Ken Levine
Bioshock é um daqueles casos em que por várias vezes tentei passar um jogo e acabei por deixá-lo a meio mas, em sua defesa, nunca foi propriamente por culpa do jogo em si e sim da atenção que eu realmente lhe estava a dar.
Nos últimos dias voltei a dar-lhe uma hipótese e bem, no final dei por mim a dizer a mim próprio "would you kindly passar os jogos até ao fim a partir de agora?". É que Bioshock é simplesmente fantástico e tudo neste novo universo que comecei agora a explorar mais a sério é super cativante.
O ambiente sinistro e a sensação de perigo em todos os cantos são uma constante aqui, pelo que pode por vezes ser uma experiência frustrante em dificuldades mais elevadas, mas que recompensa imenso pela história que é apresentada. A forma como esta vai dando pistas e se vai revelando é do melhor que já vi num jogo e foram vários os momentos em que fiquei perplexo a ver o que se estava a passar na tela da Switch.
Visualmente e no que toca ao som não há nada a apontar pela negativa, mesmo na versão da consola da Nintendo e revelou ser um port incrivelmente sólido para a mesma.
Bioshock é sem dúvida nenhuma um dos melhores titulos a que ja joguei, principalmente na parte da narrativa, e muito provavelmente já me vou atirar à sua sequela e a Infinite para mergulhar ainda mais neste universo.
Nos últimos dias voltei a dar-lhe uma hipótese e bem, no final dei por mim a dizer a mim próprio "would you kindly passar os jogos até ao fim a partir de agora?". É que Bioshock é simplesmente fantástico e tudo neste novo universo que comecei agora a explorar mais a sério é super cativante.
O ambiente sinistro e a sensação de perigo em todos os cantos são uma constante aqui, pelo que pode por vezes ser uma experiência frustrante em dificuldades mais elevadas, mas que recompensa imenso pela história que é apresentada. A forma como esta vai dando pistas e se vai revelando é do melhor que já vi num jogo e foram vários os momentos em que fiquei perplexo a ver o que se estava a passar na tela da Switch.
Visualmente e no que toca ao som não há nada a apontar pela negativa, mesmo na versão da consola da Nintendo e revelou ser um port incrivelmente sólido para a mesma.
Bioshock é sem dúvida nenhuma um dos melhores titulos a que ja joguei, principalmente na parte da narrativa, e muito provavelmente já me vou atirar à sua sequela e a Infinite para mergulhar ainda mais neste universo.
Started this up as it was like 5 dollars on CDKeys. Holds up great. Combat is funner than I remember. Might not finish but hopefully will someday so I can get to that DLC for 2 and Infinite.
What I liked:
-The music and the soundtrack
-Some of the voice-acting
-The early game's art deco aesthetic (before it gets dull and monotonous)
-The idea of the plasmids and their theoretical gameplay appliances (and not their actual execution, which boils down to what made Skyrim's magic suck ass)
-The plasmid hand animations
-The underwater view of Rapture
What I did not like:
-Most of the voice-acting, especially that of clearly non-English speakers, who are clearly voiced by fluent English speakers and forced to put on exaggerated and ridiculous accents that make the voice acting almost laughable
-How the game dangles this gorgeous view of an underwater city while railroading you to undifferentiated hallways that are functionally the same and offer zero interesting visuals past the one-hour mark
-Bioshock's insistence on telling the bulk of its story through audio logs, which feature the aforementioned laughable voice-acting, but also make little to no narrative sense (why are so many people recording their thoughts out loud?? especially in what is obviously not their native tongue?? oh it's just for exposition? gotcha.)
-the way none of the guns or plasmids feel good, even for 2007 standards
-the way plasmids stop having useful gameplay applications past the one-hour mark
-the way the big daddies attack
-the stupid "gotcha!" plot twists
-the way most of what you're doing is just going from one end of the map to obtain an object, to another end of the map to obtain the second part of said object (because obviously)
-the map screen, which is genuinely one of the worst implementations of a map I have ever seen in a game maybe ever, even A Link to the Past got 3D maps right and that was in the '90s
-the implied queerness of Sander Cohen, which is so ridiculously unexplored that the inclusion of multiple mentions of his romantic interest in other men makes me think the writers were just too scared to make it overt
-this quote from one of the developers
"We also tried to hint at, without getting pornographic, Cohen’s conflict with his own sexuality. But people read that much dirtier than we intended. Go figure!"
