(Bioshock and Bioshock Infinite spoilers abound, of course)
So, it’s been a while since my last post, mainly because nothing’s really grabbed me firmly by the ears and forced me to fling my thoughts into the endless void. In this case? Bioshock Infinite hasn’t done that, exactly, but it instead left me with a massive question-mark in my mind.
It’s not that I don’t understand it. I mean, I don’t, not fully, but that’s partially because it’s not made to be fully understood by us mere mortals (at least, not without buying every bit of DLC!). It’s not that I didn’t like it, because I do. It’s certainly one of the most gripping games to come out this year, and there’s a reason I powered through it like I did, and why I fully intend on going through it again, because the nature of the story nearly requires such a treatment.
So, why the question mark?
For the sake of an analogy, lets take the movie Independence Day. The movie that kinda introduced Will Smith: Action Hero to the world, a blockbuster smash, a huge special effects showcase, one of the classic popcorn flicks and a plot that can be charitably described as “Kinda dumb”. Easily Roland Emmerich’s finest work, throughly enjoyable despite the flaws.
…now, let’s say that, in an alternate universe (of course), it was Orson Wells who directed Independence Day. Same actual movie, same acting, same script, same alien-ships-that-run-a-Mac-OS, every single moment in the film the same… but with Orson Wells behind the camera, instead of Roland Emmerich. Instead of being the one crowning moment of glory for a pedestrian director, it’s a blemish on the career of one of the defining artists of the medium, every flaw with the piece a great disappointment instead of a triumphant success.
That’s kinda the problem I have with Bioshock Infinite: Stripping out everything I know about the people behind the scenes, BI is a great game, fun combat, engaging story with great characters and a wonderful female protagonist (shut up, Elizabeth’s the protagonist, it’s her story, Booker just comes along for the ride and does the shooting), not to mention the amazing setting.
But… I was expecting more.
Far, Far Under the Sea
Now, Bioshock was hardly a flawless game. The final third of the game, after the masterpiece “A man chooses, a slave obeys!” scene is complete drek. The story falls apart, the villain is only a few steps above a Captain Planet bad guy, the final boss fight is devoid of the symbolism that the rest of the game was engrossed in, and it has one of the worst escort sequences in video game history. It’s not merely a poor ending, it’s an abysmal train-wreck that goes wrong in nearly every conceivable way.
But everything up to Andrew Ryan’s demise was amazing. The city of Rapture was gorgeous, fully developed and a masterclass of how to create an engaging world. Learning about how the amazing city fell to ruin was thrilling, if somber. The combat was a great combination of gun-play and a diverse set of not-magic powers, and most of all EVERYTHING felt tied into the narrative theme of Objectivism and the flaws inherent. It was positively dripping with atmosphere, and it felt like every area, every section of the city, every enemy boss was carefully designed to embody an aspect of this failed dream. Even the not-magic powers, aka Plasmids, which were a symbol of the ultimate reach of the Objectivist philosophy of “I should be allowed to be as strong and grand as I possible can be!”, and how it brought the city down around it.
In short? The story was about Objectivism, and every element of the story, the gameplay, the setting, the characters, EVERYTHING was tied into that.
A Tale of Two Games
Bioshock Infinite doesn’t have that feeling, though, largely because it doesn’t HAVE a central theme that binds everything together.
The setting of Columbia is another grand city, this time in the clouds, just as detailed and having just as much wonderful imagery and gorgeous design-work as Rapture. This time around, the city is the supposed pinnacle of America, the embodiment of American Exceptionalism. The Founding Fathers Franklin, Jefferson and Washington are all deified, the city has a firmly set and mostly ubiquitous religion (not exactly Christian, and although there are allegories of Mormonism to it, I’m in no hurry to open up THAT can of worms) where purity and freedom and cheerful people are everywhere…
…well, if you’re white (and not irish), at least. Because there’s plenty of wage-slavery, segregation, racism and classism on display here. It’s every aspect of the turn of the 1900’s compressed into a city, including all of the darker aspects on display, enhanced to the point where it’s given rise to a Communist-like rebellion against those ideals. With the Founders, led by the Prophet and leader of the city Father Comstalk, on one side, and the rebellious and hated Vox Populi, led by Daisy Fitzroy, on the other, it’s fertile ground for an honest, fair look at 1900’s America, both the good and the bad, and how those excesses and triumphs might reflect on our own future…
Of course, the actual plot doesn’t give two shits about that. It’s all about quantum mechanics, bitches!
