There’s no getting around it: these days your buying power is not what it used to be. In the interest of maximizing the value of your money, two of the greatest games of the current generation are being offered in a single package. The first is Oblivion, the latest installment in the Elder Scrolls franchise. This RPG is widely known as one of the first great games of the present generation. The second title is Bioshock, a critically acclaimed shooter with a unique and memorable presentation. These two titles stand very strongly on their own, but when offered together, they become absolutely irresistible.

The role-playing genre has seen many great things in the past decade, as advancements in computer processing have allowed players to explore vast worlds of unprecedented scale and depth. Even several years after its original release, Oblivion gracefully delivers the ultimate role-playing fantasy (of the video-game variety, mind you). Set in a fictional, pseudo-medieval province known as Cyrodill, it is up to the player to explore the breadth of the land and fulfill their destiny however they see fit. The sheer magnitude of Oblivion is easily one of its greatest assets. Not surprisingly, such a huge world can seem overwhelming to the player who is accustomed to games with invisible walls and linear levels. Fortunately, navigation is made simple in Oblivion. There is always a map on hand for navigation, fast-travel options for players who wish to quickly jump to a distant location, and even a “wait” feature that allows the player to explore the effects of time on any given area.

Even before the game begins, players can easily spend hours customizing their character. A mind-boggling assortment of physical attributes, unique skills, and adjustable cosmetic effects make the character design process nearly a game in itself. The decisions made during this process will have an instant effect on the gameplay; some characters may flirt with you depending upon your gender, or abhor you on account of your race. The basic storyline drives the center of the action, propelled by such thespians as Linda Carter and Sean Bean. Most of the time, you can postpone quests and become as thoroughly distracted within the game as a caffeinated preschooler. Don’t be surprised if you find yourself galloping on horseback through a sunny ravine in one moment, only to be slinking through a dark, treasure-filled cave the next. The spontaneous, free-roaming sandbox world offered by Oblivion results in a different experience for each player; it may feel disorienting during its weaker moments, but it is absolutely glorious at its best.

The choices throughout different points in time will heavily impact the proceedings of the game. A more insidious player might enjoy the challenge of thieving treasure or assassinating specific targets, while a more heroically-inclined character might spend their days defending villages from hordes of monsters and bandits. Even the individual variation within missions is boundless. For example, I might find myself trying to enter a certain building guarded by an armed officer. Depending on my skills and choices, I might be able to sweet-talk him into abandoning his post, or offer him a bribe. If my character is proficient with archery or magic, I might try to take him out swiftly from a distance. Stealthier players might find a way to sneak through undetected, or better yet, pickpocket the guard to acquire valuable items such as keys and cash. The possibilities are virtually limitless.

Sadly, the game’s immense depth is also its biggest downfall. Inventory lists can become frustrating in their sheer volume. Random characters may mysterious turn up dead, simply because the naturalistic AI demands it. At first glance, this arbitrary turn of unscripted events might seem like a very impressive touch – for example, a starving beggar may attempt to steal food, only to be cut down by a local guard. This can become problematic on the rare occasions when a useful character or someone vital to a quest ends up getting “accidentally” killed by the AI. Fortunately, this occurrence is so rare, it is not enough to detract significantly from the total experience. Oblivion remains one of the greatest role-playing experiences around, and it is an outstanding excuse to waste away those hot summer days indoors.

Rounding out this double-pack is the blockbuster FPS Bioshock. I will admit that I found Bioshock to be somewhat disappointing during its initial release; I credit much of its success to the “dry spell” of new game releases at the time. In spite of this, there is no denying the sheer brilliance of the game. Incorporating elements such as weapon upgrades might give Bioshock a slight role-playing feel to it, but it is not nearly as complicated as Oblivion; for this reason, it is a far more accessible title to the common player. If Oblivion suffers from a lack of focus due to its astounding scope, Bioshock shines by guiding the player through an immaculately designed world that is far more linear, yet richly atmospheric. This could be considered an unfair comparison, given the relative differences in age and gameplay design between the games, but the contrast seems largely refreshing.

