Supergiant Doing What Supergiant Does

Transistor does more of what you want from a product offered by Supergiant Games: deep world-building within a short period of time, unique and visceral combat, minimalist storytelling that gives you everything you want to know, and music that immerses you deeper into that world they've built. The game does have its few issues, but those are not nearly enough to stop you from being able to enjoy this package.

In Transistor, you play as Red, a 1930s-styled lounge singer who has lost her voice. As you wake up in the streets of Cloudbank with a mysterious sword that can talk to you, you set out to understand what has happened after the terrorist faction Camerata lays waste to the city. Along the way, you will acquire different "functions" as combat abilities to defeat all foes that stand in your way. Combining these functions in multiple different ways offers new and unique properties, essentially customizing how you want to do battle. You can also stop time and queue up moves, adding a bit of strategic depth to the combat.

Thanks to the art design of Jen Zee, Camilo Vanegas, and Josh Barnett, Transistor continues the basic look we saw in Bastion (light, colorful, fantastical) while pushing it into a more technological direction. The pulsing of circuitry and the creeping, looming virus that is infecting it all has both an elegance and griminess that leaves a lasting impression visually.

The soundtrack is killer, but at this point, it is to be expected from a Supergiant Games product. Darren Korb hits another homerun with each and every song, setting a fantastic tone of electronic mayhem and 1930s-esque smoothness throughout the entire game.

The only issue with the game? A slow burn story for the first two hours of a five hour game gives it less immediacy than what you found in Bastion. Nonetheless, great game overall.

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