Even small actions, like being able to stop and have Red hum along to whatever song is currently playing is a creative, and evocative way of tying music to the core gameplay. From Red’s former profession, to the various concert halls you visit along your adventure, to the incredible music that uses both a score as well as songs that exist inside the game world itself, Transistor is infused with the spirit of jazz. Music is also intrinsic in Transistor’s DNA.

It respects your ability to fill in the blanks, and relies on subtlety in a way that few games ever do. Transistor starts in the middle of the action, and it’s up to you to piece together what’s happened before, and what’s to come. By the end of a few boss battles, I felt genuine remorse when I had to lay the killing blow. Even the strange cabal of enemies have their own motivations that keep things from becoming black and white. Your hero Red is a lounge singer whose voice has been stolen as a part of a nefarious plot Her partner in crime is a talking sword that acts as your chorus. I love how none of the characters in Transistor fall into typical video game or science fiction conventions.

Its gorgeous world feels like Blade Runner infused with Cowboy Bebop, in the best possible way. Transistor maintains the same hand-drawn style as Bastion - it’s heavily influenced by the expressive character design of classic anime.

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