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.

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