Bioshock Infinite Review

A lot has been said about Bioshock Infinite since its release, and I’m acutely aware of the difficulty of contributing a unique perspective on the game’s merits to the cacophony of other opinions singing its praises. So perhaps the best way I can preface my thoughts about Infinite is to say that when I was playing through the game I actually thought, at several points, that reviewing it was going to be a formidable challenge. Infinite really does deserve so much to be said of it, and articulating my take on all the important talking points in order to do the game justice is a daunting prospect. In point of fact, I finished the game almost a week ago, but I felt it necessary to reflect on the experience and mull over what I’ve taken away from it for a good while before I begin reviewing it, and I’m still intimidated by the prospect of putting pen to paper about it now that I’ve finally sat down to do so.

So, first things first, I am a huge fan of the Bioshock series. I’ve played the first two games and hold them both in high regard. The original Bioshock has long occupied one of the topmost spots on the list of my favorite games of all time. Adding to my unashamedly geeky credentials, I’ve also read the first Bioshock’s tie-in novel, and enjoyed it a great deal. I simply adored the incredible world of Rapture, and so I was a little put off that Infinite looked to move away from this established, much loved playground to invent a whole new one. To curb any poorly informed misgivings, I resolved to come into this new game with as little knowledge of it as possible (having already seen a few trailers) and it was tremendously difficult to abate my intense curiosity about where Infinite would take the series. This self-restraint proved to be a very wise decision indeed though as Infinite has a lot of surprises, both large and small, and they’re all best experienced as precisely that.

It must be said that, fitting with the series’ legacy, Infinite’s opening is simply spectacular. It begins by creating a sense of mystery which beleaguers you with cryptic clues and leaves you bittersweetly befuddled as to what is actually going on. It quickly switches things up though, and your first steps upon the floating city of Columbia are marked by an extremely effective replication of a churchly atmosphere exuding untempered reverence and humility; so skillfully is this sequence crafted in fact that it actually inspired within me an impressive facsimile of that distinctly religious awe.

Another amazing moment, following this intro sequence, occurs very early in the game too. When you finally emerge onto Columbia’s actual streets, you’re momentarily blinded by the dazzling sunlight before your eyes adjust – an unoriginal trick, to be sure – and you gaze out upon a brilliantly vivid sky only to behold the flying city of Columbia in all its massiveness and majesty. The sheer colossality of the collective flotilla comprising the city is staggering, and the sense of scale, or rather your relative tininess, is conveyed very well and to great effect. I couldn’t help but spend a little while just peering out at the immense spectacle of the rest of the city floating by as its imposing presence is inescapably noticeable. I’m not usually overwhelmed by excessively large game worlds (even if they are essentially illusory as in Colombia’s case) but I tangibly was when confronted with this massive city, pushed out the front door and ostensibly left to explore it as I saw fit. The first Bioshock absolutely nailed a sense of unshakable solitude and claustrophobia as you traversed the cramped spaces of Rapture whilst constantly under the ocean’s crushing embrace, but Infinite does the exact opposite in making you feel so insignificantly small and impotent in the midst of this intimidatingly humongous city filled with people.

Largely left to my own devices at this point, I went about exploring the district of this surreal city which I had ended up in. Not since the first Bioshock have I experienced such an overwhelming sense of wonderment as I explored a new world and ravenously absorbed every part of it. I quickly discovered Columbia to be compellingly rich and lifelike, and I was delightfully captivated at simply existing in its world and seeing all it has to offer. The attention to detail exercised during the creation of Columbia must have been astoundingly thorough and meticulous, and it really imbues the world with a sense of being real, of being alive. The city of Columbia is as well realized as any game’s world has ever been, perhaps more so considering the inherent aspect of originality throughout it, and the whole universe of Infinite is so well thought out and expertly crafted.

Truth be told, I really wasn’t sold on Infinite’s uniquely colorful visual style when I got to glimpse it in trailers, as I thought the bright colors rather excessively garish. I have to say though that it quickly won me over without a fight when I got to actually experience it in-game. Contrary to my concerns, Columbia’s colorfulness proves to not be ostentatiously distracting like I had feared, but in fact it tastefully bathes everything with a sharp vividness which highlights and enhances the look of the world rather than detracting from it. Realizing this, I saw that the graphics really are astoundingly beautiful, especially on PC, and frequently I was compelled to just stop and marvel at the heavily stylized picturesque scenery. Representing another radical departure from the original Bioshock, which was very dark and murky, Infinite unleashes a vibrant splash of color over every part of its world.

