I thought the twins effectively hired him to fulfill the task while giving him all of the items you see in his suitcase at the beginning of the game?
And it's the process of "the Lutece Twins open a tear and pull Booker in" that I would have wanted to see for an explanation as to why Booker could not have perceived the change in universes.
LOST didn't really have a multiverse thing, it seemed pretty straight even when they did the whole backwards timetravel thing. Fringe wasn't that confusing either, it seemed pretty simple to understand, though occasionally some details get lost in the shuffle.
It had what seemed like a multiverse (one where they prevented the plane from crashing, other where they failed.) Desmond snaps and acts all weird, thinking that messing with the light will get them to the better reality. Twist being that it was actually their limbo awaiting them.
I like rewriting history being a false hope better than killing yourself to deny all bad versions of you from existing.
Unless Ken already has the DLCs sketched out, I can't imagine him even getting back to work and progress being made until July. Hell, he's still on a press tour so his much deserved vacation hasn't even begun yet.
The question was whether Slate knew Booker was in Wounded Knee. I may be wrong, but I seem to remember Comstock coming on the intercom and announcing that Booker took part in the battle. If so, Slate would have heard that and would have known (or he would have rejected it as another of Comstock's lies).
Again, maybe I'm misremembering it and Comstock just said something like, "Why don't you tell Elizabeth what happened at Wounded Knee?".
The question was whether Slate knew Booker was in Wounded Knee. I may be wrong, but I seem to remember Comstock coming on the intercom and announcing that Booker took part in the battle. If so, Slate would have heard that and would have known (or he would have rejected it as another of Comstock's lies).
The question was whether Slate knew Booker was in Wounded Knee. I may be wrong, but I seem to remember Comstock coming on the intercom and announcing that Booker took part in the battle. If so, Slate would have heard that and would have known (or he would have rejected it as another of Comstock's lies).
Again, maybe I'm misremembering it and Comstock just said something like, "Why don't you tell Elizabeth what happened at Wounded Knee?".
My one question (and this may be a dumb one) is...like, was Comstock's plan all along to have Elizabeth and Columbia destroy America? Or "the sodom below" as Comstock always called it? Or was that something she does on her own in that timeline?
I'm assuming that's why Elizabeth knew it had to all be stopped. Not so much because of Comstock or anything you see happen in 1912, but because of what you see Columbia doing to New York in the 1983 tear.
The question was whether Slate knew Booker was in Wounded Knee. I may be wrong, but I seem to remember Comstock coming on the intercom and announcing that Booker took part in the battle. If so, Slate would have heard that and would have known (or he would have rejected it as another of Comstock's lies).
Again, maybe I'm misremembering it and Comstock just said something like, "Why don't you tell Elizabeth what happened at Wounded Knee?".
My one question (and this may be a dumb one) is...like, was Comstock's plan all along to have Elizabeth and Columbia destroy America? Or "the sodom below" as Comstock always called it? Or was that something she does on her own in that timeline?
I'm assuming that's why Elizabeth knew it had to all be stopped. Not so much because of Comstock or anything you see happen in 1912, but because of what you see Columbia doing to New York in the 1983 tear.
Cool. What an ending. Goddamn. I'm a little surprised how much it all makes sense. As it was unfolding I was starting to roll my eyes thinking "what is this horseshit" but as it gets near the end and you start piecing everything together it works well.
The idea about the tears letting people create things from plagiarism, like the old-time Tears for Fears song, is such a brilliant touch. The Girls Just Wanna Have Fun cover playing when you're on the beach is such a brilliant clue in hindsight. And the vigors were a copy of the plasmids from Rapture I'm guessing?
Andrew Ryan doesn't factor into any of this does he? When Elizabeth and Booker open that door to Rapture I thought something crazy was going to go down regarding him. Was still great to see the city again, though.
Could someone tell me that has finished infinite, im now at the section where im looking for the 3 tear drops for elizabeths mother, how much more i have to go? kind of feeling abit like a chore now battling through to the end?
Could someone tell me that has finished infinite, im now at the section where im looking for the 3 tear drops for elizabeths mother, how much more i have to go? kind of feeling abit like a chore now battling through to the end?
