Bioshock: Infinite
- Thread starter Sheva Alomar
- Start date
Joe
I KEEP MY IDEALS
- AKA
- Joe, Arcana
I've been keeping out of this thread because I haven't got the game yet so I wanted to remain mostly spoiler-free. However I feel it's worth noting that Yahtzee reviewed this game this week. The review was rather positive (one of few with him) so now I am sooo much more psyched to play it than I already had been.
Russell
.. ? ..
- AKA
- King of the Potato People
Completed it. 
Ending spoilers...
Ending spoilers...
A bit disappointed in the ending.
I could see that the ending was going to annoy me when the game jumped down the multi-verse rabbit hole.
It makes sense, the 123, Booker's AD mark etc, it's just... eh, i dunno.
I do want to play the game again knowing what I now know, so the ending can't be that bad.
Can anyone tell me what the different is between picking the cage or the bird necklace at the beginning?
I could see that the ending was going to annoy me when the game jumped down the multi-verse rabbit hole.
It makes sense, the 123, Booker's AD mark etc, it's just... eh, i dunno.
I do want to play the game again knowing what I now know, so the ending can't be that bad.
Can anyone tell me what the different is between picking the cage or the bird necklace at the beginning?
Interslicery
.....
Yeah the ending disappointed me too. Alot of the game disappointed me really :/
About the choice
About the choice
None of the choices you make have any point to them, aside from not throwing the ball at the couple who give you an item later.
Last edited:
Luthion
Banned
RANT INCOMING!
Personal vrdict of Bioshock Infinite? 7 out of 10.
Visually and conceptually, its story and characters are masterfully done, and its setting is one of the most (if not the most) well realised virtual worlds ever seen in gaming. The problem is... when you strip away those elements, you're left with a title that relies on subpar gameplay to hold its all together.
As an experience, it is genre defining, but as a game, it's only serviceable at best.
Much of its design is honestly a huge step back for the franchise.
Michael O'Connor Original Bioshock: Greater diversity of plasmids, greater degree of customisation for plasmids, access to all weapons at all times, greater weapon customisation, alternative ammo types, no tacked on shield mechanics, health packs requiring actual resource management, *vastly* more exploration, and far less disconnect between the gameplay and the world. Big Daddies are meaningful optional encounters that actually affect the gameplay and help to progress your character.
New Bioshock: Plasmids are too similar and under utilised, and possess no customisation beyond basic upgrades, two-weapon carrying system, lack of weapon customisation, no alternative ammo, lazy recharging shield mechanic which makes combat far less strategic, health packs lying around everywhere, limited exploration and far more linearity, and a strong sense of dissonance between the gameplay and story. Handy Men are tacked on bad guys with little relevance to the plot. One boss was reused three times, and the final battle was a tedious, poorly designed chore.
Even Elizabeth's mechanics are weak. Tears are nothing more than pressing a button to make a predestined object appear in a predefined location. If I press X some health appears? Why not just put it there? Its just a meaningless button press. It's dull. Her random object scavenging is also nothing more than throwing you a resource you're low on, with a timer between throws. As soon as I realised that it killed the combat immersion for me completely.
Even without all these glaring issues, the gunplay is just weak, full stop. But that's part of the problem. System Shock / Bioshock were RPGs first, and FPS's second. Their strengths are in their RPG elements.
Bioshock Infinite took away almost every unique RPG element the franchise had, and what you're left with it is just a really poor shooter.
But it's a really poor shooter with an absolutely beautifully realised world, characters that are genuinely developed, and a story that managed to tell itself in a mature way without ever being hamfisted or shoved down your truth. It's a really poor shooter with one of the best female characters I've ever seen in the games in a long time, and probably one of the well most thought out story I've ever seen in any video game, ever. What feels like a mess of a plot as you're playing through literally slaps itself into a perfectly cohesive whole once the major plot twist is revealed, and that alone was a master stroke of genius.
It's just a pity they put so little goddamn effort into the gameplay.
Personal vrdict of Bioshock Infinite? 7 out of 10.