As you’re wandering around the city for the first time, you observe its residents enjoying widespread merriment as Columbia celebrates a religious holiday in honor of its revered leader, Father Comstock. At one point you even encounter a small carnival, presumably erected for the occasion, and it is here where several tutorials are novelly presented as fun little carnival games. So, during this early stage of exploring Columbia you initially see nothing but the smiling faces of happy revelers preoccupied with their frolicking and thanksgiving. Honestly, experiencing this lighthearted atmosphere of merrymaking put me in an appropriately pleasant mood. However, having partaken in the cheeriness and been infected by the populace’s joyous attitude, everything abruptly came to a screeching halt: there’s a very powerful moment where the charming utopia’s facade is let slip and its ugly face unceremoniously reveals itself as you’re forced to decide whether or not to commit a racial hate crime. This startling development really stopped me in my tracks like no game has done in recent memory. You’re supposed to be infiltrating this city and its society, and so you have to decide whether you’ll do this horrible thing to fit in or not. If at this turning point you made the choice I did, you’re confronted with horrific, gorey violence which once again distinctly clashes with the picturesque prettiness you’ve come to associate with the city, and the transition’s juxtaposition is marvelously effective at making the brutality especially visceral and shocking.

In fact, as I progressed through the newly chaotic streets, I noticed racist ideology growing increasingly present in many aspects of Columbia’s society and it soon becomes a running theme throughout the rest of the game. Honestly, I think that the game is laudably fearless in its portrayal of a society primarily, though among many other awful things, born out of institutional racism. Infinite also explores other insidious methodologies for suitably prejudicial indoctrination like the promotion of eugenics, xenophobia, jingoism, et cetera. Adept subtlety is exercised in showing how the people of Columbia have become societally conditioned to fear and hate outsiders of any sort. When I first witnessed the racist propaganda and sentiments rampant throughout Columbia, I was taken aback at how boldly explicit some of them were. Though impressed by how well this aspect was handled, I couldn’t help but think that Infinite may be too ahead of its time in how ready the world at large is for a game to tackle the subject; perhaps lifelong exposure to the venomously scaremongering British press has soured me to the point of cynicism, but tabloid headlines screaming “Sick Game Promotes Racism!” instantly sprang to mind. I, however, applaud Irrational Games for braving the juvenile backlash to include this potentially controversial portrayal of societal racism in their game, and for making the portrayal both tasteful and artful. The developers clearly endeavored to, in some ways, parallel the numerous historical precedents of racist ideology infecting popular opinion and fostering a collective mentality receptive to policies like racial segregation and subjugation. I admire the fact that Irrational Games didn’t shy away from following the inclusion of racist philosophy in Columbia’s society to its inevitable conclusion, no matter how outrageous the depiction may seem to modern sensibilities largely unaware that such moral atrocity is mirrored in parts of the world even today. I definitely wouldn’t go so far as to label Infinite’s depiction of societal racism as a contemporary social commentary, but I certainly think that the people most offended by it will also be the ones who blithely evaluate such an abhorrent state of affairs as more fantastical than not.

There is plenty of genuine social commentary though. At some length, Infinite explores issues relating to religion such as theocratic government, fanatical zealotry, cult of personality, religious intolerance, et cetera. Before the game’s release, I was a little dismayed upon reading that an unnamed developer at Irrational Games had taken such umbrage with the game’s portrayal of religion that he had threatened to resign in protest, and thus the offending element was removed as, presumably, appeasement. Along with this, Ken Levine, the game’s Creative Director, has stated that a relevant character (READ: Comstock) was “highly altered” after input from religious team members. Obviously it’s impossible to know what things were actually changed and for what reasons, and I won’t resort to blind conjecture, but what I will say is that in comparison to how dauntlessly Infinite depicts societal racism, its portrayal of religious tyranny is positively tame and reserved, at times devolving into insipidly perfunctory observations which are as noncommittally devoid of criticism as possible. The game has so much to say about societal racism, and it says it so well, but seems so overly tentative to attract more fearsome and formidable controversy by tackling issues like religious fanaticism with the same tenacious audacity and insight – a great shame, and a missed opportunity, to be sure. Don’t get me wrong, Infinite looks at some issues related to religion with a fair degree of keen awareness, but it just feels rather lacking when held up to the lofty standard that the game sets in other areas.

