Well, here we are: Bioshock: Infinite has finally arrived, after months and months of speculation, fuelled by a veritable deluge of pre-release screenshots, documentary pieces, trailers and gameplay footage clips. Indeed, 2K released so much prior to the game’s arrival the actual game itself felt very familiar once I actually got my hands on it.

I must confess, I find it hard to know where to start with this particular game. The game has a huge number of facets which deserve ample attention…

In tried and tested form let’s begin with the gameplay. The game is, as if you didn’t know, at its core a first person shooter, with you taking the role of Booker Dewitt, a former Pinkerton agent sent to Columbia, a flying city, to rescue Elizabeth, a young girl imprisoned there. To do this you have access to the standard array of boomsticks. The usual favourites are all here, from the shotgun and machinegun to the grenade launcher and RPG, most of which feel suitably meaty and powerful. This is something I find especially important in a shooter. Too many games (I’m looking at you Halo 4!) feel like you’re wielding a toy made by Mattel with its own fake sounds. In Infinite the guns have a definite sense of presence; you feel the power behind them with each shot and it really makes them feel more realistic and believable. The only exception to this is the shotgun, which feels somewhat insubstantial, feeling more blunderbuss than shotgun in practice; though with the archaic setting this may have been a deliberate design choice.

The actual combat is solid and varied, with the vigors and Elizabeth’s ability to reveal new terrain features adding a number of tactical layers to combat. It’s hard to quantify just how refreshing it is to have these simple new features added to the tired old FPS mechanic. They give you something new to think about and really do revitalise what could have been a competent yet bland experience, gameplay wise. The fact that Elizabeth (when she’s with you) actually performs a useful role in combat is also a revelation. When I first saw that she would be with you throughout much of the game, I’ll level with you; I thought it was going to be a massive problem. Escort missions are usually the bane of action games and the idea of the whole game being that way sent chills down my spine. You will be pleased to hear, however, that this is not a problem here, as Elizabeth manages to be the most proactive passive character I’ve ever seen. What I mean by this is that while she spends most of the combat parts of the game hiding, she flits around collecting dropped ammo, health, salt (basically mana) and money and then gives you timely options to have it thrown to you, often rescuing you from the edge of defeat.

While the actual environments are pretty linear, there’s plenty of chance to explore side routes, with there often being great benefit to doing so, in the form of stat-boosting gear, ammo or boosts to key attributes.

And explore is something you will want to do. The world of Columbia is easily the most beautiful and carefully designed one that I personally have come across. From the behaviour of the inhabitants, to the atmospheric sound effects and the architecture, the environment oozes with authenticity. Sit in front of the screen with surround sound on and no other sound but the game and you will forget anything else exists. The majority of the opening act finds you wandering through an idyllic depiction of the flying city, with sunshine, cheery music and even a fair to explore. There’s even a barbershop quartet. 2K just allow to you wander around and take it all in, obviously proud of what they have created.

This part is, while initially seemingly unimportant, vital for giving context for what follows. It invests the player in the setting and the world, getting them to buy into the wold at large as a real place. This immersion is key to what follows. It’s no spoiler to anyone to confirm that things do indeed start to go bad for Booker, rather rapidly. As the game progresses we see the city of Columbia deteriorate almost before our eyes, transforming from gleaming utopia to smoking husk and it is this early experience of the city at its height that gives us context for the events to follow. Without this, the events and changes to the world would have no impact and this is but one example of the exemplary game design on show.

The narrative on show is.. well it’s nothing short of epic. Sadly, that word has lost much of its meaning in recent hyperbolic years, but in the true sense of the word Bioshock: Infinite’s story is epic. Initially seeming very straightforward (Elizabeth’s time tear ability aside) the story has a huge number of twists and turns and is so much more than most gaming narratives. Contributed to by the immersion bought by the setting, the peaks and troughs of the storyline’s trail really do hit home, with moments of high tension, poignant reflection and genuine humour on display. I’m sure, however, that by now many of you will have seen there is already a disquiet gathering around the ending. I will not spoil it here, as it deserves to be experienced first-hand, but for what it’s worth the reaction disappoints me. The ending is not a simple one and much is thrown at you in the last half hour of the game, but the final resting point of the narrative, once it is absorbed, is truly revelatory. In context, looking back aspects of the game from earlier that were previously thought to be inconsequential will take on a new meaning and significance. While it may not be a simple or necessarily joyous one, the ending is a mature and sophisticated one, especially in the context of the two main protagonists’ relationship.

Ah yes the two protagonists, Booker and Elizabeth. As competently and expertly constructed as the rest of the game is, it is the character development of the two leads that is by far and away the highlight of the game. Both are very different characters. Booker is a cynical and world weary fellow and is by no means what you would consider a traditional hero. He’s done a lot of things many would consider evil and is, if we’re being generous, rather rough around the edges. Elizabeth, however, when we meet her is an innocent and naïve lass, focussed on realising her dream of visiting Paris. Initially the two clash a fair bit, with Booker’s manner scaring Elizabeth and her flighty nature frustrating him. However, through the development of the story and their shared experiences, the two’s relationship develops and changes. This is done in a gradual and subtle manner. It’s impossible to point to one moment where it changes, it just seems to develop naturally; a testament to the brilliant writing and acting on show. Indeed, the acting is superb across the board and lends an air of authenticity to the proceedings.

Perhaps the greatest achievement of the characterisation is that the character’s developing relationship to each other is mirrored by the player’s developing affection for both characters. Through participation in their journey the player comes to see the two for their faults and their strengths, emotionally investing in them. Elizabeth’s impact is aided by the previously mentioned participation in the action, making her feel like a genuine contributor to proceedings, someone who can hold their own rather than just requires protection. The progression and development of both characters is pronounced and dramatic from start to finish, though in many ways, fairly divergent to each other. Booker’s tale is one of redemption, while Elizabeth’s is one of maturation, of coming to terms with the world. This is not just reflected in her character, but also visually in her character design, as her dress and demeanour change to reflect the changes she is going through.

At is core, Bioshock: Infinite is a first person shooter and, if taken as just that, it is an excellent game. However, it’s so much more than that. In many ways, it’s an FPS RPG. It has a narrative of sophistication hitherto largely unseen in gaming and really sets a precedent for storytelling in the industry.

Every generation has its defining games, titles that set the standard for what is to follow. Half-Life 2 was an example of this; it was seen as a game-changer; something that revolutionised how narrative was told and how the game was played. Ever since it was released it was used as the benchmark for how a certain kind of game should be; the avatar of gaming quality if you will. Well, Bioshock: Infinite is this generation’s Half-Life 2. In the same way Half-Life 2 set the standard for RPG and FPS games until now, Infinite will do the same going forward into the next generation of console gaming. Mark my words, in the next wave of games you will see a lot of features inspired by this game.

There will many of you reading still wondering if it’s worth picking Infinite up, I know; I’ve spoken to several people in the same position already. I can only give you the same advice I gave them: play it. Even if these sort of games aren’t your thing.

Why? Because Bioshock: Infinite is one of those games that will stand out in gaming history; one of those games that we will look back on and see defined what came after for some times. It will be, for want of a better phrase, a game that goes down as a piece of gaming history and it deserves to be experienced before being spoiled for you.

Bioshock: Infinite is, when all is said and done, that rarest of games: one that touches your heart and never, ever lets go.

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