I wrote this piece for the Geek Guide that's coming out in a few weeks for the PSU Vanguard. I was particularly proud of it and I think it explains a lot.
Enjoy.
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I
never thought that I would call myself a gamer.
The word ‘gamer’ just holds so many connotations that, especially through
my high school years enduring countless hours of listening in on various conversations
about World of Warcraft and Final Fantasy XI, gave me the impression
that gamers were none more than pimply males who sat in front of their
computers for days at a time while all but forgetting what the outside world
looked like. Boy, was I wrong.
While
I am not myself a computer gamer, I was lost on next gen console gaming when
these innovations first hit stores. I
was a purist, focused only on the classics.
The first game I ever owned was Galaga
for my giant red brick of a Game Boy. I
eventually moved on to a Super Nintendo, a Sega Genesis, and finally in 1996—a Sony
Playstation. Sure, we had a Playstation
2 when it first came out. But something
just felt lost. No game held the same
magic for me as the first time I turned on Resident
Evil or Silent Hill. Innumerable sequels emerged as I was stuck on
these first few handfuls of games. Crash Bandicoot was great, but it was no
Sonic the Hedgehog. I felt, at this point, that no other games
could satisfy my appetites.
Fast
forward to 2012. My boyfriend and I
finally accepted an Xbox 360 into our home and my previous convictions about
gaming were entirely erased. We got a
great deal on the console itself—free—and we were able to pick up a handful of
games for right around 30 bucks, BioShock
being one of those introductory games.
After my first trip in the Bathysphere and an opening glance at the
underwater city of Rapture’s skyline, it became abundantly clear that there was
something big that I was missing out on.
I
have never had a game pull on my heartstrings quite as much as the first BioShock. After delving into the secrets of Rapture,
fighting off Big Daddies, and rescuing Little Sisters; I found myself looking
for more. Shortly after the completion
of that game, I was on to Fallout 3
and Fallout: New Vegas, my first real
attempt at modern day RPGs. I never
tired of scouring the post-apocalyptic wastelands of Washington DC and Las
Vegas for bobble heads and new weapons, meeting ghouls and innumerable super
mutants along the way. Their stories,
their lives—it was all emanated as if I were watching a movie, emotionally
invested every step of the way. I was
introduced to Borderlands and grew
excited each and every time I had the opportunity to meet a new Claptrap or
find new elemental weapons in the crates of the planet Pandora to add to my
arsenal. And then something else
happened.
On
March 26 a game came out that ruined games for me forever. BioShock:
Infinite, the long awaited follow-up to BioShock
changed everything. Through story, the
most interactive artificial intelligence introduced in gaming to date, and
concepts like quantum physics that I am still trying to wrap my head around—BioShock: Infinite is truly a triumph in
gaming.
Taking
place in 1912 in the floating sky city of Columbia, BioShock: Infinite courses the player through ideas based around
American Exceptionalism, racism, religion, rebellion, quantum physics, and
anarchy. While politics paired with an
epic rescue mission of ‘damsel in distress’ Elizabeth are the main themes of
the story, the innovative combat and gameplay should not go unnoticed.
The
player takes control of Booker DeWitt, equipped with a ‘sky hook’ to make use
of the city’s skylines as a means of travel.
DeWitt’s only melee weapon, the sky hook makes for gruesome and exciting
gameplay in which no other game I have played compares. Different from the previous BioShock games, DeWitt is only afforded
the ability to carry two weapons while two Vigors (powers much akin to the
Plasmids from the first two BioShock games) can be equipped and toggled between
at any time. From the first
awe-inspiring view of Columbia that the player gets to the last few moments of
the game, I could not pull myself away and upon completion, I had to pry my jaw
from the floor.
Games
like BioShock: Infinite are what make
me proud to be a gamer. Many critics
argue that video games do not hold the capacity to be even remotely considered
as art forms. Someone had to think up a
floating city with windows into alternate timeframes. Someone had to think up what a
post-apocalyptic Washington DC would look and feel like. And someone had to be proud enough to filter
these concepts into the hands of gamers everywhere.
As
I sit around with my friends and make jokes about how buggy Bethesda games are
and compare Borderlands weapon
inventories with my friends on Xbox Live, I am not ashamed. I have found art where others have found
none, and to me—that is what it means to be a gamer.