Bioshock Architectural Analysis
Architectural analysis of the first two levels from the original Bioshock
Contents
Introduction
Lines
Planes
Vertical Elements
1. Introduction
Bioshock is considered to be one of the greatest video games of all time. For many people including myself, it was the first game that demonstrated the potential games have as an interactive art form. One of the reasons why the original Bioshock is so highly praised is because of its brilliant level design. This analysis will discuss how various architectural elements are thoughtfully used across the first two levels of Bioshock to enhance the level design and improve the player experience.
2. Lines
This screenshot was taken soon after the game’s protagonist Jack survives a plane crash in the middle of the Atlantic Ocean in 1960. After the crash, Jack swims to a nearby lighthouse and is immediately presented with this scene, which has two prominent groups of leading lines. The first set of leading lines (pink) draws the player’s attention towards the statue of Andrew Ryan, his banner, and the back of the room, which has a small corridor and a set of stairs leading to the next part of the level in the basement.
The second set of leading lines (cyan) guide the player’s view to an opening that shows the basement as well as a small plaque that reads “IN WHAT COUNTRY IS THERE A PLACE FOR PEOPLE LIKE ME? – ANDREW RYAN”, an important quotation that hints at Ryan’s humanistic ideology.
In addition to the first set of leading lines, the lines from the pillars and the decorations create virtual doors (white) in front of the corridor, further encouraging the player to progress to the basement.
The yellow lines show some of the main vertical lines in the space. These lines are excellent examples of using deep vertical lines to depict power and reverence. They imply that Ryan is a figure of importance and also accentuate his statue.
It should also be noted that one group of lines often leads to or intersects with another group of lines (pink to yellow, yellow with cyan, cyan to white, etc.). By placing the lines in such a way, the level continuously guides the player’s view from one point of interest to another.
3. Planes
This screenshot was taken from the lower level of the lighthouse. The lower level feels more secure and private because of the overhead plane created by the ceiling (pink).
The elevated plane created by the stairs (yellow) suggests that the bathysphere is an object of importance. This example is a clear demonstration of an elevated plane being used as a place of display.
A second overhead plane is created by the ceiling of the bathysphere itself (blue), which separates the space inside the bathysphere from the space outside. This creates another layer of security inside the bathysphere.
The red carpet inside the bathysphere is another notable use of planes. Compare the carpet’s soft velvety texture with the cold stone stairs leading up to it. Even though the top of the stairs and the carpet are approximately on the same vertical level, the difference in their texture establishes the floor of the bathysphere as a base plane that exists in contrast to the background. Because of how these planes are used, the player is naturally drawn to the bathysphere, which takes the player to the next level.
4. Vertical Elements
This screenshot is taken from the final combat sequence in the second level. Several interesting vertical elements can be found in this scene.
The small waterfall in the middle of the scene (yellow) creates an important vertical plane. After the player jumps down from the stairs above, they can no longer travel back up the stairs. The broken staircase and the height of the waterfall define a sense of enclosure and declares that traversing back up is no longer an option.
There are two pronounced groups of parallel planes in this section. The first group is made up of the railings for the stairs and the wall behind them (cyan with dotted cyan lines). Soon after the player jumps down the waterfall, they face a group of enemies that run down these stairs. This group of parallel planes creates natural leading lines that draw the player’s attention to the enemies that briefly wait by the end of the staircase. The second group of parallel planes are created by the two walls on the right side of the screen leading to the third level of the game (cyan dotted white lines). This group of parallel planes makes the player focus on what is beyond these lines and encourages the player to proceed to the next level once the final fight is over.
The pillars (white) act as virtual dividers that distinguishes the wide, open space used for combat and the narrower pathways surrounding it. This helps the players instinctively get a better understanding of the space, allowing them to easily seek cover or jump back into the fight. While facing the waterfall where the enemies jump down from, a small corner is created behind the player by some pillars. The corner creates a small area that prevents enemies from sneaking up behind Jack and gives the player a natural environmental advantage.
Vertical elements are also used to establish the thematic elements (pink). These statues are highly influenced by a design style called Art Deco, a popular style of the 1920’s that saw a resurgence in the 1960’s, which is when Bioshock takes place. Buildings, furniture, and patterns resembling Art Deco can be found all over Rapture. Art Deco suggests a sense of opulence, which fits in with Andrew Ryan’s idealistic vision of creating a utopia.