There was a quote from Ken Levine getting passed around Twitter the other day, where he rather clunkily talked about BioShock 1 & Infinite - and how it related to the plights of Jewish Americans.
Source
Essentially, it sounds like Levine is saying that the moral of BioShock Infinite is that oppression breeds oppression. But some questionable connections pop up once you think about the real world.
Is he saying that in contemporary society, Jews (and in the case of Infinite, African-Americans) have taken on roles as oppressors?
I still love both games, but it's become clear over time that Levine's view on the subjects he wrote about may be a bit questionable.
Go ask the Palestinians if Jews have become oppressors, I think they might agree.
African-Americans really just haven't had the chance in America; there was never any large and successful slave uprising. The slaves in Haiti sure murdered every white person they could get their hands on, though.
The Fitzroy thing bothers me because they totally dropped the ball. Levine crafted
BioShock Infinite, in that respect, exactly as he intended; Fitzroy was a populist leader who succumbed to bloodlust, and her people followed her example. It's not some regressive fantasy, or I should say isn't *just* a regressive fantasy—it happens.
All the time in human history.
Generally a lot of the critiques of
BioShock Infinite and Fitzroy start segueing into the criticism and premise (that I find ludicrous) that racism has to be your central theme if you do a story involving racism. And in
Infinite's case, it really isn't. It takes place in a racist time, in a setting where that racism has been codified in ways that are beyond the pale even for the ugly reality of the time (though not by much...) But it's ultimately a story about personal regret, redemption, and the nature of man with a multiverse sci-fi twist. Racism is a catalyst for events, but it's a secondary story that, like many in the franchise, can be ignored if the player just wants to shoot at stuff, but can be plumbed if they want to explore.
And then comes the backlash, and they backpedal
hard, to the point where they sabotage Fitzroy's character in an attempt to appease people. "Oh, she wasn't bloodthirsty! She was being manipulated in an incredibly contrived manner to push some character development!" This in turn again impacts and sabotages other characters (the Leuteces).
Burial at Sea is simply the worst bit of fiction in the whole of the BioShock trilogy, as it rewrites canon, trashes characters and changes their motivations, and, in a pretty spectacular manner, repudiates the themes of both the original game and
Infinite.
(the one piece of critical commentary related to Infinite I do think is relevant is how it's a shooter talking about violence, and how the first-person executions seem diametrically opposed with the story being told, but that's a whole 'nother ballgame.)
Giving money to someone = ignoring that someone? lol.
When you buy a movie ticket, chances are you aren't actually directly giving money to Bruce Willis; unless you have a hell of a contract that awards points on gross, they've already been paid. At best you're trying to sabotage future earnings.
This kind of fuzzy math is always an issue when we talk about support, and I don't think there's a right answer. Until the rise of Patreon and the like, the tacit contract was that you were supporting the art, not the artists (unless you were a Medici or the like.) You can play moral high ground and refuse to give money to Card, or you can enjoy his books while repudiating his personal beliefs. Either option is valid and I don't think someone should be flamed for thinking of that.
With media where the person and/or their heirs are dead, though, I don't see any reason to have qualms. I will love Wagner till the day I die, and I don't care that he was anti-semitic, 'cause everyone knows it and he's dead.