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Monday, March 25, 2013

Finding Light at the Black Party

March 25th, 2013Top Story

Finding Light at the Black Party

By Rich Juzwiak

Finding Light at the Black PartyWhen I decided last week that I'd attend Saturday's Black Party—the 34th annual iteration of it, and my first—I reached out to some friends to gauge their interest level or otherwise get their reactions.

"Sorry, Rich, that's my nightmare," said one.

"Wear a butt plug," said another.

"I've heard horror stories," said a third.

The narratives about the Black Party—the leather-themed bacchanal for gay men, which is generally modified on first reference by "infamous" and "notorious"—are as insistent as the house beats that ostensibly fuel its fun. A sense of darkness pervades it, from the name to the history to the raunch it prescribes. It originated in 1980 at the East Village nightclub the Saint, a place so synonymous with gay scene that when men started dying of a mysterious cancer-like ailment in the early '80s, some people initially referred to it as "Saint's Disease." Nowadays, the party is at the otherwise respectable Roseland Ballroom, a concert venue taken over by wild displays of public sex, both onstage and off, by professionals and amateurs alike.

There would be back-room black holes, people in the know told me, in which your guiding sense becomes touch. There might be shit involved, so I should choose shoes that I wouldn't mind ruining.

For the uninitiated, this all seems overwhelming and downright scary, tending to produce uneasy-to-horrified essays. But I was going to seek light in the darkness. The event sounded so utterly bleak, so mean in its countenance, that it seemed ready to buckle under the weight of its own gear and bend right back around to absurdity.

The Black Party, for instance, falls on the weekend closest to the vernal equinox, to echo a rite practiced by the Druids. This one was named Rites XXXIV. You know who else invoked Druids and Roman numerals? The '90s midtempo chant-and-cheese dance outfit Enigma. And then there is the idea that men come from all around the world to pay up to $160 to attend this thing that runs from Saturday night through Sunday afternoon, but "doesn't get going" until at least 5 a.m. Sunday morning, thus obliterating an entire weekend in the process. I can think of fewer things more ridiculous than taking fun so seriously.

Based solely on research and the expectation of "strange acts" (as advertised every year in the Black Party's literature) and of bumping into men giving blowjobs wherever the fuck, I figured it was possible to read the Black Party as camp, making it gay not just in practice but in removed sensibility—the recipient of a sort of cultural double penetration.

"I think it's the most culturally significant event in New York because you can do whatever you want—things that are otherwise internalized as those that you shouldn't or wouldn't do," is how my friend, A, put it at his apartment, where we pre-partied. There were seven of us in all, and the majority of us had never attended the Black Party. A was dressing in a leather jock strap and some rain boots. B, his roommate who had done some work on previous Black Parties, wore a tank top and shorts. C, a mutual friend of A's and mine, wore a shirt that looked like chain link and a leather harness over one shoulder. He aimed to look like something out of The Legend of Zelda.

I was going in jeans and a T-shirt, which is generally what I wear to everything. I do not go out of my way to be difficult—it's just that I don't go out of my way at all, generally, when it comes to fashion. Wearing leather or dressing sexily would have required me to make an extra effort. Whatever, I rationalized that going against the grain at this transgressive event would make me the queerest of the queer. I think it mostly made me seem unfuckable, or uninterested in fucking.

***

We arrived a little before 2 a.m. to ass, ass, ass everywhere, firm and plump and hanging out of jockstraps. At least half of the dudes I saw were wearing leather harnesses on their otherwise bare upper halves and at least half of those wore the same simple X configuration around their pecs. There's normal and then there's Black Party normal.

There was a Coney Island theme to this year's party—a giant wood entrance to the main floor was the gaping mouth of a painted wooden clown head. Lasers shot from its eyes, creating vivid displays that crawled like caterpillars, separated into fingers of light, and united into a sheet of color. At the far end of the room on the main floor, where the stage usually is, was a giant metal wheel. I never got to see it in use, but under it, in a caged-off area, I would later see some sort of group tarring-and-feathering with what looked like caramel.

