Simplifica mucho las mecanicas de los juegos anteriores como dejar que Elizabeth abra puertas y cajas fuertes (algo que tu hacias en los juegos anteriores),es mas lineal y se limita a solo 8 plasmidos. El juego es muy simple y flojo pero aun asi lo colo en mis juegos favoritos.

Subpar gameplay/level design, a story riddled with holes and paradoxes and characters and gameplay elements that are charming/fun but thoroughly unconvincing for the game’s internal history. That said, the atmosphere and presentation are truly on another level, and the game does a decent job of exploring the themes it wants to explore, so I can’t outright call it a bad game. A mediocre one, I can definitely call it though.

Imagine you board a train to ride down a long, multi-level, narrative disaster.

I would give this game a 10, but all those stuttering and all the time I lost trying ti fix it.
This game is a stutter mess.

Intensely atmospheric and wholly invigorating, this game is everything that Bioshock does right, and more. It’s amazing.

Score Breakdown

“The Tale”
Story- 8
Pacing- 6
Characters- 9
Originality- 8
Linearity- 6
Length- 7
Epicness- 8

“The Presentation”
Visuals- 9
Display- 8
Music- 9
Sound FX- 10

“The Mechanics”
Ease of Use- 7
Innovation- 7
Replayability- 7

Following from the original Bioshock, in Bioshock Infinite we are introduced to the theory of multiverse or parallel realities. Instead of a city under the sea, we have a city in the clouds, Columbia, which was founded by a prophet, Zachary Comstock, under the principles of Christian morality, white supremacy and American exceptionalism. Zachary Comstock is an allusion to Anthony Comstock, American politician who was a famous advocate of political moralism, censorship of offensive works and the prohibition of abortion. In his speeches, Anthony Comstock mainly attacked the anarchist writer Emma Goldman. Therefore, the player is constantly called anarchist. Instead of Emma Goldman, the game features Daisy Fitzroy, a black woman who leads the revolution in Columbia.

The main character, Booker Dewitt, is hired to rescue a girl named Elizabeth.

The central question of the game is: “How do you wash the things you did?”. It’s about redemption from sin, the same central question that drives the religious thought: how to be born again?

Dewitt is full of guilt. He killed Indians in the Battle of Wounded Knee. Baptism is a decision in the most radical sense of the term. It is the decision to die and be born again, to erase the past, to end your debt. But the theory of the multiverse complicates this decision because every choice we make creates a parallel universe that continues to exist. If you choose to convert, at the same you chose not to, which means that the result of your mistakes continues to exist in another universe, as well as the consequences of your sins. Ultimately, your sins cannot be redeemed.

The same story is repeated in infinite realities. Some elements are constant, and others are variable, but it is the same story happening countless times: “There is always a lighthouse, there is always a man, there is always a city”. How to prevent these realities to continue repeating? How to truly change history?

Many things in this game reflect the first Bioshock, but in an unexpected way. Rapture and Columbia are two aspects of our society. Both work together and both result in the suffering of innocents. As Elizabeth concludes, these cities are propelled by the abuse of innocents. Here there is no room for children, for authenticity. Even individual freedom seems to be a small price to pay to prevent the loss of innocence, but the loss of innocence seems like an inevitable result of freedom. We can only save the innocence of others, at a great cost, because in our freedom we always end up losing our innocence.

We are stuck in a world where altruism and selfishness tend to complicate each other. You cannot break this cycle, you can only fight it, which at the same time causes it’s movement and gives meaning to your actions. Individual freedom would thus be closed in a dialectic game in which your self-realization is at once your self-condemnation and your self-redemption. The price of choice is, in other words, trapping yourself on the absence of choice.

Crazy talk isn’t it? Considerations like these are the soul of Bioshock Infinite. But you can play just with it’s soulless body. Just shoot things and go on like you used to. It’s fun enough, but it will probably become boring if you are really into the “art of shooting people on a screen”. Almost nothing of what makes FPS so famous works on Bioshock Infinite. If you play it like ir was just another shooter, you can end up claiming, like some guy did, that “BioShock Infinite is the cancer that is killing videogames”. And it really is, depending on what you think “videogames” actually are. If you are expecting a good old and “proper” FPS where you can just imerse yourself in the lucid dream of performing a killing spree, you will be very disappointed. And the story will also make no sense to you. Ironically, if you were a citizen of Columbia, you would probably be on the antagonist side.

