Greak: Memories of Azur asks a lot of a small game. Navegante Entertainment’s debut sends three siblings across a dying land, hands you one controller, and asks you to keep all three alive. Team17 published it in 2021 for Xbox Series X|S, PlayStation 4, PlayStation 5, Xbox One, Nintendo Switch, PC and Android. It is a puzzle platformer, an adventure, and a role-playing game at once, played from a side view, built for a single player. The published critical score sits at 7.5 out of 10 across five outlets. That number is fair, and this review lands on the same figure.
Trailer, via Team17.
Greak Is the Youngest of Three
The Courines are a magical race. The Urlags are the faction that came for them. The invasion has run long enough that the Courines have started to leave their own lands behind, and the story opens on that retreat. Greak is the youngest of three siblings and the character the game is named for. His brother is Raydel, his sister is Adara, and his goal is simple to state and hard to finish: find both of them, then get out of Azur.
The escape is not a door. The three build an airship piece by piece, which turns the whole campaign into a collection errand with stakes. Every part is somewhere in a land the Urlags now hold. That structure gives Greak: Memories of Azur its shape and its tension. You are not fighting a war. You are assembling a way out of one.
Adara and Raydel Share Your Controller
The hook is control. You play Greak, Adara and Raydel, and you switch between them rather than commanding a party. Each has abilities the others do not, and the game expects you to use those differences together. A gap that stops Greak may open for Adara. A path Raydel can take may not exist for his younger brother.
This is where the game earns its genre labels. It is a platformer because you jump and climb. It is a puzzle game because the jumps only work in a sequence. It is an adventure because the sequence happens across a map. The side view keeps all of it legible: you can see what you need and see who can reach it.
Azur Carries the Whole Campaign
The land of Azur carries the game. Navegante built a fantasy setting, and the art is the reason to keep moving through it. The Courines are leaving a place worth missing, and the game knows it. Ruins, forests and quiet stretches do the work that dialogue usually does in a fantasy adventure.
Themes of action and fantasy sit on top of that. The action is light. The fantasy is the point. Azur reads as a place with a history rather than a set of rooms, and the invasion gives the scenery a reason to feel wrong. A beautiful land with an enemy in it is a better premise than a beautiful land alone.
The Urlags Never Become a Threat
Here is the problem. The Urlags are the reason for everything and they are barely a presence. The invasion is stated, not felt. You are told the Courines are fleeing. You are told the enemy faction is the cause. You do not get much of the enemy as a force with a face, a motive, or a plan you can push against.
That leaves the story running on reunion alone. Greak wants his brother and sister. He wants the airship. Those are good goals, but they are goals about leaving, and a game about leaving has to make the staying interesting. Greak: Memories of Azur mostly does that through scenery and rarely through conflict. The Urlags are a reason, not an antagonist.
Three Bodies, One Screen
The sibling mechanic is the strongest idea in Greak: Memories of Azur and also the one that wears thinnest. Early on, alternating control feels new. You plan around three bodies, three ability sets, one screen. Later, the same trick repeats with more precision and less surprise.
- Greak is the smallest sibling and the one the title names.
- Raydel is his brother and one of the two he has to find.
- Adara is his sister and the third of the three.
- The Urlags are the invading faction the Courines are fleeing.
- Azur is the land all three are trying to escape by airship.
That list is the entire cast of consequence. Three playable characters, one enemy faction, one setting, one vehicle. It is a tight design, and tight design is a virtue until it becomes a limit. When the game needs a fourth idea, it does not have one.
The Airship Is the Only Clock
A 7.5 out of 10 across five outlets is not a split verdict. It is a consensus that the game is good and not great, and that reading holds up. Greak: Memories of Azur does several things well. The art is strong. The three-character control scheme is a real idea, not a gimmick. The airship gives the campaign a spine. The single-player focus means nothing is diluted for a second player who is not there.
The weaknesses are just as clear. The Urlags never become a threat you can name. The puzzle platforming repeats its own logic until the logic is the only thing left. The role-playing elements are thin enough that the RPG label on the store page is doing more work than the game is.
None of that is fatal. All of it is why the score is 7.5 and not higher.
Navegante Built Around Three Bodies
The studio’s choice to build around three siblings instead of one hero is the decision that makes Greak: Memories of Azur worth playing. Most games in this genre give you a single body and a growing list of moves. This one gives you three bodies with fixed moves and asks you to think across them. That is a harder design to balance and a more interesting one to play.
The Courines as a fleeing people is also a smarter premise than a standard fantasy war. A race on the way out, packing an airship, is a story with a clock in it. The game does not always use that clock well, but it chose the right clock.
What lingers after the credits is not the siblings and not the airship. It is the quiet. Azur is a land being emptied, and Navegante renders that emptiness better than it renders the enemy that caused it. Play Greak: Memories of Azur for the place, not the war. Score: 7.5 of 10.
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