For Its Unpleasant Setting

I have not enjoyed playing Greedfall, the latest role-playing game by Spiders. That’s not because it is a poor experience in terms of how it plays. Greedfall offers a BioWare-esque adventure with branching quests, companion characters, and exploration. Greedfall frustrates me because it’s a game of half-measures. In the nearly 10 hours that I have played it so far, it fails to pull its disparate threads into a cohesive whole.

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The iconography of colonial conquest demands a reckoning. Greedfall has pretensions of commenting on its setting but does not muster a meaningful statement. From time to time, a settler might do something questionable and Siora — your only native companion — might say something like, “And they dare to call us savages?” There are zealous fanatics whose plots you end, but these are always the works of rogue actors rather than a systemic issue inherent to church doctrines. Whenever Greedfall starts to say something, it inevitably undercuts itself.


Colonialism is Greedfall’s raison d’être. Spiders CEO Jeanne Rousseau has been open about the influence of Baroque artists and the journal writings of explorers on Greedfall. In referring to these influences, the intent appeared to be to seize upon the sense of wonder evoked in fraying paintings and yellowed journal pages. But video games are not beautiful facts in the way that mountains and clouds are. Games are layered.

You don’t behold them in their complete glory and make a broad decision that wow, isn’t that something special. Greedfall evokes the work of conquerors, of expansionists. Their awe and wonder came from a particular position, one which is imparted throughout Greedfall: This world was made for us, and thank God we’ve finally arrived.

An initial concern I had about Greedfall held true: Its systems and narrative are not overly concerned with understanding the complexities of its various institutions or the implications of its setting. Time and time again, De Sardet’s optimal path is one where all parties are placated. The emphasis on pleasing every faction lasts throughout, and far from being a Tyranny-esque commentary on the difficulty of facilitating change, this choice mostly feels like a lack of imagination.

After the point where a singular villain reveals themselves, it becomes very clear that the “best” path through the game is one where you have made everyone happy, called everyone to aid you, and defeated the bad guys. History is a story of great men, and all you need to unravel the worst tangles is one good soul with high enough faction reputation score. In the end, Greedfall has very little to say about greed other than it exists and is bad. It has little to say about power other than to suggest it is good when good people possess it and bad when bad people have it.

Greedfall’s rigidity is its single greatest flaw. Glossing over the complications of its setting and limiting player expression ultimately hobbles whatever potential was initially present. It’s glaring, because the games that Greedfall emulates do manage to address their complexities. Fallout New Vegas is a flawed but compelling example of a game about contrasting ideologies of power.

Tyranny is deeply concerned with what it means to compromise in a corrupt society. Dragon Age 2, the game that Greedfall resembles the most in structure, uses its fantasy frame to tackle a host of subjects, from institutional violence to colonialism. If these things can be done in the post-apocalypse or magical realms, why can they not be done here?


When I first saw Greedfall, I wanted to believe that it could, in spite of a charged setting, explore complex ideas. Instead, it skims the surface all the way up to its weak conclusion. There are superficial flaws I could mention: horrible subtitles, framerate issues and repetitious barks from companions during combat.

There are things to admire: smart systems and snappy combat. Greedfall has its moments, but at the end of the day, it’s hard to see the point. Greedfall’s dedication to half-measures and bare minimums prove impossible to overlook. Not all video games need to be introspective and interrogative, but Greedfall wants to have it all without the work. That ambition leads to a confusing and ultimately disappointing experience.


  • I’m thoroughly enjoying my play through. Fun combat and great story with alternative solutions depending on your play style. It has a fantastic setting which I fear won’t be expanded upon in the future due to the game not having much exposure. I would describe it as the Witcher 3 meets bloodborne, though not as in depth as the former or as hard as the latter.

    If it hadn’t been for Kotaku US journalists not being able to review a game without preaching about how woke they are I may never have bothered to play this game. Thanks!

        • To be fair, the game is the one that does that.

