|a game by||2K Australia Pty. Ltd, 2K Boston, Inc|
|Platforms:||XBox 360, PC|
|Editor Rating:||8.5/10, based on 3 reviews, 4 reviews are shown|
|User Rating:||8.0/10 - 1 vote|
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Ken Levine, Among many other achievements the creator of System Shock 2, is in front of me leaping around and stabbing imaginary corpses with imaginary syringes. I meanwhile, nod and take notes. He is, of course, demonstrating the finer points of Bioshock's AI system -aping the gesticulations of his terrifying stem cell harvesting pre-teens with worrying aplomb.
However, coming from the man who's worked on outstanding games like Thief, Freedom Force, Tribes: Vengeance, SWAT 4 and of course, System Shock 2, this eccentric behaviour is acceptable. And with the System Shock 2 licence dissected into a squillion pieces and scattered across the globe like glittery fragments of the dreams of sci-fi nerds everywhere, we're quite prepared to engrave Ken Levine's name into our foreheads - or at least write it in pen all down one arm - for deciding to create Bioshock, the spiritual successor to the classic first-person RPG. In the darkened conference room in Boston, in front of a massive HDTV displaying Bioshock's pause menu, Ken Levine, Irrational Games' lead designer, composes himself and takes a seat "The focus is to create a world that we draw the player into as deeply as possible," he begins, "even deeper than in System Shock 2.
What we're trying to do primarily is put the choice and the power in the player's hands and give him, in the classic Spiderman sense, that great power and that great responsibility. "The main burden of that in a game like Bioshock is building a world that's believable for the gamer, that feels like a real place, and that doesn't feel like a ride at Disneyworld with pop-up ghosts. We want Rapture to feel like a place that they can explore and have react to them in a believable fashion."
Already Rapture, the city in which Bioshock is set is beginning to sound enticing, and squinting at the menu screen reveals the vague outline of neon signsand tiled floors in the background. I shift about in my seat a bit and start to worry that I may need a pee.
Levine continues: "The world we're talking about is an underwater failed utopia When you start the game, you wake up in the middle of the ocean underwater. We haven't told the player anything, the same way as when you woke up this morning there was no extensive cut-scene which told you who you are or what you're doing.
"You swim to the surface, you see debris sinking past you and realise you've been in some kind of plane crash. When you come to the surface of the ocean, and this is all interactive, the very surface of the water is on fire and there are suitcases and luggage scattered all over. You see this strange structure, almost like a lighthouse sitting in the middle of tire ocean. You swim to it and inside this lighthouse is a sort of art-deco bathysphere, a big globe device that's designed to bring people under the ocean, like a mini-submarine So you get in this device and it brings you down to the bottom of the ocean, and as you're descending through the water you see the city of Rapture."
Check Under The Sea
The more Levine speaks, the more questions he creates. Rapture is, as he said, an underwater failed utopia, built by an ex-soviet named Andrew Ryan in 1946 for the world's cultural elite, the best and the brightest of humanity - artists, painters, scientists, athletes. "Ryan wants to create a society where the best people can do their best work unconstrained by government unconstrained by religions, unconstrained by, as he puts it bullshit notions of altruism," continues Levine.
"Unlike what you might see in a movie like The Abyss, they're not going to build a little space station underwater, f... that They're going to build a utopian, unbelievably gorgeous city utilising the finest architectural techniques of the time, and it's not going to be steel and steam, it's going to be wood and marble. And under the ocean? Well f... the ocean, that's their attitude."
Of course, a bunch of smart blokes in a bubble does not a good game make, so in ' typical fashion everything falls to pieces when a stem cell-generating sea slug dubbed 'Adam' is discovered by a man named Fontaine. With the ability to modify bodies to become thinner, better looking, smarter or faster, Adam quickly becomes the currency of Rapture. Fontaine upsets the delicate balance of power in the capitalist society - the player arrives in the early '60s, to find the place ruined.
"This conflict develops between these two very powerful men and eventually it tears Rapture apart" explains Levine, "but not before people start using Adam to change their biology as the conflict becomes more physical and violent People start enhancing themselves to engage in this conflict You come down after this war has happened. Much like System Shock 2, part of the experience of Bioshock is learning about what happened in Rapture, putting the pieces together."
