Transistor - Editorial @ Save Continue
Save Continue is the next site to express their opinion that developers can learn a few things from Supergiant Games Bastion, and Transistor.
There’s something to be said about how Supergiant Games manages to push all the right buttons when it comes to games. 2011′s Bastion was a marvel in storytelling, with adaptive narration that engrossed you in its deceptively simple story about a young lad fighting against seemingly insurmountable odds, with Caelondia devastated and the Ura Army continuing their aggression after Caelondia’s calamitous mishap. Transistor, on the other hand, interweaves its agenda in both its story and gameplay, each of them parts of a greater whole.
We have sung heavily the praises of the game itself, as well as the divine soundtrack by the masterful Darren Korb, but there is something to be said of the hard work the development team had in piecing the story and aesthetic together.
Transistor is greater than it lets on. It’s not merely beautiful to look at or listen to, but it too carries with it a message of hope and futility and love and despair, all intertwining in some wicked dance. Through it all, Red is merely a player to this sick game that took more than just her voice. The silent songstress was quick to see her world deteriorate, first as her lover perishes defending her, then her home overtaken by this overwhelmingly blank menace, brought on by the very people who had the audacity to attack her in the first place. The Camerata, the Process, the Transistor itself—all sick pieces of a grander game.