Infinite also features vaguely social commentary examination of other miscellaneous social topics, like American exceptionalism, nationalism, authoritarianism, revolution by the underclass and proletariat, and several others. The game devotes just the right amount of attention to exploring these auxiliary elements present in different aspects of Columbia’s social philosophy. Just as in its exploration of religion and racism, I was glad that the game doesn’t patronize the player by defining and explaining theses topics before it goes about examining them; if you already fully understand the concepts, you’ll glean a lot of deeper meaning from the in-game representations of them, and if not you’ll only miss out on some non-vital nuances.

Now I’d be remiss if I didn’t talk about Infinite’s protagonist. You play as Booker DeWitt, a disgraced private investigator intent on recovering a woman named Elizabeth from Columbia in order to repay the evidently sizable debts accumulated in his name. The first two Bioshock games featured silent protagonists, and I have to say that it’s a very pleasant departure to finally play as someone with a voice and a personality. Throughout the game, you’re constantly exposed to Booker’s thoughts on a situation via his dialogue with other characters and what he says when talking to himself. I quickly warmed to the character of Booker as I’ve a fondness for the down on his luck, reluctant (anti)hero. Booker doesn’t get as much attention to flesh out his character as his female co-star (or even as much as I’d have really liked) but through his self-deprecating remarks and dry quips, the game slowly builds up a picture of his tortured past and an explanation for his brooding cynicalness. The details of his actual backstory are kept as a closely guarded secret until much later in the game – and for good reason – but the player’s desire to learn more about his motivations and history remains carefully stoked throughout the narrative. Booker’s role in the storytelling relies on the fact that he’s an unreliable narrator, a device used in pretty straightforward and conventional fashion but one which remains gripping nonetheless.

It took longer than I expected (though my slow, exploratory pace may be to blame) to finally encounter Infinite’s much touted female lead, Elizabeth. It was, however, very much worth the wait as she is ultimately the real star of the show. Elizabeth quickly reveals herself to be a superbly well designed, believable and relatable companion to the player in the vein of Alyx from Half-Life 2, and her character is perhaps the game’s greatest (and likely most enduring) triumph. Ultimately, it’s Elizabeth’s excellent animation which really brings her to life: her body language and expressions wordlessly convey so much emotion, and involve such sophisticated animation work. Before long, I really felt a personal connection to Elizabeth’s endearingly innocent character and I actually kind of cared about how she might react to my choices and actions.

More practically, Elizabeth’s effect on gameplay is equally as powerful and effective as her brilliant characterization. As Elizabeth follows you about, she pseudo-dynamically reacts to and interacts with the environment around her; by avoiding unintelligently static behavior Elizabeth helps to reinforce the idea that she isn’t merely present in the world, but is actually experiencing it just as the player is. Thanks to her advanced AI, when Elizabeth trails you during exploration she never obstructively gets in your way but yet somehow always remains at hand by your side, and this is a remarkable achievement in and of itself. Elizabeth is clearly the product of smart design because she’s continually passively contributing to the play experience so that you don’t forget about her when she isn’t outrightly on-screen. A problem often encountered in single player games with an emphasis on exploration is that a sense of stagnant loneliness can set in when wandering around, but Elizabeth continually interacts with the player, via her engaging animation and dialogue, meaning that she helps dispel any sense of solitariness.

Elizabeth also makes herself decidedly helpful during combat gameplay too. Whilst you’re battling away, she offers aid in the form of her ability to manipulate ‘tears’ in the world because they can be selectively wrought open to materialize useful strategic options such as friendly gun turrets or weapon pick-ups. She also periodically tosses you things like ammo or health packs. Availing yourself of these unfair advantages during combat is very gratifying as it often lets you turn the tide of battle instantly and to great effect. You’ll regularly encounter large areas with several distinct pockets of openable tears, allowing for different strategies to be pursued during battles and this open-ended gameplay provides a good measure of empowering freedom.

The chemistry between DeWitt and Elizabeth is simply electric, and spellbindingly engaging. The performances of the two leads is genuinely as good as video game voice acting has ever been. The combination of Elizabeth’s witty pluck and naivety alongside DeWitt’s stoic gruffness and world-weariness makes for a thoroughly entertaining back-and-forth between them, and I simply couldn’t get enough of their scenes together. The way that their relationship progresses is so gradual and it’s handled so cleverly that you really feel like you’re seeing two people reborn during their trial by fire.

