Taking to the skies
Irrational’s 2013 follow-up took BioShock to the skies. Its setting, the floating city of Columbia—a work of gaudy vintage xenophobia built and policed by a self-appointed messiah.
Infinite deals with much the same theme of free will as the first game, but expands this into a rather tortuous exploration of the concept of multiple universes, helped along by a bit of Tom Stoppard. It also continues the first game’s preoccupation with moral accountability—you spend much of the game working alongside a companion character, Elizabeth, who serves as the game’s moral compass.
Infinite is a fairly brutal, attrition-driven shooter— its fatalistic conclusion perhaps speaks to Irrational’s despair at facilitating empathy within such constraints.