A balcony ran around the perimeter of the hall. In the middle of the room, on the right, was a proper stage that had a chain-link fence backdrop, a leather couch and various neon beer signs for the likes of Corona and Heineken. Later, I'd watch a guy in a rubber horse mask get fingered on that couch by a beefy dude with a mean dick that pointed straight up at his meaner face. Then a stocky dude with FAGGOT written on his stomach in an arch of Olde English lettering took a turn getting fingered there.

A bunch of people in clownish getups—two guys in day-glo singlets that dipped below the navel, a guy in a Knife mask and Speedo, what I think was a woman-born-woman in a bikini and neon fishnet body suit—danced sexually without so much as touching each other. It was about as sex-provoking as five clones of Nicki Minaj half-heartedly jiggling for this crowd.

The music on the main floor was, and would stay, entirely disappointing: an unrelenting torrent of percussive, loud, ugly, anti-melodic house (or tribal, I guess, to be more accurate on a subgenre level). It was exactly what I would have expected 10 or 15 years ago. Every once in a while, we heard a remix of a classic—Chaka Khan's "Ain't Nobody," Whitney Houston's "Love Will Save the Day," Sylvester's "You Make Me Feel (Mighty Real)"—that only made me wish we could hear the original.

Every time I was dripped on, I thought about the meningitis vaccine I still need to get.

Upstairs and directly across the room from that giant wheel and behind the DJ were little carnival booths. Around the side was a fairly well-lit hallway that provided an endless stream of dudes—such a stream that the ceiling dripped with what I assume was condensation from all the sweat. Every time I was dripped on, I thought about the meningitis vaccine I still need to get.

Before 3 a.m., I saw my first public sex act of the night: a guy getting a blowjob under a light who nonetheless blocked the view of the action with his left hand, a small gesture of politeness.

The back-room space came after that corridor and around to the right. A large hallway led to the various debauched zones of sensory deprivation. On entering the darkness, everyone adopted a vintage-zombie gait, a slow left-to-right hobble. The first room on the left was dimly lit, as opposed to not being lit at all, and featured a DJ playing much cooler, funkier stuff than the four-on-the-floor animosity of the main room.

It felt normal: A bunch of dudes hanging out, listening to Azari & III. A lot of them had their asses hanging out and I could tell exactly what they were packing, but still.

We stumbled further into the darkness. Given the crowding, the back rooms felt impenetrable, but only, of course, figuratively. At a sloth's pace, we passed by one room just as the worst thing happened: Its light turned on. There were too many bodies inside and out for me to discern exactly what was going on, but a giant circle of men was standing around … someone. Something. They all hissed like vampires at the light.

***

And so there was a lot of shirtlessness, a lot of milling around, a lot of dancing, but that's about it. The vibe seemed celebratory and light. I don't know if it was the Adderall I popped for the sake of being able to stay awake and lucid for enough hours to get a piece of writing out of this experience, but as I waited to order a vodka Red Bull at the bar, I decided that maybe for the first time since getting to New York over 15 years ago, I was in no hurry. "I'm just happy to be here," I said.

A trans woman from Manila asked me if I was straight. "Because you have your clothes on," she said.

I wandered, sometimes with the friends I'd come with, sometimes bumping into people I knew, sometimes having random interactions with passing strangers. A trans woman from Manila asked me if I was straight. "No!" I said in the same incredulous way that I do when anyone asks that anywhere. "Oh, because you have your clothes on," she said.

She had a point. Being dressed was certainly doing me no favors in the attention department. But also, even after 4 a.m., there was still something tame about all that was going on. I had seen the one blowjob and a little bit of making out and fondling and whatever those vampires in the back room had been doing when the light beamed in and killed them, but that's about it. Do I repel sex? I mean, I have plenty of it, but it just seems like places where it should be happening, if not to me then to other people—high school, the Meat Rack on Fire Island—are still and sexless when I pass through.

