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Friday, 21 March 2014

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Let’s list the other ones: ‘sparing’/shooting Slate, drawing first vs having your hand stabbed at the ticket office, bird or cage for Elizabeth to wear … I think that’s it? I did like the permanence of having your hand bandaged after the (super gruesome) stabbing. There’s also a neat touch with Elizabeth’s pendant changing during certain scenes of the ending, which I guess either suggests that the Elizabeth’s are different at that point, or they’ve briefly merged, or the tears have just made matters unstable.

I suppose the ultimate act of fatalism performed by the game is that the absolutely key choice of Booker’s baptism, one of two choices upon which the whole of BioShock Infinite hinges, is a choice which has already been made (and not made) for you before the title even begins. Your main goal, it turns out, is to prevent a choice from ever happening.

We’re not focusing on BioShock here, but it’s important to bring it up if only because BioShock Infinite does it in a very different way, by pointing out that the game/Booker’s journey has a very definite, predefined end point… but that different players will have had different experiences up to that point. Again: it takes a core videogame conceit (linearity, in this case) and does something clever with it. The aforementioned “meaningless” choices tie into this, too; regardless of how you treated Slate, you will still hit the same endpoint. It’s the journey that differs – and, in a game, it’s usually the journey that matters – and BioShock Infinite pretty much states this outright.

In fact, a huge amount of the game is about fatalism. Do I need to bring up the Luteces, and their little experiment at the beginning – that the coin flip always ends the same way, every time, as evinced by the chalkboar

Since its release on 26 March, BioShock Infinite has generated much discussion about its themes, ending and groundbreaking use of an ethereal parent as a boss fight. One of those themes is the ever-present tension between choice and fatalism; both in the way it impacts the characters within the game and the player themselves.

As we’re both the games writer equivalent of insufferable blabbermouths, Tim and I shared an email exchange on this very topic. In it, we discuss how choice and fatalism run through the game, the degree to which BioShock Infinite was successful in its exploration and communication of said themes, and various other diversions.

Whether you submit to fate or simply make the choice, you can read that exchange below.

BioShock Infinite

Peter: Tim! I am roping you into this discussion about how BioShock Infinite addresses the notion of choice in videogames. Resistance is futile. It is your destiny.

So, my initial thought about the ending (after my mind unwrapped itself) was “wow, Ken Levine took the criticism over BioShock’s moral choices really hard.”

That’s perhaps a bit uncharitable, but I think getting burned about the binary (and, let’s be honest, pretty weak) choice over whether to harvest or save Little Sisters influenced BioShock Infinite’s conclusion at least a small amount.

It seems like Infinite adopts a really broad definition of “choice,” to include every single behavioural and functional decision a player has made in the game (from which Vigors they used, to when they jumped to avoid an enemy shot and … well, everything really) and scales right back on any branching narrative options. At the end you see multiple Bookers, all of whom have made their choices to reach this point, but they are all at this point. The only other endings are theoretical (Bookers who didn’t make it.) The player can only ever see one narrative path.

It’s an elegant meta-comment on the many, many people in the real world playing through BioShock Infinite, but also seems like a bit of a cheeky way of suggesting that the sort of choices offered in other games are ultimately meaningless if they bring you to the same point every time.