Conclusion: Bioshock Infinite sets the high standard for narrative action games.

I played Bioshock Infinite with NO expectations at all, but when I actually began playing through it that slowly changed. I briefly played the first 2 (didn’t finish because I don’t do the horror genre as well) and I didn’t know what to expect from the 3 installment.

And boy, let me tell you….Bioshock Infinite is the ride of your life…the story is about Booker Dewitt having to escort a girl (your companion) from Comstock. The one thing I have a love hate thing for this game is the story. The story is summed up just like I summed it up. And It’s a difficult story but it’s a strong one and it’ll grab your hand. I love the little nods to Bioshock it has even though timeline wise I’m pretty sure it’s in the middle somewhere I can’t remember. But the problems with the game I had are little tiny things and aren’t alot. I wasn’t too keen on the weapon choices since there was only a few in the whole game. But that wound is bandaged by these powers you can use throughout the game and it’s awesome because I found myself using the powers more than actually shooting baddies in the face. Don’t be sad neither you fight bosses along the way too and they’re epic too. And your companion I mentioned earlier? Don’t worry about her she doesn’t get in the way AT ALL during combat, she’s actually a huge help tossing you things you need throughout the duration of combat and stuff. I do also have to say this companion is important to the plot not just some tag along. She has this physic powers that allows her to open “tears” which are basically mini time reverse areas in the map and It’s confusing story wise but it’ll help you alot throughout the game, bet.

Conclusion: I loved Bioshock Infinite, I really did I’d recommend this game to anyone from the very start to very end. I’m a sucker for story and epic action moments. Not all games need co-op or multiplayer to be good, so really it’s been 2 years…GET INFINITE.

So the game starts out with you on a rowboat with this man and woman talking nonsense and arguing and blah blah but then you get dropped off at a lighthouse. The premise is creepy and I’m already in a world of mystery. I sit down in a chair, and then everything changes. I honestly don’t know where to begin with this game. I would like to talk about the story, but at the same time I don’t. Its pacing is perfect and the amount of detail to make the story believable was so overwhelming it was awesome. The visuals are an art style, if you know Bioshock then you know they’re all about the whole throwback eras. Just one more distinction that makes this game stand out. The actor’s execution was absolutely flawless. 2K picked a perfect cast and this is one of Troy Bakers best if you ask me. The actual sound design was unique, the sci-fi was believable, and all sounds were recorded in mono which I thought was smart because it never became a “blah” blend that Call of Duty is know for (in the sound world) and the sound stage and spatial awareness was great. Almost perfect. The actual gameplay and control scheme were recycled, and when this game came out, it was in the market when FPS’s where at a high but it did work for the better and there was never a time where I would hit random buttons because I got confused in hairy situations. Controls were tight and I always knew what I was doing. I played it on Hard Mode from the get go and they were not messing around. Hard Mode is actually hard. Not irritating hard, but challenging hard. When you play it, you won’t break your controller in a rage, you’ll just go, “damn!” and pick right up where you left off. And also, if these plasmids were available to everyone, then why was it that the protagonist was the only one using them? That was the only gap I noticed in the game, and that was actually brought to my attention by someone else. The only downside to I thought to this game was not the ending, but the last level. It was one of those cliched ‘throw everything at you all at once’ and it was actually the easiest part of the game. I go through this whole game constantly low on health, ammo, money, and I get to the end and beat it first try. It was actually too easy.

Conclusion: Retro Science Fiction at its best. It was a rollercoaster of events and motions. I know I didn’t go in detail but Bioshock Infinte knows how to present its story. That’s what this game is about. It’s not the graphics, it’s not the gameplay, it’s the story. This is one of the few games you have to finish to what it’s all about.

Decent game with tight controls and great writing. Some of the game’s aspects could have been more developed, like Daisy Fitzroy for example, and the ending felt very tacked on, as if they thought ‘oh shit this is a BoShock game, it needs a killer twist ending!’ at the last minute. Otherwise, apart from its uninspired mechanics, it’s a good game and definitely worth your time.