Bioshock Infinite - 'The Ending' Discussion Thread (Spoilers Spoilers Spoilers!)

Burning Eclipse wrote: »

I'm really glad you brought that up, not enough people are talking about this aspect of the game imo.

I don't many gamers or publications will be willing to delve into the thematic core of what the game represents, TBH - I certainly think it's the rare game that renders traditional reviewing techniques largely redundant. Sure, the 'as is' sci-fi plot is servicable and distracting on its own terms, but it's there to explore very big ideas - the type games very, very rarely explore. This is a game of great subtlety alongside its more literal readings. The 'bird and cage' pendant can be read on many levels IMO - as symbols of freedom (bird) and oppression (cage) they're incredibly apt representations of the philosophical questions successfully explored in later chapters. It's a subtle choice but one that resonates throughout the story as we witness characters fighting battles of free will in opposition with restrictive forces both external and personal. It may seem like an arbitrary flourish at the time, but that simple a or b choice really is a much richer thematic one than any of Bioshock's 'Save or Harvest' the Little Sister decisions. The weight of those decisions ultimately amounted to little more than an unsatisfactory selection of endings. It's possible that Levine at the time was attempting to articulate many of the ideas much more fruitfully explored in the sequel but didn't quite get there (or at least got there inconsistently, with successful thematic experiments like the Atlas character proving awkward bedfellows with the lazy endings).

That scene where Booker is forced to hand over baby Elizabeth is incredibly poignant as the choice is already determined and inevitable - and we feel that because it's entirely out of our control. The ending wonders if granded the opportunity to change decisions, would it even be possible? It's a game that uses the lack of player control as a strong narrative asset rather than a cheap attempt at aping cinema. The closest gaming equivalent I can think of is the ending of Half Life 2 Episode 2 when for the first time in the series you're held in place and unable to do anything. As you say, Mass Effect 3 for all the wrong reasons illuminates the restrictions of supposed player authorship - Bioshock Infinite does so in a much more active and positive way.

There's been quite a few complaints about the combat too. Whatever about the mechanics themselves - which I mostly found engrossing with a few exceptions (frustrating respawn loops, bullet sponge enemies etc...) - this is one game that absolutely justifies its heavy emphasis on player-controlled violence. As I mentioned above, every action Booker takes is defined by his violent past - something he finds impossible to escape, and instead gets drawn into this cycle of destruction again and again (an emotion we as gamers may find far too easy to empathise with). Elizabeth is constantly questioning his actions, but the responses are always ones of weary resignation. In a way, even as he tries to protect this morally righteous soul, he's leading her down a dangerous path in which she's more or less forced to become an active agent in the violence. Is 'hero' Booker really any better than 'evil' Comstock (?) Booker? Again, I think Levine's admirable aim here is to raise a lot of fascinating questions rather than bluntly answer them.

There's a lot of fascinating discussions the game provokes, may even need to play through sections again to really articulate some of my other thoughts on it!

hightower1 wrote: »

The graphics, controls and story were only so so.
The story felt like it was trying to build to a very cool and immensely clever twist but failed miserably. Worse still by the drawn out end sequence punctuated by an abrupt black out which almost felt like the writers actually thought the ending actually WAS clever or interesting?!

Not going to argue with your mixed response to the game, but I can't agree the cut to black was abrupt. Thought it was a beautifully timed moment to cut to credits on. It not only coincided perfectly with the events on screen - the various Elizabeths disappearing, almost rhythmically - but also provided a definitive, appropriate end that also left just the right amount of cheeky mystery. I accidentally skipped the credits, but to be honest I'm glad I missed the post credit epilogue - the main ending was as good a note to end on as any.

Indeed, it left me thinking how so few games have managed to utilise good old fade or cuts to black effectively. Couldn't count the amount of games that drag on in the concluding sections, or alternative preemptively finish up with a lousy whimper. The Infinite ending left me with that strong sense of finality (ironic given the subject matter of that final stretch) that a great film ending leaves you with - one that lingers in the mind and yet still feels immensely satisfying.