I had spoken to myself too soon. I reunited with A, who had with him this boy whose dick he wanted to suck. We made our way back up to the dim, DJed back room upstairs, which was no longer cool but hot—in temperature and activity. Like everywhere else I'd go that night, the smell was standard dude musk, nothing weirder than that. Two guys were standing up fucking in a corner. One seemed to be getting ready to sit on another's dick on the leather couch, jacking himself off in anticipation. Across the room, behind the DJ table, a group of guys stood up, stroking their dicks. Something was coming.

A perched on the leather couch and starting sucking his boy's cock. I stood with my back to them and felt … unmoved. I wasn't mad at any of this. I didn't disdain these people for getting their specific rocks off, but I really didn't want to participate, and I avoided eye contact with the conveyor belt of men cruising their way through. Then I worried that I was blocking A's exhibitionism.

A and his boy moved across the room. An extremely handsome athletic dude who had been trying to catch my eye finally walking up to me and asked if I was having fun. "Well..." I said. At first I was pausing to consider how to answer, and then I let my dangling sentiment be the answer. "It doesn't look like you are," he said. Well, whatever. When in Black Party, scowl. He ran off, I plopped down on the couch, and someone with very small breasts in a sequined dress started rubbing me. Christ. I didn't want to be mean, especially to someone so clearly different than everybody else, but it was about as erotic as being bitten by a mosquito. When A came back, I excused myself.

***

Around 6 a.m., A and I decided that we would split up. Before he left, he urged me to take my shirt off. It felt like a compromise of my principles. But it did seem like a stupid principle to stand up for, as if I were 14 and trying to be different for the sake of being different. And it was hot everywhere now. Also, someone in the bathroom had complimented my shirt, and I wondered if he was shading me. I stripped it off. I think I was the last organism in the building to do so. In a nearby corner, a pack of rats tweaked each other's exposed nipples and struck curious poses. They felt the heat, too.

I wandered by myself for the next half hour. I made out with a guy halfheartedly. When I finally squirmed away, he was surprised, which surprised me. There had been no discernable chemistry between us. Back down on the dance floor someone said to me, "Great job!" At what, I have no idea. If he meant achieving a body fat percentage that's more than 10 percent (more like 15, tbh), to him I say, it wasn't a job but a pleasure and a delicious one at that.

I met back up with A, and we lamented the general vibe, which if increasing on the sleaze, was somehow lacking excitement. "I keep waiting for something to happen," he said.

I'd hooked up with him before, and was startled to see him in a harness.

Instead of waiting, I set out to find it. I wandered some more upstairs, bumping into a friend, D, who I'd had no idea would be attending. I'd hooked up with him before, and was startled to see him in a harness. I'd never known he was into that sort of thing. He told me it was borrowed. We made our way back to those carnival booths by the DJ. There, a super cute, youngish guy with buckled leather forearm coverings asked D for a cigarette.

"How has your night been?" D asked the kid.

"It's been great so far. I had sex with this guy that I had been wanting. I had no idea he'd been wanting me too," the kid responded.

"How many guys have you had sex with tonight?" asked D.

"I'd say ..." the kid started.

He was already to the point of having to estimate? Whoa. That's a lot, I thought.

"...Six or seven," he said. He assured D that he'd have no trouble getting his dick hard again, ha ha.

"What do you want to do?" D asked me.

"Go home, I think," I said.

"Yeah," he said.

I walked away. Then I realized D wasn't behind me. I turned around to see him making out with the kid. A little later, I received a text: "I'm a slut. Have fun."

Fat chance. I really was ready to go. But then a trancey remix of Whitney Houston's "How Will I Know" was playing, and I saw a wide-framed dude with pneumatic muscles and in a jockstrap being penetrated by a tight, lean dude with a backwards baseball cap. They fucked hard, backwards and to the beat. "How will I know if he really loves me?" wondered Whitney. Well, if he fucks you up against a stage while small, unfazed women wheel around trashcans for all of the condoms and wrappers on the floor, he really just might!

