Bioshock Infinite is literally, physically, driving me insane (MASSIVE SPOILERS)

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Madame_Lawliet

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I only just got around to playing Bioshock Infinate about a month ago and since then I can't seem to get it out of my mind, not because it was this unbelievably great game that I just couldn't stop thinking about, but rather because it has literally the most contrived and poorly executed story of any game I've ever played in my goddess damned life (EDIT: this is an admitted overstatement, it was very late when I typed this and I probably would have worded it differently otherwise, sorry about that). And this is coming from someone who genuinely loved it, especially the ending, when they first finished it. However since then I started thinking about it more and more, and slowly began to realize just how many holes this plot has, to that point that I truly feel like I found a new one every night since then, and probably more.
I'm going to try and articulate some of these problems I had with the writing, and some specifically significant plot holes I found, everything beyond this point, and inevitably in this thread, will contain massive spoilers for the entire game.
Okay so ignoring the obvious ones (why didn't Booker cover up the branding on his hand, why are the vigors even here if nobody uses them, why doesn't anybody in a racist city in 1912 use the N word, etc.)in reality #3 (the one in which the Vox revolted) Booker #3 supposedly showed up to Columbia too late and Elizabeth had already been moved to Comstock House before he got there, so as a back up plan he joins up with the Vox so they'll help him out with Elizabeth in exchange. However in the process Booker dies and becomes the martyr of their revolution, thus explaining where Booker #3 is.
Where then is Elizabeth #3?
She can't be in the tower because if she was then Booker #3 would have been able to get to her, and wouldn't have to join up with the Vox in the first place, and she's not at Comstock House when you eventually get there in the same reality, so where is she? This also raises the question of why in the Hell Constock is even bothering to peruse your Booker and your Elizabeth, when his Booker is dead and he would already have his Elizabeth.
And what about Songbird? I thought Songbird's whole "flying Big Daddy" thing implied that he was supposed to be guarding Elizabeth, HIS Elizabeth, the one that we haven't accounted for. Why does Songbird, or Comstock for that matter, care about capturing and indoctrinating your Elizabeth when they both would already have their own?
(EDIT TWO: This has actually been explained pretty well by some other people on this thread, apparently the idea is that you don't really travel to realities two and three so to speak, but rather Elizabeth kinda overlays the universes on top of one another, hence why some people remember being both alive and dead, althought I feel this is communicated very poorly in the game)
Also, is Comstock just... not paying attention to what's going on in this city during all of this? The Vox have all but destroyed the place and they have made their intentions of coming for him very very clear, why is his highest priority right now torturing and Indoctrinating Elizabeth to become his successor? Wouldn't it make more sense to put that on the back burner for a little while while he focuses on making sure there's a city left to lead?
And that leads me into that bit where future Elizabeth pulls Booker into her timeline to supposedly show him how to save his Elizabeth from becoming her... except she doesn't do that. She gives him a picture of a cage and sends him on his way. Granted this does end up being the secret to controlling Songbird but Booker's already saved her from Comstock House well before that becomes relevant. You could argue that she was really just showing Booker a reality in which he didn't save her to strengthen his resolve in doing so, but when exactly did Booker imply in any way that wasn't his plan in the first place? It would have been a far more effective sequence if there was a bit before that where Booker seemed to have given up or said anything even remotely to that effect, but he didn't, and it almost seems as if future Elizabeth created her own timeline by pulling Booker into her reality (Snake! You've created a time paradox!).
(EDIT THREE: again, this was pretty well explained by other people in the thread, supposedly it's future Elizabeth teleporting Booker past Songbird that's the real point of this sequence, I personally dislike the direction of the plot here, but it does in fact make sense in context of the story)
But the big thing that just killed it for me was the ending, which again, I really really liked at first... until I started thinking about it. At first it bothered me that Elizebeth just magically knew all this stuff as if Ken Levine just slipped her a copy of the script off camera, but I understand that being hit by the tower exploding turned her into some kind of all knowing godlike figure so i'll let it slide I guess. But the biggest problem I have with the way Bioshock Infinite approaches the whole constants and variables thing, specifically in regards to Booker's baptism. Infinate Realities means INFINATE REALITIES, every single possible thing you can imagine, provided it follows the laws of science, can and indeed already is happening in billions of different universes, and the abundance of like universes is dependent on probability of the variables in question. these variable are not something so binary as Booker taking a baptism or not, and becoming good or evil as a result.
What about the realities in which Booker takes the Baptism but still doesn't become Comstock? Being religious deosn't necessarily mean you're going to become a racist cult leader (no wonder Reddit loved this game so much). What about the realities in which he becomes Comstock but he becomes the good guy, while Booker becomes the evil racist tyrant? What about the realities in which Comstock never meets either of the Leutices? What about the realities in which that universe's Leutice dies or is never born? And while we're talking about the Leutices, their existence proves that gender is a variable that changes depending on the universe, so what about the realities in which Booker is born a girl, or Elizabeth a guy? There's a million ways that baptism could have gone down, Booker might have initially refused it, but later changed his mind. Hell one of the first things that happens in the game is Booker being baptized in an admittedly fantastic introduction sequence, so we know it isn't just any old Baptism that can turn him into Comstock it had to be that one at time, so what if the Baptism is cancelled, or the date is changed due to weather, will Booker still become Comstock then if he takes it? And don't give me that "oh those are all just constants," no, fuck you, the date and time of a Baptism is not a universal constant, the earth being the right distance from the sun to sustain life isn't even a universal constant, this is the most tunnel visioned view of the many worlds theory I've ever heard in my damn life.
Hoooooooooly crap I only intended to list off a few plot holes and it turned into a rant that took me two hours to type, and I still have boatloads more to throw at this game, but this is just driving the point home further, this game is driving me out of my damn mind and I welcome anyone else reading this to share some of the things that might have driven them mad about this game's plot as well.