Finally, Levine turns to the mammoth screen and begins to show us exactly what the bizarre storyline has culminated in. As the pause menu disappears, a first-person view of a small, dark street fades into view. First impressions are great and even though its very early code on display, Bioshock is looking fantastic, a heavily modified Unreal Engine 3 rendering the art deco surroundings in beautiful detail.
"The weapons are cobbled together with household items," explains Levine, pointing at the odd-looking pistol on-screen. "The ammo feed is made from a tomato tin and there's a model airplane engine to power the automatic chamber. Weapons are modifiable too - the weapons system alone is more complex and deeper than in any other FPS."
It makes sense too - you wouldn't find conventional weaponry in an isolated utopian society. As Levine presses onwards he comes across a rotating machine-gun turret made using a gun and an office chair. Little touches like this attempt to flesh out the world Irrational are so keen to convey in Bioshock, and it seems to work.
Mr & Mrs Angry
Apart from mechanical furniture, what kind of enemies can we expect to encounter in Rapture? "One of the most traditional enemies in Rapture are the Aggressors," explains Levine. "These are people in the world who've mutated, they've taken on mutations just to survive and had to change their bodies a lot The interesting thing about them is they're not necessarily thrilled to be these hideous creatures - they're aware of what they are. You see these guys, men and women in period clothing, who've taken these drugs to change their bodies but their faces have changed horribly."
Various pieces of artwork are placed on the conference room table. A woman in a green dress with a mane of red hair, wearing a mask and wielding two hooks, for instance. "The real violence in Rapture started in 1959, on New Year's Eve," states Levine. "Some people use a party mask to cover their faces because they're aware of what they look like now." Creepy, but it gets creepier.
"Any of these guys can use any of the weapons in the game. This woman, she's now equipped to be what we call a 'ceiling crawler'. That's a class of creature that can jump up to the ceiling and climb all over it to attack the player." Bioshock's answer to the Midwives from System Shock 2? We can only hope. Later in the day, I spot a whiteboard in Levine's office with various phrases hastily jotted down. Tilings like, 'What have I done?! What have I done?!' and 'I don't remember my name'. None of which might be pant-shittingly terrifying when scrawled on a whiteboard in chunky blue marker, but if you've played System Shock 2, you know how a few sound samples can turn a regular enemy into something far more fundamentally disturbing. Bioshock will carry tin's same sort of atmosphere, with traumatised and deluded civilians screaming about everyday things such as their eternal, everlasting pain.
Where the game really gets interesting however is with the inclusion of great hulking beasts called Protectors, and more importantly the very thing they protect -small (and inherently scary) children called Gatherers. "We wanted to have intelligences in the world who weren't necessarily your enemies but maybe gave you some interesting moral choices," muses Levine.
"We thought it would be cool to have creatures going about and doing their business. Not like civilians in GTA where you can pretty much ignore them, but creatures which had something you really needed. We came up with the notion of the Protector and the Gatherer."
To Protect And Serve
"In Rapture, the only way to get Adam is to recycle it from dead bodies," continues Levine. "What's more, the only ones who can do this are the Gatherers. You'll see the big Protector and the little girl walking around, and they don't bother you if you don't bother them. The little girl carries this long syringe device, and there are bodies scattered throughout the world.
"We don't script this either. She'll wander around and find a dead body, before calling to her Protector to follow her. Then she'll kneel down, put this syringe in the body and extract the Adam. The only way she can process and recycle this Adam is through her own body, so she drinks the stuff, and you can watch all this happening. As you play, you leam about how these kids came about and how they were exploited."
Clearly, Rapture isn't a nice place, but it does pose some interesting moral decisions, as Levine confirms. "You now have a choice to make in the world. There are people who encourage you and reward you for getting through the game without ever harmfully interacting with the Gatherers - as I said, if you don't bother them they don't bother you. And let me tell you, the Protectors they're with? They're tough cookies. They're some of the toughest monsters in the game. But the reward for taking the Adam from the Gatherers is quite high - it means a lot of resources for you. So we're going to give you a real moral choice to make - is this something you're willing to participate in?"
Indeed, the idea of blasting a hole in a child's face, even a virtual child's face, to retrieve their stem cells and upgrade your body is slightly unnerving. I shift in my seat again, but for different reasons this time. There aren't many games which place these kinds of decisions in the hands of the person at the keyboard, even fewer which make those decisions so central to the gameplay.