So that was kind of fun and worth staring at. Still, I was legitimately ready to turn away and get my coat when B came up, now shirtless and more flirtatious than he had been when we congregated at his place. We danced a little bit, but he demurred when I made an attempt to kiss him. OK, whatever. It was good, at least, to have a roaming buddy. At this point, it was after 7 in the morning. We passed tables full of fruit and coffee. I walked by a guy who was totally nude and eating a banana, his giant banana of a dick bouncing as he moved to the beat. B thought this was cliché, but I thought it was thematically sound.

I saw what looked like a random splatter of discoloration on the carpet and thought, "Oh my god. It really happened. Someone really did shit there." But no—on closer inspection, it was part of the flower pattern on the Roseland carpet. I wasn't getting tired, but my brain was.

B and I bumped into E and F. E was someone I had been introduced to a few times and had always thought was cute, but never thought he had any interest in me. F was simply the hottest guy I'd seen all night. He was 27, had the slightest touch of a corn-fed vibe, friendly eyes, a wicked grin and a firm, round ass. I expected to say hi and move on, but E said, "Do you want to come with us?"

The standard Black Party narrative had found me after all. As we walked to the back room, going single file, E told me to hold onto F. As we entered the darkness, F put my hand on his dick. The DJ room was mostly empty, because the temperature was unbearable, so we walked back around to the booths.

Now we had attracted a group of men who were slowly closing in, leering and bumping and rubbing us.

Once there, we made out in various configurations: E and me, F and E, F and me, all three of us together. E pulled F's dick out and started blowing him. The previously dark booth was almost immediately illuminated by the roving lights of that giant fucking clown. Asshole. I hate clowns. Now we had attracted a group of men who were slowly closing in, leering and bumping and rubbing us, like we were at the end of the "Thriller" video. None of them interested us, and we were undeterred. I pulled my dick out and E switched from F's to mine.

Despite my intense interest in both of these dudes, I couldn't really get into this particular scene and only got half hard. No one cared. F blew me. I blew him. More guys pushed in and pawed us. We finally had enough and decided to go down for some dancing, which meant simulating fucking and more making out. We also licked each other's pits.

E told us he was going to the bathroom and would be right back. More than 10 minutes passed, and it was clear to that he wasn't coming back. I figured he'd gotten distracted (fair enough) and really, that was OK, because I could devote my full attention to F.

"We either need to get out of here or go find somewhere dark upstairs," F told me.

"Let's get out of here. Come to Williamsburg," I said.

"OK."

***

We went to retrieve our coats and F's cell phone. Because my friend had a friend with a connection to the event, I had been able to bypass security and keep my own cell phone all night. Waiting in these lines struck me as the evening's true rituals—the labor of returning to the reality of modern existence. It was fine, though. We had plenty to talk about.

Back at my place, F and I were about to shower and devour each other. Talking in the cab, he had revealed himself as a bottomless pit of kink. "What's one thing that you always wanted to try but never did?" he asked me. I told him and we did it. We ended up fooling around for about an hour and a half, directing and discovering each other. I spent that time in awe—first that someone so beautiful, nice, and sexually talented existed, and second that this person was in my bed.

"This is the real party," I told him, at one point. "Everything that the Black Party purports to offer, all that sexual abandon and freedom, I'm getting from you." In the past 12 hours, I hadn't so deeply felt the symbiosis of inspiration and exploration than I had while naked with this guy in my white sheets.

"I think you need to explain that to me again after I've rested and gotten some of my brain back," he said. I came, he came, and we went to sleep around 11:30 am.

At 3 p.m., I woke up, fully alert. I closed my eyes a few times, but was conscious for the next hour, spooning F while he remained asleep. His once-glistening muscles now sparkled like sand in the sun pouring in through my curtainless windows.

[Photo by Victor Jeffreys II.]

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Should I Use Plex or XBMC for My Home Theater PC?