Oh and uh, yeah it's presented very well, it has some genuinely fantastic set pieces, the voice acting, animaion and character models are all phenomenal and the game is all around a joy to look at and hear. I'm not saying that it's an entirely bad game, it's plot just takes itself way too seriously and deals with way too many big ideas to be this shot full of holes, and it is truly driving me crazy.

EDIT FOUR: I am really beginning to regret starting this thread, it seems to have sparked allot of discourse and clashing of polarized opinions, and for that I'm sorry.
Bottom Line: I do not think Biohsock Infinite is necessarily a bad game, like I said I quite liked it at first, just that I personally dislike the way much of the plot is structured, and think it runs on a very confusing and contrived set of rules that frequently contradict themselves in my opinion.
 

BloatedGuppy

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Madame_le_Flour said:
I only just got around to playing Bioshock Infinate about a month ago and since then I can't seem to get it out of my mind, not because it was this unbelievably great game that I just couldn't stop thinking about, but rather because it has literally the most contrived and poorly executed story of any game I've ever played in my goddess damned life.
I'm curious. What do you think a "story" is? Do you view a story as a collection of events, the goal of which is to fit together like blocks in a game of Tetris, with no visible gaps between the seams? Or do you think there are other elements involved in crafting a narrative, some of which may be viewed as more or less important depending on the type of story you are trying to tell?

What did you think Bioshock Infinite was about?
 

CannibalCorpses

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It's the story of a paradox...that's it, there is nothing more to say. Any reason to try and delve deeper is pointless. So that just leaves a fairly poor shooter with a few interesting set pieces...not really even worth mentioning lol
 

Ed130 The Vanguard

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TopazFusion said:
These images explain the Bioshock Infinite story pretty well:
They explain that there aren't multiple Elizabeths because she's the one using/making the tears, so she 'merges' with the 'new' Elizabeth, each time she jumps through one.

Make of this what you will.
Heheh, menarche.

I always thought Slate knew why Comstock said he was at Wounded Knee from his rants and that the 'kill the weed' metaphor was to show that the Vox had turned into the very oppressors it had opposed, objectifying those it thought were inferior.

Other than that those images sum up the infinite story pretty well.
 

Zakarath

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What pissed me off about Infinite's story is that Elizabeth threw away her cool reality-hopping superpower to become normal, just in order to stop some loon from attacking the U.S. with some silly airships. At the height of the Cold War, when there were fleets of SAMs, jet fighters, nuclear missiles, etc. on standby. Somehow I don't see Comstock as winning that one anyway.

Oh, and early warning radar systems everywhere. Somehow I don't think a giant floating city counts as 'stealth'
 

TheYellowCellPhone

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Yep, you're where we were a year ago. I still love that game, but the last twenty minutes of that game completely stopped me from wanting to replay it. Which is bad, because I loved Infinite's gunplay and Columbia.