Besides the two leads, the game wisely chooses to focus on just a handful of important characters, who become more distinctly memorable as a result, rather than featuring a greater multitude of forgettable characters.

By far my favorite of these supporting characters are the Lutece twins, an ostensibly brother and sister pair who serve as mysterious interlopers that keep inexplicably appearing throughout your travels in the manner of Half-Life 2’s elusive G-Man. It is the Lutece twins’ impossible power to suddenly vanish, cryptic comments and indeterminable motivation which help to cement a tantalizing sense of enigma. The puzzle which the creepy duo present by nature of their very existence in the world brilliantly remains inscrutable until it’s suddenly not. They intrinsically contribute to the excruciatingly gradual revelations concerning the awesome transdimensional subplot. The oddball twins also provide the only voice acting performances which manage to favorably survive comparison to the undeniable excellence that the two leads bring to the table.

Father Comstock is, sadly, simply the prototypical nefarious cult leader, and has little depth to his character. Despite seeming as though he will be one of the game’s most important characters, and thus feature very heavily throughout the narrative, he actually appears relatively little. Somewhat reminiscent of humanity’s exclusively second-hand knowledge of Socrates, you end up learning about Comstock mostly through observing the effect he has on his people and his interactions with them: seeing the shrines to him, hearing prayers unto him, eavesdropping on gossip, uncovering differing accounts as to his character, piecing together his story via circumstantial evidence, et cetera. Ultimately, it eventually emerges that there’s a fairly justified reason why Comstock can’t feature heavily in the game, but I couldn’t help but be disappointed at the scarcity of his screen-time nonetheless as his character is rife with potential for interesting development. So basically Comstock is only nominally Infinite’s main antagonist, and compared to the genius character of Bioshock’s Andrew Ryan he is somewhat of a letdown.

Oddly, the unscrupulous businessman Jeremiah Fink probably features in the game more so than all of the supporting characters besides the Lutece twins and yet he’s actually only tangentially related to the main story. Initially, I thought that Fink looked to be Infinite’s equivalent of Bioshock’s Sander Cohen: insomuch as despite being a supporting character, he’d end up being so strikingly unforgettable that beyond being just notable, he’d arguably actually steal the spotlight from the main villain. This was not to be the case unfortunately. Fink’s character is really just an uninspired exaggeration of the quintessential exploitive industrialist, and after hearing him repeat his tired disingenuous boss routine for the umpteenth time, I couldn’t wait for his share of the limelight to be expended. Even a smidgen of the brilliance of a character like Sander Cohen completely eludes Fink, and I really don’t understand the developers’ ill-considered gambit to feature him so much when he contributes so little.

Daisy Fitzroy is another frustratingly disappointing character. She is the escaped servant girl turned militant leader of the Vox Populi, an underground resistance movement seeking revolution via a violent overthrowing of the despotic theocracy by the maltreated underclass. I can’t actually tell you much else about her because Daisy receives such woefully insufficient screen-time that I was never really able to properly acquaint myself with her character. The concept of Daisy’s vengeful crusade against her oppressors is, again, rather trite but I think it could have been made into something worth paying attention to if only she had more than a handful of appearances to string together into something resembling character exposition. A shame, because with her character being so underdeveloped, a gaping hole is dishearteningly left in the player’s understanding of the otherwise intriguing Vox Populi faction.

Of course, much as Rapture was a key character in Bioshock, Columbia is in Infinite. I fell in love with the world of Columbia much in the same way as I did with Rapture, and I really wasn’t expecting to. The city of Columbia is simply overbrimming with charm and I couldn’t get enough of learning everything about it. The fact that Columbia floats through the clouds is capitalized upon in similarly novel ways as Rapture being underwater, yet the game avoids relying on gimmicks and just lets the idea’s clever execution stand on its own merits. Furthermore, yes, Columbia is essentially just another utopia coming apart at the seams, but Columbia’s downfall feels so distinct from Rapture’s. Crucially, you actually get to see Columbia’s ruination take place, and to take part in it. When you arrive in Rapture, everything had already long ago descended into the abject chaos and disrepair which you encounter, and all you come to know of how Rapture was beforehand is sourced from telling circumstantial evidence or audio diaries with their scant recollections of its former glory. Oppositely, you enter Columbia before it suffers its degeneration into anarchy and bedlam, so you get to see the deterioration happen first hand, even to contribute to the city’s dissolution, and this radically changes the way that you experience and appreciate the resulting dystopian environment.