Visually and conceptually, its story and characters are masterfully done, and its setting is one of the most (if not the most) well realised virtual worlds ever seen in gaming. The problem is... when you strip away those elements, you're left with a title that relies on subpar gameplay to hold its all together.
As an experience, it is genre defining, but as a game, it's only serviceable at best.
Much of its design is honestly a huge step back for the franchise.
Michael O'Connor Original Bioshock: Greater diversity of plasmids, greater degree of customisation for plasmids, access to all weapons at all times, greater weapon customisation, alternative ammo types, no tacked on shield mechanics, health packs requiring actual resource management, *vastly* more exploration, and far less disconnect between the gameplay and the world. Big Daddies are meaningful optional encounters that actually affect the gameplay and help to progress your character.
New Bioshock: Plasmids are too similar and under utilised, and possess no customisation beyond basic upgrades, two-weapon carrying system, lack of weapon customisation, no alternative ammo, lazy recharging shield mechanic which makes combat far less strategic, health packs lying around everywhere, limited exploration and far more linearity, and a strong sense of dissonance between the gameplay and story. Handy Men are tacked on bad guys with little relevance to the plot. One boss was reused three times, and the final battle was a tedious, poorly designed chore.
Even Elizabeth's mechanics are weak. Tears are nothing more than pressing a button to make a predestined object appear in a predefined location. If I press X some health appears? Why not just put it there? Its just a meaningless button press. It's dull. Her random object scavenging is also nothing more than throwing you a resource you're low on, with a timer between throws. As soon as I realised that it killed the combat immersion for me completely.
Even without all these glaring issues, the gunplay is just weak, full stop. But that's part of the problem. System Shock / Bioshock were RPGs first, and FPS's second. Their strengths are in their RPG elements.
Bioshock Infinite took away almost every unique RPG element the franchise had, and what you're left with it is just a really poor shooter.
But it's a really poor shooter with an absolutely beautifully realised world, characters that are genuinely developed, and a story that managed to tell itself in a mature way without ever being hamfisted or shoved down your truth. It's a really poor shooter with one of the best female characters I've ever seen in the games in a long time, and probably one of the well most thought out story I've ever seen in any video game, ever. What feels like a mess of a plot as you're playing through literally slaps itself into a perfectly cohesive whole once the major plot twist is revealed, and that alone was a master stroke of genius.
It's just a pity they put so little goddamn effort into the gameplay.
Joe
I KEEP MY IDEALS
- AKA
- Joe, Arcana
Finished this game yesterday!
I honestly have very little in the way of negative criticism to lend this game. The combat felt beautiful all the way through and I loved the vast amount of outdoor environments they gave you where you were able to jump to skyhooks, ride the rails or even hop onto Zeppelins and other flying vehicles. There were a lot of weapons and I was even happy to try them all and even switch out from my preferred weapons more often to keep things fresh.
I liked the vigors and their ability to also be deployed as traps. Traps that NEVER disappeared made it much better as they came in handy later down the line. I probably always had Possession readily selectable, it came in very handy. I used a bit of bucking bronco, charge, shock jockey and the water one. Didn't touch most of the others that much, even though they were useful
As for the story, DAYUM. They really went down their own kind of rabbit hole when they opened the game up to alternate realities. What's incredible though is that when they did so they gave themselves very little opportunity to succeed and opened up hundreds of ways to fall flat on their face and fail. To me they succeeded with flying colours. Though Elizabeth's idenity as Booker's daughter could be seen coming, the revelation of Booker and Comstock being different versions of the same person was amazing.
Looking back at the game the clues were everywhere, my favourite being Slate's constant rambling about Comstock NOT being at the battle of the wounded knee (he doesn't recognize Comstock as DeWitt because of the name change and aging)
What is important is that they were able to make the vagueness of reality bending also make complete sense. They also didn't pull the ending revelations completely out of their arses (read: Mass Effect 3) because they spent the whole game TELLING you that DeWitt was Comstock through very subtle means. It's impossible to guess beforehand and impossible to miss in hindsight. That is literary perfection right there.
