[PC Game] Bioshock Infinite (beware of spoilers)
- Thread starter Bowielee
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Elizabeth's cries of terror always made me feel bad. I'd dash over to a guy (I found gear early that made you lunge when meleeing) and drive my saw into his forehead, creating a fountain of blood, and Elizabeth would scream out "oh god!"
Why is Belle looking at me like I'm a monster?
I was not prepared for the gore that thing unleashes. The first Bioshock was subtle about its use of blood and body parts. Nope, not Infinite! Just shove that pinwheel into some part of a guy's face, neck, or chest and start laughing. It took the first five or six kills for my wife to get comfortable watching it. Then I got one of the upgrades that causes enemies' heads to explode through melee attacks, which are actually less gory. I took that off pretty damn quick
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You can tell they knew what they were doing considering those executes have their own "horror riff". They knew they were a bit over the top.I was not prepared for the gore that thing unleashes. The first Bioshock was subtle about its use of blood and body parts. Nope, not Infinite! Just shove that pinwheel into some part of a guy's face, neck, or chest and start laughing. It took the first five or six kills for my wife to get comfortable watching it. Then I got one of the upgrades that causes enemies' heads to explode through melee attacks, which are actually less gory. I took that off pretty damn quick
GasBandit
Staff member
Ok, played through it. It was better than I had thought it would be. Some minor annoyances/issues, but a pretty good game. I do have to say, however, I went through pretty much the whole game just using the carbine and machine gun, and just used devil's touch alone until I got shock jockey and then pretty much only used that for the rest of the game. And reading up on things after the fact, I apparently missed out on a whole HUGE load of side stuff that I didn't stumble on. I think I only found one codebook, I never found the guitar part, and I also didn't get the final epilogue because I skipped the credits.
I really enjoyed that video. And how Levine had to keep asking them to stop being so good. In the end, what they came up with really was resonating, and the 'unpracticed' sound (that they oddily had to practice a lot for) really drove it home.
Spoony's review is annoying me and I'm not even a half-hour in. Probably going to stop watching.
I don't care if people have a different opinion than me, but it annoys me when they sit and make a video and get their facts wrong. When discussing public transport implications of the skyrail: "I didn't see any gondolas." ...Spoony, you spend a good chunk of the game shooting guys off of gondolas. Booker and Elizabeth refer to them specifically as gondolas more than once.
And I won't even get started on how much he gets wrong about the original Bioshock, but I can at least forgive that since he probably hasn't played that one since it was released.
I don't care if people have a different opinion than me, but it annoys me when they sit and make a video and get their facts wrong. When discussing public transport implications of the skyrail: "I didn't see any gondolas." ...Spoony, you spend a good chunk of the game shooting guys off of gondolas. Booker and Elizabeth refer to them specifically as gondolas more than once.
And I won't even get started on how much he gets wrong about the original Bioshock, but I can at least forgive that since he probably hasn't played that one since it was released.
But Spoony is greater than God isn't he? He has every right to change facts to his will, because his opinion is LAW.
He's actually not coming across that way (for a change). I think the anti-depressants he's taking nowadays have been doing a lot of good for his mood.
I'm not sure the rails are the main source of transportation for Columbia. I haven't been too far into the game, but so far I've really only seen it used for cargo boxes. There are a few "Gondola's" in the game. Since I use the gondolas when available, I assume those are not the typical rails that my chainsaw-whats-it attaches too. Booker DeWitt is a fucking man's man. Leave it to a guy to find a weird chainsaw-holy-shit-traption and think to himself "I'll use this to slide recklessly down a system of roller coaster-esque rails with no way of stopping except jumping off and landing on someone's face!".
Most, but you ride gondolas on the rails a half dozen times throughout the game.
I finished the review. Spoony does have a good point about some of the ending's implications.
I disagree with most of his criticisms, but in that he makes a good observation.
That now Anna is stuck with a drunk father in gambling debts who would still sell his daughter given the chance; we've just taken away the chance.
I disagree with most of his criticisms, but in that he makes a good observation.
It was actually explained early on in the game. Both in dialogue and through one of those old-timey video players. Pretty sure it talks about it before you even get the first combat scene.
The Sky-Lines were utilized for transporting items and goods, but because of gear getting stuck on the rails now and then, Fink created the Sky-Hook to allow his workers to reach the obstruction and clear it. Later on the police realized they could utilize the same item to reach locations of unrest quickly, and thus they formed the Sky Patrol. This is why the police officer during that stage event had one on him for Booker to claim, and why the Police, and later Vox Populi, also use the Sky-Lines on occasion using Sky-Hooks.
