Peak game

It’s honestly hard to put into words just how much this games means to me. Undertale and Deltarune aren’t just “games” — they’ve been a huge part of my life for nearly a decade now. Time really flies, huh? I think of them as timeless masterpieces, not just in gaming but as pieces of media that somehow capture something rare and unforgettable.

But it’s not just about playing. Through these games, I’ve met some incredible people, seen jaw-dropping fan art and creative projects, and been part of one of the most welcoming, passionate fandoms out there. That sense of community—of shared love and weirdness—has been as meaningful as the games themselves.

Talking about Deltarune specifically, it stands shoulder to shoulder with Undertale as one of the best indie story-driven games out there. It’s bursting with quirky, charismatic characters and an absurd, meme-worthy sense of humor, but underneath all that silliness is a story that genuinely pulls you in and keeps you hooked.

And I have to say, chapters 3 and 4 feel even more polished and full of heart than the earlier ones. The passion behind the game really shines through, and it feels like the story is just getting deeper and richer with every new piece.

Finally got my hands on Transistor after playing some incredible games from Supergiant, like the Hades series. Now, Hades and Transistor aren’t really competitors — they’re very different beasts — but I still really enjoyed this short, roughly 10-hour dive into a unique, haunting story.

What grabbed me the most right away was the story. It’s got this cool mix of Matrix-style and cyberpunk vibes: a society where citizens vote on everything from bridge architecture to sky color. But beneath all that worldbuilding, the game kicks off with a tragedy — Red, the main character, survives an assassination attempt, but her lover doesn’t. His soul ends up trapped inside the Transistor, a mysterious weapon that can store people’s souls as “functions.” So you have this bittersweet duo: “a girl with a body but no voice, and a boy with a voice but no body” — if I remember that line correctly. It’s a haunting, almost poetic setup.

The voice acting here is spot-on. I especially loved The Unknown (Logan Cunningham) and Royce (Sunkrish Bala) — their performances added so much to the atmosphere. The game also sprinkles in lore through entries about each function (since they’re basically the souls of people), but honestly, most of these didn’t grab me that much — only a handful stood out. Still, the story and worldbuilding worked well together, creating a strong mood throughout.

Of course, the soundtrack is absolutely phenomenal — as expected from Supergiant. Red’s singing blew me away; I found myself just sitting and listening for like ten minutes straight at one point. It’s hauntingly beautiful and fits the game perfectly.

Now, the gameplay… I have to say I’m a bit conflicted. Early on, it’s a blast experimenting with different function combos to take down enemies. The difficulty scales nicely as you add more limiters, which felt rewarding. But eventually, it became clear that many functions are pretty underwhelming, and you can basically steamroll everything with one strong build. That said, the test chambers were a welcome break and added some nice variety.

NG+ was a bit disappointing — especially since you need it to fully complete the game. It gets repetitive quickly: no new limiters, no fresh functions (just duplicates so you can stack bonuses and build stronger combos), and only a few new test chambers. Basically, you’re replaying the same story with slightly tougher enemies.

So yeah, in some ways Transistor feels a bit like Hades: story-driven, an incredible soundtrack, and solid gameplay that eventually wears a bit thin.

In the end, it’s a unique, tightly focused experience lasting about 6–12 hours, with a compelling story and an ending that caught me completely off guard — in the best way.