It's not a V bottom, it's not a U bottom, it's a Nike swoosh recovery - Greg McLenon, Hotovec Pomeranz
THE FIRST BIOSHOCK GAME was lauded as a seminal moment in the gaming world and is still touted as one of this console generation's most interesting game titles.
Putting aside its rocking first person shooter gameplay, this is largely because of its stellar story.
Told entirely from the perspective of an unnamed mystery protagonist, the game introduced us to Rapture, an underwater city built on the Ayn Randian principles of commerce.
The story was great due to its decision-based narrative that constantly challenged the player's character with a series of moral questions that weren't necessarily black and white.
Sadly though the series took a slight misstep when it revisited Rapture in Bioshock 2, a title that merely repackaged rather than redefined the franchise.
Luckily though, Irrational Games, under the leadership of gaming rockstar Ken Levine, has learned from Bioshock 2's mistakes for Bioshock Infinite.
The development team has done an excellent job of taking the best aspects of the first two games and running with them, adding a host of new features that make it feel entirely fresh and unique.
The most obvious change is Bioshock Infinite's setting. Doing away with the ruined, decaying underwater city of Rapture, this episode is set in the fictional flying city Columbia.
This means that despite still running on the Unreal engine, the game has a look that's entirely different than those of the previous titles, replacing the lonely claustrophobic rusting hallways of the first two games with brightly open sunlit cityscapes teaming with life.
We can't praise Irrational's art team enough for their work on Columbia. The city looks amazing and bristles with character, having a retro, steampunk vibe that we simply adore.
For a more in-depth breakdown of the technology powering Bioshock Infinite, check out our interview with Irrational Games' co-founder Ken Levine.
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