Bioshock Infinite has received outstanding critical acclaim. Some excerpts from Metacritic (where it has a 94%):
“Whether or not you enjoy first-person shooters is irrelevant. It is whether or not you want an experience like no other; one that will be left in the back of your mind for years to come. “ – Hardcore Gamer Magazine
“This is the sort experience you don’t get every day: an easy-to-like spectacle for the masses with enormous production values, but a story right out of the art-house cinema.” Eurogamer Germany
“BioShock Infinite is a hell of a lot of fun to play. That really should be the only quality it needs to exhibit. The fact that it holds much more feels like an advancement of an art form. Just remember that nothing in BioShock Infinite is an attempt to be cute. Just let it tell you its story. “ – Guardian
These are some of the most hyperbolic, but they still represent a general trend for a game that did not receive a score lower than 8/10 across 67 critical reviews.
Anyway, here’s my blurb: Bioshock Infinite is a disappointing sequel to a great game, filled with sloppy, repetitive gameplay, a narrative that’s not particularly engaging and has terrible politics, that happens to be bookended by some pretty set pieces. Worse, its reception by “video game journalism” is embarrassing; it gives credence to the late Roger Ebert’s much maligned commentary on video games being incapable of high art.
The original Bioshock is excellent. It follows the story of an intruder to the fallen city of Rapture — an underwater objectivist dream conceived by a man whose name is a sort of Ayn Rand anagram. Okay, sure, “Objectivism is bad and wrong” is not a profound or novel theme, but in an industry that holds up storytelling like, well, Infinite’s, it is something. Libertarianism’s greatest constituent (privileged white men) is the greater part of the first person shooter audience as well.
It had interesting things to say about videogames and their audiences, even if the narrative falls apart after the big twist. Speaking of which, the twist is smart and fun unlike Infinite’s telegraphed and uninspired one (Listen guy, we’ve all seen Oldboy…). It was also weirdly and hilariously prophetic given the existence of real life plans for a libertarian ocean paradise.
Infinite’s narrative is doubly weak (general spoilers follow). It’s not thematically sound though it seems to want to be. It has been praised by actually tackling race but apparently “tackling race” just means acknowledging racism exists. Or at least did in 1912. And any points it receives for this minor feat, it immediately throws away. Then shits all over itself. The oppressed, mostly black underclass at one point in the game, arms themselves as the freedom fighting group “Vox Populi” and begins to rapidly and violently overthrow the privileged white elite led by Zachary Comstock. The narrative quickly decides that “The Vox are just as bad as Comstock”. This is formally shown by the black woman leader of the Vox attempting to execute a white child.The final climactic fight, indeed much of the second half of the game, has you fighting the newly armed underclass and murdering them by the bushel.
This is shit. No, the oppressed slave class does not become “just as bad” as their oppressors if they react just as violently. Knowing real life American history, they were victims of violence and worse for centuries. This does not excuse killing children (completely ignoring here for a moment that the first thing the black folk do when they get weapons is start murdering children…), and maybe there actually was something interesting to investigate here in regards to revolutions and oppression, but the game doesn’t try. Instead, the narrative immediately accepts their villainy and replaces the uniforms of the enemies you are fighting.
Even excusing all this, it’s not even a cool sci-fi story. The alternate world storyline is mostly squandered, especially in regards to the awkward gameplay mechanic called “tears”; you can open them during gunfights and they basically just give you more supplies or warp in AI robots to assist you. There’s vestiges of something that could have been a cool story at the very end, which feels like a different game, but the game does not deliver.
The gameplay itself is repetitive (admittedly, something the original suffered from at parts too). Endless swarms of the same enemies that only increase in how many bullets you need to shoot them. There is artificial limits — only two “tonics” (superpowers) or guns at a time — something that feels like it is there to adhere to the modern FPS model set by Halo and not for any real gameplay reason. The guns are forgettable and some of the later ones you pick up are just inferior versions of the guns you have been using and upgrading all game up to that point.
Did I mention the game is buggy as hell too? I had to restart at a previous point 3-4 times due to the game getting stuck in some fashion. Enemy stuck in terrain I could not kill to progress, storyline event just not happening, that sort of thing.
It’s not a terrible game. I did finish it. Some parts were fun. The ending was kind of cool, albeit silly. But, what a disappointment. Art-house cinema, indeed.