Play the Burial at Sea DLCs though. The first one is a little more of the same, but the second one is probably the best singleplayer experience I've ever played.
 

Not G. Ivingname

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Ed130 The Vanguard said:
TopazFusion said:
These images explain the Bioshock Infinite story pretty well:
They explain that there aren't multiple Elizabeths because she's the one using/making the tears, so she 'merges' with the 'new' Elizabeth, each time she jumps through one.

Make of this what you will.
Heheh, menarche.

I always thought Slate knew why Comstock said he was at Wounded Knee from his rants and that the 'kill the weed' metaphor was to show that the Vox had turned into the very oppressors it had opposed, objectifying those it thought were inferior.

Other than that those images sum up the infinite story pretty well.
Slate's words might mean he did or did not know the truth about Comstock/Booker. He could be saying Comstock wasn't literally at Wounded Knee, or figuratively at Wounded Knee, it's left vague either way. Although, Burial at Sea shows that Fitzroy did know that she was in a "play," and knew more than the game let on.

Also, Burial at Sea does confirm the Rapture connection to the Vigor's and Songbird.

Zakarath said:
What pissed me off about Infinite's story is that Elizabeth threw away her cool reality-hopping superpower to become normal, just in order to stop some loon from attacking the U.S. with some silly airships. At the height of the Cold War, when there were fleets of SAMs, jet fighters, nuclear missiles, etc. on standby. Somehow I don't see Comstock as winning that one anyway.
Oh, and early warning radar systems everywhere. Somehow I don't think a giant floating city counts as 'stealth'[/quote]

We only see the beginning of the attack, we don't actually know how successful or unsuccessful it was in the long run. More importantly, neither Booker or "past" Elizabeth knew of how much technology had grown and how a bunch of airships might not be able to carry out their threat of burning the mountains of men.


At what point did she give up her powers? In the future, it was stated her powers were becoming weaker and weaker. When you come back to the past, Comstock is (painfully) trying to install devices into Elizabeth that would prevent her from using her powers (which Booker prevents them from successfully completing).

She gives up her powers in the Burial at Sea DLC for entirely different reasons.
 

BloatedGuppy

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CannibalCorpses said:
It's the story of a paradox...that's it, there is nothing more to say. Any reason to try and delve deeper is pointless.
You mean any attempt to understand the themes of a particular work are "pointless", as long as there is some fussy, pedantic objection to a plot point in a story that chose "magic realism" as set dressing?
 

Shinkicker444

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Burial at Sea ending made me sad.

What I got for it was, what goes around comes around... paying off the debt as it were, by getting rid of a whole pile of messed up ruthless* people. Dunno why I expected her to live, but it was a glimmer right to the end that she'd get her reality warping abilities back and deck Fontaine. By Suchong's machine killed that off.

*By that I mean all of the main players, including Elizabeth, have a significant body count.
 

Callate

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Yeah. I know. Its contrivances and holes frustrated me, too. No less that it posited an infinite number of parallel universes and used that as a setting to basically make the same point about linearity and a lack of real player agency as the original Bioshock, and never entirely seemed to understand the contradiction therein.

It's awfully pretty, it has a terrific sense of place, and to say it plays fast and loose with its own rules and ideas is putting it mildly.

Irrational Games has been whittled down to fifteen people, though, and I don't know if we'll ever see another Bioshock game (and I honestly don't know how I feel about that.) If we ever do, someone other than Levine will probably be at the helm.

I think it's probably time to let it go.
 

Gethsemani_v1legacy

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Zakarath said:
What pissed me off about Infinite's story is that Elizabeth threw away her cool reality-hopping superpower to become normal, just in order to stop some loon from attacking the U.S. with some silly airships. At the height of the Cold War, when there were fleets of SAMs, jet fighters, nuclear missiles, etc. on standby. Somehow I don't see Comstock as winning that one anyway.

Oh, and early warning radar systems everywhere. Somehow I don't think a giant floating city counts as 'stealth'
On the other hand Columbia is a floating city that floats because of quantum mechanics. It is anywhere between 20 and 70 years of its' time in terms of technology (ranging from submachine guns to jet engines on aircraft) in 1912 and is run by a man who has the ability to see into other dimensions at will. Do you really think that Columbia in 70 years time wouldn't advance at all? Or could it remain ahead of the curve and sport even more advanced technology and weapons by the time it decided to bomb New York.

