Gear is frustrating and limited with it being random encourages farming and you can get duplicates and is much inferior to Gene Tonics which don't grant you invulnerability on a primary function of the game Bioshock 1/2 rarely gave out plasmids and picking which ones you wanted based on the deseciption on the Adam you earned is a great feeling or getting even stronger or trying out a new power as you can't get them all. Much less of a triumphant feel like optional bosses like Big Daddies as Handymen are forced onto you. Hopefully this isn't a mess to read since I'm typing this on my phoneĮdit: More Bioshock Infinite Nitpicks: Vigors feel less cool because they're handed to you with no work asides from the Shock Jockey one of the most enjoyable parts of the game and the side quest that gets you the last Vigor early. Clash in the clouds felt awkward as the combat never did anything for me and with such bug areas and small health I'm losing almost all of it without figuring where I'm being shot either ducking for my shield or praying that Elizabeth throws a health at me. Felt like a weird fanficton but it wasn't terrible with very good acting. Burial at Sea part 2 had more stealthy gameplay but I wasn't feeling it also plot was very weird to me and it felt like they had retconned a few things when trying to tie everything together. I did not enjoy the DLC's as Burial at Sea part 1 felt very frustrating as they made things pointlessly harder with smaller clips and higher costing plasmids as enemies have stupidly high health. ![]() Looks beautiful and Voxaphones are still nice but it feels quite dumb at certain points to me and less explained than the original Bioshock always "justifying" how this could work I guess. You get some guns/health/more power for your plasmids/small environmental hazards that are pointless where in the original bioshock were frequent and very useful/small cover area. Tears are the core gameplay mechanic addition which are just okay. They also regressed in the gameplay in a number of ways as you can only hold 2 guns with no alternate ammo types now (that you pick up and drop) along with gun upgrades just being generic and no affect visually. Infinite's story doesn't really hit me that strongly but there's a good amount with parallel worlds which almost always bothers me in most mediums maybe you'd like it more. DLC is fantastic though with the great gameplay and with a fantastic side story plot and feels like an actual place in a city. Also the places felt more like "levels" than parts of a city. Now you're a prototype Big Daddy which ruins some people's feelings of being against a city when you're supposed to be strong but on hard it doesn't feel like it so it didn't bother me because the prototypes weren't meant to match pre-civil war rapture. Pretty good DLC nothing too specialīioshock 2 is kinda controversial (not made by the director of 1 and infinite but most of the same team) with a not as good story but easily the most refined gameplay and makes you feel the strongest. Easily the best plot and pretty good gameplay. Feel free to listen to the ranking.I would definitely say the first is still the best with the most memorable characters and environment and encouraging exploration to get the full story while being optional. ![]() But the real icing on the cake is the piano study of madness – Cohen’s Masterpiece. From the three soundtracks I have chossen mostly lyrical compositions with the leading parts of the strings, like Pairbond or Elizabeth but there are also battle themes such as The Songbird or the aleatoric Dr. Its soundtrack is typically orchestral, with very climatic arrangements and beautiful strings solo parts. Garry Schyman returned to composing music for games in 2005 with the soundtrack to Destroy All Humans! yet he is recognised the most for his scores to the BioShock trilogy. Top 10 – ranking of the best tracks of Silent Hill series ![]() Shortly after he left the business for ten years because as a composer working with live orchestra he was not able to show his potential due to then low budget for the music production in games and the imposed low quality of such music. This experienced composer for film and TV decided in the nineties to make music for video games as well and wrote a soundtrack for the game Voyeur, one of the first orchestral scores for a video game.
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