While the meter recharges, you really have no choice but to run away and bide your time. You can still strike enemies outside of this format, but it’s clearly not how it was intended and should probably be reserved for emergencies.Ĭombat is enjoyably tense in the moment of queuing up commands and watching them decimate your enemies, but there’s not much to do between them. You’ll pause the action and queue up a list of commands, and then watch them execute against the Process-a legion of ominous, robotic enemies unleashed by the Camerata. Combat is focused almost entirely on careful planning. Transistor is through-and-through an artful take on the strategy-RPG. It’s incredibly inventive, but some parts of this world’s reality aren’t well-defined, making the fiction occasionally hazy and hard to track. Transistor is set in a city, Cloudbank, and so naturally it’s filled with a wealth of internal logic, characters, and relationships to sort through. Supergiant has a knack for inventing its own worlds that operate by their own rules, and part of the pact of playing them means accepting those creations on their own terms. Are they in the Transistor too? What is the afterlife in this world? Transistor consciously invites these questions, and sometimes vocalizes them itself. Meanwhile, his own presence in limbo, and the way the Transistor picks up something left behind from other people you find, raises questions about what is happening to them. He can help her, but he’s frustrated by his inability to be anything more than an object. He was once a person who knew her, but now he’s trapped. Likewise, he speaks to her with a familiarity that becomes more profound during the course of the game. It’s portrayed as a burden, as her slight frame can only drag the oversized weapon behind her. Red’s relationship with the Transistor isn’t without struggle. But Cunningham in particular shines with a role that affords him a great breadth of emotional weight that underlines Transistor’s key themes.Įverything in Transistor seems calibrated to express certain ideas about intimacy, from the animations to environmental art. The voice performances across the board are fantastic, including a brief but nuanced turn from the chief antagonist. Her voice was stolen by the affluent city leaders known as the Camerata, and Cunningham provides his talents as a special techno-sword called the "Transistor." By traveling with Red and giving commentary, he provides much-needed context for Supergiant’s creative world. He takes a more active role this time, acting as the companion to the voiceless Red. Voice is an appropriate starting point, because so much of the richness in Transistor is articulated by actor Logan Cunningham. Transistor is an outstanding sophomore effort and shows a maturation of the graceful tone and style forged in its previous game, even if its voice isn’t as unique the second time around. Nothing short of excellence could live up to those lofty heights. Bastion was one of the strongest indie studio debuts in recent memory, but it also set expectations high for Supergiant Games.
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