Bioshock

Over the last few years, it has become apparent that the most successful video games are hybrids: games that choose to be trapped in one genre and instead mix with several. For example, Fire Emblem mixes the RPG element with turn-based strategy. Granted, many games shine through while sticking to a single genre, but the field for originality in game design is broadened by developers creativity in fusing together several genres at once.

Thus we have Bioshock. This game is truly at the hands of very creative and intelligent minds. 2k Games successfully merges not only adventure and FPS elements, but has the engrossing tale and customization of an RPG, all while being in the tale of a survival-horror game. The mix is seamless and easy, and for all of the options the player gets, they all affect only a few player actions that are necessary.

We are introduced to Bioshock as we fly over the ocean in a plane. The plane crashes into the water, and you are the only survivor. For merely the first 5 seconds you get deja vu, but then as you swim past the plane and glance upon the giant tower peaking over the ocean, you have no idea what happens next. From there we climb up the stairs into the tower, open the creaking door, and are welcomed to Rapture.

Rapture has a gorgeous 1950's atmosphere, music and all, and at first appears to be just what its creator, Andrew Ryan, intended: a utopia for scientists and artists to be free from the morality of the outside world. Except, as we enter the tower and begin to move through the first few rooms, we see that its empty silence indicates that Rapture isn't everything it seems. This introduction where we are not only given what the goal, but also the outcome of the city was provides a haunting atmosphere to attempt to survive in. This is probably the most ironic thing in the whole game, in that the main character never needed to enter Rapture. He could've remained at the stairs of the tower and waited for inevitable rescue. Instead, because of the players curious mind overtaking our character, we insist on going deep into the sea, eventually to find our goal to be a way back up.

The game's story is progressed by a radio that you pick up in the craft that takes you to the main area of Rapture. Through it, we are introduced to Atlas, your guide for the story. He introduces you to Andrew Ryan as the antagonist of your survival. Essentially, anyone could go through the entire game only focusing on their character's own story and enjoy what they ask for. But 2k creates complete sub-plots through the use of radio diaries which you can listen to while you continue to explore Rapture. Generally these diaries are relevant to the area your in and contribute to the already eerie setting.

However, the only way to truly progress through the story is to fight, and this is done through two systems. First is the weapons system, where we start out with a wrench and eventually grow to have an arsenal of a pistol, machine gun, shotgun, chemical thrower, and grenade launcher. Each weapon has 3 different bullets that it can fire which are collected as you go through a level, and each bullet completely changes the effectiveness of the weapon. For example, your shotgun's buck shot is very effective at short range, but when you switch to the electric buck, a shot that doesn't kill your enemy will instead stun them in place, giving you a method of crowd control that becomes more important as the difficulty ramps up later in the game. Or you could choose the explosive buck, which sets your target on fire, potentially spreading to other enemies and giving your shotgun a powerful area of effect.

What these extra bullets also allow you to do is interact with the environment. Fire an electric shot into water and watch your enemies fry, while an explosive shot into oil will set the area ablaze. Sometimes shooting at your enemy is actually less effective than shooting the ground, which adds a whole new level of creativity that is left completely up to the player. Since all of these choices are made on the fly, it never feels like you should have chosen one path over the other in any instance.

This ties directly in to the second system of combat: plasmids. Plasmids are injections that the main character takes to give him superhuman abilities such as shooting electricity out of his fingertips, gaining telekinesis, or creating a decoy to distract enemies. There are many different plasmids just as there are weapons, however the electric, fire, and telekinesis ones are much more powerful than the others. Most of the time you are only being attacked by one, maybe two enemies and thus most situations can be handled without all the nonsense the others bring. While freezing your opponent in place might sound cool at first, if you touch it before they thaw, you won't be able to pick up any loot, which is important for being able to survive.

This also appears in the weapons though. The machine gun may sound like a welcome upgrade to the pistol, I found it nearly impossible to accurately aim, and when I did hit my target its damage was minimal. The grenade launcher felt like a waste on the smaller enemies, and almost necessary on the larger ones. The chemical thrower is incredibly short ranged, and you almost have to set yourself on fire to hit anything.

Even with these shortcomings though, the two combat systems mix flawlessly. Oftentimes I would find myself rounding a corner with my electric plasmid to stun an enemy, and with a simple right click I could switch to my gun to finish the job. Plasmids also mix with the environment which is probably the most fun. Just like with the guns, elecricity and fire into water and oil respectively is devastating. Telekinesis picks up corpses, barrels, doors, or even grenades that were just launched at you, and allows you to use them as a shield against bullets until you throw it and take down an opponent. This interaction is fun, and both control smoothly in most cases. Perhaps my issues with the other plasmids and guns were my playstyle and others will feel differently, however I think it is a testament to the gimmick of a plasmid when it only costs one unit of currency to buy.