The game’s actual narrative is deliciously complex and involves several different aspects which, enthrallingly, only become apparent as the story slowly unravels. Looking back at the way that the different strands of the story are interwoven, I can’t help but admire the expert craftsmanship involved in ensuring that it offers both an accessible surface level storyline and a profoundly overarching narrative involving complexly interlinking timelines, along with several varyingly abstruse tiers of storytelling in-between. There are also smaller self-contained vignettes throughout each level conveying essentially unrelated stories as Infinite continues its predecessors’ much lauded precedent of excellent visual storytelling and engaging fictional audio accounts. All things considered, I absolutely adore Infinite’s heartfelt love letter to the art of video game storytelling

Infinite’s heartrending ending absolutely deserves special mention as it is so emotionally powerful that it literally left me speechlessly contemplative for about five minutes afterwards. I was positively stunned and sombre as the credits rolled. I can’t recall a game in recent memory that affected me so much when it finished. The game’s conclusion is like a roller-coaster which switches between poignant revelations and jaw-dropping re-examinations of things you think you already know, and this ride soars along at an impatiently breakneck speed. After being drip-fed a scarce ration of answers throughout the game, you’re suddenly assaulted with so much supremely satisfying disclosure and then given no time to digest each revelation before you’re confronted with another one. Needless to say, this is an emotionally exhausting experience which has no qualms about subjecting your unprepared mind to a veritable deluge of bewildering answers.

The combat gameplay is extremely well-balanced (on Hard) and throughly enjoyable, largely relying on the groundwork put in place by the previous Bioshock games because the utilization of powers (i.e. vigors) and gunplay in creative conjunction is once again emphasized here. The weapon selection is suitably varied, and each gun is satisfying to use, having a strongly defined purpose in combat. Additionally, I loved that certain guns have different versions engineered of them by the dueling factions in Columbia, and this duality of function is very cool to experiment with. Thankfully the moments where you’re forced to fight are sparingly meted out in a balanced ratio to the exploration gameplay so that you don’t feel like you’re constantly having to gun down enemies when you’re just trying to get your bearings in an area and snoop around unmolested. Upon entering certain areas, the game suggests that you needn’t fight if you don’t want to, which presumably implies a stealthy and non-violent strategy is possible, but even though I’ve usually a proclivity to choose sneaking about in games I just couldn’t resist firing that first shot and starting a shootout because the combat is really that fun. Battles can become truly frenetic when you’re flying about on the skylines and opening tears to assist you in your fight literally on the fly. This quick pace means you don’t have time to complacently stand still and consider what you’re going to do next, you just have to embrace spontaneity and hope your instinctual choices suffice. Needless to say, compared to the traditional cover-based shooter paradigm where you habitually get chance to catch your breath and plan your next move when behind cover, this unforgivingly fast combat is initially rather bewildering, but once you get the hang of it it’s really very fun.

It can be a little distracting during combat when you inadvertently pass your reticle over a skyline or an unopened tear and a prompt to attach yourself to it or a preview of its effect appears respectively – this can happen a lot during fast-paced battles and becomes fairly annoyingly in how it needlessly draws the eye.

Personally, I’d have liked a little more variety in the ‘heavy hitters’ you encounter, especially because of the four varieties detailed pre-release only two of them actually reoccur a noticeable amount during normal combat (the motorized patriot and the handyman). It’s also jarringly incongruent with the rest of Infinite’s innovations that these main mini-bosses require only the antiquated ‘dodge/stun them and shoot the weak point’ strategy to topple them. Still, all of the heavy hitters provide a good measure of difficulty when they appear and help to ensure that combat consistently throws diverse challenges your way.

I liked the implementation of Infinite’s ‘gear’, which are equipable garments that provide unique gameplay benefits – although once I found my favorite combination of them I never felt it necessary to try others. The upgrade system for weapons and vigors is a pretty standard affair to be honest, but provides a tangible sense of progression in your in-game effectiveness and ability nonetheless. I found it disheartening that the various vigors you gain throughout the game have largely similar and overlapping functions and they certainly would have benefited from a greater distinction between their purposes. Even after settling on my favorite of them, I actually largely found myself neglecting to use vigors more often than not during battles because the game’s gunplay is satisfying and effective enough on its own most of the time; in response to this neglecting of vigors on my part, the game incessantly reminded me to make use of them, so the designers obviously anticipated this problem.

