To find further fault with BioShock Infinite, however, would be to really dig deep and make mountains of molehills. This is to say nothing of the various developments in the latter half of the game that turn the story on its head and provide some damn near unbelievable scenes. There are also some really good supporting characters to make up for it, too - chiefly the Lucetes, a brother and sister duo who show up occasionally to aid Booker and provide some of the game’s best comic relief. This is very much the tale of Booker and Elizabeth, and it’s a tale told well. This is not to say the story is harmed by the lack of such opposition.
While Father Comstock is a truly detestable antagonist in many ways, his involvement in the story is largely passive, while the nemeses leading up to him often come and go without much time to develop - a real shame considering how promising such characters as Jeremiah Fink are. As an overall story, many portions of Infinite surpass the original BioShock in terms of depth and engagement, but it lacks that one crowning foil. There is no villain on par with Andrew Ryan, and enemies such as the lurching Handyman and admittedly amusing Mechanized Patriots feel like understudies to Rapture’s Big Daddy opponents. For those hoping this game will be as iconic as BioShock, in just the same ways, I advise expectations be toned down somewhat, or at least redirected. My largely effusive praise should indicate I’ve grown quite fond of BioShock Infinite, though it’s not without its less savory constituents.
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It can be slightly bothersome to run through an environment crammed full of tears and get a big “whooshing” effect every few seconds. It’s a great idea, which suffers only from the frequent distraction of noise and flashing light designed to draw the player’s attention to the nearest tear.
By simply looking at the desired tear and holding a button, Booker can ask Elizabeth to open it and bring through whatever is inside. Various areas are littered with rifts in reality through which Elizabeth can bring predetermined supplies or summon allied turrets and mechanical warriors. It soon becomes apparent Comstock’s hostage has the unique power to tear holes into other realities - an important plot point, but something that has its use in battle as well. Once Booker encounters Elizabeth, combat gets even more interesting. Up close, the Skyhook can be used to smash in faces and pull-off some frankly ghastly execution maneuvers. Most combat areas have hooks and rails from which to fly around the battlefield, jumping off at opportune moments to land into the opposition with brutal force. In its exploration of controversial subjects such as slavery, financial divide, and exploitation, Irrational Games ran the risk of crafting an offensive grab for ideas, but wisely pulls its punches until just the right moment to deliver a classy tale, if one that maybe doesn’t go as deep into its own talking points as it perhaps could.Īiding Booker in his adventure is the Skyhook, a handy invention that can be used in melee combat and allows players to hang from freight hooks or glide along rails like high-speed human trams. Some of the game’s most memorable sequences are shocking both in terms of their visuals and the language used alongside them. BioShock Infinite‘s story dabbles in religious control, racism, and the dangers of extremist thought, even among those fighting for a worthy cause. Of course, it isn’t too long before the city bares its teeth and we see everything’s not all roses and laughter. Columbia’s a scary place - breathtaking in its magnificence, yet intimidating through just how intimidating it isn’t. And then there’s the people, smiling pleasantly with all the cold charm of a Stepford wife.
A band on the beach performing a Cyndi Lauper song, an old gramophone blaring out jazz covers of music that shouldn’t exist for decades. The understated anachronism is one perfect example - Infinite boasts a gorgeous soundtrack, but like everything in Columbia, it’s not quite right. Though beautiful, Columbia feels no less sinister than Andrew Ryan’s shattered kingdom - though its malevolence is more insidious in its subtlety.
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