Bioshock: Infinite Review

Bioshock: Infinite opens with a fictional quote that states, “the mind of the subject will desperately struggle to create memories where none exist.” Luckily for us, Infinite is likely to leave you with memories that will last for a very, very long time. 

From the first second of Bioshock: Infinite, confusion reigns. As with all Bioshock games, we are taught to ask questions, fully aware that for a while at least, we aren’t going to receive any answers.

That said, our first glimpse of Columbia, Irrational Games’ latest creation to sit alongside Rapture, puts any doubt to the back of your mind. The beauty of the city is staggering. As fireworks go off above the clouds and we glide past the statue of Father Comstock, ‘The Prophet’, as he is known by the inhabitants of Columbia, you’ll find yourself wanting to be frozen in time, such is the serenity of one of the most awe-inspiring settings the medium has seen.

[pullquote style="left"]Bioshock: Infinite is not a year defining game, it is not a generation defining game, it is something bigger. [/pullquote]

As our protagonist Booker DeWitt’s journey to Columbia crashes back to reality, so does the mind of the gamer as we are confronted with moral dilemmas, moments of sheer terror, and characters that hit the perfect blend between engaging and unnerving. This is the Bioshock we know and love, but bigger, bolder, and more brilliant than ever before.

We live in a gaming era where average first person shooters are commonplace, games that fulfil the basic requirements of character and plot to justify their existence, but often lack spark, grandeur and meaning. This is no such game.

Columbia, as well as being aesthetically incredible, is utterly immersive. It is a living, breathing metropolis, a steampunk dystopia and a mutated version of the ‘American dream’ simultaneously.

As two warring political factions, the ultra-nationalist Founders and the revolutionary Vox Populi battle for control of the city and the player’s affection, we are exposed to xenophobia, eugenics and even time shifts, providing a deeply disturbing but always thought provoking melting pot of ideas that epitomise Infinite’s originality. If there is one thing capable of matching the glory of Columbia, it is the ensemble cast of characters assembled for our amusement.

Our main protagonists, Booker DeWitt and Elizabeth, both go beyond the easy stereotypes they could have performed and the interaction between the two is organic yet complex. With a perfectly charismatic yet disturbing villain in Father Comstock we have someone capable of challenging the brilliance of Andrew Ryan from Bioshock’s debut.

If there is one flaw in an otherwise excellent game, it is that the gameplay offers nothing new to those well versed in previous Bioshock titles. While that is not to do a disservice to what Irrational Games have achieved, it is merely a case of more of the same.

The shooting is crisp and the new crop of supernatural abilities at your disposal, named ‘vigors’ in this instalment, impress, as does the sense of growth you experience as you progress through the mysteries Columbia has to offer. While the inclusion of a Ratchet and Clank style ‘skyline’ offers a new perspective on the action, all things told, the action feels slightly lacking in comparison to the original Bioshock.

One of the most rewarding part of any game is discovering little hidden gems and in Bioshock: Infinite, these gems gleam brighter than in any other game I can remember. The soundtrack in particular is a thing of majesty. Deliberately anachronistic, you could be walking around Columbia only to hear a version of ‘Girls Just Wanna Have Fun’ being played on a steam organ, or perhaps a barbershop quartet rendition of The Beach Boys. Coupled with an original score from renowned video games composer Garry Schyman, Bioshock: Infinite becomes an audible delight and close to the musical benchmark for rivals to aspire towards.

Bioshock: Infinite is not a year defining game, it is not a generation defining game, it is something bigger. It shows that video games have the potential to stand alongside cinema, music and art as creative media, if not surpass them. Although imperfect, it is about as close as we’re going to get.

Oh, and there’s a 60 foot tall robotic bird that chases you around. Just sayin’.