Although I'm almost certain this question was asked before, and the explanation's probably most obvious. I'm still left wondering, what if Elizabeth had taken Booker back to moment when Lutece decided to pursue a career in physics... If Lutece never invents the "device", Colombia could not have exited, therefore Comstock (no matter how "evil") could not have used a tear to get his hands on Anna and everyone would have lived happily ever after... Or ar the Luteces just bitchy about being seperated from time and space? Why would Anna even care about how the Luteces feel?
Although I'm almost certain this question was asked before, and the explanation's probably most obvious. I'm still left wondering, what if Elizabeth had taken Booker back to moment when Lutece decided to pursue a career in physics... If Lutece never invents the "device", Colombia could not have exited, therefore Comstock (no matter how "evil") could not have used a tear to get his hands on Anna and everyone would have lived happily ever after... Or ar the Luteces just bitchy about being seperated from time and space? Why would Anna even care about how the Luteces feel?
Because then someone else could have invented the device as that (Lutece inventing the device) isn't one of the constants of all time-lines. She's trying to eradicate literally every single tiny possibility of herself becoming a time god.
Thinking back on this game, I really think the part that blew me away was visiting The First Lady's Memorial within the Hall of Heroes. The beautiful rooms combined with the different classical music literally gave me chills. In fact, up until around Chen Lin, I think this game had near flawless presentation.
Thinking back on this game, I really think the part that blew me away was visiting The First Lady's Memorial within the Hall of Heroes. The beautiful rooms combined with the different classical music literally gave me chills. In fact, up until around Chen Lin, I think this game had near flawless presentation.
Could not agree more. Going back and forth with the Gunsmith was bad compared to the first third or so of the game. Some of the story implications from that section were interesting, but overall it just felt boring. Even the environment itself from a visual standpoint was somewhat dull. When you first arrive at Fink's area it looks really interesting and the whole industrial labor thing could make for a great environment, but inside where the Gunsmith's office is wasn't really anything special. Thankfully, I really loved everything else.
My one other nitpick is that I didn't think Comstock was as compelling as Andrew Ryan. Knowing what I know now the Comstock character is pretty mindblowing, but as I was going through the game I did find myself missing some of the personalities that were in the first Bioshock, like Ryan or Sander Cohen. It was like I never felt that I was getting to know any of the side characters like I did with some of the more important people in Rapture. Same goes for the city itself. The game's focus shifted more to Booker and Elizabeth after a while. Understandably so, and it definitely works, but I want to know more about the founders and how they grew the city to what it is now. I felt like we got a much better picture of Rapture before Jack arrives in BS 1 than Columbia before Booker arrives in Infinite.
Hopefully the DLC will be used to flesh out some of that lore.
It's been almost a week now and I'm still thinking about it. This fucking game man.
There's one thing that blew my mind into tiny pieces, it's the music. When I first heard God Only Knows, I thought it was some kind of goof. "Yeah right, the Beach Boys in 1913. Great job Ken." Then I spotted that Cindy Lauper song, and I started thinking something was up.
When I realised Fink wrote those songs spying on another (our?) universe through a tear, it blew my mind. For some reason I love being proven wrong when I think I spot some mistake but it's in fact part of some bigger picture I don't get yet.
Last time it happened to me was with Lost, in that "we have to go back" episode. Lost spoilers:
in that episode you're led to believe you're watching a flashback from before the crash. Yet Jack is sporting a cell phone released after the crash. I thought it was a silly mistake, or that maybe product placement was more important than continuity. But then it's revealed that you're watching something happening after they left the island so it all made sense. I loved that and Bioshock made me think about that.
It's been almost a week now and I'm still thinking about it. This fucking game man.
There's one thing that blew my mind into tiny pieces, it's the music. When I first heard God Only Knows, I thought it was some kind of goof. "Yeah right, the Beach Boys in 1913. Great job Ken." Then I spotted that Cindy Lauper song, and I started thinking something was up.
When I realised Fink wrote those songs spying on another (our?) universe through a tear, it blew my mind. For some reason I love being proven wrong when I think I spot some mistake but it's in fact part of some bigger picture I don't get yet.
Last time it happened to me was with Lost, in that "we have to go back" episode. Lost spoilers:
in that episode you're led to believe you're watching a flashback from before the crash. Yet Jack is sporting a cell phone released after the crash. I thought it was a silly mistake, or that maybe product placement was more important than continuity. But then it's revealed that you're watching something happening after they left the island so it all made sense. I loved that and Bioshock made me think about that.