One of the missions of the game is literally repowering a gondola so you can get to the next area.
I always thought those gondolas were on cables, not steel bars. I don't recall having to clear skylines of cargo to use a gondola.
As far as I can tell, the gondola system is different than the skyline system.
GasBandit
Staff member
That's true, but if memory serves it wasn't on one of the tracks you could use the skyhook on, was it?
The gondolas worked on rails, but it never said they were Sky-Line rails, otherwise all those parts where you have to wait for the gondola to appear before you could move forward would be rather eyebrow raising since both you and Elizabeth had Sky-Hooks.
I'm chugging along.
My preferred weapons of choice so far are the Carbine for most troops and the RPG for the bigger enemies. At first I was a little annoyed that I couldn't hold on to more weapons, but I soon realized just how fun it can be to be at a slight disadvantage when I get cornered. As an example; recently I found myself inside a one exit warehouse when a fight broke out. Enemies started pouring in from the front door while I took them out at the bottleneck with my carbine. Suddenly I ran out of bullets. As I dashed forward to loot bodies, a robotic patriot and a floating machine gun were waiting around the corner and started to unload on me. Unable to get to the bodies I whipped out my RPG and hid behind a desk. As the patriot came in I blasted away, barely coming out with sliver of health. From the wreckage I yanked out a crankgun, dashed around the corner and unloaded on the floating machine gun and remaining troops. It was a narrow escape. I loved it.
I'm also a great fan of the "rip" mechanic that allows Elizabeth to bring into existence objects and items that can aid me. It's a clever method of giving a player the chance to cater the game to his playstyle. Personally I can never turn down extra firepower from robo-patriots.
The voice work is fantastic in this game. And the writing is pretty clever too. It upsets me when I miss out on a bit of dialogue because I hit multiple voice trigger locations in a row.
I'm looking forward to more time to play.
I am currently looking for Fink in order to get the guns I need to get back the airship I "commandeered".
I'm also a great fan of the "rip" mechanic that allows Elizabeth to bring into existence objects and items that can aid me. It's a clever method of giving a player the chance to cater the game to his playstyle. Personally I can never turn down extra firepower from robo-patriots.
The voice work is fantastic in this game. And the writing is pretty clever too. It upsets me when I miss out on a bit of dialogue because I hit multiple voice trigger locations in a row.
I'm looking forward to more time to play.
So I'm listening to this thing. And besides the nitpicks about the plot it seems his major complaint about the gameplay is that the video game plays too much like a video game. One example he uses is the food aspect, where Booker gorges himself on trash cake to fill up his life. That seems pretty on par with most games. There's always plenty of weird mechanics that wouldn't make much sense in a real life situation. But that's why it's not real life. It's a video game. If it was way too realistic, most games about a man taking down an entire army of opposition will never be winnable. So what if Mario increases in size when he gets a mushroom? It's just part of the game.
Yeah. Bioshock isn't exactly Mario, but having a weird game mechanic that doesn't make sense is still better than "You have been shot once. You do not have a good surgeon and several months of recovery available to repair yourself. You are dead.".
Yeah, that stuff is silly. There are reasons to have guns in the vending machines story-wise for both Bioshock (free market) and Infinite (American gun obsession).
I will concede that it would have been cool that if you start shooting things up in a citizen zone, they all run to the vending machines and pull out weapons. Would've been an interesting consequence. That said, I'm pretty sure there are a lot of places in Infinite where you're just not allowed to use your gun.
I think that Spoony's interpretation of the ending could definitely be seen that way.
But I like to think that if they stop the Comstock realities from occurring that he will not end up selling Anna. Yeah maybe he will still be in debt, but I think it's probably supposed to be clear that selling Anna was a bigger mistake than just dealing with the consequences of whomever he owed.
I don't think he'll have the opportunity to sell her, or at least that's implied. However, he's still the same Booker who would have, given the chance. Maybe the time he has will let him get over it. That, or he'll get into gambling debts and this time the loan sharks will just kill him and who knows what will happen to Anna. I guess the way I'm seeing it is, there are still pretty bleak outcomes. That said, now that the constant of Comstock taking Anna has been eliminated, there are more possibilities for Booker and Anna, meaning that in some worlds, Booker might make different choices and things will turn out better.
theres a very strong implication that consciousnesses collapse in the game. When the baby is crying in his office after the credits, I'm pretty sure that the memory of everything you had to go through in order to win Elizabeth back has collapsed back into you.
So not only do you no longer have the opportunity to sell her, but you remember, perhaps as a dream, or nightmare, what could have been. I like to think that you change as a result of this "dream".
