![]() “Constants…” “And variables.” It reads like characters following cues, not having an actual exchange of ideas. The rhythm of conversation is formal and unconvincing. Still, it’s full of “profound” writing that sounds cool but doesn’t actually communicate much or scan well as interesting prose. Consider this scene, from the ending to the game: But on a low level, the writing is functional but unremarkable. And it has a complex twisty storyline involving parallel worlds and surprise identities. It’s got a charming naif in the form of Elizabeth. Infinite is lauded for its interesting setting: a city above the clouds tainted by American nationalism and racism. Let’s look at Bioshock Infinite, a game which received numerous “Best Story” awards in 2013 1. ![]() Stories are usually distinguished by an interesting setting and by the “twists” that happen along the way. A hero is uniquely equipped to defeat that threat. A clear and literal threat exists, usually threatening all of society. Video games are obsessed with high concept. Well-written prose, however, might have totally mundane events it is the way in which they are communicated that distinguishes the quality of the writing. “Good writing” in games typically means that the sequence of events in the game are interesting when summarized. When we talk about good writing in video games, we usually mean something different than when we talk about it in prose. The credit for this success belongs to various factors-the expressive visual art, the excellent voice acting, and the well-polished rule systems-but more than anything, it’s thanks to the excellent writing. That is to say that, beyond the things that appeal to my personal preferences (alternate history, cool sci-fi, a diverse cast, a dark tone, a considered pace) it shows great skill in how it executes what it sets out to do. Instead, this game is one of the best I’ve played. Blazkowicz as a recovered locked-in veteran, would only be good for a few hot takes and maybe some mediocre shooting with nose firmly held. ![]() If you’d asked me before release, I’d have predicted that the ninth game in a franchise, an alternate-history game set in the 1960s where the Nazis won World War II, featuring B.J. Wolfenstein: The New Order, developed by MachineGames and published by Bethesda, should have been awful.
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