It's not just a matter of whether or not to kill a child though - there are a few alternative ways of acquiring the precious Adam. Without a Protector "atherer will attempt to run away, but corner one and threaten her and she'll give you some Adam. Similarly, you can befriend a Gatherer and receive even more Adam. Of course, if you want all the Adam, you need to put your child-murdering hat on and go hunting.
"The important thing about AI to me," continues Levine, "is not tliat monsters are performing cool tactics. Rather, tliat they're creating a believable world in which people are motivated by meaningful things and allowing you to observe these behaviours, and most importantly have the ability to interact with these behaviours. We want a world where there's an actual ecology going on. We want a relationship between all the different players in the world including you.
And more importantly, we want ways for you to interact with that ecology, have an impact on that ecology and be affected by it in ways you can plan and ways you can't". And that's precisely where Bioshock differs from System Shock 2. With open-ended areas and a compelling world, a rich back-story waiting to be told and the sort of emergent gameplay mentality you find in sandbox games such as Oblivion (with a first-person RPG you just knew that reference was coming), Bioshock will be something very special indeed. It's a game that in everything but name, we've been praying might happen for a long time - and a game that will 'spiritually' give the System Shock series the full recognition it deserves.
Ken Levine, president of developer Irrational Games, is a big fan of utopias...and destroying them. "As a kid, I was obsessed with 1984 and Logan's Run" he says. "I love exploring what happens when good ideas fall apart" Thaft exactly what goes down in BioShock, a first-person adventure in which you'll head underwater to the failed 1940s utopia dubbed Rapture. "This world is self-contained," says Levine. "It has its own products, its own culture, its own movies...even its own advertising." Adding to this backdrop's freak meter are its inhabitants (who are all hopped up on genetically altering substances) and how they really won't get in your face unless you get in theirs first "Rapture is populated with real entities who do their own thing. They have their own goals," says Levine. "Take the Big Daddies and Little Sisters: All they care about is harvesting genetic material from corpses. If you don't get i n their way, they won't bother you. Live and let live. But if you mess with them--watch out The Big Daddies aren't the forgiving type."
"TODAY WE'RE GOING TO SET UP A DEFENSIVE PERIMETER,"
Says Ken Levine, and we're instantly grateful for two things. One, that he's the president and creative director of a game company and not, say, prepping us for a frazzling day in mall security. And, two, that Levine and his studio, Boston-based Irrational Games, are famous for PC titles (such as System Shock II and Freedom Force) that give players the freedom to be who they wanna be.
So we're going to assume that setting up a perimeter in BioShock, Irrational's first made-for-console game, will be fathoms more interesting than doing it in many other first-person shooters. Due on Xbox 360 August 21--and, we expect, the PS3 eventually--BioShock is an under-the-sea adventure bulging at the bulkheads with customizable powers and weapons, smart and motivated enemies, and torturous moral choices that involve killing what appear to be 8 year olds. Other sunken pleasures: the occasional flaming teddy bear and a camera to capture all the high-minded carnage and research new killing skills.
Trip wires? Check. Telekinetic tornado-generating doodad? Got it. Helpful hovering machine-gun drone? Got two of those. And with that we're braced to build our security perimeter, seconds away from an onslaught of genetically jacked-up enemies known as Splicers blow-torching through the steel hatch in front of us. However this encounter plays out--and we'll get to that later--we know we can replay it daily and never see the same scenario.
"I've always loved games where it's never the same experience for you and for your friends," says Levine, "where the game empowers the player to drive the process and make epic decisions. We try to make it so there are five different ways to do everything. There are so many stimuli in Bioshock's world, so many things that do cool s***."
All this "cool s***" has lured a formidable following to BioShock, especially for a new franchise. Few games, after all, have a fan base as frothed, where the most common message-board worry is--yikes!--what if BioShock is too short? (Levine predicts a 25-hour playthrough for aquanauts who take a holiday pace.) Today we're going leagues deeper than anyone has yet ventured into the game's world, playing levels for the first time and experimenting with never-before-revealed weapons, powers, and strategies. If you're not yet in the cult, we've got your Kool-Aid. BioShock begins in 1960 with your character adrift in the North Atlantic after a plane crash. "Keep that airplane tail in mind--you might see it again," Levine says as we watch the mangled fuselage sink to Davy Jones. We have only one way to swim through the flaming plane fuel: toward a lighthouse towering above the whitecaps. Inside we find a bathysphere that carries us down to "a city where the artist would not be censored, where the scientist would not be bound by petty morality, where the great would not be constrained by the small," claims the narrator of the bathysphere's propaganda film that plays as the fathoms tick away.
