Bioshock Infinite Review

[Warning: This review reveals some minor story elements from the first section of the game. I will not be talking about the over-arching plot or any major spoilers. If you intend on playing the game knowing nothing, now would be a good place to stop. It's quite alright, I'll be here when you get back. Oh, and have fun.]

"Bring us the girl and wipe away the debt." This is as much as you know at the beginning of Bioshock Infinite. The note containing this information, nailed crudely to the Lighthouse door, is splattered with blood and offers you little in the way of comfort. You enter the lighthouse to find a wash basin with some ominous religious imagery, a dead body with a bag over its head, and a message: "Don't Disappoint US." Climbing to the top of the lighthouse, you find a chair and sit down. Immediately, cuffs strap you to the chair as metal walls slide up all around you in quick succession. A robotic voice rings throughout your new metal capsule. Fear now fully grips you as you struggle to understand what's happening to you. Rockets fire from beneath you as you start to rise. "Ascension! Ascension!" The voice chants, calling out your altitude as you climb higher and higher. You rise faster and faster, still struggling, disoriented, confused. Then suddenly, you break through the rain and clouds. You see a vast, open sky, filled with floating buildings, bridges, monuments, statues and more. "Hallelujah." You have reached the floating city of Columbia.

The STUDIO

Bioshock Infinite is the first game from Creative Director Ken Levine and his team at Irrational Games since 2007's original Bioshock. In many ways, it's considered to be the spiritual successor to the franchise. This comes as both a blessing and a curse as Infinite has a lot to live up to continuing the legacy one of the highest rated and most beloved franchises in modern gaming. The original Bioshock shrugged off typical shooter conventions with its RPG like mechanics and deep, well-written story inspired by works like Ayn Rand's "Atlas Shrugged" and 'The Fountainhead". Can Infinite not only repeat these successes, but improve on them? Let's find out.

The STORY

In Bioshock Infinite, you play as Booker DeWitt, a former Pinkerton agent with a sizable debt, tasked with finding a girl named Elizabeth and bringing her to New York City. Set in 1912, the game takes you to the (fictional) floating city of Columbia: a flotilla of interconnected ships and buildings that form a home in the sky for hundreds (maybe thousands) of people. These various structures are connected by shipping rails that act like veins, pumping goods to and fro, breathing life into the city. High above the mainland United States, Columbia is an hyper-nationalist haven where citizens have chosen to sequester themselves from the "chaff" of the United States below. This jingoism runs throughout the narrative and world of Bioshock Infinite. The Upper Class live extravagant lives of luxury with little to no thought regarding how things in the city get done. There are parades and fairs that showcase a thriving society. Patrons walk through the city streets, eating cotton candy, gossiping to each other, reprimanding their children, and generally going about their business. They live in their own disillusioned utopia, willfully ignorant of anything that doesn't directly involve them. Eventually, the festivities take a dark turn when an interracial couple is paraded in front of a crowd and Booker is chosen to be the first to punish them.

Elizabeth is in stark contrast with these ideals held by Columbia's populous. She is a young, and often naive, girl who has been held against her will in the towering monument located at the center of the city. She is a curious character who, during her incarceration (her entire life), has sought freedom in the pages of books and expression in the form of painting. After a clumsy introduction to Booker, Elizabeth puts her trust in you when you help break her out of her prison. Fighting past her angry guardian, Songbird, you and Elizabeth are now in it together and will be for the foreseeable future. As the story progresses, more about Elizabeth is revealed, but often underscores the fact that you really don't know anything about her. Also, she can rip holes in the fabric of reality. Yup.

As the events unfold, we meet the source of the religious and racial extremism, Zachary Hale Comstock, the founder and leader of Columbia. Comstock is a religious zealot and self described propeht who believes that, through him, the United States will be "cleansed". It is Comstock who brands Booker as the "False Prophet", getting his cronies to immediately turn on Booker, using the slightest mark as provocation. Booker is content to complete his task and leave Columbia as soon as possible. Comstock and everyone he commands are the ones standing in the way of that goal.

And that's about as much as I'm willing to reveal. Make no mistake, Bioshock Infinite's story is its draw. It is one of the most intricate, well crafted, and fully realized stories in the history of gaming.

The CHARACTERS

This is where Bioshock Infinite creates some of its most endearing moments. The exchanges between Booker and Elizabeth are excellent sequences. They advance both the plot and the characters themselves, giving you deeper insight into what each of them has been through, without shoehorning in any "This event happened to me at this time" moments. Their dialogue is organic and I found myself caring about what was going to happen to Elizabeth. I couldn't help but question every possible outcome and my significance in them. Why was she wanted in New York? What would they do with her when she was there? Was I facilitating her demise? Every chance I got to talk to her I learned more and wondered more.

