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- BioShock Infinite 720p Torrent
- http://urllio.com/qxxpv
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- A man is sent to the flying city of Columbia to find a missing girl. However, upon arrival he discovers that the city, its people, and his objective are all not what they seem.
- The year is 1912, deep in debt, ex-Pinkerton agent Booker DeWitt is sent to the mysterious flying city of Columbia to find and retrieve a young woman imprisoned in a tower since birth - Elizabeth and to "Bring us the girl and wipe away the debt". However, almost as soon as Booker arrives, he finds that Columbia and its people are not quite what they seem, and all too soon science, religion, morality, family and life all clash and spiral down into utter chaos, with Booker and Elizabeth as unlikely partners in the midst of all the action.
- MINOR SPOILERS AHEAD<br/><br/>Having just finished my first (and probably only) play-through I tend to agree with some of the more "negative" reviews out there:<br/><br/><ul><li>The main characters are very interesting and well written.</li></ul><br/><br/><ul><li>The story is intriguing and is told brilliantly.</li></ul><br/><br/><ul><li>At first glance, the game's universe is absolutely stunning. Well, universe may be too generous a word, since we're not talking about a whole world to explore but rather "just" a city. But I'm sure I'm not the only one to have wandered around Columbia during the first 30 minutes, just to do some "sightseeing". And I'm probably also not the only one whose jaw dropped when the city showed its true, errr, colors. </li></ul><br/><br/>But (and this is a big "but")...<br/><br/>a masterpiece it is not. <br/><br/>Just like in the first Bioshock, we get great looking levels, art direction, design, story and characters. But that's not enough to make it a masterpiece. After all: This is a *game* we're talking about, not a movie. It sorta reminds me of the better "interactive movies" from the early days of CD-ROM drives .. like "Rebel Assault". Yes: They looked and sounded incredible (for their time) ... but the gameplay and interaction were nothing to write home about. Rebel Assault was not much more than a glorified shooting gallery and interaction in Bioshock is limited to a lot of presses of the "use"-button to rummage through trashcans and to advance the plot. Thus, when the novelty factor of the pretty visuals wears off, game like these lose a lot of appeal. <br/><br/>Plus: Why did they decide to punish us with that *stupid* save-point-system? I want to save whenever *I* choose in a shooter. Oh, and where's the auto-map? Those two are standard since the very first 1st person shooters (even Doom had an auto-map, IIRC). Bioshock 1 also had both, while "Infinite" has neither. Instead we get a "go this way to your current goal, stupid"-kind of arrow, which makes the game feel even more like an interactive movie/story book with limited player involvement. Like much of the levels, the game's story feels like it's running on rails.<br/><br/>And then there's the big one: The fact that the world doesn't really hold up to closer inspection. Like I said before: It all looks great at first, but when you really think about it, the city of Columbia doesn't make sense and it doesn't feel alive. Citizens will speak to you and each other, yes, but they mostly just give a quick sentence or two and after that remain silent and usually immobile. Compare that to the cities of the old "GTA San Andreas", where people were walking around, living their daily lives. Stopping at a corner for a chat with each other and actually reacting to the player character and his actions (or inaction) or even to things happening in the world that had nothing to do with the player. None of this happens in Columbia. In fact, once the shooting starts, civilians simply vanish from the area, never to return. Or what about the weird rules of what is and isn't theft? In some areas, you can simply pick up any item you can get your hands on, in others this will be judged as theft and everyone will become hostile - even if you only use the possession-vigor on a vending machine. <br/><br/>And speaking of Vigors: The game hints at why and how they came to Columbia.. but their presence doesn't make a lot of sense. Who would want to buy them in this city? Why would the authorities even allow such dangerous stuff to be sold freely? And why would a society that's obsessed with "racial purity" even want a substance that alters your DNA? Wouldn't the very narrow-mindedness and religiousness of Columbia's society mean that people who use Vigors would be regarded as freaks and abominations? Plus we don't actually see any citizens using them, the only NPCs who do are high ranking enemies. So why are these things even here? I guess because this is a Bioshock-game and we have to have superpowers in it - as a consequence, the Vigors and everything relating to them (like advertisements) felt stapled on and like a half-assed attempt to inject more Bioshock-DNA into the game (pardon the pun). <br/><br/>Don't get me wrong: I enjoyed both Bioshock and Infinite immensely. But both are by no means perfect shooters. For the next installment, maybe they should concentrate a bit more on producing memorable gameplay and a more interactive environment instead of "just" making the characters, design and story memorable. The settings of both games (Rapture and Columbia) literally scream for an open-world type of game in which we can explore those two fascinating cities with more liberty.<br/><br/>88/100 from me.<br/><br/>S.