March 25th, 2013Top Story

Should I Use Plex or XBMC for My Home Theater PC?

By Adam Dachis

Should I Use Plex or XBMC for My Home Theater PC?Dear Lifehacker,
I want to make the perfect home media center but I've come across a very tough decision: should I use Plex or XBMC? I've heard great things about both platforms, and don't know the main differences. Can you help me decide?

Sincerely,
PerPlexed

Dear PerPlexed,
Both XBMC and Plex offer great unique features and similar ones, which should come as no surprise if you know the history of these two home theater PC (HTPC) platforms. XBMC is open-source software, and Plex is mostly-open source software based on XBMC (though its mobile apps are closed). Although Plex didn't differentiate itself much in the beginning, it has grown into a feature-rich, powerful, and still easy-to-use platform that most anyone could set up with ease. XBMC, on the other hand, tends to trade ease of use for a high amount of customization. To sum up the main difference, Plex is easy but limited and XBMC is hard but almost infinitely customizable. Of course, each platform offers a variety of other advantages and problems. Let's take a look at some common considerations and figure out if you ought to use Plex, XBMC, or a combination of both.

Operating System and Device Support

Should I Use Plex or XBMC for My Home Theater PC?You may not have to decide whether to use XBMC or Plex after all. Depending on the operating systems and devices you want to use with your HTPC, you may only have one choice. Both Plex and XBMC run on most anything, but some limitations apply for each:

Should I Use Plex or XBMC for My Home Theater PC?

Note: To find downloads for all operating systems, visit either the XBMC or Plex download pages.

Setup and Configuration

Should I Use Plex or XBMC for My Home Theater PC?Plex takes about five minutes to set up. XBMC can take five minutes, too, but can also take a lot longer if you want to configure additional features and customize your setup. If you're looking for a simple process, you'll probably prefer Plex. All you do is install the server software, tell it where to find your media, and create a Plex account that you can use to log in from the server and any client devices. When running Plex on a client computer, mobile device, television, or set top box, it'll automatically detect any servers connected to your account. From there, you can just start using Plex whether you're home or thousands of miles away.

That isn't to say you'll have a hard time setting up XBMC. You can simply download XBMC for your platform, tell it where to find your media, and call it a day. However, most users want to do more than that. If you have your media in a remote location, you'll need to set up file sharing on that system and tell XBMC how to access it. You'll also spend some time configuring XBMC's settings to work just the way you like, as it contains far more fine-grained controls than Plex. Still, if you're only installing the app on a computer the process doesn't require too much effort. When you get into customization, however, you can spend hours getting XBMC just the way you like it (which we'll discuss later). For some, this can be a plus or a minus. It really depends on how much effort you want to expend and what you want to accomplish. Finally, XBMC's setup process differs from platform to platform but we have guides to help you through many of them: any Windows, OS X, or Linux computer, small, Linux-friendly hardware, Apple TV 2, Raspberry Pi, and inexpensive, custom hardware.

The Bottom Line: If you want to get up and running in minutes, including powerful features, Plex will do the trick. If you don't mind spending more time setting things up manually and tweaking settings to get exactly what you want, XBMC's setup process won't deter you (and you might actually like it).

Customization

Should I Use Plex or XBMC for My Home Theater PC?XBMC offers a remarkably high level of customization, from plug-ins to skins to additional features like watching live television. If you can think of it, chances are XBMC can do it. It may not right out of the box, but because of its customization options you can add on almost whatever you want. On top of that, XBMC is filled with little settings and tweaks. If you don't like the way something works, you can most likely change it.

Plex isn't very customizable, but unofficially works with many plug-ins designed for XBMC. We'll discuss this further in the next section, but if you want to add new features to Plex you have a means of doing so. That said, it doesn't offer anywhere near the flexibility of XBMC.

The Bottom Line: If you like to have things exactly your way, you'll want to use XBMC. If you only plan to add features via plug-ins, you could get by with Plex.