Father Comstock, The Prophet

Comstock, while purported to be the primary villain, didn't feel like a fully fleshed out character. His origin is confusing to say the least and his reasoning is thin in some places. His blind ambition and somewhat muddy motivation make him feel less menacing; he's more a raving lunatic than a believable idealist. With the element of the mob mentality and the deeply classist roots that run through the city, sometimes it's not hard to believe that he just has this entire city at his beck and call. Other times, it's a wonder no one calls him out on his crap. Comstock is a part of the story, to be sure, but he takes a back seat to the development of the relationship between Booker and Elizabeth. Truthfully, I actually prefer it this way.

Vox Populi members.

There are several other supporting characters. Daisy Fitzroy, former servant of Lady Comstock, emerges as the leader of the rebellion known as the Vox Populi. Her stance on Booker changes as the game progresses and we see her as both friend and foe at different times. This helps cement the desperation of the lower class and the need for the anti-populist movement. However, Daisy also illustrates the gruesome and outright brutal turn that the movement has taken. Jeremiah Fink stands in contrast with Daisy and the rest of the Vox. He is the enterprising businessman in charge of Fink Manufacturing and is known for being quite wealthy. He's willing to help Booker but only if Booker's willing to help him. He is the numbers man. Many more are fleshed out during the campaign, often through the use of voxophones (small audio recording devices) found throughout Columbia. These logs are a joy to listen to and offer up some much needed explanations.

Finally, we have the Lutece Twins. Robert and Rosalind Lutece are perhaps the best, most interesting, and all around likable characters, not only in this game, but in the past several years. Their quips and jibes at Booker, his actions, and the events that transpire (and will transpire) are nothing short of brilliant. They offer commentary that is not only clever but delivered in such a way that makes them truly unique. They are an odd part of the overall story; one that many may not fully comprehend, even on repeat playthroughs. However, the times that they pop up are among the most memorable in the game. They remain a joy to encounter and will likely remain a fan favorite for years to come.

The GRAPHICS

Bioshock Infinite is gorgeous. The vast, open air of Columbia is almost directly the polar opposite of the cramped corridors of the underwater city of Rapture in Bioshock 1. The shift in setting and maturation of computing hardware seem to go hand in hand, however, as the gigantic levels filled with complex lighting, shading and texturing may not have been possible a few short years ago. Columbia feels like a real place. It's rife with beautiful imagery and architecture and its citizens populate the streets lending even more credibility to the illusion. Characters also move believably, both in and out of combat. A characters can look at home whether they're reading a book in front of a roaring fire or running directly at you, ready to bash in your face with a length of lead pipe. Adding to the immersion are various posters and pieces of art that not only look great but underscore many of the themes of racial and religious extremism.

Mural of George Washington defending America.

However, Bioshock Infinite may go a bit overboard with its depiction of extremely graphic violence. When attacking with various means, enemies may erupt with blood, scream helplessly while being burned alive, or may even get their neck snapped, complete with an audible, sickening crunch. The game is definitely deserving of its Mature rating.

The MECHANICS

A shooter can live and die by how tight its mechanics are. Thankfully, Bioshock Infinite not only delivers a stellar story, but also competent gameplay as well. The shooting is spot on, making dispatching enemies a task that is satisfying when done right. Headshots take time to achieve but will ultimately pay off for the player. Add to that the Vigor system and combat is a joy to experience. Previously known as "plasmids" in Bioshock 1, Vigors are genetic upgrades that Booker can ingest, giving him almost magical powers. The 'Devil's Kiss' vigor can be used to set enemies on fire, dealing damage over time. 'Bucking Bronco' can launch enemies into the air, breaking their cover and exposing them to further damage. 'Possession' can turn enemies into allies (who may then, in turn, dispatch themselves out of grief).

Along for the ride throughout the majority of the game is Elizabeth. Anyone who has ever played a video game knows the immediate dread when a game announces "Here's an Escort Mission!". Thankfully, the game completely avoids this mechanic, making Elizabeth a competent force in combat as well as invincible. Afterall, they want to kill you, not her. Throughout the game Elizabeth will, both in and out of combat, offer up useful items, throwing them to Booker. She'll find a myriad of items, including ammo, salts (that power Vigors), and even cash. Also at your disposal is Elizabeth's power to manipulate tears in spacetime. Through these, she can augment Booker's combat prowess even more by bringing in items from other worlds. Turrets, robots, emplacements, and cover are all within her reach. You just say the word.

In an addition to the series, players can navigate the environments via the shipping rails through use of the all new Skyhook system. A player need only jump while looking at a rail to attach to it. The player is then given free reign of the environment, using it as an advantage instead of a burden. Using the skyhook is fun, plain and simple. Being able to shoot three guys zipping around the level, then finally jumping off and landing on the fourth is incredibly thrilling and a wonderful mechanic that is sure to be emulated for years to come.

The MUSIC

The Score by Garry Schyman is one of my favorite in recent memory. The sweeping orchestral stings contribute excellently to combat situations and the curious, almost haunting arrangements give the Luteces an otherworldly feel. The buzz and hum of strings as the rocket ascends being replaced by serenity and calm after breaking the clouds gives me chills down my spine. The crash and shreik of Songbird's score is enough to get my heart pumping in time. 

