I love the dreamy aesthetic of Cloudbank, and the excellent soundtrack extends that feeling. The story is engaging and the characters are all interesting. I like how you are offered a lot of customization with your moveset. I didn't love the combat, the real-time/turn-based mix is interesting conceptually but just doesn't quite work here.
Um jogo extremamente elegante, com uma soundtrack absurda e história bem boa também.
Sinto que Transistor passa por muita gente despercebido, entretanto ele é um jogo que mexe com a emoção do jogador com suas lindas musicas.
Sinto que Transistor passa por muita gente despercebido, entretanto ele é um jogo que mexe com a emoção do jogador com suas lindas musicas.
I think it was pretty average for a Super Giant game
uma das melhores soundtracks que ja tive o prazer de ouvir
Game so good, had to buy the soundtrack 3 times with the vinyl so that the developers get more money.
Note to self: Don't buy games because they're cheap and have a appealing visual style without researching them first. This was not for me at all.
Se programação fosse legal
It's been nearly ten years since I played this game and I still think about it. The art style is beautiful and I ended up buying the soundtrack because it's just so good. Every time one of the tracks comes up on shuffle, I'm reminded of how much fun it was to play through this story. The sci-fi world and the combat system are so finely tuned, and everything about it just feels right. Ten years on and this is still my favorite Supergiant game.
incredibly boring. competent. no hooks at all.
a arte desse jogo é impecável o que combina perfeitamente com melancolia que o jogo quer passar além de possuir uma trilha sonora de te levar pro céu. A gameplay é inovadora e até que bem executada, mas não é muito divertida
common supergiant games W
A trilha sonora é, de longe, o destaque, o combate é fora do convencional e muito bom. História linda.
Uma cantora sem a sua voz e a consciência de seu amado em uma espada
bela voz a da espada belo botao de cantar mas eu n gosto mt das lutinha nao hein...
purdy music purdy gals what more do u need
It's impossible to overstate how much I love this game. I played it when I was in a transitional period in life, where things were good but uncertain and suboptimal. The words of Mr Nobody struck deep. You can tell just how much he loves Red, and being the one to stand in Red's shoes for a bit, it was easy to love him back. I love a good tragedy, and the slow decline of Cloudbank is the perfect vibe for that.
A world you know and love is being torn down into nothing, and though you try to fight it, all your efforts amount to is a splash in the ocean. So you are forced to walk through it and watch, helplessly... I've always gravitated to tales like this.
Of course no review of Transistor would be complete without mentioning the audio. Sound design, perfect. Voicework, perfect. The music - my goodness, the music! This game takes part in my favourite trick among game OSTs: dynamic tracks. Every theme's percussion heightens when combat initiates, and then there's a dimmed version where Red's humming takes over for when you're using your Turn(). Of course, there's also a dedicated humming button, so that you can hear Red hum even outside of such dire circumstances. In addition to dynamic music, Transistor has several amazing vocal tracks featuring the gorgeous singing voice of Ashley Barrett. When I play this game I can't help but hum, or sing, along.
The last thing to mention would of course be the combat itself. It can get pretty deep if you're willing to look into it, and I like that more lore about the world is tied to experimentation so that you're incentivized to try different combinations of abilities. On a recursion this only gets more interesting, and the limiters add a nice touch of setting your own difficulty.
Transistor is a masterpiece. I'll be forever grateful to Supergiant Games for creating it.
A world you know and love is being torn down into nothing, and though you try to fight it, all your efforts amount to is a splash in the ocean. So you are forced to walk through it and watch, helplessly... I've always gravitated to tales like this.
Of course no review of Transistor would be complete without mentioning the audio. Sound design, perfect. Voicework, perfect. The music - my goodness, the music! This game takes part in my favourite trick among game OSTs: dynamic tracks. Every theme's percussion heightens when combat initiates, and then there's a dimmed version where Red's humming takes over for when you're using your Turn(). Of course, there's also a dedicated humming button, so that you can hear Red hum even outside of such dire circumstances. In addition to dynamic music, Transistor has several amazing vocal tracks featuring the gorgeous singing voice of Ashley Barrett. When I play this game I can't help but hum, or sing, along.
The last thing to mention would of course be the combat itself. It can get pretty deep if you're willing to look into it, and I like that more lore about the world is tied to experimentation so that you're incentivized to try different combinations of abilities. On a recursion this only gets more interesting, and the limiters add a nice touch of setting your own difficulty.
Transistor is a masterpiece. I'll be forever grateful to Supergiant Games for creating it.
Hey Red... We're not getting away with this, are we?
This review contains spoilers
Transistor was my first introduction to Supergiant games and while it is stunningly beautiful, mechanically innovative, and fun to play - it unfortunately glorifies suicide as 'the answer' which really put me off of supergiant as a whole since they seem to care far more about aesthetic than the harm such messaging can do.
The gameplay is clever and fuses a combination of turn based mechanics with hack and slash where the mechanics and features of your sword are customisable and combine different mechanics to create new effects far before bullet heaven games started doing it. This creates a pretty huge array of play styles and mechanics as you can switch up the way the game plays and feels on the fly and change tactics to better match the variety of enemies. Combat is sleek and fast feeling like an early prototype for Hades which says a lot about how good this game feels to play.
It's rare that I get into spoilers for my reviews, but I feel I have to here because I don't understand how everyone glosses over the implications of this story. Put simply, a singer's boyfriend is murdered using this very powerful sword / key to the city and his soul becomes trapped in the sword. Having lost her boyfriend and her voice she goes on a mission to get vengeance on the powerful individuals conspiring to take control of her world guided by the voice of her bf trapped in the sword. Honestly up to this point it's all well and good, a sort of cyber-noire with excellent character design and strong motivations all around.