Internet Video Channels and Plug-ins

Should I Use Plex or XBMC for My Home Theater PC?XBMC, through plug-ins, supports several internet video sites (on some platforms) like Amazon, Hulu, and YouTube. Just install the plug-in you want and you're good to go.

Plex also allows you to install plug-ins, which few users actually realize. Plex officially supports a small few that come installed automatically (Netflix, Vimeo, Revision3, Funny or Die, and more) but unofficially works with many others. Plex also offers a myPlex Queue featuring, allowing you to save internet videos for later viewing directly from Plex. This feature works well with YouTube and most online video sites except Hulu, Netflix, and other paid services.

The Bottom Line: Both XBMC and Plex support a wide variety of channels. XBMC has a better reputation for plug-ins, but Plex unofficially works with most of them and has an excellent internet video queue feature.

Remote Control

Should I Use Plex or XBMC for My Home Theater PC?XBMC provides several remote control options. To start, you can get a ton of apps for your mobile device. The XBMC team created the Official XBMC Remote (Android, Free), which provides a standard remote and library-browsing functionality so you can easily choose TV and movies to play on your HTPC via your phone. XBMC Remote (iOS, $3) does the same thing, and Boxee, Plex, & XBMC remote (iOS, Free) offers a simple remote option. If you don't want to control XBMC using a mobile device, you can use several hardware controllers (e.g. a keyboard, mouse, or media center remote).

Plex's official mobile apps can serve as feature-rich remote controls, but require a $5 purchase. Plex Remote (Android) and Boxee, Plex, & XBMC remote (iOS) offer free alternatives. Plex also supports the Apple Remote and Logitech Harmony Remotes out of the box. Other remote options can be configured, such as a Universal Remote Control (URC) and, of course, a standard computer keyboard.

The Bottom Line: Both platforms offer great remote control support, but XBMC provides more flexibility and a cheaper (and larger) mobile app selection. If you need help choosing a remote for either, read this.

Remote Streaming

Should I Use Plex or XBMC for My Home Theater PC?Plex handles remote streaming better than anything. Not only does it stream video reliably and in the original format whenever possible, but it'll also convert the video into a different format when necessary. If you want to stream a video from your home to your tablet while on vacation, for example, Plex will convert the video—in real time—to account for the slower connection speed. If your tablet doesn't understand the video's format, it'll convert it on the fly as well. If your tablet has a fast internet connection and understands the format, Plex will stream the file as-is. Unless you ask Plex to always handle streaming in a very specific way, it will choose intelligently on its own and rarely makes a mistake. Equally admirable is Plex's simple remote streaming configuration. Because everything runs through your Plex account you just need to log in on any device to access your media library. Everything else happens automatically. You can even stream on the web.

XBMC doesn't stream remotely. You need to forward ports on your router in order to access your media outside of your local network via XBMC. Although not a difficult task, XBMC won't convert files for you so you better have a fast connection if you plan on streaming higher quality, HD content.

The Bottom Line: If remote streaming is important to you, Plex does it best. For all intents and purposes, this just isn't a practical option with XBMC.

So, What Should I Use?

Should I Use Plex or XBMC for My Home Theater PC?Both Plex and XBMC make great choices for your HTPC, so after reading all of this you may still find it difficult to make a decision. Here are a few more things to consider.

The vast majority of Lifehacker readers prefer XBMC. The Lifehacker staff is pretty much split down the middle. Regardless of what everyone else likes, you don't necessarily have to choose. XBMC and Plex can work in tandem. Plex provides excellent media server software that automatically organizes your media library with exceptional accuracy. XBMC understands what Plex's server software does, so you can still run it and use XBMC on some platforms but not others. For example, if you use Plex Server on a computer with all your media, your HTPC can run XBMC and connect to it. You can use either option on your mobile devices, depending on what suits you best. Don't feel as though you have to choose a single platform and stick with it. If you want to use both, you can. So, if you just can't decide—don't!

