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Bioshock 2 Quickie Review Goto Page: [] [<] 1 2

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Kunx the Mighty
Crew

PostPosted: Wed Feb 24, 2010 8:41 am
Watch Manchurian Candidate same story.

Then watch Pilot Candidate.  
PostPosted: Sun Feb 28, 2010 12:06 am
So. I finished Bioshock 2. The story was some of the most disappointing stuff I've ever seen. Only towards the end did it do anything that made me go "wow", and even those moments hardly lived up to its predecessor. Plus the ending sequence was anti-climatic (no bosses, just a huge stream of "powerful" enemies), as was the ending sequence. There are also 0 moments at all where you have no vita chambers, which made me just not care about trying very hard.


I will admit that the combat was improved, hacking made sense, and the weapons were all made cooler, but the game is even more unbalanced than the original. Telekinesis level 3 can literally pick up any non large enemy, and infinitely throw them, usually killing them in 2 goes. You can also just drill rush people in one shot with proper upgrades.


So it's worth playing if you're really bored... but it's no where near as compelling as the original.


It's ironic, the two things that I liked the most were references to System Shock 2. The female computer voice that stutters a lot at one point in the game has speech patterns exactly like SHODAN, and the achievement for killing 50 people with hacked security is called "Look at you, hacker" the beginning line of SHODAN's most famous monologue.

I also really liked the part where you can see the world through the eyes of a little sister.  

nitnit
Captain


Cybylt

PostPosted: Sun Feb 28, 2010 2:45 am
Story element wise, Bioshock is an impossible act to follow within the context of making a sequel. You can't really even begin to get near what's essentially a critique on gaming as a whole as a plot element.

Actually I'm sure there's an article on it, so I looked it up and there is.

Quote:
Not only is this a moving, shocking, and all-around incredible quote about the consequences of blindly accepting authority, but it also represents one of the single most insightful statements ever made about videogaming in general.

Cut scenes are a form of gameplay slavery. They rob the player of control, take him out of the moment, and force him to passively witness as the events of the game -- the events he is supposed to have some degree of local agency over. Ken Levine knows this, and chose to exploit it in creating one of the most memorable story twists of all time.

When the player finds out that he has been subliminally controlled by Atlas throughout the entire game, he or she experiences a very sudden, shocking reassessment of values. Having gone through the game thus far with the single-minded intent of beating Andrew Ryan to a bloody pulp, the player is suddenly forced to ask a question most other games would never dream of proposing to the player: "Why am I doing this?"

Why, upon first entering Rapture, do you inject a Plasmid into his veins for seemingly no reason? Why do you follow Atlas's every instruction? Why do you kill the innocent, nonviolent-unless-provoked Big Daddies? Why do you want to kill Ryan? The answer is depressingly simple: you did these things because you were told to. Not because you necessarily had any personal investment in the action, but because someone asked you nicely. Even after realizing this, the player remains completely powerless to stop himself.

In an older article I wrote ("Exploring BioShock's storytelling flaws"), I had this to say about the final "would you kindly" cut scene:

Noninteractivity is used brilliantly within the context of the scene: for perhaps the first time in the entire game, the player doesn’t want to kill Andrew Ryan, but Jack’s violent nature and refusal to question his orders are too much and the player is forced to watch, horrified, as he mercilessly and uncontrollably batters Ryan to death.

It stands as the single greatest noninteractive cut scene in gaming history. Ever. As a storytelling device, noninteractivity is used as a weapon against the player: you don’t want to question why you’re doing what you’re doing? Fine -- you’re nothing better than a mindless, robotic slave, and you have essentially given up the human gift of choice. Having control taken away is, within the context of the story, a tangible punishment for accepting things on face value and blindly following orders.

BioShock wants us to question authority and instruction not just for the big stuff -- politics, work, education and so on -- but for videogaming, as well. When Cortana asks you to pistol-whip a bunch of aliens in Halo, why not stop for a moment and really think about why you're doing it?

One might suggest that questioning authority in a videogame, where structure is more or less mandatory and even the most nonlinear games still have an inescapably linear storyline, would be an ultimately meaningless gesture. But if you're willing to take everything a videogame presents you with at face value, how much more are you capable of accepting without question? If the player is asked to mow down armies of faceless baddies simply because they are "evil," what does that even mean?

For these reasons, "would you kindly" is, quite simply, the most meaningful videogame quote of all time. It deeply affects the player on both emotional and intellectual levels; not only that, but the intensity of the former inspires the latter. As the player feels hatred and betrayal from his amiably-worded induction into slavery, he becomes much more likely to take Andrew Ryan's dying words to heart:

A man chooses; a slave obeys.
 
PostPosted: Sun Feb 28, 2010 4:12 pm
That's a neat article snippet that fully illuminates why the plot point was so strong, and I agree with it.

But.

That doesn't change the fact that Bioshock 2 could have done much better. Sure, they can't use the mind control trick again. That doesn't mean they have to have a main character who's hard to relate to, game mechanics that makes it feel like you're not really a big daddy, weak 'revelations' of people's true intentions, and an ending that ended with no more tension than the beginning of the game.

Honestly, the most shocking things were (spoilers)

- Shooting yourself in the very beginning of the game
- Seeing the world as the little sister
- Dying at the very end of the game (this wasn't even that shocking though. I got the good ending, so I dunno what the "bad" ones are)


Most importantly, they fell flat to give the commentary they were trying to, one on communistic ideals.  

nitnit
Captain


Cybylt

PostPosted: Tue Mar 02, 2010 3:14 am
I thought the communist thing was pretty funny considering the extreme Darwinism and consumerist nature of their predecessors.

They fell trying to make a blank slate character like they did with 1, 1 had you as Jack Everyman up until the Would You Kindly revelations. The idea of being a Big Daddy brought upon the idea that the world would ignore you until you did something to provoke it like set down your Little Sister rather than have a set enemy that was always after you.

It killed my favorite element of the first game really... exploring Rapture. I just love the city and hoped for what you got at the end of Bioshock 1 when you explored in the daddy suit, splicers ignored you. They thought you were just another being of the city.

Spoiler -

Delta was dying from withdrawals as it was and then was hit by that explosion, he dies regardless of the ending.  
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