fuck there was a post credit scene?
The credits are worth watching for that and some other footage as well.
fuck there was a post credit scene?
That's my doubt, Elizabeth wants to erase all the possibilities of him becoming Comstock, but if he kills him....he dies in that moment in every world, it's just over for him.
Jeremiah Fink's brother listened to, and made, music from listening through the tears. The bolded assumption is correct but it's extremely heavily implied in a Voxophone and the existence of out of place music practically confirms it to be correct.I'd have to agree with the original Bioshock being more impactful to me. I thought Infinite was amazing and one of the best experiences I've had in awhile, but I still like the original better.
Few questions/observations:
1) What was with the "God Only Knows" Beach Boys cover? I was smiling when I heard it but it made no sense giving the time the game takes place(unless it was related to one of those tears where you hear newer modern music.
I need a gif of looking up at Comstock House from the switch to activate the bridge. A screenshot wouldn't even do it justice - the moving clouds and lightning elevated that image to one I'll probably never forget.
Then there's running headfirst into the maelstrom while the bridge violently falls into place, piece by piece, desperate to rescue Elizabeth.
Goddamn.
I need a gif of looking up at Comstock House from the switch to activate the bridge. A screenshot wouldn't even do it justice - the moving clouds and lightning elevated that image to one I'll probably never forget.
Then there's running headfirst into the maelstrom while the bridge violently falls into place, piece by piece, desperate to rescue Elizabeth.
Goddamn.
Yep. And not just swirling with snow, but also lit by countless warm, flickering candles, and surrounded by statues.That really was such a visually amazing scene and then just suddenly bursting through the clouds to a snow covered area.
I'd have to agree with the original Bioshock being more impactful to me. I thought Infinite was amazing and one of the best experiences I've had in awhile, but I still like the original better.
Few questions/observations:
1) What was with the "God Only Knows" Beach Boys cover? I was smiling when I heard it but it made no sense giving the time the game takes place(unless it was related to one of those tears where you hear newer modern music.
I'd have to agree with the original Bioshock being more impactful to me. I thought Infinite was amazing and one of the best experiences I've had in awhile, but I still like the original better.
Few questions/observations:
1) What was with the "God Only Knows" Beach Boys cover? I was smiling when I heard it but it made no sense giving the time the game takes place(unless it was related to one of those tears where you hear newer modern music.
Elizabeth can only kill every Booker if Comstock exists. Comstock can only exist if any Booker accepts the baptism. That's the paradox. Accepting the baptism leads to Booker never making the choice because every Booker is dead. A paradoxical loop occurs, which is destroyed by feedback, changing the variable at the baptism (Booker can accept or reject) to a constant (Booker must reject or otherwise a paradox occurs).
For me, it was the almost fetishistic collection of masks that was most unnerving. Not just any masks, but porcelain ones with creepy hairline cracks and sunken eye sockets. Some straight up "Saw" shenangians there.The creepiest thing about Comstock House was that old Elizabeth propganda video with that damn music and Comstock's eyes zoomin in, with the various words flash on screen(BOOKER, PROPHET, ANNA)
Is there an explanation for why some of the tears were red? It's not like there was a difference in opening them. There were blue tears that just put out audio too (at comstock house). Seems like an odd differentiation for similar purposes
For me, it was the almost fetishistic collection of masks that was most unnerving. Not just any masks, but porcelain ones with creepy hairline cracks and sunken eye sockets. Some straight up "Saw" shenangians there.
For me, it was the almost fetishistic collection of masks that was most unnerving. Not just any masks, but porcelain ones with creepy hairline cracks and sunken eye sockets. Some straight up "Saw" shenangians there.
Those messages can be toggled "off," as well as the "icons" that point to the Heavy Hitters and enemy health bars. Look under the options menu.
Thanks man.Page 88. Just came out of the ending a few hours ago and it helped a ton. A lot of my initial thoughts were correct, but elaborated on.
And the timeline needs to be on every page.
Holy shit my mind is full of fuck. Could someone try to explain the ending to me please
Ha, I immediately crouched behind a pillar or something when that happened, lol.It was pretty creepy sneaking around to not alert the siren guys and suddenly see a wheelchair roll towards you with a porcelain ben franklin head lol
Huh, neat observation. The only living "founder," perhaps?I thought it was interesting how the only mask with lit-up eyes was the Comstock mask.
EDIT:
Jeremiah Fink's brother listened to, and made, music from listening through the tears. The bolded assumption is correct but it's extremely heavily implied in a Voxophone and the existence of out of place music practically confirms it to be correct.
It's always implied that someone is using music from the future, the most obvious explanation for this would be via tears. You later come across a composer's house - one of the Fink Brothers - where you find that he does in fact take music from the future via tears and pass it off as his own and has used it to get rich. There's a bunch of anachronistic songs in the game, that's just the most prominent.
There are a couple of Voxaphones that talk about this but it was Fink's Brother(I think) who would use the tears to hear music from the 80's and rip it off.
I need a gif of looking up at Comstock House from the switch to activate the bridge. A screenshot wouldn't even do it justice - the moving clouds and lightning elevated that image to one I'll probably never forget.
Then there's running headfirst into the maelstrom while the bridge violently falls into place, piece by piece, desperate to rescue Elizabeth.
Goddamn.
YES. HELL YES.
Seriously, a high-res GIF of the Comstock House exterior would be amazing.
I also PM'd Zeliard asking him to take some super-hi-res shots of the place.
No pressure, buddy!
Fine engineering. And Close Encounters of the Third Kind fans.So maybe I missed this, but what exactly is responding from Columbia at the very beginning of the game when you enter the code to get in the rocket?
