Every once in a while a work of art springs forth onto the public stage that simply demands we stop and pay attention.  It demands that we lock out the world, and allow ourselves to be absorbed in its moment, safely tucked outside the borders of our mundane routines and responsibilities fabricated by the daily grind.  I can rattle off dozens of bands, novelists or film-makers whose works have obliged me to linger longingly within their magical dominion.

It is rare however, when any form of interactive entertainment – as we prefer to refer to those things “the youth” call ‘videogames’ -  can invoke such a physical reaction; a raw, compelling desire to partake in the experience on offer.  As a result, very few games have had the pleasure of residing in my console, or PC, long enough for me to see their story through.  Since the moment I accepted Ken Levine’s invitation into the world of Rapture almost a year and a half ago, I knew that Bioshock would ultimately find its home among the exalted few to occupy that very short list.

We Built This City...

For those who’ve had the fortune to experience System Shock 2, also written and designed by Ken Levine, it will come as no surprise that many fans of the game view Bioshock as its ‘spiritual successor’. There’s the central antagonist who taunts and manipulates the player from afar, creating a sense of urgency layered with fear that no visible nemesis could instill – a trick employed to great effect by Ridley Scott in the original Aliens movie. There are the detailed environments that implore you to explore their every nook and cranny, eyes wide shut. There’s the RPG-like approach to weapon and power upgrades which offers customization and control over how one chooses to confront the dangers that lurk around each corner – encouraging the player to participate in the experience as opposed to the simple “twitch” play found in most shooters.  And in the case of Bioshock, an added moral dilemma that won’t so much ‘ruin’ the outcome of the game if one ‘chooses incorrectly’ as it will force players to confront themselves when deciding how they wish to be perceived by Rapture’s inhabitants.

No Gods or Kings, Only Andrew Ryan

Bioshock’s version of SHODAN, the nemesis from System Shock 2, is embodied by gazillionaire Andrew Ryan who, tired of the limitations that society, government and religion placed (places?) upon the human race, retreated to the bottom of the sea to realize Rapture – a grand and sprawling city where “No Gods or Kings” would exist – only man.  It is to this city that he invited the greatest minds of the world to join him in exploring the limits of mankind’s possibilities.  But did he, and those who joined him, take this experiment in utopian splendor one step too far? Only a few moments need be spent within the walls of Rapture to realize something has gone terribly awry.  The city’s once cheerful inhabitants have transformed into demons who don’t so much seek to harm the player but rather lash out at the visions of their past, which have long since turned to nightmares before their tortured eyes.  Don’t get in their way and you may be just fine.  But staying out of the way, and thusly out of the story of Rapture, may well not be on your agenda.

Atlas Shrugged

Long before you have time to stop and admire the riches of Rapture’s architecture – and trust me, many a moment will arise in which you’ll wish to linger and marvel at the city’s many wonders – you will be conscripted to take part in the remnants of a private war. Atlus, the leader of what would appear to have been a rebel uprising against the ‘tyranny’ of Andrew Ryan, plays the role of both protector – as he sees you to safety within moments of your entry into the city – as well as the instigator, who pokes and prods at the chinks in Ryan’s armor using you as his lance. 

But alas, much like Ryan, a great portion of your dealings with Atlas will be executed from afar as he guides you by radio through the byzantine mess that is the streets and alleyways of  Rapture; leading you ever onward toward your goal – the man himself – the wizard behind the curtain. Much of the game’s narrative is driven by Atlas who provides firm reason and purpose for each objective he places before you.  And you’ll want to join his cause for, you see, it would seem that Mr. Ryan, drunk upon the promise of his grand scheme has gone ever so mad. But then, all of Rapture’s denizens are a little mad…aren’t they?

Adam is the Canvas…Plasmids are the Paint

While most shooters rely on simply offering the illusion of variation within a predefined arsenal, Bioshock ups the ante by turning the player himself into a weapon. Players will quickly realize that in order to survive Rapture, they must make the journey to become one of its citizens and this will entail “splicing.” 

Ryan and his team of crack scientists have invented Plasmids and Tonics, genetic modifications that can be “spliced” - or integrated into your genetic make-up – endowing the recipient with abilities ranging from simple parlor tricks, like Telekinesis, to ranged attacks, to passive skills that improve one’s facility at hacking the security systems found throughout the city.  There are a plethora of Plasmids and Tonics for one to discover and employ.

But “splicing” has a dark origin – for you see - it cannot be done without first collecting Adam; a substance found in the blood of Rapture’s expired citizenry and harvested by pallid-faced girls dubbed “Little Sisters” who are in-turn guarded by large, faceless goons in diving suits known as the “Big Daddies”.  The more Adam you can get your hands on the more “splicing” you can do; problem is you’re going to have to get past “Big Daddy” to get it. 

This theme of modification is carried over into Bioshock’s standard shooter arsenal as well.  Everything from pistols to rocket launchers, can utilize up to three types of ammunition and, at a handful of locations found throughout your journey (some well hidden), they can even be modified to do things like minimize kick-back or simply apply more damage to the receiving end of your heat-seeking rockets. The choice is yours – enjoy it while it lasts boy-o!

The sheer number and combinations of Tonics, Plasmids and weapons available to the player simply cannot be explored in one play-through…and my guess is that’s the point.

Little Sister Don’t You Cry

It is rare when we’re forced to confront and orient our own moral compass in life, let alone in a videogame.  But your need for Adam and the fact that its sole font lies beyond the glazed eyes of the “Little Sisters” will soon force you to confront Bioshock’s moral dilemma.  You see, there are two ways to go about harvesting Adam; one will free the Little Sister from her torment but in turn reward you with less Adam.  The other will provide enough Adam to explore the true limits of your potentiality – but in so doing you will have whisked away her last breath of life leaving behind only the husk of her former self.  The answer, whether right or wrong, lies within you.  This choice to force the player to explore their own value-system provides an intriguing opportunity to further weave the player into the fabric of the story – and will also drive the player to one of two possible outcomes.  So maybe for once, being bad isn’t so…bad?

God Bless the Child

Bioshock, like System Shock 2 before it, weaves together a fantastic fabric of story, richly detailed environments and a level of personal choice that provides a degree of player freedom seldom seen in videogames.  So many games fail to involve the player, to offer even the faintest glimmer or illusion of choice, yet rather insist on simply dragging the player along for the ride – like so many summertime action films.  While those games, like the films they emulate, can be satisfying – they ultimately miss the point.  These ‘videogames’ we’re playing – are actually interactive entertainment. To quote Gears of War designer Cliffy B , “one is a lean back experience; the other is a lean forward experience.” The folks behind Bioshock get it.  I can only hope others will take note.

-Pachoey

A Note About Our Score:

So in conclusion, dear readers, this game deserves a round eleven out of ten. New ground has been broken, we will have new standards from now on. Alas, my web designer (a parasitic life form not deserving of the trust or liberties given to him) refuses to humor my whim - forcing me to take matters into my own hands. This kind of anti-visionary behavior is not what Gamehelper was founded upon. I cannot stand idly by and watch my visionary brainchild be hindered thusly! [Note to self: remember to set my little army of junkies at him, all the while cursing from the loudspeakers in my best pseudo-Orson-Wellesian affect.]
Anyways, Bioshock is a rapturous joy to behold - and well, "Eleven is one louder!"