Love,
Lifehacker

Have a question or suggestion for a future Ask Lifehacker? Send it to tips+asklh@lifehacker.com.

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BioShock Infinite: The Kotaku Review

March 25th, 2013Top Story

BioShock Infinite: The Kotaku Review

By Evan Narcisse

Depending on where in the country you live, you might have the nagging feeling that portions of the United States have broken clean off. Just up and decided to veer into their own orbits, consequences be damned.

And, because any notion that these States aren't United is a really uncomfortable one, a cacophony of voices all jostle to demonize their opposing factions. They say that the other side has selfishly detached themselves from the reality that we Americans are all supposed to share. How dare they?!

BioShock Infinite takes that nagging feeling of disunion and makes players wade through its century-ago antecedent, in a way that lays bare the agonizing personal costs paid to the grinding cycle of history.

Columbia is a chunk of America that has in fact gone to pieces. And the result is horrifying. But beautiful too.

You haven't been to a place like this before. The fictional floating city where Infinite is set is all clockwork platforms and brass gears, its many sections populated with hucksters, strivers, lovers and schoolchildren. One minute, you're walking past a sheer drop, the next a park swings down into the open space. Sure, they seceded from the Union but it's such a bloom-lit paradise that you almost can't blame them.

Then you come along. Well, not you. Booker DeWitt—the former soldier and Pinkerton agent players control—isn't a cipher meant for you to occupy, like the mute protagonist from BioShock 1. He's his own man with a voice, a checkered past and reasons for staging a one-man invasion. Debt weighs heavy on his soul and the only way he can come clear of it is to fetch a supernaturally powered young woman named Elizabeth. If he gets her to the people who want her, then he might be able to get on with the rest of his life.

If you subscribe to the idea that there is in fact a formula for making a BioShock game, then Infinite will only support your thesis. Mix up sci-fi archetypes, comic-book super-science, ideologically driven conflict and old-school first-person-shooter love with narrative ambition and philosophical discord. The player character's special abilities get wielded through the left hand while weapons get gripped by the right and he must wend his way through an isolated city-state in turmoil. Once you do that, you have—in broad strokes—the component parts of the games that have been called BioShock.

The powers you wield this time are called Vigors. You can mix and match them so that you can electrify a flock of crows after flinging them at an enemy. Or you can hold the soldiers you're fighting aloft and then set them on fire with telekinetic and pyrokinetic Vigors.

Important moments of choice have been another hallmark of BioShock games. This time out, the importance of choice isn't in where you wind up plot-wise. It's in how you play. The method In which you cobble together the upgrades you find with Elizabeth's combat support and the amazing verticality of the game's battlegrounds will leave you with a unique experience that you can transform as you go. Couple that with the various firearms and Vigor you'll collect, Infinite's play feels like it gives you more tools and a faster pace to use in an expertly crafted playground.

For all that's familiar, Irrational Games' new release does add new seasoning to that BioShock recipe. One of the big changes is in basic locomotion. Columbia's mass transit is a series of snaking pipeworks called Skylines and they provide a thrilling, vertiginous way to get around the city. They feel like a one-man roller coaster that you can shoot at people from. Aside from that, you can pounce on enemies from way on high or rain down gunshots while zipping along. And enemies will do the game to you, so these aren't an easy way out of most battles.

But it's the character of Elizabeth who represents the biggest change to the BioShock formula, which up until now gave you scant companionship on your adventures in Rapture. At first, Elizabeth might remind you in a broad way of the dog from Fable II. That pooch found you loot and helped you get around the world of Albion. You formed a simple but meaningful bond with it.

Elizabeth is far more complex. She's a fully scripted persona who aids you in combat and in scavenging, by finding and supplying health, money and ammo. Most impressively, she can manipulate tears, which are space-time hiccups that let her pull things from alternate reality through to this world. Discount vending stations, machine-gun turrets and grapple points are just a few of the assets she can summon for you. Which tears you have her manifest will affect the strategy options you have during a firefight and this branching opens up the uniqueness.