More pertinently, considering how Columbia had already altered history by quickly putting down the Boxer Rebellion and shifted the power balance by being an uncounterable instant-win card for the US it is not impossible that a reality with Columbia in the skies would be a reality in which the bolsheviks never won the Russian civil war, the USSR never existed and Word War I and II never happened.
 

FieryTrainwreck

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Couldn't disagree more with the criticism leveled at this game. I'll just leave it at that.

No wait, I won't. I think it's insane that people criticize this story in an industry where 99% of the narratives and virtually all of the writing/dialogue are routinely and completely god-fucking-awful. What the Bioshock games attempt to do, and often succeed in doing, is light years ahead of the bullshit churned out by most game makers. If we saw even half a dozen titles with the storytelling ambition of Infinite each year, I'd be completely satisfied as a gamer.

Just ridiculous.
 

Fox12

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BloatedGuppy said:
Madame_le_Flour said:
I only just got around to playing Bioshock Infinate about a month ago and since then I can't seem to get it out of my mind, not because it was this unbelievably great game that I just couldn't stop thinking about, but rather because it has literally the most contrived and poorly executed story of any game I've ever played in my goddess damned life.
I'm curious. What do you think a "story" is? Do you view a story as a collection of events, the goal of which is to fit together like blocks in a game of Tetris, with no visible gaps between the seams? Or do you think there are other elements involved in crafting a narrative, some of which may be viewed as more or less important depending on the type of story you are trying to tell?

What did you think Bioshock Infinite was about?
You're talking about theme vs narrative, but even a story that emphasizes theme has to have a narrative that makes sense. Bioshock Infinite is not a parable or an allegory, so it needs to maintain a plot that remains consistent with the logic of its own universe, and it tends to fail at that.

It wasn't a bad game, I enjoyed it, but I tend to rank Levine as just below David Cage in terms of convoluted pretentious plots. That said, Infinite had some of the best art direction of ANY game I've ever seen. It's also nice to see a developer that actually dares to dream of bigger things, even if he doesn't reach his loft goals.
 

BloatedGuppy

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Fox12 said:
You're talking about theme vs narrative, but even a story that emphasizes theme has to have a narrative that makes sense. Bioshock Infinite is not a parable or an allegory, so it needs to maintain a plot that remains consistent with the logic of its own universe, and it tends to fail at that.

It wasn't a bad game, I enjoyed it, but I tend to rank Levine as just below David Cage in terms of convoluted pretentious plots. That said, Infinite had some of the best art direction of ANY game I've ever seen.
I am, but I'm not sure I agree that Infinite's plot doesn't remain consistent with the logic of its own universe, because the rules of that universe are deliberately very hazily defined. This is quite typical for fantasy or magic realism, but would be considered anathema in hard science fiction.

I've just never seen so many people read/experience a story about a father/daughter and a cycle of violence/search for redemption and spend so much time bitching about the window dressing. It's like watching Eternal Sunshine of the Spotless mind and bickering about the mechanics of the mind-wiping tech, or watching Inception and demanding to know the chemistry behind the sleep drugs.

Something something not seeing the forest for the trees.
 

Fox12

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BloatedGuppy said:
Fox12 said:
You're talking about theme vs narrative, but even a story that emphasizes theme has to have a narrative that makes sense. Bioshock Infinite is not a parable or an allegory, so it needs to maintain a plot that remains consistent with the logic of its own universe, and it tends to fail at that.

It wasn't a bad game, I enjoyed it, but I tend to rank Levine as just below David Cage in terms of convoluted pretentious plots. That said, Infinite had some of the best art direction of ANY game I've ever seen.
I am, but I'm not sure I agree that Infinite's plot doesn't remain consistent with the logic of its own universe, because the rules of that universe are deliberately very hazily defined. This is quite typical for fantasy or magic realism, but would be considered anathema in hard science fiction.

I've just never seen so many people read/experience a story about a father/daughter and a cycle of violence/search for redemption and spend so much time bitching about the window dressing. It's like watching Eternal Sunshine of the Spotless mind and bickering about the mechanics of the mind-wiping tech, or watching Inception and demanding to know the chemistry behind the sleep drugs.

