Shennanigans, she doesn't throw a handful of ammo, she throws a fully loaded gun at you!
Hey, yeah, why isn't she taking potshots at enemies from whatever corner she's hiding in?
It's one thing to learn lockpicking when you're locked up in a tower being watched at every moment. It is quite another to learn advanced marksmanship.
She might not be a marksman, but she's a damn good spotter! Also, I hope those screenshots were adequate for you!
Steam ID:
The Linecutters Podcast: Your weekly dose of nerd! Tune in for the live broadcast every Wednesday at 7 PM EST, only at www.non-productive.com!
0
BroloBroseidonLord of the BroceanRegistered Userregular
If I remember correctly, in early versions of the game they were going to make Elizabeth combat capable, and whether she was a support character or a fighting character would be based on your moral decisions.
It seems like most of that got removed further into production, there's a few in the first act of the game and then they sort of stop.
They did a fantastic job with Elizabeth, both her characterisation and gameplay relevance. I actually felt sheepish for keeping her waiting while scouring each room. And I've laughed each time she hurls books at me in the library. Games don't make me laugh!
A few thoughts on audio in the game. First, am I the only one who thinks the alarm siren of airships going down sounds fucking amazing? That raw tone of voltage being processed into audio is just so perfect. There's some great modulated sounds in the game but this one stands out. Some of the Voxophones sounded a little too clean, but that's a minor quibble.
And then there's the crescendo of music during your escape from
Monument Island.
I've played that sequence three times now, and the way the percussion peaks as you land on the SkyRail makes my goddamn body vibrate with excitement. Goosebumps every time.
I hope that's a legitimate way for non-Collector's Edition owners to buy the soundtrack at some point, I like to pay my respects to scores as vital as this.
They did a fantastic job with Elizabeth, both her characterisation and gameplay relevance. I actually felt sheepish for keeping her waiting while scouring each room. And I've laughed each time she hurls books at me in the library. Games don't make me laugh!
A few thoughts on audio in the game. First, am I the only one who thinks the alarm siren of airships going down sounds fucking amazing? That raw tone of voltage being processed into audio is just so perfect. There's some great modulated sounds in the game but this one stands out. Some of the Voxophones sounded a little too clean, but that's a minor quibble.
And then there's the crescendo of music during your escape from
Monument Island.
I've played that sequence three times now, and the way the percussion peaks as you land on the SkyRail makes my goddamn body vibrate with excitement. Goosebumps every time.
I hope that's a legitimate way for non-Collector's Edition owners to buy the soundtrack at some point, I like to pay my respects to scores as vital as this.
Are you me? Because I completely agree and used those exact examples on another forum to say the quality of the audio production should be getting way more attention. The music is just so damn good. The escape scene you're referring to is now one of my favorite parts of any game, or hell, any film. My jaw was literally open throughout the entire thing.
They did a fantastic job with Elizabeth, both her characterisation and gameplay relevance. I actually felt sheepish for keeping her waiting while scouring each room. And I've laughed each time she hurls books at me in the library. Games don't make me laugh!
A few thoughts on audio in the game. First, am I the only one who thinks the alarm siren of airships going down sounds fucking amazing? That raw tone of voltage being processed into audio is just so perfect. There's some great modulated sounds in the game but this one stands out. Some of the Voxophones sounded a little too clean, but that's a minor quibble.
And then there's the crescendo of music during your escape from
Monument Island.
I've played that sequence three times now, and the way the percussion peaks as you land on the SkyRail makes my goddamn body vibrate with excitement. Goosebumps every time.
I hope that's a legitimate way for non-Collector's Edition owners to buy the soundtrack at some point, I like to pay my respects to scores as vital as this.
Are you me? Because I completely agree and used those exact examples on another forum to say the quality of the audio production should be getting way more attention. The music is just so damn good. The escape scene you're referring to is now one of my favorite parts of any game, or hell, any film. My jaw was literally open throughout the entire thing.
Yes to all of this. The scoring, music direction, and audio are all completely phenomenal in this game. My favorite touch is the escalating string stabs that get added to the combat music as you headshot enemies. It's an amazingly well done touch, and it makes even the most mundane battle feel monumentally important.