Buildings loom up from the abyssal gloom, connected by Habitrails of pressure-proof glass that span neon-lit boulevards patrolled by sonorous blue whales and other life aquatic. This is the city of Rapture. It's a name with significance for the religious as well as for scuba divers, who worry that dallying too long at depth will bring on a drunken mental fog known as "rapture of the deep." We know the feeling when we exit the bathysphere and begin our first tentative explorations. Something very bad has gone down in this dimly lit underwater town. The Art Deco decor--all streamlined industrial design and terrazzo floors and rich woods tinged with the functional contraptions of a Jules Veme submarine--has degenerated into moldering opulence. Tables are overturned. Libraries have been ransacked. Blood stains walls. Bing Crosby and Billie Holiday croon from tinny speakers and gramophones. "I love the feeling of a place trapped in time," says Levine, who composed one of the game's tunes and consulted his pop for oldie music worth licensing. ("That's BioShock's target audience," he jokes, "people in their 70s and 80s.") Mingled with the music: a constant drip, drip, drip. The sea is reclaiming this city, leaking through buckled bulkheads and pooling on cracked floors. If BioShock supported Smell-O-Vision, think grandma's attic crossed with a tropical-fish store's Dumpster.
"We didn't want a modem-day city because we'd have to use artificial barriers to limit where players can go," says Levine, walking us through the design process that led to BioShock's sea-based setting. "Rapture is more natural. You can't, say, take a plane to fly somewhere else. And we're nerdy enough to care how the city works. You'll find [out] how the city's powered, how they get their oxygen--and it all factors into the gameplay."
the buildings and regions you saw on the bathysphere ride down. "The levels are pretty sprawling--lots of nooks and crannies," says Levine. "It's not one long corridor like in most first-person shooters." You can revisit any areas you've already seen, with very little load time between them, but the game never forces you to retrace your steps with backtracking missions. "Generally, the game-play flow is on the level you're on," says Levine, although he adds that previous levels house caches and other goodies worth hunting for. "Our attitude is let the gamer tell us how much they want to backtrack rather than us dictating it."
Not far into Rapture's first area, however, we reach a point of no return. Walking through one of the glass tunnels that connect the city's structures, we look up to see the airplane tail section tumbling through the cobalt murk. It collides with the tunnel. Millions of gallons of seawater pour through the shattered glass. Wading through frigid H2O that looks too real (Irrational has an artist working solely on water effects), we barely make it through the exit hatch at the end of the tunnel. We're cut off. We can't go back. Our only choice is to head deeper into Rapture.
"Look, this is an M-rated game," says Levine. "We wouldn't be having this conversation if we were making a movie." The conversation in question follows our first encounter with a Big Daddy about two hours later in the game. These eyes-on-high-beam, pressure-suited monstrosities have become iconic of BioShock and are a linchpin of its labyrinthine plot--and not just because you're supposed to seek out and take down three in each section of Rapture. Each Big Daddy protects one of the Little Sisters, gaunt 8-year-old girls who pop out of hatches to scour areas for corpses. The girls aren't what they seem. They've been genetically engineered by one of Rapture's residents to drink the blood of the dead and convert it to Adam, stem-cell goo that fuels all superpowers in Rapture.
You want Adam; acquiring it is at the heart of your character-customization options. But here's the tricky part: Once you take down a Big Daddy (no small feat, which we detail on page 75), you can opt to either "save" the Little Sister and get a wee bit of Adam or "harvest" her and get the maximum amount. What happens when you harvest her? Well, you figure it out. Your hand pulls the whimpering girl offscreen, you hear some squishy noises, and when your fist reappears it's holding organic material and the Little Sister is gone.
