The moment you can't ignore in Bioshock Infinite

A videogame that dares to address the banality of racist violence.

Just a few minutes in to BioShock Infinite is a scene that pulled me up short. Your character, Booker DeWitt, has been transported to what looks like a vintage all-American paradise, a city floating in the sky. Strolling through a carnival, he is asked to take part in a “lottery” and handed a baseball. The stage curtains pull back and there stand a white man and a black woman, bound and tied to stakes. That baseball you’re holding? You’re supposed to stone them with it.

Rarely have I been so uncomfortable playing a video game, but the effect is deliberate: BioShock Infinite is determined to make its largely American audience engage with aspects of its history that it would probably rather forget.

Over the course of the game, the spotless, well-ordered city of Columbia is revealed to be part of an explicitly racist police state, one that an Occupy-like group called Vox Populi is threatening to disrupt.

All of this is calculated to get writers like me in a lather; although games have many wonderful qualities, serious engagement with politics is rarely one of them. (I have never seen the phrase “American exceptionalism” appear so often on game blogs before.) The stoning scene also poses an intriguing question – because, minutes after it, I was loosing off rounds into every guard I could see and even stoving in the head of one of them with a hand-held chainsaw.

How, I asked the game’s creative director, Ken Levine, on his recent press tour in London, do you make the player switch between feeling painful levels of empathy and feeling no empathy at all? “There are a lot of reasons why that stoning scene is so uncomfortable,” he said. “There’s the racial component; there’s the powerlessness . . . They are not a threat to you. They are humiliated.

“Have you ever seen photos of lynchings? They were basically parties. It was so shocking to me . . . Anybody with a working sense of ethics understands that hurting powerless creatures is cruelty.” The guards, meanwhile, are trying to kill you, so you feel no compunction in killing them first.

Levine is also concerned with how to create a connection between the player and the game’s characters. In too many titles, the people in them are simply plot dispensers or, worse, broad-brush versions of a stereotype.

At Bafta on Piccadilly the night before our interview, he explained how using a first-person camera angle encourages you to identify with the protagonist. At the same time, other characters must have rounded personalities, shown through the quality of their dialogue, voice acting and facial expressions. (The designers gave the companion Elizabeth oversized eyes so that she can communicate better.) If Levine succeeds, BioShock Infinite will achieve something momentous – making video games more human.

Author's update:

I wrote this piece for the magazine - hence the shortness - so expect more trilling on the subject from me in the future, as I've vowed to try to avoid reading anyone else's pieces on the game until I finish it. But I did want to mention one other moment near the start, because it chimed with something I heard Danny Boyle tell Chris Evans on his breakfast show on Friday: "70 per cent of a movie is sound". He went on to give a really interesting outline of how your eye travels ahead, always looking for the surprise; but your ear is much easier to shock with a sudden noise or burst of music.

Anyway, I then thought about all the bits of games that I never, ever think about when doing reviews: like the sound effects, which in Bioshock: Infinite are often similar to, although not identical to, those from the original game.

But I think this might also be the first game where the rumble pack is used artistically. I've seen it put to utilitarian purposes in things like Heavy Rain,  first-person shooters, or even titles like Johann Sebastian Joust, obviously.

At the start of the Bioshock Infinite, you blast off from a rocket-fuelled pod fired from a lighthouse and the rumble pack in your controller whirrs like crazy. Then - then - you break through the clouds, and the sunlight breaks across the floating of city of Columbia, and the choral music wafts across the breeze. And the rocket engines stop, and the rumble pack and the on-screen sound effects fall silent. 

It's very much like that moment during take-off on an aircraft when you go down the runway . . . . runrunrunrunrunLIFT. It gives you a real feeling of peace. 

And I bet no review you'll read mentions it. 

 

A still from the beginning of Bioshock: Infinite

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

This article first appeared in the 25 March 2013 issue of the New Statesman, After God

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Don’t worry, Old Etonian Damian Lewis calls claims of privilege in acting “nonsense!”

The actor says over-representation of the privately educated at the top of acting is nothing to worry about – and his many, many privately educated peers agree.