- I don't think this is a bad game, nor did I not enjoy it. I just don't think that deserves the pedestal it's currently standing on. This includes the Burial at Sea DLC. Played on PC.<br/><br/>Part 1: STORYTELLING Firstly, the antagonists are never developed properly. Try to answer yourself: who was Fink exactly? More equally shallow characters follow, making you not care whether they die or not.<br/><br/>Secondly, contrary to what you might think, there are no real choices or forks in the storyline. Perhaps this is supposed to fit the deterministic theme of the game or something, but it feels a bit odd when in-game choices are offered a couple of times when it turns out that they don't actually change very much or nothing at all.<br/><br/>Thirdly, this linearity is made worse by the environments that offer very little interactivity and are populated with NPC robots that will spit out only one or two different lines of dialog. In comparison, Metro: Last Light really beats this game at creating environments that are 'alive'. In Infinite, only the beach scene seems to match this level.<br/><br/>A fourth issue I had is with the superficial representation of racism, and to a lesser extent the Mary Poppins-like poverty. You could say this fits the game's cartoonish theme, but if it wants to be taken seriously, and you'd think it would after daring to use a heavy issue as racism, it should really try harder. These evils are often much more between the lines than this overly simplified and obvious way of showing it. Had only a little subtlety been used, a lot more could have been done with this theme instead of ending up as irrelevant window dressing.<br/><br/>Fifth: the ending. The long time it takes to wrap up the story and the detour via Rapture, does not speak well for the game's own ability to properly convey a well-paced storyline. Worse, the twist ending just made me shrug because of its cheesiness and nonsensicalness. Veteran science fiction fans wont be impressed by the parallel dimension stuff, especially when you see how little is done with this element in the gameplay. More about this later.<br/><br/>Part 2: GAMEPLAY Firstly, no quick-saves! Usually, nowadays a well-made checkpoint system is also acceptable, but the respawn solution in this game removes the challenge from the firefights and only succeeds in drawing them out. You will most likely die a lot, as some enemies break your shield in a single strike. This can become quite frustrating, as respawning and restarting the fight like nothing happened is a common event and breaks any continuity or flow. The firefights are overcrowded chores as you're often dealing with many enemies at the same time. The bulk of the enemies is just guys with guns you pick off from a distance, and so, story-wise, it does not really matter who they are, red or blue. I just wanted to get the fights over and get back to the story. And that final level with the air ships? Ugh! Secondly, the vigors. If they're supposed to be the core of the Bioshock gameplay, why are they then, after their stunning introductions, often so lackluster? There are many questions left unanswered. Where do they come from? Why does (almost) nobody else use them? The vigors just make the game feel like a lazy carbon copy of the first games. But at least this was 'fixed' in the DLC.<br/><br/>Thirdly: Elisabeth. Although her presentation is beautiful, she doesn't add anything new to the gameplay. Plus sides: you don't have to baby-sit her and she supplies you with goodies. That's about it, and even this sounds more innovative than it really is: to make things easy for the programmers, the game actually freezes for a second while she throws you something. She will only offer an item only once, and if you're too late, tough luck! She spots enemies for you, which is pretty useless. The 'locked safe' challenges that are far too easy and disappointing. In the end, you could compare Elizabeth's performance with that of Alyx Vance's in Half-life 2, which was made in 2004. Glad Bioshock caught up with the times. Anyway, the greatest fault is that besides the scripted cut-scenes, she actually ends up doing hardly anything interesting with her space-time-bending abilities! It's hard to believe such a total waste of opportunity in a game environment. You'd think she could come up with some fun ideas here, let's see: open a portal to deep space or deep sea? Introduce a storm? Wild animals? An on-storming train or crashing airplane? Why only the same old boring guns and hooks?? Other annoyances are, for example, the 2-weapon limit, meaning running out of ammo constantly and being unable to use your favorite, (upgraded) weapons. Also, you spend a lot of time looking through containers and bodies for items, quite a boring chore. Could this not have been made a bit more interesting? A final insult is the half-assed clothing item upgrade system that is never even addressed in-game.<br/><br/>The Burial at Sea DLC attempts to fix some of the issues in Infinite, such as explaining the parallels between vigors and plasmids. Part 1's story works well as a prequel. It also reminds you that the Infinite setting just isn't as compelling as Rapture. Sadly, the gameplay is just as bad as Infinite's. Part 2, however, again hits the sweet spot of the first installments of Bioshock. Even so, the storytelling is limited by the 'press button to hear next part of story' technique at the end. Gameplay-wise at least, part 2 is how Infinite should have been.<br/><br/>In the end I sort of liked the story and enjoyed the production quality, but disliked the gameplay. Perhaps if the gameplay displayed in the trailers had made it into the final game, it might have been as innovative as the first game was.
- Vast majority of the game takes place in 1912, 48 years before the events of the original game. Due to quantum physics and time travel being involved in the story, there are also moments and elements from other years, between 1880 and 1980. They both exist within the game's universe, but since Rapture was built much later than Columbia, almost no-one in Columbia knows about Rapture. It is revealed via audio recordings that select few from Rapture looked into the future Rapture and took advantage of some things that were revealed to them in this way (mostly technology).<br/><br/>Players return to Rapture briefly within the game, but it is not important to the general storyline. No. Andrew Ryan makes no appearance in Bioshock Infinite. a5c7b9f00b
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