Seeing this, it's easy to imagine backlash from the mainstream media, maybe a Fox News story about a new game that lets you kill little girls--never mind that the Little Sisters aren't exactly human. Levine says it's a risk he's willing to take to create a compelling experience. "We're making a game where the theme is the exploitation of people," he says. "You have to show that exploitation or there's no choice to make here." The team's big challenge, he explains, was to go only so far with the graphical presentation of harvesting. There's a reason you don't see it actually happening onscreen. "We did it basically so you crossed the threshold of information so the player understood what was happening, but no more," says Levine. "You don't need to show anything else and you shouldn't show anything else, because we're not going for a prurient thrill here. You can't shoot the little girls. You can't hurt them in any way, except in that moment when you're given the choice to harvest them."
Don't assume that choosing to harvest the Little Sisters rather than save them sends you down some irreversible path in BioShock. Much of the game's rich story (which we've left vague to avoid spoiling) has you tom between two characters, Atlas and Tenenbaum, who harass you regularly on your radio. Atlas' family is trapped in Rapture, and he wants you to harvest all the Adam you can find so you can soup up your powers and rescue them. Tenenbaum, on the other hand, is a former Nazi scientist who created the Little Sisters and wants you to save them. "So all of a sudden you're like, ‘Wait a minute...who do I listen to here?'" says Levine. "Atlas is telling me these aren't little girls anymore, and that his wife and child will die unless you power up your character. Tenenbaum, meanwhile, begs you to not hurt her children. What we're trying to do is not have a white hat and a black hat, not have an angel and a devil, but have it be ambiguous, which is that much truer to life."
Depending on what kind of hero you want to create, you can focus on saving all the Little Sisters or harvesting them, or mixing and matching. If all you care about is building the maximum roster of superpowers, harvest all the Little Sisters you find to get all their Adam. (Levine didn't want to spoil how saving Little Sisters instead of harvesting them affects your character, although we know you run into the girls later in the game.) In BioShock's capitalistic character-development market, you spend Adam at special machines called Gatherers' Gardens to buy different plasmids, body modifications that grant powers. You'll find plasmids that let you unleash telekinesis, fireballs, freeze rays, Splicer-stunning electrical jolts, and swarms of insects. Some plasmids turn enemies against each other (really the safest way to take down Big Daddies). Others make them appear hostile to automated turrets and security cameras, which will send out flying robot drones armed with machine guns.
In addition to the plasmids, you'll find passive character-tweaking substances called gene tonics. These do everything from boosting health to granting semi-invisibility to causing more damage when you melee-attack Splicers from behind. Some increase your hacking skills--yet another subset of BioShock's seemingly limitless character abilities. Via a block-shifting minigame that feels straight from PopCap.com, you can hack any contraption in Rapture, including vending machines (for lower prices on health and plasmid fuel), security bots (which hover near you and blast enemies), and medical stations (which will poison Splicers who try to use them for health). BioShock even has its own invention mechanic that lets you build custom plasmids and pimp out your guns. Each of the six weapon types has two customization slots, as well as a magazine for homebrew ammo. You can increase the rate of fire of your shotgun, for instance, or alter the grenade launcher so that its rounds don't damage you when you blast point-blank enemies.
If all this talk of Adam and plasmids and gene tonics and hacking makes the prospect of character building in BioShock sound dizzying--especially since you must find specialized machines to tinker with every aspect of your hero--Levine is unapologetic. "I do not deny that this is a game with a lot of cool stuff in it," he says. "Think about a game like Zekia: If you were to pick it up at the end and try to figure out what's going on, you'd be totally lost. But they give you things steadily, and we follow that model."
That brings us back to where we started, taking stock of our powers, guns, and ammo to build a defensive perimeter against the encroaching Splicers. The only factor left to consider: the environment. Rapture's world works just like your own. Water conducts electricity. Objects and substances that logically seem flammable--oil slicks, books, stuffed animals, enemies--will bum. It makes for anything-goes gameplay that has the BioShock quality-assurance testers inventing impromptu attack strategies daily.
This is a shooter you play on your terms. "It's like a game of roving boss battles," says Levine. "You decide where to fight Splicers and Big Daddies in a level. You set up the ambush. You hack the security. You manipulate the A.I.S. The theme again is that everything is a weapon."
Far be it from us to tell you how to use these weapons. The Splicers are nearly done blowtorching through the door. This fight is all you.
