Abstract
Released in 2013, BioShock: Infinite is a blockbuster first-person shooter which explores topics of American nationalism and religion. This article examines how religion is represented within the game and how motifs from American religious history are used to construct its game world. After an overview of the game’s production process and a literature review, several specific religious and historical motifs are discussed. Through a dissection of the aesthetic and narrative dimensions of the game, the article analyzes elements of religious history from which the developers of Infinite drew their inspiration, such as the biblical motif of Exodus or the still-popular concept of millennialism. The analysis shows how the game uses familiar but simultaneously transformed American imagery, such as a religiously legitimated American Exceptionalism in which George Washington, Thomas Jefferson, and Benjamin Franklin are worshiped as saintly figures. Infinite plays with popular notions of evangelical religion, mixed with themes related to so-called dangerous cults and sects. In this construction, Infinite strangely vacillates between a biting liberal caricature of religiously fueled nationalism and a nod to widespread moderate mainstream values in which unusual religious movements are negatively portrayed. The article argues that a critique of a mainstream religious movement such as evangelical Christianity is not possible for a multi-billion-dollar industry which is wary of critical topics that may potentially estrange its broad consumer base. In such instances, critique can only be applied to forms of religion that are already viewed as strange by the popular discourse.
Highlights
IntroductionBioShock: Infinite (short: Infinite) is the third installment of an economically and critically successful video game series
BioShock: Infinite is the third installment of an economically and critically successful video game series
The leading of a people towards a utopian place by means of a prophetic figure against the backdrop of American history, as it is depicted in the glass painting of the prophet Comstock, precisely conjures associations with popular conceptions of the mythical American past of the first colonies
Summary
BioShock: Infinite (short: Infinite) is the third installment of an economically and critically successful video game series. The second installment of the series, BioShock 2, presented similar themes as its predecessor; failed to merit the level of praise accorded to the first game This can be partially attributed to the development of BioShock 2 by 2K Marin, a different studio that which produced the first game; the game’s production did not involve Ken Levine. This article tackles the question of how the game is positioned in the broader discussion about potential for religious critique It explores how Infinite depicts themes from different religious backgrounds, critiquing certain religious movements, as well as how the designers of a multi-billion-dollar entertainment product use the critique of religion for the benefit of their product. The paper concludes with thoughts about why it is crucial for a multi-million-dollar project like Infinite to avoid any critique of mainstream religion, as the members of such are a possible and hoped-for target audience
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