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(via Flickr.)
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BIOSHOCK (300 word limit)
“A man chooses. A slave obeys” - the words of Andrew Ryan: entrepreneur, visionary, de jure ruler of underwater art deco metropolis Rapture and adherent of Ayn Rand’s highly individualistic philosophy, Objectivism. His views have ruined Rapture - a city inhabited by genetically engineered ‘Big Daddies’ (faceless giants in diving suits), Little Sisters’ (girls filled with the coveted, energy-giving ADAM) and ‘Splicers’ (malcontents addicted to ADAM).
“BioShock”’s plot - set in 1960 - is stellar. It is especially notable because of the way in which the game’s narrative is implemented into the game mechanics. The plot focusses on the excesses of unconstrained self-interest and laissez-faire economics, and the design reflects this wonderfully. On encountering a Little Sister, the player is given a choice: kill them and absorb all of their ADAM, or let them live and take only a small amount?
The combat mechanics include standard FPS fare, but with a twist. The player may use firearms, or opt to use ‘plasmids’ - genetic enhancements which grant the user the ability to shoot fire, electricity and hornets from his palms. The inclusion of the lumbering, roaming Big Daddies alters our understanding of the structure of levels by allowing the player to choose when in each level they wish to fight a boss.
The game’s architecture is beautifully melancholy, and it contains some of the most impressive water effects of this console generation. The soundtrack is a perfect fit for the setting, including haunting broken records of 1930’s family favourites like Django Reinhardt.
Though it is ultimately let down by a weak denouement and the limited realisation of its design, “BioShock” - at times terrifying; at others profound - serves as an example to game designers everywhere for its acknowledgement of the importance of spatial storytelling and its engagement with nuanced intellectual ideas. It is on sale now for XBox 360, PS3 and PC. (9)
FALLOUT 3 (300 word limit)
Stepping out into the wasteland, the protagonist of “Fallout 3” is confused and hopeless. Having lived sheltered in “Vault 101”, a labyrinthine bomb shelter, they know nothing of life outside, in a Washington D.C. ravaged by nuclear holocaust. To the credit of developer Bethesda Softworks, who also made “The Elder Scrolls IV: Oblivion”, the player relates to their character’s sense of isolation. “Fallout 3” does little to inform the player of how to interact with the world, offering an ostensible dearth of quest objectives and moral direction.
The loneliness and hostility of Washington is abated, however, by heartfelt and tongue-in-cheek radio broadcasts reminiscent of those in the “Grand Theft Auto” series.
This game is true to its roots. “Fallout” games - originally developed by Black Isle Studios - are famous for their vagueness concerning overarching objectives, colourful mythology and dark humour. “Fallout 3” is no exception: its diverse cast includes a Howard Hughes-esque recluse whose room is filled with milk bottles and a curiously well-fed town living off “Strange Meat”.
Players combat their enemies (including irradiated ex-human ‘Ghouls’, mutants and giant cockroaches) using a combination of a slow-motion, statistics-based targeting system and traditional first-person shooting mechanics, but surviving the wasteland requires wiles and rhetoric as well as firepower: players can use “Speech” and “Barter” skills to open up new dialogue options and lower unreasonable prices. Over time, characters strengthen and acquire new abilities. One, “Bloody Mess”, causes enemies to die in the most violent way possible.
“Fallout 3” combines FPS and RPG elements to create a visually stunning, open (even intimidating) world with a great narrative. This is potentially the most emotionally involving game to date. Avoid it at your peril - it is on sale now for XBox 360, PC and PS3. (8)
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It’s been a long time comin’.