I'm totally with you. The 1912 versions of newer music were such a great touch.
My favourite is the Tears For Fears cover in the ending credits (I think you can hear it in one of shops in-game also, but I missed it). It's so catchy.
My most mindblowing thing was the use of the choices you make during the game (the raffle, coin toss, brooch) to turn a perceived weakness of the game into one of its greatest strengths for storytelling.
Bioshock 1 did this with your linear route through Rapture and limited options to progress tying in with the use of the "would you kindly" trigger-phrase, and I was hoping this would have a similarly impressive use of mechanics as metaphor. It was only after the credits rolled I got it.
Just like how Booker choosing not to be baptised didn't stop the ultimate fate of Comstock existing, your choices don't affect what actually happens with the story. No matter how many times you play through the game and make different choices, the outcome is always the same, because every choice you make creates a new alternate universe where you chose differently.
What would usually be open to criticsm (ie. that your choices are meaningless, you can't affect the story, and everything happens the same each time you play it) is fully embraced as it enforces the point the game is trying to make at the climax: The only way to stop Comstock is to never make the choice.
The only way to stop it all from happening is to not play the game.
I feel I need to quote Robin Williams here describing his character who has PTSD in The Fisher King on Inside the Actors Studio:
"You're playing a character who is so vulnerable, he's created another person; When you have PTSD, it's an incident so traumatic that you create another being, and the only way to get back to who you are is to regress."
This description matches Comstock to an absolute tee.
Has their been any sort of hints about the DLC? Is it going to further explore Columbia before the game? Or will it deal with more Elizabeth and the tears and all that?
Guessing it's all vague right now, but maybe I missed some hint from Irrational in an interview or something.
Thinking more about this game, it has very similar concepts to looper, only looper was a better, less contrived story that had a twist but gave you all the details in manageable tidbits. Infinite is good too, but I honestly have to replay the game to fully appreciate it and actually pay more attention to the voxophones this time.
As for the "OMG Songbird is in bioshock 1" - technically Levine could have gone back to Bioshock 1, and looked at the wealth of stuff they put in there, and came up with something tied to that world to put in Bioshock Infinite. In fact, I think if you know your game will have a sequel, it is always good to drop little tid bits that can tie it to future sequels. Songbird could have had another random screeching sound effect from Bioshock 1, it's not that big a deal.
How is 1999 mode? I played infinite on hard and got my ass handed to myself on numerous occasions, and I don't think I used vigors all that intelligently. Is there a guide on how to approach 1999 mode and have fun with it?
I would actually like to see Elizabeth growing up in the tower explored a bit, whether it be in Voxophones or actual gameplay, like her first experience opening a tear and how she reacted to doing it.
I would actually like to see Elizabeth growing up in the tower explored a bit, whether it be in Voxophones or actual gameplay, like her first experience opening a tear and how she reacted to doing it.
Yeah, I want more on Columbia. Elizabeth as a kid, the growth of the city. I want to know more about the other Founders like Saltonstall, Marlowe, Vanderwald, and the others. Who they are. How they were all chosen and why. Some background on the Songbird. There's so much potential for story there. Really has me tempted to buy that season pass, something I usually never buy.
Also, this isn't in the actual game right?
Let's get a prequel DLC where Comstock looks like that.
I was thinking about this and I thought it would be really easy to make a mode where there are various voxaphones scattered about the world narrated by the development staff which explains how they built the game. It would of been a cool way to do developer commentary while still being part of the world and a great way to experience the game for a second playthrough.
I thought the twins effectively hired him to fulfill the task while giving him all of the items you see in his suitcase at the beginning of the game?
And it's the process of "the Lutece Twins open a tear and pull Booker in" that I would have wanted to see for an explanation as to why Booker could not have perceived the change in universes.
They did provide him with that stuff. They very much knew that they were pulling him in so they probably had that stuff ready ahead of time.
It seems like they counted on Booker making up his own memories to make sense of it, when he started mumbling that he was there to find the girl and wipe away the debt, you can hear Robert Lutece say something to the effect of "Told you it would work."
They do show the Lutece Twins open a tear and pull Booker in: