In a study of the first hour of Bioshock, there are a variety of elements, both overt and subtle, involved in directing the player throughout the level. As the demo of the game is designed to grab the player’s interest and engagement almost immediately, the game’s use of lighting, composition and enemy placement draw the player throughout. The first few moments of the game is pivotal, and thus warrants a play-by-play analysis, whereas the remainder of this hour will be covered holistically.
The Introduction
The game begins with a cinematic to set the scene, in which the protagonist’s plane crashes into the ocean. Player is granted control as soon as they reach the surface of the water. The orange of the flames contrast the cold blue of the water, as well as a shimmer from a piece of debri up ahead draws the eye towards it. The flames surrounding the player also act as a contextual invisible wall. Moving forward towards this shimmering debri, flames from the left cut off the player from reaching it, the trail of the flames directing the player to the right where they see another landmark – the tail of the sinking plane. As it sinks downwards, the movement is brings a tower into the player’s field of view. Lamp posts and the light from the behind it bring the player to the bottom of the steps, with further lamp posts acting as breadcrumbs for the player to follow.
A large gold door, left ajar, leads the player into the building, as they trace the ray of light that is projected from outside. Upon reaching the end of whatever light is left, the door shuts behind the player, leaving them in pitch black momentarily as the room is illuminated and greeting the player with large monuments and a red banner (the use of red is prevalent throughout). As the player moves forward into the darker, unexplored areas, they are met with further objects ahead illuminating according to walk triggers, such as golden ornaments to draw the eye. Curved stairscases being the player to a gold submersible, again with door left ajar and a glowing handle inside to indicate interaction. Interacting with it triggers a cued response in which the player is sealed within, and the vehicle dives underwater. Movement is locked, and the player is encouraged to look through the window due to the lack of activity in immediate surroundings. The sound of a film projector and the appearance of a screen cues the player to watch a film for the sake of narrative context, before revealing the core location of Rapture to the player.
Again there is the use of movement to lead the eye around the world, this time done through marine life such as squids and whales. Neon signs foreshadow the locations that are going to be visited later. Before exiting the submersible, a quick scene is played out in front of the player. No action can be taken, apart from watching silhouettes contrasted strongly against a lit window for dramatic effect and mystery. Dialogue and the glow of the radio to the player’s left cues them to finally open the door and leave the submersible and into the remainder of the game.
Getting to the Action
For much of the game, the use of lighting and movement are used to lead the player through each room. The first of the Vita-Chambers (which act as checkpoints throughout the game) gives off a pulsing, electric blue glow and allows the player to examine it in a safe environment.
The mise-en-scene surrounding the player, such as the protest signs and abandoned luggage immediately upon exiting the submersible, emphasise to the player that something that gone wrong long before (in case the player hadn’t noticed already from the enemy Splicer killing a man in front of them). A transport schedule with all trips reading ‘CANCELLED’ adds to this.
The use of spotlights at several points throughout the game also explicitly point out key areas of interest for the player, blacking out most other regions for emphasis. The first is used at the area directly before leaving the safe zone, as well as foreshadowing the Splicer and Drone to the player momentarily. It also brings attention to the first weapon – a wrench – and indicates to the player on how to attack and crouch, ensuring that they are prepared for the hostilies ahead. Another spotlight is used in the theatre, introducing the first Little Sister as the player must look downwards while navigating the catwalk above.
Even a hierarchy of lighting is utilised in the world. Levels are typically quite low-lit, with the smaller, brighter lit areas serving as signposting from room to room. Consumable items are often indicated by a subtler but flickering light from a lamp, creating some visibility without entirely taking too much attention away from the actual level progression. Sometimes the game points things out rather explicitly, using neon signs and arrows to point the way for the player.
Movement is often used to lead the player to particular areas. Waterfalls are liberally used both as context and as means of identifying adjoining hallways and entrances. Enemies running towards the player from particular areas serve a similar function in a more urgent manner, also providing sources of gameplay action.
The composition of each room itself is used to this effect. A large hall adorned with banners has its symmetry broken up by the inclusion of a small flame seen through a window on one side, bringing attention to it as a point of interest.
This has just been a quick rundown of the most obvious ways that Bioshock guides its players through the first hour of gameplay. Have you noticed anything else that I haven’t mentioned yet? I’m bound to have missed a few!
Stay tuned for another analysis of game levels, coming soon!