[MINOR SPOILERS AHEAD. SKIP TO CONCLUSION TO AVOID]

As for licensed tracks (yes, there are licensed tracks), they are awesomely and ridiculously integrated into the storyline. I won't tell you how they make it in, but they do, and they're fantastic.

"God Only Knows"- The Beach Boys (Barbershop Quartet Version)

"Girls Just Wanna Have Fun"-Cyndi Lauper (Pipe Organ Version)

The CONCLUSION

Bioshock Infinite is not without its flaws. Its campaign length is sizable, but can run short if you're not savoring every moment. The voxophones, while fun to listen to, can be a pain to find, as there 80 in total throughout the whole game. Difficulty in 1999 mode can be punishing, but then again, that's what you signed up for when you picked it. A few of the characters don't inspire the kind of sympathy or fear that is intended.   These are the minor and rare moments where Bioshock Infinite doesn't fully deliver.

However, after walking away from the game having just completed it, I couldn't remember any of that. I only remember the time I spent with the characters in a beautiful, albeit flawed, world. Its plot, mechanics, music, and  visual design all work together impeccably to create a real place filled with real people. It sucks you in and doesn't let you go until the credits roll, and then begs you to play it again almost immediately in order to put all the pieces together. Bioshock Infinite asks you not to suspend your disbelief, but to believe. This game will be one that I think on fondly for a long time.

Leviathan Warships' "Jazzy" trailer could be the Best Trailer this year.

Instead of showcasing the clatter and noise of most modern game trailers, Paradox Interactive opts to soothe you into submission with the trailer for their new Tactical Turn Based Strategy game, Leviathan Warships. This Naval free-for-all looks to capture several different markets by releasing on 4 platforms with cross-platform play. Leviathan warships is out on PC, Mac, Android, and iOS on April 30.

Ubisoft Announces Craziest, Stupidest Far Cry 3 Expansion Possible.

After releasing the critically acclaimed, and also super serious Far Cry 3, Ubisoft Montreal has decided to take its first expansion in a decidedly different direction. The tropical paradise of the original game has been replaced a dystopian futurescape in Far Cry 3: Blood Dragon. The gameplay remains mostly the same but gone is the serious tone, replaced with an 80's cartoon motif, filled with lasers and robots. Creative director Dean Evans says that you'll have a different experience, touting the expansion's terrible, one-dimensional characters and sappy writing. Evans proudly reiterates"the game is stupid."

It's a weird risk to take, but one that could ultimately pay off, especially with a soundtrack like that.

Blood Dragon releases May 1st for PC, Xbox Live, and Playstation Network.

LucasArts is Dead

Disney has announced that it is shutting down Lucasarts, one of gaming’s longest running studios. The longtime developer of classic adventure games such as The Secret of Monkey Island, Day of the Tentacle, and Loom, as well as many of the Star Wars video games, was purchased by Disney last year in a package deal that included Lucasfilm and their subsidiaries. LucasArts game development dates as far back as 1982, and consistently produced games that both fans and critics held in high regard.

The official statement released from Disney, obtained by GameInformer, states

"After evaluating our position in the games market, we've decided to shift LucasArts from an internal development to a licensing model, minimizing the company's risk while achieving a broader portfolio of quality Star Wars games. As a result of this change, we've had layoffs across the organization. We are incredibly appreciative and proud of the talented teams who have been developing our new titles."

This comes as no surprise after LucasArts track record in recent years. After the cancellation of Star Wars: Battlefront III, and the overall aimless direction of the studio over the past several years and most recent console generation, the studio has been without a proper retail release for some time.

After last year’s acquisition by Disney, development seemed to be picking up with titles like “Star Wars 1313” and “Star Wars: First Assault”, but it has been confirmed that, with the closure, these titles are effectively cancelled. While some speculated that with “Star Wars 1313” nearing completion, Disney could outsource the remainder of development to another studio. Unfortunately, a second source confirmed to Kotaku that the probability of this happening was "effectively zero".

The loss of LucasArts as a studio is exceptionally sad and is a disappointment for gamers and industry professionals, but what does this mean for the future of gaming’s most beloved franchises? It’s hard to see the good in the closing of one of the most respected and loved studios around, but this may lead to a resurgence of fan favorite titles from the last 30 years. With this new model, Disney is essentially licensing its properties to external studios for development instead of handling it in-house. This means that for the development of its most beloved franchises, it can choose whoever is best suited for that title. We all wanted a new Battlefront game, but what if we got a Battlefront developed by Crytek? What if 1313 got licensed to Epic Games? What it Day of the Tentacle 2: Night of the Tentacle (Maniac Mansion 3, really) was developed by Telltale Games? These are only a fraction of the possibilities in store for consumers now that LucasArts has been dissolved. Many have been shelved for years just hoping to see the light of day. With this closure, we may see some shady cash-ins, but the possible revival of many long forgotten properties makes this tragedy a little more bearable.

Source: Game Informer

via: Polygon