Always with the in medias res. The game begins with you pulling your talking sword out of a dead guy. The sword is assuring you that, hey, everything is going to be okay. We just need to get out of here. As you proceed to get out of here, he (I know that it’s a sword and so giving it a gender is downright un-American, or un-English anyway. Checking German, it seems that “schwert” is neuter. In Spanish “espada” is feminine. In French, epee seems to be feminine too… but the voice actor is a guy so we’ll call the sword “he”) provides a running commentary the way that Rucks did in Bastion.
Less funny, though.
Anyway, the gameplay is tight. There’s a sweet combat mechanic where you can pause everything then figure out where you want to run and what attacks you want to do in which order and then, WHAM, you go through it just like you had planned.
That’s pretty sweet.
Anyway, I can easily see this dragging me in the way that Bastion did. If you dug Bastion, check it out.
So… what are you playing?
I enjoyed Transistor a lot, I thought the mechanics and setting were more interesting than Bastion, as much as I liked Bastion. And Transistor’s soundtrack managed to be even better than Bastion’s. Ashley Barrett did some brilliant work on this game.Report