Neuse designed it so that it could be open to interpretation by players, though stating that they intended it to delve into starring character Commander Video's psyche, and "what it means to have emotions and personal space."

This forces players to return to normal size by pushing a button, though without the added punishment of losing their combo.

[4] It was produced by Alex Neuse, illustrated by Mike Roush, and composed by electronic musician Nullsleep.

However, Neuse felt that it "completely destroyed the sense of meandering and flow they strove for"; additionally, the mechanic of adjusting size with the distance from the sensor bar was too complicated, leading to them using the Nunchuk.

Because of its freer movement compared to that of its predecessors Bit.Trip Beat and Bit.Trip Core, it enabled Neuse to design levels to have patterns coming from all sides of the screen.

[5] The visuals and audio were initially designed to be complex, but the developers found this to be too "noisy"; as a result, they made it more simplified and minimal.

[10] Kotaku's Stephen Totilo called its controls the most comfortable in the series, also praising its graphics, sound, and for being the most "gamer-friendly".

[3] IGN's Levi Buchanan found himself "hooked" on Void after playing it at Penny Arcade Expo in 2009, citing the retro aesthetic used.

[11] GameSpot's Sophia Tong found it easy to play it for a long period of time due to its implementation of checkpoints, also calling it as engaging as the others.

[12] Since its release, Bit.Trip Void has received generally positive reception, holding aggregate scores of 79 and 80.08% at Metacritic and GameRankings respectively.

[14][13] IGN's Daemon Hatfield praised the Atari 2600-like visuals and soundtrack, in particular the players' ability to contribute to it.

"[2] GameSpot's Lark Anderson praised Void for making the traditionally difficult more forgiving with the implementation of checkpoints and continues, as well as its "risk-versus-reward" mechanic, which he describes as a "refreshing spin" on the bullet hell genre.

However, like Hatfield, he found fault in the lack of online leaderboards, adding that the number of levels is small.