BioShock's enemies think before they shoot
"Our enemies don't just sit around waiting for the player to show up with a pistol," says Irrational's Ken Levine. Indeed. BioShock's adversaries, called Splicers, have lives of their own. They wander Rapture, nosing around dead bodies, vending machines, and locked doors, looking for life-giving Adam (more on that later). They'll also react to the sounds you make--you'll need to be stealthy if you're not ready for a fight. And they start in different places each time you play, making it hard to get the jump on them if you retry an area. "Our levels are so nonlinear, you never know where they're coming from," says Lead Designer Bill Gardner.
Competing for limited resources in what Levine calls BioShock's "A.I. ecology." Splicers often get into scraps with each other--and sometimes even take on the lumbering Big Daddies. But their smarts extend to combat. They can see what kind of weapon you have and will egg you into a melee if you're not packing heat. "They learned this lesson from Indiana Jones: Don't taunt the guy with the pistol," says Levine.
Splicers understand their environment and will seek cover when the shooting starts. But the scariest part of all: They'll make a dash for the nearest medical station when their health runs low. It makes for bittersweet relief if you're on the losing end of a fight. On the one hand, it's nice get a breather while the enemy runs off to lick his wounds. On the other, you know the Splicer is just going to return--and with full health, no less--unless you managed to hack into and booby-trap the medical station. "There's nothing more fun than watching the A.I. try to use that thing," Levine says, "then seeing all the green smoke come out of it and the Splicer choking to death on that stuff."
We go hands-on with BioShock
With atmospheric visuals on par with Gears of War (BioShock uses a modified version of that game's graphics engine) and a sea of character-customization options and gameplay strategies, Irrational's underwater adventure certainly astounds on paper. But all the nifty powers and Einstein A.I. in the world won't save a shooter if its fundamentals are f'ed.
Fortunately, the developers designed this game to be a first-person shooter, er, first. "It's just one where you can do all this other cool stuff," says Irrational's Ken Levine. Consequently, BioShock is on target with the things you'd expect. Head shots do significantly more damage. The garaged-together guns have a satisfyingly heavy feel when you fire them. You can lean around corners to survey an area for enemies before rushing in. You get a map, a journal of important story points, and an onscreen mission arrow to keep from getting lost in Rapture's dark and twisted structures. Aiming control did feel twitchy--not as finely tuned as in triple-A shooters such as the Halo series--but Levine assures us we can tweak sensitivity settings until the game feels just right.
We had other nits to pick. Why not let players unleash all of BioShock's powers, weapons, and environmental-based killing strategies in a multiplayer mode? Why don't enemies you freeze and shatter with your Cryoshard power melt into pools of water (instead, the bits of ice just disappear)? To these gripes, Levine gives the same terse response: "BioShock 2."
BioShock's concept of an underwater city started by an Ayn Rand fanatic and formerly populated by superpowered people before they wiped most of themselves out in a civil war" sounds pretty damn refreshing compared to games about either interstellar soldier dudes or inner-city bang-bang bad boys. On top of the great setting, developer Irrational will also be giving us plenty of emergent gameplay to complement the story.
That phrase, "emergent gameplay," gets thrown a lot by gaming eggheads, but BioShock provides some of the clearest examples. Just taking down a Big Daddy, one of those crazy Jules Verne-era deep-sea divers, is an exercise in seizing opportunity from random situations. For example, say while running from a Big Daddy you trip the alarm, which then sends security bots after your ass. One option is to disable the alarm, hack the robots, and use them as new buddies to fight that tin man. Or maybe you'll shoot a conveniently placed propane tank, use your telekinesis (one of many powers, or "plasmids" in the game world) to pick up and light a nearby stuffed teddy bear on fire, and hurl said "Molotov Teddy" (Irrational President Ken Levine's term) at the Big Daddy. Or maybe some bad dude who tosses grenades wanders on to the scene, and you use telekinesis to redirect the grenades toward the towering enemy. Oh, by the way--the Big Daddy is so, er, big that it could conceivably take all of the above to put him down.
None of those situations are scripted affairs--they're examples of simple things that could just happen and how a smart and resourceful player responds. Levine's goal with BioShock is to make players think, "Hey, why the hell wasn't I able to do these things in a first-person shooter before?" Or, "If I've been able to do some of these things before, why wasn't I able to do them all in one game before?" Since Levine followed through on an old promise to make psychic monkeys some of the scariest enemies in gaming (for the PC-only System Shock 2), we have good confidence that BioShock will make you wonder the same thing about the last few games you've played.