Also, my all time favorite chase/escape scene in video games is the rooftop chase sequence in Beyond Good & Evil. The one you're talking about in Infinite is the only thing that has come remotely close for me in a long time. I loved that whole sequence.
minor incident on
Everything looks beautiful when you're young and pretty
+2
MordaRazgromМорда РазгромRuling the Taffer KingdomRegistered Userregular
I think I fell in love with sniper rifle.
finks little test was a breeze, as everything died instantly from one or two shots...except patriot, fuck that guy
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Wow, I'm not sure whether to be proud of my obsessive compulsive nature to search every nook and cranny, or terrified that I found all 80 Voxophones in my 1st playthrough. Went to check the ol' cheevo list and found I had all of them.
WTF were they thinking with this zeppelin defense fight? What I really hate is that, after hearing early buzz that there were no typical 'escort mission' battles, we end up with one where I get to defend a whole damned airship against wave after wave of enemies, while watching a damage bar melt down for completely vague and opaque reasons. And the ridiculous, fourth-wall-breaking cliche of putting a timer on the Songbird and having Elizabeth call out when he's ready to attack again. This once relentless pursuer, turned into a mortar strike.
Ugh. Guess I'll finish this stupid-ass level tomorrow, and maybe finally wrap up my first playthrough. This kind of throwback to neolithic game design is bugging me, though.
Zoku Gojira on
"Because things are the way they are, things will not stay the way they are." - Bertolt Brecht
WTF were they thinking with this zeppelin defense fight? What I really hate is that, after hearing early buzz that there were no typical 'escort mission' battles, we end up with one where I get to defend a whole damned airship against wave after wave of enemies, while watching a damage bar melt down for completely vague and opaque reasons. And the ridiculous, fourth-wall-breaking cliche of putting a timer on the Songbird and having Elizabeth call out when he's ready to attack again. This once relentless pursuer, turned into a mortar strike.
Ugh. Guess I'll finish this stupid-ass level tomorrow, and maybe finally wrap up my first playthrough. This kind of throwback to neolithic game design is bugging me, though.
Apparently (gameplay, not plot)
you can actually skyhook onto the zeppelins and take them out from the inside. I didn't know this when I did it, and eventually beat it by just managing Songbird to only hit zepellins, but it seems like if you just used songbird to clear the deck and did the zepellin's yourself it'd work.
0
knitdanIn ur baseKillin ur guysRegistered Userregular
Re: final fight
I had trouble skyhooking onto Zeppelins before a certain amount of time had passed.
Also, the cool down timer on the Songbird goes a lot faster if you use him to attack the deck rather than airships and Zeppelins.
“I was quick when I came in here, I’m twice as quick now”
-Indiana Solo, runner of blades
On the zeppelin fight, I didn't know how valuable Return to Sender would be, as I barely used it in the rest of the game. It was huge here, giving me the time to handle the rest of the fight without worrying too much about the core.
Anyway, about the ending. I loved ending up in Rapture, I really hoped that was coming at some point in this game. And the "bring us the girl and wipe away the debt" resolution. The lighthouses thing was cool, but was never really paid off because of the way the story wrapped up. Which was... weird. With all this power at her disposal at last, we should've at least seen Paris first. Also, what was up with her finger?
Zoku Gojira on
"Because things are the way they are, things will not stay the way they are." - Bertolt Brecht
They did a fantastic job with Elizabeth, both her characterisation and gameplay relevance. I actually felt sheepish for keeping her waiting while scouring each room. And I've laughed each time she hurls books at me in the library. Games don't make me laugh!
A few thoughts on audio in the game. First, am I the only one who thinks the alarm siren of airships going down sounds fucking amazing? That raw tone of voltage being processed into audio is just so perfect. There's some great modulated sounds in the game but this one stands out. Some of the Voxophones sounded a little too clean, but that's a minor quibble.
And then there's the crescendo of music during your escape from
Monument Island.
I've played that sequence three times now, and the way the percussion peaks as you land on the SkyRail makes my goddamn body vibrate with excitement. Goosebumps every time.
