Bioshock Infinite Made No Sense

Now that Burial At Sea has definitely concluded the Bioshock series, as Irrational Games are downsizing heavily, the puzzle pieces that we're left with doesn't fit one bit.

Spoilers for every Bioshock Infinite ending:

Bioshock Infinite ended wierdly. It was shocking, sure, but there's no reason for Booker to die. He was the one who clearly repented, so if there ever would be a "last Comstock" to murder, it would be him.

Also, Booker wanted to kill Comstock before he even made the choice, to end all Comstocks, but instead Elizabeth just chooses to murder just his version instead. There is absolutely no reason what-so-ever to do this.

Moving on to Burial At Sea Part 1, the last Comstock doesn't get his empire. He just decapitates a baby, and regrets it for the rest of his life. He turns into a man who wants to save little sisters instead, from people like Elizabeth. Again, no reason to kill him either, unless you want to make Elizabeth out to be a bloodthirsty monster who just wants to kill her father over and over.

Elizabeth herself isn't plausible either: He can run the minute she gets out of her tower, pretty unphazed by the world around her. She doesn't stumble around like a caveman, because "she's read books".

During the Infinite series we can see a steady decline of story sense: The ending to Infinite, the story of Burial At Sea Part 1, but it really turns completely senseless in Burial At Sea Part 2.

"I'm dead. I feel smaller. I have my pinky back? Must be quantum entanglement and singularity and ooga booga, and I have Booker in my head, who isn't really Booker!"
The only real explanation that makes sense, is that Elizabeth isn't really Elizabeth, but her consciousness mixing with Bookers consciousness inside the eve of a little sister. Elizabeth wasn't small enough to crawl into the ducts herself in burial At Sea Part 1, but she is in Part 2, and none of the splicers are able to either, or they would all be extict.
...but no, Elizabeth is really a singularity of all Elizabeths.
...and Booker isn't even Fontaine playing along with her delirium - he's just a ghost of senselessness, conjured up by guilt.

You'd expect a world like Bioshock to keep true to harsh reality, but instead we get "thorn in the paw" imprints triumphing over completely sensible sentific solutions: Somehow hugging someone's hand is all it takes for a wierdo bird to keep somebody captured. They do hint that there's a man inside Songbird, which would make him maybe five times as big as a normal man, so it's so clearly not Booker.

Also, Elizabeth is stupid as shit. She knows that Fontaine would keep his end of the bargain, yet she does absolutely nothing to save herself. She's just fixated of saving one single girl for absolutely no reason, doesn't steer the ships anywhere in Columbia when she's free, doesn't trick Fontaine, doesn't fake the note, doesn't use her plasmids, and doesn't make any attempt to run away. She just hands Fontaine a super-weapon, gives up, and wants Fontaine to kill her, because she's a complete and utter moron.

So what else is just made up story as it goes along? The Luteces. They're scattered all over reality, but they don't have any other motive than to want to turn Elizabeth into a killer, just because wednesday.

Why the story doesn't make sense, doesn't make sense, because Irrational Games had the opportunity and the budget to make it make sense. Instead they made a story-heavy game where the story completely self-destructed with ass-pull after ass-pull after ass-pull.

Also, another reason why the giant man inside Songbird isn't Booker, is because there's a note in Suchongs final lab, that clearly states that the genetics does NOT match. If he somehow got Booker, and then got Elizabeth's DNA, their father-daughter DNA should match. ...so maybe it's Santa Claus on steroids flying that bird.

Also, the story even contradicts itself in a major way: In Burial At Sea Part 1, you see a little sister crying out "Mr. Bubbles!", whereupon Big Daddy comes to protect her. Then Elizabeth dies, becomes a stupid powerless singularity, gets knocked out by drugs for Two Weeks, and in the end, just before Jack arrives in Bioshock 1, they finally get the symbiosis between little sisters and big daddies to work. ...except it already did. ...and if it didn't, then why the fuck would you train tons of little sisters and create lots of big daddies that doesn't answer to nobody? Did anybody proofread this story?

Also, notice how Ryan is NOT Comstock?
"There's always a man. There's always a lighthouse. There's always a city.", Elizabeth explains while she figuratively puts a match under the so far coherent story, and watches it go up in flames.
...and what she means, if we are to make sense, is that the lighthouses always leads to an alternate reality city run by an alternate reality Comstock. ...except that the last Comstock dies, and both Ryan and Fontaine lives after that, so there's no point in killing all the Comstocks, when there are other men running the other cities.

Somehow Elizabeth's ability to foresee the future paired with her memory loss, is supposed to let her see that dying at the hands of Fontaine in that way, is the only way to save Rapture with Jack. ...but that's just a cop-out for getting somebody to do anything, because if she really would "have seen what was behind all the doors", she could have done "an infinite" number of things.
Elizabeth could for instace have gone back and killed Ryan before he even built Rapture, just like she did with Comstock. Instead she chooses to stop Ryan after everybody in Rapture has went insane and is dead.
She would have seen the activation phrase, and could have told Jack to kindly take a boat or a private jet to the lighthouse instead of killing everybody on board the plane. Instead she masturbates to the sound of screams as the plane goes down.
(Also why does Jack survive the plane crash? Do you realize just how insane it is to base your whole plan on winning a war, on a guy surviving a plane crash at sea?)

