BioShock is not a subtle game.
invites you to join us in revisiting PC gaming days gone by. Today, Pip revisits Irrational's classic immersive sim.
The opening segment has you descending to Rapture in a bathysphere. It’s a cinematic-style showpiece which wants you to luxuriate in the Art Deco skyscrapers and the neon lights which encapsulate the vim of early 20th century capitalism and consumerism. I can’t think of another game which looks like BioShock—and given gaming’s love of aping what’s influential, that’s surprising.
In practice this meant I knew what would be more effective if I had it in my arsenal, but would then need to make do with the scrapings of ammo I had to hand. Armour-piercing rounds might be the ideal option, but try telling that to the bunch of napalm, two proximity mines and three regular pistol bullets in my inventory. I was doing the equivalent of rummaging round in my handbag for bus fare and then trying to buy a ticket with a fluffy toffee, four stamps and a hairband.
It also allowed for rare moments of expressive play in terms of how you framed those photographs. I only photographed the feet of the dead. At the time I was trying to photograph as little of a corpse as I thought I could get away with and still trigger the next step. Looking at the resulting display of dead feet in the level’s lobby, I think I managed to outdo the boss, Sander Cohen, in creepiness.
Absentmindedly pinging a crossbow bolt into the head of a splicer was made a bazillion times more palatable by the shadow of a shark passing over a glass tunnel. Faffing around with the squillionth Pipe Mania minigame to pay slightly less for napalm was offset by sightings of red coral formations outside the Hephaestus region.
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