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Fwoderwick
Jul 14, 2004

I equally applaud and lambaste Tea's inherent desire to subvert what the game expects of you. Barely engaging with the steinman fight, passively staring at a wall was both head shaking and very funny.

Glad you strongly advised taking on the big daddy though, I don't think I could have handled an entire game of exchanging nothing but pleasantries with them.

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Fwoderwick
Jul 14, 2004

That is the most average man in a videogame I've ever seen (as opposed to the most average videogame man I've seen).

I suppose the permanently drenched cable knit sweater would work well with Inferno. Less so with Electro Bolt.

Fwoderwick
Jul 14, 2004

Chatrapati posted:

Is there more story in the instruction manual or something? As far as I can see, the main character survives a plane crash, swims to an island with shelter, and then decides to get in a weird bathysphere and and start playing with its controls. Why wouldn't you just wait for help? His first instinct to beat up a man rather than talk him down is really weird too, and then as soon as he sees a needle full of unknown fluid he injects himself! :stare: I really feel like there's something missing in the beginning of the story that we've missed.

There's a lot to be said for the expectations of it being a Noughties FPS where you are a Silent Protagonist TM and I know at the time I personally didn't question the introductory scenes.

For one thing the state of Rapture wasn't a surprise from the media build-up, you knew it had gone to poo poo and was full of bads. With that and being generally amazed at the spectacle and environment it was easy not to think to hard about what you were doing. But you're right, from a more rational, 'what would a real person do?' mindset, he does kinda go ham right off the bat.

And echoing Wa11y, for a game from 2007, a lot of thought has gone in to the story and world so it's worth sitting tight to see how it ties together. But Tea's probably already missed a load of audio logs and (not complaining) isn't taking the most solemn tone with it all shall we say.

Fwoderwick
Jul 14, 2004

I do remember gamely going along with Atlas without questioning why I should give a poo poo about this man I've just met. It was like, "what's that? There are people in trouble you say?! Well it's a good thing that I the protaganist just turned up!"

My reaction to starting the game in the sea surrounded by flaming wreckage was wanting to press on to find out the why. To that end, Atlas is someone who knows what's going on so as the player rather than player character I was happy to follow his lead to hopefully get that understanding. I'd probably be a bit more discerning these days about this kind of narative but then that's partly because I've played this specific game.

I can see how someone with a more questioning approach would be less impressed and if it was made today, I reckon more effort would be put in to the initial exchanges. I mean for all it's faults, Bioshock Infinite starts out with a much more solid and direct reason why you need to go to Disneyland. However I think the way this game relates itself to the player was a very deliberate choice in the context of what story telling was like in games at the time.

Fwoderwick
Jul 14, 2004

Wow Tea sounded utterly dejected at times. That and the minute or two where Nat's offering help to complete silence.

It is odd seeing how much trouble he's been having and it seems to be that as well as the controls he's not internalising the different mechanics much. Maybe the first is creating the second or it's just another thing that the spaced LP format is exasperating.

I just tried looking up if there's a weapon/plasmid radial wheel and it seems like there is one on a 360 controller. Haven't found a specific mention for the Switch yet which I think this is being played on? A radial wheel would vastly improve someone's playing experience of this game.

Fwoderwick
Jul 14, 2004

Commander Keene posted:

That was certainly a choice of music to play during a (supposedly) tense action scene. I get that it's supposed to be Cohen playing it over the intercom/radio in-universe, but it's still draining all the tension out of the scene.

Violence (or at least odd juxtapositions) to classical musical is a bit of a trope. He says, without being able to think of any examples right now... It's usage might be aiming for absurdity more than tension?

And I think Tea standing still in full view of two splicers (but invisible) for a while and then immediately nuking them had quite a bit to do with draining the combat tension specifically.

The game gives you the tools to completely trivialise many encounters but it's not necessarily obvious under normal circumstances. Would Tea have bothered as much with the camera's damage boosts, the OP wrench or the chameleon skill if their importance hadn't been stressed to him?

Fwoderwick fucked around with this message at 08:14 on Aug 20, 2020

Fwoderwick
Jul 14, 2004

I think Tea's missed a number of vignettes throughout the game and the (un?)timely demise of sander Cohen is another. I suspect they wouldn't have the intended impact even if he had found them though.

Interesting how actively subversive he's being throughout. Sometimes feels like he's going through the motions but enjoying it because couch co-op is always fun, but then comes out with some pretty astute observations that show he's clearly paying attention.

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Fwoderwick
Jul 14, 2004

Just caught up and i would recommend you play Bioshock 2 sometime (and it's sizeable DLC Minerva's Den), because in a lot of ways I'd say it's a better game than the original. The variety of combat is much improved and I don't remember the sudden bullet spongeyness from this game being an issue.

They did a really good job with the story too given they pretty much had to shoehorn it in to such a strong existing concept. There's also a lot more relatable humanity in it's characters I think and it even fleshes out Andrew Ryan quite well in his audio logs.

The one thing it lacks is the one thing it could never have which is the impact of the first time in the world of rapture.

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