Everybody who says that Bioshock makes sense, are fools. They are fools fooled by wow-words like "quantum mechanics" and "every possible future", because they're nothing more than plot-excuse central. It's taking every possible future and just cherry-picking a setting and a plot and a development, and then even sprinkling it with other settings, plots and developments, while suckering the player into it by "amazing" him. The first Bioshock was amazing because they took something contrived and made the player believe in it somewhat. You didn't need quantum particle spookery to believe in steampunk (although Adam, Eve and plasmids was some necessary bullshit for the selling-point magic).  With Bioshock Infinite ("Infinite"... That's like... ...wow, man... *smokes more weed.*) they are asking the player to believe ANYthing.

It's not just the story either. This game was praised to the skies, with praise it didn't quite deserve. The Bioshock series is amazing for one thing: The setting is daring and different, that is at least dwelled on for an hour, and there's a story that tries its best to make the player feel emotions - mostly disgust. Also it contains the word "shock" in it, and people salivate over System Shock 2 to this day, which Bioshock is a cash in of. Cashing in on a franchise usually goes a lot, lot worse than Bioshock went.

Everything else about Bioshock is mediocre for a grade A game.

The graphics is mediocre. When Bioshock 1 came out, I wasn't able to play it, because my graphics card didn't support the DirectX that Bioshock required. Irrational Games went out strongly and said that Microsoft was the future, and that everybody was at fault for not upgrading their cards to cater to DirectX, in a time where Microsoft was starting to get a lot of flak themselves. They said that DirectX was necessary to play the game, because it was so awesome. In reality it was as necessary as always online play was for consoles, and working fall back shaders that looked decent enough, were easily provided by 1-2 fans after a few weeks.

I played Bioshock Infinite on the best (Ultra) graphics setting, as went around noticing the poor level of detail. Half of the things on the ground (like bullet casings), actually levitates a few centimeters off the ground, even casting shadows.
I also remember how the moving boards at the Wounded Knee mockup, just just phase in and out of the ground.
Some animations are also glitched, and it's generally not what you expect for a Grade A, mere year old game.

The level design is even worse. I played "dodge the invisible wall" until I gave up trying to jump entirely. You can jump on top of some railings, but you're not supposed to, and there's absolutely not items on top of hard to reach places ever. If you are going to make invisible walls, then wall off sections completely, so that the player doesn't risk getting stuck. Sometimes going back is completely walled off by invisible walls.

If you look around under stairs and such, you can also clearly see the gaps between the setting models. In the distance birds and sometimes entire buildings, can be seen clipping through buildings. Watch the nice choir quartet in the beginning of Bioshock Infinite, and then watch their boat sail off to blatantly clip through a building, to see what I mean.

Also, most of the game isn't spend fighting, or using rails. It's spent looking through evey trashcan in the game, looking for potatoes to eat like a hobo. Every. Single. One. Does "Have I looked through everywhere in this room, or can I finally move on?" sound fun to you? Does being fed sympathy coins by Elizabeth like a beggar, sound fun to you? ...and in Burial At Sea, suddenly the interface is DOWN-graded, because now you can't close the search menu with your use key. You have to close it with F, which is usually your common flashlight key in games. ...so Half-Life players will go "E, F" to search, instead of Infinites "E, E".

1998 mode sounds really exciting, except you have to beat the game first to unlock it. I did that by using only non-lethal means, like you're basically instructed to, making 1998 mode just a second run-through for no reason. Compare this to the Pacifist achievement in Deus Ex: You get the achievement directly if you don't use lethal means on your FIRST playthrough. ...so 1998 mode is basically "Look! We went derp! It's an awesome feature!".

Everything points to Elizabeth being a little sister so much that her actually being her, doesn't make any sense: She's dead, she's smaller, splicers have this weird fascination with her, saying things like "Come back! We may make more of you yet!", Atlas calls her "sister" frequently, when she crawls through the vents, her eyes take on a flashlight little sister glow, and she has flashlights of little sisters doing things like harvesting people.

Nothing of this (except that the Big Daddy attacks you) makes any kind of sense, unless Elizabeth is a little sister.

I think a Ken Levine(?) even said they might let you play as a little sister, way back when they made BioShock 1.

...but it's like the story forgets - like it's handed over to somebody else to finish who doesn't get what he's doing.

flashlights = flashbacks

>>7
I liked flashlights more.

Bro, you're overanalyzing this

Bioshock Infinite's story actually kind of makes sense if you understand that the people who wrote it didn't truly understand what they were talking about, and only thought that "hey parallel universes seem like a cool game mechanic/plot point"

Basically Elizabeth who is also Anna who is also your daughter kills you in the past to stop you from becoming Comstock or becoming the private detective guy, thus eliminating all of Columbia and so on

All the inconsistencies are explained by them not really knowing what the fuck they were talking about.

>>9
First of all, you'd expect people to know what they are spending a year and millions of dollars making a game about, or at least keep the story consistent.
Second of all, it's worse than them not having a clue. They want to make Daisy Fitzroy a martyr, which in itself is fine, but the way they go about it, is that they send in the asspull double-act: The Luteces. The Luteces would be fine if they ultimately had a plan, and if they ultimately made any kind of sense with their ramblings, but they really don't. They're just asspullers, fooling you into thinking you've got explanations. That's low. That's deliberately trying to make a sucker out of the player.
Third of all: "Bro"? What are you - a 14 year old watching PewDiePie? Are you sure you're old enough to play these games?

Oh god I want to fuck Elizabeth so much. I don't even care anymore if she'd like it at all.

How do you even make sense out of game worlds from an underwater Atheist city like Rapture to a flying Fundamentalist Christian one like Columbia?  You don't, that's the whole point.