I hope that's a legitimate way for non-Collector's Edition owners to buy the soundtrack at some point, I like to pay my respects to scores as vital as this.
Are you me? Because I completely agree and used those exact examples on another forum to say the quality of the audio production should be getting way more attention. The music is just so damn good. The escape scene you're referring to is now one of my favorite parts of any game, or hell, any film. My jaw was literally open throughout the entire thing.
Yes to all of this. The scoring, music direction, and audio are all completely phenomenal in this game. My favorite touch is the escalating string stabs that get added to the combat music as you headshot enemies. It's an amazingly well done touch, and it makes even the most mundane battle feel monumentally important.
Also, my all time favorite chase/escape scene in video games is the rooftop chase sequence in Beyond Good & Evil. The one you're talking about in Infinite is the only thing that has come remotely close for me in a long time. I loved that whole sequence.
Amen. I've seen plenty of praise for the music - score, licensed, covers - and all very well deserved, but less about the overall sound design. The death string stabs are awesome, and the outro fill for combat music always integrates naturally. There's some great environmental stuff, whether it's approaching the raffle or hearing the gentle creak of Columbia in quiet parts of town. The ambient conversations are too obviously triggered by your proximity, but they're well voice acted and interesting so I can't really complain.
@Jragghen That second one is fantastic. I was playing through there last night and was baffled by some of the ambient sound. I wonder if there's more of this ilk? So good!
Before seeing that I was actually going to mention (SPOILERED FOR END GAME RELEVANCE):
I suspect there's directional audio coming from the crib room in Dewitt's apartment interludes. A female voice. There is a lot of weird audio in those parts so I could be crazy, but seeing what they did in Order of the Raven it's hardly a stretch.
On the zeppelin fight, I didn't know how valuable Return to Sender would be, as I barely used it in the rest of the game. It was huge here, giving me the time to handle the rest of the fight without worrying too much about the core.
Anyway, about the ending. I loved ending up in Rapture, I really hoped that was coming at some point in this game. And the "bring us the girl and wipe away the debt" resolution. The lighthouses thing was cool, but was never really paid off because of the way the story wrapped up. Which was... weird. With all this power at her disposal at last, we should've at least seen Paris first. Also, what was up with her finger?
finger
It was cut off as the portal between Booker and Comstock's universe closed. Which is the reasoning FLutece gives for her being able to open portals. Because she exists in two universes at once, and reality doesn't like that.
The ending isn't sitting right with me. I had a longer post, but I kept reconsidering. It's a good ending. I just wish...
It'd had captured what I really liked most about the game in some way, which was the character development and relationship of Booker and Elizabeth. Essentially erasing both characters and their journey felt wrong. The Big Idea of the game is pretty darn interesting, but the ending lacks awareness of the sentiment built up by the player towards the characters. They succeeded so well at building sentimental affection to Booker/Elizabeth, I feel like having the post-credits stinger be the two of them sitting at a cafe in Paris, and Elizabeth says something like: "But hey, rules can be broken..." and implying that while they erased millions of douchebag Comstock/Booker timelines, your specific Elizabeth and Booker walked away from the whole mess. Then have the Twins say something like, "Every so often a coin lands on its edge, after all..." and boom, done.
Keep the big idea, but make the player's specific journey be the outlier in a mess of quantum destiny.
EDIT: Or, have the Anna/Booker timeline be like, "Hey thanks for taking me to Paris, dad!" instead of the Schrodinger's Baby problem.
Professor Phobos on
+1
TavIrish Minister for DefenceRegistered Userregular
Heh, I just now noticed that when you save Elizabeth from her tower, she literally hits you over the head with The Principles of Quantum Mechanics.
Spoilered for big.
Then I saw little Elizabeth. I'm thinking you know 19 year old white girl in the middle of the ghetto, bunch of monsters this time of day with Quantum Physics books. She's about to start some shit.
On the zeppelin fight, I didn't know how valuable Return to Sender would be, as I barely used it in the rest of the game. It was huge here, giving me the time to handle the rest of the fight without worrying too much about the core.