Something something not seeing the forest for the trees.
I think most of the criticisms are valid. The strength of the narrative was definitely the character relationships, and the exploration of free will and the different ways that people deal with trauma. The weakness is that the plot falls apart when you look at the smaller details, and the mechanics of the universe sometimes make you question characters actions. It's like the first time that you realize that all of Harry Potters problems could have been fixed with a time turner. The story is still good, but you're forced to question a characters wisdom when a plot breaking element like that is introduced.

I see it in the same vain as Neon Genesis Evangelion. There were parts of the story that were incredibly well done, which is why the game has so many defenders. At the same time, however, there were glaring errors that could have been improved. I don't hate the game, I though it was interesting. That said, I'm not quick to dismiss its shortcomings either.
 

BloatedGuppy

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Fox12 said:
I think most of the criticisms are valid. The strength of the narrative was definitely the character relationships, and the exploration of free will and the different ways that people deal with trauma. The weakness is that the plot falls apart when you look at the smaller details, and the mechanics of the universe sometimes make you question characters actions. It's like the first time that you realize that all of Harry Potters problems could have been fixed with a time turner. The story is still good, but you're forced to question a characters wisdom when a plot breaking element like that is introduced.

I see it in the same vain as Neon Genesis Evangelion. There were parts of the story that were incredibly well done, which is why the game has so many defenders. At the same time, however, there were glaring errors that could have been improved. I don't hate the game, I though it was interesting. That said, I'm not quick to dismiss its shortcomings either.
This is a reasoned perspective, which I am fine with. What we generally end up with is pages and pages of "Time Turner = Harry Potter was a bad story". I find it actively depressing. Not because I'm married to Bioshock Infinite or require people to like it, but because criticism along those lines is so vapid, and so pedantic, and so invested in this reality that the most important element of any narrative is verisimilitude. Motherfuckers bought a game with a flying city and a clockwork owl on the cover and then got ants in their pants because it wasn't scientifically rigorous enough. It gives me a sharp pain behind the eyes.
 

Post Tenebrae Morte

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FieryTrainwreck said:
Couldn't disagree more with the criticism leveled at this game. I'll just leave it at that.

No wait, I won't. I think it's insane that people criticize this story in an industry where 99% of the narratives and virtually all of the writing/dialogue are routinely and completely god-fucking-awful. What the Bioshock games attempt to do, and often succeed in doing, is light years ahead of the bullshit churned out by most game makers. If we saw even half a dozen titles with the storytelling ambition of Infinite each year, I'd be completely satisfied as a gamer.

Just ridiculous.
Oh, bull. While there is always a plethora of games being released which ignore or create bad stories, there are more than enough which have good or even fantastic stories. Infinite is not one of them. Infinite is prentious, it plays out just like bioshock 1 did: babies first introduction. Where 1 introduced people to objectivism, infinite introduced them to the concept of infinite realities. Except, unlike 1, it didn't have completely solid gameplay or atmosphere to disguise how utterly dreadful its story truly was composed.

Want to know games with truly great stories?
Spec ops: the line
All silent hills, which put more thought into symbolism and horror than Levine likely did with Elizabeth and her god powers.
Deus ex
Legacy of kain
Final fantasy 4, 5, 6, 12, and fours sequel the after years.
The tales of series
Etc

Infinite was, in all honesty, the most disappointing game I've played since the year 2000 came around.
 

CloudAtlas

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Fox12 said:
The weakness is that the plot falls apart when you look at the smaller details, and the mechanics of the universe sometimes make you question characters actions. It's like the first time that you realize that all of Harry Potters problems could have been fixed with a time turner. The story is still good, but you're forced to question a characters wisdom when a plot breaking element like that is introduced.
No you're not "forced" to do anything, and no it doesn't need to be a weakness.

When you're enthralled enough by a story, be it because you find it so exciting, emotionally or thematically powerful or whatever, you just don't notice the minor elements that don't quite add up, the small mistakes, or to "plot holes". And a story isn't necessarily worse just for that. Only if a story doesn't work for you in some way or another, you start noticing this stuff (something about "trust in the story teller"), and everything might break apart for you. And why a particular story works for some but not for others, well, that can have many reasons, of course.

Well, Film Crit Hulk explains it much better than I do - albeit with a few more words: http://badassdigest.com/2012/10/30/film-crit-hulk-smash-hulk-vs.-plot-holes-and-movie-logic/

Edit: For me, Bioshock Infinite had one of the best stories, perhaps even the best, I have experienced in a game. Including the end.