Elizabeth can only kill every Booker if Comstock exists. Comstock can only exist if any Booker accepts the baptism. That's the paradox. Accepting the baptism leads to Booker never making the choice because every Booker is dead. A paradoxical loop occurs, which is destroyed by feedback, changing the variable at the baptism (Booker can accept or reject) to a constant (Booker must reject or otherwise a paradox occurs).
Infinite's aesthetics and the emotions they create are so next-level
So how did Rapture play into all of this? Seemed very arbitrary..... I assumed that one of Booker's selves was either Ryan or the main character from the first game
4chan said:Guys, you can hear Songbird dying in the first game.
http://www.youtube.com/watch?v=qpmvkZ6TIMk
Around the 14 second mark.
http://www.youtube.com/watch?v=DsjYmlnP1a4
1. Fink or it was really hard to model and animate that chairA few things that have not been explained....one...why is the chair that get Booker into Columbia the same chair that is seen in two key scenes, both times where you rescue elizabeth (one chair is in a side room before you meet elizabeth, the second is the chair she is in when she is experimented on)
two....why do the twins bring you to their world?
So basically you mean that Booker is only killed in all the different realities where he accepts the baptism. In those realities he's killed, Comstock, Elizabeth and Columbia are never born, so those realities are erased.
What are left are all the possibilites where he refuses the baptism. One of them has him becoming a dectective and living with Anna.
All of the red events are basically cuts off, they become an impossibility due to their paradoxical nature.
The first bolded bolded, I believe it's merely as a way to show Booker precisely where the deviation occurs. At the very end, she leaves the decision as to whether or not he is sure he wishes to destroy Comstock up to him, asking before the final door. We are merely observers, and we observe through the eyes of Booker since that's who we are in the game. It would make more sense if we were merely looking at another Booker, I agree, but it wouldn't have the 'impact' upon the player. If you want to work around that you could say that stepping through the door turns you into you as opposed to a tear where the two of you simultaneously exist. Likewise, she is capable of interacting because she can 'control' the probability space, as we see when she drowns every Booker. As for the second bolded bit, she does. She drowns every single Booker. Every single Booker is drowned by Elizabeth. Only Bookers that accept the baptism lead to Comstock's existnce which leads to Elizabeth's omnipotence which leads to Elizabeth murdering every Booker before he accepts or rejects. Because only the acception choice leads to Elizabeth's presence (if we want to assume she's, literally, present) and murdering every Booker, only the acception choice leads to a paradox; as a result, rejection becomes the only option, no Comstock exists so no omnipotent Elizabeth exists so every Booker is never murdered.I had trouble reconciling this because it didn't occur to me that Elizabeth is the one who kills Booker (as obvious as that is). She is incapable of killing pre-divergence Booker because she only exists in the realities where Comstock is born. Something that obfuscates this somewhat is Elizabeth's universe jumping to find a reality in which Booker accepts the baptism. Prior to that she goes to a dimension where he rejects, what is her level of agency there? Was she an observer or could she have interacted with the people in that dimension? No one acknowledges her but still, it's confusing. Added to that, there wasn't a Booker of 20 years ago that post-Columbia destroying Booker saw in the 3rd person. He was in his body. That's a hard thing to ignore. Then you've got the same 40 year old Booker in the scene where Elizabeth drowns his younger self during the baptism. She didn't elimnate the man who went to Columbia who in fact was NOT Comstock, so why is the player viewing the game from his perspective.
The ending would have sucked when viewed from an outside perspective but, it would have been a hell of a lot more palatable.
dunno if anyone posted this, but I'm freaking out
HOLY SHIT. That's... Whoa. I see to sit down.dunno if anyone posted this, but I'm freaking out
Yes, 100 percent agree. Running, in particular, has just the right amount of bobbing and tilt, and when you jump, there's the appropriate sense of momentum and athleticism.Jumping off a rail in the game feels right. I think it's the way Booker puts his hands in front of him, then he lands and they go behind him. Shit feels...graceful, even.
Jumping down stairs feels good in this game. I know that's a weird thing to say, but it's true.
dunno if anyone posted this, but I'm freaking out
Here's most of them: http://www.youtube.com/playlist?list=PLsJs8eSUgOjFIgwvMK0djgL55RHhNlRzu&feature=view_allBtw the three songs I recognized
http://www.youtube.com/watch?v=AOMyS78o5YI (the quartet)
http://www.youtube.com/watch?v=PIb6AZdTr-A (the organ on the beach)
http://www.youtube.com/watch?v=YRLG_zYiQs4 (the black woman sings during the revolution)
dunno if anyone posted this, but I'm freaking out
I had trouble reconciling this because it didn't occur to me that Elizabeth is the one who kills Booker (as obvious as that is). She is incapable of killing pre-divergence Booker because she only exists in the realities where Comstock is born. Something that obfuscates this somewhat is Elizabeth's universe jumping to find a reality in which Booker accepts the baptism. Prior to that she goes to a dimension where he rejects, what is her level of agency there? Was she an observer or could she have interacted with the people in that dimension? No one acknowledges her but still, it's confusing. Added to that, there wasn't a Booker of 20 years ago that post-Columbia destroying Booker saw in the 3rd person. He was in his body. That's a hard thing to ignore. Then you've got the same 40 year old Booker in the scene where Elizabeth drowns his younger self during the baptism. She didn't elimnate the man who went to Columbia who in fact was NOT Comstock, so why is the player viewing the game from his perspective.
The ending would have sucked when viewed from an outside perspective but, it would have been a hell of a lot more palatable.
If this is true, that's amazing.
dunno if anyone posted this, but I'm freaking out
dunno if anyone posted this, but I'm freaking out