Anyway, about the ending. I loved ending up in Rapture, I really hoped that was coming at some point in this game. And the "bring us the girl and wipe away the debt" resolution. The lighthouses thing was cool, but was never really paid off because of the way the story wrapped up. Which was... weird. With all this power at her disposal at last, we should've at least seen Paris first. Also, what was up with her finger?
finger
It was cut off as the portal between Booker and Comstock's universe closed. Which is the reasoning FLutece gives for her being able to open portals. Because she exists in two universes at once, and reality doesn't like that.
That explanation doesn't make much sense when you think about it.
If Elizabeth being in two universes breaks some law of reality, why would she gain the power to potentially exist in even more universes? What's so special about the finger anyway? A person's always shedding cells, any person who goes through a tear will exist in two different universes since they'll leave hair and skin behind.
+1
TavIrish Minister for DefenceRegistered Userregular
On the zeppelin fight, I didn't know how valuable Return to Sender would be, as I barely used it in the rest of the game. It was huge here, giving me the time to handle the rest of the fight without worrying too much about the core.
Anyway, about the ending. I loved ending up in Rapture, I really hoped that was coming at some point in this game. And the "bring us the girl and wipe away the debt" resolution. The lighthouses thing was cool, but was never really paid off because of the way the story wrapped up. Which was... weird. With all this power at her disposal at last, we should've at least seen Paris first. Also, what was up with her finger?
finger
It was cut off as the portal between Booker and Comstock's universe closed. Which is the reasoning FLutece gives for her being able to open portals. Because she exists in two universes at once, and reality doesn't like that.
That explanation doesn't make much sense when you think about it.
If Elizabeth being in two universes breaks some law of reality, why would she gain the power to potentially exist in even more universes? What's so special about the finger anyway? A person's always shedding cells, any person who goes through a tear will exist in two different universes since they'll leave hair and skin behind.
On the zeppelin fight, I didn't know how valuable Return to Sender would be, as I barely used it in the rest of the game. It was huge here, giving me the time to handle the rest of the fight without worrying too much about the core.
Anyway, about the ending. I loved ending up in Rapture, I really hoped that was coming at some point in this game. And the "bring us the girl and wipe away the debt" resolution. The lighthouses thing was cool, but was never really paid off because of the way the story wrapped up. Which was... weird. With all this power at her disposal at last, we should've at least seen Paris first. Also, what was up with her finger?
finger
It was cut off as the portal between Booker and Comstock's universe closed. Which is the reasoning FLutece gives for her being able to open portals. Because she exists in two universes at once, and reality doesn't like that.
That explanation doesn't make much sense when you think about it.
If Elizabeth being in two universes breaks some law of reality, why would she gain the power to potentially exist in even more universes? What's so special about the finger anyway? A person's always shedding cells, any person who goes through a tear will exist in two different universes since they'll leave hair and skin behind.
You know what else doesn't make sense!?
Skyhooks, a flying city, Handymen, Songbird, the Lutece twins, Vigors, carrying all that ammo for every weapon on you at one time, being able to instantly consume food from a distance without your hands to heal your wounds, should I go on?
The finger has nothing to do with the powers. I reckon its something to do with the fact that Elizabeth should have been born in that universe but because of Comstocks' meddling with the Tears and subsequent sterility, she was n't so when Anna was taken into that universe, she somehow imbues the powers as she shouldn't exist in that universe but she's somehow turned up. Like the twin brother already exists in that 'verse as Rosalind, Booker already exists as Comstock; which is why they don't get the full-on gold like powers she does. Just my take on it.
On the zeppelin fight, I didn't know how valuable Return to Sender would be, as I barely used it in the rest of the game. It was huge here, giving me the time to handle the rest of the fight without worrying too much about the core.
Anyway, about the ending. I loved ending up in Rapture, I really hoped that was coming at some point in this game. And the "bring us the girl and wipe away the debt" resolution. The lighthouses thing was cool, but was never really paid off because of the way the story wrapped up. Which was... weird. With all this power at her disposal at last, we should've at least seen Paris first. Also, what was up with her finger?
finger
It was cut off as the portal between Booker and Comstock's universe closed. Which is the reasoning FLutece gives for her being able to open portals. Because she exists in two universes at once, and reality doesn't like that.
