10.5 hours played
Written 6 days ago
Bioshock has one of the most enticing atmospheres ever in a video game. The underwater city of Rapture sparks a natural curiosity in its players, and you can’t help but keep digging deeper into its world. This is a game where you want to know more, where you want to replay it just to see what you missed, where you find yourself looking up theories and backstories and listening to every audio log just to understand it better. The music and period-accurate soundtrack are haunting and beautiful in all the right ways. If there was ever a moment where someone argued whether video games are art, which they absolutely are, Bioshock is a game that should be held up as an example. Rapture is, simply put, unbelievable. It feels like a character all its own. It’s claustrophobic, damp, hostile, a nightmarish thrill to explore. The environmental storytelling is brilliant. It always gives you just enough detail to piece together what happened, but leaves plenty of questions. Every corpse, every note, every corner of Rapture has its own story to tell, and it tells it through the world itself, letting you fill in the blanks. It sparks curiosity and imagination and keeps you exploring, always wanting to see more. The lore feels so dense and intricate, I don’t think I’ll ever fully grasp all of it, and that’s what makes me want to come back to it again and again. I sat down and played through the entire game on the hardest difficulty in two days. I didn’t want to do anything but play Bioshock. Every real-life responsibility that forced me to stop felt like nothing but an obstacle between me and getting back to Rapture. This was my first full playthrough. I’d played bits and pieces growing up, and I’d tried once before to finish it but life got in the way. This time, though, I couldn’t put it down. Mechanically, there’s so much going on in this game, but it all works together like a perfectly tuned machine. The plasmids combined with the shooting create such a fun and addictive gameplay loop. Who doesn’t love magic powers and guns? On the hardest difficulty the game forces you to use everything: plasmids, weapons, traps, the research camera, all in creative ways to overcome enemies. Depending on who you’re fighting, you need to think about ammo types, weapons, and strategies. The opening of this game is one of the best hooks ever. Andrew Ryan and his city, Rapture, are so iconic. When I booted up the game for this playthrough, it was only to test a crosshair fix mod because I wanted the crosshair smaller. It worked, but instead of shutting it off and going back to whatever I was doing, laundry, dishes, whatever, I ended up sitting there and playing for four hours straight. That intro just grabs you instantly, and that first view of Rapture is utterly breathtaking. I honestly struggle to find new ways to describe how cathartic this game feels because so much has already been said, but it’s worth saying again. This game is unbelievable. The love and work that went into it truly make it a masterpiece. That’s not to say it’s perfect. The escort mission near the end nearly made me tear my hair out, but even so, I already can’t wait to play it again. I have so many other games I need to finish, but Bioshock now holds a very very special place in my heart. A game this bold, this layered, this ambitious, it feels like lightning in a bottle. I’m eager, but also scared, to see what direction the sequels took. I don’t want to sour how highly I view this one. Games like this don’t get made anymore. This game completely immersed me, pulled me into its world, and made me forget about mine. Ken Levine has me on the edge of my seat to see what he’s cooking up with his new game Judas, but in the meantime I will be playing his other titles and replaying this one.