          The entire faction is portrayed as being whole heartedly bad and wrong, it makes no attempt to show them any other way.
          The problem is when ever you’re made to oppose those who directly represent the faction in its ideals and actions, they no longer represent the faction for narrative purposes.
          Unlike other factions they don’t have any layers to them so it does stand out and it’s hard to ignore.

          For example the inquisitors role is to violently convert the natives and kill those who resist, that’s their whole deal.
          When ever you kill them for doing their job the faction thanks you for stopping them and they are deemed bad guys and rogue conspirators.
          It’s not done in such a way where the player can pretend there’s any intrigue or good writing behind it, they just are because they are.

    • Lol.

      The game is as deep as an ice tray and as complex as a single colour rubix cube.

      Its dull and uninteresting because it does nothing. Your character is preset with no ability to roleplay effectively, and its refusal to engage with its setting makes it wet and a snooze.

      Just because you’re too sensitive to deal with complex issues it doesnt make a game better for being as equally weak.

    • Definitely agree with this, I was interested but all the “woke” garbage the gaming media was prattling on about tipped me over into buying it sooner rather than later. I’ll gladly open my wallet for a game that does something interesting with its setting.

      Hopefully Spiders gets a bigger budget next time round get a bigger budget and continue to improve.

    • I would describe it as the Witcher 3 meets bloodborne, though not as in depth as the former or as hard as the latter.Well that sounds perfect to me.

    • After playing the game and going back to read the original article, I can actually see where she was coming from to a degree and realise I misunderstood some of complaints.
      (In my defence a lot of that is based on how it was written and the kinds of articles they usually write)

      I don’t think the game needs to take a strong stance on colonialism either but it’s the game itself that brings up the subjects and then runs away without doing anything with them, either way.

      I thought her complaint about the lack of agency was more about not letting her do things the way she wanted but after playing I see it’s because nothing you really do has much effect for the most part.
      Same for the comment about it being more beneficial to placate all the factions, I thought early on it came down to how you wanted to play but the further I got the more I noticed that the game itself really bends over backwards to try and remove as much of the consequences from your actions and choices as possible.
      I tried it out by loading an older save to see what happens when I chose different choices and found dialogue from player, companions and NPC’s would often justify why any choice was the right and fair one regardless, even when I got a negative point in reputation it was often invalidated soon after without any choice in the matter.

      None of this is necessarily bad, it’s clear this game has a set narrative and it’s more about how you want to navigate that story but it does constantly give you the impressions that what you do matters.

      Enjoying the shit out of the game though, regardless of the complaints everyone seems to agree that the positives out shine the the negatives and it’s a hard game to put down.

      • I think the standard I have for ‘Your actions have no consequence’ is New Vegas, where I went everywhere and did everything on the map except enter New Vegas itself.

        Then when you go in, you get a shiny ‘yeah, you screwed us over but good but that’s ok!’ faction reset, that let me have a save game with every ending attainable at that point with only an hour or so of the ending paths from there.

        • Can’t argue there.
          Honestly I think the reason it stands out so much in Greedfall is the dialogue is really bloody good, you really get the impression that your decisions carry a lot of weight in the beginning.
          I would rank it above some of the bigger RPG’s in terms of dialogue and writing.

    • So you weren’t moved to play it by their honest praise of their mechanics, worldbuilding and systems but by spite stemming from their criticism of its lack of message and then it turned out that you liked the game because of its mechanics, worldbuilding and systems?

  • Gamers whine about how people don’t consider video games as art.
    But then when someone critiques one in the manner they would art, all of a sudden they’re just supposed to be dumb fun?

    Thankyou for a well written review. It’s a shame that the game couldn’t deliver something ultimately interesting and instead just did the same old.

    • TIL that art critics have always been immune from criticism themselves.

      Movie critics have always been mocked for their pretentious opinions. “Oh you loved the juxtapositions of themes in The English Patient, but hated The Transformers as it was mindless explosions? Have another chardonnay professor and grab me a beer.”

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