Reviewing (mostly) every game (or DLC) in my library, part 639:
⭐️⭐️⭐️⭐️⭐️⭐️☆☆☆☆ (6/10)
The catalog of CoG is vast: you have excellent games, and you have not-so-great games. Smack dab in the middle is the silent majority, as it were. That’s where [i]The Eagle’s Heir[/i] rests. It’s a fine game, a perfectly fine game. And not to sound bitter or anything, but that’s my main issue with it. It falls prey to the allure of grasping too many fantastic ideas while glossing over the consequences. Political intrigue, alternate history, steampunk airships, romance, espionage, monarchy versus republicanism, French or Austrian or English … it’s an incredibly ambitious game, and I found the concepts so interesting that I wished the game would spend more time exploring them. Unfortunately, it never really does. At just a few hours long, [i]The Eagle’s Heir[/i] tries to juggle far more than its runtime can reasonably support.
The romances have virtually three scenes before they’re asking you to commit; political conflicts are black-and-white and resolved too quickly; stats are obtuse; and even the wonderfully realized alternate-history setting feels more like a backdrop than something that centers the story. By the time I felt like the game was finally getting started, it was already ending. [b]Still, a warm thank you to the staff for giving me a free review copy![/b]
[b][h2]Pros:[/h2][/b]
✅ [b]Beautiful, period-inspired writing.[/b] If there’s one thing the writers absolutely nailed, it's the prose. Every conversation feels considered, capturing the elegance and formality of a nineteenth-century political drama without ever becoming difficult to read. The descriptions are vivid, the dialogue is graceful, and the narration often borders on lyrical. Whether discussing matters of state, exchanging playful banter, or describing Parisian settings, the writing consistently paints vivid scenes and distinct personalities. I think Amy Griswold and Jo Graham are some of my favorite authors by far.
✅[b] Fantastic premise.[/b] At first, I was enjoying myself because the setting is super cool. An alternate nineteenth century where Napoleon's empire survives PLUS steam-powered airships??? Never heard that one before. The game drops you right into the midst of action, where you play as a childhood friend, protector, and bodyguard to Alexandre, Napoleon’s bastard son. Immediately, there’s a blend of historical figures, espionage, and political maneuvering. One minute, you’re disguising yourself to gather information; the next you're chatting with emperors and aristocrats at lavish parties before sneaking off to meet spies, revolutionaries, and ordinary citizens. I really liked that blend. It makes the world feel much bigger than just palace politics, and it constantly feels like you're putting on and taking off different masks.
✅[b] Meaningful themes.[/b] Beneath the short narrative lies a thoughtful exploration of progress and leadership. The game frequently asks what people should be willing to sacrifice in pursuit of a better future, and whether gradual reform or radical change is the better path. In general, there’s a tremendous push toward the idea of “progress” while history tries to pull you back. The shadow of Napoleon looms large over the narrative, while young Alexandre embodies the uncertainty—and hope—of a new generation.
[b][h2]Cons:[/h2][/b]
🟥 [b] The biggest con is how rushed the story is. [/b]I knew this would probably be an issue, with [i]The Eagle’s Heir[/i] being 200,000 words, but I thought I could move past it. Turns out, I can’t. Good ideas are a dime a dozen; I need to see some execution. In general, your choices do matter. Put Alexandre on the throne, or Franz, Napoleon’s legitimate son? Turn France into a republic or continue its empire? Start a war or avoid it? You will shape history, but … I don’t feel like my choices have narrative weight. We are talking about Big Things™️here. Succession, loyalty, the future of a freakin’ empire! I’m not asking for a Paul Wang [i]Infinity [/i]deep-dive into politics, but these things matter. And yet, Alexandre possibly marrying Princess Victoria of England is given a chapter to develop, but no more. Franz being usurped by Alexandre is treated quite normally. Franz is just a nice guy anyway, so he doesn’t mind! I think the game is lacking friction. And if there’s no friction, no real stakes, why does the narrative matter? Because the game ends with an abrupt five-year time skip.
🟥[b] It’s also … surprisingly tame?[/b] Don’t get me wrong, I need a happy ending, but mine came much too quickly and too perfectly for my liking. The first example I have is convincing an enemy ship not to attack you and Alexandre by bluffing. It’s a basic skill check, one that’s present in every IF, but it stood out to me. The “gameyness” of it is so obvious, I can’t become immersed. You’re telling me the bad guys will just politely leave after I ask them nicely? That they’ll give up on the chance to capture Alexandre without even giving the ship a courtesy glance? The second example is me convincing Napoleon to make Alexandre his heir. Me, convincing the emperor! He had no real reason to listen to my character, but the narrative needed a climax. So it goes. The last and largest example is the resolution of the major succession crisis. Spoilers, but after skill checks, I managed to [spoiler]get Amelia to suddenly switch sides and, more egregiously, for Franz to give up his own claim to the throne—and back Alexandre.[/spoiler] I wanted more resistance, more compromise, and more difficult conversations before everyone started shaking hands.
🟥[b] This is all a continuation of the above, but the (female) romances were quite poor. [/b]Two women show up early in the beginning of the game: Eugene (can’t remember her last name) and Amilia Weiss. Their presences are virtually non-existent. I flirted with both once, and that was it, until the ending shoved both women back into the narrative. Well, I actually don’t quite know what happened. Apparently I was a poor dancer because Amilia wasn’t interested in me (even though we slept together). I don’t know, man. But objectively, you have to deny their advances from the beginning, or flirt with them bluntly with no knowledge of their character beforehand. The ending I got implied I was nothing more than their lover, so I don’t know, man.
🟥[b] Unclear stats. [/b]The game introduces some damn cool traits: Loyalty, Idealism, and Honor for yourself and Alexandre. These are exactly the kinds of stats that make sense because they reflect the type of leader and person you want to become. Problem is, I was rarely sure how my choices were affecting them or what they actually represented. "Honor," especially, feels like it could have multiple interpretations depending on the situation—is it personal integrity? Keeping your word? Following tradition? Acting morally? Opportunities to improve your character feel surprisingly limited too.
🟥[b] Franz is missing from the narrative.[/b] Franz feels like he should be one of the story's most important characters. He's a rival claimant to the throne, has his own relationship meter, and represents one of the game's most interesting political paths. Yet he spends surprisingly little time on screen. I have no idea why I should be encouraged to side with him over Alexandre, which makes me feel like Alexandre is the “canon” path. There’s also surprisingly little friction between the two half-brothers.
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If you enjoyed this review, please check out my curator page to find more: [url=https://store.steampowered.com/curator/45814768-Verdict-Play-or-Pass/]Verdict: Play or Pass. [/url] Also, please leave a like and visit [url=https://steamcommunity.com/groups/Indie_Gems]IndieGems[/url] and our [url=https://www.youtube.com/@IndieGems2]YouTube channel[/url] for more reviews like this one.
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