With this, there are two types of currencies you will collect: dollars and ADAM. Dollars are just what you think they are, and will allow you to purchase from a number of vending machines which allow you to buy ammo, first aid kits, etc. as you progress. It important to save and spend wisely, because while ammo can be found for free scattered throughout a level, there is no telling how long its going to take before you find ammo for a weapon you're comfortable with. ADAM on the other hand, is a slug you will collect from NPCs called Little Sisters. This will allow you to buy new plasmids, combat tonics (passive enhancements to combat), physical tonics (passive enhancements to items), and engineering tonics (passive enhancements to hacking).

However here is where the eerieness of the game begins to get to you. You don't just go around searching a level for small girls and ask for a slug. These girls wander around a level with a giant machine called Big Daddies. They hold giant needles which drain ADAM from dead corpses. They have giant light bulbs for eyes. They sound cheerful from afar, but look horrifying up-close. When you find one, you have to defeat the Big Daddy first, which is a feat itself. They have a lot more health, and are all but immune to the effects of your plasmids. On top of that, they have a devastating charge that will pin you against the wall. You are almost guaranteed to require a few attempts at each one, mastering the environment that you are in before you take them down. Once dead, you are given two options with each Little Sister. You can either harvest them, getting a full dose of ADAM, or save them, removing the ADAM from them and letting them go free, but costing you half of the ADAM you might've earned. This is the sort of good-guy/bad-guy method introduced, however the good-guy method can get so painfully difficult towards the end that most will end up harvesting the Little Sisters.

The other enemies that you will face are called Splicers. There are an assortment of these and they all are equally horrifying. Some just charge at you with a crowbar, while others will teleport around and explode in flames. There are a lot of points where their appearance will be completely unexpected and painful. This is not frustrating though, because they are very easily taken down, and the health management system is very simple.

What they do best though is add to the atmoshpere, which is really what this game comes down to. You will hear a few Splicers talking in the next room, and it completely prevents you from just charging in like you might do in other FPS games. Each room invites you to investigate and explore, but also has dynamic shadows that make you jump instantly when you see one move. Its truly a unique, scary experience which doesn't rely on blood and zombies to make you think twice, because everything in this game is human and alive. The fright comes from the idea that you were lucky enough to survive a plane crash and now you're stuck in this hell-hole which used to welcome outsiders but now seems just to want to obliterate them. The diaries mix in with all this, and that dead body you just passed is now speaking to you through a tape. Added to this is the trickling water leaks that constantly pervade Rapture, as well as the very simple music which builds up at all the right times. It's definitely an immersive experience.

Bioshock is a great game, with excellent gameplay elements thrown into an excellent environment. It's certainly not perfect, but it has set a new standard for creativity. It is clear that the developers and level designer truly thought out each aspect of a level. Mere posters on a wall will introduce a horrifying revelation of a character, or make you fear the boss encounter you're supposed to go take down. The game doesn't dwell on surprise, because most of the time surprise is caused by exploration, which is too tempting not to for all the ammo and other goodies you'll find. This isn't Resident Evil in that sense. If you're not a fan of blood and gore, don't be fooled by the ERSB rating as it is neither excessive nor obvious. Bioshock has grasped the idea of a hybrid genre and has opened its appeal to many serious gamers out there. There is a lot to enjoy and learn here, and if you are buying this game, you are probably buying it for the experience rather than the balanced gameplay. Just take your time.

Presentation: 19/20
A truly scary atmosphere shines through in every aspect. Menus are simple. A very easy to learn setup with a very in-depth, creative scheme. The game welcomes newcomers to the survival-horror genre as isn't so jumpy. Think "The Ring" rather than "The Strangers".

Graphics: 20/20
Each level is incredibly detailed and animations are fluid. Areas feel unique, even though its all in Rapture. Rapture never felt more alive, even if its fallen.

Sounds: 16/20
Perhaps its the absence of sound that drives the game. There is very little music, and when there is it's peppy 1950s. A nice contrast. Great voice-acting. Some voices are heavily-accented, but most are understandable.

Gameplay: 17/20
A creative, fun, yet unbalanced combat system. Control is easy to learn and effective to mix Plasmids and Guns. Interacting with the environment is great. The result is unique, but not always perfect.

Lasting Appeal: 14/20
A 20-hour game at minimum will satisfy. The game is open enough to warrant another playthrough, as splicer movements and Little Sister decisions can change. However, the atmosphere won't, which may prove boring.

Final Score: 86/100