In the last few years, fears have grown over the lack of working class British actors. “People like me wouldn’t have been able to go to college today,” said Dame Julie Walters. “I could because I got a full grant. I don’t know how you get into it now.”

Last year, a report revealed that half of Britain’s most successful actors were privately educated. The Sutton Trust found that 42 per cent of Bafta winners over all time were educated independently. 67 per cent of British winners in the best leading actor, actress and director categories at the Oscars attended fee-paying schools – and just seven per cent of British Oscar winners were state educated.

“That’s a frightening world to live in,” said James McAvoy, “because as soon as you get one tiny pocket of society creating all the arts, or culture starts to become representative not of everybody but of one tiny part. That’s not fair to begin with, but it’s also damaging for society.”

But have no fear! Old Etonian Damian Lewis is here to reassure us. Comfortingly, the privately-educated successful actor sees no problem with the proliferation of privately-educated successful actors. Speaking to the Evening Standard in February, he said that one thing that really makes him angry is “the flaring up recently of this idea that it was unfair that people from private schools were getting acting jobs.” Such concerns are, simply, “a nonsense!”

He elaborated in April, during a Guardian web chat. "As an actor educated at Eton, I'm still always in a minority," he wrote. "What is true and always rewarding about the acting profession is that everyone has a similar story about them being in a minority."

Lewis’s fellow alumni actors include Hugh Laurie, Tom Hiddleston, Eddie Redmayne – a happy coincidence, then, and nothing to do with the fact that Etonians have drama facilities including a designer, carpenter, manager, and wardrobe mistress. It is equally serendipitous that Laurie, Hiddleston and Tom Hollander – all stars of last year’s The Night Manager – attended the same posh prep school, The Dragon School in Oxford, alongside Emma Watson, Jack Davenport, Hugh Dancy, Dom Joly and Jack Whitehall. “Old Dragons (ODs) are absolutely everywhere,” said one former pupil, “and there’s a great sense of ‘looking after our own’." Tom Hollander said the Dragon School, which has a focus on creativity, is the reason for his love of acting, but that’s neither here nor there.

Damian Lewis’s wife, fellow actor Helen McCrory, first studied at her local state school before switching to the independent boarding school Queenswood Girls’ School in Hertfordshire (“I’m just as happy to eat foie gras as a baked potato,” the Telegraph quote her as saying on the subject). But she says she didn’t develop an interest in acting until she moved schools, thanks to her drama teacher, former actor Thane Bettany (father of Paul). Of course, private school has had literally no impact on her career either.

In fact, it could have had an adverse affect – as Benedict Cumberbatch’s old drama teacher at Harrow, Martin Tyrell, has explained: “I feel that [Cumberbatch and co] are being limited [from playing certain parts] by critics and audiences as a result of what their parents did for them at the age of 13. And that seems to me very unfair.”

He added: “I don’t think anyone ever bought an education at Harrow in order for their son to become an actor. Going to a major independent school is of no importance or value or help at all.” That clears that up.

The words of Michael Gambon should also put fears to rest. “The more Old Etonians the better, I think!” he said. “The two or three who are playing at the moment are geniuses, aren’t they? The more geniuses you get, the better. It’s to do with being actors and wanting to do it; it’s nothing to do with where they come from.”

So we should rejoice, and not feel worried when we read a list of privately educated Bafta and Oscar winners as long as this: Chiwetel Ejiofor (Dulwich College), Emilia Clarke (St Edward’s), Carey Mulligan (Woldingham School), Kate Winslet (Redroofs Theatre School), Daniel Day-Lewis (Sevenoaks School, Bedales), Jeremy Irons (Sherborne School), Rosamund Pike (Badminton), Tom Hardy (Reed), Kate Beckinsale (Godolphin and Latymer), Matthew Goode (Exeter), Rebecca Hall (Roedean), Emily Blunt (Hurtwood House) and Dan Stevens (Tonbridge).

Life is a meritocracy, and these guys were simply always the best. I guess the working classes just aren’t as talented.

Anna Leszkiewicz is a pop culture writer at the New Statesman.

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