From an emotional perspective, things change immediately when you meet Elizabeth. She's naïve, but with strong streaks of curiosity and desperation running through her. A skybound city doesn't feel like paradise when it's all you've ever known and she yearns to experience the world below. Columbia founder Father Comstock is a religious zealot, one who commands a city of totally obedient martyrs. When he tells them not to fight, it's far creepier than when you're battling them. He means to use Elizabeth's abilities to deliver an apocalyptic judgment to the America beneath him. But Comstock must also deal with an proletariat insurgency by the Vox Populi, who want to topple what they see as a corrupt oligarchy.

Elizabeth alternately wants to impress Booker and run away from him. They need each other and she never feels like a stack of AI scripts walking alongside you. When she throws you a health pack in a firefight, her need for you to survive is palpable. She's haunted by a lack of a past while Booker is chased by a history too full of blood. Together, their shared journey moves from wariness to warmth to resolution with real poignancy.

For all the talk of parts, this game is more than just the sum of its pieces. You're playing for story here, and that story is embedded through the entire fabric of Infinite. The more you explore Columbia, the more its made-up citizens and history pull you in. There's a mystery swirling around the clouds that surround the city and kept me guessing until the very end of the game.

Early on, you get signs that something more than mere isolationism is amiss in Columbia. Those tears in reality's fabric are a tease to the main conceit of the game, with the gambit being nothing less than the re-writing of American history. Columbia's already well down that road as its spiritual revisionism has made demigods of George Washington, Thomas Jefferson and Ben Franklin. But you can't shake the creeping sense that many things are going to happen as a result of your actions. They do and they're all pretty weighty.

Given the fact that there's inevitable conflict waiting to joined, you might think that a repudiation of American self-aggrandizement is all there is to BioShock Infinite. The uppity sky-dwellers in Columbia need to be taken down a peg, right? But what's more surprising than the rude awakenings is the degree to which Infinite is a celebration of Americana. It's a game squeezed out of Normal Rockwell paintings, set to ragtime music and filled to the brim with jaunty bygone slang. It zips and zings, even with it's beating you down with giant robot president enemies.

And, yes, Irrational creative director Ken Levine and crew are lobbing a slew of scholarly -isms for players to chew through: racism, sexism, anti-intellectualism, 18th century revivalism and the gospel of industrialism as a cradle-to-grave caretaker of the worker. The tribalism that's inextricably part of America's spiritual DNA is a big part of the game's factions and battlefield, too. The Vox Populi—made of common-man laborers—think they have too little while the well-to-do Founders essentially believe that Comstock's vision of America is a better one than the one lived on solid ground.

If you're acquainted with the language of revolution and regime change, then lots of the rhetoric slung across the conflicts in Infinite will ring familiar to you. Opponents from different classes and backgrounds slander each other. Divine/universal logic is on our side. That kind of thing. The difference is that Infinite places players in the fires of tumult and shows them the result Most of the people you overhear in Infinite are racist, classist, snooty and surly. Yet you feel bad for them as some of the illusions keeping Columbia aloft begin to crumble. It's a hell of a thing to believe in a dream with all your being, for both good and bad reasons.

BioShock Infinite may not the first game to try to say something about the very nature of the country it was made in—and the people who make it up—but it's certainly amongst the best. Some scenes reminded me of how people who looked like me had an unbelievable array of prejudicial forces from public and private institutions set against them. Yet, even as I played through those moments, I was reminded that America is a big experiment. That experiment in letting people chart their own destinies has sometimes made it so brother fights against brother.

Click to view It's easy to dismiss those people floating in the fractured mirror Americas that we disagree with. They're wrong; we're right. Who cares why they are the way they are? But BioShock Infinite asks us to consider that very question and gives an answer that mixes hope with bitterness, wonder with despair and allegory with history. The game doesn't offer any advice about how to make everyone get along better but it makes a powerful argument for owning— and owning up to—all of our collective past.