12th
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)