It’s a little hard to describe (…as any plot based around Quantum Mechanics should be), but the basic nature of the story is a discussion of the shape of the universe, based on the power that your companion Elizabeth has to see tears between realities and open holes to summon things from elsewhere to come to your aid, and through the course of events you and Elizabeth will end up going through at least 5 different realities, and ends with a fantastic ending, answering most of the remaining question and throwing one twist right after another at you.
It’s actually a rather brilliant exploration on the matter, requiring very little knowledge about the subject, and truly being one of those games that encourages you to discuss it and its implications with others. I really just wish the rest of the game was also about that.
As I said, damn near everything in Bioshock was about the expoloration of Objectivism. The gunplay, the enemies, the setting, Andrew Ryan’s booming voice, even the Little Sisters and the somewhat-hamfisted moral dilemma involved in dealing with them.
Bioshock Infinite doesn’t have that same treatment, though. Columbia, the Founders, the Vox Populi and all the people in the middle? That’s just setting in the end, no different than New York in a Spiderman movie. Columbia’s story ends about half-way through the game when, after several missions of the American-Exceptionalism-Story and the Quantum-Mechanics-Story clashing and stealing attention away from each other, the American-Exceptionalism-Story just curls up with a whimper and dies (along with two of the major players), leaving the two sides on the war over Columbia to be little more than differently colored enemies you need to kill, a fetid, rotting corpse of the tale that just about everyone had come to see in the first place.
And even then, it wasn’t like things were that consistent to begin with. So many of the fascinating questions about Columbia do end up getting explained, but more as a resigned shrug, without any actual connection to either major theme of the game. I mean, let me put it like this:
Me: What are these amazing powers, Vigors? Where did they come from, how do they work?
Bioshock Infinite: Oh, uh… Fink cribbed the notes about it from the alternate-universe Rapture and ADAM.
Me: Oh, okay. Wait, why is no one else using them but like two different special bad guys?
Bioshock Infinite: …because. They’re limited use for everyone but you and something something plot hole?
Me: Well, everyone gets a few. Oh! What about that Barbershop Quartet in the beginning, singing “God Only Knows” 44 years before the Beach Boys wrote it?
Bioshock Infinite: Some songwriter heard it through a rift. Man, wasn’t that scene cool?
Me: Well, yeah, but… what does it mean? (NOTE 10/08/2013: After rethinking this, the song DOES have a meaning, about the whole “Who would I be without you” aspect of quantum mechanics, so you get a pass on this one, Bioshock Infinite!)
Bioshock Infinite: Mean?
Me: Well… okay. But what about the Songbird? Surely that big guy, the focus of half the story, has to have a huge purpose behind its origin, fitting into one of the themes that-
Bioshock Infinite: It’s a really big Big Daddy. Fink cribbed those notes from AU-Rapture too.
Bioshock Infinite: Yeah, and you only see him like five times. Wasn’t he unique though?
That’s the problem with Bioshock Infinite. It has ideas, wonderful, grand ideas, but it doesn’t do much with them. There’s no real overarching theme throughout the game, almost like it either got bored of the Columbia plot and wanted to try out that other awesome idea they had kicking around the office. In the end, the city of Columbia is wasted. The plight of the Vox Populi, and the legitimacy of their revolution? Completely irrelevant in the end. The symbolism of Columbia as a sort of representation of how 1900’s America really was? Ignored outright. The religious themes only get by by having a huge role in the ending (and in the creation of Columbia), but even then are really just set aside until the end arrives. There’s so much they could have done here, and it’s disappointing to see Ken Levine and the rest of Irrational Games tossing most of it aside half-way through.
It does make sense, though, given the five years of development the game had. If it came out that they were aiming for a take-down of American Exceptionalism, and changed their plan a few years into development because the story just wasn’t wrapping up like they wanted it to, and so whole sequences were cut that would have slotted into the game early on? It would hardly surprise me. And it’s a shame, because that would have made for a wonderful, poignant piece with a timeless message on the errors of nostalgia.
And instead we got a very well made, above average game.