Despite the massive steps the video game industry has taken in the past 20 years, the truth is that it is still very much in its infancy. Nowhere is this more apparent than in the writing of video games. Not because it is bad, though sometimes we can all agree that is the case, but because it is derivative. When games stepped out of 8-bit graphics and into 3D storytelling, developers were faced with the predicament of how to approach an interactive story and the obvious, easy direction was to derive storytelling techniques from the film industry. Only now are we finally starting to break the chains of the film industry and discover the potential video games hold for truly powerful storytelling. On the frontline of this endeavour is Ken Levine, creative director of Irrational Games.
Irrational Games released Bioshock in 2007 to high praise, for its conceptual depth, stunning graphics, and mind-melting story. The game mixed philosophy and science with a unique fantasy, while also maintaining a rollercoaster of a story and fascinating characters. Bioshock Infinite takes all of these successful elements from the series and expands them beyond your wildest expectations.
The once inconceivable underwater city of Rapture from the first two Bioshock titles now seems like a cute idea compared to the staggering complexity and beauty of Columbia, the floating city in which b is set. Though based on twentieth-century British architecture and style, the flying vista feels like nothing you’ve experienced in real life, creating tourist-like moments of exploration. Everything you see is fascinating, whether it’s watching the intricate details of a nearby floating section of the city, or a shop front advertising the latest entertainment. The mood of the city is ever-changing with the elements; one moment the city is bathed in sunlight and the next it is plunged into a dreary fog.
The combat retains the series’s mix of classic weapons such as rifles, pistols and shotguns with an array of psychokinetic powers known as vigors. Though “abilities” are hardly a new mechanism in first-person shooters, Irrational has a gift for making them unique. For instance, one of my favourite vigors is aptly named “murder of crows”; it allows me to send out a gang of murderous crows to attack my enemies. All weapons and vigors are upgradable, allowing you to augment your powers (e.g. any enemy killed with murder of crows becomes a “crow trap” in which any nearby enemies will become ensnared).
The game’s best new mechanic is the skyhook. This accessory’s primary purpose is to attach to sky rails around the city. This creates amazing moments within the game where you soar through the sky and city. It feels a lot like those videos on YouTube of first-person rollercoaster rides – except you get to shoot people while you ride. The skyhook’s secondary function is as the most brutal melee weapon ever.
It would be a crime to reveal any aspect of Irrational’s beautifully-crafted story. From the moment you begin every line, every picture, and every frame will having you deciphering the world around you. Decipher away, the story will still take your breath away.
Rating: 9.5/10