That explanation doesn't make much sense when you think about it.
If Elizabeth being in two universes breaks some law of reality, why would she gain the power to potentially exist in even more universes? What's so special about the finger anyway? A person's always shedding cells, any person who goes through a tear will exist in two different universes since they'll leave hair and skin behind.
A wizard did it.
I just figured she got some Portal in her bloodstream and has kept it inside her for 19 years. Her body developed around her accident. I wonder if Booker brought the little babby finger with him, would her powers cease to be?
On the zeppelin fight, I didn't know how valuable Return to Sender would be, as I barely used it in the rest of the game. It was huge here, giving me the time to handle the rest of the fight without worrying too much about the core.
Anyway, about the ending. I loved ending up in Rapture, I really hoped that was coming at some point in this game. And the "bring us the girl and wipe away the debt" resolution. The lighthouses thing was cool, but was never really paid off because of the way the story wrapped up. Which was... weird. With all this power at her disposal at last, we should've at least seen Paris first. Also, what was up with her finger?
finger
It was cut off as the portal between Booker and Comstock's universe closed. Which is the reasoning FLutece gives for her being able to open portals. Because she exists in two universes at once, and reality doesn't like that.
That explanation doesn't make much sense when you think about it.
If Elizabeth being in two universes breaks some law of reality, why would she gain the power to potentially exist in even more universes? What's so special about the finger anyway? A person's always shedding cells, any person who goes through a tear will exist in two different universes since they'll leave hair and skin behind.
A wizard did it.
I just figured she got some Portal in her bloodstream and has kept it inside her for 19 years. Her body developed around her accident. I wonder if Booker brought the little babby finger with him, would her powers cease to be?
Did you notice the first time Booker sees Elizabeth through the glass, she suddenly clutches her pinky as if him being there did something?
I have to say I'm not huge on the 'all-seeing voice monologuing at you over intercom' style of narrative in games. I understand why they do it, but I generally find it so contrived. (By that token I should dislike the Voxophones but I'm fiending for the damn things).
That said, I got a lot more out of the
Cornelius Slate
section replaying it tonight. I think missed a few key lines of dialogue the first time, but its relevance clicks now. Time to jump back in and see if I can get a bit more out of the
Vox Populi
too this time.
0
MordaRazgromМорда РазгромRuling the Taffer KingdomRegistered Userregular
I think I may be able to beat this game by the weekend after this one. Hooray for progress!
I wish that when you turned the in-game music off that it wouldn't also turn all the radios off. I don't like background music, so I always turn it off, but I still want to hear songs when it's relevant to the location, like the radios! For me, the radios are dead-silent. I know that it's, technically, in-game music, but Left 4 Dead does this to me too, just because I don't want in-game background music, doesn't mean I don't ever want music!
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I wish that when you turned the in-game music off that it wouldn't also turn all the radios off. I don't like background music, so I always turn it off, but I still want to hear songs when it's relevant to the location, like the radios! For me, the radios are dead-silent. I know that it's, technically, in-game music, but Left 4 Dead does this to me too, just because I don't want in-game background music, doesn't mean I don't ever want music!
And I thought your spoiler philosophies were weird.
+2
MordaRazgromМорда РазгромRuling the Taffer KingdomRegistered Userregular
Goodness, you think my weirdness is limited to only one thing? Naw, me and in-game or in-movie music have a very negative relationship, we've been divorced for a long time now. Music is a great thing, I love listening to it on a CD, however inside a movie or game, it tends to only ruin my mood. I don't like when it "sets the mood" because it is pretty much a giant "applaud now" sign, except for something else, like "cry now" or "be scared now" and I don't want the director to tell me what to feel, I want him to guide me there and let me experience it for myself. The biggest reason I turned music off in Bioshock? Because at the end of each fight you get that piano flurry which, basically, tells you that the fight is over. I don't want my character to know that "all the guys are done spawning". It's probably heresy, but I turn music off in all games, I can't even tell you what the Diablo soundtrack sounds like, even though I've been playing it for 10+ years.
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I really don't know what to say. I'll give you this, Morda, you are unique.
