The Camerata believed that they are incapable of allowing any concrete change within the city, as the will of the citizens’ changes too quickly. Citizens of Cloudbank are able to vote democratically on every decision made in their city. Cloudbank is emphasized, throughout the game narrative, as a troubled place as a result of democracy. Red’s influential role is affirmed to the players through her attempted assassination at the very beginning of the game. Nobody’s goals, making her an influential political figure in Cloudbank. Nobody’s approach to the troubles within the city, Red does not focus on their stated goals because she could only hear it as “silence.” However, the only condition under which she can hear these aimless goals is when taken by her as “defiance.” In other words, Red rejects the Camerata’s and Mr. Nobody, that the lyrics reveal Red’s perspective and aspects of her character. Red sings “when you speak I hear silence,” preceding “every word a defiance,” followed by “I can hear.” It is undeniable, whether these lyrics are dedicated to the Camerata or Mr. The first cutscene in Transistor, “ Last Night, ” features Red’s song “We All Become” and players learn that Red’s voice is absorbed into the Transistor after an attempted assisnation launched by the Camerata. This posthuman narrative allows for a tentacular transformative time to slowly take place, in which human exceptionalism is unthinkable. I showcase this process of deconstructing the Anthropocene by interpreting the posthuman narrative through understanding Red’s character and embodiment, as well as her actions in the game narrative. In other words, I argue that Red’s action to end her life when she is given the chance to rebuild Cloudbank is a positive process of deconstructing the Anthropocene within the context of the game. Instead, this post focuses on offering an alternative interpretation, one in which I use Donna Haraway’s Staying With the Trouble: Making Kin in the Chthulucene, in order to showcase the consistent posthuman narrative throughout the game. To avoid putting this heteronormative gaze at the center, I abstain from countering or dismantling this narrative. This is a problematic narrative that not only feeds into the patriarchal, hetero-normative perception of love and feminine sacrifice for men’s affection but also one with no sufficient evidence. Considering that the video game industry is often directed toward a young male demographic, it is not surprising that the ending of Transistor (2014) has been often interpreted as a hetero-romantic one, where the female protagonist, Red, ends her life to join the man she loves.
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