Bioshock: Infinite Review (Part 2)

...continued from February 3

The Setting

The original Bioshock was loosely based on the philosophy and writings of Ayn Rand and George Orwell. The idea was not just to create an interesting world for a plot to play out but rather to have an idea shape the entire game, from the gameplay to the characters to the story. Bioshock massively succeeded in this endeavor. The LA Times said “Sure, it's fun to play, looks spectacular and is easy to control. But it also does something no other game has done to date: It really makes you feel.” And just like its prequels, Infinite dazzles in the “feels” department.

The first level of emotional involvement, for me, came in the setting. For those who played the original Bioshock, you will remember that details made the game. The game threw you into a strange and unfamiliar world but it wasn’t that way because you were told so. Everything about Rapture, from the décor to the dialogue, pointed one direction. Game locales and interactions made sense with the world and there was never any inconsistency between what occurred in the game and what the story was ultimately about. This remains true in Infinite, as the locations you encounter are not directed by the gameplay but rather the gameplay is directed by the places you go.

A painting in the "Order of the Raven," an example of Columbia's unique culture

The art direction in Infinite is beautiful and poignant as well. The environments you inhabit are haunting not necessarily because of any particular action you take, but because of the ideas that are represented in each. Two such examples really struck my eye. The first moment that really struck me was a scene where DeWitt comes across a Comstock-endorsed cult called the “Order of the Raven.” The order worships the Founding Fathers like the rest of Columbia, but also adores John Wilkes Booth, a hero for assassinating Lincoln. To them, “lower” races have no part to play in civilized life. This cult is revealed as DeWitt makes his way through their building, viewing paintings and statues, listening to recordings and stumbling upon an induction ceremony. Another scene includes a stage-like reenactment of two brutal moments in Columbia’s history, including animatronics, statues, and the like. But make a wrong turn and you end up backstage, where they store the extra materials to keep the display running. The level of detail and prime placement within the storyline of these scenes are not necessary to the “fun” of the video game, but it is central to the reason why the Bioshock series is so engaging. These two scenes generate sub-plots, reveal motivations and develop the characters as they engage and react to their surroundings. This is where the genius of the developer comes through: most video games have filler – something to get you from one moment in the action to the next – but Infinite simply does not have filler. Every square inch of the world and every second of play existed for a reason. The sheer amount of intricate detail in this game cannot be covered in this review, but certainly let me know if you want to hear more. It is a bottomless pit of immersion.

The Story

Okay Russ, I’ve finally gotten around to the story. And oh my goodness I could write a book about how good this story was. I already discussed DeWitt and Elizabeth and how their relationship evolves as the game goes on. That relationship alone is enough for me to say how good this story was, but that only scratches the surface. Bioshock: Infinite is a game of revelations. From a first-person standpoint, I was confused from the start. I knew that DeWitt had to rescue Elizabeth and return her to New York to pay off a debt, but I didn’t know what the details were. These are revealed slowly from the moment DeWitt arrives in Columbia via two storylines.

The first plays out in the game. DeWitt attempts to rescue Elizabeth and get her out of the city. But strange things begin to happen that Booker does not fully understand. Elizabeth has strange powers that seem to be able to transport them into different universes. Comstock seems to know more about DeWitt’s situation than even he does. DeWitt copes with this mostly through a dedication to his mission, which eventually transforms into a simple devotion to Elizabeth. But by the time the story’s climax is reached, DeWitt is lost, and so is the player.

The second part of the plot is the backstory, revealed gradually by voice recordings collected as the game goes on. A genius move by Irrational was not to throw the entire backstory in your face at once, either by showing you a cinematic or putting the backstory in the manual. Instead, by listening to voice recordings from key characters as you travel through Columbia, the backstory is revealed slowly in a way that has a direct bearing on your current situation. By the end of the game you know the entire backstory, but the most haunting or significant pieces of information are saved until the climax, making the game that much more thrilling. Another great side effect of this strategy is that it makes you think. Everything isn’t obvious; in fact quite the opposite is true. Truths are revealed slowly and indirectly. And both the backstory and the gameplay throw you toward a conclusion that you are excited to discover. This is true storytelling mastery – not only is more information revealed over time, but with every revelation comes an even more intense desire to see how things pan out. Not since Lost have I found myself developing so many theories about how the story would end. But unlike Lost’s controversial and disappointing conclusion, the end of Infinite is exquisite, its cerebral audacity and literary unanimity matched only by its emotional impact. It’s a stunner that left me breathless and desiring to play the whole thing over again.

Conclusion

DeWitt's evolving relationship with Elizabeth is one of Infinite's triumphs

I want to apologize to those who hoped I would discuss the ending on here. To be honest, the end is too deep, beautiful and mind-blowing to try to cover it all, not to mention it would take me six pages just to cover what it all means. My best advice: go play the game and find out for yourself.