But astoundingly pleasant.
"A new take on the epic fantasy genre... Darkly comic, relatable characters... twisted storyline."
"Readers who prefer tension and romance, Maledictions: The Offering, delivers... As serious YA fiction, I’ll give it five stars out of five. As a novel? Four and a half." - Liz Ellor My new novel: Maledictions: The Offering. Now in Paperback!
First they came for the Muslims, and we said NOT TODAY, MOTHERFUCKER!
+4
MordaRazgromМорда РазгромRuling the Taffer KingdomRegistered Userregular
If it makes you guys feel any better, I always turn the music back on right before beating a game! I taught myself that habit back when the first Portal came out and everyone was raving about the ending credits song and I just didn't want to miss out on it. I was not disappointed!
I'm all about soundtracks, too! Whenever I have music playing in my car (funny enough, that's also a rare thing 99% of the time I'm driving around with news radio or silence), I try to pop in a CD of game music or something related to gamering
The work-around I've done in Bioshock is to turn music up whenever I see a radio and just stand there listening to the tunes for a few minutes. I am absolutely in no rush to beat this game, taking all the sights in, exploring every nook and cranny, that's what this game is all about. I don't care that Elizabeth settles into a chair with that look on her face of "well damn, looks like this jackass is going to sit there and sift through a billion trash cans again to eat a rotten banna". You will sit there, woman, and be patient while I act like a dumpster-diving hobo!
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0
ArtreusI'm a wizardAnd that looks fucked upRegistered Userregular
Anybody happen to know if there is any way to check progress on steam achievements beyond "Do I have it"?
I turned off the pop-ups in game because I didn't want to know how close I was getting to the end, they were distracting. But now I sort of want to know how many Voxaphones I missed.
Only for sure way I guess would be to turn the popups back on and just dive back into the game and rummage around til I find one, but I feel like I found a lot of super secret ones
MordaRazgromМорда РазгромRuling the Taffer KingdomRegistered Userregular
Unless I'm mistaken, if you mouse over an incomplete achievement in Steam, a little pop up appears that shows you progress.
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Posts
I believe the first book she throws at you is The Odyssey.
-Indiana Solo, runner of blades
She might not be a marksman, but she's a damn good spotter! Also, I hope those screenshots were adequate for you!
It seems like most of that got removed further into production, there's a few in the first act of the game and then they sort of stop.
A few thoughts on audio in the game. First, am I the only one who thinks the alarm siren of airships going down sounds fucking amazing? That raw tone of voltage being processed into audio is just so perfect. There's some great modulated sounds in the game but this one stands out. Some of the Voxophones sounded a little too clean, but that's a minor quibble.
And then there's the crescendo of music during your escape from
I hope that's a legitimate way for non-Collector's Edition owners to buy the soundtrack at some point, I like to pay my respects to scores as vital as this.
Are you me? Because I completely agree and used those exact examples on another forum to say the quality of the audio production should be getting way more attention. The music is just so damn good. The escape scene you're referring to is now one of my favorite parts of any game, or hell, any film. My jaw was literally open throughout the entire thing.
(Wait til about 1 minute in for this one)
http://www.gamesradar.com/whats-secret-message-bioshock-infinite/?utm_source=tw&utm_medium=emp
Yes to all of this. The scoring, music direction, and audio are all completely phenomenal in this game. My favorite touch is the escalating string stabs that get added to the combat music as you headshot enemies. It's an amazingly well done touch, and it makes even the most mundane battle feel monumentally important.
Also, my all time favorite chase/escape scene in video games is the rooftop chase sequence in Beyond Good & Evil. The one you're talking about in Infinite is the only thing that has come remotely close for me in a long time. I loved that whole sequence.
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This game. This game......
PSN ID : HBoxx
Ugh. Guess I'll finish this stupid-ass level tomorrow, and maybe finally wrap up my first playthrough. This kind of throwback to neolithic game design is bugging me, though.
Apparently (gameplay, not plot)
Also, the cool down timer on the Songbird goes a lot faster if you use him to attack the deck rather than airships and Zeppelins.