The characters were also incredibly memorable. I need not mention Elizabeth because it goes without saying how amazing she is as a companion character. Characters like Fitzroy, Fink and Slate all had many personal touches to them which made them feel rather real.
Of course my favourite characters of the whole thing were the Lutece 'twins'.
Their story was my absolute favourite and the more I found out about them the more I wanted to know. It took my until after I finished the game to piece together that Robert and Rosalind Lutece were actually alternate versions of each other, as opposed to being related in one universe.
tl;dr - I think this game is an absolutely incredible piece of work. It brings together incredible storytelling - rivalling some of the best books I have ever read - with fantastic graphics, great music, real characters and places it all in a truly incredible world. This is easily game of the year right here for me, no contest.
Also I am not even going to dignify all this 'racism' stuff with any real comment. Just no.
I liked the vigors and their ability to also be deployed as traps. Traps that NEVER disappeared made it much better as they came in handy later down the line. I probably always had Possession readily selectable, it came in very handy. I used a bit of bucking bronco, charge, shock jockey and the water one. Didn't touch most of the others that much, even though they were useful
As for the story, DAYUM. They really went down their own kind of rabbit hole when they opened the game up to alternate realities. What's incredible though is that when they did so they gave themselves very little opportunity to succeed and opened up hundreds of ways to fall flat on their face and fail. To me they succeeded with flying colours. Though Elizabeth's idenity as Booker's daughter could be seen coming, the revelation of Booker and Comstock being different versions of the same person was amazing.
Looking back at the game the clues were everywhere, my favourite being Slate's constant rambling about Comstock NOT being at the battle of the wounded knee (he doesn't recognize Comstock as DeWitt because of the name change and aging)
What is important is that they were able to make the vagueness of reality bending also make complete sense. They also didn't pull the ending revelations completely out of their arses (read: Mass Effect 3) because they spent the whole game TELLING you that DeWitt was Comstock through very subtle means. It's impossible to guess beforehand and impossible to miss in hindsight. That is literary perfection right there.
The characters were also incredibly memorable. I need not mention Elizabeth because it goes without saying how amazing she is as a companion character. Characters like Fitzroy, Fink and Slate all had many personal touches to them which made them feel rather real.
Of course my favourite characters of the whole thing were the Lutece 'twins'.
Their story was my absolute favourite and the more I found out about them the more I wanted to know. It took my until after I finished the game to piece together that Robert and Rosalind Lutece were actually alternate versions of each other, as opposed to being related in one universe.
tl;dr - I think this game is an absolutely incredible piece of work. It brings together incredible storytelling - rivalling some of the best books I have ever read - with fantastic graphics, great music, real characters and places it all in a truly incredible world. This is easily game of the year right here for me, no contest.
Also I am not even going to dignify all this 'racism' stuff with any real comment. Just no.
Zee
wangxian married
- AKA
- Zee
what gets me about this is that the game already addresses the issues of racism/classism -- what seems to upset people is that it gets left behind in lieu of booker and elizabeth's story instead of somehow resolving those issues
i think it would have been worse to give the player the idea that not only could racism be "solved" within an 8 hour game, but your white player character would be the one to do it. i rather liked the fact that
booker getting involved just made things worse, hence why it was better for him to just stay the hell out of it later
Russell
.. ? ..
- AKA
- King of the Potato People
Carlie
CltrAltDelicious
- AKA
- Chloe Frazer
Cthulhu
Administrator
- AKA
- Yop
Saw that one earlier. I don't know, seems like a natural thing to do really; you start off with a small creative team to think up the game design, concepts, story, etc; then slowly expand, add artists for concept art, developers for the game engine (if not using one off the shelf) and proof-of-concepts, and then go into full production with the 100 or so people that worked on Bioshock. Other studios will have more steam and be able to make one game after the other, I guess. Also, consider that there's seven years between Bioshock and Infinite - 2 was done by another studio. That's a lot of time to employ a lot of peoples.