-The music and the soundtrack
-Some of the voice-acting
-The early game's art deco aesthetic (before it gets dull and monotonous)
-The idea of the plasmids and their theoretical gameplay appliances (and not their actual execution, which boils down to what made Skyrim's magic suck ass)
-The plasmid hand animations
-The underwater view of Rapture
What I did not like:
-Most of the voice-acting, especially that of clearly non-English speakers, who are clearly voiced by fluent English speakers and forced to put on exaggerated and ridiculous accents that make the voice acting almost laughable
-How the game dangles this gorgeous view of an underwater city while railroading you to undifferentiated hallways that are functionally the same and offer zero interesting visuals past the one-hour mark
-Bioshock's insistence on telling the bulk of its story through audio logs, which feature the aforementioned laughable voice-acting, but also make little to no narrative sense (why are so many people recording their thoughts out loud?? especially in what is obviously not their native tongue?? oh it's just for exposition? gotcha.)
-the way none of the guns or plasmids feel good, even for 2007 standards
-the way plasmids stop having useful gameplay applications past the one-hour mark
-the way the big daddies attack
-the stupid "gotcha!" plot twists
-the way most of what you're doing is just going from one end of the map to obtain an object, to another end of the map to obtain the second part of said object (because obviously)
-the map screen, which is genuinely one of the worst implementations of a map I have ever seen in a game maybe ever, even A Link to the Past got 3D maps right and that was in the '90s
-the implied queerness of Sander Cohen, which is so ridiculously unexplored that the inclusion of multiple mentions of his romantic interest in other men makes me think the writers were just too scared to make it overt
-this quote from one of the developers
"We also tried to hint at, without getting pornographic, Cohen’s conflict with his own sexuality. But people read that much dirtier than we intended. Go figure!"
"Why are you so resistant to the traditional methods of separating a man from his soul?"
the thing about Bioshock is that everyone talks about it like it's this immaculate masterpiece of game design and narrative that'll blow your mind and when you actually sit down to play, it really fucking is.
Bioshock, to my mind, is to the fps genre what Resident Evil 4 is to third person action. a title so polished and well thought out that it unarguably inspires everything that comes after by its mere existence.
a gameplay so elegant in it simplicity it feels like a breeze to play through almost two decades later. mixing up plasmids with firepower remains a blast and rapture still is one of the most well realized locations in gaming history, with new secrets to uncover in almost every corner.
although it's plot twist often steals the spotlight, the whole narrative is incredibly well written and well acted. the characters perfectly emulate that sort of 60's speech pattern you seen in movies, and the whole visual artstyle immerses you in the time period. it's so surreal to me that there are people incapable of seeing the political commentary in games like these. a whole story about how rampant capitalism inevitably produces rampant poverty and gives rise to fascism. there's an entire building in rapture called OPTIMIZED EUGENICS!!!
Bioshock gives control to the players and asks them if they have what it takes to break the cycle, to act contrary to our own best interest, to care about the human life even when its more valuable to end it. a staggering achievement in interactive fiction and the way we interact with it.
the thing about Bioshock is that everyone talks about it like it's this immaculate masterpiece of game design and narrative that'll blow your mind and when you actually sit down to play, it really fucking is.
Bioshock, to my mind, is to the fps genre what Resident Evil 4 is to third person action. a title so polished and well thought out that it unarguably inspires everything that comes after by its mere existence.
a gameplay so elegant in it simplicity it feels like a breeze to play through almost two decades later. mixing up plasmids with firepower remains a blast and rapture still is one of the most well realized locations in gaming history, with new secrets to uncover in almost every corner.
although it's plot twist often steals the spotlight, the whole narrative is incredibly well written and well acted. the characters perfectly emulate that sort of 60's speech pattern you seen in movies, and the whole visual artstyle immerses you in the time period. it's so surreal to me that there are people incapable of seeing the political commentary in games like these. a whole story about how rampant capitalism inevitably produces rampant poverty and gives rise to fascism. there's an entire building in rapture called OPTIMIZED EUGENICS!!!
Bioshock gives control to the players and asks them if they have what it takes to break the cycle, to act contrary to our own best interest, to care about the human life even when its more valuable to end it. a staggering achievement in interactive fiction and the way we interact with it.
10/10
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