-Indiana Solo, runner of blades
Anyway, about the ending. I loved ending up in Rapture, I really hoped that was coming at some point in this game. And the "bring us the girl and wipe away the debt" resolution. The lighthouses thing was cool, but was never really paid off because of the way the story wrapped up. Which was... weird. With all this power at her disposal at last, we should've at least seen Paris first. Also, what was up with her finger?
Amen. I've seen plenty of praise for the music - score, licensed, covers - and all very well deserved, but less about the overall sound design. The death string stabs are awesome, and the outro fill for combat music always integrates naturally. There's some great environmental stuff, whether it's approaching the raffle or hearing the gentle creak of Columbia in quiet parts of town. The ambient conversations are too obviously triggered by your proximity, but they're well voice acted and interesting so I can't really complain.
@Jragghen That second one is fantastic. I was playing through there last night and was baffled by some of the ambient sound. I wonder if there's more of this ilk? So good!
Before seeing that I was actually going to mention (SPOILERED FOR END GAME RELEVANCE):
finger
Keep the big idea, but make the player's specific journey be the outlier in a mess of quantum destiny.
EDIT: Or, have the Anna/Booker timeline be like, "Hey thanks for taking me to Paris, dad!" instead of the Schrodinger's Baby problem.
Spoilered for big.
That explanation doesn't make much sense when you think about it.
A wizard did it.
You know what else doesn't make sense!?
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Twitch Wed-Sun, 2-5pm CST
First game I've owned in a very long time that had a colour manual.
That said, I got a lot more out of the
I wish that when you turned the in-game music off that it wouldn't also turn all the radios off. I don't like background music, so I always turn it off, but I still want to hear songs when it's relevant to the location, like the radios! For me, the radios are dead-silent. I know that it's, technically, in-game music, but Left 4 Dead does this to me too, just because I don't want in-game background music, doesn't mean I don't ever want music!
WiiU Username: MordaRazgrom
Steam Username: MordaRazgrom
WoW/Diablo 3 Battlenet Battletag: MordaRazgrom#1755
Me and my wife have a gamer YouTube page if interested www.youtube.com/TeamMarriage
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And I thought your spoiler philosophies were weird.
WiiU Username: MordaRazgrom
Steam Username: MordaRazgrom
WoW/Diablo 3 Battlenet Battletag: MordaRazgrom#1755
Me and my wife have a gamer YouTube page if interested www.youtube.com/TeamMarriage
I really don't know what to say. I'll give you this, Morda, you are unique.
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But astoundingly pleasant.
"Readers who prefer tension and romance, Maledictions: The Offering, delivers... As serious YA fiction, I’ll give it five stars out of five. As a novel? Four and a half." - Liz Ellor
My new novel: Maledictions: The Offering. Now in Paperback!
I'm all about soundtracks, too! Whenever I have music playing in my car (funny enough, that's also a rare thing 99% of the time I'm driving around with news radio or silence), I try to pop in a CD of game music or something related to gamering
The work-around I've done in Bioshock is to turn music up whenever I see a radio and just stand there listening to the tunes for a few minutes. I am absolutely in no rush to beat this game, taking all the sights in, exploring every nook and cranny, that's what this game is all about. I don't care that Elizabeth settles into a chair with that look on her face of "well damn, looks like this jackass is going to sit there and sift through a billion trash cans again to eat a rotten banna". You will sit there, woman, and be patient while I act like a dumpster-diving hobo!
WiiU Username: MordaRazgrom
Steam Username: MordaRazgrom
WoW/Diablo 3 Battlenet Battletag: MordaRazgrom#1755
Me and my wife have a gamer YouTube page if interested www.youtube.com/TeamMarriage
I turned off the pop-ups in game because I didn't want to know how close I was getting to the end, they were distracting. But now I sort of want to know how many Voxaphones I missed.
Only for sure way I guess would be to turn the popups back on and just dive back into the game and rummage around til I find one, but I feel like I found a lot of super secret ones
WiiU Username: MordaRazgrom
Steam Username: MordaRazgrom
WoW/Diablo 3 Battlenet Battletag: MordaRazgrom#1755
Me and my wife have a gamer YouTube page if interested www.youtube.com/TeamMarriage