Category Archives: BioShock

The Good Ending


How’s your PlayStation 3 this morning? Mine is afflicted with the same problem that a lot of others seem to have. I hope it’s fixed soon, because I want to play Heavy Rain.


At the same time, is it so terrible that I feel glad to have a reprieve from AAA gaming, a tidy excuse not to move on immediately from the exhausting emotional wringer that is BioShock 2‘s Rapture? Speaking of which, here is my review of BioShock 2, which I think encompasses the things I think are stronger than the original versus weaker.
I think probably the biggest open issue I have with BioShock 2 is that harvesting Little Sisters feels so irrational that the option to do so seems excessively heavy-handed — as if it existed to support the game’s messages about choice, rather than to contribute to the gameplay. The sheer variety of options BioShock 2 gives you to take out your enemies makes it wholly unnecessary to feel so desperate for ADAM that you harvest Little Sisters.
So does the fact that, as a player, you feel more familiar with Rapture now. It doesn’t lose any of its compelling qualities, and its advanced state of decay actually makes it more breathtaking in places (my favorite moments of the game were due entirely to certain arrangements of its scenery). But you don’t have that sense of being lost, of being desperate, that you had as Jack in the first game. Not only do you know your way around now, so to speak, but you’re wearing a Big Daddy suit.
The effect of being a Big Daddy is twofold: You feel more powerful (and the other Big Daddies feel wonderfully lonesome and tragic, not so scary). But beyond that, you feel more of an attachment to the girls. Big Daddies and Little Sisters were introduced to us via inseparable imagery, and now we’re expected to conceive of killing one — especially within the context of a narrative that asks us to risk everything to get one “back”?
This obviously is not a deal-breaker for me, not by a long shot. Even if the option to do the irrational simply exists as a way for the player to experiment with the game’s philosophical framework, rather than to feel immersive and genuine, I’m glad it’s there. I’m not sure I’d mind if “Harvest or Rescue” were part of the BioShock framework for future sequels.
Which brings me to something else I’ve just written! I promised I’d explore the idea of sequelizing games that don’t “need” sequels in the context of BioShock 2, and I’ve done so over at Gamasutra. Check it out!
Finally, I really believe that whether a “flaw” is a deal-breaker for you or not depends on what your motivation is for playing video games. My latest Kotaku feature investigates how different kind of games scratch different itches, and how a certain weakness in one type of game might not be as big a problem in another.
Meanwhile, while I wait for Sony to fix whatever this PS3 problem is, I’ve been playing Harvest Moon: Sunshine Islands on DS for hours and hours and hours. It’s like crack to me. Bonus Material: My original Aberrant Gamer column on gender identity and Harvest Moon marriage.
I feel like I’m not even done talking about BioShock 2 yet. It never fails to amaze me how we as audiences demand increasingly complex and sustaining experiences, and yet every game we get, we bang through as fast as possible so we can get to discussing the next one. Sucks.

Are We Gonna Be Together?


Keeping an eye on our local BioShock sidebar poll here, I’m actually fairly surprised at what an overwhelming percentage of you are Little Sister rescuers. I think the SVGL audience skews more empathetic than the average core gamer, judging by the discussions we have here — but even still!

I find the results especially surprising because of all the talk I’ve heard around the Little Sister choice in the games — people always say it’s not really a “choice” since you receive a gameplay benefit in either case, or because it doesn’t change much about the story save for the ending; people find them creepy AIs, not cute little people at the crux of a meaningful moral conflict, blah blah. If all that is so, why do so many of you care?
I killed all the Little Sisters in the first BioShock. To me, to do so seemed to suit the narrative better — I was a faceless stranger in a man-eat-man world. I liked the repellent desperation that made Rapture so lawless, and so amoral was its world I thought I’d play along. Did I feel good about doing it? Not exactly, but to make my decisions based on a hunger for power felt appropriate for the story.
And I’ve always maintained I had a better experience in the first game because of it. When the things I was led to believe came crashing down, having to face what I’d done made the story’s later revelations more of a gutpunch. Arriving at Tennenbaum’s safehouse as a Little Sister killer was one of the most memorable gaming experiences I’d had that year. One thing I wish is that the game could have given me the opportunity to redeem myself, to start handling the little sisters as fellow victims instead of as prey once I knew what the real deal was — but then, that might have violated the game’s message of “no real agency”.
I am hesitant to say much yet about BioShock 2 because I’m doing a review for Paste, but I’ll say that the choice felt much different to me this time. Although the harvest-or-rescue decision is more nuanced and complex from a gameplay perspective, it seems not a decision at all from a narrative standpoint — in the first BioShock, it felt equally realistic to take either path. In the second, I personally find it implausible to do anything but rescue. But maybe that’s just me.
It does bring me to an interesting point: What’s your motivation when you play a video game that allows you some agency? Are you writing a story and creating a character? Or are you using the medium of interactivity to express your own self — and see how the environment responds to you?
What determines your harvest-or-rescue decision, for example — something inside the game, or something inside of you?
Bonus Content: Header image is this wallpaper.
August 2007, I write my Aberrant Gamer column for GameSetWatch on the original Little Sister choice and what creates emotional impact versus basic cost-benefit analysis.
August 2007, I write a different Aberrant Gamer column on the Little Sisters themselves, and the use of creepy girlchildren in survival horror.
July 2008, at Kotaku EA boss John Riccitiello tells me that he, too, was a Little Sister killer.