The narrative presentation of Bioshock is arguably one of the greatest ever conceived for a first-person shooter, and easily one of the game’s biggest strengths. As the reluctant protagonist, you begin the game by struggling to escape the flaming wreckage of a plane crash in the middle of the ocean. Bioshock relies on regularly assaulting the senses with a dazzling array of elements in order to keep the player from stopping too often to question his actions. This is a crucial element of the game’s narrative. Once safe from the wreckage, the player stumbles upon a strange, automated bathysphere. This cramped little submarine transports the player to an underwater city, a mysterious place known as Rapture. It quickly becomes obvious that something in this underwater utopia has gone terribly wrong. The residents are maniacal and violent, the structural integrity of the city is fading fast, and worst of all, something seems to lurk in the shadows that is not entirely human.

The design aesthetic of Bioshock mimics that of mid-twentieth century America. The gleaming lights and posh art-deco style ensures that exploring rapture will not be an experience soon forgotten. The player encounters all manner of horrors along the way, from robotic sentries to demonic-looking children. Without spoiling anything, I will assure you that every sinister moment, ever unsettling scrawled word of graffiti, and every disturbing character you come across in Rapture serves a purpose in the story. The thoughtfully-constructed world and painstaking attention to detail contribute to an experience of unparalleled immersion. When you are in Rapture, you truly feel like you are in an underwater paradise gone wrong. Bioshock truly deserves its “Mature” rating, perhaps largely due to the irrefutably disturbing scenarios that occur when children appear to be trapped in a world of unspeakable violence. Needless to say, this game is not for faint of heart.

As mentioned earlier, there is a full arsenal of upgradeable weaponry to choose from. Such variety ensures the mechanics in the game do not become dull quickly; without a doubt, you will find yourself creeping your way through some situations at a deliberate pace, only to find yourself running for dear life mere seconds later. Exploration remains rewarding through the use of tonics and ammunition, but it’s really the plasmids you’ll be after. To put it simply, genetic modification allows you to pull off a variety of superhuman feats. Some of these produce fairly uninspired effects. Electric bolts can be fired from your arms in order to activate certain switches or stun enemies, while bursts of flame can simply incinerate them. Some plasmid abilities have more interesting uses. Enemies can be slowed and damaged by unleashing swarms of hornets on them, while other plasmids can be used to force enemies to fight for you.

While Bioshock may not provide anywhere near the number of gameplay hours of Oblivion, both titles are more than adequate to satisfy the first-person and role-playing itch of nearly any gamer. The scope, depth, and overall fun that exists between these two titles is beyond question. Granted, there isn’t quite enough here to warrant a repurchase if you’ve already played these games, but for newcomers, you’d be hard pressed to find a better gaming value. 

Gameplay: 9.5
Outstanding variety and depth keeps both games nicely paced, consistently exciting, and full of replayability.

Graphics: 9.5 
Oblivion may look a bit dated compared to Bioshock’s beautiful scenery, but looking out over a vast stretch of mountains and forest and knowing you can actually travel out there? That’s eye candy that really satisfies.

Sound: 9.0
Oblivion’s citizenry is voiced by a very small group of actors, which makes the dialogue frequently repetitive. For the most part, you’re getting an excellent aural experience in each game. From the chirping of crickets to the violent rush of water, every event oozes of outstanding foley work.

Difficulty: Medium
Oblivion can get a be a trying experience in some spots, but both titles feel generally fair.

Concept: 9.0 
Oblivion stands as a triumphant sequel for the Elder Scrolls franchise, but Bioshock really holds its own as a product that combines familiar elements with a novel design aesthetic.

Overall: 9.4
There is little doubt that if you give each game a fair opportunity, Oblivion will soak up far more hours than Bioshock. Bioshock, on the other hand, delivers a more consistently polished and credible world that isn’t quite like anything you’ve seen before. If you haven’t played these titles, you owe it to yourself to make this purchase. These are two of the finest games to come along in recent years, and bundling them together only makes them a more convenient pair of classics.