However at around the half way point you feel the design team worrying about the budget as the protagonist suddenly decides 'we should go back to the start' as if they ran out of money to build more of the game. You return and fight the city itself as the changes the conspirators wanted to impose on the city grow out of control. The remaining minions kill themselves and after you stop the process, and defeat the big bad you go back to your bf's corpse, Realising she won't get her bf or voice back she decides to kill herself, where she's then reunited with him in a happily ever after.
Even for 2014 I thought this game handled the concept of suicide very poorly. Not only using it as a cheap way to write off two of the antagonists, but also as a lazy conclusion for the main character. The fact she kills herself is one thing, but to have a happy ending reunited with her bf in a beautiful sunny ever after sends a pretty disturbingly clear message that killing yourself is actually the solution to your problems. It gets the bad guys out of being held responsible, and it grants the main character everything she's been struggling for through the game.
The fact anyone could write such a grossly irresponsible glorification of suicide is irresponsible at best and outright harmful at worst. Somehow I seem to be the only person who cares though as this game has sold incredibly well and turned supergiant into an indie darling. Personally I still think this is abhorrent and I don't care how beautiful it looks and sounds, or how great the gameplay is when it exists to advertise how great suicide is. Supergiant should be ashamed of this title's core message.
The gameplay is clever and fuses a combination of turn based mechanics with hack and slash where the mechanics and features of your sword are customisable and combine different mechanics to create new effects far before bullet heaven games started doing it. This creates a pretty huge array of play styles and mechanics as you can switch up the way the game plays and feels on the fly and change tactics to better match the variety of enemies. Combat is sleek and fast feeling like an early prototype for Hades which says a lot about how good this game feels to play.
It's rare that I get into spoilers for my reviews, but I feel I have to here because I don't understand how everyone glosses over the implications of this story. Put simply, a singer's boyfriend is murdered using this very powerful sword / key to the city and his soul becomes trapped in the sword. Having lost her boyfriend and her voice she goes on a mission to get vengeance on the powerful individuals conspiring to take control of her world guided by the voice of her bf trapped in the sword. Honestly up to this point it's all well and good, a sort of cyber-noire with excellent character design and strong motivations all around.
However at around the half way point you feel the design team worrying about the budget as the protagonist suddenly decides 'we should go back to the start' as if they ran out of money to build more of the game. You return and fight the city itself as the changes the conspirators wanted to impose on the city grow out of control. The remaining minions kill themselves and after you stop the process, and defeat the big bad you go back to your bf's corpse, Realising she won't get her bf or voice back she decides to kill herself, where she's then reunited with him in a happily ever after.
Even for 2014 I thought this game handled the concept of suicide very poorly. Not only using it as a cheap way to write off two of the antagonists, but also as a lazy conclusion for the main character. The fact she kills herself is one thing, but to have a happy ending reunited with her bf in a beautiful sunny ever after sends a pretty disturbingly clear message that killing yourself is actually the solution to your problems. It gets the bad guys out of being held responsible, and it grants the main character everything she's been struggling for through the game.
The fact anyone could write such a grossly irresponsible glorification of suicide is irresponsible at best and outright harmful at worst. Somehow I seem to be the only person who cares though as this game has sold incredibly well and turned supergiant into an indie darling. Personally I still think this is abhorrent and I don't care how beautiful it looks and sounds, or how great the gameplay is when it exists to advertise how great suicide is. Supergiant should be ashamed of this title's core message.
Seconds march into the past,
The moments pass...
And just like that, they're gone...
The river always finds the sea,
So helplessly...
Like you find me,
We are... paper boats floating on a stream,
And it would seem...
We'll never be apart,
I will always find you,
Like it's written in the staaars...
You can run, but you can't hideee...
Tryyy...
The moments pass...
And just like that, they're gone...
The river always finds the sea,
So helplessly...
Like you find me,
We are... paper boats floating on a stream,
And it would seem...
We'll never be apart,
I will always find you,
Like it's written in the staaars...
You can run, but you can't hideee...
Tryyy...
It's good
Perhaps the game is not so good in technical terms, however, it is unique due to the feelings and emotions that you experience while playing. Excellent visual style of the game, awesome soundtrack.
The Spine is one of the greatest tracks you will ever hear
I get what this game is going for, but unfortunately it wasn't for me, though it was definitely worth trying. Stunning visuals and soundtrack, but the combat system just didn't stick for me in it's hybrid styling. If it had chosen one way or the other, I might not have bounced off this as hard as I did, but I do respect the commitment to the idea.
Un ensayo acerca de la importancia de lo lejos que estamos dispuestos a llegar por un ser querido y de lo malvada que es la programación
Cool game being a mix of isometric action with a bit of turn based being able to stop time and preplan out your next couple seconds. Overall just a pleasant experience with the visuals story and sound design.
In going through my library for games to review here, I was struck with the strong desire to replay Transistor. Lovely to look at, satisfying and fun game mechanics, plenty of optional lore to sift through.
eu te amo tanto amor
El final me jodió bien jodido
so underrated
One of the most interesting combat systems played in recent memory. The option to use a turn based system where you can plot positioning as part of your turn is genius. Definitely a game that took a bit to click, the controls felt so clunky and slow at first, I didn’t think twice about it after putting it down the first time - very happy to have seen the light. There’s a whole lot of charm on offer in this short but sweet package, and a killer soundtrack as to be expected from Supergiant