Irrational went to the extreme again. I remember first hearing that there would be a game called Bioshock: Infinite in 2009 when they revealed some gameplay elements in a gameplay video. I was pissed that it took them three years from that point to finally release it, but boy was it worth the wait. It isn’t just that Bioshock: Infinite is fun. It is stepping into a whole new universe (no pun intended). Many game and movie previews will use that phrase, but Infinite really makes that happen. From cinematography and art direction to character development and a meticulously scripted plot, Bioshock: Infinite totally redefines the potential of video games as a storytelling tool. Add in the ability to throw fireballs at enemies after flying through the air, and you have one amazing entertainment experience.

“Bring us the girl, and wipe away the debt.” Not since “Rosebud” has a single phrase given me so much reason to get excited.

Bioshock: Infinite. A 9.5 out of 10.

Yours truly,

DCon

Bioshock: Infinite Review (Part 1)

Greetings Russ,

Game review! My top 10 movies from 2013 will be coming soon. It is just too difficult a decision to rank them, so I figured I would dispel some of the boredom on this blog with a game review. And we start out with one of the best.

I was incredibly excited to review Bioshock: Infinite because there is just so much to talk about: the gameplay, the characters, the story, the details and that ending!! I have to say, if the endings of Bioshock: Infinite and The Last of Us are any indication of where video games are headed for their capacity to be a meaningful and compelling storytelling medium, than I am truly excited for the future.

I like to review games because in many ways they are similar to movies. They are entertaining, immersive and push the limits of the imagination. They have the power to educate, thrill and move audiences both to the edge of their seat and to tears. Yes, video games can do that, and oftentimes can be even more impactful than movies because, by their very nature, games place us in the story. Our actions dictate the course of events. Of course, the main motivation for game developers is to create fun. But just because video games are a different art medium than movies and have this preconceived notion to be fun, doesn’t mean they lose narrative impact. In many ways, games remain the same as the days of old; they provide a brief break from the world in mindless fun. But if 2013 was any indication, “mindless” is no longer the standard.

This leads us to Bioshock: Infinite, the third game in the Bioshock series from Irrational Games. Set in 1912, the game follows the journey of Booker DeWitt, a troubled army veteran and former Pinkerton agent who has fallen into debt with the wrong people. In the midst of his troubles, DeWitt is offered a chance to pay off his debts; he must find and bring a girl named Elizabeth to New York City. DeWitt agrees to the job not knowing who Elizabeth is and arrives in Maine to begin his assignment. DeWitt is given a pistol and Elizabeth’s location: Columbia, a city that floats over fifteen thousand feet above the ground, held aloft by what is described as “quantum levitation” along with gigantic balloons and blimps. Columbia was launched in 1893 by Zachary Comstock, a self-declared prophet who rules over the city by calling for allegiance to himself and the philosophy he follows, a type of pseudo-Christianity that includes elements of American ultra-nationalism and exceptionalism based on the worship of the Founding Fathers of the United States. DeWitt discovers upon arrival that Comstock is holding Elizabeth in a tower and that the prophet was expecting him. With the forces of Columbia bearing down on him, it is up to DeWitt to rescue Elizabeth and get her out of the city. But as he gets closer to his goal, DeWitt soon realizes that there is much more to this floating city than meets the eye and a revolution is brewing in the shadows. Who is Comstock? What is in store for this city in the clouds? But even more importantly, who is this girl and is she worth the risk?

Design and Gameplay

Booker using the "Bucking Bronco" vigor

Bioshock: Infinite clearly meant to do one thing in its design: immerse the player. The first step of this was to choose a first-person viewpoint. Even though the Bioshock series had already established itself as a first-person shooter (FPS) well before Infinite, I still have to compliment the choice. The first-person view isn’t just there to assist the gameplay but it is essential to it, drawing you in close enough that you feel involved – that you feel you are Booker DeWitt. In a game that thrives on a world full of detail and a story that takes exciting and unexpected turns, first-person captures the story more personally. Immersion is also achieved through the presence of no cinematics. While it is generally the trend of most modern day blockbuster games to include cinematics to provide relevance and drama to the story, Bioshock: Infinite is able to capture the same elements but through clever cinematography that can be viewed completely through the eyes of Booker DeWitt. It is for this I have to applaud the game developers, who didn’t sacrifice the unique style of Bioshock despite the complexity of the game universe and the depth of its characters.

All the familiar elements of the Bioshock series make a return. Firearms and plasmids are back (now called vigors), and the occasionally tedious money/item scavenging system also remains, along with the familiar vending machines. DeWitt can also collect gear along his journey, four items of which can be active at one time. Similar to the original game’s tonics, gear helps DeWitt by adding perks such as setting enemies on fire with a melee attack or increasing your damage dealt when low on health.