So not only do you no longer have the opportunity to sell her, but you remember, perhaps as a dream, or nightmare, what could have been. I like to think that you change as a result of this "dream".
Consciousness collapses when one person travels to another world. That couldn't happen with the Comstock timeline removed since he never would've commissioned the prophecy machine from Lutece.
That said, the way he says "Anna?" implies at least that he has a bad feeling or some effect from the other stuff has come onto him, so maybe there's a chance.
That said, the way he says "Anna?" implies at least that he has a bad feeling or some effect from the other stuff has come onto him, so maybe there's a chance.
I'd recommend finishing it as-is and then playing it again on a harder difficulty (or 1999 mode) later. Starting over without finishing and added on a harder playthrough can made a game feel like it's taking forever.
You can't apply one fiction's rules to another
. Otherwise the whole immortal thing by that one bad guy in Dragonball Z could be solved by cutting off the guy's head.I thought it was pretty obvious the scene after the credits was supposed to represent that "Booker" remembered what happened. That, or it implied that he saw the whole thing as some dream. Why? Well...
For one, why have the scene at all if it holds no relevance to what happened? The developers are smarter then that.
Second, why would he walk into a room, that mind you, was only used to house Anne's crib, open is very slowly, and say "Anne, is that you?" Why the hell would he be asking that question? What did he expect to answer back? Aliens? His dead wife? The boogyman?
No, the question "Anne, is that you?" is because he came out remembering the events of the game, thus why we see it as the audience through his eyes. To him, he was suddenly back in his office hearing baby music, walked up to the door scared of her being gone because that is all that Booker remembers of her just before he came to know her as Elizabeth. It was a way for him to come to grips with "reseting". At least, that's how I saw it.
For one, why have the scene at all if it holds no relevance to what happened? The developers are smarter then that.
Second, why would he walk into a room, that mind you, was only used to house Anne's crib, open is very slowly, and say "Anne, is that you?" Why the hell would he be asking that question? What did he expect to answer back? Aliens? His dead wife? The boogyman?
No, the question "Anne, is that you?" is because he came out remembering the events of the game, thus why we see it as the audience through his eyes. To him, he was suddenly back in his office hearing baby music, walked up to the door scared of her being gone because that is all that Booker remembers of her just before he came to know her as Elizabeth. It was a way for him to come to grips with "reseting". At least, that's how I saw it.
If you're in Booker's office with a Letuce retrieving you, you can also stand next to Anna's door and hear (very slowly and faintly) baby music
This was already kind of hinted also by the fact we later on enter one of those dimensions. One in which Booker "fails" somewhere around the Hall of Heroes, allowing the Vox Populi to use him as a sort of martyr figure. Every attempt with a new Booker creates yet another dimension. Once we get Elizabeth and she can rift jump, we remain the same Booker the rest of the game, thus why it changes to her reviving us.
Also for those confused by the fact Booker can exist after "drowning" at the Baptism, you just think no farther then to the nature of the coin flip. When you flip a coin you have two outcomes, heads or tails. You don't have heads, tails, sideways, backwards, etc... Just heads or tails. The universe works by giving two choices and two outcomes, which can then branch into another two unique choices and outcomes, spawning on forever to a massive tree of existence. The choice that created Comstock was Booker accepting the Baptism (heads) while the one that kept him Booker was him refusing it (tails).
When Elizabeth takes you back to the Baptism and "drowns" you, she is altering one of those choices. Instead of either fleeing the Baptism or taking part in it and surviving, the two choices are now fleeing the Baptism or taking part in it and drowning. She changes the nature of the "heads" flip. This means every version of Comstock that could have existed will be dead, but that every instance of Booker will "reset" and go on living because he never accepts the Baptism to go on and drown.
Also for those confused by the fact Booker can exist after "drowning" at the Baptism, you just think no farther then to the nature of the coin flip. When you flip a coin you have two outcomes, heads or tails. You don't have heads, tails, sideways, backwards, etc... Just heads or tails. The universe works by giving two choices and two outcomes, which can then branch into another two unique choices and outcomes, spawning on forever to a massive tree of existence. The choice that created Comstock was Booker accepting the Baptism (heads) while the one that kept him Booker was him refusing it (tails).
When Elizabeth takes you back to the Baptism and "drowns" you, she is altering one of those choices. Instead of either fleeing the Baptism or taking part in it and surviving, the two choices are now fleeing the Baptism or taking part in it and drowning. She changes the nature of the "heads" flip. This means every version of Comstock that could have existed will be dead, but that every instance of Booker will "reset" and go on living because he never accepts the Baptism to go on and drown.
