What does this even mean? Storytelling is storytelling. Games are just another venue for it. Unless the mechanics are broken, which any review would assuredly get to (as you can't enjoy a story if the game is getting in your way), I don't see how those things are more important than the overall experience the developers are trying to communicate.
As far as cost, I'm pretty sure that goes into the construction of making this experience interactive. Which is why it's more expensive than going to the movies. I don't know, all this energy gets put into what makes a game worth its asking price. If the devs have taken a concept with massive ambition and scope, and pulled it off successfully, they deserve to be supported at the asking price.
Making the experience interactive may make it more expensive when it reaches the market (it's more about overbloated budgets and pisspoor management, really) but at the end of the day, there are very few modern video games that successfully argue the value of the medium's artistic elements.
BioShock's artistic presentation failed because there was a massive disconnect in its narrative branches in comparison to its gameplay system. For a game that preached so much about choice and objectivism, the ultimate payoff was just like any other video game out there -- your choices don't really matter, here's a boss dude and a CG cutscene. For me, the ride wasn't worth the asking price of sixty dollars, not when the gameplay couldn't meet with the art aspects of
BioShock. The aesthetic and atmosphere of BioShock made up a huge portion of its value, no doubt, but that value can only carry it so far if its gameplay mechanisms don't support it.
There's nothing wrong with wanting to support games as an art form, but there's also nothing wrong with developers and publishers looking at more cost-effective means to develop their titles.
BioShock Infinite is another game in a long parade of AAA development and probably won't be able to communicate any more in an artistic sense than something like
Journey or
Bastion (not arguing the artistic merit of any of those titles), which was created at a fraction of the cost of development and put on market at a fraction of the price.
Like, I don't get why games are treated differently than movies. No one would expect even highfalutin criticism to go into the lenses and film stock specifically, unless they detract from the cinematic experience.
If devs are going through the trouble of building stories around themes (which is a pretty core tenet of a work of art), treat them as such.
The problem with art is that it's highly subjective. A game reviewer has an inherently different job from a film reviewer because they should cover the objective mechanics more in-depth. With film, you see plenty of reviews cover the mechanical issues, such as special effects, editing, sound design. All of those are mechanical, but are secondary to the movie overall in most cases. With game's the primary interaction with the world is through gameplay, so these mechanics are much more important, to the point where they match or supersede narrative. It's a fine juggling act to get down, balancing artistic assessment with gameplay assessment, and it's one most reviewers fail gloriously.
We have plenty of reviews completely glossing over mechanical strengths and weaknesses in favor of looking at world design, narrative, and theme. And instead of honest, level-headed assessments of these values we have uncomfortable hive-mind fellation like these
BioShock Infinite reviews. I would take a review that went in-depth into these areas without out all of the flowery crap that's streaming out the current batch of reviews. But that's generally what I like post-mortems for -- they can cover more intangible aspects of the game after more time has passed for more narrative/artistic/thematic examinations to take hold without hype trains blinding the writer. Reviews published for release should cover the more immediate aspects (gameplay, interface, controls) of the title because they are one of the primary ways of gleaning the potential quality of a title before purchase and play. Let long term examination determine the artistic merit of a title.
Why is the video game industry and fanbase so starved for a game that proves the medium is art? Look at snippets of Sessler's review -- his prose is extremely purple and gets across so little other than to say "
BioShock Infinite is a work of art." So what? Anything can be art, from toilets to movies to paintings to games. Save that for the post-mortem. Tell me more about what's good or bad with the design and gameplay first, please.