Unlike the original Bioshock, DeWitt can only carry two weapons at one time. However, the opposite trend is observed amongst the vigors. All vigors are available to DeWitt as he collects them. This attempt to shift the focus away from weapons and toward vigors is a smart one, in my opinion, especially given how effective the vigors are. For one, the vigors are just awesome. Familiar fire and electricity attacks are back, but new vigors in Bioshock: Infinite such as Murder of Crows, Undertow and Return to Sender really add to the fun. In addition to firing vigors at enemies, Booker can also set traps with them that allow you to plan the most effective strategy. There are also a number of combinations with which to use the vigors, allowing you to experiment with what works best against each particular foe.

Unlike in the world of Rapture, Columbia provides a more dynamic environment in which to engage your enemies. The first element of this is the Sky-Hook, a multi-pronged hook that you can use to jump from platforms up to Sky-Lines, a roller coaster-like system that allows very fast travel around the field of battle. Booker can jump on and off these lines and between them, while using firearms. Using the Sky-Lines, DeWitt can escape, flank or attack enemies that remain on the ground or those that jump up and pursue him on the Sky-Lines. The Sky-Line provides an extremely exciting element to the gameplay and they are designed well enough that they do not take away from the rhythm of the fight. In addition to the Sky-Lines, Elizabeth provides an edge for DeWitt in the heat of battle. Throughout the game Elizabeth will occasionally find money for DeWitt that she will toss to him. In battle, this becomes even more useful as she also shares items that you need to fight, such as ammunition, vigor refills and health packs. Elizabeth can also open tears that assist in combat, from ammunition and cover to friendly turrets to escape the onslaught. These exchanges between DeWitt and Elizabeth come with frantic and stressed dialogue, adding to the tension and intensity of the battle. Between the Sky-Lines and Elizabeth, the combat in Infinite is edge-of-your-seat fun. Just imagine the following scenario: you electrify an enemy, jump on to a Sky-Line, shoot another enemy farther away and then circle back around and dive off onto your still-shocked foe from a different angle. Then, as you dive for the cover that you’ve ordered Elizabeth to summon, you run out of ammo, only to have Elizabeth toss more to you, yelling “Sniper ammo!” These type of fast paced and well designed scenarios are all over Bioshock: Infinite and make for an extremely fun experience.

The Characters

…And here is where I politely request that all of you who haven’t played the game have a very nice day. And please take heed of my warning. If you have not played this game yet, but want to play it at some point, do yourself a favor and stop reading!

I have to comment on the story of this game because it is probably the best I have ever seen in a video game. And just like in film, the story heavily relies on the characters. Unlike many first person shooter games that feature a silent protagonist or one that only speaks in cinematics, Booker DeWitt, played by the brilliant Troy Baker, interacts with the world around him frequently. He speaks with characters he encounters and these interactions are well scripted and relevant. DeWitt shows frustration, anger, determination and confusion in his dialogue almost uncannily similar to the very thoughts I had while playing. I was impressed that, although I never saw my own character’s face, I felt that I knew him even only minutes into the game. In fact the concept of a faceless but strong character is so good that I was actually disappointed with 2K that they decided to put Booker’s face on the box art.

Elizabeth

DeWitt’s dialogue is drawn out by the presence of Elizabeth, who travels with him through most of the story. The character of Elizabeth alone makes this game worth playing. Never before have I seen such a strong female role in a video game. Elizabeth is not a bland teenager that you agree to escort across the game world. The game so easily could have done that. Instead, from the very second Booker meets Elizabeth, a relationship is created – one that develops meaningfully as the game goes on. The gameplay gives weight to this relationship not only through the assistance of Elizabeth in combat but also through the fact that you do not have to protect Elizabeth. A game that constantly has you checking on her health can turn a player against her and ruin the impact their relationship has on the overall plot.  That’s important because the relationship is not only central to the story but also vital to its impact. Elizabeth at first views Booker as a savior – a friendly stranger who springs her from her life imprisonment and a vessel that will lead to the fulfillment of her lifelong dreams. Soon however, Elizabeth discovers that DeWitt has his own motives and even a dark side. This change of heart is the first of many evolutions in their relationship. DeWitt and Elizabeth discover things about each other as the game goes on, and as a result of the clever writing, you do too. They underestimate and mistrust each other at first, but eventually they learn to depend on each other and begin to care for each other deeply. Each character’s greatest fears, regrets and motivations are drawn out through the turmoil they face together. By the end of the game you actually care about the outcome of the characters.

 

In the critical moments of a Call of Duty game, characters may express fear or emotion but I rarely feel genuine care for them because they haven’t been developed. They may spill some generic platitudes or, through decent voice acting, show genuine emotion, but most of the time I simply don’t have anything invested in them. Oftentimes the character I have directed through the whole game will be killed and afterwards I have to struggle to remember what his name was. Not so with Infinite. When precarious moments arise in the plot, I actually care about the outcome of DeWitt, and Elizabeth even more so, because I actually know them. 

TO BE CONTINUED...