Superficiality is traditionally found to be quite synonymous with the concept of gaming. A game's value as a tool for anything beyond simplistic entertainment for a relatively brief period of time is often perceived to be nonexistent. It is quite apparent, however, that this has been rendered largely invalid by those games that have managed to display the potentiality to perhaps even surpass the depth and complexity of film or literature. One of the more recently notable of such games is Bioshock:Infinite, released by the now defunct Irrational Games in early 2013.
Infinite serves as the 3rd installment of the science-ficiton franchise. It therefore maintains many of the characteristics that have been attributed to Bioshock in the past, these include a setting within a fabled utopian city and a culturally notable time period within American history. The setting within the underwater city of Rapture in the 1960's has now transitioned to Columbia, a city suspended above the clouds just off the coast of Maine, in the year 1912. This has allowed for an entire reevaluation of Bioshock's atmosphere and symbolism.
The references within the story and scenery of the game, are presented in overwhelming abundance. Elements of history, theology, philosophy, and physics are all assimilated into the atmosphere. In particular, there is a major focus on the coalition of american patriotism and the multi-universe theory. Booker Dewitt, under unknown circumstances, has become indebted to the private detective agency, by which he appears to have been formerly employed, known as the Pinkertons. In a final opportunity for redemption, he is tasked with infiltrating the now independent city of Columbia to retrieve a young girl named Elizabeth who has been imprisoned within the city. This task will grow increasingly complex as they each are granted further insight on the predicament of the city, their own identities, and the ultimate purpose of their entire adventure.
2 comments:
Interesting pictures, Nick!
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