The four members of the Camerata, with Royce on the far right. The final boss fight of the game follows. As it turns out, Royce just wants to fight Red for control of the Transistor – i.e. Hoping to stop the Process, Red forms a truce with the last surviving member of the Camerata, Royce. The white blocks signify that this part of Cloudbank has already been “processed.” Red prepares to fight one of the Process. The robots take on a mind of their own and destroy Cloudbank and its inhabitants. Without the Transistor, however, the Camerata is powerless to stop the Process from spreading. The unnamed man serves as the game’s narrator since Red is now voiceless, and it’s revealed over the course of the game that the two of them had a very close relationship and are implied to be lovers.Īrmed with the Transistor, Red fights her way through hordes of robotic enemies – The Process – in order to stop the Camerata from killing the citizens of Cloudbank and changing the city permanently. Red also lost her voice but gained possession of the Transistor, which now held the consciousness of her fallen protector. The Camerata tries to kill Red using the Transistor, but her bodyguard steps in and is killed in her place. They attempted to assassinate her with a sword-like weapon called the Transistor, but her bodyguard took the fall for her. Unfortunately, Red was targeted by a group of individuals known as the Camerata. The player takes on the role of Red, a popular singer. Transistor takes place in Cloudbank, a high-tech and heavily democratic metropolis. As usual, I highly recommend these games and encourage you to play them before coming back, but I’ll explain enough background that you can read this without playing too. I’ll also be referencing some of the endgame elements from Bastion that I used last time, so beware of that as well. However, it is not about how or why we choose one thing over another, but instead one’s right to make decisions at all.Īs with my previous post, there are big spoilers for the end of Transistor up ahead. Like Bastion, Transistor is also about decisions. It was what opened the door for me to try Bastion and, later on, Hades. I fell in love with its art, music, and mechanics that were unlike anything else I had ever played before. Transistor was the first Supergiant Games title that I played, and I had no idea what I was getting into. Last week, as I was preparing for my blog post about Bastion and how it creates weighty, impactful choices for its players, I realized something similar about another game from Supergiant, Transistor. I don’t usually write two deep analysis posts in a row, but I’m making an exception.
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