BioShock Infinite: an intelligent, violent videogame? - Read - ABC Arts | Australian co... - 1 views
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Infinite has the difficulty of an inherited legacy: people like to point to the first BioShock (2007) as an example of how videogames made in studios by hundreds of people and financed by corporations can be artistic. It was, in a way, a beacon of hope for those who dreamed that the sheer industrial scale at the peak of the videogames business could translate into something worth taking seriously.
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BioShock Infinite is a videogame with ideas. Set in 1912, it’s in part inspired by The Devil In The White City, Erik Larson’s 2003 novelistic account of the 1893 Chicago World’s Fair.
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The city is beautiful, and possibly unparalleled in terms of visual design in a videogame: along with the expected white American neo-classical architecture, we get an astounding array of poster art and fashion, taking in both the decline of the strong silhouettes and Gibson Girl aesthetics of the 1910s, and the Art Nouveau movement, as well as Kinetoscopes similar to the illusionistic films of Georges Melies.
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Columbia, according to Infinite, is to have set sail at the 1893 Fair, thus opening up a ripe array of potential themes stemming from real world history and politics, all of which get at least lip service in the game: Manifest Destiny, American Exceptionalism, racism, and religious conflict.
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The first major choice that players of BioShock Infinite are presented with is whether they would like to publicly punish an interracial couple or not. You may choose to throw a ball at the couple, who are tied up in front of a crowd at a fair, or you may choose to throw the ball at the man who is asking you to do so. The outcome of your choice is mostly the same.
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Let’s think about that for a moment. BioShock Infinite, the game that many would hope to point to as an example of how art and subtlety might be found in expensive, mainstream videogames, sets up its moral stakes by asking the player if they would like to be a violent bigot.
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This is thunderously stupid, and an insipid example of how terrifyingly low the bar is set for ‘intelligence’ in mainstream videogames
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In taking the game seriously, I want to be as clear as possible: BioShock Infinite uses racism for no other reason than to make itself seem clever. Worse, it uses racism and real events in an incredibly superficial way—BioShock Infinite seeks not to make any meaningful statement about history or racism or America, but instead seeks to use an aesthetics of ‘racism’ and ‘history’ as a barrier to point to and claim importance.
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puts the lie to the claim that by engaging with these themes, BioShock Infinite is the place to find substance in mainstream videogames.
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At the real Wounded Knee, over three hundred Native Americans—the Lakota Sioux—were massacred. Many of them were unarmed. Some of them were children. These were real people, with real lives and real families. The victims were buried in a mass grave, and many of the US Cavalry who led the massacre were later awarded the Medal of Honor, a decision that remains shameful today.
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I am certainly not saying that a videogame has no right to engage with such events. What I am saying is that when you use such a horrific historic event in art—in any media—you have a responsibility to get it right, to use it to say something worthwhile, to make the invocation count.
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Wounded Knee, I believe, is not something you get to invoke in 2013 without also making a statement of sorts. The idea of publicly punishing interracial relationships, something that of course has happened in reality, is also not something you get to invoke in 2013 without making a statement.
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“[Letting] the player decide how they feel,” is not respecting your audience’s intelligence in these situations; it is a cop-out of the highest order.
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For a game that so explicitly aimed to take on racism through its 1912 setting, the politics of BioShock Infinite are defined by evasion.
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Such nihilistic disapproval is the absence of a political position masquerading as shrewd criticism. It may seem worldly, but it allows BioShock Infinite to be controversial to no-one by treating everyone with equal contempt.
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Let us get one thing straight, then: despite its desperation to be taken seriously, BioShock Infinite is not an intelligent work of art. It is a history-themed first person shooter, and it deserves no more or less respect than any other first person shooter.
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You can argue that the faults of BioShock Infinite are the latest and most unfortunate result of the first-person genre that found bedrock in both Doom (reflexes and gore) and Myst (architecture and mystery) in the mid-1990s, two sharply different trajectories that have been bound into problematic convergence ever since. While the two genres remain fruitfully exploited in separation, all attempts at marrying the two—and thus discovering the elusive union of the shooter’s popularity and the exploration game’s more literary aspirations—have remained ill considered. In a way, mainstream videogames are still completely dumbfounded by Edge magazine’s famous 1994 criticism of Doom: “If only you could talk to these creatures.”
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Maybe this is really the central problem of the game—how do you merge any kind of intelligent thematic exploration while taking unrestrained pleasure in shooting people in the face?
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By its conclusion, BioShock Infinite quickly forgets that it ever engaged with ideas of racism and American Exceptionalism in favour of a tangled Christopher Nolan puzzle plot about time travel. This is the sound of a thousand popguns going off, taking up the silent report of a giant cannon that failed to fire.
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it remains difficult to point to a single videogame that is both artful, subtle and a successful mainstream videogame, and BioShock Infinite only muddies the waters further.