TRANSISTOR GAME REVIEW UPGRADE
Each new ability can be used as an active primary action, used as an upgrade for an existing action, or be used in a passive slot to gain things like health regeneration or more actions per turn. In addition, Red has many different sets of abilities and upgrades that give the player many possible builds to work with. However, Red can't use any offensive abilities for a short period after her turn ends, forcing one to be cautiously strategic when using it. Red can use one of four powers in real time, or she can enter turn mode-time freezes and she can plan out her next actions. Gameplay consists of an interesting mix between isometric Diablo-style combat and turn-based strategy. I'm firmly against silent protagonists in games, and Transistor is no exception. She doesn't necessarily need to speak (which would rob the game of a key thematic element) but more input from her in some fashion would have been welcome. Red communicates through text in a few instances and has expressive animations, but it really does feel like her input is missing. While the Transistor is beautifully voiced and written, the idea of such a touching relationship developing when one of the participants is mute rang a bit untrue. The Transistor gives more play-by-play commentary than players got in Bastion, and its lines often mirrored what I was thinking, while never feeling intrusive. However, instead of being a detached entity, the sword is Red's companion and develops a strong camaraderie with her as they explore the Process-ridden world. Much like the notable narrator in Bastion, the world and the Transistor itself are the primary methods of storytelling. The weapon identifies itself as the Transistor, and Red takes the sword up with the hopes of stopping the Process and whoever is behind it. After the initial outbreak, Red loses her voice and awakens next to a dead man impaled with a talking sword. The city has been invaded by a mysterious robotic enemy known only as The Process. The player assumes the role of Red, a prominent singer in the city of Cloudbank. Sound effects for various actions stick around like a prominent chorus, and even the individual environments/animations themselves are very memorable. The game flows in a way that leaves bits and pieces of it in one's mind like parts of a catchy tune, which is appropriate since we spend a lot of time recovering fragments of the minds of people lost to the game's enemies. Transistor, the latest title from Bastion developer Supergiant, is like a piece of game music itself. For me, game music is the ultimate ear worm. Whereas most people probably have the lyrics to all their favorite songs at least partially memorized, I can hum the Elec Man theme or Corridors of Time on command. My memories of catchy level, character, and boss themes far outweigh any "normal" music stored in my mind. WTF The final boss's voice is a dead ringer for Bob Newhart
LOW Being spawned right on top of an invisible enemy. HIGH Imagining Red unleashing a furious battle cry as she fires six Sparks to finish off the Spine.
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