During exploration in a game like Infinite I’m more than a little OCD about collecting (READ: coveting and hoarding) all of a game’s pick-ups and thoroughly exploring every inch of every area before proceeding. Thankfully, Infinite has a lot to offer someone like me because the game does a great deal to reward diligent foraging. Resource management became largely irrelevant to me as I had such a ridiculous surplus of everything thanks to my exhaustive scavenging.

You can really tell that this game is the product of everything learned from the creation of the first two Bioshock games. The progression from game to game to game is manifestly evident and the designers were clearly not afraid to take everything that was indubitably great in the preceding games, adapt it, improve on it a good deal and then implement it into Infinite. Moreover, past mistakes aren’t retread, previous successes are repeated and, with its additions, yet greater heights are reached with everything else. Yet, in so many key ways, this game is not Bioshock, it is something new, something brilliantly original that shares only a name and a design philosophy with its predecessors.

All in all, Infinite has unequivocally managed to step out of the massive shadow cast by the first Bioshock and resoundingly plant its flag, claiming new ground with the creative innovations it features. Irrational Games has become exceedingly masterful when it comes to making linear story driven games which present a sense of freedom not easily attained in open world games, and that is simply amazing. That the developers chose not to rest on their well established laurels but to dare to try new inventive things with Infinite really inspires within me great hope that the Bioshock series has a bright future ahead of it.

Infinite really presents a momentous masterclass in thoughtful, intelligent game design. I can’t help but think that Irrational Games are currently king of the hill when it comes to characterization and storytelling. Even as a layman to game development, when playing this game I found myself marveling at its excellent craftsmanship and at the fact that it is clearly a labor of love on all accounts. Infinite is a linear experience which guides you through an epic journey with exquisite deftness. So much care and attention has been expended to make playing through Infinite a uniquely special experience and it pays truly substantial dividends.

Really, Infinite provides an important lesson in drilling down to the core of what a game needs to be, and ruthlessly excising as many superfluously half-baked or mediocre elements as possible: Infinite just feels so refined and carefully put together that it has so little detracting excess compared to what it excels at. Every important component of the game feels incredibly well designed and indispensable; it seems like all the individual puzzle pieces which comprise the game as a whole were precisely manufactured as to fit together in sublimely balanced harmony. Perhaps the highest praise that can be offered to Irrational Games is that they ought to be congratulated for making a game which is an unbelievably incredible achievement when considered as more than simply the sum of its parts, yet the game’s parts in combination alone are enough to create something as good as I ever hope to see when playing video games.

Admittedly, the game is definitely not perfect: it does has a few insignificantly small flaws. It must be remembered though that the massive jewels in its crown – the character of Elizabeth, the world of Columbia, the intricate story and the well-balanced core gameplay – completely outshine the detractions to the point where they are only noticeable during the intense scrutiny of critical retrospect. What it really comes down to is the fact that I enjoyed this game so much that, without thinking, I actually smiled ear to ear at times when playing it – something which surprised even me. Playing Infinite is an experience I won’t ever forget as so much of it has been irrevocably imprinted upon my mind. Perhaps all that really needs to be said is that I absolutely adored the wonderful journey it whisked me along, and it is without a doubt one of the best games I have ever played. For me, Bioshock Infinite is a masterpiece of design and storytelling which truly deserves the title of art.


  • The character of Elizabeth is lovingly well crafted, and she strikes that perfect balance between being likable and believable. She has outstanding animation which just brings her to life. Due to her great AI she is also the best player companion to grace video games yet.
  • Columbia is an amazing world to explore, and features some of the best design of any game world I’ve ever seen.
  • The graphics are absolutely gorgeous, and at times present some truly stunning scenes.
  • Infinite’s narrative is amazingly complex, well thought out and executed with impressive storytelling skill.
  • The core gameplay is intuitive and very fun. It also features some impressive innovations.
  • The ending is breathtakingly powerful and left a significant impression upon me.


  • A few of the supporting characters are either somewhat underdeveloped or underutilized.
  • It seems that a couple of gameplay elements lack a small but valuable refinement or the like.

[xrr rating=9.5/10]


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  1. Excellent review, and you spot on nailed the emotion of the ending. I sat dumbfounded watching the credits roll as I tried to reconcile what just happened. An excellent piece of art, and if you hadn’t pointed out the weak side characters I would not have remembered them. But thanks to your pointing them out I know must replay and examine why it is that they are so weak. Damn near a perfect game. Damn near.

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