![]() Through the Transistor, Red has access to Functions: attacks you can trigger via one of the four face buttons. ![]() It’s a set of mechanics that work better in practice than on the page, but the important thing is that they work. His score feels operatic, intimate, and dour a perfect companion to Transistor’s overall tone.įrom a distance, Transistor’s combat system may seem a little dense. Returning composer Darren Korb succeeds yet again, combining his talents with returning vocalist Ashley Barrett to great effect. Transistor makes full use of the color spectrum, but it doesn’t overstimulate the player. It’s always nice to see a future that isn’t dominated by glossy white surfaces. Cloudbank is a fully realized techno-artsy-utopia think Blade Runner done up in bright watercolors, run by hipsters. This is not an upbeat game, by any means.Īs is now the standard for a game from Supergiant, the art direction and music also stand out. The final boss is a welcome challenge, and Transistor’s last moments have a startling (but not unwelcome) level of poignancy to them. You’ll spend your final hour or so meandering about an unpopulated area whilst the game’s antagonist just natters at you. Unfortunately, the game’s final moments don’t hold up quite as well. It’s Cunningham’s vocal performance that really sells the relationship between Red and the Transistor a crucial point as the game nears its bittersweet conclusion. ![]() As a character experiencing the events of the story, he’s allowed a greater range of emotions than in Bastion. You’ll immediately recognize his voice, but Cunningham is no longer narrating the events with a collected, bluesy tone. The game’s secret weapon is one Logan Cunningham (the narrator from Bastion), playing the titular saber. As a result, there isn’t as much debris to sift through. That game was about picking up the pieces from the apocalypse - the characters in Transistor are literally watching it happen. Transistor’s story is one of immediacy the characters reminisce about certain aspects of the past, which helps fill in some gaps, but for the most part, there isn’t time for the same level of world-building seen in Bastion. I genuinely enjoyed piecing together both the game’s past and the events that were unfolding around me. It’s an elegant way to avoid a frontloaded story by placing faith in the player’s deductive abilities, there’s no real need for out of character expository dialogue. From there, half the fun of Transistor’s story comes from slowly peeling away the mystery. There’s a dead body, impaled by a talking, sizable cyberpunk sword, and a red-haired opera singer without a voice. Transistor opens about as vaguely as you can get. Although Transistor isn’t quite the exceptionally pleasant dark horse that Bastion was, it’s still better than most of the games released this year. ![]() After the indie darling that was Bastion, all eyes have been on Supergiant Games in the hopes that the perfect storm of quality and media attention will hit the same island twice. I don’t know what it says about the current gaming climate that the PS4’s best exclusive is a $20 indie game, but that’s where things are.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |