The Short
Pros
- Dark, atmospheric shooter
- World and setting are phenomenal and very interesting
- Shooting that hybridizes guns and magic keeps things fiesty
- Side activities like vending machines, hacking, and other methods can mix up
- Graphics and sound design are phenomenal throughout
- Story's twist is interesting
Cons
- Last third of the game feels like a rehash, in both story and gameplay
- Switching between guns and plasmids is cumbersome, as is taking pictures for experience
- The number of weapons and ammo types seems a bit overwhelming and unnecessary (Shock Shells are all you need)
- Ham-fisted "morality" decisions lead to an equally lame ending either path you choose
- Final boss is a massive letdown
- Game ditches it's survival horror roots early on once you get better equipped
- Still feels a bit bare-bones when compared to it's predecessor, System Shock 2
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| Sander Cohen's moments are standout. |
The Long
How does one review Bioshock on the eve of 2014? Released nearly six and a half years ago (yes, that long), and followed up by two successful sequels (one more successful than the other), it's hard to approach Bioshock now and offer up an opinion. Where do you even start? There's just so many options.
You could compare it to System Shock 2, which was a common approach shortly after the game's release, when all the hype and praise had died down and people actually offered critique. It's a simpler game, with points and levels and what-not stripped away and streamlined, focusing more on the world and the shooter than the number crunch.
You could compare it to Bioshock Infinite or even Bioshock 2, it's successors, which grew off the game's original systems in an attempt to streamline it further, evolving the series beyond simply Rapture and it's underwater paradise-gone-wrong and turning it into one massive, semi-coherent franchise. But, perhaps, making the first game look a little clunky in the process.
You could speak of it's industry influences, how it was perhaps (along with Call of Duty 4: Modern Warfare) an integral factor in moving the shooter industry towards more showy, showcased adventures rather than simply basic shooters. One might even argue that it is a true spiritual successor to Half-Life, by creating a game that was both linear yet gave the illusion of openness, focusing more on the scenarios and experiences and flashy pomp rather than just running and gunning. A weird hybrid of what was popular in shooters at the time (Halo was very much in its prime) and the old, creating something wholly unique and never properly replicated.
Or maybe I'll just talk about what I think about it, replaying it six and a half years after I first bought the PC version. Bioshock was the third game I played after my two year gaming hiatus (after F.E.A.R. and the Dawn of War franchise), and it was certainly impactful. But what about now? As the generation moves and its first real flagship ages, is Bioshock really that phenomenal, world-shattering experience we all made it (and it's spiritual sequel, Bioshock Infinitie) out to be?
Well, I'll tell ya.
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| Should've signed up for the Vita Chambers, dude. |
Bioshock has what I consider the best opening of maybe any game, at least the best "on rails" opening (Half Life 2's opening comes to mind as a more "open" introduction). After a plane crash in the Pacific ocean, you seek refuge at a nearby lighthouse and dive down into the ocean below. There you meet Andrew Ryan (who coincidentally his sounds like Ayn Rand. "Coincidentally."), a man who believes a society can be built where one earns their own living and isn't required to give it up to others. Objectivist's, eat your heart out. Until everything all went to hell when they started bio-engineering themselves, leading to people losing their minds and murdering each other all over the place. Because, come on! Who would have thought that letting people toss fireballs and SPAWN HORDES OF ANGRY BEES could have possibly lead to abuse of power?
Anyway, the story's real strength lies in it's setting, which is phenomenal for the first two acts. Andrew Ryan's constant taunts over his dead city (not unlike SHODAN from System Shock 2) are haunting yet never dull, with plenty of weirdly scattered audio logs everywhere (I don't even v-blog; why did everybody in this old city?). For the first portions of the game there's plenty of drama, horror, and startling twists to keep it interesting, with plot bits paced nearly perfectly and the aforementioned audio logs filling up any dead air. The game really wants to be System Shock 2, and it might even outdo it in terms of giving you an overview of the world, even if it does it with considerably less subtlety.
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| Exploring the creepy parts of Rapture are some of the best parts of the game. |
It's a pity the last third of the game is utter hogwash. While the "big twist" is clever (and might make gamers question the whole "meta" of who is really playing who), they present it too soon and with nothing to follow it up with. The final act is a slog through waves and waves of enemies as you just sort of mow everybody down, fight a lame final boss (who has his own lame twist) and watch either the "You are Jesus" ending or the "You are Hitler Reborn" ending, depending on if you chose to kill none or any of the creepy demon girls you can harvest for more xp to do more lightning damage. Yeah, there's a "morality" system here, though it's so archaic it makes Fable look like Apocalypse Now. The choice whether to "Harvest" or "Save" the creepy little sisters is interesting, but considering if you harvest just a single one you get the bad ending (never mind if you saved all the others; you are SATAN) you'd better commit to your decisions. The argument is that harvesting them gives you more Adam (basically money for powers) and thus makes the game easier, but the game is 1. Super easy already and 2. Ends up giving you more Adam if you stick to your guns and just save the little brats, that the whole thing seems like a wash. Point being: third act spoils the goodwill in the first two acts (though not all of it) and both endings are so over-the-top they can't be taken seriously.
But while you're in the world, it's certainly one crazy trip, and one absolutely worth taking. But what about the gameplay?
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| Mario, eat your heart out. |
Bioshock got mad rave reviews when it came out for it's setting and story, and people just sort of lumped the gameplay into that when giving their analysis's. There's so much crap you can do in Bioshock I can't really spend much time on it, but let me just give you a rundown of how you could approach nearly any engagement:
- Look for stuff on the floor to burn to roast people
- Lure them to water to zippy-zap them
- Hack some turrets/sentry bots/ etc. to turn their own weapons against them
- Plant some mines and bait them.
OR:
- Shoot them.
- Shoot them some more.
- If that doesn't work, electricity plus the wrench will take out 90% of guys
Bioshock does well in presenting lots of options. Almost too well, in fact. One of it's biggest problems (and the one that resurfaces with a vengeance in Bioshock Infinite) is that you don't really need to use all the resources available. With the exception if the hardest difficulty and if you turn of the Vita-chambers (read: infinite free respawns at full health, while your enemies stay at whatever damage you dealt them), 90% of the game can be beaten with the starting plasmid and the starting wrench. With a few minor augments and a dash of skill, you'll easily zap-whack your way through most Splicers you encounter, leaving the rest of your insane arsenal to burn in one fell swoop against the Big Daddy fights. It's that theory people talk about: if you give a player one really good combo at the start of the game, it doesn't matter how many other combos you give them later, people will just use that one combo over and over. Bioshock teaches you the one-two punch at the very start (shock+wrench), and it never becomes ineffective.
That isn't to say you aren't rewarded in other ways for screwing around. Setting off an alarm only to hack five or six bots and have your own squadron of death is pretty funny, but unnecessary. Placing mines and then baiting people into them is a laugh, though shooting them with the mines directly (or just...with bullets) also gets the job done. Since the "dual-wield guns and plasmids" hasn't been invented yet, swapping between the two is a bit of a chore, meaning when I got tired of the one-two punch I just upgraded my shotgun and machine gun until everything got mowed down. Since you are a jack-of-all-trades (unlike System Shock 2, which forces you to specialize), you don't feel like you're building your own unique character. Instead you have a guy who is good at just about everything, so why hack something when you can just shoot it?
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| Well, it doesn't work against THESE guys. |
That isn't to say you aren't rewarded in other ways for screwing around. Setting off an alarm only to hack five or six bots and have your own squadron of death is pretty funny, but unnecessary. Placing mines and then baiting people into them is a laugh, though shooting them with the mines directly (or just...with bullets) also gets the job done. Since the "dual-wield guns and plasmids" hasn't been invented yet, swapping between the two is a bit of a chore, meaning when I got tired of the one-two punch I just upgraded my shotgun and machine gun until everything got mowed down. Since you are a jack-of-all-trades (unlike System Shock 2, which forces you to specialize), you don't feel like you're building your own unique character. Instead you have a guy who is good at just about everything, so why hack something when you can just shoot it?
Point being: Bioshock has lots of options, but replaying it I found I hardly ever used any of them. I'd ignore tar pits to burn people with fire, usually only zap in water if it happened to be convenient, and just min-maxed my shotgun to Shock Ammo (the best weapon against Big Daddies) and crushed everything else with the one-two punch. Unfortunate? Perhaps. But certainly a flaw of the gameplay. At least the shooting feels solid.
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| They really love Ryan here. |
When you aren't zap-punching dudes in the face, you're usually rummaging through old trash cans to eat month old chips and pep bars. Yep, the scavenging mechanic from System Shock 2 is back, though it's a bit less useful this time around. Most stuff doesn't go to your inventory (except money, which is sort of important if you like just buying ammo to victory) and is consumed on use, and most gives you minor boots to health and Eve (aka MP), so you'll spend most time mashing X next to any consumables without even reading it and hope you get some health or magic or money. Multiply the dozens of things in any given room with the extra dozen enemies, and your X button will get quite a workout. It was novel at the time I suppose (though, again, System Shock 2's system had more of a point, if it was a bit more cumbersome about it), and the idea of my guy digging through trash cans to eat peanuts is kind of funny in and of itself, but considering the availability of health packs and Eve syringes, you could probably cut all the random garbage to collect and just give people money upon killing enemies and everybody would be fine. One might argue it's immersive, but honestly it's just another chore.
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| This game still looks great, especially the PC version. |
If there's one thing Bioshock does perfectly well (aside from it's incredible setting) it's the detail and work done in the graphics and sound. The world itself is, as mentioned before, absurdly fleshed out, and this is only heightened by the phenomenal graphics and art design. Splicers, while their design does get old, are delightfully creepy, saying some disturbing things as they try to rip your lungs out. The juxtaposition of this dystopian insanity verses the paradise that Ryan keeps spouting at you (and the remnants of which are visible as you dig deeper through Rapture) makes for a disturbing dissonance that really shines. Something beautiful was here, and the art shows it, but now it's covered in blood and body parts.
The sound is also great, evoking the era through rustic background music that haunts the empty (or not-so-empty) halls of rapture. Big Daddies sound especially horrifying, their booming bass tones sending chills down my spine even when I can't spot them yet. The voice actors are great all around, with Ryan absolutely stealing the show every time you turn around, but the supporting cast (through audiologs) also excels. There is no doubting the insane production values in this game, and it makes for a memorable experience.
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| Atlas is a good counterpoint to Ryan throughout, though in the last third he becomes...boring. |
With all my critiquing you might think I hate Bioshock. On the contrary: revisiting Rapture was, for me, a magical experience back into a world I'd forgotten I'd loved. The game is still genuinely creepy, with the first few hours of limited ammo and Eve making it survival horror-esque, and I still can't help but admire the insane attention to detail present in this dying world.
That being said, it is still unfortunate the actual gameplay can be boiled down fairly easily for those simply wanting to win. It is worth noting that the game does scale somewhat in terms of difficulty, though again...that last third you are basically just mowing down people. It's sort of the Resident Evil 4 problem where you have to get better equips or you won't feel like you are progressing, but then the game stops being scary and instead is just sort of busywork as you mow down people (to it's credit, I think Resident Evil 4 did it right all the way up to the helicopter fight).
Is it the perfect game? No. It's aged and clunky and sort of loses sight of it's goals at the end. Is it still a fantastic experience and one of the best worlds to visit in gaming? Absolutely. In fact, it should be "required viewing" for anybody who takes games seriously, if only for it's unique setting and stunning production values. While it might not be the "Genetically Altered Shooter" it said it was on the box, Bioshock is still worth it for the ride, and what a ride it is.
Four out of five stars.
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| Moral of the story: If you're a cat, don't splice up. |
