![]() ![]() Columbia begins BioShock Infinite in the midst of its Gilded Age, with disconcertingly shiny, happy people milling around. Most shooters and first person games are content to send you into the ruins of a society in some kind of bizarre archaeological expedition. This might be in part because Columbia is still functional when you arrive - it isn't a wasteland reminder of a golden society. It's also inextricably tied to every other part of the game. The world that Irrational has built is one of BioShock Infinite's greatest assets. But even as Irrational improved the game underneath, it's the ideas presented and questions Infinite asked that left me quiet when the game was finished. With BioShock Infinite, Irrational has created an inspired, asymmetric action game full of huge environments, smart enemies, and more tools than I could manage to play with one time through. But BioShock Infinite suggests Irrational isn't content to be known for art over gameplay a second time - or at least to let one serve as a crutch for the other. ![]() Still, BioShock has held up as a game that capitalized on the strengths of the medium that had something serious to say, and questions to ask. ![]() The last third of the game and its climactic final boss battle have seen indifference and derision. You'd almost think it was hard to follow up the original game, which has been lauded and held up as one of the few conscious, authorial pieces of mainstream art that the video game industry has produced this millennium.īioShock's mechanics and general game design were often more inspired than they were functional. Even if you've tried to maintain a total media blackout on BioShock Infinite, it would have been difficult to remain ignorant of the extended, torturous development cycle it's been through, or the number of major creative personnel who have come and gone during that time. ![]()
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