Question Of The Week, February 18

A real life little sister needs adopting, big syringe and lamp-eyes and all. Do you accept?

Could you nurture her out of rooting around in corpses? Would you try to take her to a physician so she could be “rescued” from her gathering urge — even if doctors would treat your lil’ orphan like a freak? Would you adopt her just to harvest her for superpowers?
Serious question. I’ve also added a sidebar poll that quizzes you on your quintessential playing habits within the BioShock universe. I am playing 2 quite differently from 1, wherein I killed everything.
For some serious thoughts, read Michael Abbott’s take on fatherhood in BioShock 2, and then read Chris Dahlen’s apparently-opposing take (they are both for-realsies daddies, whereas I’m probably way more Tennenbaum than Lamb). I did not read their columns, because I didn’t finish the game yet — I’m neurotically spoiler-averse with games like BioShock. But you could, if you wanted to.
I’m going to try to make “question of the week” a regular feature here. I said “try.” Today I just wanted an excuse to post this Little Sister picture:

AWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW!!!


[Wallpaper-sized edition of above is here]

No Sleep Til Brooklyn

Have you been playing BioShock 2, the “sequel to a game that didn’t need a sequel?” So’ve I. No, it didn’t need a sequel, but I’m glad it got one. I hope it gets several more. It could be the beginning of something awesome.

Don’t worry, I’ll be explaining at Gamasutra soon. No More Heroes didn’t really need a sequel either, but it got one (and I was also glad of that). All I’ll say for now is that we ought to get used to sequels to games that “don’t need them” — and that the trend could evolve into something very positive.
I’m busy all the time, especially with my staff at D.I.C.E. I suspect that what people do at D.I.C.E. is play a lot of poker and get supremely drunk. So in other words, it’s like my life, except my life lacks poker (which I don’t know how to play), and lacks me having to cover people’s talks. Props to my colleague, Game Developer EIC Brandon Sheffield, who’s already got a couple talks from Vegas up at Gamasutra: Astronaut and new-minted Facebook gaming boss Richard Garriott’s sorta-critique of game narratives, and Davids Jaffe and Crane talking about their experiences in the evolution toward casual gaming — Jaffe says Calling all Cars was “a mistake”, thanks to “a casual theme with a hardcore mechanic on a machine people had paid $500 for. Nothing matched up.”
Speaking of evolution, remember that whole “virtual worlds” thing, where everyone wanted to interact in browser-based 3D environments with avatars? That lasted like, 12-18 months, didn’t it? I feel sorry for the venture capitalists that are still buying that line (and for Sony, which appears to have some very expensive lemons with which it must now make lemonade).
A couple years ago when I was running the inaugural Worlds in Motion Summit, I got up in front of a room of all these starry-eyed venture-funded kiddoes (ignore the awkward pic! I thought we were friends, Zonk!), and — okay, it was a bit nervy for a journo to do — demanded that they prove to me why I should believe in their promises of a 3D web, an avatar-based future. I was skeptical that anyone wanted a “3D web” or to “democratize content” or anything like that, and what I saw was a bunch of people who had actually gotten someone to fund their fantasy that Neal Stephenson’s Snow Crash could be real.
A little bit thereafter at Austin GDC, where I had less involvement in the Summit, I told FreeToPlay.biz I thought Web 2.0-types should “evaluate their substance” and take more lessons from the gaming biz. Now it sure looks to me like a lot of the buzz and enthusiasm around so-called “virtual worlds” has been transmuted into iPhone and Facebook gaming.
Just look how many game developers have gone into those spaces: The dude who made Klax (read my interview with him!) A couple guys from Rockstar Leeds, who miss the sense of agency that comes with grass-roots bedroom coding. Flippin’ Richard Garriott! Sid flippin’ Meier is even putting Civ on flippin’ Facebook!
This, this I am interested in — especially when you see publishers like EA plainly state that they depend on success in this small-digital space for their survival.
I used to snicker a bit at dudes saying things like “Facebook is a virtual world.” No, Facebook is a social network. Virtual worlds are also social networks, and it turns out that Facebook is a method much simpler and more intuitive for social networking. People just want to be connected to each other in the most accessible way possible. Nobody wants the Web to be a world, a game, an “environment” or a “user-generated content space.” They just wanna get shit done.
I was one of the earliest business writers on Web 2.0 — one of the earliest neutral ones, at least. I remember getting into arguments with other journalists at events: I’d argue that Second Life was only relevant to the people that “lived” in it, and they’d argue back how wrong I was. The argument would soon reveal that they owned a business selling virtual fashions in Second Life, or selling virtual kits that could make their avatars into hermaphrodites or whatever. Not that there’s anything wrong with that, but I think a very vocal super-minority made a lot of people feel like this avatar thing was way more important than it is.
I did say that I hoped that a lot of lessons from the virtual-everything gold rush got transmuted wisely into the larger games business, and I think that’s happening. Some bubbles pop, some don’t, but mostly what happens is a lot of subtle evolution. All of this industry fragmentation is really good both for core games and for social games. It’s exciting, and I’m glad I don’t have to interview anyone who uses their Second Life picture as a real picture anymore.