The end of the epic: why the success of Bioshock Infinite is bad for gaming

Phil Hartup hated the critically acclaimed blockbuster. And he thinks you should too.

 

There was a time when games tried harder than this. They’ve never spent more money in production, they’ve never had better hardware, but they tried harder. New game types, new control systems, new themes, new mechanics. They had to wow the audience, impress them and offer them something new. Those days are gone. Now games merely presume to have our attention and because of the hype, because of the money and because sometimes they just look so amazing, that attention is often given freely.

Bioshock: Infinite is just such a game. It deserves a place in history as being the world’s most successfully polished turd.

The acclaim piled on it is easy to understand. Groupthink amongst the gaming press has a habit of running riot and almost from day one of its announcement it was clear to see that Bioshock: Infinite was the anointed one. It contained very serious issues like racism and inequality, it had religious baddies in it, who weren’t Muslim for a change, it had a prominent female character who wasn’t simply there to be drooled over and of course it all looked so pretty in the videos. People were ready for a game that wasn’t as ideologically bankrupt as the Call of Duty series, but was still, for all intents and purposes, that sort of game. Bingo.

Complaints with Bioshock: Infinite are limited to two key areas.

First, and most obviously, it’s a first person shooter and it’s a conspicuously bad one. Everything takes place in a series of arena battles, with the plot occurring in the times between them. This is a really bad sign. It tells us that the story is written and the game, that bit that you’re paying for, the bit that really anything calling itself a game ought to be focused on, that’s just filler. That’s the stuff you do to pad the running time out. That the actual game part of the game has been relegated to the fringes of the experience is evidenced by just how below-par the combat actually is. The mechanics, the arbitrary limitations, the repetition of it all . . . on a mechanical level this is the sort of thing that was done better in Half Life back in 1998.

Secondly in terms of story and themes, what are we really learning here? That racism is bad? That religious fanaticism is bad? A huge amount has been talked about the Bioshock: Infinite story but the elephant in the room is that if the story is written before you even install the game then it is a bad story. This brings us back to the idea of the game as a game.

What makes games special is that you are not supposed to know the outcome. Take a football match for example. If you’re playing football and you don’t know how the match will turn out, but you know you can affect it, that’s fun. That’s really the joy of playing a game. But suppose you put your boots on, you step out onto the pitch, and the referee hands you a script. You play your part in the game, you have to kick the ball when it comes to you, you have to tackle players as they come to you, just like it says in the script, and if you do that right, you win. If you do it wrong the ref blows his whistle and you do it again until it is right and then you win.

This is what a game as scripted as Bioshock: Infinite comes down to; an interactive movie where the totality of the player capacity for interaction is our old friend, violence. Now I am actually rather partial to videogame violence. It can be good clean fun. But when it is forced upon me for reasons that essentially amount to time sinking I find it a little objectionable. There’s no engaging with the people in the game world, and there is little interaction with objects other than to instantly munch them down to heal gunshot wounds.

Now it could be argued that Bioshock: Infinite is being playful and ironic, that it is a self-aware look at games and violence and other things, playing against expectations and messing with ideas of parenthood and conscience and so on, and I’m sure that’s ever so clever. But here’s the thing with that. If you want to be a clever game, first you have to be a good game. You can tell that Bioshock: Infinite isn’t that because people are talking about themes and story, they are not asking about how to play it better. Besides, is a "good guy who is a killer with a mysterious past" such a revolutionary idea? Is rescuing some mysterious yet important girl from a prison really a new idea? Is a one-dimensional dickhead as a principle antagonist really as sophisticated as all that? For a game lauded for its story it is hard to pick anything in this game that wasn’t already clichéd years ago.

But here’s the thing. All this said, Bioshock: Infinite has been wildly applauded by critics. This blood-spattered series of fetch quests, arena fights and pseudo intellectualism is being talked about as one of the best games in recent years. Mathematics departments around the world have been struggling for weeks to find a new whole number above ten but less than eleven just to use for reviewing this game. The team at the Oxford English Dictionary are in the process of removing the existing definition of the word airship from the dictionary to be replaced by the term ‘wonderful floating thing found in Bioshock: Infinite’. This game is, as far as most of the gaming press and public are concerned, the greatest thing ever.

That should worry fans of video games because when something as completely wrongheaded and primitive as Bioshock: Infinite is lauded as a masterpiece, the fallout can only be toxic.

What video games need now are new ideas, not the same old thing with a different set of backgrounds and a new story. This is what video games promised when they first appeared, when people were not just inventing games but inventing genres of game. Somewhere along the way this seems to have stopped happening, to the extent that the best game so far of 2013 is a game that, graphical fidelity notwithstanding, could have been made ten years ago.

Board games are in many ways showing the direction that video games ought to be taking. Games such as Risk: Legacy offer changes to old formulae and new formats and game tropes appear all the time. Meanwhile, what mainstream video games are delivering is akin to the dizzying array of different Monopoly sets you can get. Maybe it’s set in space, or in Legoland, or Russia, or wherever, but it’s still ultimately the same game.

While the 10/10 scores and the plaudits are piling up around titles that offer nothing more than a new story played out in the same old style, the games industry will see no reason to change.

For people who thought that Bioshock: Infinite was new and exciting, congratulations. That’s what’s on the menu, at least from the big developers, for the foreseeable future. For those of us who had our fill of this slop back when it still tasted sort of new and the crunchy bits still had some crunch to them, it’s going to be a long few years.

Oops, too late.

Phil Hartup is a freelance journalist with an interest in video gaming and culture

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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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